AES News

— Held in conjunction with The 2020 NAMM Show, the AES Academy offers four days of career enhancement for the professional audio community —

The Audio Engineering Society has announced that Advance Registration opens today, August 28 for AES Academy 2020. Held in conjunction with The NAMM Show in Anaheim, CA, January 16 – 19, 2020, the AES Academy features presentations that offer a unique opportunity for the pro-audio community to experience the latest production tools and techniques for studio and stage applications. 

“AES Academy events provide audio engineers an opportunity to refresh their skills and learn best practices in expert-led sessions while networking with other professionals at a key time of the year for the industry,” states AES Academy Program Director Mark Frink.

The four-day AES Academy (formerly AES@NAMM) comprises a series of Training Academies and related sessions covering line-array technologies, live-sound mixing consoles, studio and wireless microphones and control room environments, in addition to tutorials on sound system measurement and optimization and other insights into the audio sciences and their application.

AES Academy sessions are held in the NAMM U Education Center on the fourth floor of the Anaheim Hilton on The NAMM Show campus.

Key activities in AES Academy 2020’s comprehensive schedule of training sessions and career enhancement activities include:     

The Measurement & Optimization Academy returns with AFMG’s Bruce Olson and Excelsior’s Charlie Hughes presenting Thursday and Friday morning, Rational Acoustics’ James Anderson and Chris Tsanjouries present Thursday through Saturday afternoons and iSEMcon’s Wolfgang Frank finishes each day with a presentation on measurement microphones. 

In its third year, the Live Console Academy returns with four days of sessions where technical partners Yamaha and Allen & Heath will host a variety of twice daily, half-day hands-on console training workshops. The Line Array Academy also offers four days of workshops in a classroom setting. Bringing the boom is the focus of the newly developed Electronic Dance Music (EDM) Academy on Saturday. Daily live sound Keynote sessions will be held on the AES Academy’s Main Stage: Live.        

On Thursday, Audio Science & Technology sessions present specially curated topics in one-hour sessions. The Control Room Academy will present four two-hour training sessions, both Thursday and Friday, on control room applications of leading technologies. 

On Friday, the In Ear Monitor Academy returns with sessions covering all aspects of IEM fundamentals. As in previous years, Free Hearing Screening and Free Digital IEM Scanning by Ultimate Ears will be available in the AES Academy registration area on the Hilton’s fourth floor. Microphone Academy events on Friday will explore DPA Microphone’s piano, orchestra and choir mic solutions, Townsend Labs’ virtual microphone and Royer Labs’ ribbon mics. On Saturday, the Wireless Academy returns, leading off with a special 2020 spectrum update panel highlighting recent changes to U.S. RF spectrum availability. Saturday also features a special House of Worship focus of console and wireless sessions.

Recording guru and noted author Bobby Owsinski returns by popular demand for a special Main Stage Studio series of Saturday sessions. Also on Saturday, the new Audio Education Academy sessions will offer innovative educational insights to high school and college audio educators. 

All AES Academy sessions are available to current AES members, including students, at a $25 advance registration rate. AES Memberships ($125 for professionals, $50 for students) are available online if you wish to join prior to registering. Non-member Advance Registration is $150 for professionals and $75 for students. Credential pickup will be in the Anaheim Hilton’s fourth-floor AES registration lounge (on-site registration rates will be higher than Advance Registration fees). 

AES Academy registrants can purchase discounted badges to The 2020 NAMM Show exhibits and may additionally purchase tickets to Saturday night’s TEC Awards, in advance or at on-site registration. NAMM Exhibits badges are just $25 for AES Academy attendees before November 1.

Find out more at aesacademy2020.com, and register now to join us in Anaheim.

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— Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality offer new areas of study and innovation for this year’s conference —  

The AES is set to hold its second International Headphone Technology Conference, August 27–29 at the Golden Gate Club, Presidio, San Francisco, CA. The Conference offers three days of presentations, sessions, demonstrations, and more, all dedicated to headphone technology, with a special emphasis on the emerging fields of Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality. 

“We are eager to bring this topic to the international stage, once again, after the overwhelming success of our 2016 Conference in Denmark,” states Conference co-chair Christopher Struck. “As the role, and very definition, of ‘headphones’ continues to evolve, we plan to take a closer look at how new applications, technical designs, and evaluation of headphone technology and its impact can be applied to the headphone, hearing aid and audio delivery industries across the board.”

A highlight of AES Conferences are the guest keynote speakers, of which the Headphone Technology Conference offers six. These include Prof. Michael Vorländer (Aachen University) speaking on “Acoustic Transparency of Earphones and Headphones”; a talk on “HRTF Modeling and Rendering” with Prof. Ramani Duraiswami (University of Maryland); and Prof. Dorte Hammershøi (Aalborg University) with her remarks on “Hearing Damage Risk from Headphone-Based Listening.”

Scientific research papers – now available for preview in the AES E-Library - will also be presented, covering an array of topics including active noise cancellation, signal processing, virtualization, test and measurement, modeling, binaural rendering, and more. Demonstrations of headphone measurement, response simulation and rapid HRTF rendering will be a part of Tuesday’s and Wednesday’s afternoon sessions, in addition to poster presentations and sponsor exhibits. Other highlights include a workshop titled “Measuring 3D Directivity of Microphones and Radiated Sound in Headsets and Hearables" by Robert Werner of Klippel GmbH, and a Workshop/Panel Discussion on "Practical Considerations of Commercially Viable Headphones" with Moderator Michael Klasco (Menlo Scientific, Ltd) leading a discussion with panelists John Patrick Quigley (Eastman Chemical Company), Christopher Struck (CJS-Labs), and Mark Donaldson (SoundChip).

The full technical program, keynote speaker schedule, and more are available online at aes.org/conferences/2019/headphones. 

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— Whether archiving the latest audio formats or preserving historical recordings, the 147th Audio Engineering Society Pro Audio Convention offers insights into the latest technologies and techniques —

From the moment a sound wave is recorded, there are critical actions that can be taken to ensure that that piece of audio will live its fullest life for many years to come – from equipment and session documentation, to proper crediting of those involved and correct handling and storage for the chosen format. The AES New York 2019 Pro Audio Convention, October 16 – 19 at the Jacob Javits Center, will feature four days of dedicated Archiving and Restoration sessions led by top practitioners in the industry.

“In my second year curating this track, I wanted to highlight important but less frequently discussed topics in audio archiving and restoration,” states AES New York Archiving and Restoration Track chair Jessica Thompson. “We talk a lot about magnetic tape and disc preservation, but who is digitizing all of those amazing indie, hip-hop and punk recordings from the 90’s that are locked away on ADATs and DA-88s? How are we developing and evolving best practices in the preservation of multitrack recordings, both on analog formats and in DAWs? And what about all that metadata? I'm excited to hear from a diverse group of contributors from institutions such as the Library of Congress, NYPL, Iron Mountain, Pandora, and Harvard, as well as independent practitioners who are in the trenches doing this crucial work to preserve our audio heritage.”

Highlights of AES New York Archiving and Restoration sessions include:

“Preserving Hip-Hop” – Sommer McCoy of Mixtape Museum / Brooklyn Academy of Music has assembled a solid crew of DJs, preservationists, and historians to discuss the nuances of preserving Hip-Hop music. Panelists Manny Faces, Syreeta Gates, and DJ Rich Nice will talk about the difficulty of finding and maintaining the technological tools required to preserve beats, samples, and mixtapes, as well as answer questions around who controls the narrative of these musical artifacts, and the benefits of academic vs. community-driven preservation projects.

“Restoring Hank Williams” – in this session, Jett Williams will share newly transferred and restored transcription disc recordings made by her father, Hank Williams, for the Health & Happiness and Mother's Best radio shows. Producer Cheryl Pawelski, mastering engineer and restoration specialist Michael Graves, and Hank Williams Estate representative Kelly Zumwalt will be on board to discuss the curatorial and technical process of preserving these historic recordings.

“Archiving the 90s!” – Audio preservation is often focused on the earliest recordings made on disc or magnetic tape. But what about recordings made on DA-88s and ADATs? Jason Bitner, Eddie Ciletti, David Ackerman, Catherine Vericolli and Kelly Pribble will tackle the specific technical challenges of Archiving the 90s!

Other Archiving and Preservation sessions being held at AES New York include presentations such as “You Mean You Wanted Those Tracks??: The Challenges of Preserving Multitrack Recordings,” “Metadata from Creation to Consumption to Preservation,” “Preserve This Podcast,” and “Finding Funding: How To Connect Archival Audio Collections and Funders.”

AES New York All Access registration is the ticket to everything the largest dedicated pro audio event and exhibition of the year has to offer, including all Archiving and Restoration sessions – four full days of the best in pro audio education, gear, networking opportunities, and much more. 

Advance Registration prices and options are still available, as well as select housing options through AES partner hotels. Find out more and register now at aesshow.com.

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— AES Fellow and former Society president takes the stage of the lauded lecture series to share insights from his vast experience in research and development of cutting-edge industry technologies —

The Audio Engineering Society has announced that Louis D. Fielder, a leading researcher in the fields of psychoacoustics and audio coding, will deliver the Heyser Memorial Lecture at the upcoming AES New York Convention on Thursday, October 17 at 6:30 pm. Offering insights from decades of industry research and development, Fielder will deliver the lecture titled “Psychoacoustics Applied to Dynamic-Range and Nonlinear-Distortion Assessment” as part of the Special Events series taking place during the AES New York Convention, October 16 – 19. 

“The psychoacoustics of noise detection, measurements of noise in the digital-audio recording / storage / reproduction chain, and measurements of peak-acoustic pressures in music performances are combined to determine the requirements for noise-free reproduction of music,” begins Fielder’s abstract for the lecture. “It is found that the required ratio between the maximum reproduction levels and the perceived audibility of noise can be as much as 124 decibels. When more practical circumstances are considered, this requirement is shown to drop to more feasible values.” The lecture will continue by examining how auditory masking allows for the assessment of nonlinear distortions in digital-audio conversion systems operating at low-signal levels, along with examples of digital-audio conversion systems. Fielder’s lecture will conclude with a discussion of expanded use of masking and present a model for determining non-linear distortions in headphones and low-frequency loudspeakers.

“Louis Fielder’s expertise and experience exemplify the stature of Heyser Lecture presenters,” shares AES Technical Council Chair Steve Hutt. “As we celebrate the 20th year of the Heyser Lecture series, we are delighted to bring Louis to the stage to share his unique insights.”

Fielder’s industry experience began in 1976 as an electronic component designer for custom sound reinforcement systems at Paul Veneklasen and Associates. In 1978, he became involved in digital-audio and magnetic recording research at the Ampex Corporation. His interest in applying psychoacoustics to the design and analysis of digital-audio conversion systems soon led to other career opportunities, including his work at Dolby Laboratories (1984 – 2018) on the application of psychoacoustics to the development of audio systems and the development of a number of bit-rate reduction audio coders for music distribution, transmission, and storage applications including AC-1, AC-2, AC-3, Enhanced AC-3, AAC, and Dolby E. Additionally, Fielder managed the Sound Technology Research Department at Dolby Laboratories in San Francisco (2005 – 2009) and has led further research into perceptually derived limits for the performance for digital audio conversion, low-frequency loudspeaker systems, distortion limits for loudspeakers/headphones, loudspeaker-room equalization, and headphone virtualization. Other industry involvement and recognition include his status as a life Fellow of the AES, a recipient of the AES Silver Medal Award, a senior life member of the IEEE, a life member of the SMPTE, and an emeritus member of the Acoustical Society of America. Fielder served on the AES Board of Governors (1990–1992), as AES President (1994 – 1995) and as AES Treasurer (2005 – 2009).

The Richard C. Heyser Memorial Lecture series, hosted by the AES Technical Council at each convention, honors the extensive contributions to the Society made by Heyser, who was widely known for his ability to communicate new and complex technical ideas with great clarity and patience.

Visit aesshow.com to find out how you can attend the AES New York Convention’s Heyser Memorial Lecture, as part of the Convention’s four full days of pro audio events, exhibition and networking opportunities with audio engineers from around the world.  

Event Link: http://www.aes.org/events/147/specialevents/?ID=6819

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The Educational Foundation of the Audio Engineering Society is pleased to announce the recipients of the 2019 AES Educational Grants for Graduate Studies in Audio Engineering. The announcement was made by Don Puluse, President of the AES Educational Foundation (AESEF), on behalf of the foundation’s Board of Directors. The 2019 grant awards are as follows: 

Audio Precision’s Advancing Audio – Tom Kite Scholarship is awarded to Claire Wenner, a student at the University of Rochester, working towards an MS in electrical and computer engineering. Her BS is in audio and music engineering. She is Vice President of the UR student AES. Claire has created a new type of FM synthesizer featuring intuitive analog control. 

The Dolby Institute Scholar is Peng Huang, who earns an MA in audio sciences at Peabody Institute of Johns Hopkins University. He also has a BA from Peabody. After completing an undergraduate in China, Peng served as a freelance engineer and won six CSMPTE Sound Academy Awards. He has a keen interest in audio science. 

The Genelec Ilpo Martikainen Audio Visionary Scholar is Christian Steinmetz, who will earn an MS in music computing from Universitat Pompeu Fabra, Barcelona. He holds a BS in EE and BA in audio technology from Clemson University. Christian was the first recipient of the AES Educational Foundation Mary Lea Simpson Memorial Scholarship in 2018. He has a research interest in audio signal processing and machine learning with a focus on intelligent music production systems that aid audio engineers.  

Our 2019 L-Acoustics Dr. Christian Heil Scholar is Ben Creelman. He is pursuing an MM in sound recording from McGill University. Ben is a former recipient of the AES Educational Foundation John Eargle Award. His interests include film sound and visual media. He has also built a mix interface responsive to listener’s behavior. 

The first PMC Sound for the Future AES Scholarship recipient is Dora Filipovic. She is a PhD candidate in Digital Media Arts at the University of Surrey. Her previous degrees are from the University of Arts in Belgrade, Serbia. Her documentary, Glances of Closed Eyes, examines sound and its impact on socialization through the experience of individuals who are blind or otherwise visually impaired. Dora’s continuation of her research in this field uses three dimensional sound in virtual reality to enable discovery of new theories about auditory perception.

Marta Gospodarek is the John Eargle Scholar for 2019. She will earn a PhD in music technology and performing arts at NYU Steinhardt School. Her master’s degree in sound engineering is from The Fryderyk Chopin University of Music in Warsaw. Marta earned a Gold Award in an AES Convention student recording competition and is the author of two AES papers. 

Ibrahim Onafeko is the Larry Estrin Scholar. He is pursuing an MA in Audio Technology from American University and has a BS is from Howard University. Ibrahim has experience in radio and podcast production, including working for Sirius FM Radio. 

Kathleen Zhang is named the Bruce Swedien “Music First” Scholar. She is working towards a PhD in sound recording at McGill University and has an MM and BM in music technology from NYU. Kathleen has also studied at IRCAM. She is founding member and current co-president of the NYU Recording Engineer and Producer Group. 

The Emil Torick Scholar for 2019 is Bartlomiej Chojnacki, a PhD candidate in acoustics from AGH University of Science and Technology, Krakow. Chair of the International AES SDA and author of over 20 scientific papers, several in the AES E-Library, Bartlomiej also won the Silver award in AES Convention Student Design Competitions in 2016 and 2017. 

Andrea Genovese receives a renewal grant for his PhD in music and performing arts from NYU’s Steinhardt School. He holds a degree in electronic engineering with music technology systems from York University, UK, as well as a MEng degree from York University. Andrea has published six AES papers.

The Foundation accepts Jacob Hollebon’s grant renewal request. Jacob is receiving his PhD in virtual acoustics at the University of Southampton, UK. His BS in physics is from the University of Warwick, and his MS from the University of South Hampton. 

Claudia Nader Jaime is studying at the University of York, earning a PhD from the department of Theatre, Film, TV and Interactive Media. Her previous studies were at Academia de Musica Fermatta and the University of York. 

Yuanwu Jiang is pursuing a PhD in mechanical engineering at the Pusan National University in Korea, and has a master’s degree from the University of Shanghai and Pusan for Science and Technology.

Dan Johnston studies at York University towards a PhD in music technology. His previous study was at the University of York and South Downs College, Portsmouth, Hampshire.

Julian Neri is at McGill University, studying for a PhD in music technology. His BS is in engineering mechanics and astronautics from the University of Wisconsin, and his MA is from McGill.

Ryan Miller attends Belmont University, working on an MS in audio engineering technology. His BS EE is from the University of Wisconsin. 

Cristina Ochoa pursues an MS in Acoustics from Penn State University. She is a graduate of the Colorado School of Mines and has an MFA from Middle Tennessee State University. 

Hyunjoung Yang, with a BA from Dong-Ah Institute of Media and Arts (DIMA), attends McGill University, pursuing an MM in sound recording.  

The AES Educational Foundation was established in 1984 to encourage talented students to enter the profession of audio engineering. Grants for graduate studies with emphasis on audio topics are awarded annually. Recipients are selected on the basis of demonstrated talent, achievements, goals and recommendations. 

The AES Educational Foundation is affiliated with the Audio Engineering Society. Grants have been made possible by contributions from the estate of John K. Hilliard, Audio Precision, Dolby, Genelec, HARMAN International Industries Inc., JBL Inc., L-Acoustics, PMC, the Mix Foundation for Excellence in Audio, the families of John Eargle, David Smith, Mary Lea Simpson, Emil Torick and the family and friends of Bruce Swedien, Don and Fran Pearson and Larry Estrin. 

The Foundation also receives support from other benefactors such as in-memoriam donors, and individuals and companies that support education in audio. Application forms and additional information are available from the Audio Engineering Society, 551 Fifth Ave., Suite 1225, New York, NY 10176, USA, or on its web site: www.aes.org/education/foundation/.

Preliminary program details for the upcoming Audio Engineering Society International Conference on Automotive Audio – including a detailed program schedule, keynote speakers, online registration, and more – are now online. Taking place September 11 – 13 at the Audi Driving Experience Center in Neuburg an der Donau (Bavaria), Germany, this year’s conference builds on the overwhelming success of its predecessors by gathering the leading global authorities in Automotive Audio for three days of in-depth examination of the latest trends, challenges and solutions in the field, plus exhibitions and demos showcasing the latest automotive audio technologies.

The Conference is chaired by Alfred Svobodnik, who leads the AES Automotive Audio Technical Committee. “This year’s program for the AES International Conference on Automotive Audio is set to cover all facets of creating outstanding sound in vehicles and to give our attendees first-hand knowledge and experience in what today’s systems are capable of achieving,” states Svobodnik. “Whether taking a look at new perspectives in the challenges of creating quality automotive sound, or offering new techniques in product development, or solving the challenges of designing the sound of electric vehicles, this conference is an essential event for automotive audio professionals who want to stay ahead of the pack.”

Daily keynote presentations will highlight key areas of interest, beginning with Wednesday’s keynote featuring Ivo Muth, Vice President User Experience/User Interface for Audi, on the topic “The Holistic User Experience.” “Audio Engineering in Today’s Automotive Industry: from Technical Performance to Sound Quality” is the topic of Thursday’s keynote, presented by Laurent Gagliadrini, DQI/DAPF/NVH (PSA Peugeot Citroën), and Thursday’s keynote, given by Dr.-Ing. Bernhard Grill, Director with focus on Audio and Media Technologies (Fraunhofer IIS), will expound on “Immersive Audio listening experience in Cars – the Future of Music.”

The conference will also present opportunities for attendees to get up to date on the latest in scientific research in automotive audio and related fields through technical papers, tutorials, workshops, and panel discussions being presented throughout the three days. Additionally, attendees will have an exciting opportunity take a critical listen to the Sound Demos on the road.

Online registration is currently available, which includes a lunch and coffee break on all three days, and shuttle service from “Enso hotel” in Ingolstadt and “Parkhotel” in Gaimersheim to the Audi Driving Experience Center. More information available at aes.org/conferences/2019/automotive. 

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 — As audio product development surges forward at a breakneck pace, the 147th Audio Engineering Society International Convention is the premier destination for audio product developers to enhance their trade —

Each year the Product Development Track presents four days of themed Workshops during the AES Convention. Building on last year’s theme “Make Audio Matter,” the 2019 Product Development Track is built on the theme “The New Era of Product Development.” The Track’s sessions will dive into next-generation methodologies, practices and technologies involved in developing and bringing products to market. The Product Design sessions are open to AES New York Convention All Access badge-holders and will take place at the Jacob Javits Center in New York City, October 16 – October 19.

“In the past we have focused on what makes great products, and it has been highly energized by our audiences,” said Scott Leslie, AES New York Product Development Track chair. “This year we are looking at where product development is headed and how it applies to the audio products business.”

One highlight of this year’s Product Development Track will be the Virtual Development Day on “Super Friday.” Presentations diving into virtual development practices and technologies begin with “Product Management Modeling,” a session hosted by Leslie which will examine what product managers can do to pre-engineer products to speed time to market, increase market success and lower development risk. Additional Virtual Development Day sessions include “Simulation Drives a New Era" with Alfred Svobodnik and the workshop “HW Development in Sprints,” where presenter Remi Vaucher will show how to apply the practices of software development to hardware development.

“As we expand our audience, we have also grown the Product Development Track sessions to cover a wider area of product categories. This year we have more sessions on automotive audio than we’ve ever done before, including workshops such as ‘Correcting Vehicle Audio’ and ‘Automotive Audio: A Systems Approach.’ Many of the other sessions also address the needs of the automotive audio product developer,” Leslie continues.

The 2019 Product Development Track is launching a new initiative to augment attendee experiences by following up select Product Development track workshops with complementary exhibitor-led sessions in a demo room or at a manufacturer’s Exhibit Floor booth. “For the first time we will expand the learning experience by directly connecting workshops with relevant product development sessions presented by key exhibitors,” says Leslie. “This is part of a continuous evolution of enrichment of our attendees’ experience, making AES New York the number-one destination for product developers to learn and congregate.” Exhibitors Analog Devices, Audio Precision and Menlo Scientific are currently slated to participate.

Additional AES New York 2019 Product Development Track events will also include the sessions “Can DSP fix a bad loudspeaker?,” “The Predictable Horn,” “Directivity Optimization of a Passive Speaker,” and a legal session on topics such as IP, licensing, and patents.

The Product Development Track events are only available with All Access registration to AES New York 2019 – All Access registration is the ticket to everything the Convention has to offer. Advance online registration is available at aesshow.com, saving time at onsite registration and money. AES Members, including student members, enjoy substantial discounts on All Access registration. Registration at any level for AES New York 2019 includes access to the NAB Show New York exhibition. AES New York 2019 Exhibits-Plus registration is complimentary for AES Members and, for a limited time, those using the VIP code “AES19NOW” at checkout. Come to AES New York’s Product Development Track and engage in “The New Era of Product Development.”

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— From sound system design to optimization, Sound Reinforcement Track events offer practical ideas and solutions for getting the best possible sound for a live event —

Whether perfecting your sound for a one-off event or setting the stage for an international touring act, the Sound Reinforcement Track sessions at the AES New York 147th Audio Engineering Society International Pro Audio Convention, October 16 – 19 at the Javits Center, offer insights for sound professionals of today and tomorrow. In addition to the exclusive presentations offered with All Access registration, attendees will also have the opportunity to learn and network with peers and professionals at dedicated Inspiration Stage events and through exhibition showcases and demonstrations.

“This year, we have once again gathered top industry experts and manufacturers at the pinnacle of live event production and sound reinforcement to share their hard-won knowledge,” states AES New York Sound Reinforcement chair Henry Cohen. “From foundations of systems design, to the latest in the science and technology of audio perception, the AES New York Sound Reinforcement events offer unprecedented access to the latest from the industry’s top researchers and gear designers, as well as the engineers that exemplify best practices in the craft of sound reinforcement.”

This AES New York Sound Reinforcement Track’s varied and informative series of educational opportunities includes sessions revealing crucial details of sound reinforcement implementation such as “Seven Steps to a Successful Sound System Design” and further ideas and techniques in “A Cookbook Approach to Sound System Optimization with Bob McCarthy.”

Delving further into system specifics, the multi-part RF Super Session will host a discussion of RF spectrum and regulatory changes, an update on the latest compliant equipment, and best and advanced RF practices including filtering techniques and RF over fiber. Another Super Session, “AC Power, Grounding and Shielding,” will cover theory and practice of AC power for small to large sound systems, including multiple transformers and company switches, service types, generator sets, single- to three-phase mains, AC source voltages and more, while mitigating hum and buzz noise problems.

Perception of live audio by the audience, engineers and performers is also of top importance for proper sound reinforcement. The tutorial “Psychoacoustics for Sound Engineers” will present topics including how we integrate and perceive sounds, perception of frequency and frequency balance, audible effects of latency, IEMs and sound / video synchronization, and more. For the larger captive audience, including inadvertent audiences, sound exposure and noise pollution due to outdoor entertainment events are addressed in the session “Your Noise Isn’t My Noise: improving Sound Exposure and Noise Pollution Management at Outdoor Events.”

Additional AES New York Sound Reinforcement events will include dedicated Broadway production sessions, along with other tutorials, workshops, scientific paper presentations and more.

All Access registration is the ticket to everything the largest dedicated pro audio event and exhibition of the year has to offer, including all Sound Reinforcement Track sessions – four full days of the best in pro audio education, gear, networking opportunities, and much more. 

Advance Registration prices and options are still available, as well as select housing options through AES partner hotels. Find out more and register now at aesshow.com.

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