AES Show 2024 NY

In this workshop, you'll learn how to turn your love for music into a successful business. Acclaimed music producer, Sabrina Seidman aka SEIDS' tutorials have garnered thousands of views online. She’ll talk about how to decide what you want to do, find the right clients, and make products or services they need. You’ll also learn how to get clients and create your own chances to succeed. By the end of the workshop, you'll have the tools to start building a music career that makes you happy and earns you money.

Join the industry experts on this exciting panel to learn more about Wireless Multichannel Audio Systems, the wide scope of approaches that WMAS facilitates, and how the various technologies can help you with multi-channel wireless set ups in challenging RF environments.

MOTIVATION: Generative AI for audio is quickly proliferating in both the commercial and open source software communities, However, there is still no technical consensus on how novel the generated audio data is, and what (if any) characteristics from the training data are commonly replicated. This workshop will explore existing technical approaches for how to detect memorized audio training data, how often it happens, and what characteristics of the audio are memorized. Additionally, we plan to share recent research on how audio similarity algorithms can be used to attribute audio samples produced by a generative model to specific audio samples in the training set.

FORMAT: this will be in the form of a panel discussion with three parts to it (listed below) – the purpose is to inform the AES community about the technical feasibility of detecting memorization and attributing training data in audio generative models, give audio examples of the results, an outlook for future developments, and solicit feedback from the audience.

• Memorization and generalization in deep learning
• Searching for memorized training data in audio generative models
• Training data attribution using audio similarity measures

ADM-OSC is an industry initiative aimed at standardising Object-Based Audio (OBA) positioning data by implementing the Audio Definition Model (ADM) over Open Sound Control (OSC). As immersive audio gains traction across various industries, from music streaming to gaming, and from live sound to broadcasting, the Audio Definition Model (ADM) is becoming a popular standard for metadata. This includes Serial ADM for broadcast and ADM BWF or XML files for studio use.

The ADM-OSC workgroup was formed four years ago to bridge the gap between immersive live and studio ecosystems. It now includes leading developers and manufacturers who aim to facilitate the sharing of audio object metadata across different environments, from studios to broadcasts to live performances.

Since its initial draft implementation, ADM-OSC has been supported by various audio industry tools, including live rendering engines, digital audio workstations (DAWs), controllers, live tracking systems, and media server solutions. It is currently being deployed in both live and studio productions, with increasing interest from technology developers wanting to join and implement this standard.

ADM-OSC 1.0 is now the published specification, aiming to provide a basic interoperability layer between Object Editors and Object Renderers.

This presentation and workshop will take a dive on ADM-OSC and will cover:
- The origins of ADM-OSC
- Presentation of ADM-OSC 1.0 specification
- Use case/application demonstration
- DAW object positional data to external rendering engine (s)
- Controllers’ data to object panner in DAW for automation recording
- Live tracking (actors, artist) positional data to live rendering engine (s)
- Plugin fest 2023 and 2024 report
- Future considerations
- Application-specific subgroups such as broadcast, VR/Gaming, live rendering, show control

This hands-on tutorial will be an overview of digital archiving and file management concepts and methodologies. It will focus on best practices for file naming, folder structure and DAW session creation, preparation of DAW sessions and associated assets for long-term archiving, an overview of strategies and software solutions for backup and long-term archiving, and an survey of industry standards for digital archiving and deliverables. It will include demonstrations of archiving and backup software and asset preparation.

While this tutorial will be student-focused, anyone who wants to learn more about digital archiving and file management is welcome to attend.

Within live and studio sound engineering, the use of compression, normalization and parametric EQ is employed to perfect the sound of musicians we work with. These effects can impact the tone and timbre of an audio sample or even eliminate unwanted noise. Even the resistance of the electrical equipment used to aid us in our work as audio engineers has an impact on the quality of our end product. Many audio engineers and audio companies have used our understanding of the technology within our industry and applied it to the use of hearing mechanisms such as in-ear monitors or ear plugs.

Around 3-9% of adults struggle with some form of hearing disability or hearing loss. While the science and studies of audiology have helped us find ways to assist those disabled in this way, hearing disabilities tend to be comorbid with neurological or psychological disorders that are harder to manage when combined. PTSD, dementia, autism, as well as several other disorders severely impact the way our brains interact with auditory and kinesthetic stimuli that make current hearing aid technology more of a discomfort than a help to patients with these comorbidities.

After multiple observations of audio engineering techniques and the equipment we use, peer reviewed studying of clientele with these comorbidities, and applications of techniques to hearing sciences, we wish to display some of those applications and report our findings so as to make the world more accessible to those with hearing disabilities, neurological/psychological disorders, and those with both.

Are you interested in a leadership position within AES? Whether it's a role in your local section as a chair or secretary, a committee, or our Board of Governors, join our panel of experienced AES leaders to find out what is involved and whether a role in leadership is right for you.

This workshop session will bring together leading sound engineers to explore the challenges and opportunities in binaural audio. The session will begin with an overview of the various binaural rendering methods currently used in the industry. The panelists will share their experiences with immersive audio, focusing on the intricacies of creating high-quality binaural mixes. They will discuss the philosophies behind binaural delivery, such as realistic mix room experiences versus creative purposes, as well as monitoring and quality control methods, and the perceived quality issues in current binaural rendering techniques around tonal fidelity and externalisation. The discussion will cover various applications of binaural audio, including music production, film, and broadcasting/streaming.

With consumers able to experience immersive audio more easily and cost-effectively than ever, and both Spotify as well as Apple Music platforms offering playout facilities for immersive content, demand is seemingly continuing to accelerate. The presentation offers a discussion of acoustical and architectural requirements and challenges as well as the relevant standards to adhere to. As a case study, the presentation will review Paris' newest studio, including the design strategies as well as advanced predictive acoustic analysis involved in creating the studio's design. It will also the
studio's unique elevator assisted “disappearing console” strategy for its Studio A Control Room changing into a multi-purpose live room and classroom.

While every part of the music industry is examining the issue of sustainability, this panel will explore specifically the ways that manufacturers are approaching this. Many are considering every aspect of the design and manufacturing process from the choice of materials, manufacturing techniques and packaging to eco-friendly distribution and shipping methods in an effort to ensure a sustainable future.

Let's explore the dynamic world of sync licensing, bringing together key players from across the industry, including advertising, film, and television. Our discussion will dive into the creative and business sides of sync, sharing insights on how to secure placements, communicate effectively with supervisors, and maximize opportunities for music in visual media. Whether you're an aspiring composer or an industry veteran, this session will provide actionable advice and unique perspectives from top professionals working in sync today.

Women's Audio Mission presents a panel discussion featuring award-winning audio engineers reflecting on their career journeys and how they built successful careers. The discussion will include everything from essential skills to building your network. The panelists are award-winning recording engineers that have worked with artist such as Beyonce, Patti Smith, Lana Del Ray, Solange, Sheryl Crow and Kacey Musgraves in major Los Angeles, New York and Nashville studios and beyond.

Panelists include:

Gloria Kaba - Gloria Kaba is a Ghanaian-American sound engineer, producer, mixer and writer based in New York. She began her career as an intern at Battery Studios and later as an assistant engineer at MSR Studios where she worked with artists including Madonna, Beyonce, Kanye West, Salaam Remi, Aretha Franklin and Frank Ocean. She’s worked on A Tribe Called Quest’s final album We Got It From Here...Thank You For Your Service and Solange’s breakthrough release, A Seat At The Table, working closely with legendary hip-hop artist and producer Q-tip. Kaba was inducted into YouTube’s Black Voices Class of 2022; a fund championing 21 outstanding Black producers and songwriters.

Leslie Richter - Leslie Richter is a Nashville based producer and recording engineer and Chair of the Audio Engineering Program at Belmont University. After graduating from Middle Tennessee State University, she began her career as a staff engineer at the acclaimed Oceanway Studios in Nashville and worked with a wide array of artists including Sheryl Crow, Kacey Musgraves, Spoon, Sara Bareilles, Wynonna, John Hiatt and Ben Folds.

Vira Byramji - Vira Byramji is an audio engineer specializing in studio recording and mixing. Vira’s entrance into the industry was through the legendary Electric Lady Studios in New York, where she was the assistant manager and a staff engineer. There she worked with major labels and high profile clients such as Patti Smith, U2, Lana Del Rey, Sara Bareilles and HBO to name a few. She is also works in A&R at Epidemic Sound.

Moderated by Terri Winston, Executive Director of Women's Audio Mission. Women's Audio Mission (WAM) is dedicated to closing the chronic gender gap in the music, recording and technology industries. Less than 5% of the people creating and shaping the sounds that make up the soundtrack of our lives are women and gender-expansive people. WAM is “changing the face of sound” by providing training, mentoring and career advancement that inspires the next generation of women and gender-expansive music producers, recording engineers and audio technologists and radically changes the narrative in these industries.

Using the AES Oral Historical Videos, AES Legends, such as Phil Ramone, Les Paul, Bob Ludwig, Ray Dolby and others (some known and others not so widely known) with the assistance of Jim Anderson, will tell the inside and partly forgotten story of how modern recording techniques and facilities developed as told by the people who were there using the AES Oral Histories edited by the presenter.

This workshop, featuring audio editors Sean Garnhart and Dan Brennan with video editor Gary Levy from Soundtrack Group, will delve into the dynamic interplay between video and audio professionals. Participants will hear about technical challenges and solutions from industry experts in real world film and TV environments from both a video and an audio perspective and how their workflows are evolving in tandem with new technologies and integrations.

Current music production has opened up a relatively new opportunity in the creation of 3D content, now easily available online and in various forms. Artists and labels are increasingly asking for 3D content to be delivered along with a standard stereo master. Many practitioners, however, are at a loss when it comes to how and what to deliver, as various streaming services implement their own binaural processes. Remixing older catalog content or even recent Stereo releases has proven to be problematic when working from stems that are badly prepared, or very costly when going back and remixing from scratch, using the original multitrack masters. The panel will speak to best tactics regarding the creation of stems to be delivered for use in immersive mixing, along with some examples of routing with sub-master processing, along with proper use of LFE and center channel, sides, rear and height channels. Other issues to be discussed include room simulation, loudness measurement and the various binaural processes. Questions from the audience will be a welcome part of the workshop.