Tell us a little bit about yourself. Where are you from? Where and what do you study? What audio field are you in? What initiated your passion for audio? When did it start?
I am a student of Advanced School Of Electrical Engineering from Belgrade, Serbia. I freelance as a film composer, sound designer and music editor. My dad initiated my passion for audio, because he always allowed me to mess around his gramophone and cassette deck, so since I was two years old, I already knew how to change the record and wind the cassette tape by myself.
Are you a musician yourself? What instruments do you play and in what musical context?
Yes I am. I play guitars, bass, everything with a keyboard, and some percussion. When people ask me what instruments do I play, I usually say that I play everything, but not in the right way, because I am a sound designer, so I always look for an interesting way to get a sound out of an instrument. Sometimes I play guitars with drumsticks, or piano with a bow etc…
Tell us about the production of your submission. What is the story behind it? What was it inspired by? How long did you work on it? Was it your first entry?
This was my 4th entry actually. I started competing in 2012 and I was the finalist every time I applied for the competition, which is 4 times in a row for the last two years. This competition entry was a sort of promotion for an animation studio where I work as a composer and sound designer. We are trying to do an animated “Phantom Of The Opera” feature, so the teaser trailer was the perfect way to promote the idea ,and AES in LA and Kickstarter were perfect places where to promote it. All in all, I spent maybe two weeks working on it. One week for music production, and a week for sound design, editing and mixing.
What was your most significant/funny/inspiring experience as an audio engineer?
My most interesting experience was the fighter jet and live weapons test on a military airfield in Belgrade, and they allowed me to record some sounds for my Rome 2013 entry. The funniest one was recording sounds of tigers and monkeys at Belgrade Zoo for my Budapest 2012 entry. The scariest one was recording the graveyard atmosphere after midnight with two police officers guarding me. That was for this competition entry.
Accidents happen: What was your biggest mistake in a production and what did you do to redeem the situation?
Destructive recording in Pro Tools was an interesting thing to do… I kept recording multiple takes for editing, and after I realized the destructive recording option was turned on, so I lost all other previous recordings. There was no way to redeem the situation., just do it all over again with destructive recording turned off.
What’s your advice for engineers who are just starting out?
Be original and creative. That’s the most important thing. It’s good to have role models, but it’s not okay to steal other people’s ideas.
Tech talk: What are your favourite pieces of equipment (microphones, outboard, plugins), and why?
Ooooh that’s like being a kid in a toy store. You can’t pick just one! ?
Okay, outboard gear that I’ll have to pick is a TC Electronic Reverb 4000. Favorite mic is still AKG 414, because it’s just perfect for everything in the studio. For the field recordings it’s Rode NTG5 mic. When it comes to plugins, it’s iZotope Trash 2, Slate Digital VBC, Fab Filter ProQ 2, and SoundToys Echo Boy. I jus don’t work without those.
Can you name one or multiple of your favourite recordings or productions and tell us why you like them/what you like about them?
Hmmmm… Tough one… I’ll say that best film score mixes that I’ve heard so far come from mixing engineer Alan Meyerson who works with composer Hans Zimmer. The two of them are jus a perfect match. Just listen to “Dark Knight” trilogy. When it comes to film sound, anything done by Greg Russell is my favorite. “Transformers” and “Salt”… Perfect.
What do you like about the AES? How does it help you to become a better and more successful audio engineer?
I think the easier answer is what I don’t like about AES haha! ? I don’t like the fact that conventions are only twice a year, I NEED MORE!!!! ? But seriously, what I love about AES it that the society gives me an opportunity to advance my skills and learn new stuff with each convention that I attend. Also, meeting new people and collaborating with some of them is quite a plus for me, being from South-Eastern Europe. The very fact that such a society exists is an awesome thing. I can honestly say that my “career” went up sky high since I joined the AES.
Tell us about your favourite experiences at the 137th AES Convention in Los Angeles!
There was a lot great stuff happening in LA for me. Meeting my heroes Tom Salta and Martin O’Donnell, whose music has a very strong influence on me, was a tremendous moment of joy for me. ? Walking around the exhibitors area together with Mandy Parnell and checking out the new gear, also on the first day of the convention I met EDDIE KRAMER quite accidentally! ? He came over to me to as for directions, so I took him to the hall where his lecture was, and we chatted on the way there. Super cool guy.
What is your favourite frequency?
Favorite frequency eh? Hmmmm…. 80Hz of low Taiko drum rumble and 1500Hz of French Horns.
What do you do when you’re not in the studio or doing anything music related?
I usually read or play video games. Visit the Belgrade Philharmonic or the movie theater. I ma not much of an outdoorsman.
Where do you see yourself in 10 years?
Somewhere in the Hollywood or AAA Games industry doing music or sound design.
Could you provide us with some closing comments?
Uuuuum… TA DAAAAAAAAAH!!! :D
http://www.soundcloud.com/oaramusic
Posted: Monday, December 1, 2014
Tell us a little bit about yourself. Where are you from? Where and what do you study? What audio field are you in? What initiated your passion for audio? When did it start?
I am from Rome, Italy, but I currently reside in Boston, where I am studying Music Production and Engineering at Berklee College Of Music. My passion for audio goes back to a small fisher price cassette recorder with a toy microphone, just a game as a young kid. Then around 14 years old, at Christmas time, we recorded a family version of U2’s “With Or Without You” on my cousin Fostex recorder; I played bass on that, but the machine captured my attention in a important way!
Are you a musician yourself? What instruments do you play and in what musical context?
I am a bass player and I like playing reggae, funk and other groove-oriented music.
Tell us about the production of your submission. What is the story behind it? What was it inspired by? How long did you work on it? Was it your first entry?
Last year at the NYC convention is when I first learnt about the recording competition, and when I found out that nobody from my college had submitted an entry, I thought it was wrong and I put myself into making that happen.
My production started last may in Boston, and exactly the last day I was in town before going back home for the summer! My friend and saxophonist Axel Hachadi asked me to engineer his record and I was suddenly captured by his talent and the outstanding musicianship of the band. We did a 6hours session that day, and right after the last take, I wrapped up and ran to the airport!
I then worked on the mix in between my summer travels, working in the box and on headphones. Finally, coming back to Boston in September I’ve had the chance to sit down in my workstation at home, and I refined the final version and did the edits.
What was your most significant/funny/inspiring experience as an audio engineer?
The most significant experience for me as an audio engineer happened this past summer: with a Tascam Dr-680 and four microphones I took and adventure to Ghana, in West Africa, and recorded traditional folkloric music in a field recording setting. I am still processing all the experiences that came from this trip and the joy of working with those incredibly talented people who connect music with their own lives in a much stronger way than in our occidental society.
Accidents happen: What was your biggest mistake in a production and what did you do to redeem the situation?
I fell in love with the singer I was working with. (Old story, I guess). So I had to tell myself to focus on the work first, and in the most professional way. We finished the song, and of course the love story didn’t work out! (Old story too).
What’s your advice for engineers who are just starting out?
I am starting out myself, so I don’t know that I can give advices to anybody. I think that establishing a trusted and human relationship with whomever you are working with is important, and always putting the music in first place, and not let the engineering be in the way. These are my main point of focus.
Tech talk: What are your favourite pieces of equipment (microphones, outboard, plugins), and why?
I know this might be controversial, but I am a huge fan of dynamic microphones. The Shure SM7b and EV Re20 are on the first place of my black Friday list.
As far as outboard gear, this is where I dream expensive: the TLA-100 chained to the Pulteg EQP-1A in their various combination, is my favorite chain for Bass, Electric Guitar Vocal, horns and just about everything, if I had enough of them ?
Can you name one or multiple of your favourite recordings or productions and tell us why you like them/what you like about them?
I’ll name five, but not in any particular order:
Rage Against the Machine – Evil Empire for the roughnes of the sounds, but what a great energy that was captured!
Miles Davis Quintet – Kind Of Blue for making the world Jazz come up in every single listener’s mind
Brotherly – System for stretching the boundaries of home made production
Miley Cyrus – Wrecking Ball for the vocal production.
Muse- The Resistance because it was tracked in Italy, on beautiful Lake Como
What do you like about the AES? How does it help you to become a better and more successful audio engineer?
AES is where I want to be at. I am only at my second convention, and I am already amazed by all the great things Ive seen, and more importantly the people I’ve met. Everyone there has made history of recorded music. and yet you get to talk to each other as a group of peers or friends who are sharing a common passion.
Tell us about your favourite experiences at the 137th AES Convention in Los Angeles!
My favourite experience about AES Los Angeles was riding on the highway and looking at the California sun on the way to the convention, which made my be sure of what the next step will be, once I will be out of college.
On a more specific note, meeting and chatting for a minute with legendary Bruce Swedeen has definitely been the highlight of my trip. I felt like I had a grandfather in audio engineering and that was precious.
What is your favourite frequency?
60Hz. No Question Asked.
What do you do when you’re not in the studio or doing anything music related?
I am in the “Curva Sud” of the Olympic Stadium in Rome following my favourite soccer team, AS Roma.
Where do you see yourself in 10 years?
I don’t want to know now. Many other great things will happen and I am curious to discover them as I progress. If I had the magic wand, though, I would be in my state-of-the-art studio overlooking the Coloseum, recording some of the best international acts in a unique and breathtaking setting like only Rome can offer.
Now, back to work to make this happen!
Could you provide us with some closing comments?
I just want to say how grateful I am to have been shown the “AES way” early enough in my music production and engineering path. At AES I’ve found some great friends, amazing people and a unique environment that is a powerful resource for learning, networking and building your own carreer. A big part of this is also represented by the Student Delegates Assembly, which I want to thank again for making all of this happen! Until the next one!
https://www.facebook.com/capitfed?fref=ts
Posted: Monday, December 1, 2014
From groundbreaking audio consoles to innovative video production systems, Solid State Logic has evolved to become the world’s leading manufacturer of analogue and digital audio consoles and provider of creative tools for film, audio, video and broadcast professionals.
With more than 3000 SSL-equipped studios and facilities operational today, the excellence of SSL consoles is universally recognised for unrivalled sonic quality, superb ergonomics, outstanding automation and an international support infrastructure second to none.
Founded by Colin Sanders in 1969, SSL has since expanded to its present 15 acre science park in Oxfordshire, England. SSL's unrivalled resources, including R&D, manufacturing, training, service and product support, operate in a unique high technology, customer oriented environment.
The company invents, designs and manufactures technology for the creative manipulation of sound. Users and industry experts from all over the world visit SSL's Oxford HQ to consult with SSL audio experts and evaluate SSL equipment. There are more than 3000 SSL systems in service around the world.
The key to the company's success lies in its products; powerful and innovative proprietary technology is used to create dedicated solutions for the recording and manipulation of sound in highly demanding environments. In conditions where sonic purity cannot be compromised against the inevitable demands of high workloads, and where dauntingly inflexible deadlines are accepted as the norm, SSL equipment is synonymous with reliability and excellence.
SSL have provided one license of their Duende Native Studio Pack to a very happy winner of our Student Recording Competition.
Posted: Saturday, October 25, 2014
THAT Corporation, founded in 1989, designs and sells high-performance analog integrated circuits for professional audio manufacturers. THAT’s ICs include analog input and output stages, low-noise preamplifiers, and its original line of voltage-controlled amplifiers (VCAs) and RMS-level detectors – all used throughout the pro audio industry. The company also licenses patents, trademarks, and other intellectual property to the TV broadcast and reception industries. Under the dbx-tv® brand name, THAT offers Total Sonics™, Total Surround, and Total Volume™, TV audio enhancement technology and digital (Verilog®) implementations of legacy TV audio receiver standards covering all parts of the world, including BTSC, A2, NICAM, and EIA-J. The company is headquartered in Milford, Massachusetts, with offices in Tokyo, Japan and Milpitas, California.
THAT Corporation has provided hardware packages with multiple integrated circuits for our Student Design Competition.
Posted: Saturday, October 25, 2014
"Hello, we are Audiofile. We build apps for musicians and engineers, because that’s who we are: musicians and engineers. Founded in 2004, we are among the most experienced audio software developers for OS X and iOS with a long history of industry-firsts to our name. We strive to create beautiful and powerful apps that everyone can afford."
Audiofile Engineering gave donated a generous bundle of their apps to each winner of the Student Recording Competition.
Posted: Saturday, October 25, 2014
Cycling '74 is a San Francisco-based software development company and music label, specializing in Interactive Media. The company is best known for their work with the digital signal processing software environment Max.
Cycling '74 have kindly provided two licenses of their soon-to-be-released version of Max, Max 7.
Posted: Friday, October 24, 2014
Eclipse is a loudspeaker manufacturer based in Japan, selling its renowned products all over the world. Famous users of Eclipse TD speakers include Brian Eno, Jim Anderson, Michael Nyman, John Williams, and many more.
Eclipse have kindly provided a pair of their monitor speakers as a prize for the Student Recording Competition.
Posted: Friday, October 24, 2014
TELEFUNKEN Elektroakustik is a world-class audio equipment manufacturer located in South Windsor, CT, offering a wide array of products focusing on the highest quality vacuum tube-based condenser microphones and dynamic microphones.
The flagship Diamond Series line offers meticulous reproductions of classic vintage microphones including the ELA M 251, U47, and C12, recreated to exacting details to the originals. The R-F-T Series consists of original circuit designs combining premium components and new old stock vacuum tubes with globally sourced metalwork for cost efficiency, and includes the AR-51, AK-47 MkII, ELA M 260, and CU-29 Copperhead. The Dynamic Series features three unique dynamic microphone designs, the M80, M81, and M82, in a variety of packages to accommodate nearly every need for a dynamic microphone, such as handheld microphones, low-profile versions, and wireless head capsule adapters for use on everything from vocals to drum kits. All of TELEFUNKEN Elektroakustik's microphones are hand-assembled in CT, USA.
In addition to the expansive microphone line, TELEFUNKEN offers premium vacuum tubes, vintage restoration microphone parts, high quality XLR cables, guitar picks, and several other after-market parts. The product line continues to grow to provide new markets with the quality that TELEFUNKEN is known for.
TELEFUNKEN Elektroakustik strives for absolute perfection. By offering historic recreations of classic microphones alongside our own proprietary designs based around the distinctive tube mic sound, we have established a product line that perfectly blends vintage style and sound with the reliability of a modern-day microphone. Our commitment to both the sonic excellence and quality of all of our products is rivaled only by our dedication to provide the BEST possible service to each and every one of our customers.
Telefunken provided an M80 microphone as a prize for our Student Recording Competition.
Posted: Friday, October 24, 2014
Another AES Convention has come and gone and while we're wrapping things up we cannot help but be grateful and proud of the people the Student Delegate Assembly gets to work with every year. All of our judges are incredible at their art, craft, and science, and generously dedicated their precious time to help students improve their skills and become better engineers, musicians and designers.
We received close to 70 submissions for the Student Competitions in Los Angeles. Not only did the judges take the time to assess all the entries leading up to the Convention, they were also an integral part of our sessions at the event itself and happy to talk to students personally, give their feedback and share their knowledge.
We are immensely grateful to collaborate with people who are willing to give back so much to the student community.
Many thanks to:
Posted: Thursday, October 23, 2014
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.
Crane Song kindly provided multiple of their plugins as prizes for our Student Recording and Student Design Competitions.
Posted: Thursday, October 23, 2014
