AES Networking Night Hosted at Colonial Sound

Tuesday, February 28th, 6PM to 10PM

About the Studio

Colonial Sound services the Concord-Carlisle Regional School District. The studio, auditorium and the many music spaces are tired together on a Dante network. The district also boast an FM broadcast radio station and a high definition TV studio.  The Colonial Sound Recording Club produces an interview show. Club members will be on hand and would like to interview any willing attendees about a book, website, magazine or other resource that your could review and recommend.

About the Manager

Owen Curtin of Audio Builders Workshop and The Bridge Sound and Stage manages Colonial Sound and will provide light refreshments.

Directions/Parking

The studio is located left of the first floor entrance at 500 Walden Street Concord MA, Room 145. There is a free parking lot in front of the building.

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Microphone Array for Recording Music in Surround-Sound with Height Channels

By David v.R. Bowles

Tue. February 7th, 7pm

Microphone Array for Recording Music in Surround-Sound with Height Channels

University of Massachusetts Lowell

Durgin Hall, Room 114

35 Wilder Street
Lowell, MA 01854

In the past few years, sound recordings with spatial audio have moved from the realm of theoretical research to the actuality of physical and digital releases in the market. At present, three Blu-Ray disc formats utilize a traditional 5.1 surround-sound recording, with an added 4-channel layer of height channels. David Bowles will discuss how to capture vertical localization effectively within this release format, utilizing existing research on hearing localization and techniques learned in the field. The proposed microphone array has time-of-arrival differences between all microphones, yet mixes down to 5.1 and stereo without excessive comb-filtering or other artifacts.

David v.R Bowles formed Swineshead Productions, LLC as a classical recording production company in 1995. His recordings have been GRAMMY-nominated (Classical – Best Orchestral Performance) and won the “Classical Orchestral Album” prize (Just Plain Folks Awards). Other Bowles-produced and engineered releases have been named “Record of the Month – Editor’s Choice” from Gramophone Magazine, MusicWeb International and Opera News; “Record of the Year” from the New York Times (three times), the New Yorker, American Record Guide, Miami Clásica and Classical Candour. Several of these are available as high-resolution paid downloads from Naxos.

In collaboration with New York University’s Music Technology programme at Steinhardt School of Music, Mr. Bowles is pursuing research in height channel recording. He has given a paper on his “Bowles array”(a height channel microphone technique) at AES conventions in New York and São Paulo, both followed by 9.1 channel playbacks.

As an educator, Mr. Bowles is a guest lecturer for Tonmeister programmes at New York University (Steinhardt School of Music), the Royal Danish Academy of Music, the Peabody Recording Arts and Sciences (John Hopkins University) and the Banff Centre. He was Visiting Professor of Recording Arts at Indiana University’s Jacobs School.

Mr. Bowles is a member of the AES (Audio Engineering Society), was on the Board of Governors, served on convention committees, and the committee of the San Francisco AES section. He is a member of NARAS (National Academy of Recording Arts & Sciences) Producers & Engineers Wing and SPARS (Society of Professional Audio Recording Services).

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Parking: Available for free at the Durgin Lot or the Wilder Faculty/Staff Lot (Lovejoy Lot on Google Maps). They are both available for everyone in the evening hours.

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John F. Allen: A Career in Sound Reinforcement and Stereo

John F. Allen: A Career in Sound Reinforcement and Stereo

By John F. Allen

Presenting at a Boston Audio Society Meeting

Sunday, Dec. 4th, 6PM

Refreshments at 5:30

Boston University, Life Science & Engineering Bldg

24 Cummington Mall 1st Floor Conference, Room 103,

Boston, MA 02215

John F. Allen will talk about his career in sound reinforcement and stereo as well as the technologies he pioneered. John has been involved in sound reinforcement and reproduction since the 1970′s. In 1976 he designed and installed sound reinforcement for the Boston Esplanade and received a Presidential commendation for it. In 1979 he began developing what would become the first digital ready sound system for theaters. First implemented in 1980, the computer designed system increased theater attendance by 25% in the first year. In the 1980′s his company High Performance Stereo, already acclaimed across the US, expanded globally. In 1984 John installed the first digital sound system in a movie theater. Mr. Allen’s systems are the National Park Service standard. John was named sound director for the Boston Ballet in 1988. Honored for the “best orchestra sound in ballet”, no one mentions the transparent sound reinforcement system which helped achieve this distinction.

A long time BAS member, John has also served in the AES and SMPTE. Frequent author and lecturer, he has been advancing the state of the art all his life. John F. Allen is the founder and president of High Performance Stereo in Las Vegas NV. His website http://www.hps4000.com/ reads like a hit parade of achievements.

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Annual Boston AES Holiday Party

Futura Productions

Sponsored by:

Join the Boston Section of the Audio Engineering Society at our annual Holiday Party. The party is hosted by John Weston of Futura Productions. It is a great time to meet new people, listen to the projects Futura has been working on. Feel free to bring a project to share. Food and beverages will be provided.

When: Tue, Dec 6, 2015,  7:00 – 10:00 PM

Where: Futura Productions
4 Belgrade Ave, Roslindale, MA 02131

Directions:
http://www.futuraproductions.com/info.html

Featuring a state-of-the-art recording studio located in the Roslindale neighborhood of Boston, Massachusetts, Futura Productions handles a variety of projects from all over the world.
Home to the most advanced recording facility in New England, Futura Productions features a spacious control room containing one of the nation’s largest ProTools systems, acoustics for stereo and 5.1 surround sound, mastering quality monitoring, a large format (128 input) moving fader mixing surface with automation and recall of every mix parameter, a dizzying array of outboard gear ranging from vintage analog to modern high end digital, a comprehensive mic collection, and analog or 24 bit digital multitrack and mixdown capability. Film/TV and video game scoring and mix-to-pix projects are displayed in high-definition on the 100″ screen.
Recording ensembles of up to 60 musicians or 100 vocalists is easily handled in the live room, which measures an enormous 60′ by 38′ with a 22′ arched ceiling. This former Masonic lodge is the largest studio recording space in New England. It features a great ambient room sound with concert hall acoustics, 2 isolation rooms, and a 9′ Steinway CD327 concert grand piano. This magnificent piano features the “Hamburg” action and is widely considered to be one of the finest recording pianos on the east coast.
All styles, from pop to rock, classical, jazz, acappella, folk, electronica, dance, hip-hop, world music and gospel are welcome here. Whether you want to record a new album, or music for a film, TV show, or video game, Futura Productions can handle it. We have worked with numerous platinum level producers and engineers such as Lou Giordano, Bob St. John, Anthony Resta, P Diddy, and Tom Bates.
John Weston, prior to starting Futura Productions, was a co-owner of one of New England’s most successful recording studios, Metropolis Recording Studio. John has recorded and produced many projects for both major and independent record labels, and has worked with numerous platinum level producers and engineers. In 2007, John was nominated for the Latin Grammy Record of the Year for his work with Beyonce and Shakira on the song “Beautiful Liar”.

 

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Magnetic Tape Transforms the Music Industry

Magnetic Tape Transforms the Music Industry

By Dr. Toby Mountain

Tues. October 11th, 7pm

LOCATION CHANGE: Devlin Hall – Room 010

Boston College

For members who came to the May 19, 2015 AES lecture entitled “The Birth of Stereophonic Recording” about the development of the Magnetophon, this lecture is the sequel.

Toby will recount how a revolutionary audio recording technology made its way across the Atlantic in the wake of World War II.  The magnetic tape recorder was a German invention, but the Americans used and developed the technology to completely change audio production techniques. The author will recount several fascinating stories surrounding these events and play a variety of musical excerpts.

Toby Mountain has music degrees from Princeton University (BA, 1972) and the University of California at Berkeley (MA, 1978 PhD, 1981). He also spent several years working at the Stanford University Center for Computer Research in Music and Acoustics (CCRMA) and the MIT Experimental Music Studio. He taught music and Theory and Composition as an Associate Professor of Music at the University of Connecticut from 1983-85. He has been a Professor of Music at College of the Holy Cross since 2005, where he heads the Digital Media curriculum and is Director of Studios.

In 1985 Toby founded Northeastern Digital, the first digital mastering facility in New England. Toby’s mastering credits include such artists as The Beach Boys, David Bowie, Frank Zappa, Richard Thompson, Morphine, Joan Jett, Jay Geils, Arlo Guthrie, and Alison Krauss. Toby has mastered several gold and platinum selling albums and dozens of albums that have been nominated for the National Academy of Recording Arts and Sciences’ annual “Grammy” awards. He is also a member of the Audio Engineering Society, and has published many articles in professional audio journals including “Mix” and “Electronic Musician.”

Toby has also been active as a classical and jazz recording and mastering engineer for over 25 years.  He has worked with countless ensembles including the Boston Symphony, The Composers in Red Sneakers, Boston Musica Viva, The Holy Cross Chamber Players, The Aardvark  Jazz Orchestra, and The Boston Modern Orchestra Project.  Recently he mastered an Itzhak Perlman disc entitled “Eternal Echoes: Songs and Dances for the Soul” released by Sony Masterworks.

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FROM POINTS NORTH AND SOUTH: Take Interstate 95 (Route 128) to Exit 24 (Route 30). Proceed east on Route 30, also known as Commonwealth Avenue, and follow for about five miles to Boston College.

FROM POINTS WEST: Take the Massachusetts Turnpike (Route 90) to Exit 17. At the first set of lights after the exit ramp, take a right onto Centre Street. Follow Centre Street to the fourth set of lights, and turn left onto Commonwealth Avenue. Follow Commonwealth Avenue 1-1/2 miles to Boston College.

FROM DOWNTOWN BOSTON: Take the Massachusetts Turnpike (Route 90) to Exit 17. Take a left over the bridge after passing the Sheraton Tara Hotel. Take the first right onto Centre Street. Follow above directions from Centre Street.

PUBLIC TRANSPORTATION: The Boston College branch of the MBTA’s “Green Line” (B) ends at the Boston-Newton boundary on Commonwealth Avenue

Devlin Hall is located in the center of the Chestnut Hill Campus. Parking is available in the Commonwealth Ave Garage for a minimal price. The entrance for Room 026 is in the rear of Devlin hall. Parking on Commonwealth Ave is also FREE!

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Annual Boston AES Family Cookout 2016

Help us hang out and make the AES proud!

How else can you do so much by doing so little?

Join us on Sun. August 14th from 3-7pm for the Annual Boston AES Family Cookout, hosted by Owen Curtin in Lexington, MA. No Rain Date.

Bring the kids and go for a swim. Owen lives next to “The Old Res”. It is a clean pond with life guards and a sandy beach.  $6 to get in for non-residents. There is also a swing set in his yard and toys available for young children.

Food and Drink will be provided but you may bring anything you wish.

To get there:

Please RSVP at the following link and you will be emailed the address and directions: http://goo.gl/forms/pRBnie2IaZ

A big thanks to our sponsors!!

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Audio Algorithm Development Using MATLAB and Audio System Toolbox

Darel A. Linebarger and Charlie DeVane of MathWorks, Inc.

Tues. May 24, 7pm

1 Apple Hill Drive

Natick, MA 01760-2098

MATLAB is the tool of choice for most engineers when they are in the early stages of signal processing algorithm development. This is true in the audio industry as in many others. Today, we will illustrate a workflow for developing and testing audio algorithms in MATLAB, using the newly released Audio System Toolbox. This new toolbox accelerates the development and testing of audio processing algorithms by allowing engineers to run and interactively tune their MATLAB code live on their desktops. The key capabilities include low-latency real-time streaming connectivity to audio devices, automatic generation of VST plugins to run custom MATLAB code natively on digital audio workstations, and a reference library of algorithms, analysis, and visualization aids.

Darel Linebarger joined MathWorks in May of 2000, where he now manages their Signal Processing and Communications System Design group. Prior to that, he was on the electrical engineering faculty of the University of Texas at Dallas for twelve years. He has authored or co-authored numerous papers and patents and is a Senior Member of the IEEE. He holds an M.S. and Ph.D. from Rice University.

 

 

 

 

Charlie DeVane is the senior developer of the Audio System Toolbox for MATLAB, chiefly responsible for audio plugin and MIDI features. He also teaches Computer Science in the Sound Recording Technology program at UMass Lowell. Charlie is an active member of the Boston Section of the AES, plays out occasionally on fretless bass, and is pretty sure his project studio will never be completed. He is a senior member of the ACM, and holds an MEng in Computer Science from Cornell University, a BSEE from NC State, and 11 patents.

 

 

MathWorks is located off Route 9 East in Natick. When you arrive, follow the signs to visitor parking, which is located in front of the Apple Hill One building. Our reception area is located just inside the main entrance of Apple Hill One. For detailed directions see http://www.mathworks.com/company/aboutus/directions.html.

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Perceptual Audio Coding – An Overview of Basic Principles and Current Standards

By Dr. Marina Bosi, Stanford Unversity

Tues. May 10, 7pm

Devlin Hall – Room 026

Boston College

Perceptual Audio Coding – An Overview of Basic Principles and Current Standards

Who would have guessed twenty years ago that teenagers and everybody else would be clamoring for devices with MP3/AAC (MPEG Layer III/MPEG Advanced Audio Coding) perceptual audio coders that fit into their pockets? As perceptual audio coders become more and more part of our daily lives, residing within mobile devices, DVDs, broad/webcasting, electronic distribution of music, etc., a natural question to ask is: what made this possible and where is this going? This talk, presented by one of the early developers who helped advance the field of perceptual audio coding, will provide a tutorial on the technology employed in perceptual audio coding and a brief overview of past and current standard development.

Marina Bosi has been actively involved for many years in the development of standards for audio coding, video coding, and digital content management, having contributed to the work of ANSI, ATSC, DVD Forum, DVB, ISO/IEC MPEG, SDMI, and SMPTE. Dr. Bosi holds several patents and publications in the field and is author of the acclaimed textbook “Introduction to Digital Audio Coding and Standards” (Kluwer/Springer December 2002) translated into Chinese and Korean.

Dr. Bosi, a past-President of the Audio Engineering Society (AES), was part of the research team at Dolby Laboratories working on AC-2 and AC-3 ( Dolby Digital) technology where she also led the MPEG-2 AAC development, and she was Chief Technology Officer of MPEG LA, an industry leader in the use of patent pools to create a “one-stop shop” for licensing essential patents required of multimedia technologies.

A senior member of IEEE, her recognitions include the AES Fellowship award for her contributions to audio and video standards development, twice the AES Board of Governors award for chairing the first international conference on high quality audio coding and the AES Convention, the ISO/IEC award for being the Editor of ISO/IEC 13818-7, Advanced Audio Coding.

Dr. Bosi is Consulting Professor in the Music Department at Stanford University and a Founding Director (together with Leonardo Chiariglione, MPEG Chair) of the Digital Media Project, a non-profit organization that promotes successful development, deployment, and use of Digital Media. She received a doctorate in Physics from the University of Florence, Italy.

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FROM POINTS NORTH AND SOUTH: Take Interstate 95 (Route 128) to Exit 24 (Route 30). Proceed east on Route 30, also known as Commonwealth Avenue, and follow for about five miles to Boston College.

FROM POINTS WEST: Take the Massachusetts Turnpike (Route 90) to Exit 17. At the first set of lights after the exit ramp, take a right onto Centre Street. Follow Centre Street to the fourth set of lights, and turn left onto Commonwealth Avenue. Follow Commonwealth Avenue 1-1/2 miles to Boston College.

FROM DOWNTOWN BOSTON: Take the Massachusetts Turnpike (Route 90) to Exit 17. Take a left over the bridge after passing the Sheraton Tara Hotel. Take the first right onto Centre Street. Follow above directions from Centre Street.

PUBLIC TRANSPORTATION: The Boston College branch of the MBTA’s “Green Line” (B) ends at the Boston-Newton boundary on Commonwealth Avenue

Devlin Hall is located in the center of the Chestnut Hill Campus. Parking is available in the Commonwealth Ave Garage for a minimal price. The entrance for Room 026 is in the rear of Devlin hall. Parking on Commonwealth Ave is also FREE!

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Lessons form Electric Lady

By John Storyk, R.A., AES, Principal Walters-Storyk Design Group

Thur. April 21, 2016, 6PM

Architecture and Acoustics of Recording Studios

Analysis to Prediction to Realization

Mad Oak Studios

390 Cambridge Street

Allston, MA 02134

 Join WSDG Co-Founder John Storyk for this presentation as well as ushering the arrival of Boston’s newest Audio Studio, Mad Oak Studios.

The recording studio has changed dramatically in the past 10 years in ways that were almost unpredictable.  Both the business models and the studio design/equipment configurations are markedly different, with changes continuing virtually every week.  The shift from large ‘all at once’ sessions to a file-based mixing process has ushered in a new era of small, yet extremely powerful and highly flexible audio content creation environments.  These ‘next generation’ rooms continue to depend on pristine acoustics, and the aesthetic and comfort factors remain high priorities.  Studios will always want to provide the ultimate critical listening conditions and standards.  Digital recording and mixing technology have changed, but the skills of recording, mixing and mastering engineers will continue to drive the creative process.  These rooms will continue to depend on the architect/acoustician’s ability to create or ‘tune’ the environment to maximize its acoustic potential.

John Storyk, Co Founder and Principal of Walters-Storyk Design Group  has been responsible for designing over 3000 media and content creation facilities worldwide. Credits include Jimi Hendrix’s Electric Lady Studios (1969); NYC’s Jazz At Lincoln Center and Le Poisson Rouge; broadcast facilities for The Food Network, ESPN, and WNET; major education complexes for NYU and Berklee College of Music, Boston (2015 TEC winner) and Valencia, Spain; and media rooms for such corporate clients as Hoffman La Roche. Recent projects include NYC’s Jungle City Studios and private studios for Green Day, Jay-Z, Timbaland’s Tim Mosley, film composers Carter Burwell and A.R. Rahman, Aerosmith, Bruce Springsteen, Alicia Keys, Owl City, Harry Connick Jr., and Grammy winning producer Paul Epworth (Church Studios, London – 2016 TEC winner.  WSDG has collaborated with such noted architects as Frank Gehry, Rafael Vinoly, Norman Foster, Oscar Niemeyer, Phillipe Stark and Nicholas Grimshaw.  WSDG is a nine-time winner of the prestigious NAMM TEC Award for outstanding achievement in Acoustics/Facility Design. The firm maintains offices and representation in NY, SF, LA, Miami, Buenos Aires, Belo Horizonte, Basel, Beijing, Barcelona, Mexico City, St. Petersburg and Mumbai.

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“PROGRESSIVE DIRECTIVITY” Technology by Bose Professional

 By Paul Fidlin

Mon. March 28th, 7pm

Brighton Music Hall

158 Brighton Avenue, Allston, MA 02134

“PROGRESSIVE DIRECTIVITY” Technology represents the next evolution of the line-array concept. Designed for the finest performing arts centers, auditoriums, sports arenas, dance clubs and houses of worship, Progressive Directivity products deliver concert-quality sound for live music and speech to every seat in the house. Bose Professional’s Paul Fidlin will discuss the development, implementation, and benefits of Progressive Directivity technology within Bose products.

Paul has over 30 years of experience in the audio industry.  Holding top development engineering positions with Electro-Voice, Altec Lansing & Celestion resulting in numerous patents for innovative acoustic transducers & speaker systems.  Paul has been with Bose Corporation for 18 years and is currently the Director of Engineering & New Product Development for the Professional Division.

“We have limited reserved parking. If you are positively attending please email joseph_douillard@bose.com for a parking pass”.

Otherwise, please go to this link for directions and parking:

http://www.musichallbrighton.com/directions/

 

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