Forthcoming Meetings

AES UK Mastering Section Conference 2018

Date: 22 Sep 2018
Time: 00:00

Location:

AES UK Mastering Section Conference 2018!

CALL FOR PAPERS

 

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:

 

mastering@aes-uk.org

 

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:

 

mastering@aes-uk.org

 

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Conference Scope

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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

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Dates and Deadlines

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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


In Conversation with Emma Butt

Date: 24 Sep 2018
Time: 18:30

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

Emma Butt is a Freelance Dubbing Mixer, Sound Editor/ Designer and ADR recordist. 
She has over 10 years experience in post production sound on a variety of projects from mixing documentaries and entertainment shows, short form commercials, short films and animations to ADR recording for dramas and feature films and sound editing experience on a wide variety of projects.
She started out her career in Screen Scene Post Production in Ireland where she spent 9 years. While there she was lucky enough to work as an ADR recordist on Game of Thrones, Vikings, Ripper Street and Frank with Lenny Abrahamson to name a few.

She was nominated for an IFTA award twice, once for animated series ‘Punky’ and again for the documentary ‘My Fathers War’ and she also received a certificate of merit from the Emmys for her ADR work on Series 5 of Game of Thrones.

In the UK she has worked at some well known London post houses before most recently deciding to step into the world of freelancing.

She is a council member of the Association of Motion Picture Sound Engineers and a mentor with the Media Trust on both their schemes to help young kids get work in the creative industries.

Some of her ADR credits include:

Girlfriends

Game of Thrones

Viking

Safe

Ripper Street

Mixing and Sound editing credits include:

Swipe Right for Murder

World War 2

Treasure Hunters

MPS: Behind Closed Doors

Britain at War: The imperial War Museum

Please register here:

https://www.eventbrite.co.uk/e/in-conversation-with-emma-butt-tickets-47346468562

 


AES Midlands welcomes Kirk McNally

Date: 30 Sep 2018
Time: 13:00

Location: Royal Birmingham Conservatoire
Royal Birmingham Conservatoire
Birmingham

AES Midlands welcomes Kirk McNally

Date: 30th September 2018
Time: 13.00
Venue: Royal Birmingham Conservatoire

This talk explores using Michel Chion’s scheme for modes of listening in relation to the work of recording engineers and producers in the studio. Using Chion’s concepts of semantic and reduced listening (Chion 1994) as a starting point, we critically evaluate the way in which recording engineers and music producers interact with two specific musical elements in the studio: kick and snare drum sounds. A previous study has shown a correlation between the subjective evaluation of reverb usage in music mixing and measured objective parameters (De Man, McNally and Reiss 2017). This supports the idea that engineers and music producers rely upon a set of socio-cultural and learned parameters when making aesthetic decisions about the recording and mixing of music. Turning to the literature, we see evidence of this concept in the writing of Mike Howlett, who identifies a music producer as, “an individual with the confidence to say, ‘I like this one'”‘ (Howlett 2009). Using a collection of multitrack audio files, and mixes made from these recordings (De Man 2017), we systematically evaluate the variation of technical changes made to kick and snare drum sounds by recording engineers. The use of a recent recording session by McNally provides the opportunity to scale Chion’s modes of listening within a specific case, observe technical changes over the course of the recording, and compare this to the larger collection in order to gain insight into the parameters used by recording engineers and producers working in the recording studio.

No registration required.


Examining the messy art and messier science of distance in spatial audio for immersive environments

Date: 3 Oct 2018
Time: 19:15

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

Examining the messy art and messier science of distance in spatial audio for immersive environments

Date: 3rd October 2018
Time: 19:15
Venue: Department of Theatre, Film and Television, University of York

Though distance is an inherent property of spatial audio, and conventional film and game sound practices have intentionally exploited its use, the absence of research on its implementation and effects in immersive environments is notable. This talk outlines the experimental and artistic work undertaken by Angela McArthur, concurrently, in order to better understand and put to use what is a messy, semantically rich phenomenon – distance in spatial audio for immersive environments. Drawing from cinematic VR, art objects and controlled studies, it aims at asking the right questions, in order to advance the aesthetic and perceptual possibilities for existing and emerging media.

Angela McArthur is a practitioner, lecturer and PhD student, working with 3D audio for cinematic VR and audiovisual installations. She has worked in studio, live and location environments, and her work draws from the technologies, perception and aesthetics of spatial audio, to tackle an intersection of the three, with an increasing focus on the natural environment, and micro listening.

FREE and OPEN TO ALL, don’t forget to register!

https://www.eventbrite.co.uk/e/examining-the-messy-art-and-messier-science-of-distance-in-spatial-audio-for-immersive-environments-tickets-47562336228?aff=ebapi


How to setup a recording business - Katherine Axel

Date: 11 Oct 2018
Time: 18:30

Location: Leeds Beckett University – James Graham Building – Headingley Campus
Headingley Campus
Leeds

Katherine Axel will be giving an inside look into setting up a recording business, running a pro-spec studio from home and working with a range of clients from various industries and across many genres. Topics will include client care, time management, rate setting and inclusive business practices.

Katherine Axel is the co-founder and manager of Valley Wood Studio, a boutique recording facility in Leeds specialising in acoustic and performance based music. In addition to working with artists as diverse as Jackie Graham, Jon Langford and Corrine Bailey Rae, the studio also writes and delivers music production courses and workshops at HE level. Katherine is a co-founder of Yorkshire Sound Women Network which was established to help address gender disparity in music technology; she also runs Pitch Up, a consultancy service dedicated to improving diversity in the music and entertainment industries.

Please register here:

https://www.eventbrite.co.uk/e/how-to-setup-a-recording-business-tickets-47425631340?aff=erelexpmlt

 


Technologies in Music: How far have we come and where next?

Date: 11 Oct 2018
Time: 18:30

Location: 93 Feet East
150 Brick Lane
London

Technologies in Music: How far have we come and where next?

Date: 11th October 2018
Time: 18:30
Venue: 93 Feet East, 150 Brick Lane, London E1 6QL

Join us for an exciting event as part of We Are Robots 2018! We are thrilled to bring to you an event combining a panel with three wonderful speakers followed by a musical set.

Confirmed speakers

Amelia Kallman is a leading London futurist, speaker, and author. As an innovation and technology communicator, Amelia regularly writes, consults, and speaks on the impact of new technologies on the future of business and our lives. She is an expert on the emerging risks of The New Realities (VR-AR-MR) having recently completed authoring a cutting-edge report for Lloyd’s of London.

Alexander Parsons is a musician and composer, known primarily for his work in film and broadcast television, and based in London. In 2017, Alexander became a member of the newly-founded international collective, Miro Shot, in which he plays his electric violin and Eurorack synthesiser, as well as composing orchestral arrangements. In May 2017, the band held a three-day residency at the Institute of Modern Art, in Amsterdam, in the world’s first multi-sensory live VR and Mixed Reality concert.

Daniel Potter aka. WARSNARE emerges from the creative melting pot that is New Cross, carving out a unique sound from the remains of pop culture. Having produced soundtracks for award-winning short films and AV installations, as well as an arsenal of releases on Shades (Eris EP), Future Followers (with Bottle Collector) and Starkey and Dev 79s Seclusiasis (Brutalist EP) Dan Potter produces music impossible to pin down.

AES members will be given one free drink token redeemable at the on-site bar.

Please register using the link below:

https://www.eventbrite.co.uk/e/technologies-in-music-how-far-have-we-come-and-where-next-tickets-49548600197


In Pursuit of Silence

Date: 25 Oct 2018
Time: 18:30

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

Thu 25 October 2018

18:30 – 21:00 BST

Department of Theatre, Film and Television, University of York

The AES UK is delighted to join forces with IoA Speech and Hearing Group and the IoA Yorkshire and North East branches for a screening of the film “In Pursuit of Silence” by director Patrick Shen.

In Pursuit of Silence is a meditative exploration of our relationship with silence, sound and the impact of noise on our lives. Beginning with an ode to John Cage’s ground-breaking composition 4’33”, In Pursuit of Silence takes us on an immersive cinematic journey around the globe– from a traditional tea ceremony in Kyoto, to the streets of the loudest city on the planet, Mumbai during the wild festival season – and instantly inspires us to experience silence and celebrate the wonders of our world.

The event is open to IoA members, AES members, colleagues and contacts in associated professions, and students and staff of University of York. Due to the licencing restrictions for the film the general public cannot be admitted to this event.

Find out more about the film here.

Maps and directions to the venue can be found here.


National Science and Media Museum - Visit and Talk by Annie Jamieson

Date: 1 Nov 2018
Time: 18:30

Location: National Science and Media Museum
National Science and Media Museum
Bradford

National Science and Media Museum – Visit and Talk by Annie Jamieson

Date: 1st November 2018
Time: 18:30
Venue: National Science and Media Museum, Bradford

Meet National Science and Media Museum curator, Annie Jamieson, to hear about our plans and ambitions for new sound-focussed projects, acquisitions and exhibitions at the museum, and to find out how you might help. Visit our museum store and enjoy a private viewing and discussion of some audio treasures from our collections, old and new, from film, broadcast, live and studio sound.

Annie Jamieson is a historian of technology with particular interests in the history of sound technologies in both live and studio contexts, especially (though not limited to) British pro-sound technologies from the 20th century to date, and in the development of sound for cinema.

She also works on historical and contemporary issues of hearing risk and hearing protection, especially in relation to the music and sound industries. Her research has explored current attitudes and behaviour of professional musicians and sound engineers with respect to hearing risk and management. She works with professionals, educators and academic researchers to raise awareness of these issues and of the solutions available. Annie has presented this research to the Audio Engineering Society and at the First European Hearing Conservation Conference, has been featured in TPI and PSNEurope, and she has presented educational seminars on hearing protection for sound professionals for the British Association for Performing Arts Medicine, and at trade shows such as PLASA and BPM/PRO.

Registration is essential:

https://www.eventbrite.co.uk/e/national-media-museum-visit-and-talk-by-curator-annie-jamieson-tickets-48529931331


2019 AES International Conference on Immersive and Interactive Audio

Date: 27 Mar 2019
Time: 00:00

Location: University of York
University of York
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.