Forthcoming Meetings

How Technology is Changing the Human Voice

Date: 30 May 2018
Time: 18:30

Location: University of Salford
Univeristy of Salford

We are delighted to have Professor Trevor Cox presenting as part of the AES British Section series of talks!

The human voice has always been in flux, but over the last hundred years or so, changes have been accelerated by technology. Watch a video of Barcelona, a duet between rock frontman Freddie Mercury and opera soprano Montserrat Caballé, and the difference between an old and new singing style is stark. These differences are not just about taste, they are driven by technology, with amplification freeing pop singers from the athletic task of reaching the back of a venue unaided. This allows someone like Freddie to be much more individualistic. Actors’ voices have also changed, no longer do we have actor’s projecting their plumy voice using Received Pronunciation. But now viewers complain that they can’t understand the naturalistic accents used in modern TV and film. The talk will begin with examples likes these to explore the changing voice. It will then speculate about the future of the voice. What technologies might be developed to combat the loss of intelligibility caused by mumbling actors? As conversations with computers get more common, how might that change how we speak? Some have already found that Siri is a useful tool to get children to improve their diction. ‘Photoshop for voice’ has already been demonstrated. On the surface this is a useful tool for audio editors, but it also allows unscrupulous individuals to fake speech. Rich in sound examples, the talk will draw on Trevor’s latest popular science book, Now You’re Talking (Bodley Head 2018).

Please register for the event using this link:

In Conversation with Olga FitzRoy

Date: 14 Jun 2018
Time: 05:30

Location: Department of Theatre, Film and Television, University of York
Department of Theatre, Film and Television, University of York

Date: 14th June 2018
Time: 17:30
Venue: Department of Theatre, Film and Television, University of York

Olga FitzRoy is an engineer and mixer, working with bands and on film / TV scores. She grew up in Germany and Scotland, before moving to Guildford to complete a Tonmeister degree at Surrey University. An internship led to 10 years at AIR Studios, London, where she trained with some of the finest talents in engineering and production, working on records for Coldplay, The Foo Fighters and Seasick Steve, as well as film scores for Hans Zimmer and Dario Marianelli. Highligts include assisting Sir George Martin on the last ever Beatles recording for the 2006 album, Love, and, 6 years later, mixing the closing music for the London 2012 Olympics for composer, David Arnold, featuring artists Jessie J, Tinie Tempah, Elbow and Ed Sheeran.

Now freelance, Olga is Coldplay’s go-to engineer in London, and she regularly works on film and TV scores out of the top orchestral studios in London and Europe. She was named Recording Engineer of the Year at the MPG awards 2016, and now leads on politics and campaigns for the MPG. Her biggest campaign to date is #SelfieLeave, a campaign to get shared parental leave for self-employed people, including engineers, producers and musicians. The campaign aims to mitigate the “motherhood penalty” freelance women face when they have children, by giving self-employed families the flexibility to share childcare between both parents. As a result of her lobbying, a 10-minute rule bill is awaiting its second reading in parliament. She lives in London with her husband and 2-year-old son.

Register to the event here.

AES UK Mastering Section Conference 2018

Date: 22 Sep 2018
Time: 00:00


AES UK Mastering Section Conference 2018!



The AES UK Mastering Section Conference welcomes academics, mastering engineers, producers, artists, industry professionals, technology developers and equipment manufacturers to come together and submit abstracts or workshop proposals for consideration on a wide range of topics including:


Mastering past, present & future

Mastering technology & practice

Innovation in audio relating to mastering & post-produciton

Business matters relating to mastering & post-production


Authors are requested to submit a short Abstract. Abstracts of 300 – 500 words will be reviewed for inclusion in the conference programme. After the conference, presenting authors will be given the option to prepare a full chapter for inclusion in a conference book to be considered for publication with Routledge.


Authors will be expected to to submit a Full Chapter of 5-6000 words by 1st November 2018. Full chapter submissions will be peer-reviewed by at least two referees. Papers must be of high quality, original, and not published elsewhere or submitted for publication during the review period.


Abstracts and Papers should be submitted by Monday 9th April 2018 by email to:


The AES UK Mastering Section are also welcoming proposals for innovative and interactive demonstrations appropriate to the conference scope. If you are interested in being involved in any way please contact us at the following email address:



Conference Scope



Conference themes and topics include:


Audio Mastering: past, present and future

Mastering practice: human or artificial intelligence

Innovation in mastering and post production

Music consumer behaviour: the changing psychology and perceived value of mastering

Platforms for dissemination and sending mastered audio (watermarking, DDP etc.)

Mastering & mastering studio technology innovation

Audio engineering: audio and acoustics technology and practice in relation to mastering and post-produciton

Hi-res audio and future music formats

Online mastering, and new trends in mastering

Professional practice and business in mastering


Dates and Deadlines



Submission of abstracts for consideration: Monday 9th April 2018

Authors notified if abstract accepted or rejected: Friday 27th April 2018

Programme and all accepted abstracts available on conference website: Monday 14th May 2018

Early registration – Authors expected to have registered and paid by: Friday 22nd June 2018

Completed paper submission deadline for inclusion in Routledge book: Thursday 1st November 2018

2019 AES International Conference on Immersive and Interactive Audio

Date: 27 Mar 2019
Time: 00:00

Location: University of York
University of York

2019 AES International Conference on Immersive and Interactive Audio

March 27 – 29th

University of York UK


Call for Papers

Immersive audio systems are ubiquitous and range from macro-systems installed in cinemas, theatres and concert halls to micro-systems for domestic, in-car entertainment, VR/AR and mobile platforms. New developments in human-computer interaction, in particular head and body motion tracking and artificial intelligence, are paving the way for adaptive and intelligent audio technologies that promote audio personalisation and heightened levels of immersion. Interactive audio systems can now readily utilise non-tactile data such as listener location, orientation, gestural control and even biometric feedback such as heart rate or skin conductance, to intelligently adjust immersive sound output. Such systems offer new creative possibilities for a diverse range of applications from virtual and augmented reality through to automotive audio and beyond. This opens up exciting new opportunities for artists and audio producers to create compelling immersive experiences. This three-day conference will explore the unique space where interactive technologies and immersive audio meet and aims to exploit the synergies between these fields. The conference will include keynote lectures, technical paper sessions, tutorials and workshops, as well as technological and artistic demonstrations of immersive and interactive audio.

Deadline for papers is 1st October 2018

Deadline for proposals for Workshops and Tutorials is 1st November 2018

You can find the Call for Papers here.