143rd AES NYC Convention, October 18-21st

http://www.aes.org/events/143/


It's a blast, if you are in the area it's definitely worth coming out

When registering, use the code AES143NOW to get yourself a free exhibits-plus badge

 

Last edited by a moderator: Sep 8, 2017

I am in the area, I attended this show back in the late '80s, maybe I should revisit it this year.

 

NEW:
NI Maschine MK3 and Kontrol-Keyboards (in october)
https://www.heise.de/newsticker/mel...ruments-renoviert-Musik-Hardware-3824555.html

 

I've been to a few Namm shows, It's just a noise fest. You can't really check anything out at those events. Big waste of time....

 

nah dood maybe- there's a ton of great stuff happening no matter what your level. Even young guys can get their tracks up on a major system with a full critique by real ears (not a position I envy btw lol)-

the code I just gave is access to:
Exhibits-Plus access gains you entry to the exhibition floor and demo rooms, where leading manufacturers reveal and demonstrate the latest in audio hardware and software tools. The "Plus" includes the application-oriented sessions on the exhibit floor Expo theatres and Pavilions, along with other special events.

But if you're going to use it I'd do it asap as they can pull it anytime (costs $75 otherwise)

Be sure to check out the program panel at the top of the landing page as well, here's a misc sampling of what's on offer- You can't tell me there's not something here you'd be into, just check out some of the personnel:

AES New York 2017
Tutorial & Workshop Details
Wednesday, October 18, 9:00 am — 10:30 am

TW01 - Audio Engineering with Hearing Loss—A Practical Symposium
Chair:
Jon Boley, GN Advanced Science - Chicago, IL, USA
Panelists:
Richard Einhorn, Einhorn Consulting, LLC - New York, NY, USA; Richard Einhorn Productions, Inc.
Larry Revit, Revitronix - Braintree, VT, USA
Michael Santucci, Sensaphonics, Inc. - Chicago, IL USA
We are assembling a panel of experts - one to present an audiological perspective of hearing loss and others to focus on the more practical issues of working in the field of audio engineering with hearing loss and/or tinnitus (e.g., listening strategies, supplemental technologies, etc.).

This session is presented in association with the AES Technical Committee on Hearing and Hearing Loss Prevention



Wednesday, October 18, 2:00 pm — 3:30 pm

TW02 - Disruption: Midi—Machine Learning looking Back and Looking Ahead
Chair:
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Jonathan Bailey, iZotope
Russell McClellan, iZotope, Inc. - Cambridge, MA, USA
Joshua D. Reiss, Queen Mary University of London - London, UK
Dave Smith, Dave Smith Instruments - San Francisco, CA, USA
AI, machine learning and deep learning are beginning to change audio products and audio production workflows. When new technologies threaten to disrupt existing practices and market, there’s inevitable uncertainty and concern that accompanies these developments. By looking at historic examples of disruptive technology (eg MIDI) we might understand a little about the adaptation that audio production could undergo moving forward. By looking ahead we'll discuss what the new technological 'features' are that are coming out of machine learning development, describe how users are interacting with the new breed of tools and think about what's coming down the road.




Wednesday, October 18, 4:15 pm — 5:30 pm

TW03 - Creating Sounds from Scratch
Presenters:
Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA
Andrea Perjolo, Berklee College of Music - Boston, MA, USA
A live demonstration using synthesis to create unique sounds. Topics included a brief overview of how we arrived at the methods of synthesis commonly used today, why you should avoid using presets, and examples of working with techniques like physical modeling and wavetable synthesis to create novel sounds. Presented by co-authors of Creating Sounds from Scratch (Oxford University Press) Andrea Pejrolo, Chair, Contemporary Writing & Production, Berklee College of Music, and Scott B. Metcalfe, Director of Recording Arts and Sciences and Chair of Computer Music and Music for New Media at the Peabody Conservatory of Johns Hopkins University.




Thursday, October 19, 9:00 am — 10:15 am

TW04 - Podcasts: Telling Stories with Sound
Chair:
Mary Nichols, FuseBox Radio - Waldorf, MD USA
Panelists:
Jim Anderson, Anderson Audio NY - New York, NY, USA; Clive Davis Institute of Recorded Music, New York University - New York, NY, USA
Jeanne Montalvo Lucar, Audio Engineer, Producer
Podcasting is now the latest and greatest frontier for freedom of expression and the press with distribution networks that most of the average creator can gain equal access to with a (mostly) low cost of entry. This event is a jump off point about the many ways one can create, record, host, and distribute a podcast with high audio quality with the latest technologies out in the world today.




Thursday, October 19, 10:45 am — 12:15 pm

TW05 - New Developments in Listening Test Design
Chair:
Brecht De Man, Queen Mary University of London - London, UK
Panelists:
Jan Berg, Luleå University of Technology - Piteå, Sweden
Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Todd Welti, Harman International Inc. - Northridge, CA, USA
Listening tests are a key component in a wide range of audio research and development, from loudspeaker construction over source separation algorithms to emotion in music. New graphical user interfaces, transducer virtualization, and online tests have helped make the once tedious and expensive practice of perceptual evaluation of audio more accessible and efficient. However, these developments each bring their own challenges. Furthermore, while topics like audio codec design have an established set of practices, other types of evaluation are only slowly being standardized, if at all, or borrow from neigboring fields. In this workshop, some of the field's most prominent experts contribute different perspectives on advancements in the area of perceptual evaluation of audio, and offer their view on its future.

This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals



Thursday, October 19, 1:30 pm — 3:00 pm

TW06 - Levels, Loudness, Perception, and the Aesthetics of Music Production and Distribution
Chair:
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Eelco Grimm, HKU University of the Arts - Utrecht, Netherlands; Grimm Audio - Eindhoven, The Netherlands
Paul Tapper, Nugen Audio - UK
Robert Taylor, University of Newcastle - Callaghan, NSW, Australia
This collection of presentations addresses the changing paradigms of music delivery. It will offer observations about market driven forces, the influence of technological changes over the years on the aesthetics of music production and delivery to the consumer. Included is some definitive research regarding perception and loudness. Suggestions and advice about levels for music delivery will be covered.

This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals



Friday, October 20, 9:00 am — 10:30 am

TW07 - Tech Behind the Tools: Production to Playback
Chair:
Lisa Ferrante-Walsh, iZotope
Panelists:
Marina Bosi, CA, USA
Veronique Larcher, Sennheiser - Switzerland
Vanessa Li, iZotope
Hannah Robertson, iZotope - Cambridge, MA, USA
The 90 minute panel is made up of engineers and technologists who are experts in the technology behind many of the products, tools and services used in the audio production process. Each panel member will lift the hood and educate us about the technology behind a different aspect of the journey from production through playback.
•Where do audio plugins come from? - Hannah Robertson, DSP Engineer at iZotope
How does new technology get implemented, and how are decisions made about what features to include in new products? In this talk, a DSP Software Engineer from iZotope will talk through several new features from recently released iZotope products to demystify the development cycle of a plugin: from the ideation stage to research, implementation, sound design, audio quality testing, and user feedback.
•Perceptual Audio Coding - Marina Bosi, Consulting Professor at Stanford University
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, what are the implications for sound production 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 brief overview, new developments and sound demonstrations to illustrate the impact of this technology.
•The VR Production Workflow - Veronique Larcher, Ph.D., Director AMBEO Immersive Audio at Sennheiser
This talk will review the constraints and tools for on-location VR audio capture, VR audio mixing and monitoring, and finally VR audio experience by the greater numbers on VR platforms or apps.
•Content Delivery and Management at Pandora - Vanessa Li, Software Engineer at Pandora
In the last decade we have seen a drastic transformation in the way music is consumed. As demand has shifted from physical albums to downloads to online streaming, labels and online music services have had to work together to establish new standards and protocols for accommodating changes in the music industry's business practices. Streaming platforms have taken on the burden of becoming the "middle-man" responsible for storing data, displaying metadata, streaming audio, and handling business logic enforced by legal contracts and royalty payouts. This talk will address some of the technical challenges we face at Pandora to build out an on-demand streaming service, including a walk-through of how content is delivered to and stored at Pandora, how metadata and rights are handled, and how audio is ultimately streamed to the listener.




Friday, October 20, 1:30 pm — 3:00 pm

TW08 - Machine Learning and Music Recomposition: A Glimpse at the Future
Moderator:
Jay LeBouef, Executive Director at Real Industry, Lecturer at Stanford University
Panelists:
Jonathan Bailey, iZotope
Patrick Stobbs, Jukedeck
Alex Tsilfidis, Accusonus
Charles Van Winkle, Adobe Systems Incorporated - Minneapolis, MN, USA
Machine learning, artificial intelligence… buzzwords or reality? In this session, learn how machine learning algorithms are impacting music composition, editing, and mixing. You’ll hear from experts from Adobe, iZotope, Accusonus and Jukedeck as they share what’s real now – and what’s to come.




Saturday, October 21, 9:00 am — 10:30 am

TW09 - Paths to Being/Becoming a Pro
Chair:
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
Peter Auslan, Manhattan Center Studios - New York, NY, USA
Lisa Ferrante-Walsh, iZotope
John Krivit, Audio Engineering Society - Marblehead, MA, USA; Emerson College - Boston, MA, USA
Ann Mincieli, Jungle City Studios - New York, NY, USA
Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
The Audio Professional focused on music production is looking more and more like a unicorn, particularly with regard to specialization. The panel will describe paths taken to becoming professionals who derive their income from music production, the skills they feel are most important that allowed them to succeed, and their current approaches to maintaining their status. Designed for students and the young engineers




Saturday, October 21, 1:30 pm — 3:00 pm

TW10 - Towards the New Horizon of Technical Ear Training
Chair:
Sungyoung Kim, Rochester Institute of Technology - Rochester, NY, USA
Panelists:
Jason Corey, University of Michigan - Ann Arbor, MI, USA
Kazuhiko Kawahara, Kyushu University - Fukuoka, Japan
Doyuen Ko, Belmont University - Nashville, TN, USA
Sean Olive, Harman International - Northridge, CA, USA
Timothy Ryan, Webster University
Recently, various technical ear-training programs have been introduced to audio and acoustic engineering communities. In the previous workshops, the panels have discussed necessary features and methods for efficient and effective training (AES131, 132, and 141). The current workshop aims to (1) let workshop attendees experience and compare the characteristic functions of various ear-training programs through hands-on demonstrations by the panelists, and (2) discuss the latest development trends and future applications. While the workshop locally aims to provide the attendees with chance to experience theoretical and empirical matters of ear training programs around the world, it also globally aims to consider the importance of “listening” in the current video-oriented society.

This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals



Saturday, October 21, 3:15 pm — 5:00 pm

TW11 - What Audio Students Are Learning, What Could They Be Learning, What SHOULD They Be Learning
Co-chairs:
Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Enrique Gonzalez-Muller, Berklee College of Music - Boston, MA, USA
Panelists:
Owen Curtin, Audio Builders Workshop - Lexington, MA, USA
Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA
Through a survey the world’s audio education programs, one would observe a great variance in approaches to subjects, course content, and expected outcomes.

The workshop panelists representing technical colleges, undergraduate, graduate, and online programs will describe their respective program structures, highlighting the strengths of each and where the greatest challenges lie. Discussion (and friendly debate) of what comprises the skill set that students need to acquire as part of their academic track, and how best to “package” learning modalities into a selection of courses that provide the required knowledge across programs of different lengths and intensities. Educators and students are invited to attend, and questions/comments will be welcomed from the audience as we open up the discussion to the room.

This workshop is intended to complement TW10 which seeks to identify desirable skill set and competencies for those entering the world of professional audio from the prospective of the working professional.




Saturday, October 21, 3:15 pm — 4:45 pm


TW12 - Practical 3D Acoustic Measurements
Presenter:
Malcolm Dunn, Marshall Day Acoustics - Auckland, New Zealand
This tutorial will illustrate how 3D impulse response measurements can be utilized in practical applications. An introduction will be provided to 3D acoustic measurement technology with a focus on b-format signal and compact microphone arrays. The types of signals gathered will be described and methods of “visualizing” the results will be presented. Limitations of the information gathered will also be discussed. Examples would be provided for a range of applications where the use of directional information has provided worthwhile insight into the acoustic performance of a space.

 

Never been to an AES show, maybe with the lack of guitar companies, you won't have to experience what it's like to work at a busy Guitar Center.
The basement, with the lesser known exhibitors, at Namm can be fun for about an hour or two.

 

I attended the NY AES show in the '80s too. Best AES I ever attended. I watched Ray Kurzweil introduce the new Kurzweil 250 in their suite, Pat Metheny play the "new" guitar interface to the Synclavier in the New England Digital suite, then Frank Zappa ran in all excited with some guy and said "let this guy play it, he plays guitar like a keyboard". Turned out to be Stanley Jordan. He was amazing playing an organ voice on the Synclavier with the guitar. Met Bob Moog, asked him for a job (job advice actually, I was still in school). Saw Thom Holman (Lucasfilm/Skywalker Ranch) present at the Ziegfeld Theater across from the Hilton. He showed Star Wars IV clips with location sound, foley sound, finished sound, etc. Fascinating! It was a great week in NYC. Wish I could go back again...

 

The 80s was way different at these shows. I worked for a Japanese rock magazine as an interpreter in the mid 80's. Going to Namm and reporting on it was a HUGE deal back then. Anymore, besides meeting some great people like Bruce Egnator etc., you get more immediate info on the Youtube.

 

of course nobody has to go, but these are our people

great panels, good after parties and cool to check old heads and new gear

AZ meetup? Hell yeah! haha