Show Preview: BVE 2018

Show Preview: BVE 2018

With over 300 brands showcasing their latest products and solutions and over 200 experts delivering content in six dedicated, free-to-attend theatres, BVE looks set to fully delve into this year’s theme of  We Are All Creators...

In 2018, BVE is placing a greater emphasis on being inventive, resourceful, and overall more creative. Six new theatres will provide visitors with the opportunity to explore the content they are interested in, whilst also expanding the show’s offering.

“This year BVE has evolved from a purely technical strength to look at what goes into AV and live from a variety of angles, including the creative standpoint, the workflow technicalities and the editing and demonstration of the impact of audio - a first for BVE,” says event manager Daniel Sacchelli.

One of the highlights of the Craft of Capture seminar programme – newly created this year to showcase cinematography, lighting and audio techniques – will be the VR The Champions seminar, during which VR film director Jannicke Mikkleson will talk about creating an immersive experience for Queen’s stage shows.

“BVE will also have a theatre dedicated to the art of post-production called Post in Practice, which will take a practical look at the newest techniques in this discipline,” adds Sacchelli.

Abesh Thakur, production manager for Audio 360 at Facebook, will host a session that explores some of the basics of spatial audio mixing for headphones, applicable to linear 360 video and VR content utilising the Facebook 360 Spatial Workstation plugins.

He will also be talking on the Techflow Futures stage with Rob France, product manager at Dolby, about a plethora of subjects, including insights into new spatial tools. The seminar will focus on topics including efficiencies in audio content workflow, such as object based audio, play out for multiple devices, practical implementation and immersive audio for VR, AR and MR.

“This is the first time that Dolby Atmos will be set up in a live environment, which will give visitors the chance to see the sophistication of the whole system,” explains Sacchelli (pictured above). Meanwhile, Tim Hoogenakker, re-recording mixer, Formosa Group will explore the Dolby Atmos mix and demonstrate how to work with the latest audio innovations.

ON THE SHOWFLOOR

Pro Audio supplier HHB Communications are bringing the latest technology in the broadcasting, production and post-production sectors to BVE 2018. Located at stand K45, HHB will be offering a look into several current and growing trends including Dolby Atmos and Audio over IP, covering their impact on the post and live sport industry.

RTW is branching out into audio monitoring over IP with the PD-Dante from Nixer Pro Audio, offering 64 channels available to customise, tailor, define or recall via the capacitive touchscreen and listen to them via the on-board loudspeakers and headphone connector.

Audinate’s Dante Domain Manager (DDM) delivers the interface and tools needed to control, secure and monitor all IP devices from one source, regardless of the size or layout. The license will be available to sample at BVE 2018 and is available to purchase in three different editions to suit specific networking demands. The new software will be showcased alongside Dante DVS, Controller and Via.

The 8430A IP SAM Studio Monitor from Genelec will also be on display. Combined with the new GLM 3.0 speaker calibration system, Genelec’s sound is made available to any IP workflow with this Smart Active Monitor.

Other AoIP focused brands that will be appearing are Amphenol, Focusrite and NTP.

Meanwhile, a Dolby Atmos workflow will be shown on the HHB stand via a Pro Tools HD setup featuring the Avid Dock, S3, S6 and MTRX. A range of products will be available here including the HE-RMU with Dolby Atmos Mastering Suite, and new to BVE, the DP590 and DP591 Object Authoring Tool and Atmos Audio Encoder.

Nugen Audio will also be showcasing its AMB Dolby Module, designed to improve workflow efficiency for a range of different tasks. Using AMB Loudness, DynApt or Upmix modules with the new AMB Dolby Module, post-production facilities can natively batch process Dolby E, Dolby Digital and Dolby Digital Plus files, reducing delivery times for loudness measurement and correction, dynamics processing and upmixing.

Other brands embracing immersive audio at this year’s show will include SoundField, Blue Ripple and Zoom.

With HHB recently appointed a distributor for UK and Ireland, Studer will also be present on the stand showing its Vista 1 and Infinity Series consoles, along with its more compact options such as the Glacier and Micro Series for broadcast, live and production applications.

Additionally, broadcast audio distributor Aspen Media will present AVATUS, the new sound desk from its German supplier Stage Tec, at BVE 2018. AVATUS is an IP-based modular audio mixing console designed for broadcast, theatre and live sound applications. The desk is available with between 12 and 96 channel strips and can provide over 800 input channels and 128 sum buses in formats ranging from mono to 7.1. It is also directly compatible with all major audio networking protocols, including AES67, Ravenna and Dante.

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Video: Supporters of Olga FitzRoy’s Parental Pay Equality campaign gathered outside Parliament

Video: Supporters of Olga FitzRoy's Parental Pay Equality campaign gathered outside Parliament

Olga FitzRoy’s Parental Pay Equality campaign, which aims to get Shared Parent Leave rights extended to the self employed, is gaining momentum with Labour MP Tracy Brabin proposing legislation in Parliament to resolve what many see as an unfair anomaly in the current law.

Stars from the world of music and film joined forces with politicians and gathered outside Parliament on February 21 to support Brabin’s proposed legislation.

Under a 2015 change in the law, parents have the right to split their leave between them. Self-employed mothers must take statutory maternity allowance in one go and cannot go back on to it after doing some work. Self-employed fathers have no access to parental leave or pay. 

Around 285,000 couples are eligible every year for shared parental leave, but take-up "could be as low as 2%", according to the Department for Business.

The new law would be a major step forward for gender-equality, particularly in the creative industries where 44% are self-employed.

Celebrity supporters of the bill include Chris Martin, who commented: “So many of our crew, both in the studio and on the road, are freelance, and we don’t want to lose half of that talent when they become parents - we want them to be able to share their parenting in a way that works for them, and isn’t dictated by being a man or a woman.”

Parental Pay Equality’s founder, Olga FitzRoy said: “This is a great opportunity for politicians of all parties to unite behind the bill, which will send a strong message that men and women are valued equally in the home and in the workplace.

“Self-employed mothers, who don’t get any employment protections while on leave, need the flexibility of sharing childcare with a partner to ensure they have a job to go back to, and dads have had enough of being sidelined when it comes to parenting.”

 

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Australia’s iconic Studios 301 relaunches

Australia's iconic Studios 301 relaunches

Australia’s largest and most renowned recording, mixing, and mastering facility, Studios 301 was officially relaunched on 22 February following a multi-million dollar refurbishment. 

The complex houses three recording studios, three mastering suites, five production suites, and a number of music industry specific co-working areas.

It also features classic Neve 88R and SSL K series consoles and a complement of vintage outboard and microphones.

Studios 301 is one of the longest-running professional recording studios in the southern hemisphere, starting out in 1926 as The Columbia Graphophone Company.

The design of the new complex came as a reult of a collaboration between industry icon Dr Tom Misner and master acoustician, Jochen Veith.

Tom Misner is the founder and driving force behind the SAE Institute - earning him honorary doctorates from Middlesex University in 2001 and from Columbia University in 2005 for his services to transnational education.

Misner has invested in and supported the wider global industr over the years, with projects ranging from the rescue of AMS Neve in the mid-2000s to his ongoing support of R&D for new and emerging audio technologies.

Studios 301's reconstruction and relocation took 16 months and almost 134,000 hours of labou to complete.

 

 

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Win A Limited Edition Gold Midi Fighter 3D

Midi Fighter 3D Gold

The Midi Fighter 3D is an iconic controller that has made its way into thousands of production studios, live show setups, DJ rigs, and even sports broadcasting control rooms. It has withstood the test of time, so we thought a great way to honor it would be to make a new limited edition with all gold buttons. Introducing the Midi Fighter 3D Gold Edition - we've made twenty, and in this article we're giving one away. Keep reading to enter.

The post Win A Limited Edition Gold Midi Fighter 3D appeared first on DJ TechTools.

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New Nashville studio uses Merging for DSD recording capabilities

New Nashville studio uses Merging for DSD recording capabilities

A brand new facility located in Nashville is using Merging Technologies’ Pyramix MassCore and Horus networked audio converters to offer DSD recording and 4K video.

The design of ManAlive Studios was influenced by the acoustic performances of the Annie Moses Band, a family venture blending traditional American folk songs with a strong classical influence.

The plan materealised about 6 months ago and includes a 4,000 square feet sound stage with full lighting, six 4K cameras, Pyramix and Pro Tools HDX recording and an SSL AWS console. The idea is to have the ability to stream, broadcast or just record the music with or without a live audience, while flexibility and quick turnaround are key to the studio’s philosophy.

ManAlive has only been open a few weeks  but the first few recordings in DSD have already been made. The choice of DSD and Merging came as a recommendation from an engineer friend who suggested that this would be more akin to capturing “an event” on tape. This concept of ‘expanded realism’ was just what the band felt was needed.

“We have been extremely impressed by the depth and audio quality of DSD. It is creatively exciting and meets our own regular media needs, allowing us to do it as we are most comfortable - live and together in one space,” said Alex Wolaver, studio manager and Annie Moses Band member (pictured above, right). “These days, fans have given way to followers — and the job of the artist has shifted from making one album every year and a half to being a Content Creator releasing a steady stream of content weekly, or even daily. Recording live speeds up that process and feeds the social media machine.”

Senior audio engineer Scott Dupre (pictured above, left) added: “ManAlive Studios is a production facility marrying hi-resolution audio and video workflows with the immediacy of today's social media demands. The live room features 6 Blackmagic 4k cameras and 40 I/O of Merging Technologies Premium DSD preamps and converters; the studio can easily produce a full live band, with a live audience, streaming live to the web, with DSD quality audio capture and a 4k video workflow.

“The audio package is geared towards the artist who desires an honest, lush, and three-dimensional sound. The combination of the Merging preamps and converters through the SSL’s transparent bussing and into a pair of PMC TwoTwo8s results in a near holographic soundscape that is very revealing. The studio includes both a PC/Pyramix and a Mac/Pro Tools workflow with DAW Eucon control provided by an Avid S3.”

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BAFTA winners rely on Avid creative tools for awards success

BAFTA winners rely on Avid creative tools for awards success

Avid’s Media Composer and Pro Tools, powered by its MediaCentral platform, were used by winners and nominees in all sound and editing production craft categories at the British Academy of Film and Television Arts (BAFTA) Film Awards.

The BAFTA Best Sound Award went to Richard King, Gregg Landaker, Gary A. Rizzo, and Mark Weingarten for Dunkirk who relied on Avid Pro Tools to bring their soundtracks to life. BAFTA Sound nominees Ron Bartlett, Doug Hemphill, Mac Ruth and Mark Mangini from sound post-production company Formosa Group, mixed Blade Runner 2049 using two Pro Tools S6 consoles.

Fellow sound editing nominees and Avid users also included Christian Cooke, Glen Gauthier, Nathan Robitaille, Brad Zoern for The Shape of Water, Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood for Star Wars: The Last Jedi and Tim Cavagin, Mary H. Ellis, Julian Slater for Baby Driver.

The BAFTA Film Award for Editing went to Jonathan Amos and Paul Machliss of ACE for Baby Driver, who used Media Composer to edit this blockbuster which was released at the end of June. “The ability to edit in a ‘near-live’ environment allowed a unique blending of production and post-production that contributed to the film’s success,” said Machliss. “I’m honoured to be recognised by BAFTA.”

Additionally, all nominees for the BAFTA Film Award for Editing also used Media Composer to cut their films, including Joe Walker, ACE for Blade Runner 2049, Lee Smith, ACE for Dunkirk, Sidney Wolinsky, ACE for The Shape of Water, and Jon Gregory, ACE for Three Billboards Outside Ebbing, Missouri.

“Every awards season Avid’s talented customer community comes out strong to win recognition for creations that amaze audiences around the world,” said Avid president Jeff Rosica. “Avid congratulates these storytellers for their outstanding work. It’s our extreme honour to provide the tools, platform and ecosystem that are part of their creative processes.”

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End User Focus: Field Recorders

End User Focus: Field Recorders

When on location or in audio-sensitive environments, sound designers and field recordists usually require the most compact solutions for the biggest jobs.

Here, we speak to a number of professionals who have recently got to grips with some of the latest, most versatile offerings to find out how they use their features for capturing audio on the move.

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Sound Devices MixPre-10T

Watson Wu

Aimed at sound designers, podcasters, videographers, and musicians, Sound Devices’ MixPre Series of compact audio recorders and USB audio interfaces utilise handcrafted Kashmir microphone preamps, advanced mixing, touch screens, built-in Bluetooth Smart, and much more. In Autumn 2017 the company expanded the line with the MixPre-10T (main image), a 10-input, 12-channel recorder with built-in timecode generator/reader and additional I/O flexibility.

Sound designer and field recordist Watson Wu was recently hired to work on a Mercedes Benz commercial, whereby he was tasked to rig multiple microphones on and around a high-speed vehicle. Despite already owning a number of devices, Wu wanted to purchase another high-input field recorder to capture more onboard and external channels all at the same time.

“When the new recorder arrived, I only had one day to learn how to use it prior to the Mercedes-AMG job, but this little guy was easy to use,” says Wu. “I was quite pleased to be able to link inputs 1 through 4 and just turn knob #1 to change the overall gain when we used an Ambisonic mic, while I also like recording with MS stereo linking.”

Since then, Wu has successfully captured a 1926 Ford Trimotor plane for a Ford Museum Exhibit and weapon sounds for a yet to be announced project. He is a fan of the MixPre-10T’s small footprint and light weight along with its dual powering options, top joystick transport buttons and clean mic preamps.

www.sounddevices.com

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Olympus LS-P1/P2

Jerry Ibbotson

The Olympus LS-P1 and LS-P2 are both part of the company’s new LS Pocket Series, designed for recording anything from a band’s jam sessions to podcasts as well as audio for videos and interviews.

The LS Pockets claim to be one of the smallest hi-res audio recorders ever made at just under 15cm tall and less than 1.8cm thick. Directional microphone systems ensure recordings in broadcast quality Linear PCM 96kHZ/24bit format.

The LS-P2 incorporates a TRESMIC, 3-microphone system for expanded frequency response with better bass capture (20hz to 20,000hz) and also allows the results to be sent to external speakers via Bluetooth. It also includes a Normalisation function, enabling the levels of recorded files to be subsequently boosted to the optimal distortion-free maximum volume - without the need for any PC or additional software.

Jerry Ibbotson, who worked as a BBC radio journalist, sound designer, and more recently a freelance audio producer, believes that what all the LS models have in common is recording quality, great build, and ease of use.

“A real bug-bear with small recorders is pre-amp hiss,” says Ibbotson. “But the LS-P1 and -P2 give clean, clear sound and they’re also dead easy to use, with menu layers kept to a minimum.

“I’ve used them in radio reporting, sound effects acquisition and even to record a psychic ‘reading’. The results are far better than you might expect from such small devices and they just ooze quality. They’re a worthy addition to any audio person’s arsenal.”

www.olympus.co.uk

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Zoom F4

Alistair McGhee

With four XLR/TRS combo inputs, a 3.5mm stereo input, and a Zoom mic capsule input, the F4 multi-track field recorder can record up to six discrete tracks with an additional stereo mix track—all at resolutions up to 24-bit/192 kHz.

For precise audio/video syncing, the F4 utilises a Temperature Compensated Crystal Oscillator (TCXO) that generates time code at 0.2 ppm accuracy. The F4 supports all standard drop frame and non-drop formats, and can jam sync to time code provided by external devices.

A dual SD card recording feature lets users record simultaneously on two SD/SDHC/SDXC cards (up to 512 GB each), for instantly backing up or splitting recordings. Meanwhile, a dual-channel recording mode lets users create safety tracks for inputs 1 and 2, each with independent level, limiting, delay, phase inversion, and high-pass filtering.

Alistair McGhee was an audio engineer for the BBC before moving to radio and TV production, and is well versed with Zoom’s field recorders and audio interfaces.

"The tape return input on the F4, which can handle -10 or +4, is selectable to inputs five and six, and when used this way hitting the input 5/6 custom button the front panel sends a prefade listen of the tape return to the headphones,” McGhee explains. “Very convenient - but at the small cost of recording tracks 5 and 6.”

“As an extra safety feature the recorder closes the record files at regular intervals and so should disaster strike you will not lose the whole file,” adds McGhee, who recently used the F4 in his workflow. “I tried pulling the card out of the recorder while in the middle of a take and I lost about ten seconds of audio; the rest of the file was completely intact and usable."

www.zoom.co.jp

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Tascam DR-10L

Andy Napthine

The DR-10L is an ultra-compact digital recorder/lavalier microphone combination. Designed for filmmakers and videographers, it is a solution that provides sonics in a convenient form factor. For location recording, a DR-10L can be mounted to each on-camera actor, making booms, wires or expensive wireless systems unnecessary. The DR-10L is also a handy tool for experimental audio designers thanks to its portability and its tiny, professional spec microphone.

For added flexibility, the included wired lavalier microphone is affixed via a screw connector compatible with most Sennheiser lavalier microphones and other mics with the same connector.

Andy Napthine of Napthine Porter Marketing has used the DR-10L many times when recording corporate and YouTube videos, and finds it to be a very versatile mic/recorder package.

“It is light in weight and discrete in use, and has never let us down,” says Napthine. “I particularly like the dual recording modes and limiter feature, which records the content at two levels – one lower than the main input. This has helped us out a few times when recording outdoors on site. It is very easy to use and the overall build quality and reliability is outstanding – it is excellent value for money and a unit that I would highly recommend.”

www.tascam.com

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Ecuador’s Lost Beach superclub upgrades Funktion-One system

Ecuador's Lost Beach superclub upgrades Funktion-One system

Lost Beach Club in the small surfers’ town of Montanita in Ecuador has upgraded its Funktion-One sound system with the addition of Evo 7 and Evo 6 enclosures.

The venue has, since its inception in 2012, featured a Funktion-One sound system at the request of its founder Kami Tadayon (pictured).

After falling in love with Ibiza’s superclub scene, Kami established a series of club nights branded the Global Unity Movement, based out of his adopted home of Ecuador. He turned to Funktion-One experts Blue Box, owned by Mark Metcalf, the man credited with introducing the loudspeaker manufacturer into Ibiza. An initial itinerary comprising 10 Resolution 2s and eight F218s (split in to two systems), was soon augmented by a further six Resolution 2s and four F215s.

In 2014, a change in Ecuadorian law led to restrictions on the opening hours of outdoor clubs. This led Tadayon to develop an indoor ‘Cave’ space, working with the Blue Box team to design and install the Funktion-One system. They also installed a pair of DS4 Dance Stacks with EVO 6SH skeletal speakers and F218 dual 18in bass enclosures in the mezzanine area.

In 2017, the new Evo 7 and Evo 6 systems were added. The Evo 7s have taken the place of the Res 2s in the Lost Beach terrace while the Evo 6s provide updated sound for the large VIP area behind the DJ.

The full Lost Beach system supplied by Blue Box now comprises: six Evo 7E, six Evo 6E, 10 F221, two E100 amps, two E60 amps, two E25 amps and two XO4A audio management systems. As a result, the venue has been recognised as DJ Mag’s top seven beach clubs of the world, and is constantly climbing the magazine’s global club rankings.

“What Kami’s achieved here is remarkable, and he continues to grow his audiences, many of whom travel up to 10 hours just to experience Lost Beach and its sound systems,” said Metcalf. “Kami and his team have created quite a buzz with the installation of this new system and Lost Beach has raised its game once again. Kami’s maxim is ‘If I build it, they will come’ and they are coming - in ever increasing numbers.”

“Lost Beach is unique,” Kami added. “You’re under the stars, on the beachfront, in a town of 1,000 residents, and you have this superclub, with the best sound system in the world and some of the best DJs in the world coming to play every weekend. There's nothing like this anywhere in Ecuador - or even Peru and Columbia.”

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AES@NAMM Pro Sound Symposium: Live & Studio

AES@NAMM Pro Sound Symposium: Live & Studio

Mel Lambert has been intimately involved with production industries on both sides of the Atlantic for many years. He is principal of Content Creators, a Los Angeles-based copywriting and editorial service, and can be reached at mel.lambert@content-creators.com; 818.558-3924. He is also a 30-year member of the UK’s National Union of Journalists.

The inaugural AES@NAMM Pro Sound Symposium: Live & Studio, held concurrently with the NAMM Show in Anaheim, CA, during late-January, represents a new direction for the Audio Engineering Society. The four-day event was developed specifically to deliver a unique education and training program targeted at professionals working in live sound, recording and audio for the performing arts. Held within the NAMM Education Campus located in 20 rooms on the fourth floor of the Anaheim Hilton Hotel, adjacent to a new pro-audio exhibit space, the symposium attracted close to 3,000 participants.

Visitors purchased either half- or whole-day tickets to Training Academies and other sessions on line-array loudspeakers, live-sound consoles, wireless systems and studio environments, as well as tutorials on system measurement and optimisation, plus technical papers. A discounted NAMM Show badge also enabled access to all on-site exhibits and other events attendees.

As AES President David Scheirman stated in an opening address: “The Audio Engineering Society is leveraging up-to-date expert knowledge from both its members and supportive pro-audio equipment manufacturers. This symposium will throw a creative spotlight on the application of audio science and technology to sound-system operations, along with studio workflow practices.”

Networking opportunities were underscored by AES@NAMM Executive Chair, Michael MacDonald. “This new symposium format has been designed to help AES members and non-members alike expand their ‘human network’,” he said. “Our program was formatted to merge in-person networking opportunities with hands-on training and expert tutorials.”

AES_NAMM

Pictured, above: In Ear Monitoring Academy: Mark Frink oversaw several sessions during the Symposium’s In-Ear Monitoring Academy, including “Stereo Is Your Friend & Other Tips.” His active demo explored techniques for building mixes for different types of musicians, based on what instruments they play and whether they sing while performing.

Manufacturers of live-sound consoles and studio technologies conducted training sessions, while classes on line-array loudspeaker systems were augmented by hands-on training on the hotel’s outdoor deck. Entertainment wireless and in-ear monitoring workshops comprised classroom training on various products, with studio and recording technology sessions covering a number of technical topics, plus science and technology sessions focusing on system measurement and optimisation. The program also included AES technical papers and workshops, in addition to Spanish- and Mandarin-language daily sessions.

The organising committee comprised Mark Frink as programme director & content manager, live sound, Bobby Owsinski as content manager, studio & recording technology, and John Murray as content manager, audio science & technology, with Anthony Schultz as manager of The Studios Academy.

“Our educational program was carefully developed to anticipate the learning expectations of working professionals that wanted to bring themselves up to speed with what’s happening in these critical technology areas,” Frink offered. “Participants learned about how to use high-tech systems in their day-to-day activities. Everybody needs a refresher course from time to time; AES@NAMM offered no-nonsense tuition on a range of key topics.”

The Studio Academy focused on key components within a production facility, including DAWs, microphones and monitor speakers, with Apogee, DigiGrid, Digital Audio Denmark, Eventide, Focal, Genelec, Meyer Sound Laboratories and Waves/Soundgrid as symposium supporters, while The Line Array Loudspeaker Academy targeted key features and use of line-source arrays, with Adamson, Bose Professional, dB Technologies and EAW as symposium supporters; Main Stage: Studio, hosted by Owsinski, comprised sessions presented by Andrew Scheps, Sylvia Massy, Jack Joseph Puig, Richard Chycki, Scott Gershin and others, on such topics as Outside The Box Recording, The State Of The Art of Do-It-Yourself and Sound Design for Tent-pole Films; Main Stage: Live, hosted by Robert Scovill, offered sessions from Dave Rat, Patrick Baltzell, Kenneth “Pooch” Van Druten and Dave Shadoan on live sound-system mixing and concert system engineering, with input from these rental sound company owners and leading FOH mixers.

As Owsinski told AMI: “My overarching concept while developing the Main Stage: Studio program was to only select presenters that have the social authority to attract an audience of symposium attendees. In other words, I first chose the presenters, and then built the sessions around them. Audiences varied from high-end professionals to students, sometimes both in the same session; quantity varied by day and topic, with positive comments from attendees.”

Entertainment Wireless Academy explored set-up and use of RF systems within a crowded UHF spectrum, with Alteros/Audio-Technica, Lectrosonics, Sennheiser and Ultimate Ears serving as symposium supporters; Live Mixing Console Academy comprised hands-on sessions about control-surface topologies for Allen & Heath dLive, QSC TouchMix, and Yamaha CL Series systems, with each firm serving as symposium supporters. Finally, the Sound System Measurement & Optimisation workshops considered current techniques for testing and fully optimising the performance of sound reinforcement and studio systems, while the In-Ear Monitoring Academy covered the installation and operation of in-ear monitoring systems, including hearing conservation.

“Our [measurement/optimisation] sessions highlighted popular platforms,” Murray stressed. “Topics included live-event SPL monitoring, system optimisation in under an hour, low-frequency room acoustics, how to avoid system set-up noise issues, subwoofer alignment and pattern control, and more.” The majority of sessions, he noted, had good attendance of between 20 and 40 people, “with very positive feedback.”

“AES@NAMM was designed to provide an audio knowledge sampler and hands-on training for the entire signal path, from microphone to speaker,” Scheirman concluded. “We’re grateful to see the enthusiastic response and support from the audio equipment manufacturing industry for our inaugural event.” Pre-planning is reportedly under way for an AES Board of Governors review and approval for next year's event, which would be held concurrently with the 2019 NAMM Show in Anaheim.

 

IMAGES by Frank Wells/AES

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