AES Student Blog

We are happy to post some interviews with the student design competition winners of the AES 133 in San Fransico. Congratulations again!

honorable mention of category 1 (Undergraduate): Marc Messier

SDA: Tell us a little bit about you. Where are you from? Where and what do you study?

Marc: I am originally from Fall River, Massachusetts. I currently study Electrical Engineering at the University of Miami.


SDA: Tell us about your Design Competition entry. What were your inspirations? How long did it take to implement your concept? Any interesting stories?

Marc: My Design Competition entry started out as a project for my Electronics class. The assignment was pretty open ended: design something cool using the material covered in class. I had always wanted to design an analog audio synthesizer. My friend Jordan and I started out by playing around with a lot of different designs for oscillators and distortion effects, and the project grew from there.


SDA: What initiated your passion for audio software or hardware design? What was your first project?

Marc: I have been playing guitar since age six. I got really into electric guitar in high school. I loved playing with effects pedals. I didn’t understand how they worked though. To me, it was magic. That’s how I got into electrical engineering. Believe it or not, this was my first real hardware design project.


SDA: What is the biggest mistake you made during a project?

Marc: I generally feel that I should have spent more time researching other designs and implementing them to get a feel for what I was going for when I work on a project. Being a full-time engineering student involved with various clubs and organizations, it can be difficult to make time for such research projects though.


SDA: What are your highlights of AES 133 San Francisco?

Marc: I had a lot of good experiences during the AES 133 San Francisco Conference. I was thrilled to be a finalist in the Design Competition. I also got to spend time meeting other students who had a lot in common with me. I learned new things from the various sessions on product design. Overall, it was a great experience, and I think I’ll be attending many more AES Conferences to come.


SDA: How has the AES helped you on your way to becoming a successful engineer?

Marc: AES helped me out by giving me networking opportunities to meet people in the fields where I want to be one day, establishing a design competition where I can both showcase my talents and meet other passionate students in engineering, and bringing in distinguished speakers to provide learning experiences to students like myself.


SDA: Any other hobbies?

Marc: I have always been into music, but a new hobby that I am beginning to foster is traveling. I enjoy going to different places and experiencing the lifestyles of others. I spent some time in Mexico over the summer and Portugal this winter. I have had positive experiences.


SDA: Where do you want to be in 10 years?

Marc: I want to be working for a well known technology company on the west coast in 10 years. I’d like to have a job that involves traveling to different cities around the world.

We are happy to post some interviews with the student recording competition winners of the AES133 in San Fransico. Congratulations again!

silver award winner of category 4 (audio for visual media): Brian Parsons

SDA: Tell us a little bit about you.

Brian: I'm from Martinez CA and am a former power lifter. I have been into audio my entire life, from being a guitarist, pianist and sax player. I had a pretty bad injury during a power lifting session which caused me to cool down with my power lifting dreams and led me to delve even deeper into my passion for audio. I started attending Utah Valley University in 2009 and have excelled well in my Audio Production program! My original plan was to be a composer, but during a project I was asked to sound design and immediately fell in love with sound designing/post mixing!

SDA: Tell us about the production of your competition entry. How long did you work on it? Was it your first entry? Stories? Inspirations?

Brian: The Lizard and The Ladder project was my first entry and 5.1 surround mix. Among being a full time student and having 2 part time jobs, it took me about 2.5 months total to complete the project. All the ambient sound was recorded in surround in Utah, and the music was an original score by Ryan Shupe from Ryan Shupe and the Rubberband! The one story or challenge I faced is driving all the way to the top of Squaw Peak (one of Utah's gorgeous mountain ranges) to get unpolluted critter and bug sounds!

SDA: What initiated your passion for audio?

Brian: My Grandparents owned Parsons Music store on Willow Pass Rd. in Concord CA back in the 70's & 80's and my family lived in the back of the store. So while most kids had toys to play with, I had drums, guitars and other instruments to enjoy. My father also played guitar back then and still does today. He was  guitar instructor at Brigham Young University back in the 70's. I attribute my love for audio to my rich musical background along with receiving one of the first Playskool tape recorders when I was about 5. I just loved speeding up and slowing down my voice. It served as a great tool to record my mom scolding me then playing that back to her only to make her laugh and get me out of punishments! 

SDA: How did the AES help you on your way of being a successful audio engineer?

Brian: The tips, tricks and feedback I got at my first AES conference this fall were invaluable. It was great meeting and hearing from the very professionals with whom we try to aspire to be like.

SDA: What are your highlights of the AES133 in San Francisco?

Brian: The mere fact that Richard King, Shawn Murphy, and Lora Hirschberg heard my work and approved of it with critiques was absolutely fantastic and humbling! 

SDA: What was your funniest experience as an engineer so far?

Brian: Probably when I was recording ambience for The Lizard & The Ladder, I used a Holophone and had it cranked pretty high. I was in the  mountains gathering critter sounds and could hear couples talking about couple things halfway up the trail which is about 1/2 mile up. I got a good chuckle out of the things I heard them talking about...by the way these are (BYU Mormon couples)!

SDA: What is the best recording of all time?

Brian: My favorite recording ever would have to be Boston's Greatest Hits and film Lord of the Rings Trilogy in surround sound!

SDA:Do you play any instruments?

Brian: Yes I play Guitar, Piano, and Alto Sax. It's been awhile...rusty on the Sax :) 

SDA: Any other hobbies?

Brian: I still lift to maintain strength, but go easy on the power lifting...I enjoy spending time with my wife!

SDA: Where do you want to be in 10 years?

Brian: I want to be working in sound for big picture. I want to be working Skywalker Sound!

We are happy to post some interviews with the student recording competition winners of the AES133 in San Fransico. Congratulations again!

bronze award winner of category 1 (Traditional Acoustic Recording): Luiz Fernando Kruszielski   

SDA: Tell us a little bit about you.

Luiz: I am from Curitiba, a city in the south part of Brazil. I graduated from a music-sound production course, but by the end of it, I was feeling hungry for more knowledge in the field of audio technology and the psycho-physics of audio perception. Japan seemed to be the right place to study it. So I did my masters and am now doing my PhD at Tokyo University of the Arts, in the field of audio and video interaction in the perception of audio.

SDA: Tell us about the production of your competition entry. How long did you work on it? Was it your first entry? Stories? Inspirations?

Luiz: There is a regular concert at my university, were very good students play a concert with the University professional orchestra. The quality of the musicians is very impressive. If you just heard it, you would never imagine that this huge violin sound came from a Japanese girl about 20 year old.  I recorded one of these concerts, and it was the first time I used suspended microphones. I was trying to create a sound that gives you a more immersive feeling than a regular surround recording were a orchestra is in the front and the hall reverberation in the back, however without loosing the traditional orchestra panoramic sound.

SDA: What initiated your passion for audio?

Luiz: It was when I went to a  studio for the first time. I was 10 and went for a try out of a jingle were they needed a kid singing. I didn't passed the test, but seeing a mixer console with a million buttons and a tape deck rolling fascinated me. Just like the control panel of a spaceship. 

SDA: How did the AES help you on your way of being a successful audio engineer?

Luiz: The AES papers are more than half of my university reading materials. I also believe that an AES convention is worth  six months of university classes.  There is no other way I could learn so much in so little time about audio.

SDA:  What are your highlights of the AES133 in San Francisco?

Luiz: I liked very much the lecture from Poppy Crum "Noise on the Brain—Hearing Damage on the Other Side: Part II" about the ground breaking researches of the chemical process in the inner ear, and how it could help to prevent hearing loss in the future. I also liked very much the panel "New Multichannel Formats for 3-d Cinema and Home Theater", were there was in the same room all probable standards of the "audio of the future".

SDA: What was your funniest experience as an engineer so far?

Luiz: I think it was when I went traveling the whole country of Brazil (from the amazon to deep south) doing the sound from a documentary and getting to know some of the best Brazilian musicians.

SDA: Can you tell us your biggest mistake you made during a production?

Luiz: I think It was during the first time I recorded a live concert for a documentary movie. I used a CD recorder and a DAT tape as the backup. However the DAT signal was coming from the line out of the cd recorder, and when I changed the discs, there was no signal going to the DAT. So, I lost about a  minute of music. Good thing they decided not to use that song in the documentary. 

 
SDA: What is the best recording of all time?

Luiz: I don't think I can select a single recording and say it is the best. It depend very much in genre, style and what are the objectives. That being said,  most of Pink Floyd albums still give me goosebumps.

SDA: Do you play any instruments?

Luiz: I play classic guitar since I was four. Also, I played drums in a rock band when I was a teenager.

SDA: Any other hobbies?

Luiz: I like to play with photography.

SDA: Where do you want to be in 10 years?

Luiz: I would like to be working is something involve both audio and video, developing new techniques that help to create a better entertainment content.

This post has been removed at the competition winner's request.

We are happy to post some interviews with the student recording competition winners of the AES133 in San Fransico. Congratulations again!

gold award winner of category 4 (Sound for Visual Media): Daniel Casas Buitrago & Cindy Takehara Ferrucio

SDA: Tell us a little bit about you.

Daniel: I was born in Tunja, Boyaca, which is located in the center region of Colombia. Right now I am based in Bogotá, capital city of Colombia and I’m into sound design and music production. ?

Cindy: I was born and raised in Tokyo, Japan but currently, I’m based in Bogotá, Colombia. We both studied Music with emphasis on sound engineering at Javeriana University. At college, we learned about every field related to audio engineering from classical/non-classical music recording to live sound reinforcement, and for each field, there are lots of interesting things, but I am definitely into sound design and post-production for visual media.

SDA: Tell us about the production of your competition entry. How long did you work on it? Was it your first entry? Stories? Inspirations?

Daniel: That’s right; we put a lot of ourselves in this project, so we decided to participate in this competition.

Cindy: It took about 1 month of researching, recording every sound to create our own sound library, 3 months of editing, recording music and working for the pre-mix, and finally about a month for mixing in surround 5.1. It sounds like we spent a lot of time on this project but actually, we worked on several projects during that time and we had academic responsibilities to fulfill, so sometimes it was hard to find enough time to complete all the tasks we had.

Daniel: We had to handle lots of stress caused by all the work we had ahead of us, there were days we were not able to get any sleep. Sometimes we had to work on the project at night and the next day we had to go to class and deal with other assignments. This situation happened quite often.

SDA: What initiated your passion for audio?

Cindy: My passion for audio grew while I was studying at college. And that’s because of my fascination for Music (which is why I decided to study music) and all the admiration I have for my teachers who taught me so much. In a similar manner, my interest for audio increased when I saw the making of “The lord of the rings” for the first time. I was astonished when I saw how they worked the sound design aspect and, in that precise moment I said, “Wow, I want to do that! “

Daniel: Well, it all started when I was 13 o 14 years old. I played music with a couple of friends and one day we wanted to record one of our songs. We didn’t have any kind of DAW or digital interface, but there was a Home stereo system at my place with a cassette deck, which had the option of playing and recording for 2 cassettes, so we took this old mic and started recording the drums, then alternate cassettes and do bass, and guitars, creating a new mixdown every time. We repeated this process until we had our song finished on one of those cassettes. This was very exciting for me and my friends, the fact that we created our recording, had it in our hands and were able to listen to it every time we wanted, was simply amazing!

SDA: How did the AES help you on your way of being a successful audio engineer?

Cindy: I'm way far from being a successful audio engineer... I mean, you never stop learning being as a sound engineer, that’s for sure. There are so many things to do and learn! I think the role of the AES has been to encourage students to keep learning and share knowledge through all the workshops, conferences and conventions that go through around the world. Besides, the AES has given us opportunities to meet pioneers and the greatest audio engineers and that is the most amazing experience we could ever have...At least for me :)

Daniel: Cindy is right; we are not any close to becoming successful audio engineers. This was a notable accomplishment on what is the beginning of our professional careers as engineers. However, we have lots of things to learn, but we like to thing that we are on the right path. Also, with every convention comes the opportunity of being a part of it, we are getting tons of knowledge from the masterminds of Audio.

SDA: What are your highlights of the AES133 in San Francisco?

Cindy: The students recording competition, certainly. It was a great space to appreciate the incredible work of the finalists, and the feedback from the amazing judges gave us a lot to learn. There were also interesting talks in paper sessions and some others like Sound for picture sessions and Engineering briefs.

Daniel: Exactly, the fact of being able to show your work and to get different opinions about how to make it better, it’s a unique opportunity.

SDA: What was your funniest experience as an engineer so far?

Cindy: During ADR recording, there are always some bad takes that make us laugh a lot. I never recorded professional voice actors, but there is always a friend who can make different voices at the class. He makes an effort when doing some of them, and he has to make funny faces when he’s recording a line. I know I should not laugh, but I can't help it.

Daniel: I was recording some songs that a friend asked me to. We were tracking vocals and everything was going fine until my friend got his voice really messed up, because he was making a huge effort while singing some of those songs. At that point I thought it was no big deal, but then he started making this involuntary chicken sounds! I couldn't hold it and started laughing. I was fortunate he was my friend and we have trust in each other so he didn’t get upset with me for it.

SDA: Can you tell us your biggest mistake you made during a production?

Daniel: Probably was the day I wanted to experiment in a drum recording, by using a room mic, placing it outside the studio hall. It sounded really nice but there were a lot of people there, and I couldn’t get a clean capture with that mic.

Cindy: I remember a concert when I was working as a monitor engineer, the drummer of the band asked me to send more of secondary guitar to his monitor, so I sent more of it, but actually, I was giving him more of bass. He kept telling me that he couldn’t hear the guitar, and I was doing this gesture that I already sent it full. After a few minutes, I realized that I was exploding his ears with bass, poor guy!

SDA: What is the best recording of all time?

Cindy: Tough question, there are so many. I would say Handel’s Messiah, conducted by Christipher Hogwood in 1980. Definitely, one of the finest performances ever! I have another one, I wouldn’t say this one is the best recording in the world, but the last album from the Foo Fighters “The wasting light” is one of my favorite too. I think it was a huge challenge to be tracking in the front man’s garage, and still make it sound brutal!

Daniel: I’m with Cindy on this one, as a sound engineer and a Foo Fighters fan, they did an incredible job on that last album. Also, I must say that, looking to the past, I love to see when artists, bands, composers and musicians in general experiment and try new stuff. That’s why I want to include The Beatles’ White Album. Everything they accomplished on that record was incredible!

SDA: Do you play any instruments?

Cindy: I play some, mostly dabble, but I play piano, acoustic guitar, trumpet, and a little bit of ethnic instrument such as Quena and Zampoña.

Daniel: I play guitar, piano, a little bit of drums, and I’m trying to improve my voice.

SDA: Any other hobbies?

Daniel: I’m into photography, making videos movies, and I constantly like to buy music records, even If I already have their music on my computer, not just to get good quality audio material but, for the delight of appreciating the art and visual concept on every record.?

Cindy: I'm a big movie buff from mainstream movies to independent films.

SDA: Where do you want to be in 10 years?

Cindy: Hopefully, working at Skywalker Sound with Ben Burtt, Lora Hirschberg and Christopher Boyes… You never know, right? ;) In short, I see myself at television studios or working as a sound engineer for independent film or maybe for some big feature films.

Daniel: Working professionally as a sound designer or a folley artist. Hopefully, I’d be creating music for film or any other visual media. I'm really interested on everything related to films since I started studying “Film and T.V.”. Anything could happen in 10 years from now!

We are happy to post some interviews with the student recording competition winners of the AES133 in San Fransico. Congratulations again!

gold award winner of category 1 (traditional acoustic recording): Scott Levine

SDA: Tell us a little bit about you.

Scott: I grew up in Santa Barbara, California, about an hour north of Los Angeles. After doing a lot of music (marching band, yes, marching band) in high school, I went to study at the University of California, San Diego on a pre-med track. After a few years of studying science, I was pulled back into the music world with my job at the school's recording studios—I ended up graduating with a BA in Music and was accepted into McGill's Graduate Sound Recording Program. I'm currently living in Montreal as a second year student in the program, focusing on music production and spatial audio research.

SDA: Tell us about the production of your competition entry. How long did you work on it? Was it your first entry? Stories? Inspirations?

Scott: This recording (Third Construction by John Cage) came from a collaboration with the Architek Percussion Quartet (http://www.architekpercussion.com/). The guys came to me looking for a different way to reach listeners aside from the standard CD or iTunes release, so we ended up producing a Blu-Ray with 96k/24b lossless surround sound. Because the goal was always surround delivery, the piece was tracked with 5.1 in mind—surround main pickup, individual spots, and surround ambient mics. We tracked the piece with video in late January 2012, spent 3 months editing the audio and video (editing audio gets a lot more complicated when you need video continuity!) and a week of mixing for the disc release. Because it was my first competition entry, I remixed the recording in August mostly out of paranoia!

The inspiration for the recording was driven by the musicians; they wanted to produce a recording that sounded like nothing else—a close and detailed, hyper-real sound coupled with this huge, interactive ambient environment. The quartet kept telling me "We want the listeners to not understand why they believe the recording", so we kept pushing the aesthetic farther and farther from traditional perspectives in listening.

SDA: What initiated your passion for audio?

Scott: There's no feeling that's the same as being in the middle of a group performing a piece of music—I realized that with audio, we can work to get listeners as close to that experience as possible, delivering not only content, but the emotional and physical experience taking someone out of their listening world and into a completely new context, whether it be for music, film, or live sound design.
 

SDA: How did the AES help you on your way of being a successful audio engineer?

Scott: I have been lucky to be awarded a grant from AES Educational Foundation for my studies at McGill. This grant has not only made it possible to attend the program, but has also demanded that I live up to the expectations! The AES has provided incredible resources to me through connections in presenting research papers, as well as recording tips and techniques from the masters in convention roundtables.

SDA: What are your highlights of the AES133 in San Francisco?

Scott: Of course I'm required to say the Student Recording Competition! Receiving critique from the judges was absolutely invaluable, but also listening to the other entries and the judges' thoughts during the entire competition gave a great idea to what works, and what doesn't—these are people who actually make money for their recordings!

Also, the paper sessions were really informative and impressive—it seems like there are more organizations and young researchers presenting each convention. Being able to present an engineering brief for the first time allowed me to have conversations with the research giants I've read papers by for years!


SDA: What was your funniest experience as an engineer so far?

Scott: So we're in the studio with a band, and they want to track some backup gang vocals for the end of one tune. Five engineers go into the live room and try it out, but we all keep singing the line too "pretty", so the band asks us to "rough up" the lines. That doesn't work either, because somebody keeps singing like Elmo from Sesame Street. Eventually, we ended up laying down on the studio floor and singing the line up to the ceiling, and it worked! Talk about "laying down" some vocals...

SDA: Can you tell us your biggest mistake you made during a production?

Scott: The latching Talkback button is the worst invention ever made...

SDA: What is the best recording of all time?

Scott: I've got to say Earth Wind & Fire's September—how can you get cooler than that?

SDA: Do you play any instruments?

Scott: I'm a trombone player, but I still haven't gotten that perfect trombone sound on a recording yet...

SDA: Any other hobbies?

Scott: The other engineers and I play squash here at McGill—it keeps us sane with all of the work. It's also a pretty good release for aggression when somebody slams your recording!

SDA: Where do you want to be in 10 years?

Scott: I'd love to be recording for film or music, and still working in development for new audio systems and practices—we need to keep moving forward as an industry!

We are happy to post some interviews with the student recording competition winners of the AES133 in San Fransico. Congratulations again!

gold award winner of category 3 (modern studio recording): Denis Martin

After having a great time at the 133 Convention in San Francisco and participating in an exciting and vibrant Student Recording and Student Design Competition, all the hard working finalists got their prizes. The prizes were various and provided by many wonderful sponsors who were so kind to give away many great prizes.

Clicking on the links you can see the photos in no particular order from the SDA 2 meeting where the finalists were recieving prizes and meeting sponsors.

Telefunken

www.aes.org/events/133/pictures/Students_Education/images/56.html

Harman International

www.aes.org/events/133/pictures/Students_Education/images/57.html

Focal Press

www.aes.org/events/133/pictures/Students_Education/images/63.html

Auralex

www.aes.org/events/133/pictures/Students_Education/images/64.html

THAT Corporation

www.aes.org/events/133/pictures/Students_Education/images/65.html

Digikey

www.aes.org/events/133/pictures/Students_Education/images/66.html

Izotope

www.aes.org/events/133/pictures/Students_Education/images/67.html

XMOS

www.aes.org/events/133/pictures/Students_Education/images/68.html

Reaper

www.aes.org/events/133/pictures/Students_Education/images/69.html

Texas Instruments

www.aes.org/events/133/pictures/Students_Education/images/74.html

Sennheiser

www.aes.org/events/133/pictures/Students_Education/images/75.html

Solid State Logic

www.aes.org/events/133/pictures/Students_Education/images/61.html

Sontronics

www.aes.org/events/133/pictures/Students_Education/images/50.html

Earthworks

www.aes.org/events/133/pictures/Students_Education/images/60.html

We also thank D16, Quiztones, Blue Microphones, Slate Digital, Sweetwater, Hal Leonard, Merging, Schoeps, Sonic Studio...

SDA: Tell us a little bit about you.

Tad: I hail from the East side of the San Francisco Bay Area, five minutes away from downtown Berkeley. I’m currently attending the Music Engineering Technology program at the University of Miami in Florida. As a “MuE” (pronounced mew-ee by us music engineers), I’m immersed in what’s really a nexus of music performance, computer science, and electrical engineering. I’m insanely lucky because I literarily get to do everything that was on my college wish-list (and much more that I wasn’t aware of).

SDA: Tell us about the production of your competition entry. How long did you work on it? Was it your first entry? Stories? Inspirations?

Tad: The Hope Design began last winter as a collection of sampling into Reaktor, exporting to Logic, chopping, warping, editing and repeating the process until I had some appealing soundscapes. half a year later on the other side of the country the vocals were recorded and cinematic arrangements composed. Musically, it was inspired by Left to Tell, an autobiography about a woman in the Rwandan Holocaust who had to hide in a bathroom for several months among other hardships. Before my friend had given me the book, I could have never even conceived that a massive haloucost had occurred so close to when I was born.

SDA: What initiated your passion for audio?

Tad: I was always into albums and their respective “soundscapes”. It wasn’t really until I heard the likes of BT & Hybrid that I began pondering excitedly “Oh my god how are they getting these sounds?” Among my more current heros are Joanna Newsom, Flying Lotus, and Amon Tobin to name a few. I fell more in love with technologically engineered music during each long road trip my family would take across the Western landscape. I would stare out the window for hours, listening to album after album. This habit nurtured within me a very intimate connection between landscapes and music.

SDA: How did the AES help you on your way of being a successful audio engineer?

Tad: Inspiration. I went back to home everyday fired up to dive deeper into audio engineering.

SDA: What are your highlights of the AES133 in San Francisco?

Tad: Well apart from traversing the span of SF with fellow MuEs at night, I really enjoyed Poppy Crum’s talk on current medical science regarding the inner ear. Meeting so many audio engineers was pretty memorable (I have a stack of business cards sitting up on my shelf). The expo was great too, but where was Native Instruments???

SDA: What was your funniest experience as an engineer so far?

Tad: While I was recording The Hope Design, actually, I tried messing around with a Neumann “dummy” head stereo mic by placing it in the room to capture room reflections. I didn’t know, however, that the threads on the bottom of the head were broken. Somehow I managed to get the thing up on the atlas stand (by standing on a chair) and “screw” it in. But as I was walking away the head started to fall! Luckily my parents had the foresight to enlist me in many sport teams as a kid, so I was able to lunge and catch it before my entire college career smashed to pieces. Funny thing, though, is that the head has threads on the top also so I was still able to use it but only upside down.

SDA: Can you tell us your biggest mistake you made during a production?

Tad: Well once I was recording a pseudo-barbershop quartet me and my friends were in called “Smokey Mike and the Foreplay”. We were using my ol’ iMac G5 with Logic 7 and recording a monologue breakdown. Those iMacs had particularly noisy fans, and I didn’t notice the thing whirring away in the background while in the heat of the moment. On the final mix it always sounds like the guy is in a helicopter or something.

SDA: What is the best recording of all time?

Tad: One of my favorite compilations of all time is Hybrid’s Soundsystem_01. The first disc is a 54.5 minute dreamworld of cinematic/electro acoustic blend (It’s a continuos mix of 15 songs). It’s an especially nice break from modern 2 minute, chiclet-saturated radio music. I highly, highly recommend this record for literarily anybody into music and movies.

SDA: Do you play any instruments?

Tad: I’m in the Jazz department at UM’s Frost School of Music. I play lots of tenor and soprano saxophone (there are bits and pieces of my saxophone playing strewn throughout my electronic music). I’ve also been playing the piano since very young, and consider it my first great love.

SDA: Any other hobbies?

Tad: Mountain biking, backpacking, yttp, boba-testing, crafting/scheming/writing up audio/music ideas in my notebook (check out my website, muirscape.com. I’ll be posting all the software/hardware I’m designing and most of them will be free!)

SDA: Where do you want to be in 10 years?

Tad: Somewhere in a dynamic landscape, perhaps a another country, doing what I love to do most—writing music and engineering audio! One last note: For those of you interested, my recording The Hope Design, will be released in the early spring of 2013 under my alias Muir (muirscape.com). Until then, my first record, Prismatic, will be released this December!