Jim Alfredson Posted June 20, 2005 Report Posted June 20, 2005 Jim, the engineer who recorded our soon-to-be released record would love to talk to you. He recently bought the Neve 8068 console from Muscle Shoals. He has read through this thread and once things dies down a bit, will probably post. Quote
Joe G Posted June 20, 2005 Report Posted June 20, 2005 That leakage is unobtainable, for the most part, due to the way recordings are made, these days, and the way bands perform. Part of the problem is that everybody wants to fix everything and that's the reason for the lack of leakage. Everyone's in a different booth, or room, scattered around the studio. Many times, I can sense a lack of concentration or commitment in a track because, collectively, it's known that we can go in and replace the bass, for example (not to pick on bass players...well, why not pick on bass players?), or get a better version of the head from the horns. So that chance at natural leakage is long gone. I can think of quite a few Blue Note albums that have some major clams in them and they're, sometimes, my favorite part of the track. I was working on a vocalist project over the summer and I remarked to the assistant (as I was making a fix on the protools) "No one makes mistakes anymore. Everything's 'perfect'." I just caught up to this forum since it moved from the Blue Note board. I'm glad to see Jim is still participating. Jim I think what you say is so true. The isolation is a mere technical convenience without a musical purpose, and in most cases, it sucks the life out of the music. Our cats spend night after night standing next to each other on the bandstand making great music. Why would I want to change that when I take them into a studio? Putting musicians into isolation booths reminds me of 1950s behavioral psych experiments. People play as though they knew they could do it again. The real drama comes partly from knowing the musician is vulnerable and risking it all. Our current "big vocal record" was recorded by Baker for me at Avatar A. Singer plus octet. A dozen ribbon mikes and the art of the null plane. All full band takes, mixed live to stereo by Baker. Mixing on the Neve, he looked like he was conducting an orchestra himself, and that's how I'll remember him. Luke All the above is the downside of the improvements in recording techonology over the years since multi track regarding began in the 60s. The isolation , overdubbing, and all the other innovations have created a very lackadaisical attituted among studio musicians of the later generations. Since they KNOW they can fix the flubs, the "hands" come up every few bars for a fix. It's not that they CAN'T play it right through ..they know they dont have to anymore, hence the concentration factor is gone. When I recorded my big band CD in 2004 I did it basically live, and I made it a point to make sure to let all involved know we were gonna go for complete takes ( or at the most and intercut pickup like the old "live to 2 track " days. The band really got into it, and most everything was done in two or three takes ( in some cases ,a single take and a pickup ). The overall preformance was excellent, and the energy feel generated by the process was very noticable. ( note: we did use multi-track ProTools, but there was VERY little cosmetic surgery necessary prior to mixing ) ← I forgot about this exchange. We recently had a rather heated thread ( here ) on the subject of edits in recordings. I was going to ask the members who posted here if they had any further thoughts on this, but I think it's pretty clear from the quotes above what they think! Quote
Soul Stream Posted June 20, 2005 Report Posted June 20, 2005 I'm against anything like punch-ins on any sort of jazz session. That goes against the whole idea of the jazz concept to me. It's not suppose to be perfect. That's WHY it's perfect. Perfectly imperfect. But on the other hand...I'm not against an edit if it's needed. I guess this stems from the fact that some of my favorite jazz tracks have sometimes pretty obvious edits in them. Quote
jim anderson Posted September 4, 2005 Report Posted September 4, 2005 I'm passing through, for the moment, and checking in to see how everyone is. Here in New York, we're busy putting on the finishing touches on the schedule for the upcoming AES Convention in October. I hope if you're in New York October 7-10 you'll come by the Javits Convention Center and say hello. The amazing news is that Rupert Neve will be the Keynote Speaker at the Opening Ceremonies! How cool is that? http://www.aes.org/events/119/ All the best, Jim Quote
Joe G Posted September 4, 2005 Report Posted September 4, 2005 As a matter of fact, we (organissimo) will be! Quote
jim anderson Posted September 4, 2005 Report Posted September 4, 2005 Here's a list of the technical program (accurate as of today) to give you an idea of the topics to be discussed at the AES Convention. Jim Paper Sessions Session P1 Analysis, Synthesis of Sound Chair: Durand Begault P1-1 Perceptual Modeling of Piano Tones Brahim Hamadicharef Emmanuel Ifeachor P1-2 Multichannel Audio Processing Using a Unified Domain Representation Kevin Short Ricardo Garcia Michelle Daniels P1-3 Multichannel Audio Time-Scale Modification David Dorran Robert Lawlor Eugene Coyle P1-4 Improving MPEG-7 Sound Classification Holger Crysandt Session P2 ACOUSTICS & DESKTOP PRODUCTION Chair: Brad Gover P2-1 Measurement of Architectural Speech Security of Closed Offices and Meeting Rooms Bradford Gover John Bradley P2-2 Frequency-Based Coloring of the Waveform Display to Facilitate Audio Editing and Retrieval Stephen Rice P2-3 Development of Auditory Alerts for Air Traffic Control Consoles Densil Cabrera Sam Ferguson Gary Laing P2-4 Multichannel Impulse Response Measurement, Analysis, and Rendering in Archaeological Acoustics Damian Murphy Session P3 RESTORATION, STORAGE & CAR AUDIO Chair: Brett Crockett P3-1 Preferred Listening Levels in the Automotive Environment Eric Benjamin Brett Crockett P3-2 High Frequency Compensation for Compressed Digital Audio Using Sampled-Data Control Koji Fujiyama Naoya Iwasaki Riku Kaibe Hiroshi Kano Yutaka Yamamoto P3-3 Are There Criteria to Evaluate Optical Disc Quality that Are Relevant for End-Users? Jean-Marc Fontaine Jacques Poitevineau P3-4 An Open Design and Implementation for the Enabler Component of the Plural Node Architecture of Professional Audio Devices Jun-ichi Fujimori Harold Okai-Tettey Richard John Foss Session P4 SPATIAL PERCEPTION AND PROCESSING Chair: Richard Stroud P4-1 Audibility of Spectral Switching in Head-Related Transfer Functions Pablo Faundez Hoffmann Henrik Møller P4-2 Virtual Source Location Information for Binaural Cue Coding Sang Bae Chon In Yong Choi Han-gil Moon Joengil Seo Koeng-Mo Sung P4-3 Perceptual Movement of Auditory Images Fed through Multiway Loudspeakers Perpendicularly Set Up Yu Agatsuma Eiichi Miyasaka P4-4 High Order Spatial Audio Capture and its Binaural Head-Tracjed Playback Over Headphones with HRTF Cues Ramani Duraiswami Dmitry Zotkin Zhiyun Li Elena Grassi Nail Gumerov Larry Davis P4-5 Performance of Spatial Audio Using Dynamic Cross-Talk Cancellation Tobias Lentz Ingo Assenmacher Jan Sokoll P4-6 An Application of Lined-Up Loudspeaker Array System for Mixed Reality Audio-Visual Reproduction System Hiroyuki Okubo Yasushige Nakayama Yoichi Naito Toshikazu Ikenaga Setsu Komiyama Session P5 MULTICHANNEL SOUND -1 Chair: Thomas Sporer P5-1 Perceptual Evaluation of 5.1 Downmix Algorithms Thomas Sporer Beate Klehs Judith Liebetrau Felix Richter Alexander Krake Gabi Muckenschnabl Mandy Weitzel P5-2 Discrimination of Auditory Source Focus for Musical Instrument Sounds with Varying Low-Frequency Cross Correlation in Multichannel Loudspeaker Reproduction Sungyoung Kim William Martens Atsushi Marui P5-3 Optimizing Placement and Equalization of Multiple Low Frequency Loudspeakers in Rooms Adrian Celestinos Sofus Birkedal Nielsen P5-4 An Immersive Audio Environment with Source Positioning Based on Virtual Microphone Control Jonas Braasch Wieslaw Woszczyk P5-5 Simulation and Visualization of Room Compensation for Wave Field Synthesis with the Functional Transformation Method Stefan Petrausch Sascha Spors Rudolf Rabenstein P5-6 Acoustic Intensity in Multichannel Rendering Systems Antoine Hurtado-Huyssen Jean-Dominique Polack Session P6 SIGNAL PROCESSING FOR AUDIO -1 Chair: Vicki Melchior P6-1 Toward a Procedure for Stability Analysis of High Order Sigma Delta Modulators Josh Reiss P6-2 An Interface for Analysis-Driven Sound Processing Niels Bogaards Axel Röbel P6-3 A Comparison of Digital Power Amplifiers with Conventional Linear Technology: Performance, Function, and Application Craig Bell Isaac Sibson P6-4 Selective Mixing of Sounds Piotr Kleczkowski P6-5 An Efficient Asynchronous Sampling-Rate Conversion Algorithm for Multichannel Audio Applications Paul Beckmann Timothy Stilson Session P7 MULTICHANNEL SOUND -2 Chair: Richard Duda P7-1 An Approach for Multichannel Recording and Reproduction of Sound Source Directivity Roland Jacques Bernhard Albrecht Frank Melchior Diemer de Vries P7-2 Artificial Reverberation Algorithm to Control Distance and Direction of Sound Source for Multichannel Audio System Jeong-Hun Seo Hwan Shim Jae-Hyoun Yoo Koeng-Mo Sung P7-3 Surround Recording of Music: Problems and Solutions Joerg Wuttke P7-4 Motion-Tracked Binaural Sound for Personal Music Players V. Ralph Algazi Robert Dalton, Jr. Richard Duda Dennis M. Thompson P7-5 Subjective Consumer Evaluation of Multichannel Audio Codecs Jim Barbour P7-6 Advanced Multichannel Audio System for Reproducing a Live Sound Field with Ultimate Sensation of Presence Kimio Hamasaki Hiroyuki Okubo Toshiyuki Nishiguchi Yasushige Nakayama Reiko Okumura Masakazu Iwki Session P8 SIGNAL PROCESSING FOR AUDIO -2 Chair: Gilbert Soulodre P8-1 VisualAudio—An Environment for Designing, Tuning, and Testing Embedded Audio Applications David A. Jaffe Paul Beckmann Britton Peddie Timothy Stilson Scott Van Duyne P8-2 Analysis and Design Algorithm of Time Varying Reverberator for Low Memory Applications Tacksung Choi Young-Cheol Park P8-3 A Comparison of the Performance of “Pruned Tree” versus “Stack” Algorithms for Look-Ahead Sigma Delta Modulators James Angus P8-4 Adaptive Strategies for Inverse Filtering Scott Norcross Martin Bouchard Gilbert Soulodre P8-5 New Understandings of the Use of Ferrites in the Prevention and Suppression of RF Interference to Audio Systems Jim Brown P8-6 Parametric Control of Filter Slope versus Time Delay for Linear Phase Crossovers David McGrath Justin Baird Bruce Jackson Session P9 POSTERS: MISCELLANEOUS -1 P9-1 A Robust Partial Tracker for Analysis of Music Signals Hamid Satar-Boroujeni Bahram Shafai P9-2 Automatic Retrieval of Musical Rhythmic Patterns Bozena Kostek Jaroslaw Wojcik P9-3 A Spectrogram Display for Loudspeaker Transient Response David Gunness William Hoy P9-4 Quality Enhancement of Low Bit Rate MPEG1-Layer 3 Audio Based on Audio Resynthesis Demetrios Cantzos Chris Kyriakakis P9-5 Obtaining 120-dB Performance Using Switching Power Supplies Gregg Rouse Larry Gaddy P9-6 Influence of Artificial Mouth’s Directivity in Determining Speech Transmission Index Fabio Bozzoli Paolo Bilzi Angelo Farina Session P10 POSTERS: CODING & LOUDSPEAKERS & HI RESOLUTION P10-1 A New Low-Delay Codec for Two-Way High-Quality Audio Communication Aníbal Ferreira Deepen Sinha P10-2 Compensation of Nonlinearities of Horn Loudspeakers Delphine Bard Mario Rossi Mauro Del Nobile P10-3 Diaphragm Parameters and Radiation Characteristics of Multilayer Piezoelectric Ceramic Loudspeakers Jun Fujii Juro Ohga Norikazu Sashida Ikuo Oohira P10-4 A Study on Lumped Elements Model and Thermal Effects of Eddy Currents in Loudspeakers Ning Wu Yong Shen Xiaobing Xu P10-5 Spatial Audio Coding System Based on Virtual Source Location Information Jeongil Seo Inseon Jang Kyeongok Kang P10-6 An Ultra High Performance DAC with Controlled Time-Domain Response Paul Lesso Anthony Magrath P10-7 Understanding the Effects of AES-17 When Evaluating 192-kHz Converter Performance Richard Kulavik Larry Gaddy Session P11 LOUDSPEAKERS - 1 Chair: Wolfgang Klippel P11-1 Wideband Piezoelectric Rectangular Loudspeaker Using A Tuck Shape PVDF Bimorph Toshinori Ouchi Juro Ohga Toshitaka Takei Nobuhiro Moriyama P11-2 Modeling Compression Drivers Using T-Matrices and Finite Element Analysis David J. Murphy Rick Morgans P11-3 A Proposal for Low Frequency Loudspeaker Design Utilizing Ultrasonic Motor Juro Ohga Hirokazu Negishi Ikuo Oohira P11-4 Finite Element Modeling of a Loudspeaker. Part 1: Theory and Validation David Henwood Gary Geaves P11-5 Radiated Sound Field Analysis of Loudspeaker Systems: Discrete Geometrical Distribution of Circular Membranes versus Co-Incident Annular Rings Bernard Debail Hmaied Shaiek P11-6 Loudspeaker Nonlinearities— Causes, Parameters, Symptoms Wolfgang Klippel Session P12 AUDIO CODING -1 Chair: Alan Seefeldt P12-1 Upfront Time Segmentation Methods for Transform Coding of Audio Omar Niamut Richard Heusdens Huib Lincklaen Arriëns P12-2 Enhanced Accuracy of the Tonality Measure and Control Parameter Extraction Modules in MPEG-4 HE-AAC Sang-Uk Ryu Kenneth Rose P12-3 New Techniques in Spatial Audio Coding Alan Seefeldt Mark Vinton Charles Robinson P12-4 A New Broadcast Quality Low Bit Rate Audio Coding Scheme Utilizing Novel Bandwidth Extension Tools Deepen Sinha Anibal Ferreira P12-5 The MPEG-4 Audio Lossless Coding (ALS) Standard—Technology and Applications Tilman Liebchen Takehiro Moriya Noboru Harada Yutaka Kamamoto Yuriy Reznik Session P13 LOUDSPEAKERS -2 Chair: D. B. (Don) Keele, Jr. P13-1 Improving Loudspeaker Transient Response with Digital Signal Processing David Gunness P13-2 Simulation of Harmonic Distortion in Horns Using an Extended BEM Postprocessing Michael Makarski P13-3 Modal Analysis and Nonlinear Normal Modes (NNM) on Moving Assemblies of Loudspeakers Fernando Bolaños P13-4 Finite Element Modeling of a Loudspeaker. Part 2: Applications John Vanderkooy David Henwood Gary Geaves P13-5 Ground-Plane Constant Beamwidth Transducer (CBT) Loudspeaker Circular-Arc Line Arrays D. B. (Don) Keele, Jr. Douglas J. Button P13-6 A Balanced Modal Radiator (BMR) Neil Harris Graham Bank Session P14 AUDIO CODING -2 Chair: Jürgen Herre P14-1 Jointly Optimal Time Segmentation, Distribution, and Quantization for Sinusoidal Coding of Audio and Speech Richard Heusdens Jesper Jensen Pim Korten P14-2 Enhanced Performance in the Functionality of Fine Grain Scalability KiHyun Choo Eunmi Oh Jung-Hoe Kim ChangYong Son P14-3 Scalability in KOZ Audio Compression Technology Kevin Short Ricardo Garcia Michelle Daniels P14-4 MPEG Spatial Audio Coding/MPEG Surround: Overview and Current Status Jeroen Breebaart Jürgen Herre Christof Faller J. Rödén F. Myburg S. Disch Heiko Purnhagen G. Hotho M. Neusinger P14-5 Efficient Design of Time-Frequency Stereo Parameter Sets for Parametric HE-AAC Wen-Chieh Lee Chung-Han Yang Kan-Chun Lee P14-6 Structural Analysis of Low Latency Audio Coding Schemes Ralf Geiger Manfred Lutzky Markus Schnell Markus Schmidt Session P15 POSTERS: SIGNAL PROCESSING P15-1 The Design of Half-Band FIR Filters Using Ripple Attenuation of a Manipulated Lowpass Duane Wise P15-2 Single Channel Source Separation Using Short-Time Independent Component Analysis Dan Barry Derry Fitzgerald Eugene Coyle Bob Lawlor P15-3 A New Class of Smooth Power Complementary Windows and their Application to Audio Signal Processing Deepen Sinha Anibal Ferreira P15-4 Active Leak Compensation in Small-Sized Loudspeakers Using Digital Signal Processing Varun Chopra P15-5 Digital Signal Processing within the Steinberg VST Architecture Roberto Osorio-Goenaga P15-6 Comparison Between Time Delay Based and Nonuniform Phase Based Equalization for Multichannel Loudspeaker-Room Responses Sunil Bharitkar Chris Kyriakakis P15-7 Objective Function for Automatic Multiposition Equalization and Bass Management Filter Selection Sunil Bharitkar Chris Kyriakakis P15-8 Acoustical Monitoring Research for National Parks and Wilderness Areas Rob Maher B. Jerry Gregoire Zhixin Chen Session P16 POSTERS: MISCELLANEOUS -2 P16-1 A Binaural Model to Predict Position and Extension of Spatial Images Created with Standard Sound Recording Techniques Jonas Braasch P16-2 An Unsupervised Adaptive Filtering Approach of 2- to 5-Channel Upmix Yan Li Peter Driessen P16-3 Investigation on the Related Effect Caused by ECM Miniaturization Jun Lee Zonghan Wu Zongbao Hu Tao Zhang P16-4 On Amplitude Panning and Asymmetric Loudspeaker Set-Ups Arno van Leest P16-5 Phantom Audio Sources with Vertically Separated Loudspeakers Shiva Sundaram Chris Kyriakakis P16-6 Difference of the Sound Levels among 15 Japanese Terrestrial and Digital Satellite TV Broadcasting Channels Eiichi Miyasaka Takahiro Kamada P16-7 Electroacoustic Analogy Analysis of Electret Condenser Microphones with Noise-Canceling Effects Fang-Ching Lee Session P17 HI RES & PSYCHOAC., PERCEPT., LISTENING TESTS Chair: Malcolm Hawksford P17-1 Noise Shaping in Time-Domain Quantized LFM Malcolm Hawksford P17-2 Stereo and Multichannel Loudness Perception and Metering Gilbert Soulodre Michel Lavoie P17-3 The Influence of Stereophony on the Restitution of Timbre by Loudspeakers Mathieu Lavandier Benjamin Guyot Sabine Meunier Philippe Herzog P17-4 Audio Processor ICs for Advanced TV Johan Mansson et al. Session P18 MICROPHONES & INTERNET AUDIO Chair: Eddy B. Brixen P18-1 The Native B-Format Microphone: Part 1 Eric Benjamin Thomas Chen P18-2 A Web Search Engine for Sound Effects Stephen V. Rice Stephen M. Bailey P18-3 Alternative Approaches for Recording Surround Sound Colin Preston P18-4 Microphones, High Wind, and Rain Eddy B. Brixen Session P19 PSYCHOACOUSTICS, PERCEPTION, LISTENING TESTS Chair: Bozena Kostek P19-1 Automatic Evaluation of Musical Sound Separation Quality Marek Dziubinski Bozena Kostek P19-2 Internet-Based Automatic Hearing Assessment System Andrzej Czyzewski Bozena Kostek Henryk Skarzynski P19-3 Constructing Individual and Group Timbre Spaces for Sharpness-Matched Distorted Guitar Timbres Atsushi Marui William Martens P19-4 Physiological and Content Considerations for a Second Very Low Frequency Channel for Bass Management, Subwoofers, and LFE Robert (Robin) Miller III P19-5 Individual Vocabulary Profiling of Spatial Enhancement Systems for Stereo Headphone Reproduction Gaëtan Lorho Session P20 SOUND REINFORCEMENT Chair: Wolfgang Ahnert P20-1 Assessing the Suitability of Digital Signal Processing as Applied to Performance Audio such as In-Ear Monitoring Systems Steve Armstrong Keith Gordon Betty Rule P20-2 New Data Format to Describe Complex Sound Sources Stefan Feistel Wolfgang Ahnert Steffen Bock P20-3 The Significance of Phase Data for the Acoustic Prediction of Combinations of Sound Sources Stefan Feistel Wolfgang Ahnert P20-4 Simulation, Auralization, and Their Verification of Acoustic Parameters Using Line Arrays Wolfgang Ahnert Stefan Feistel Workshops Workshop Session W1 Surround Sound: A Chance for Enhanced Creativity Chair Martha de Francisco Panelists George Massenburg Akira Fukada Richard King Bob Ludwig Ronald Prent Everett Porter Workshop Session W2 Switching Amplifiers for High-Resolution Audio Chair Vicki Melchior Panelists Karsten Nielsen John J.H. Oh Lars Risbo Skip Taylor Workshop Session W3 Pre-Fab Acoustics for the Audio Production Environment Chair John Storyk Panelists Russ Berger Chris Bowman Peter D’Antonio Jeff Szymanski Ethan Winer Workshop Session W4 What’s Shakin’? - Auditory Haptic Interaction Chair Wiliam Martens Panelists Bernard D. Adelstein Durand Begault Aleksander Väljamäe Wieslaw Woszczyk Workshop Session W5 New Issues In Audio/Video Synchronization Co-chairs Kimio Hamasaki Stephen Lyman Panelists Stanley J. Chayka Hiroyuki Okubo Junichi Yoshio Workshop Session W6 Measuring Room Acoustics—An Overview of Techniques and Relevance Chair Sam Berkow Panelists David Griesenger TBA Workshop Session W7 Audio Networking Applications and Requirements Chair Kevin Gross Workshop Session W8 Hearing Meaning In Machine Listening Chair Dan Ellis Panelists James Ballas Jan Berg Jens Blauert Ute Jekosch Workshop Session W9 Next Generation Audio Communications Chair Gerald Schuller Panelists Bernd Edler Manfred Lutzki Gregory Pallone Rudolf Rabenstein Sean Ramprashad Redwan Salami Thomas Sporer Workshop Session W10 Performance Issues In Digital Audio Chair Dan Lavry Panelists Robert Adams Richard Cabot David Smith Workshop Session W11 Beyond Clicks, Pops, and Hiss: New Strategies For High Fidelity Restoration Chair Jamie Howarth Panelists Carl Haber Christoph M. Musialik John Newton Patrick Wolfe Workshop Session W12 Automotive Sound Systems Part II: Considerations in Methodology and Sound Quality Attributes for Subjective Evaluations Chair Tim Nind Panelists Søren Beck Kristina Busenitz William Martens Russell Mason Sean Olive Workshop Session W13 Mixing with Personal Stage Monitors: The Whys, the Hows, and How Much Is too Much? Co-chairs Bob Schulien Michael Santucci Rachel Cruz Panelists Mike Adams Brian Bavido Bernie Becker John Bruey Ian Kuhn Mike Pirich Workshop Session W14 Academia Meets the Industry: The Future of Audio and Music Research Co-chairs John Strawn Xavier Amatriain Nicola Bernardini Panelists Karlheinz Brandenburg Peter Eastty Jyri Huopaniemi Morton Lave Rob Maher William L. Martens Karsten Nielsen Broadcast Events Broadcast Event B1 Digital Radio Broadcast Forum Chair David Bialik Panelists Jan Andrews Leonard Kahn Mark Kalman David Layer Mike Lyons Tony Massielo Skip Pizzi David Wilson TBA Broadcast Event B2 Audio for HDTV Chair Andy Butler Panelists Tim Carroll Rocky Graham Alan Kraemer Geir Skaaden Dave Wilson Broadcast Event B3 Surround Sound for Digital Radio Chair Herb Squire Panelists Steve Fluker Frank Foti Stephan Geyersberger Alan Kraemer Steve Lyman Tony Massielo Noel McKenna Mike Pappas Skip Pizzi Geir Skaaden Broadcast Event B4 Designing a Broadcast Facility for 5.1 Co-chairs Mike Pappas Chris Scherer Broadcast Event B5 Designing a Facility for HDTV: The Audio Considerations Co-chairs Ken Hunold David Radin Broadcast Event B6 Mixing a Live Broadcast in Surround Chair Mike Pappas Tutorials Tutorial Session T1 The Acoustics and Psychoacoustics of Loudspeakers in Small Rooms: A Review Presenter Floyd Toole Tutorial Session T2 Audio System Grounding and Interfacing—An Overview Presenter Bill Whitlock Tutorial Session T3 Dynamic Range Compression—A Real World Users Guide Presenter Alex U. Case Tutorial Session T4 Analog Design in a Digital Environment Presenters Dennis Bohn, Rick Jeffs, & Paul Mathews Tutorial Session T5 Designing with Delta-Sigma Converters Presenter Steve Green Tutorial Session T6 DJ Mixing: Are You Ready For The Transition Presenters Richie Hawtin “PlastikMan” Ronald Prent Tutorial Session T7 Chamber Reverb—D.I.Y. : Send Your Snare to the Stairwell, Your Kalimba to the Kitchen, and Your Bassoon to the Bathroom Presenter Alex U. Case Tutorial Session T8 Loudspeaker Basics and Planar-Magnetics Presenter David Clark Tutorial Session T9 Preservation, Archiving, and Restoration: A Look at Practical Application Presenters David Ackerman Peter Alyea Chris Lacinak Tutorial Session T11 Audio Compression Presenter John Strawn Tutorial Session T12 Project Studio Design: Layout, Acoustics, Sound System, Tuning – Part 1 Presenter Anthony Grimani Tutorial Session T13 Audio Ear Training Presenter David Moulton Tutorial Session T14 Distance and Depth Perception Presenters Durand Begault William Martens Tutorial Session T15 Fundamental Knowledge about Microphones Presenter Jörg Wuttke Tutorial Session T16 Psychophysics and Physiology of Hearing Presenter Poppy Crum Tutorial Session T17 Project Studio Design: Layout, Acoustics, Sound System, Tuning—Part 2 Presenter Anthony Grimani Tutorial Session T18 Digital Filters and Filter Design—A Tutorial Presenters James Johnston Bob Adams Jayant Datta Tutorial Session T19 Assembly Language Programming: Street Smarts from OOP Presenter John Strawn Master Classes Master Class M1 Terry Manning: Classic Recording Techniques from Albert King to ZZ Top Master Class M2 Doug Sax: What Happened to Dynamic Range, and Why Master Class M3 Oliver Archut: Vintage Gear Insider Master Class M4 John Klett: The Art of Studio Maintenance Master Class M5 Bob Clearmountain: Mix This Live Sound Seminars Live Sound Event LIVE SOUND SYMPOSIUM: SURROUND LIVE III - Totally Surrounded Chair Frederick J. Ampel Panelists Kurt Graffy Dave Haydon Randy Hoffner Mark Hood Jonathan Lane-Talaskey Riccardo Mazza Mike Pappas Live Sound Event L1 Broadway Designers’ Symposium: The Musical Live Sound Event L2 Wireless Microphones and Performers: Mic Placement and Handling for Multiple Actors Live Sound Event L3 Sound Design for Drama—Soundscape/Soundscore Live Sound Event L4 System Tuning Live Sound Event L5 Wireless Management in Stressful Environments: Broadway/Times Square—Live and Televised Events with Multiple Channels of RF and RF Intercom Live Sound Event L6 Intercom and Large Scale Events—Olympics/Superbowl—Stadiums Live Sound Event L7 Industrial Strength Audio—Corporate Theater and Its Peculiarities Live Sound Event L8 Playback Live Sound Event L9 PA for TV: Mixing for a Live Audience while Satisfying Production Demands Live Sound Event L10 Touring Sound—Live Music in a Different Venue Every Night of the Week for Weeks or Months or Years at a Time Special Events Special Event Session GRAMMY ROUNDTABLE Special Event Session PLATINUM PRODUCERS Moderator Ron Fair Panelists TBA Special Event Session Platinum Engineers—The All-Star Mix Engineers Panel Moderator Jack Joseph Puig Panelists TBA Special Event Session Platinum Road Warriors: Live Sound Moderator Clive Young Special Event Session Platinum Mastering—Award-Winning Mastering Moderator Bob Ludwig Panelists David Glasser Gavin Lurssen Joe Palmaccio Doug Sax Mark Wilder Special Event Session An Afternoon with Ray Dolby Co-moderators Barry Fox Paul Gallo Special Event Session PLATINUM SURROUND Moderator Nathaniel Kunkel Technical Tours Technical Tour AVATAR STUDIOS Technical Tour ARUP ACOUSTICS Technical Tour LATE SHOW WITH DAVID LETTERMAN Technical Tour ELECTRIC LADY RECORDING STUDIOS Technical Tour TRUTONE MASTERING Technical Tour SIRIUS SATELLITE RADIO Technical Tour CHUNG KING STUDIOS Technical Tour MASQUE SOUND Technical Tour FOOD NETWORK Technical Tour JAZZ AT LINCOLN CENTER Historical Events Historical Session Recording Studios Past, Present, Future Moderator Harry Hirsch Panelists Michael Barbiero David Malekpour Robbie Norris John Storyk, Walters Historical Session 70th Anniversary of FM Broadcasting: A look at Major Armstrong’s Contribution to Broadcasting Moderator Scott Fybush Panelists Robert Carter Brecht Henry G. Dietz Steve Hemphill Gilbert R. Houck Mike Katzdorn Renville H. McMann, Jr. Jerry Minter Charles E. Sackermann, Jr. Historical Session History of the Grand Recording Studios of New York City Moderator Elliot Mazer Panelists Brooks Arthur Dick Charles Frank Laico Jeffrey Lesser Jim Reeves Walter Sear Ed Stasium Quote
Clunky Posted September 28, 2005 Report Posted September 28, 2005 here's another great one that'll probably appeal to many Senne Sing Song- Tzadik- Misha Mengelberg Trio- almost his greatest hits only Peer's counting song isn't there, great playing and very good sound. Quote
bertrand Posted September 28, 2005 Report Posted September 28, 2005 Jim, What do you know about the delay for the Miles Cellar Door box? Thanks, Bertrand. Quote
Jim Alfredson Posted September 28, 2005 Report Posted September 28, 2005 Master Class M2 Doug Sax: What Happened to Dynamic Range, and Why This is probably the seminar that I would like to see the most. Quote
AllenLowe Posted September 28, 2005 Report Posted September 28, 2005 maybe it's just me, Jim, but this all gets a bit technical for an industry whose best sounding recordings were 3+ microphone analog setups in the 1950s and 1960s - don't meant to sound like a Luddite, but I still turn back to those sounds and basic techniques- - Quote
jim anderson Posted December 10, 2005 Report Posted December 10, 2005 Bertrand, I've been waiting for the box set, too! We mixed all of that a long time ago. The mixes were from the original analogue 1" 8 track tapes, which were in excellent shape. The masters needed no baking or help of any kind. We mixed all 4 nights of recording at Sony, New York. Airto wasn't there for the first night and McGlaughlin was only there for Saturday ("Live-Evil" release). The guitar takes away the audience track, so the audience is only picked up by the stage microphones. The tracks were: 1-Keith Keyboard 1, 2-Keith Keyboard 2, 3-Gary Bartz, 4-Miles, 5-Bass, 6-Airto, 7-Drums, 8-Audience We did mix in stereo and surround, although I don't think the surround mixes are due to be released anytime soon. The music is phenominal. I lived in DC during the 70's and went to the Cellar Door many, many times. I tried to make sure the ambience of the club was felt. The story that I heard from Adam Holtzman and Bob Belden was that the tapes that were in the library were mislabeled, or forgotten because of the release and success of "Live/Evil". As was the custom, back in the day. artists would have a 7" 7.5 ips session tape to take home for audition. Remember this was long before cassettes started to sound acceptable and an acetate disc would be difficult to arrange. Apparently, Adam found a white 7" box in Miles' library which had, written in pencil, a number that looked like a Columbia work order number. He jotted it down and the next time in the Sony library, put the number in the computer and BINGO! There was a lot of material and we mixed for 2 weeks. The latest release date I've heard is December 27. The Downbeat review from the summer was quite good, but a little premature. It will be an extraordinary release (when it comes out). The band really never sounded better and there's an excitement that's lacking in a lot of music, these days. Best Jim Quote
jazzhound Posted December 12, 2005 Report Posted December 12, 2005 excitement.. thats the word. Quote
jim anderson Posted December 12, 2005 Report Posted December 12, 2005 and that's what it's all about Quote
AllenLowe Posted December 19, 2005 Report Posted December 19, 2005 I'll just keep talking to myself - Quote
AllenLowe Posted December 19, 2005 Report Posted December 19, 2005 why certainly, Allen, you have a very good point there - hey, Allen, what do you think? Quote
AllenLowe Posted December 20, 2005 Report Posted December 20, 2005 well, I could go either way on this - Quote
7/4 Posted December 20, 2005 Report Posted December 20, 2005 well, I could go either way on this - Um, Allen. You have a crumb hanging on your chin. Quote
AllenLowe Posted December 20, 2005 Report Posted December 20, 2005 actually I'm just glad to see you - Quote
jim anderson Posted December 31, 2005 Report Posted December 31, 2005 Allen, The three mic thing is fine, if you have a group that can properly balance themselves and perform without any anticipated performance changes, but it's highly impractical. It's really something that works for classical ensembles. It also implies that you're working in a room that has an accoustic that is worth listening to. I applaud that you're able to work in such a minimalist technique. It's the more difficult way to proceed. JA Quote
Joe G Posted December 31, 2005 Report Posted December 31, 2005 I would think that the difficulties multiply with electric instruments. Quote
Soul Stream Posted December 31, 2005 Report Posted December 31, 2005 (edited) I asked Jim in a PM about Leslie/Organ micing/recording. Here was his reply that he suggested could be put on the board as well.... From Jim Anderson: What I've done for years with organs is to use 2 microphones (omni's ususally - dpa 4007's) on the top at 180º and a condenser on the bottom in the back (sanken cu-41, usually). Dave Greene from Toronto suggested 90º to me and it gets a different sound. Experiment! I also like to take in a DI off the back (before the Leslie) of the organ. The bassline is the most difficult part and, for some players, that's why I take in the DI. You need to make sure that you mix in enough bass pedals in the sound of the organ, if not you'll have a difficult time making a distinct bass line in the mix. (I'm assuming that there's not a bass player in the group) Barbara Dennerlien had a special set of midi pedals that connected to a sampler with a bass sample. That was an interesting solution to the problem. I would also spread the top microphones full left and right, with the bottom mike up the middle. I may have covered some of this in the 'Ask' forum, check around. Also, if you'd like to post this on the forum, please be my guest. Edited January 1, 2006 by Soul Stream Quote
Jim Alfredson Posted December 31, 2005 Report Posted December 31, 2005 Hey Jim, how far away from the Leslie are those top and bottom mics? Quote
jim anderson Posted January 1, 2006 Report Posted January 1, 2006 Jim, The mikes are very close, just a few inches away. Sometimes I've had to use windscreens or popperstoppers to avoid the breeze of the Leslie. JA Quote
jim anderson Posted January 1, 2006 Report Posted January 1, 2006 Joe, That's exactly the problem. Asking a musician with an amplifier to acoustically balance themselves with an ensemble seems to be difficult. Come to think about it, even "Kind of Blue" used 9 microphones: Neumann M49's. JA Quote
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