AES Show 2024 NY

The workshop will offer an insight into what develops beside Dolby Atmos and immersive live applications. A brand new LED Dome project in LA will be introduced and how audio will be managed not only on a 40-channel custom configuration but also in other areas of the venue like different bars, launches, and broadcasts. The challenge is dealing with various spaces and formats, interactively, and how to create content for such a location.

This dynamic presentation will showcase methodology behind the capture and studio presentation of the most significant rocket launches in the world into immersive audio. Audio educator, producer, & AES member Gabe Herman and former NASA extraterrestrial audio engineer Jason Achilles will share their recent experience at the launch pad of Starship IFT-4, highlighting the unique challenges involved in planning, execution, and post-production. Students are encouraged to learn how their passion for audio and acoustic science can lead to unexpected & thrilling opportunities. Attendees will witness a roof-shaking immersive audio demonstration and join in remote Q&A with fellow team members Andrew Keating (Cosmic Perspectives) and Benny Burtt (Skywalker Sound).

These non-competitive sessions are an opportunity for AES student members at all stages in their studies to receive feedback on their mixes from a panel of industry professionals – live and in-person. Join us to hear mixes by other students, and get tips, tricks, and advice to push your skills to the next level! Advance submission procedures for each event will be posted at www.aesstudents.org. Very limited sign up will be available on-site. Maybe one of your mixes can be featured!

Join us to close out the convention, and to find out who the competition winners are.

Join Focusrite Group’s Lee Whitmore in an interactive panel conversation and listening session with 19-time GRAMMY and Latin GRAMMY winner Rafa Sardina, Dolby’s Tom McAndrew, and ADAM Audio’s Mark Cummins. Listen to Dolby Atmos Music mixes by Rafa Sardina, and chat with industry experts about best practices for creating, mixing, and playback of immersive audio for music, film, TV, gaming, audiobooks and podcasting, as well as considerations for your studio and workflows.

Also held on 10/9 at 1pm

In immersive sound recording with a microphone array, height channels are crucial for delivering realistic and enveloping auditory experiences. To maximize the benefits of these added channels and effectively capture height information, a solid understanding of the psychoacoustic principles of vertical stereophonic perception is essential. This tutorial/demo session will provide an overview of the key psychoacoustic principles that recording engineers should consider when creating immersive recordings with a microphone array. Various microphone array techniques and practical workflows for 3D sound capture will be introduced, along with a discussion of their advantages and disadvantages. The session will include demonstrations of various 7.1.4 recordings.

The journey of Bob Marley’s music from analog to atmos will be discussed. In 2022-23, Burnin’, Catch A Fire, Exodus and Kaya were mixed in atmos by Nick Rives with the Marley estate’s approval. Eliot Kissileff created the stems used for the mixes. Nick went on to work on the Marley feature film released in 2024. Chris Walch, UMG VP of Assets and Archives will give some background on how the original tapes are preserved, digitized and presented for various projects. The panel will give insight into the evolving processes for creating the stems and focus on Nick’s creation of the atmos mixes, giving the audience insight into the processes and evolution of the format.

3D audio productions can be realized in different ways: in acoustic rooms with hand-played instruments or in the box, where the sound is only created during production. What they have in common are the psychoacoustic rules that apply to all audio productions. The artistic work goes hand in hand with the psychoacoustic layer, crucial for immersive productions' perceived result: content resolution, transparency, and auditory connection/separation.
A high content resolution can be achieved with many individual sounds and useful tools such as reverb plug-ins. In the first part of the workshop, Lasse Nipkow presents a strategy for achieving a high resolution in 3D audio with mobile recordings and various sound bodies, thus creating mixes.
On the playback side, we now have a dozen or more loudspeakers. Therefore, the tools we need for mixing must overcome new challenges that do not exist in stereo. In the second part of the contribution, Grammy-nominated sound engineer Ronald Prent and Lasse Nipkow present outstanding plug-ins explicitly developed for 3D audio in recent years. Using impressive sound examples from various genres, they show how they use these tools effectively for their mixes.
This second contribution is related to a first, previous contribution by Lasse Nipkow and Konrad Strauss: ‘Psychoacoustics for Immersive Productions’.