Forthcoming Meetings

RF Best Practice: Science or Black Magic?

Date: 17 Feb 2016
Time: 18:30

Location: BBC Scotland, Glasgow
40 Pacific Quay
Glasgow, G51 1DA

We are pleased to announce another event for AES Scotland. It will feature a talk by Mr George-Tolonen from Shure, who is one of the industry experts on Radio Frequency for sound applications. This seminar will unravel some of the mysteries around RF, enabling engineers to be confident in their dealings with radio mics and IEMs which are now an integral, yet often misunderstood, part of the pro-audio skill base. As a consequence of the continuous erosion of UHF spectrum, wireless microphones have become a mainstay topic for many sound professionals. This seminar will cover how different types of wireless systems operate, from analogue to digital, from UHF to 2.4GHz, and further aim to demystify some of the confusion that surrounds this topic.

Registration for this event is open to all (AES Members and Non Members). Register freely here:

Presenter biography: Mr. George-Tolonen is the Pro Audio Group Manager at Shure Distribution UK with over 17 years of experience in the professional audio industry. At Shure UK, he has a particular emphasis of large system RF co-ordination as well as work with the Product Development team. Mr. George-Tolonen is also a Steering Committee member of BEIRG (British Entertainment Industry Radio Group) and has been at the forefront of the discussions and developments with OfCom to secure a future for wireless equipment in the professional audio industry in the UK’

Object Based Radio: Effects On Production and Audience Experience

Date: 8 Mar 2016
Time: 18:30


Tony Churnside will discuss some of the research and findings from his PhD thesis, which analyses the benefits of using object based audio as a production and delivery format in order to enable new audience experiences. He will discuss a series of case studies, each focusing on a different user experience enabled by the use of object based audio. Each study considers the impact of using object based audio on the creative process, production workflow and audience experience. He will also talk about the “making of” the Bjork / MoMA installation in New York and how it links to some of the conclusions from his thesis.


Venue to be confirmed

Live Notation and Composition

Date: 10 Mar 2016
Time: 18:30

Location: Lab 214, Anglia Ruskin University
Anglia Ruskin University, East Road, CB1 1PT

Richard Hoadley will discuss his research and practice in connection to dynamic notation, including the use of the Kinect, the Leap and other proprietary interfaces with dancers and other performers.  In Richard’s dance, music and text pieces ‘Quantum Canticorum’ (2013) and ‘Semaphore’ (2014) he introduced notation generating algorithms influenced by the dancer’s physical movements.  A project still in development, ‘Choreograms’, also seeks to investigate and implement dance notations.  While the general idea of mapping movement is far from novel, the use of movement to generate music notation dynamically, which can then be performed at the time, is less common.  It enables the live reflection and synchronisation of movement in both acoustically performed and electronically generated music and sound.

Similar technologies have been used to create the composition ‘How To Play the Piano’ (2015) written for and performed by the pianist Philip Mead.  For this piece the composer and writer Katharine Norman, was commissioned to write and record a new original poem.  This has formed the backbone of the piece, providing audiovisual prompts and dynamic music notation and in the process becoming a guided improvisation, which very much reflects a performer’s character and experience.  Katharine’s own recording of the poem also provides a significant part of the music as the voice’s amplitude and frequency is mirrored in live audio and notation.

Richard will also be discussing contrasting methods of notation projection and display for performers (musicians, dancers and actors) and audiences.

The Great British Recording Studios

Date: 23 Mar 2016
Time: 18:00

Location: Gorbals Sound
97 Pollokshaws Road

AES Scotland and JAMES are very pleased to bring to you a special evening event at Gorbals Sound with Howard Massey.  Howard Massey is a longtime audio journalist, consultant to the professional audio industry, and author of the recently published book, The Great British Recording Studios. Massey’s previous books include Behind The Glass and Behind The Glass Volume II, collections of interviews with the world’s leading engineers and producers. He is also the co-author of legendary Beatles engineer Geoff Emerick’s autobiography Here, There and Everywhere. Formerly a touring/session musician and songwriter, Massey learned his craft as a recording engineer in England in the 1970s, working at studios such as Trident and Pathway. He lives in New York and has lectured extensively at colleges and universities throughout the U.S.

Talk abstract: Some of the most important and influential recordings of all time were created in British studios during the 1960s and 1970s—iconic places like Abbey Road, Olympic, Trident, Decca, Pye, IBC, Advision, AIR, and Apple. This presentation will unravel the origins of the so-called “British Sound” and celebrate the people, equipment, and innovative recording techniques that came out of those hallowed halls, including rare photographs, videos, and musical examples.

This is a rare opportunity to see Howard talk in Scotland. Register early to avoid disappointment.  Registration is free and open to all (AES Members and Non Members):

Event sponsored by JAMES, Mediaspec and Gorbals Sound