AES Show 2024 NY

NPR's Tiny Desk Concert Series has seen and increase in its popularity post-pandemic and is now a must for up and coming as well as established artists. Neil Tevault started the concert series when Bob Boilen came to NPR's music studio with an idea to record an artist at his desk. Josh Newell is the current technical director of NPR Music who is working to keep the standards set at the highest level and move the concert series into the future.

Neil will present a couple of concerts from early in the series looking at the small recording footprint that was employed. The very first concert with Laura Gibson, which was a single microphone and a DI and Bela Fleck, Edgar Meyer, and Zakir Hussain who played around a single stereo shotgun microphone.

Josh will present a couple of recent concerts to show how everything has grown and we have moved all the microphones closer and increased the number of microphones to capture the sound that the Tiny Desk is known for. Josh will also look at what we're doing to make things work better and make the recording process more efficient on concert day. We'll discuss Josh's vision for the sound of the Tiny Desk moving into the future.

We'll also leave ample time for Q&A

During the Covid pandemic, streaming was the only way for musicians and artists to connect. As the pandemic subsided, many organizations continued to stream and livestream, and oftentimes it was the audio engineering team who were left to figure out how to produce video. Join this panel of experienced engineers and educators who found themselves learning how to produce compelling live concert video. The special challenges of livestreaming (i.e. streaming without a net) will be discussed, along with lessons learned. It is the intention of the panelists to provide encouragement to fellow engineers who are learning this new skillset themselves.

Where are the files of my immersive production and why don't they open correctly on another DAW?
This workshop will outline some of the major challenges when working with archival materials and it will discuss ongoing activities in AES Standards Group SC-03-06 relating to multi-track and multi-channel audio. The workshop will give an overview of the status of the document, "Implementation of a Recommended Workflow for the Creation and Archiving of Digital Archival Materials from Professional Audio Production Formats," as well as why the interaction with related partner institutions (NARAS P&E Wing, SMPTE) and internal working groups is so important. The topic is relevant not only for preservation in an archival setting, but far beyond, for keeping audio productions safely stored and accessible in general.

Ambisonic microphones offer a dynamic and multifaceted approach to capturing and creating immersive audio experiences. This workshop delves into the process of transforming multichannel A-format raw recordings into versatile Ambisonic B-format files. These files can then be decoded into various audio formats, including stereo, binaural, surround, and spatial 3D audio. This makes it an ideal technique for crafting head-tracking binaural audio for 360/3D videos and VR gaming environments.
Participants will gain hands-on experience with the Zoom H3-VR portable recorder and learn how to create Ambisonic recordings. The session will guide you through processing raw recordings using Reaper and the dearVR AMBI MICRO plugin and illustrating the workflow for integrating Ambisonic audio into 360/3D video and VR games for head-tracking binaural sound. Attendees are encouraged to bring their laptops and headphones, install the necessary software, and download the provided demo projects for an interactive experience. Additionally, the workshop will offer insights into capturing immersive audio with various Ambisonic microphones, including the new em64 Eigenmike Spherical Microphone Array.

With the explosive growth of modular instruments in the Eurorack format, synthesizer modules have become more sophisticated pointing to new directions in synthesis capabilities as well as real time performance control. This panel will consider some new developments in the field from leading manufacturers.

Multi-Grammy Award winners, Michael Graves (Osiris Studio) and Cheryl Pawelski (Omnivore Recordings) will lead a discussion exploring the intersection of historical/catalog recordings and technology.

We’re at a point in technological developments where tech tools can be used to fix flawed media, restore poor recordings or de-mix to remix sources.

We will share questions we ask ourselves when we consider employing new technology and discuss the responsibility we feel toward the art, the artist and the artists’ intent.

To help aid the discussion, audio samples will be played by:

Chris Bell (I Am The Cosmos)
Hank Williams (The Garden Spot Programs, 1950)
Art Pepper (The Complete Maiden Voyage Recordings)
Janis Joplin & Jorma Kaukonen (The Legendary Typewriter Tape, 1964)
Various Artists (Written In Their Soul: The Stax Songwriter Demos)

Artificial intelligence (AI) and machine learning (ML) is revolutionizing the music industry, from creation to distribution to consumption. These technologies, and the rapid growth, raise complex legal issues that parties should be aware of to ethically foster innovation while protecting legal rights. This panel will explore the legal challenges and implications of AI in music and music tech, providing insights from industry experts, legal professionals, and technologists, including discussion of topics on intellectual property rights, data privacy, the regulatory landscape, and how to navigate the complex field. Join us for an insightful panel that delves into the intersection of AI, music, and law, offering practical guidance and perspectives on protecting rights, legally and ethically sourcing datasets, and navigating this rapidly evolving landscape.

Topics:
1. Intellectual Property Rights: Understanding copyright issues related to AI-generated music. Was the ML model dataset trained on copyrighted works? Did the company clear the rights to train the model on the material used? Who owns the rights to a song composed by an AI? To what extent, if any? What are the implications for sampling and remixing AI-generated content? How AI impacts the traditional models of licensing and royalties. What changes are necessary to ensure fair compensation for creators?
2. Data Privacy and Security: Addressing concerns about data used in training AI models for music tech. What are the best practices for protecting artists' and users' data? Is data collected and stored properly? Are proper company policies in place?
3. Regulatory Landscape: Reviewing current laws and proposed regulations affecting AI in the music industry. How are different jurisdictions approaching these issues, and what can we expect in the future? Discussing the EU AI Act and other regulations on the horizon.
4. Ethical and Legal Accountability: Exploring the responsibilities of AI developers and users in the music industry. How can we ensure ethical use of AI technologies in music creation and distribution?

Join SoundGirls as we explore the different skill sets required for various production environments, from clubs to arena and stadium tours, as well as corporate events. We'll discuss what it takes to become the ideal candidate in each setting and how to stay relevant as a freelance live sound engineer.

In addition, we'll cover the importance of education in audio engineering, focusing on career development, networking, certifications, and the value of continuing education.

The panel will include members from SoundGirls.


----

Barbara Adams is an audio engineer and educator with 30 years of experience in the music industry. She specializes in live sound and production management. Her strong and varied experience also includes recording and artist management. She has worked in Philadelphia’s top music venues, toured and worked festivals as FOH and monitor engineer, and educated and mentored the next generation since 2010.

Barbara is an Associate Teaching Professor at Rowan University and a vital part of their music industry program. In addition to teaching classes in recording technology and live sound, she helps students find opportunities to gain valuable experience both in and out of the university community.

Barbara advocates for creating more diversity in this industry while she inspires the next generation of techs to follow their dreams in the music industry. She is a member of the Audio Engineering Society, Recording Academy, and the Philadelphia chapter president of Soundgirls.


Carolyn Slothour is a freelance live sound engineer based in New York with 10 years of experience in the audio industry with a specialization in FOH, monitor, and systems engineering. She has recently worked with artists such as Matchbox Twenty, Rob Thomas and Michael Bublé, and has mixed at festivals including Download, When We Were Young, Corona Capital, Slam Dunk and Lollapalooza. In addition to engineering, she develops curriculum and teaches live sound engineering courses for a non-profit organization whose mission is to improve accessibility and diversity within the audio industry. When not working, Carolyn enjoys making electronic music and spinning fire.


Kitzy is an audio engineer with experience in live sound, recording, post-production, and podcasting. As a touring FOH engineer, she has worked with artists like Maude Latour, Devon Again, Leanna Firestone, and Bartees Strange. In addition to her work as a touring engineer, Kitzy owns a small audio production & rental company in Philadelphia.

Kitzy was the co-host of the independent music podcast Left of the Dial, as well as the engineer behind the board for Left of the Dial's live in-studio sessions. She is also one of the co-hosts for the upcoming relaunch of the SoundGirls podcast.

Kitzy strives to be an advocate for people who are gender non-conforming, neurodivergent, and/or disabled in the live sound and production industry. When she isn't working, Kitzy enjoys fixing and riding motorcycles, playing with her housemate's dog, and working on her own music.

The Annenberg Inclusion Initiative released a study demonstrating the dismal gender balance that continues to plague our industry. While there has been much positive change in the past few decades, there is still a lot of work to be done. Join representatives of the leading gender equity organizations including Women's Audio Mission, We Are Moving the Needle, She Is the Music, Soundgirls, and We Make Noise in a discussion on our common goals to change the gender imbalance in the industry moderated by Singer, Songwriter and Producer Eve Horne, founder of We Are the Unheard.

Join Simone as she dives into the art of vocal production, sharing her unique process and insights. Discover the psychology behind the craft, learn how she creates safe spaces for her artists, and get your questions answered in a live Q&A session!

_____

Simone Torres is a Diamond, Grammy Nominated, and Latin Grammy honored engineer, vocal producer, and artist from New York. She has worked with artists such as Becky G, Chlöe Bailey, Sofia Carson, Normani, Anitta, Cardi B, Camila Cabello, Monsta X, Jessie J, Billy Porter, The Backstreet Boys, Dua Lipa, and more.

Some notable accomplishments include being honored by the Latin Recording Academy as one of their Leading Ladies of Entertainment (2023), Vocal Producing Sofia Carson's "Slow Dance" with BTS' Jimin, Becky G’s “Coming Your Way,” and “La Nena,” Normani’s “Motivation” and Engineering Cardi B’s 11x Platinum “I Like It” and 4x Platinum “Be Careful.”

IG: @iamsimonetorres

Working Class Audio is coming to AES! This exciting and beloved show will be recording a live podcast at the show. Join host Matt Boudreau with his special guests as they discuss navigating the world of recording with a working class perspective.

Dolby Atmos has been the delivery format of choice for visual media since 2012. But with the adoption of Dolby Atmos for Music by streaming platforms such as Apple Music, Tidal, and Amazon, along with easily accessible tools for creation, the demand for content has exploded. However, the transition to multichannel and object-based production comes with increased complexity, and familiar stereo recording and mixing techniques do not necessarily work in the immersive space requiring the development of new recording and mixing methodologies, software, and hardware. It is clear that immersive audio has become an essential part of an audio engineer’s tool set. Both experienced and novice engineers must be educated in the technology and techniques to create and deliver immersive audio content.

This panel of educators will discuss their approach to teaching Dolby Atmos, the challenge of creating a curriculum in this rapidly-changing field, the role of research, and how the study of immersive audio formats fit into the study of audio.

With the popularity of Dolby atmos growing, the need to re-mix classic albums has become popular. In this case study on Billy Joel's latest Atmos releases, our panel of engineers will go over their step by step process, from tape transfers, to finding the correct takes, restoring the stereo mix and opening it up to Dolby Atmos. We will touch on how much artistic liberty we have as well how to future proof a mix in an ever changing world.

Our program fosters candid conversations among studio professionals within a supportive environment. It examines the intricate relationship between mental health and client/artist dynamics, focusing on methods to empower artists during times of emotional strain. Participants will explore strategies for preserving personal equilibrium and managing professional boundaries, along with learning coping mechanisms for navigating high-pressure situations. Led by JC Losada "Mr Sonic" and Maria Rice, with special guest(s) TBA, the discussion draws upon experiences in studio environments, educational contexts, and clinical practice.

Mastering for music in stereo in 2024. What are the real objectives of this discipline today? What are the axioms of this practice? And what is a typical modern processing chain made of? When and why do I need to do A/B comparisons? What does QC stand for? What types of processors are normally used and how? When and how to apply dither to a music program? What format and resolution should the mastering engineer work at? At which format and resolution should the mixing engineer deliver the final work? How loud should the final mixes be and why doesn't it really matter? These and other issues will be addressed in this tutorial.

Join Marcus (@dafingaz) as he brings legendary mix engineer, producer, and songwriter Ken Lewis to the AES stage.

Ken Lewis has one of the most unique resumes in the music industry, with 114 gold records to back it up. He's worked with artists like BTS, Kanye West, Future, Bruno Mars, and Taylor Swift. There's likely a song he's touched that's impacted your life. Through Mixing Night Audio, Ken and his team aim to help the next generation of creatives by sharing his experience, tools, and techniques—no gatekeeping, just actionable insights from his 30 years of making hit records.

Mixing Night offers some of the best-designed plugins on the market. You won’t want to miss this session—there may even be a special guest or two joining!