The SAE Institute Berlin has installed a pair of ADAM Audio S3H mid-field monitors in its “Gold Studio”.

Staff who have taught in this studio – which already houses a 48-channel Neve 88RS console – have praised the new speakers, citing a balanced and detailed sound that is stimulating to work with and “pleasingly punchy”.

Steffen Köhler and Peter Thomas manage the audio engineering department at SAE Berlin: “As soon as students have learned about signal flow and audio processing working with the Pro Tools editing workstations and the Soundcraft mixers, they progress to our studios,” Köhler explained. “We have a digital studio and an analogue studio where students gain their first engineering experience. We also have two post pro studios, a MIDI studio crammed with all kinds of external and internal sound modules, as well as two large control rooms.”

Although neither model is still in production, one of the SAE Berlin studios still features a pair of S3As. “These two speakers have made it through quite a few reconfigurations of the studio space and for many students and staff they are a firmly established part of our campus,” Köhler added. “Because of their characteristics, we often use them at events or master-classes. Time and time again they have proved that they work well in many different environments and situations.”

Originally a “School of Audio Engineering” offering courses for audio engineers, the SAE now offers training for a variety of media environments including audio, video and games as well as other creative industries. The SAE runs a total of 55 sites, with nine of these in Germany.

Berlin’s first SAE Institute was founded over 30 years ago, yet in 2016, it moved to a new campus comprising around 2000m² located in the Kreuzberg area. Here, 400 students from all over the world learn how to produce digital films, program games or create 3D animations, to name just a few of the courses on offer. Audio engineering, sound design and music production professionals of tomorrow also learn their trade at SAE Berlin. Students begin by acquiring the technical basics and learning the fundamentals of acoustics, spending time at mixing desks and exploring DAWs such as Pro Tools, Cubase and Ableton Live.

Find out more about SAE Institutes, locations and training courses at www.sae.edu.

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Berlin’s Institute For Sound And Music has unveiled the programming for its ISM Hexadome exhibition.

The Hexadome is an immersive exhibition that provides a 360-degree audiovisual experience focused on art and technology, part of an initiative by the ISM "to redefine the museum experience."

It features a projection system designed by Berlin’s Pfadfinderei studio and a multi-channel soundsystem from the ZKM Institute For Music And Acoustics called the Klangdom.

The exhibition at the Martin-Gropius-Bau in Berlin will run from 29 March through 22 April, featuring performances and installations from Brian Eno, Thom Yorke & Tarik Barri, Holly Herndon & Mat Dryhurst, Ben Frost & MFO, Frank Bretschneider & Pierce Warnecke and Peter Van Hoesen & Heleen Blanken, plus Lara Sarkissian (AKA foozool) & Jemma Woolmore, among others.

Once the exhibition ends, the ISM says it will tour across Europe and North America.

For more on the Hexadome, check out the ISM’s official website, and watch a teaser video for the Hexadome – soundtracked by Stephan Mathieu – below:

ISM Hexadome from Pfadfinderei on Vimeo.

The post Berlin ISM announces immersive AV performances from Brian Eno, Thom Yorke appeared first on Audio Media International.

"After Is This It came out, it got really good reactions, but it also got a lot of press saying, Whoever produced this didn’t know what the hell they were doing,” says Gordon Raphael, over the phone from his studio in Berlin.

"This is really poorly recorded, why is this music getting any attention at all. It just sounds like garbage,” he continues, recalling things he read about The Strokes’ seminal album, which he produced in his New York City studio, Transporteraum.

“There was a lot of press about the quality of the sound,” he concludes. “But I had a great sense of joy about this, because something that I had worked on was being discussed and I could feel more love than hate. People were going crazy for it all over the world and the tours were successful and the press was everywhere.”

Released in July 2001, Is This It was made at a time that has now been lauded as New York’s rock and roll renaissance, with The Strokes at the forefront of a rock revival following a period of stagnation in the genre in the late ‘90s.

Raphael was the man behind the console for what is arguably one of the most important albums of the 2000s (No.2 on Rolling Stone’s 100 best albums of the 2000s, conceding the No.1 spot to Radiohead’s Kid A) and its follow up, Room On Fire.

The band’s low-fi aesthetic, distinctive driven vocal sound (achieved with an Avalon preamp) and astute observational lyrics about modern life in a sprawling urban environment reverberated with a generation on the cusp of the internet age.

“Bands that played guitar were looked upon like relics,” says Raphael. “The least popular form of music and the form of music that was going out of style the fastest both in London and in New York in 1998-2000 was rock music.

“It was becoming antique. People were tired of it. “When I saw these young guys playing guitars, I had two thoughts. Why would kids nowadays be thinking about this kind of music? The second thought was, These poor guys were just born in the wrong era. Everybody knows that if you have an electric guitar and a leather jacket, no record label is going to take you seriously.”

In this interview, Gordon Raphael tells AMI about releasing his new album, how he came to be one of the most influential figures from the 2000s New York music scene and what equipment he used to record The Strokes…

Can you tell me about when you were just starting to play music in Seattle and learning how to record?
I had a really close affinity with rock music from the time I was a young teenager. I worked at it for at least a decade in the Seattle scene when there was nothing going on. There were a lot of really cool bands but there was no infrastructure. There were maybe two clubs in the whole city where you could play original music one night a week and there were like 60 people interested .They would come to every gig and it was really fun. You couldn’t make a record and you couldn’t tour, but there were a lot of incredible bands and I met a lot of really great musicians. I then got to be part of the Seattle scene in the glory days when everybody who had an electric guitar was offered a record deal. I was in a band and we got signed and got a publishing deal and got to tour around the US a lot and even to Japan and Canada.

What made you move to New York after that?
I moved to New York twice. I moved there when there was nothing much going on in Seattle. I actually had a recording studio in a church, but it burned down one day under mysterious circumstances in 1986. I had an opportunity after some friends said, Oh, you lost all your equipment, why don’t you come out to New York and we’ll let you use our studios. I moved to NY with my girlfriend. At that time, everybody knew that if you wanted to get something done as a professional in the United States , you needed to be in either New York or Los Angeles. I moved to New York in 1986 and I thought, Ok I’m getting closer to the music industry and when they hear my crazy songs that I’ve been developing for all these years in Seattle, they are going to love me and I’m going to be really popular and get a record deal.

That did not work out and eventually I had to go back to Seattle. When I went back there, luckily it was just in time for the grunge period so I actually got a record deal. But when Kurt [Cobain] killed himself and Sound Garden broke up, it really felt like, Ok this thing is over. I didn’t want to go back to just a sleepy fishing village so I was in a band with a really amazing singer called Anna Mercedes and our band was called Absinthee. We decided to move to NY to try take advantage of the momentum we had. I got a really cool studio called Chataeu Relaxo and started accidentally becoming a producer for other bands.

People were asking you to record them?
I got the studio in New York specifically to work on my songs and my music with Absinthee. I was hitting a financial [slump] and all the money made during the grunge era from publishing deals and touring and record deals was now gone. My expenses in Seattle were $150 for renting a whole basement of a house and where I had my studio and that was all. When I went to New York, I paid $900 a month to sleep on a lady’s couch in her office in the village and then another $700 a month to rent the day shift at a recording studio. I went from $150 outgoing to $1,600 outgoing just by flying across the country one day. Within a year I was like, I’m kind of at zero and I don’t know what to do. Maybe my music run is over and just at that time a really cool musician named Pamela Laws had heard about me through a mutual friend and said, I hear you know how to record stuff. I want you to record my band, and then her band told another band and pretty soon I had a job recording bands and producing music.

How did you end up meeting and producing The Strokes?
On January 1, 2000 I opened my second studio, which was called Transporterraum. My band Abinsthee was still going strong. We were having a rehearsal and I told our bass player that I really wish that we could meet a booking agent, because I wanted to play better shows than we were playing at the time. He brought a young woman who was a booking agent named Kerri Black down into our practice room and she listened to our music and said, I can book your band, I’m hosting a little club night at the Luna Lounge on Ludlow Street. We are having two bands and one of them might need a producer. I wanted to see what she did and I wanted to check out the scene. I always went to Luna Lounge anyway. It was free shows seven nights a week and you would see three bands a night. The Strokes were the second band on the bill and I didn’t think they were great, but at the same time I thought they were interesting.

I wanted to keep my studio going so I gave them my business card and told them I had a studio three blocks from there. They gave me a call and a couple of days later they came by and we did an EP. Actually we did a three-song demo. That was my deal. Three songs in three days, start to finish with a mix and it was supposed to be a demo to get them into the next level clubs – the ones that weren’t free admission. That demo became The Modern Age EP and it got signed by Rough Trade. They didn’t remix it and they didn’t do any changes. It was just the way it was after the three days.

The Strokes were in my studio and Julian [Casablancas] said, You know what everybody is doing these days? Whatever that is, that’s what we don’t want to do

What were you hoping to achieve with the sound of Is This It and how did you record it?
A lot of the sound for the first album was largely based on the sound of the EP. Even though I had a fairly good studio, I still only had eight inputs. I had a digital interface that Pro Tools made. So at any given time, I could only use eight microphones. So the first EP we did was done with only eight microphones going at the same time when I recorded the whole band. And that was something I got used to and it sounded fine to me. I liked that sound and they liked that sound. Even before we got together to record the EP, I went Ok, I’m a producer, I’m actually interested. What do you guys want to do here? What kind of sound are you looking for? That’s the first question I ask anybody I want to work with.

The Strokes were in my studio and Julian [Casablancas] said, You know what everybody is doing these days? Whatever that is, that’s what we don’t want to do. When I heard those words it created an instant artistic direction for me. In 2000, Pro Tools was really coming into its own and tape recorder studios were going out of business. Pro Tools was just taking over and the producers loved it because you could put 64 tracks of audio on a song instead of just 24. When they said that, I thought, Ok, I’ll tell you what people aren’t doing these days. Just go in that room and play your music. I’ll set up eight microphones and that’s the song.

What mics did you use and how did you place them?
I had a few good microphones. I think the best microphone was an Audio Technica. I might have had a Neumann KM 84 that someone gave me and I had a couple of ribbon mics, Beyerdynamic stuff and some Sennheiser MD 421s and some Shure SM57s. I would just stick two microphones pointed at a speaker, like an SM57 or a 421. By the time I finished micing up all the guitars and the bass, I think there were three mics left over for drums. One thing I always insisted on, even if I only had seven mics on their instruments, was a room mic, because I loved the way that the room mic would just pic up general unusable chaos.

The big advancement on the album was that I borrowed another eight-input interface, but I only used two inputs on it. I wanted to have one more drum mic and I wanted to have something else. I just wanted to have a little bit more power, so we went from eight microphones to say nine and then we would add another one for the live vocal. And the vocal wasn’t done at the same time as the music in those recordings.

I read that Julian’s vocals were recorded through a Peavey practice amp, is that correct?
I had a little Peavey keyboard amp that I used and I put Julian through that and hoped that it would go into the room mic somehow. But after one or two takes of that he said, Nah, this is no fun for me, I don’t want to sing this way. I can barely hear myself. This isn’t how I want to do my vocals. To be honest, I think on the EP version of the Modern Age, there’s probably one line that’s coming from the Peavey practice amp that made the cut. But every song after that and every song on the album was done with a Audio-Technica AT4033A condenser microphone and an Avalon VT-737 SP preamp and that’s all. There are hardly any plugins or EQ [on the vocals after that. What you hear is the sound that we actually got.

It sounds a little distorted, is that just from the gain on the preamp?
The percentage of distortion was an interesting topic, which came about during the very first vocal recording I did. Julian said, I hope you can get me a good vocal sound. I was very sure of myself, and said, Oh I will get you a really cool sound. What I had been working on for the past ten years was this form of music I lovingly called industrial music and the bands I was listening to, like Skinny Puppy from Vancouver Canada had vocals that were distorted in a nuclear blast way. I got this nuclear devastation sound that I wanted to show him. He did a few lines, and then came in to talk to me and said, That sounds like shit. I hate that sound. He said, You know how your favourite jeans aren’t new and they don’t have holes in it? Imagine that scenario. So I was thinking, your favourite jeans; they’re not new, that means it’s not clean and it means they’re not ripped to shreds. They’re somewhere in the middle. So I turned my knob from like 10 to four-and-a-half and he tested the mic and he said, Yeah, just like that. And that is the sound that stayed on the EP and the first two albums to the T. I think they even bought an Avalon VT-737 SP preamp and took it on tour and they might still do.

What was it like around that time from your perspective once you and The Strokes started to get so much attention? Were you hoping to pursue a career as a producer off the back of the success of that album?
I think I knew and the band knew that something was happening while we were making that album. Not while we were making the EP, certainly not. It was just a band making a demo in lonely New York trying to get ahead. They didn’t know if the demo was going to turn out any good. I didn’t know if I would ever hear from them again. That was the spirit of the demo. They started getting press and had huge things going on in the media even without being signed in the US. 

By the time they were in my studio, even by the time they started the album without a US deal, we had this feeling that the whole world was listening and they were waiting for this record. There were journalists and record label people from the UK and in New York in my basement studio. I had never recorded a band with a guy from the NME standing by taking notes, or the guys from Rough Trade sitting there watching me. So yeah, I thought that with the success of the album, I was probably going to get a lot of requests to work and also I could get attention for my own music. I thought that I would get money and fame and popularity and friends. Those things were definitely on my mind.

How different was the recording of the second album?
There were a lot of differences. The first album was made in a basement studio that had a modicum of good gear and it had a few good preamps, a few good microphones and some normal microphones. By the time the second album was made I was living in London and I didn’t have a studio in New York anymore, but I had recorded a wonderful artist called Regina Spektor at TMF Studio. I remember it being a really fun place to work, so I told The Strokes, Hey, I don’t have a studio, but this studio sounds good. They said, Ok, We’ll go there, but would you decorate it to make it look like your old studio please? Because we really like your style of environment. So I actually hired the same people that did design work in my studio.

It’s a place called Bear Creek Studio in Seattle. They flew out to New York and made purple velvet curtains and all kinds of decorations so that it had the same feeling as my studio. But TMF was a multi-million dollar studio, with a giant SSL board and many good microphones and a huge room. So there were some technical differences about that record and there was also a huge difference in the psychology and the musicianship of the band. By the time I got them at TMF Studio they had been touring for two years solid around the world. They played me Room On Fire from beginning to end as a live band in the studio, I went, Oh my god, when did you get so good? And specifically Fab’s (Fabrizio Moretti) drumming had stepped up and also Nick Valensi just became off the charts as a lead guitarist on that record, in terms of the solos, the rhythm of it and the dexterity involved in that. My jaw just dropped. They were like this basement group last time I saw them and now they are like Led Zeppelin junior.

Could you talk to me about the music you are making at the moment? You’re writing and producing it yourself, but would you ever consider working with another producer?
I certainly would not be opposed to working with another producer. I don’t know if any other producers would be interested in my music. I’ve had a very strange musical career, because even though I have been going my whole life, I have very little contacts in the music industry. No famous musician in the whole world or record label has ever called me to record an album. I’ve only worked with kids who were unsigned. Even The Strokes and Regina Spektor were that way. No one has really called me up. It’s not like Brian Eno or any great producer is going to go, Ah man, I really want to work with Gordon Raphael, he makes the coolest music. I’m in like a little island of my own.

Are you planning on releasing anything else this year or next year?
I’ve been slowly releasing singles from my album. It is supposed to come out in its entirety on February 9, 2018. I’m hoping to do some European tours and play some shows around that. That’s as far as my planning goes. Right now I have a number of bands in different cities that want me to do everything from mixing to recording to production, so I’m balancing my own music and the production side so that things can keep going harmoniously on both levels.

Are you self-releasing your album?
I am fortunate that I have a friend of mine who has a small label in London. He’s releasing it. The label is called Zero Hours. He’s so far gotten me onto the BBC 6 Music with Tom Robinson for an hour, playing my music and playing a bunch of other productions. Three different DJs on 6 Music have played my song a couple of times and so the label is actually doing a good job for me right now and I am very happy to have the outside help.

Listen to Raphael’s latest single Superstrong:

Watch the video for Gordon Raphael’s Sleep On The Radio, taken from his debut album Sleep On The Radio:

The post The Modern Sage: Gordon Raphael on recording The Strokes appeared first on Audio Media International.

Neumann will present a comprehensive portfolio of recording solutions at the upcoming 142nd AES Convention, held from 20 to 23 May in Berlin, Germany.

Highlights on show will range from the KU 100 dummy head for binaural recording to the new KH 80 DSP monitor loudspeaker.

Sennheiser will also hold multiple workshops during the AES Berlin Convention covering various aspects of its AMBEO 3D immersive audio technology.

Visitors to Neumann’s stand will be able to get hands on with some of the company’s most acclaimed studio microphones including the TLM 107 and U 87 Ai multi-pattern, large-diaphragm condenser microphones, the KM 184 ‘pencil’ condenser microphone, and the M 149 Tube microphone.

Also available to experience is the KU 100, Neumann’s dummy head for binaural recordings, as well as a pair of the new KH 80 DSP monitor loudspeakers. For project studios and home studios, the TLM 102 and TLM 103 large-diaphragm condensers are on show.

The Neumann U 87, which celebrates its 50th anniversary this year, will take centre stage in a lecture given by Martin Schneider, acoustics developer within Sennheiser and Neumann’s Competence Centre Acoustics. On Sunday 21 May, 14:30 – 14:45 (in Salon 2+3, Rome) he will provide a look at this first-generation transistorised condenser microphone, and talk about microphone development and recording technology in the 1960s and 70s.

“Can you hear the specs?” – this question will be answered during a panel workshop on Tuesday, 23 May, 13:00 to 14:30. Panelists include Martin Schneider and Jürgen Breitlow, manager Competence Centre Acoustics, of Sennheiser/Neumann.

On the evening of Sunday 21 May, 18:30-20:00, Prof. Dr. Jörg Sennheiser will hold the Richard C. Heyser memorial lecture on “A Historic Journey in Audio Reality: From Mono to AMBEO”. As part of the official AES paper presentation, Gio Jacuzzi, Sennheiser AMBEO audio engineer, will present the paper “Approaching Immersive 3D Audio Broadcast Streams of Live Performances” on Saturday 20 May, 9:30-12:00.

Additionally, in the “Salon 7 Vienna”, equipped with a 9.1 AMBEO set-up, various members of the Sennheiser AMBEO team will present a number of workshops and lectures, while Sennheiser’s flagship Berlin store located at Tauentzienstraße 17, will also be organising a series of special AMBEO events.

http://www.aes.org/

http://www.neumann.com/

http://en-uk.sennheiser.com/

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The AES Berlin Committee has announced that Dr. Alex Arteaga will give the Opening Ceremonies keynote speech at the 142nd International AES Convention, which is being held on 20-23 May 2017 at the Maritim Hotel Berlin (Stauffenbergstrasse).

Titled “Auditory Architecture: Environment, Sense, and Aurality,” the presentation will delve into areas of aesthetics and the perception by the senses as it pertains to audio, especially in regards to the research and design of “Klangumwelten,” the “surrounding-aural-worlds.”

How do our environments emerge when we focus our activity on hearing and listening? How do these modalities of action condition the ongoing process of sense-making? Dr. Arteaga will discuss which practices and methods of research are appropriate to address these questions, while integrating aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between aurality, architecture and the environment through phenomenological and enactivist approaches.

Additionally, Arteaga will expand upon the conceptual framework and the main practices developed at the Auditory Architecture Research Unit (Berlin University of the Arts) in tackling these issues.

“Dr. Arteaga’s background and research uniquely blends philosophy, the audio sciences, and study of the perceptual and physical interactions between sound and architecture,” noted AES Berlin co-chair Nadja Wallaszkovits. Co-chair Sascha Spors added: “We are fortunate to have him as the Keynote speaker for AES Berlin. We expect his thought-provoking presentation to set the stage for the Convention’s exploration of all things audio.”

Coming from a musical background, Arteaga studied piano, music theory, composition, electroacoustic music, and architecture in Berlin and Barcelona and received a Ph.D. in philosophy from Humboldt University. After being an academic researcher at the Collegium for the Advanced Study of Picture Act and Embodiment at Humboldt University, he developed his own research projects at the Berlin University of the Arts, including “Architecture of Embodiment” as an Einstein Junior Fellow.

He currently heads the Auditory Architecture Research Unit and the Department of Auditory Architecture in the MA Sound Studies and Sonic Arts at the Berlin University of the Arts and is professor for contemporary philosophy and artistic research at the Research Master in Art and Design at EINA/Universitat Autonoma de Barcelona.

Advance Registration pricing on All Access badges for the AES Berlin Convention ends on 17 May.

http://www.aeseurope.com/

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The 142nd AES Berlin International Convention has laid plans for its series of recording- and mastering-focused events, taking place 20-23 May, 2017 at the Hotel Maritim Berlin, Stauffenbergstrasse.

From large-scale special events and workshops, to detailed paper presentations, tutorials and more, attendees will have a variety of opportunities to interface with and learn from experts in the industry, as well as get hands-on time with the latest gear on the convention’s exhibition floor.

Taking place immediately after the 142nd Convention’s opening ceremonies on Saturday, 20 May, at 2:45pm, a special events presentation titled “Berlin: Center of Electronic Music Production, Mixing, Sound Design and the Community” will set the pace and give relevant background to the surrounding audio production scene in Berlin.

Presented in association with the AES Technical Committee on Recording Technology and Practices, the session will feature a number of panelists across the industry as they discuss Berlin as a growing centre for electronic music and its development into a vivid entertainment centre with clubs, studios, festivals, communities, companies and much more to offer artists, musicians, DJs and the pro audio community.

Earlier that day at 10:45am, a master class workshop titled “Mastering Workflows” will examine various workflows that come into play in mastering audio, ranging from self-mastering-while-mixing to traditional mastering in a proper mastering facility. Whether working inside the box entirely versus using outboard gear, or a combination of the two, different workflows will be discussed as the panel compares and contrast their own methods, while highlighting the strengths and challenges of each.

The workshop “Recording, Mixing and Mastering for Different Immersive Audio Formats” on Sunday, 21 May, at 12:45pm, will give professional insights about the latest experiences with recording, mixing and mastering in immersive audio formats. Panelists will both discuss challenges faced by engineers and studios in dealing with different standards for immersive audio and also explain how immersive recordings can be delivered in multiple immersive audio formats and how consumers’ homes can be reached.

Other presentations, including informative tutorials and paper sessions, will cover topics including transducers, spatial audio, audio encoding, processing and effects, and other studies in audio science and applications. Sessions include “The Use of Non-Linear Signal Processing in Music Production”; “Audio Studio Design – An Eye on Immersive Audio”; “Immersive Recording and Mixing Techniques”; and “A Universal Language for Auditory Interaction – Sound Design for Electronic Devices,” among others over the four-day event.

Advance registration pricing on All Access badges and onsite accommodations are still available online, as well as free Exhibits-Plus registration (use code AES142NOW at checkout) for the AES Berlin Convention.

http://www.aeseurope.com/

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The Audio Engineering Society has announced the schedule of technical tours for the upcoming 142nd AES Berlin International Convention, taking place 20 – 23 May, 2017 at the Hotel Maritim Berlin, Stauffenbergstrasse.

Offering the chance for AES All Access attendees to take behind-the-scenes tours of some of the most advanced and prestigious audio production and product development facilities that Berlin has to offer, the programme was organised by technical tour co-chairs André Maletz and Dominik Trampf. Onsite ticket sales at the convention will be available on a first-come, first-served basis beginning on Friday 19 May.

Two tours will kick off the AES Convention on Saturday 20 May. The first to the Museum of Communications, Berlin, which houses a permanent exhibition offering insight into the origins, development and future of the information age, while a revolving series of temporary exhibitions showcases the many different aspects of communication.

The second tour offers the option of visiting Emil Berliner Studios, a highly-renowned facility named after the German-born inventor of the gramophone and the gramophone record and one of the rare few facilities in the world that offers direct to disc recordings.

Sunday of the Convention offers three tours, beginning with Meistersaal/Hansastudio, where David Bowie, Depeche Mode, and others recorded and mixed some of their biggest records. Next is a tour to HEDD Audio (Heinz Electrodynamic Designs), which manufactures analogue studio monitors for music production, broadcast and installation. The final Sunday tour will visit Berlin’s nHow Studio, which houses two control rooms, a recording booth, and a large lounge with a view out over the Spree River to end the day.

Day Three begins with a tour of Tegeler Audio Manufaktur, where longtime developer Michael Krusch designs, produces, and tests high-end recording studio equipment. The second tour will take attendees to StageTec of Berlin, which has specialised in the design and manufacture of digital audio technology for over 20 years. The final tour of the day will visit Riverside Studios (pictured), a unique collective of renowned artists and professionals located in Berlin’s Media Spree, which spans over 1200 square-meters with 20 studios.

The final day of the Convention will include four tours to several unique Berlin locations, including U-He, developer of globally known and adopted synthesiser and effect plugins, and the SAE Institute Berlin educational facility. Another tour will lead to Technische Universität Berlin, Electronic Studio, which focuses on production and presentation of electroacoustic music, and houses a rare 12-channel playback-system. The final tour will take a trip to Funkhaus Studios, which was originally conceived as a recording space for live radio productions, offering a set of rooms with completely different acoustic properties.

Complete AES Berlin Convention Technical Tour information and schedules are available here, while online registration can be completed here.

http://www.aes.org/

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The Audio Engineering Society has begun online advance registration for the 142nd AES International Convention, which marks its return to Berlin, Germany, from Saturday 20 May – Tuesday 23 May, 2017.

The AES recently revealed details of the committee charged with organising the convention.

Registration options for the convention include special member pricing offering up to an additional 50% off of advance registration rates. Options including All Access, Single-Day, Student, and Exhibits-Plus badges are available.

Also available is a limited free Exhibits-Plus registration option, which includes the gear exhibition (20 May – 22 May) and activities at hosted event stages around the venue. Visitors should use AES Berlin VIP code AES142NOW at checkout.

The AES Convention will once again be the place to meet and network with some of the top names in audio engineering as they gather to cover the latest developments in professional audio through a diverse program of workshops, tutorials, papers and more.

Attendees are being encouraged to take advantage of discounted registration pricing and to reserve a room at the host venue, the Hotel Maritim Berlin.

A preliminary list of topics for AES Berlin Papers Sessions, Workshops, Tutorials, Technical Tours, and Student Development Events can be found here, while online registration can be accessed here.

http://www.aes.org/

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The Audio Engineering Society has revealed details of the committee charged with organising the upcoming AES Berlin Convention, which is set to take place 20-23 May 2017 at the Maritim Hotel Berlin in Germany.

The AES Berlin Convention will offer four full days of in-depth programmes and presentations, technical tours, and a three-day manufacturer exhibition of the top brands and services in pro audio.

The Convention, being co-chaired by Sascha Spors (professor at the University of Rostock and chair, AES North German Section) and Nadja Wallaszkovits (chief audio engineer, Phonogrammarchiv, Austrian Academy of Sciences and formerly AES VP, Central Europe Region), is a large pro audio event and exhibition that brings together professionals and students from around the world.

The committee reports that paper submissions are up 50 percent higher than typical. Multichannel, spatial and immersive audio will all be well represented in the technical program, as will acoustics, psychoacoustics, audio quality and perception.

The 2017 AES Berlin Technical Tour Schedule will include several renowned Berlin recording studios, tours of Berlin-based audio manufacturers, broadcast and film sound production facilities and the Museum für Kommunikation (Museum of Communications).

“A full convention program could be built around just the combined knowledge of the committee for AES Berlin,” said Bob Moses, AES executive director. “When these accomplished individuals reach out to their colleagues, to the entire AES membership and beyond, the result is an amazingly multi-faceted and quality program. If you are serious about audio, you’ll join us in Berlin.”

Papers co-chairs for the 142nd convention are Jamie Angus (AES Fellow, University of Salford) and Thomas Sporer (Fraunhofer, AES VP, Central Europe Region), while workshops will be overseen by co-chairs Sascha Disch (Fraunhofer) and Natanya Ford (AES Fellow, Buckinghamshire University). Jens Aherns (University of Technology Berlin) will serve as facilities co-chair, and André Maletz (Mixing Ambulance) will co-chair the Technical Tours. Additional committee members are to be announced soon.

http://www.aeseurope.com/

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Berlin-based Complete Audio recently provided a Martin Audio MLA multi-cellular loudspeaker array for a concert by Sting at the 24,000-seat Waldbühne Berlin in the Olympic Park.

As this was not a full production tour, PA and lights were sourced on a local basis, and Martin Audio’s premier rental partner was on hand to provide sound reinforcement. “We offered MLA and they were happy to take it,” reported Complete Audio MD, André Rauhut.

While the system was delivered ‘flat’ as requested — enabling Sting’s FOH tech to handle fine-tuning and final EQing — the challenges for the PA related to the contouring of the venue, which was extremely steep and high. “We had to work with lots of throw to get to the top of the seats,” explained Rauhut.

To mitigate this, Complete Audio designed the main system hangs with 13 x MLA elements and an MLD Downfill per side. Outfills consisted of four MLA Compact, and frontfills were composed of eight MLA Compacts, distributed alongside the stage in stacks of two. Subs consisted of 24 MLX set in left/right stacks, to get a better coverage of the sides, with a further seven packs of two MLX along the stage.

Complete Audio also took advantage of the in-house delays, which were set around 80 metres from the stage.

According to Complete Audio’s MD, “Howard Page did a great job with the tuning and he mentioned to the crew many times how impressed he was with the sound of the MLA rig.

“I have to say that I was there to see the show and the sound was amazing. This was partly because the band’s performance was top notch and partly because of the proficiency of the tech.”

https://www.martin-audio.com/

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