AES Student Blog

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.

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

I'm originally from Kennesaw (suburb of Atlanta), but I've lived in Nashville for 7 years now and it's my home. I recently graduated from Belmont University with a self oriented focus on score composition and film audio, and formally I graduated with a B.S. degree in Audio Engineering Technology with a minor in Music Business.

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

I've grown up playing and composing on piano since I was 4 years old, though I never really learned to read music past a basic level. My piano teacher, after my stubborness wouldn't cease, fostered ear training and I learned to play fully by ear by the age of 8 or so. From there I learned to play other instruments - guitars, bass, drums, a little trumpet and viola, and I developed an ear for how instruments sound and fit together. Recorded bands throughout high school with a super simple Zoom 16 multitrack and maybe 3 mics. From that point on my perfectionist mind was always fascinated with sound and making things sound better and better. I realized in 2014 that I wasn't meant to record bands all my life (though I still will on the side), but I realized with my passion for audio and composition - and after having an incredible emotional reaction to seeing Interstellar in IMAX - that I had to fight to become a film score composer. Since then, I have trained myself to score films and have been lucky enough to work on over 2 dozen short films and bigger ones are in the works right now! Scoring really is the one things I feel that I can do in this world to impact people and to help creators share their story or to enhance a vision. This is everything to me, it is purpose.

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?

This was my second entry! Last year I won a Bronze for a project under a similar situation, so I was really exciting and relieved to know I not only placed this time as well, but I did better than last year which feels great! So for this project I was hired to both create an original score and fully mix/master and do all the postproduction audio. The film was a successful graduate thesis project for Emerson College M.F.A. student Logan Freeman. I began the project in January of 2017 and completed both the score and the final mix in April of 2017. Upon deciding to submit, I created a 2.1 version and performed a remix to enhance and tighten things. The film, "Fated to Repeat," covers the struggle of an Alabama grunge rock band attempting to recover after losing one of their members in a tragic accident. My submission took place towards the middle of the 20min film and followed Mia, the band's now lead singer, who has gone outside the music venue to find the father of their deceased lead singer, Evan. The clip begins with Evan's father abruptly driving away when he sees Mia, which triggers Mia into a dream state where she recalls her past experiences with Evan and the band.

4) What/who made you join AES?

I went to a local Nashville AES when I was a freshman or sophomore I believe, and I joined our Belmont chapter then. I became the Treasurer for my junior year and then the Chair for my senior year.

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

Two of my fellow Belmont friends who are in the Audio masters program were able to present their research at AES and it was exciting to see that! I loved the seminars on film audio - they will keep me coming back every year for sure. Honestly I also just enjoyed New York as it was my first time being there, and getting to spend it with friends, celebrating the Recording Compeition results was incredible. Also getting to be in the room with SO many incredible engineers and creators is priceless and gives me a boost of energy that I hope will last me until next time!

To listen to Kerrick's project click here:

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

My name is Julián David Rincón Ruiz. I studied at the University of San Buenaventura in Bogotá, Colombia.

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

My passion for audio was born from the need to save the sounds that I generated with my electric guitar, as a result of this, I started reading about audio and I realized the great amount of interesting things that the audio world offered, it was about 13 years ago.

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?

I always try to record musical genres that are not very common. I do this, because I think that each genre has interesting things to contribute and challenges to solve when I record. Some time ago I wanted to record something that had instruments like: charango, violins and flutes. Initially I contacted a friend of mine who makes music for movies but unfortunately he had to move out of town, so I decided to search the internet for some musical groups of genres that had some of these instruments, searching, I found "Tierra Fertil" a group of Andean music and I decided to contact them to record a session in block. We were approximately 2 months adjusting schedules and dates and I was listening to many songs of that genre to study their sonority and thus be able to choose the indicated microphones so that the recording would sound as organic as possible; the day of the recording, we spent about 8 hours in the studio and recorded 4 songs in block. I decided to choose the song "Sol del Sur" because it was the song that most conveyed emotions. I think that although the recording process is very important. Finally in my opinion when we create music we generate emotions.

4) What/who made you join AES?

Last year, by suggestion of a university professor, I decided to join the AES to participate in the student competition of the 141st convention that was to be held in Los Angeles. I signed up with my degree project partner and I participated with the project "Design and construction of a control system for audio editors with integrated communication management" with which we got the gold award. Considering the great support and incentives from the AES, this year I decided to participate in the section of traditional recording in studio.

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

The 143rd convention was incredible because I had the opportunity to meet incredible people and excellent engineers, besides being able to see the latest in audio technology and to visit amazing studios in NY.

To listen to Julián's project click here:

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

I grew up in Istanbul and came to the USA four years ago to pursue my studies. I am a last-year undergraduate student in New York University, double majoring in Music Technology and Computer Science. I am very interested in technology and its applications, especially artificial intelligence. Although music on the other hand is the spirit and soul. Therefor I'm trying to find a healthy balance between the two.

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

My passion for audio came from my passion towards music. At the age of 10 I started to develop my musical taste, until then I would listen to whatever was given. Initially I was very interested in rap, rock and punk, didn't really listened to the electronic music of the time. Not much later I wanted get more involved in music and picked up my first instrument, which was my father's classical guitar. I met most of my closest friends through my interest to make and listen to music. We would spend hours just listening and talking about records. My interest in electronic music began when I discovered the legendary Ghent based group Soulwax. What they did blew my mind because I had no idea how such songs were possible to perform. This curiosity led me to discover other great artists, and sparked my interest in the technology behind all of this.

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?

About two years ago I took a graduate course titled Music for the Web, which introduced the basic concepts behind how audio works on the web. We were supposed to do a final project for this class and I chose to do a very simple application where a user can play and manipulate loops. This was a very primal version of my submission to the AES competition. After spending some thought on the project I realized that with additional features, this can actually turn into a product that others would want to use. The main inspiration behind this project is concerned with how we consume music today. I feel like everything is planned or recorded beforehand, let it be shows or music we listen to. I've been making music for many years now and I rarely record what I play, it's mostly about jamming in the moment. I realized that these jams not always get recorded and not a lot of people get to hear them. What I try to accomplish with this project is to encourage people to take a step away from composing and simply play what they feel at the moment with all its impurity and spontaneity. The project took about a year and a half to get to its current state, with a lot of mistakes made along the way. Even though I work day and night to evolve this project to what I had dreamt of, if it wasn't for other responsibilities I have such as school I'm sure it would not have taken more than a few months to get to this stage. This was my first ever AES convention and my first entry to the competition, I'm glad it became a memorable first experience.

4) What/who made you join AES? 

The associate director of the music technology program, who is also an AES fellow, our lovely Agnieszka Roginska emailed me about the competition encouraging me to apply with my project which I have previously demonstrated in school. I felt like I had to join since it was in New York and I had a well made product under my hands, it was a good opportunity at the right time.

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

My favorite experience was having the chance of showcasing my project to a variety of professionals in the industry from all around the world and hearing their opinions on it. Most of the feedback I received was positive and it certainly motivated me to go further with this project.