AES Show 2024 NY

Ulrike Schwarz and Jim Anderson discuss recordings from their extraordinary catalogues, including high resolution listening examples in formats 5.1, 9.1 and 7.1.4.

This masterclass series, featuring remarkable recording artists, is a chance to hear surround and 3D audio at its best; as we discuss factors of production, distribution and reproduction that makes it worth the effort. Thomas exemplifies the underrated qualia, auditory envelopment (AE); and we evaluate how robustly AE latent in the content may be heard across this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats each time.

Joseph J. Chudyk is a multi-platinum mixer and educator with significant experience mixing albums in immersive audio. In addition to teaching at Nazareth College in Rochester, NY, some of his recent notable Atmos mixes include work with Elle King and Miranda Lambert, and Mitchell Tenpenny. In this session Joe will play some of his Dolby Atmos Music mixes, talking about his experience, sharing tips and best practices, and more, with ample opportunities for attendees to ask questions.

The masterclass consists of two parts, the first dedicated to jazz. Kseniya details 3D studio productions and live recordings from a German club “Unterfahrt”, featuring jazz legends among large ensembles and stunning new bands. The second part presents new msm-studios 3D tracks, including from the latest Boris Blank and Peter Gabriel albums.

This masterclass series, featuring remarkable recording artists, is a chance to hear 3D audio at its best; as we discuss factors of production, distribution and reproduction that makes it worth the effort. Thomas exemplifies the underrated qualia, auditory envelopment (AE); and we evaluate how robustly AE latent in the content may be heard across this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats each time.

George plays high resolution stereo, 5.1 and 3D recordings from his fabulous back catalogue, commenting on production techniques, dynamics processing and the most appropriate listening format considering each track.

This masterclass series, featuring remarkable recording artists, is a chance to hear 3D audio at its best; as we discuss factors of production, distribution and reproduction that makes it worth the effort. Thomas exemplifies the underrated qualia, auditory envelopment (AE); and we evaluate how robustly AE latent in the content may be heard across this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats each time.

Justin Gray is a leader in Immersive Audio music production and has presented at numerous AES events on the topic. As an early adopter of object-based technology for music production, Justin has mixed and mastered over 2000 songs in immersive formats (Dolby Atmos and Sony 360).

In 2020, Justin began composing new music for a project specifically conceived for immersive production. This project was recorded over 40 days in a world-class studio in Toronto, Canada, and included over 40 musicians from across the globe. The music draws influence from a diverse range of musical traditions and was composed, orchestrated, recorded, edited, mixed, and mastered with immersive intent at each stage.

Justin has drawn upon his broad musical experience as a composer, arranger, performer, recording engineer, producer, and engineer to bring this musical project to life. He is inspired to share the music, philosophy, and immersive production process with the AES community.

As Immersive Audio continues to expand its scope in the global music community, Justin believes that the next step is for artists to integrate immersive design into their creative practice. This can begin at the initial composition stage, and carry through each stage of a musical production.

In this workshop, Justin will share examples from the project in Dolby Atmos. He will also explore composing and orchestrating music with immersive intent, a rarely discussed topic in this field. The presentation will also include an in-depth look into immersive production techniques, including contemporary immersive recording techniques and immersive mixing philosophy/aesthetics.

Each performance in the project was filmed at a cinematic level, further supporting the learning experience.

Justin also rigorously documented the technical aspects of the project and will have additional visual content to support the presentation.

This AES event will be one of the first public previews of the music. The full album will be released in various cities worldwide in Dolby Atmos movie theatres in early 2025.