The Audio Engineering Society has released Technical Program details and events for the upcoming AES Show Spring 2021 Convention, which runs May 25 – 28. 

A unique blend of educational events, workshops and tutorials, panel discussions and networking opportunities, the AES Show is designed to bring together audio engineers, students, researchers, educators and other industry luminaries eager to engage in all things audio. 

Reflecting the convention’s theme of ‘Global Resonance,’ this year’s sessions have been curated to offer insights on audio engineering technologies and techniques from a diverse array of presenters from around the world. 

Dell Technologies, Genelec, Harman and IMES (Iron Mountain Entertainment Services) are Platinum Partners, joined by Bronze Partners Comsol and New Audio Technology. 

The AES Show Spring Convention will offer three channels of content streamcast in Central European Summer Time, with additional sessions available on-demand. Streamcast sessions will join the on-demand library within 24 hours following their scheduled presentation to assure attendees a chance of catching nearly every event that the AES Show has to offer. 

For the full speaker line-up click here.

Bert Kraaijpoel, Convention Co-Chair, said: “The finest traditions of AES Convention Technical Programs are being realised in this 150th AES International Convention. The content will span the full scope of professional audio.”

Session topics to be covered include Acoustics & Psychoacoustics, Archiving & Restoration, Automotive Audio, Broadcast & Online Delivery, Education, Electronic Dance Music, Electronic Instrument Design & Applications, Game Audio/Audio for Virtual and Augmented Reality/Spatial Audio, Historical Events and Innovations, Networked Audio, Product Development, Recording & Production, Student & Career Development, Sound Reinforcement, Special Events, and more. 

Convention Co-Chair Ruud Kaltofen said: “The latest in audio research, technology and application will be presented by the best minds in the industry. And, as the Technical Program is available to anyone with an internet connection, without travel expense or risk, and affordably priced, the opportunity to learn is simply outstanding.”

“The 150th Convention will build on the Society’s growing expertise in creating successful online events, continuing to improve the participant experience,” said Rafael Kassier, AES Show Spring 2021 Workshops & Tutorials Chair. “Along with outstanding content, we’ve worked diligently to include increased networking opportunities for attendees as well as interaction between attendees and presenters, the community aspect of AES Conventions that’s been so missed in a year of isolation.”

AES members can register now at a special discounted rate of just $139 ($99 for AES Student Members) with the cost for non-AES members of $264 including one year of full Audio Engineering Society Membership and benefits. 

View the complete AES Show Spring 2021 Convention Tech Program details and register now at AESEurope.com.

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AES has lifted the lid on what the program sessions will look like ahead of the event streaming onliine from May 25.

AES members can register now at a special discounted rate of just $89 ($49 for AES student members) through April 26. Find out more about the AES Show Spring 2021 Convention and register now at AESShow.com/Spring2021.

Sessions and speakers are detailed below…

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Beechpark Studios is one of the last surviving recording studios in Dublin. The facility, which this year celebrates its 25th anniversary, is inviting back its original designer Roger D’Arcy to coincide with the 146th AES Convention, which will take place in the Irish capital for the first time this month. Here, Colby Ramsey speaks to the studio’s owner and founder Daire Winston about its storied past, and the implications of such a move against the backdrop of today’s turbulent recording industry environment…

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Daire Winston moved to the building which soon became known as Beechpark Studios in 1993. A house on an acre of land with a single and double garage, perfectly positioned in the Irish countryside on the outskirts of Dublin, quickly inspired the freelance recording engineer to make a music room.

The Apple Mac had started to sneak into recording studios in the early 90s, particularly in MIDI sequencing, and so Winston knew he had to get up to speed. Before he knew it, an old client came along from Ritz Records and asked if he would record one of their singers, so he set about doing this in one room that was hastily put together with a small DDA console, two TASCAM DA-88s, and an Apple sequencer.

“The following year, the label came back, this time with a more heavyweight artist, so all of a sudden we had to start taking it seriously,” says Winston. “A room that had been designed as a bit of a playroom and a place for me to get out of the house, now had lead vocals being recorded in the corner. We realised we needed to up the ante, soundproof the place and create a space to start recording drums. The first major build, which consisted of three recording rooms, was massively over-specced, and it paid great dividends.”

Beechpark trundled along like this until 2004, yet Winston kept building up equipment in the control room, with outboard gear stacked up to the ceiling beginning to cause a tedious situation. Somewhere along the line, Winston was introduced to Roger D’Arcy from Recording Architecture, a studio design company based in Greenwich, London at the time.

“He thought we should go for broke, with a big control room that would have exceptional monitoring, which was music to my ears,” Winston reveals. “After some toing and froing, Roger came up with a design based around the ATC SCM300 monitors and an Audient desk, which was a huge success. The room is so solid and quiet and it worked out really well.”

Now that he had a properly acoustically treated control room, Winston could hear the deficiencies in the recording rooms, so two years later he brought Roger back to gut them and start again. “He brought the standard up again and now they’re particularly nice for recording acoustic instruments,” Winston adds.

Then came the crash of 2008, which – with Ireland well overextended as a nation – caused a particularly negative vibe: “I remember thinking at the time that it would take eight years to recover,” Winston recalls. “I went to AES in San Francisco that year to get a fresh perspective, and upon my return I decided that I was going to do the exact opposite of everyone else – I was going to upscale instead of downscale and build a large live room, which was the one thing we didn’t have.

“This was again designed by Roger and sat separately from the main studio (it is known as The Barn), which allowed us to run rehearsal sessions and diversify somewhat. This brought in new customers who become familiar with the studio, and allowed us to record bigger musical sessions with multiple sections.”

Tipping the Scale

The whole point of this upgrade was of course to survive the recession and stay alive as a recording studio. With all the main studios in Dublin now closed, Winston became – almost by default – the last man standing. “It did bring in new artists and some household names in Ireland, and got us through that period until around 2014 when things started to pick up again,” he explains. “Tackling the situation head-on really paid off and even distracted from the general air of depression at the time. We kept ourselves busy and really opened up a lot of new possibilities in terms of recording and experimentation.

“One of the things I like about the studio is that we’re out of the city centre, which a lot of recording artists also like,” Winston says. “They can just get here, relax and let their creativity flow. The more you let people be creative, the more you spread the word, and the more people are happy to come back again because they like the vibe.”

During that period between 2009 and 2015, Winston also decided to form Beechpark Records, inspired by a well known jazz guitarist called Louis Stewart who he wanted to get into the studio: “It was an honour to record him and this was the first record on the label,” recalls Winston. “He unfortunately passed away in 2016 so this made it doubly important, ‘Tunes’ being the last album he recorded. This brought me into the sphere of trying to sell records – but that’s another story! Being our 25th anniversary, I’m of the belief that people who have been in the industry and are still in it, should give back in some way.”

Someone Beechpark has stuck with and worked with extensively over the years is Daniel O’Donnell, arguably a mini industry in his own right in terms of breaking into and retaining international markets. He has recorded a whopping 24 albums at Beechpark, totalling over 12 million sales. “There’s an element of this that allowed us to raise our game to international standards, because we had to step up to record and broadcast concerts in the US to huge audiences,” Winston reveals. “It allowed us to become professional in a way that I don’t think we would’ve been able to do otherwise. That was probably one of the biggest thrills I’ve ever had in terms of being involved in audio.”

The 146th AES Convention, which takes place March 20-23, marks the first time the event has been in Dublin. Having had some great experiences at the show in cities all over the world, it immediately presented a fantastic opportunity for Daire Winston and Beechpark.

“We’ve confirmed that our friend Roger D’Arcy, who is also a singer/songwriter, is coming over for that,” Winston reveals. “He was here late last year to do some recording and he is brilliant at what he does. He really is the main man and I thought it would be a perfect opportunity to get him back over for AES.

“I appreciate that while AES like to have their open studio or open theatre day within walking distance of the convention centre, I plan to get some visitors coming over to the studio on the evening of Friday 21, with Roger having recorded that day. We might even bring in a new piece of gear for a bit of excitement!”

So, with Beechpark’s original designer returning once again to record some of his next album songs, during a time when all eyes will likely be on the Irish music market, it looks like this could be another significant milestone for the studio.

“We’re very much a song and album based studio and we’ve stuck to our guns over the years,” Winston concludes. “To be able to build the studio up to this – it’s been a long journey, but a brilliant one.”

www.beechpark.com

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The March edition of Audio Media International is now available online.

In this issue, Colby Ramsey speaks to the owner of Beechpark Studios, a Dublin-based studio that is celebrating its 25th anniversary against the backdrop of AES this month.

Meanwhile, Grammy nominated singer/songwriter John Parr gives AMI the inside story about his studio Somewhere In Yorkshire, Daniel Wray talks to British punk producer, engineer and mixer Nick Launay about his 40 years in the business, and NUGEN Audio’s co-founder and now CEO gives us some insights about the company’s journey so far.

Elsewhere in the mag, Rosewood Studios’ owner Ed Scull talks us through the dos and don’ts of building a studio, and WSDG’s Dirk Noy reveals all about the company’s Acoustic Simulation Lab in Basel, Switzerland.

As usual, an assortment of interesting opinion pieces can be found towards the front of the mag, while the back pages feature a number of cracking product reviews including Genelec, HEDD, Sennheiser and Cubase 10!

Read all this and more in the latest issue of AMI online, here.

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Zylia, a specialist in the field of 3D audio recording and production, has announced that execs from the company will join other industry experts at AES Dublin 2019 and at the 2019 AES International Conference on Immersive and Interactive Audio in York, England, to discuss creation of immersive audio scenes for virtual reality (VR) and music production.

"The AES events in Dublin and York offer great opportunities for us to provide practical advice on how to best capture immersive audio,” said Tomasz Żernicki, co-founder and chief technology officer of Zylia. “We’re seeing a lot of interest in our 360-degree recording technology and a high demand for guidance in maximising the potential of spatial recordings that capture the entire sound scene."

At AES Dublin, where the Convention is being held for the first time ever this month, Żernicki will chair a March 22 workshop titled "Video Creations for Music, Virtual Reality, Six Degrees of Freedom (6DoF) VR, and 3D Productions — Case Studies."

The workshop’s panel of professional audio engineers and musicians will include Przemysław Danowski from the department of sound engineering at Frederic Chopin University of Music in Warsaw, Poland; Hans-Peter Gasselseder of Aalborg University of Aalborg, Denmark; Maria Kallionpää of Hong Kong Baptist University in Hong Kong; and Eduardo Patricio, sound engineer and designer at Zylia.

The workshop will examine spatial audio-video creations in practice. Panelists will talk about how their 360-degree, 3D, and ambient productions combine sound and vision and discuss spatial recordings of concert music. The workshop will focus on the usage of spherical microphone arrays that enable users to record the entire 3D sound scene as well as 6DoF VR. Panelists will discuss how separation of individual sound sources in post-production and Ambisonics enables creatives to achieve unique audio effects.

Also during AES Dublin 2019, Zylia audio research engineer Łukasz Januszkiewicz will join Żernicki and Patricio to present a paper titled "Toward Six Degrees of Freedom Audio Recording and Playback Using Multiple Ambisonics Sound Fields.

At the Immersive and Interactive Audio Conference, Żernicki, Patricio, and Januszkiewicz will hold a workshop titled "Six Degrees of Freedom Audio Capture and Playback Using Multiple Higher Order Ambisonics (HOA) Microphones." Designed for professionals who wish to capture immersive audio scenes for VR or music production, this workshop will focus on recording sound and enabling 6DoF playback by using multiple simultaneous and synchronised HOA recordings.

• AES Dublin 2019 will take place March 20-23 at the Convention Centre Dublin.

• 2019 AES International Conference on Immersive and Interactive Audio will be held March 27-29 at the Contemporary Music Research Centre at the University of York.

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The Audio Engineering Society (AES) has published its detailed, interactive AES New York 2018 calendar of events for attendees to explore when planning their AES convention experience. 

The more than 330 presentations and workshops – offering an inside look at nearly every facet of the audio engineering industry – is available only with All Access registration. 

The AES New York 145 International Convention will be held from 17 – 20 October at the Jacob Javits Center. 

Visit aesshow.com for the complete schedule of events.

The comprehensive Technical Program, brought together by the organising team led by co-chairs Paul Gallo, Valerie Tyler and Jonathan Wyner, includes topics like audio for virtual, augmented and extended reality; networked audio; spatial and immersive audio; and game audio, along with core topics including broadcast & online delivery; sound reinforcement; recording & production; audio for cinema; and archiving and restoration. 

Product development is covered on the professional level within the product development track, while DIYers can learn and even construct hardware and write code in the new Audio Builders Workshop mini-track. Attendees learn about tomorrow’s technology today in the in-depth Papers and Posters event, where the latest in research into all areas of audio is presented.

Register now at aesshow.com.

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The AES Berlin Committee has announced that Dr. Alex Arteaga will give the Opening Ceremonies keynote speech at the 142nd International AES Convention, which is being held on 20-23 May 2017 at the Maritim Hotel Berlin (Stauffenbergstrasse).

Titled “Auditory Architecture: Environment, Sense, and Aurality,” the presentation will delve into areas of aesthetics and the perception by the senses as it pertains to audio, especially in regards to the research and design of “Klangumwelten,” the “surrounding-aural-worlds.”

How do our environments emerge when we focus our activity on hearing and listening? How do these modalities of action condition the ongoing process of sense-making? Dr. Arteaga will discuss which practices and methods of research are appropriate to address these questions, while integrating aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between aurality, architecture and the environment through phenomenological and enactivist approaches.

Additionally, Arteaga will expand upon the conceptual framework and the main practices developed at the Auditory Architecture Research Unit (Berlin University of the Arts) in tackling these issues.

“Dr. Arteaga’s background and research uniquely blends philosophy, the audio sciences, and study of the perceptual and physical interactions between sound and architecture,” noted AES Berlin co-chair Nadja Wallaszkovits. Co-chair Sascha Spors added: “We are fortunate to have him as the Keynote speaker for AES Berlin. We expect his thought-provoking presentation to set the stage for the Convention’s exploration of all things audio.”

Coming from a musical background, Arteaga studied piano, music theory, composition, electroacoustic music, and architecture in Berlin and Barcelona and received a Ph.D. in philosophy from Humboldt University. After being an academic researcher at the Collegium for the Advanced Study of Picture Act and Embodiment at Humboldt University, he developed his own research projects at the Berlin University of the Arts, including “Architecture of Embodiment” as an Einstein Junior Fellow.

He currently heads the Auditory Architecture Research Unit and the Department of Auditory Architecture in the MA Sound Studies and Sonic Arts at the Berlin University of the Arts and is professor for contemporary philosophy and artistic research at the Research Master in Art and Design at EINA/Universitat Autonoma de Barcelona.

Advance Registration pricing on All Access badges for the AES Berlin Convention ends on 17 May.

http://www.aeseurope.com/

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The 142nd AES Berlin International Convention has laid plans for its series of recording- and mastering-focused events, taking place 20-23 May, 2017 at the Hotel Maritim Berlin, Stauffenbergstrasse.

From large-scale special events and workshops, to detailed paper presentations, tutorials and more, attendees will have a variety of opportunities to interface with and learn from experts in the industry, as well as get hands-on time with the latest gear on the convention’s exhibition floor.

Taking place immediately after the 142nd Convention’s opening ceremonies on Saturday, 20 May, at 2:45pm, a special events presentation titled “Berlin: Center of Electronic Music Production, Mixing, Sound Design and the Community” will set the pace and give relevant background to the surrounding audio production scene in Berlin.

Presented in association with the AES Technical Committee on Recording Technology and Practices, the session will feature a number of panelists across the industry as they discuss Berlin as a growing centre for electronic music and its development into a vivid entertainment centre with clubs, studios, festivals, communities, companies and much more to offer artists, musicians, DJs and the pro audio community.

Earlier that day at 10:45am, a master class workshop titled “Mastering Workflows” will examine various workflows that come into play in mastering audio, ranging from self-mastering-while-mixing to traditional mastering in a proper mastering facility. Whether working inside the box entirely versus using outboard gear, or a combination of the two, different workflows will be discussed as the panel compares and contrast their own methods, while highlighting the strengths and challenges of each.

The workshop “Recording, Mixing and Mastering for Different Immersive Audio Formats” on Sunday, 21 May, at 12:45pm, will give professional insights about the latest experiences with recording, mixing and mastering in immersive audio formats. Panelists will both discuss challenges faced by engineers and studios in dealing with different standards for immersive audio and also explain how immersive recordings can be delivered in multiple immersive audio formats and how consumers’ homes can be reached.

Other presentations, including informative tutorials and paper sessions, will cover topics including transducers, spatial audio, audio encoding, processing and effects, and other studies in audio science and applications. Sessions include “The Use of Non-Linear Signal Processing in Music Production”; “Audio Studio Design – An Eye on Immersive Audio”; “Immersive Recording and Mixing Techniques”; and “A Universal Language for Auditory Interaction – Sound Design for Electronic Devices,” among others over the four-day event.

Advance registration pricing on All Access badges and onsite accommodations are still available online, as well as free Exhibits-Plus registration (use code AES142NOW at checkout) for the AES Berlin Convention.

http://www.aeseurope.com/

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The Audio Engineering Society has revealed details of the committee charged with organising the upcoming AES Berlin Convention, which is set to take place 20-23 May 2017 at the Maritim Hotel Berlin in Germany.

The AES Berlin Convention will offer four full days of in-depth programmes and presentations, technical tours, and a three-day manufacturer exhibition of the top brands and services in pro audio.

The Convention, being co-chaired by Sascha Spors (professor at the University of Rostock and chair, AES North German Section) and Nadja Wallaszkovits (chief audio engineer, Phonogrammarchiv, Austrian Academy of Sciences and formerly AES VP, Central Europe Region), is a large pro audio event and exhibition that brings together professionals and students from around the world.

The committee reports that paper submissions are up 50 percent higher than typical. Multichannel, spatial and immersive audio will all be well represented in the technical program, as will acoustics, psychoacoustics, audio quality and perception.

The 2017 AES Berlin Technical Tour Schedule will include several renowned Berlin recording studios, tours of Berlin-based audio manufacturers, broadcast and film sound production facilities and the Museum für Kommunikation (Museum of Communications).

“A full convention program could be built around just the combined knowledge of the committee for AES Berlin,” said Bob Moses, AES executive director. “When these accomplished individuals reach out to their colleagues, to the entire AES membership and beyond, the result is an amazingly multi-faceted and quality program. If you are serious about audio, you’ll join us in Berlin.”

Papers co-chairs for the 142nd convention are Jamie Angus (AES Fellow, University of Salford) and Thomas Sporer (Fraunhofer, AES VP, Central Europe Region), while workshops will be overseen by co-chairs Sascha Disch (Fraunhofer) and Natanya Ford (AES Fellow, Buckinghamshire University). Jens Aherns (University of Technology Berlin) will serve as facilities co-chair, and André Maletz (Mixing Ambulance) will co-chair the Technical Tours. Additional committee members are to be announced soon.

http://www.aeseurope.com/

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Prism Sound will be exhibiting at the 141st AES Convention in Los Angeles (Booth 714) with a full range of audio interfaces and converters including its flagship ADA-8XR multichannel converter, which has been installed in many acclaimed recording facilities worldwide.

Alongside the ADA-8XR, the company will show more recent additions to its range including the Lyra, Titan and Atlas audio interfaces, all of which connect to both Macs and PCs via a simple USB interface and are aimed at musicians, composers, project studio owners, DJs, re-mixers and other audio content producers such as radio and podcasting.

Prism Sound will also demonstrate its MDIO-HDX expansion module at the AES Convention, which is specifically designed for the company’s Titan and Atlas audio interfaces. Launched at NAMM earlier this year, the module, compatible with the Avid DigiLinkTM connection, allows multiple Titan or Atlas units to be connected directly to Pro Tools|HD systems. The company will use the AES platform to demonstrate the ease with which this module can be integrated into a recording workflow and how all of the key controls can be controlled from within the workstation’s own GUI and stored as part of the session.

Other products at the show will include the SADiE LRX2 Location Audio Workstation and various products from the MASELEC range including the MEA-2 Equalizer, the MLA-2 Compressor, the MLA-4 Tri-band Compressor/Expander, the MTC-1X Mastering Transfer Console and the MDS-2 De-Esser.

The 141st AES Convention runs from September 29 to October 2 2016 and on the first night Prism Sound will be holding one of its popular educational Mic to Monitor events, which you can register for here.

http://www.prismsound.com/

http://www.ibc.org/

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