AES Student Blog

PSPaudioware develops high quality audio effect and processor plug-ins. Their products garner rave reviews and endorsements from every corner of the music production, engineering, composition, and post-production worlds and become staples in professional and home studios worldwide. www.PSPaudioware.com

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Native Instruments are once again sponsoring the Student Design and Recording Competitions at the upcoming Convention.

Native Instruments is a leading manufacturer of software and hardware for computer-based audio production and DJing. The company's mission is to develop innovative, fully-integrated solutions for all musical styles and professions. The resulting products regularly push technological boundaries and open up new creative horizons for professionals and amateurs alike.

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The MATLAB and Simulink product families are fundamental applied math and computational tools adopted by more than 5000 universities and colleges. MathWorks products help prepare students for careers in industry, where the tools are widely used for data analysis, mathematical modeling, and algorithm development in collaborative research and new product development.

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Linear Audio publishes technical articles about technology, developments and the state of the art in audio and perception from a technical perspective. 

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Interfacio provides a unique, global and specialist recruitment service within the Audio, Music, Broadcast and Film technology sectors. We identify and introduce suitably qualified and experienced commercial, technical and management personnel to our clients. Our specialized recruitment, search and selection service addresses the difficulties of recruiting for roles which need a very specific skill set and technical background. We have many years of working within the Professional-Audio industry and so we know and understand the space and have an established network of connections. We are committed to working closely and honestly with both candidates and clients, and as such, candidate fit and the long term success of our placements are our ultimate goals.

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Crane Song is the the company of designer and engineer Dave Hill who crafts hardware and software with an exceptional attention to detail. Dave Hill's intimate knowledge of analog electronics, as well as decades of experience as a recording engineer have spawned a large range of very useful and musical products that deliver top-of-the-line quality throughout.

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Many thanks to APS - Audio Pro Solutions for sponsoring the student recording competition!

APS - Audio Pro Solutions 

Manufacturer of professional monitors and High End Home speakers. APS was born from an encounter between a composer and sound engineer/producer, brilliant speaker designers and a group of highly motivated audiophiles and music lovers.

APS was established in 2006 as a project devoted to studio sound production technique. As we use professional project and measurement tools, we have total control over the final effect at each stage of the product creation. Ready-made projects are implemented into production with maximum attention paid to the quality of the final product. Our present offer includes active studio monitors.

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We’re looking for our next Vice Chair of Europe/International, at AES 144!

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1) Tell us a little about yourself. Where are you from and what do you study?

My name is Philipp Reif, I am Tonmeister student from Berlin University of the Arts in Berlin, Germany, with focus on classical music production. In context of my studies I have the chance to deepen my musical skills with the help of well known musicians like Mi-Joo Lee (piano) and Christiane Hellmann (flute).

2) What initiated your passion for audio? When did it start?

The first idea initiating my passion for audio production started pretty late, at the age of about thirteen, when I listened to the fascinating Live Recording of Keith Jarretts’ “The Köln Concert” published by ECM. Being a young, motivated pianist I was so thankful somebody recorded such a stunning Live Improvisation to keep it for posterity. So I started doing recordings with classical musicians and Pop/Rock-Bands and fell in love with working as a producer/sound engineer pretty soon after my first steps in Audio production.

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

The story about my first submission to the AES competition: I wanted to do a recording for some “experimental purposes” in the context of my studies and asked my great fellows Tobias Feldmann and Boris Kusnezow, who are outstanding and sensitive musicians. As they both were about to play some concerts around Europe with among others Brahms’ Violin Sonata, we decided to record the first and last movement of the famous d-minor Violin Sonata Op. 108. Unfortunately, we could only work on the first and last movement, because of a time limit of three hours for the production. I did several rounds on editing the recording becoming more and more detailed. I especially spent much time making my mind about the final mix. In my recordings I generally try to create an impression of being a direct part of the musical performance weather it is orchestral music or chamber music. I hope I could achieve my goal.

4) What/who made you join AES?

Colleagues and friends, who recommended me joining the AES due to the possibility getting access to a wide range of knowledge and papers about professional audio. Furthermore, in aspect of connecting to colleagues all over the world the AES gives us a great chance for exchange.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

The favourite experience was meeting my colleagues from all over the world at such a unique place like NYC is.

1) Tell us a little about yourself. Where are you from and what do you study?

I was born and raised near Tulsa, Oklahoma. I moved to Boston to attend Berklee College of Music and join their Music Production and Engineering major. It had been my dream to attend Berklee since I was 13 and getting to be a part of such a musically rich culture was more than a dream-come-true.

I’ve been so lucky to study under some of the most talented audio engineers in the industry and learn from them first-hand. Having my engineering projects graded by Susan Rogers is nerve-wracking, to say the least, but it lead me to set strong foundations as an audio engineer.

At Berklee I was able to work on dozens of different projects, ranging from folky string quartets to 12 piece funk bands. Being around such incredible musicians who are so dedicated to their art meant I was never at a loss when looking for new material to record. 

Now I’m a freelancer in Boston. I work for Berklee’s Internet Radio Station (The BIRN) and assist engineers and studios around the city, such as Dan Cantor at Notable Productions and Robin Moore at WGBH. Since I graduated I’ve found that the learning never really stops and I’m eager to work hands-on with seasoned professionals in the audio industry!

2) What initiated your passion for audio? When did it start?

My father is a music enthusiast and his library spanned decades, from jazz to early rock and roll to 80s disco, he loved collecting music. We would have contests on who could find the coolest new artist on the charts. I spent my childhood making playlists with him on CDs and sharing them with our family and friends. Every activity was embellished by the smooth tones of Motown or folk hits of the 70s.

I started writing music at a very young age and was always eager to share my songs. My parents bought me a guitar, I taught myself how to accompany my voice and by the time I was 13 my mother had me in the studio working through my songs with producer Jung Song from Tulsa. During this time, I became fascinated with recording. I found myself envious of the job behind the glass and asked a million questions to gain insight on exactly what the job of “engineer” and “producer” entailed.

I was lucky enough to attend a program at a local technical college during high school for music production. It was there that I finally got my hands on a microphone, learned how to mic a drum set and got certified in ProTools. This lead to my acceptance into Berklee and my journey through the Music Production and Engineering major there.I don’t think I could ever give up the feeling of anticipation when walking into a studio before set-up and preparing for music to be created. I’ve never felt more at home than when I’m behind that glass. I am honored to be an active part in bringing artist’s music to “tape” and enabling them to share it with the world. 

3) Tell us about production of your submission? What is the story behind it? What inspired it? How long did you work on it? Was it your first entry?

Brandon Hassan is not only one of my favorite clients, but a dear friend of mine. His music is volatile and passionate and working with him in the studio never fails to excite. I submitted to two categories at AES, Traditional and Modern studio recording, with two of my productions with Brandon. Both productions probably accumulated 40+ hours each if you include every recording session and mix sessions. Because Berklee only give 2-hour studio slots, everything had to be pieced together bit-by-bit. The songs are a part of Brandon’s band SHAH, who are all incredibly talented and enjoyable people. It was a blast!

These were my first entries into the AES competition and they both won awards! It was my last shot for submitting my work before I graduated and I’m super thankful that I did.

4) What/who made you join AES?

My second year at Berklee I went to an AES convention in New York. Dan Cantor at Notable, who also was a professor of mine, convinced me to go. I was completely enamored the whole weekend with the gear, the talks, and the people I met! Everyone is so kind and it’s so fun to be in a huge group of people who are all there for the same reason: to nerd out over audio. AES has always been a no-brainer. I want to be a part of the audio engineering community and joining was the first logical step.

5) Tell us about your favourite experiences at the 143st AES convention in NY!

Well, seeing Andrew Scheps mix Iggy Pop was incredible, along with all the other great minds at the Mix With the Masters booth. It’s cool to hear the pros talking about the mindset to have during the process, as opposed to worrying about technical stuff (which you can always learn). There was such a wide range of experience there. Getting to talk with professionals at booths and get ideas for the steps I should take in my career in the future was an invaluable experience.