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CONVENTION REPORT

888 J. Audio Eng. Soc., Vol. 62, No. 12, 2014 December

convention report

137TH

Los Angeles Convention Center

Los Angeles, USAOctober 9–12, 2014

AES CONVENTION

CONVENTION REPORT

J. Audio Eng. Soc., Vol. 62, No. 12, 2014 December 889

The 137th Audio Engineering Society Convention, heldThursday, October 9, 2014, through Sunday, October12, 2014, at the Los Angeles Convention Center in Los

Angeles, California, was the place to be if you have anythingto do with the audio industry. The exhibit floor, panels, andtechnical sessions were packed all four days, and with 15,403registered attendees and 307 exhibitors/sponsors AES137 farsurpassed any West Coast AES Convention in the last 10years or more. At show close, AES reported a 28% increasein registration since the last time the convention was on theWest Coast (133rd AES Convention in San Francisco in2012).

Valerie Tyler and Michael MacDonald, convention commit-tee cochairs, and their team created one of the most ambi-tious and comprehensive schedules of workshops, panels,and technical programs in AES convention history.

“I cannot put intowords how thrilled I amwith the 137th AESConvention,” stated BobMoses, executive directorof the AES. “Our organiz-ing committee reallyoutdid themselves, withover 350 presentationsfrom an astounding 731leading researchers andpractitioners in the field,many of them standing-room-only. We have someserious momentum built from recent conventions in NewYork and Berlin, and we are going to keep it going for thecoming conventions in Warsaw in May and then back to NewYork next October. You could say that our conventions andthe AES organization have a renewed energy, and wecouldn’t be happier.” “The AES137 convention exceeded ourhopes in many ways, and it was a thrill to see every one ofour new ideas unfold successfully. The Live Sound Expoleveraged the success we’ve enjoyed with the Project StudioExpo and brought professional training to the SoundReinforcement community. The new Raw Tracks events, witha rare glimpse behind the glass at some of the classic recording sessions, were standing-room-only. HighResolution Audio sessions in the HRA breakout roomemphasized a convergence of the consumer electronicsmusic business with the musical production community,and the conversations are still buzzing along toward NewYork next year. And this list goes on and on—wow, that wasawesome.”

Speaking of her pleasure at the success of the event,Maureen Droney, managing director of the RecordingAcademy Producers and Engineers Wing, said, “The annualU.S. AES convention is always an important event on ourcalendar, but the 137th show hit a high in attendance,content, energy, and, from what I could tell, positive reviews.The only thing that could have been better would have beento have more time to take advantage of the wealth of offer-ings. Congratulations to Bob Moses, Michael MacDonald,Valerie Tyler, and everyone on the organizing committee forone of the best shows ever.”

Moses with keynote speakerAlan Parsons

Barbara Lange, executive director at SMPTE, made clear her delightat the evidence of partnership between the two organizations. “TheAES convention once again proved to be a vital industry event, offeringexhibitors, presenters, and attendees valuable opportunities to discusstechnology and techniques at the forefront of audio engineering,” shesaid. “The sessions presented by SMPTE members in partnership withthe AES drew strong attendance and provided unique insight into thenewest developments in cinema standards, as well as a lively discus-sion of audio in today’s live television broadcasts.”

openinG cereMony AnD AWArDSOpening the 137th Convention, to a standing-room only hall, execu-tive director Bob Moses spoke of an all-time record for preregistrationat a West Coast convention. The result of “amazing work” by head-quarters staff and the convention organizing committee, whom hethanked warmly for their efforts.

Sean Olive, outgoing AES president, spoke of his pleasure at hostinga convention in his home town of Los Angeles, after a 12 year hiatus.“There’s a vibrant audio industry, perfect year-round weather, and freeparking on the 405,” he joked, encouraging the audience to takeadvantage of the exceptional opportunities here. Olive then handed thefloor to Andres Mayo, incoming president,and the first from Latin America. Mayopointed to the growing world of audioexperts, identifying AES as the only pro-audio community in the world. There wouldbe the first-ever workshop panel in Spanishhere in LA, he was proud to say.

Michael MacDonald, convention cochair,was quick to say that his co-chair ValerieTyler should take the credit for much of thework in getting the event ready. She’d been apleasure to work with, he enthused, and hewas excited to welcome everyone to the city.The “incredible” program, he said, would bethe largest in the history of the AES, and heinvited his talented committee up on to thestage to receive applause. Preregistration forthe event, he said, had blown away expecta-tions, having been one and a half times thatof San Francisco two years ago. “AES is criti-cal to the future of our industry,” he said, as“there are fewer places for people to learnthese days.” He encouraged those on thefloor to consider joining and working on aconvention committee.

As is customary, a number of awards werepresented, this time by Jan AbildgaardPedersen, chair of the Awards Committee.Among the recipients was Floyd Toole, whoreceived the highest award of the Society, theGold Medal, in recognition for outstandingcontributions to theory, practice, and inter-national standards in the area of subjectiveand objective evaluation of loudspeakers inrooms. Speaking briefly upon receipt of thishonor, Toole remembered that almost exactly50 years ago he had undertaken his firstlistening test on loudspeakers, so this was anappropriate anniversary. He had had awonderful and rewarding career, he said, buthe was not done yet, as his father had lived to

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GoLD MeDALFLOYD TOOLE in recognition for outstanding contributions totheory, practice, and international standards in the area ofsubjective and objective evaluation of loudspeakers in rooms.

bronze MeDALMARK GANDER in recognition of his significant contributions inthe field of loudspeaker development and for mentoring ageneration of audio engineering researchers.

PETER MAPP in recognition of his significant and dedicatedcontributions to the work of the Society, including technicalcommittees, standards activity, tutorials, British SectionCommittee, and conventions.

FRANCIS RUMSEY in recognition of his outstanding long-termcontributions to the AES, providing leadership to the MembershipCommittee, Regions and Sections, and the Technical Council, inaddition to remarkable and sustained editorial contributions to theJournal of the AES.

boArD of GovernorS AWArDJIM ANDERSON in recognition of his chairing the 135th AESConvention in New York in 2013.

JIM ANDERSON in recognition of his chairing the 131st AESConvention in New York in 2011.

feLLoWShip AWArDALEX CASE in recognition of his service to the Audio EngineeringSociety and excellence in audio education.

MARK F. DAVIS in recognition of his significant work in audiosignal processing including the dbx/MTS stereo television noise-reduction system, loudspeaker design, and dissemination of theunderstanding and application of audio technology developmentsand innovations.

JIM KAISER in recognition of his significant and importantcontributions to the development of the AES, serving at mostlevels of our organization including as a past p resident of theSociety.

BOB LEE in recognition of his significant contributions to thedevelopment of the AES, serving at different positions in ourorganization including four years in the Executive Committee assecretary.

BRUCE SWEDIEN in recognition of his musical application oftechnology in recording and production, and his impact increating a sonic reference in modern popular music.

EDMUND WELLY in recognition of his high level of commitment tothe Society and in particular, for being instrumental in reformingthe Atlanta Section in 2001.

JAMES YEARY in recognition of his outstanding leadership,service, and dedication to the AES Atlanta Section, and forachieving quality audio projects at Turner Studios over a longperiod. (Ed Welly accepted the award on his behalf.)

citAtion AWArDCHRISTOPHER FREITAG in recognition of continuing andsignificant work for the society.

honorAry MeMberSTEVE LILYWHITE in deep appreciation for over four decades ofexemplary contributions to the music and recording industry,working with many of the most revered and successful musiciansof this period.

AeS AWArDS At the 137th

Andres Mayo

Michael MacDonald

Sean Olive

Bob Moses

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Left, Bozena Kostek presents Bob Stuart with Best Peer-ReviewedPaper Award; right, Samuel Nacach with Best Student Paper Award.

Sean Olive presents the GoldMedal Award to Floyd Toole.

Citation Award is presented toChris Freitag.

Bronze Medal: from left, Mark Gander, Peter Mapp, and Francis Rumsey Fellowship: Mark Davis (L) and Jim Kaiser

Fellowship: from left, Bob Lee, Bill Gibson for Bruce Swedien, Edmund Welly, and Alex Case

137th convention AWArDS preSentAtion

Board of Governors:Jim Anderson

the ripe old age of 102 and he expected to have a few years left in whichto continue his interest in audio. (A full listing of the 137th Awards isgiven in the side bar.)

KeynoteVeteran producer and engineer, Alan Par-sons, looked back with some longing towhat he clearly saw as the heyday ofrecording technology. In something of atirade against poor-quality audio delivery,he suggested that streaming is possibly agood choice because we can get manychannels of high-quality audio in thebandwidth of one video stream. However,“with all the streaming and downloadservices available,” he said, “I’d like to seeus go back to owning music, and back toloudspeakers. Back to hi-fi.”

Alan Parsonsconvention keynote speaker

An overflow crowd listened to the awards and keynote presentationsduring the opening ceremonies.

exhibitionThe AES is extremely grateful to those companies that sponsoredthe convention, including Audionamix, Audinate, Audio Precision,Auro Technologies, Avid, DiGiCo, EAW, Focusrite/Novation, L-Acoustics, Lectrosonics, Location Sound Corp, MOTU,Sennheiser/Neumann, Shure, TC Electronic, TC Applied Technolo-gies, THAT Corp, Universal Audio, and Yamaha.

Piers Plaskitt, CEO of Solid State Logic, noted that “in anticipa-tion of the excitement that would surround the return of AES toLos Angeles, Solid State Logic chose this show to launch two newproducts: the XL-Desk, our revolutionary twist on the classicanalogue studio console, and a new addition to our Live Consoleportfolio, the powerful-yet-compact L300. We were thrilled withthe response that both products received, and thanks to a stunninglevel of attendance, we anticipate an excellent return on the invest-ment of us participating in the convention.“

“We were really pleased to have the AES convention back in LosAngeles this year,” stated Doug Swan, Audio-Technica nationaldirector of sales & marketing, professional markets. “Attendanceexceeded expectations, and we got to see professionals from allcorners of LA’s busy audio industry—record-making, TV/film,gaming, live sound, the tech sector, system installation, and more.Signifying a reinvigorated industry, AES continues its upswing, andwe are looking forward to the show next year.”

Among the interesting products making their debut at theconvention were a number of microphones, including the newNuvo N8 mic from Audio Engineering Associates. The mic has itsdesign history in the RCA tradition and uses a big ribbon, beingintended for far-field recording of acoustic spaces. Audio-Technicaalso introduced a new member of its 50 series, the AT5045 cardioidcondenser. Designed with a large diaphragm electret capsule, themodel is able to handle high sound pressure levels up to 149 dBwith very low self noise. There was also an interesting networkedmic from A-T, the first to offer integration with Audinate’s Dantenetwork protocol and known as the ATND971. It’s a boundary-layercardioid mic that can be powered by network PoE (power overEthernet). Among wireless microphone systems, AKG showed therecent DMSTetrad digital system, which offers 128-bit encryptionfor secure connections, as well as uncompressed 48-kHz, 24-bitencoding. Shure unveiled its QLX-D digital wireless system, too,which sports 256-bit encryption, has networked control options,and intelligent rechargeable batteries.

At the other end of the signal chain with loudspeakers, Neumannbrought out its first midfield monitor, the KH 420. It’s an active 3-way unit that is intended for listening distances of up to 11meters, and it can be combined with a subwoofer for 5.1 and 7.1configurations. Genelec revealed its new 8352 Smart ActiveMonitor, being a compact 3-way unit with a coaxial mid-range andtweeter driver, while at the larger end of the size spectrum L-Acoustics brought out its K2 line source array loudspeaker for PAapplications. This latter unit uses a newly developed steering

method that com-bines mechanicaldirectivity variationwith DSP controlabove 300 Hz. PMC,on the other hand,launched its QB1Active monitor forstudio applications,capable of a peak SPLof 132 dB and having

4000 watts of Class D amplification on four bass drivers. For thosethat like a stylish difference to their loudspeakers, Gibson wasshowing its new Les Paul studio reference speakers, sportingcarbon-coated titanium tweeters and custom-made amplification.

There’s still some development going on in mixer design too,with Studer’s new Vista V digital console, designed with a compactfootprint and 52 faders, allowing over 800 audio channels and morethan 5000 inputs and outputs, if needed. Fairlight also brought outa table-top console in its Live line-up, known as theQUANTUM.Live Table-Top. It’s possible to switch between live andpost production configurations at the touch of a button, anddespite the small size the console has 144 signal paths over 12layers.

On the measurement front, Audio Precision brought out a newaudio analyzer, the APx555, claimed to be the most powerful andcapable test instrument ever developed for audio and having thelowest noise and distortion on its analog inputs of any analyzer inthe business.

Plug-ins and the DSP on which they run also featured large inthe exhibition line-up, with Universal Audio showing a newThunderbolt DSP accelerator, the UAD-2, designed to superchargeMac-based DAW system running lots of plug-ins. RTW alsolaunched a Mastering Tools plug-in intended to bring software-based metering solutions to a wider range of users. A variety oflevel and loudness meters are available as well as vector scopes, realtime analyzers, and a surround sound analyzer. iZotope had also

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A birds-eye view of the exhibition floor

Launch of “The Pensados Papers” on the Hal Leonard Publishing stand

Chuck Ainlay tells how it’s done.

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updated its audio repair and enhancement toolkit with the RX4,which includes various de-noising options such as a dialog denoiserto reduce background sounds from dialog and vocals. Sonnoxupdated its Pro-Codec plug-in, introducing metadata editing andbatch processing, as well as 64-bit compatibility and AAX supportfor Pro Tools 11.

project StuDio expo AES has a long history serving the recording community, from theearly days of monophonic vinyl to today’s modern multichanneldigital audio formats. The Project Studio Expo (PSE), created inpartnership with Sound On Sound, brought the latest techniques,tools, and experts together for professional training on topics rang-ing from acoustics in small spaces to microphone placement, mix-ing, and mastering.

Among the compelling training events included in this PSE wasMike Senior’s “Production Tricks to Use with any DAW” duringwhich he drew on his experience of thousands of project-studiomixes to highlight the most frequently overlooked studio tricks. Inthe process he demonstrated how these methods could powerfullyupgrade results without breaking the bank, and no matter whichDAW is involved. He also ran a session on the five most commonproject studio recording mistakes, giving insiders’ tips on how toavoid trouble at the mixdown stage.

Live SounDexpoWith the Live SoundExpo (LSE), the 137thConvention offeredexpert advice for thebroad spectrum of livesound engineers (some25% of Conventionattendees) with anemphasis on the practi-cal, bringing profession-als with decades of experience to the stage to inspire and educateattendees. The AES conventions are incubators for live sound tech-nology. From early loudspeaker design to line array theory, fromperformance measurement standards to networked audio interop-erability, AES has brought together professionals on the leadingedge of theory and application since the Society’s inception. Thattradition continued here with content available to all attendees.

Among the popular events in the LSE were an introduction tonetworks and IT for the live sound professional by Landon Gentry,a tutorial on practical aspects of RF systems (wireless microphone,etc.) by Ike Zimbel, and a review of the principles of “sound inspace” by Bernie Broderick. J. Mark King and Dave Mendez took alook into miking fundamentals for the stage, including guidelinesfor effective use and applications of different types.

Dtv AuDio Group foruMOn Friday October 10th, under the leadership of RogerCharlesworth, the DTV Audio Group Forum looked at “The Impli-cations of Streamed Content Delivery on the Evolution of Televi-sion Audio Services.” “Content delivery is converging on astreamed model whether for mobile, over the public Internet,within the walled garden of the MVPD, or over next-generationbroadcast services. … The rapidity of this transition to streaminghas significantly accelerated the time frame for adoption ofadvanced object-based audio services offering spatially immersive

sound, enhanced personalization,greater bandwidth efficiency, andimproved audio quality.” So went theintroduction to their session. Thisforum went on to explore some of thetools and workflow approachesrequired to manage and exploit thecapabilities of next-generation audiostandards. It took a look at the conver-gence around streamed content deliv-ery and transition to IP distributionand contribution that makes thisrapid deployment possible.

hiGh reS AuDioThere was also an important series ofpresentations on the Friday from theDigital Entertainment Group, concen-trating on high-resolution audio. Withthe recent agreement on a definitionfor delivery of high-res projects toconsumers, there is renewed enthusi-asm for raising the quality bar on allsorts of audio media. Topics included“Hi-res Audio for Every Lifestyle,” dur-ing which panellists described the lat-est devices available to the consumer,enabling hi-res music to be enjoyed onthe go and elsewhere. There was also a workshop on the business ofhi-res music, involving Mark Piibe from Sony Music, Howie Singerfrom Warner Music, and Jim Belcher from Universal Music. Topicsincluded licensing hi-res files, the latest distribution partners,ingesting and archiving digital assets, new subscription models,and the best ways to promote hi-res music.

SpeciALizeD StreAMS tArGet Key AuDienceSA number of themed trackswere used to guide dele-gates with particular inter-ests through the plethora ofevents taking place in thetechnical program, includ-ing Broadcast and MediaStreaming(David Bialik),Live Sound (Paul Chavez),Networked Audio (TimShuttleworth), ProductDesign (Scott Leslie), and

Recording and Production (Jim Kaiser and Andres Mayo). Duringthe Sound for Picture track, chaired by Brian McCarty, an work-shop session related theresults of a recent survey oncinema loudness, proposingnew standards work toattempt some control overwhat has become an unrulyarea of our business. (Thistopic is covered in greaterdetail in this month’s featurearticle on loudness, p. 906.)

The Game Audio track, ledby Steve Martz and Michael

Roger Charlesworth (top)and Skip Pizzi look intothe implications ofstreamed content for TV.

Ken Scott,left, and Mark Rubel duringRaw Tracks/David Bowie session.

A panel of experts lined up to offer theirknowledge during the Live Sound Expo.

Brian McCarty (standing) with world-class cinema sound mixers, from left, Mark Linden, Sherry Klein, and Gregory Watkins

Kelly, brought its usual large crowd of followers. Possibly the mosttechnologically advanced and fastest growing segment of the audiofield, game audio brings together signal processing complexity,evolving requirements, and mass market appeal. AES has been ontop of this exciting field since its infancy and the Game Audio Trackat the 137th Convention delivered the latest technologies, develop-ers, and ideas, including sessions on the business aspects of gameaudio and dynamic mixing.

heySer LectureLegendary game audio director and composer Marty O’Donnell pre-sented an engaging and enjoyable Richard C. Heyser Memorial Lec-ture. Marty is the famed audio director behind the award-winningHalo game series and is responsible for the biggest selling gamesoundtrack of all time. In his talk entitled “The Ear Doesn’t Blink:Creating Culture With Adaptive Audio,” O’Donnell drew on hisunique perspective from games, film, and jingle-writing to share thecreative challenges of working in nonlinear media such as games.

portnoW GiveS LunchtiMe KeynoteIn his Friday lunchtime keynote, Neil Portnow, president/CEO ofthe Recording Academy since 2007, discussed the challenges andopportunities currently facing recording professionals. Introducingthe event, Bob Moses said that he had been really looking forward

to Portnow’s talk. “Music brings ustogether as people,” he said, “andthe Recording Academy is lookingafter that.” He congratulated theAES on a great success at the con-vention, saying that it felt likehome to be in LA. Describing thework of the Recording Academy, henoted things like its standing up tothe sell-off of the wireless spec-trum used for microphones, andits lobbying in Washington for theinterests of recording pros andartists. “Quality sound matters,”he concluded.

WorKShopS AnD tutoriALS for ALLMike Wells, in charge of workshops, and Bob Lee, in charge of tuto-rials and masterclasses, delivered a program of events with some-thing for everyone at the 137th. One particular novelty was the ses-sion “Audio Legal” during which a panel of intellectual property

and recording business experts exploredhow to protect our intellectual propertyand other legal matters affecting audioprofessionals. Andrea Yankowsky led thegroup, with representatives of Townsend& Stockton LLP from New York, todebate this important subject.

In a tutorial on MPEG-H 3D audio,Schuyler Quackenbush explained howimmersive audio can be delivered to theconsumer, for a wide range of differentdevices such as TVs, smartphones, andtablets. Different loudspeaker and head-phone rendering options can be accom-modated, by adapting the reproductionto whatever is available at the deliveryend of the chain.

There was also an interesting tutorialby Tony Hoover that went under the title“Acoustics—Sorting it Out and Getting itRight,” during which Hoover looked intosound isolation, HVAC noise control, andsurface treatments for architecturalacoustics in recording studios. Jan Berggave an introduction to listening tests onthe last day of the convention, lookinginto the basic concepts used in experi-mental design.

technicAL pAperS infocuSAn outstanding collection of paper presentations had been assembledby papers cochairs Brett Leonard and Rob Maher covering just aboutevery area of current audio research and development. Sessions

included topics on spatial audio, per-ception, transducers, education,room acoustics, signal processing,and applications. The winner of theconvention’s best peer-reviewedpaper award was a paper on the audi-bility of typical digital audio filters ina high-fidelity playback system byHelen Jackson, Michael Kapp, andBob Stuart of Meridian Audio. Thepaper described listening tests thatsuggested listeners are sensitive tothe small signal alterations intro-duced by the various filters appliedin high-res, wideband digital play-back system. Their main conclu-sions were that there exist audiblesignals that cannot be encodedtransparently by a standard CD, andthat an audio chain used for experi-ments like this one must be capableof high-fidelity reproduction. Anaward for the best student paperwent to Samuel Nacach of New YorkUniversity, for his work on compara-tive testing of a duplex panner forheadphone-reproduced commercialmusic.

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From left, Michael Kelly, Bob Schulein, Jürgen Herre, Heyser LecturerMarty O’Donnell, and Francis Rumsey

Neil Portnow gives a speciallunchtime keynote.

Nadia Wallaszkovitsspeaks on the need topreserve historicrecordings.

Schuyler Quackenbushpresents his tutorial onMPEG-H coding.

Nuno Fonseca explainsupmixing using particlesystems.

Mark Blewett discussesdynamic audio imaging.

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AeS thAnKS the 137th

convention coMMittee

The entire committee on stage during the opening ceremonies, to receive the warm applause of the convention audience

Convention cochairs Michael MacDonald and Valerie Tyler

Papers co-chairs Brett Leonard, left,and Rob Maher

From left, Jessica Livingston (tours) with Mark Halvorsen (QSC), AndresMayo and Jim Kaiser (recording and production), David Scheirman (facilities) with Steve Green (business development)

From left, Neil Shaw (facilities), Brian McCarty (sound for pictures), Garry Margolis (transportation adviser)

Mark Gander (historical), Jonathan Novick (training),Roger Furness (program coordinator)

Magdalena Plewa and John Krivit (students andcareers), Steve Martz and Michael Kelly (game audio)

Mike Wells (workshops), Bob Lee (tutorials), David Bialik(broadcast and media streaming)

Scott Leslie (product design), Tim Shuttleworth (net-worked audio), Paul Chavez (live sound)

outStAnDinGSpeciAL eventSOne of the highlights of theconvention for Andres Mayo,the incoming AES president,was the “Great Producers fromLatin America” panel, con-ducted entirely in Spanish.The panel “Grandes Produc-tores de América Latina”brought together several ofthe biggest names in theregion, all of them multipleGrammy Award winners, topresent their most recentwork and discuss the state ofthe musical industry in LatinAmerica. The panel includedDaniel Anselmi, Rafa Arcaute,and Armando Avila, amongothers.

A highlight of the Platinumseries of events involved DavePensado and Herb Trawick,hosts of wildly popular weeklyshow “Pensado’s Place,” whowere interviewed at AES forthe first time. Delegates sawwhat Dave and Herb havelearned from their superstarguests—from studio techniqueand engineering, to the pres-sures of creating online televi-sion for 180 straight weeks(and counting). The PlatinumMastering panel concentratedon high-resolution audio fortheir session on Friday after-noon discussing the ramifica-tions of the DEG initiative tobring greater clarity to thedefinition of the term. BobLudwig in the chair, led adiscussion with BruceBotnick, Mark Donahue,Andres Mayo, and BarakMoff itt , to address what ishoped to be the next big thingfor the consumer.

Picking up on the theme ofsound for pictures, JeromeRossen and his panellists SteveHorowitz and Richard Warpfrom the Manhattan ProducersAlliance took a look at musicand audio for the smallerscreen. They were particularlyinterested in what to take intoaccount when composing,compiling, and refining audiofor content that’s to be deliv-ered over media device screens.

Historically the audio andrecording industries has beena male dominated workplace,so the panel “Chicks in theMix” sought to address this bylooking at the challengesfaced by women. A panel ofwell-known female industryprofessionals discussed whatit takes to survive and thrivein what James Brown called“It ’s A Man’s World.”Moderating this panel wasproducer/engineer ChrisLord-Alge whose resuméincludes recordings for Muse,Pink, Foo Fighters, Avri lLavigne, Green Day, Daughtry,Paramore, and Black EyedPeas. “Chicks In The Mix”brought together some of themost powerful and successfulwomen to offer lively debateand discussion across al lboundaries.

On Saturday lunchtime,Richard Warp joined ScottLooney and Tim Mullen toinvestigate mind-controlledinteractive music. “I f onething is clear from the musicindustry over the last 20years,” went the introduction,“it is that consumers are seek-ing ever-more immersiveexperiences, and in many waysbio feedback is the final fron-tier, where music can be madein reaction to emotions,mood, and more.” The panellooked at how feedback cancome from autonomicprocesses (stress or arousal, asin Galvanic Skin Response) orcognitive function (EEGsignals from the brain), andshowed how these technolo-gies are already robustenough to be integrated intoeverything from single inter-faces to complete systems.

The Grammy SoundTable,presented by the P&E Wing ofthe Recording Academy onSaturday afternoon, wasmoderated by Ed Cherney, andincluded contributions fromNiko Bolas, Michael Brauer,Alex Da Kid, No I.D., and DonWas. Record production is ahybrid art encompassingvision, musicianship, well-

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From left, Lisa Loeb, Amy Burr, Emily Lazar, Marcella Araica, BrendaRussell, and Chris Lord-Alge

Andres Mayo (left) with the members of the first-ever “Great Producersfrom Latin America” panel

Michael MacDonald, left, hosts Herb Trawick, center, and DavePensado.

Panelists from the GRAMMY Sound Table, with Bob Moses (right) andMaureen Droney of the Recording Academy (fourth from left)

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honed instincts, and the bottom-line ability to get a project overthe finish line, it was said.

To cap off the early afternoon specials at the 137th, JackJoseph Puig moderated a panel of mobile audio experts todiscuss how the paradigm shift to mobile music consumptionaffects creative choices in production. Entitled “Sound Is theConduit to the Artist Heart,” Puig’s session looked at howmanufacturers in the consumer space view the intersection ofmobile and pro audio, exploring ramifications for everyone inthe industry, from audio manufacturer to end user.

StuDentS Get buSyThanks to sterling efforts by Magdalena Plewa and John Krivit,students and those looking to develop their careers had plentyto enjoy at the convention. In addition to meetings of the stu-

dent delegate assembly, at which candidates for election wereannounced, there was a SPARS speed counselling session with alarge number of experts from the industry, including represen-tatives of G.A.N.G., the Game Audio Network Guild. The studentrecording competition is always a popular series of sessions, andLA was no exception, with categories in traditional acousticrecording and sound for visual media, as well as traditional studiorecording and modern studio recording. The student design exhi-bition enabled those who had done technical projects to showthem off and have their work seen by the AES design community.Close to 70 submissions were received for the student competi-tions in LA and the SDA was immensely grateful to all the judgesand sponsors that gave of their time and resources to make thempossible. There was also a careers/job fair and education fair tomatch job seekers with companies and students with schools.

technicAL tourS Get viSitorS on the roADTechnical tours chair Jessica Livingston had been responsiblefor putting together a compelling program of technical tours forthe convention delegates who wanted some time away from theLA Convention Center. Among them was a visit to the QSC fac-tory, where a wide range of audio electronics products and loud-speakers are turned out, and a tour of Sony Computer Enter-tainment, America, a new facility located in Santa MonicaStudios, and the game studio behind the hit God of War fran-chise. A tour of the Walt Disney concert hall was high on thepriority list for many, with its Frank Gehry-designed auditoriumand dramatic organ. Attached to the sound for picture agendawas a tour of The Dub Stage with Marti D. Humphrey CAS, a 33-year veteran of Hollywood postproduction.

A bustling education and careers fair on Saturday morning

Prospective students browse the options available from schools.All aboard the bus for Tech Tour to the Dub Stage.

Happy convention delegates on their way to one of the toursStudent winners with their Focal Press book prizes, together with Kyle Snyder (AES Education Committee) and Megan Ball (Focal Press)

hiStoricAL proGrAMNo convention would be complete without a look back at thehistory of audio engineering, and here in LA Mark Gander hadput together a series of events including one that he chairedhimself, on the evolution of studio acoustic design. Distin-guished studio designers, George Augspurger, Richard Schrag,John Storyk, and Chips Davis, each with careers lasting morethan 40 years, gave perspectives on how methods have evolvedover that period.

An interesting session on Sunday afternoon was led by DennisFink, on the authentic replication and modelling of vintageaudio gear. Whether with hardware signal processing or soft-ware plug-ins, this is a burgeoning industry, and representativesof it looked at the extent of the sonic authenticity achievableusing these approaches.

technicAL counciL AnD StAnDArDSMeetinGSCoordinated by Mark Yonge, Standards Manager, and chaired byBruce Olson, Standards Committee Chair, there was a full pro-gram of standards meetings, covering the many diverse areas ofaudio engineering. Among other activities, the AES67 groupdealing with network audio interoperability was working towardwhat turned out to be a successful “plugfest” to test the imple-mentation of the standard, to take place at the end of October.The results of this can be found in a report in last month’s Stan-dards News.

Francis Rumsey and his colleagues on the Technical Councilled a comprehensive program of Technical Committee meetingscovering the many fields of endeavor that make up audio engi-neering. These committees stimulate and promote the technicalpolicies of the Society and plan convention and conferenceactivities to educate and inform the membership. They can alsopropose standards work and publish technical documents.

not to forGet…Good technical facilities and assistance are crucial to the suc-cess of a convention, and the sterling efforts of facilities chairsDavid Scheirman and Neil Shaw were appreciated by all thosetaking part. A team of volunteers organized by Linda Gedemerand Stephen O’Hara was also on hand to ensure the smoothrunning of this complex event, and their efforts are to be com-mended. Lia Enkelis and Garry Margolis kept everyone in thepicture with their excellent transportation guides and JonathanNovick acted as training coordinator. Roger Furness did a ster-ling job as program coordinator.

AeS coMMitteeSIn the background, and unseen by the majority of delegates to aconvention, much of the business of the Society takes place incommittee rooms where future conferences, publications, andstrategy of the organization are planned. The annual businessmeeting at the outset of the convention confirmed that AESmembership is remaining high. During the Regions and Sec-tions meeting representatives of AES sections from around theworld met with the Society’s vice presidents to share examplesof stimulating local events and membership initiatives. ThePublications Policy Committee worked to revise the Open Accesspolicy of the Society, and the Board of Governors met on theevening of the last day of the convention, during which the soci-ety’s future policy and direction was discussed .

CONVENTION REPORT


A plenary meeting of the Technical Council. From left to right: BrianMcCarty, Jürgen Herre, Bob Schulein, Francis Rumsey, Michael Kelly.

Bozena Kostek and Ville Pullki prepare for the Publications PolicyCommittee meeting.

Bill Foster and Theresa Leonard at the Membership Committee meeting.

Karlheinz Brandenburg, left, and Jan Abildgaard Pedersen during theConference Policy Committee meeting.

CONVENTION REPORT


The army of student volunteers who assisted with the smooth running of the convention, with cochairs Linda Gedemer and Stephen O’Hara (center)

The AES Board of Governors and committee chairs meet after the convention.

137th Exhibitors & SponsorsLos Angeles • 2014 October 10–12


A Designs Audio Inc.West Hills, CA, USAwww.adesignsaudio.com

Accessory KingLos Angeles, CA, USA

*ACO Pacific, Inc.Belmont, CA, USAwww.acopacific.com

ADAM AudioHicksville, NY, USAwww.adam-audio.com

ADK MicrophonesLake Oswego, OR, USAwww.adkmic.com

Adolph Thal AudioEngineering (ATAE)Grass Valley, CA, USA ataudioeng.com

Advanced Audio MicrophonesSummerland, Canadaaamicrophones.com

AEA - Audio EngineeringAssociatesPasadena, CA, USAwww.ribbonmics.com

AirNetix, LLCSmyrna, GA, USAwww.airnetix.com

*AKGNorthridge, CA, USAwww.akg.com

AlterMedia, Inc.Burbank, CA, USAwww.studiosuite.com

Alto MusicMiddletown, NY, USAwww.altomusic.com

American Express OPENNew York, NY, USAwww.open.com

AMS NeveBurnley, UKwww.ams-neve.com

Analoguetube Ltd.London, UK www.analoguetube.com

AnaMod LLCGillette, NJ, USAwww.anamodaudio.com

ANAVIEW AmplifiersManasquan, NJ, USAwww.anaview.com

Antelope AudioSouthfield, MI, USAwww.AntelopeAudio.com

APIJessup, MD, USAwww.apiaudio.com

Apogee ElectronicsSanta Monica, CA, USAwww.apogeedigital.com

APRSTotnes, UK www.aprs.co.uk

Argosy Console, Inc. Eldon, MO, USAwww.ArgosyConsole.com

Astell & KernIrvine, CA, USAwww.astellnkern.com/

*ATC LoudspeakerTechnology Ltd.Stroud, Gloucestershire, UKwww.atcloudspeakers.co.uk

Atlantico Blue StudiosPaco De Arcos, Portugalatlanticobluestudios.com/

ATR MagneticsYork, PA, USAwww.atrtape.com

Audeze LLCCosta Mesa, CA, USAwww.audeze.com

Audient Herriard, Hampshire, UK www.audient.com

AudinatePortland, OR, USAwww.audinate.com

Audio Accessories, Inc. Marllow, NH, USAwww.proaudiola.com

Audio AlchemistNew City, NY, USA

Audio Plus ServicesChamplain, NY, USAwww.audioplusservices.com

*Audio PrecisionBeaverton, OR, USAwww.ap.com

Audio TechnologySwitzerland-USA Gallatin, TN, USAwww.nagraaudio.com

*Audio-Technica U.S., Inc.Stow, OH, USAwww.audio-technica.com

*Audiomatica SRL Florence, Italywww.audiomatica.com

Audionamix Los Angeles, CA, USAwww.audionamix.com

Augspurger MonitorsPembroke, MA, USAwww.augspurgermonitors.com

Auro TechnologiesMol, Belgiumwww.auro-3d.com

Aurora Audio InternationalHollywood, CA, USAwww.auroraaudio.net

Avalon DesignTustin, CA, USAwww.avalondesign.com

Avenson AudioAustin, TX, USAwww.avensonaudio.com

AvermetricsLos Angeles, CA, USAwww.avermetrics.com

*AVIDBurlington, MA, USAwww.avid.com

AwtacNew York, NY, USAwww.awtac.com

BAE AudioVan Nuys, CA, USAwww.baeaudio.com

Barefoot SoundPortland , OR, USAwww.barefootsound.com

BeldenValencia, CA, USAwww.belden.com

Benchmark Media Systems, Inc.Syracuse, NY, USAwww.benchmarkmedia.com

Blue MicrophonesWestlake Village, CA, USAwww.bluemic.com

Bob Moog FoundationAsheville, NC, USAmoogfoundation.org

*Bose CorporationFramingham, MA, USAwww.bose.com

Brainstorm ElectronicsWest Hollywood, CA, USAwww.plus24.net

Bricasti Design, Ltd.Medford, MA, USAwww.bricasti.com

Bruel & KjaerNorcross, GA, USAwww.bksv.com

*BSS AudioSandy, UT, USAwww.bssaudious.com

Bubblebee WindscreensWest Hollywood, CA, USAwww.plus24.net

Burbank Audio Systems LLCBurbank, CA, USABurbankaudiosystems.com

Burl AudioSanta Cruz, CA, USAwww.burlaudio.com

CakewalkBoston, MA, USAwww.cakewalk.com

*Calrec Audio Ltd.Hebden Bridge, UK www.calrec.com

Cathedral PipesHuntington Beach, CA, USAcathedralpipes.com/

CB ElectronicsCharvil, Berkshire, UK www.colinbroad.com

CEDAR Audio Ltd.Fulbourn, Cambridge, UK www.cedaraudio.com

Chandler Limited, Inc.Shell Rock, IA, USAwww.chandlerlimited.com

CharterOakEnfield, CT, USAwww.coproaudio.com

Clear-ComAlameda, CA, USAwww.clearcom.com

Cloud MicrophonesTucson, AZ, USAwww.cloudmicrophones.com*Sustaining Member of the Audio Engineering Society


Coleman AudioWestbury, NY, USAwww.colemanaudio.com

Corning OpticalCommunications, LLCSanta Ana, CA, USAwww.OpticalCablesByCorning.com

Crane Song Ltd. Superior, WI, USAwww.cranesong.com

*Crown InternationalElkhart, IN, USAwww.crownaudio.com

*CSRBelfast, UK www.csr.com

Cymatic AudioBlainville, Canadawww.cymaticaudio.com

D.W. FearnWest Chester, PA, USAwww.dwfearn.com

DAD - Digital AudioDenmark West Hollywood, CA, USAdigitalaudio.dk

Daking AudioSaint Petersburg, FL, USAwww.daking.com

*Dan Dugan Sound DesignSan Francisco, CA, USAwww.dandugan.com

Dangerous Music, Inc. Edmeston, NY, USAwww.dangerousmusic.com

*dbx Professional ProductsSandy, UT, USAwww.dbxpro.com

*dCSCambridge Cambridge, UKwww.dcsltd.co.uk

Dedicated MarketingWestlake Village, CA, USA

Direct Sound Headphones LLCSt. Louis, MO, USAwww.extremeheadhpones.com

DirectOut GmbHMittweida, Germanywww.directout.eu

DK TechnologiesHerlev, Denmarkwww.dk-technologies.com

DPA MicrophonesLongmont, CO, USAwww.dpamicrophones.com

Dramastic AudioMilford, NH, USAwww.dramasticaudio.com

*DTS, Inc.Agoura Hills, CA, USAwww.dts.com

E.A.R., Inc. Boulder, CO, USAwww.earinc.com

Earthworks, Inc. Milford, NH, USAwww.earthworksaudio.com

Eastern Acoustic Works,Inc.Whitinsville, MA, USAwww.eaw.com

ECLIPSE by Fujitsu TenKobe Hyogo, Japanwww.eclipse-td.net

EiosisLas Vegas, NV, USAwww.eiosis.com/

Electronic MusicianNew York, NY, USAwww.emusician.com

ElectroswitchRaleigh, NC, USAwww.electro-nc.com

Eleven Dimensions Media,LLCPetaluma, CA, USAwww.11dmedia.com

Elysia GmbHNettetal, Germanywww.elysia.com

Empirical LabsLake Hiawatha, NJ, USAwww.empiricallabs.com

Equator Audio Chula Vista, CA, USAwww.equatoraudio.com

ESI Audiotechnik GmbHLeonberg, Germanywww.esi-audio.com

Eve AudioBlainville, Canadawww.eve-audio.com

Event Production DirectoryLas Vegas, NV, USAwww.epdweb.com

EventideLittle Ferry, NJ, USAwww.eventide.com

Extreme IsolationHeadphonesSt. Louis, MO, USAwww.extremeheadphones.com

FairlightUSNewfoundland, NJ, USAwww.fairlightus.com

Flex Acoustics Copenhagen, Denmarkwww.flexac.com

*Focal Press New York, NY, USAwww.focalpress.com

*Focusrite NovationEl Segundo, CA, USAwww.focusrite.com

*Fraunhofer IIS Erlangen, Germanywww.iis.fraunhofer.de

FredensteinTaipei, Taiwan www.fredenstein.com

Front of House / StageDirectionsLas Vegas, NV, USAwww.fohonline.com

Genelec, Inc. Natick, MA, USAwww.genelec.com

General Cable / GepcoWood Dale, IL, USAwww.gepco.com

Gepco/General CableWood Dale, IL, USAwww.gepco.com

Ghielmetti AGSolothurn, Switzerlandwww.ghielmetti.ch

Gibson Guitar CorporationNashville, TN, USAwww.gibson.com

GKL AudioMontreal, Canadawww.gklaudio.com

Globe PlasticsChino, CA, USAwww.globecomposites.com

Glyph TechnologiesCortland, NY, USAwww.glyphtech.com

Gordon InstrumentsNashville, TN, USAwww.gordonaudio.com

Grace DesignLyons, CO, USAwww.gracedesign.com

Great River ElectronicsSouth St. Paul, MN, USAwww.greweb.com

Group One Ltd.Farmingdale, NY, USAwww.g1limited.com

Guzauski-SwistNew City, NY, USAwww.gsstudiomonitors.com

Hal Leonard CorporationMilwaukee, WI, USAwww.halleonard.com

*Harman International Northridge, CA, USAwww.harman.com

HarrisonLaVergne, TN, USAwww.harrisonconsoles.com

HEAR Now Festival Carle Place, NY, USAwww.hearnowfestival.org

Hear TechnologiesHuntsville, AL, USA hearback.com

Hosa Technology, Inc.Buena Park, CA, USAwww.hosatech.com

137th Exhibitors & Sponsors


IGS AudioMyslowice, Polandproaudiola.com

Independent Audio, Inc. Portland, ME, USAwww.independentaudio.com

Infernal Love, LLCLos Angeles, CA, USA

International MusicSoftware Trade Association(IMSTA)Toronto, ON, Canadawww.imsta.org

IsoAcoustics Inc. Markham, ON, Canadawww.isoacoustics.com

ITI AudioRipplemead, VA, USAwww.iti-audio.com

*iZotope, Inc. Cambridge, MA, USAwww.izotope.com

*JBL Professional Northridge, CA, USAwww.jblpro.com

JDK Audio by API Jessup, MD, USAwww.jdkaudio.com

JoeCo Limited Cambridge Cambridgeshire,UKwww.joeco.co.uk

Josephson Engineering, Inc.Santa Cruz, CA, USAwww.josephson.com

Keen Ocean IndustrialLimitedHong Kong. Hong Kongwww.keenocean.com.hk

Kimber Kable/ IsoMike Ogden, UT, USAwww.kimber.com

Klippel GmbH Dresden, Germanywww.klippel.de

Klotz a.i.s. Cables Blainville, QC, Canadawww.klotz-ais.com

KRK Systems Chatsworth, CA, USAwww.krksys.com

Kush Audio Los Angeles, CA www.thehouseofkush.com

*L-AcousticsOxnard, CA, USAwww.l-acoustics.com

Latch Lake Music Eagan, MN, USAwww.latchlakemusic.com

Lavry EngineeringRolling Bay, WA, USAwww.lavryengineering.com

Lawo North America Corp.Toronto, ON, Canadawww.lawo.ca

Lectrosonics, Inc. Rio Rancho, NM, USAwww.lectrosonics.com

Lewitt AudioBlainville, QC, Canadawww.trunorthmusicandsound.com

*Lexicon Professional Sandy, UT, USAwww.lexiconpro.com

Lipinski Sound CorporationLinden, VA, USAwww.lipinskisound.com

Listen, Inc.Boston, MA, USAwww.listeninc.com

Little LabsLos Angeles, CA, USAwww.littlelabs.com

LMC Sound West Hollywood, CA, USAwww.plus24.net

Location Sound Corp.N. Hollywood, CA, USAwww.locationsound.com

Locomotive AudioSt. Louis, MO, USAwww.locomotiveaudio.com

Louder Than Liftoff San Jose, CA, USAwww.louderthanliftoff.com/

Lundahl Transformers ABNorrtälje, Swedenwww.lundahl.se

Lynx Studio TechnologyCosta Mesa, CA, USAwww.lynxstudio.com

MAGIX – Samplitude –SequoiaReno, NV, USAwww.samplitude.com

MAGMASan Diego, CA, USAwww.magma.com

Manley Laboratories, Inc.Chino, CA, USAwww.manley.com

Marian Digital AudioElectronicsWest Hollywood, CA, USAwww.plus24.net

Marshall Day AcousticsGrafton, Auckland, NewZealandwww.iris.co.nz

Marshall ElectronicsEl Segundo, CA, USAwww.Marshall-usa.com

McDSP Mountain View, CA, USAmcdsp.com

Merging TechnologiesPuidoux, Switzerlandwww.merging.com

*Meridian Audio Ltd. New York, NY, USAwww.meridian.co.uk

Microtech Gefell GmbHGefell, Germanywww.microtechgefell.de

Miktek, LLCNashville, TN, USAwww.miktekaudio.com

Millennia Media FPC Placerville, CA, USAwww.mil-media.com

MixNew York, NY, USAwww.mixonline.com

Mix with the MastersParis Ile de France, Francewww.mixwiththemasters.com

Mogami CableEl Segundo, CA, USAwww.mogamicable.com

Mojave Audio, Inc.Burbank, CA, USAwww.mojaveaudio.com

Moog Music Inc. Asheville, NC, USAwww.moogmusic.com

MOTUCambridge, MA, USAwww.motu.com

Munro AcousticsLondon, UK www.munro.co.uk

Music Maker PublicationsBoulder, CO, USAwww.recordingmag.com

Music Marketing Inc. |CelemonyToronto, ON, Canadawww.musicmarketing.ca

MusisticMemphis, TN, USAwww.musistic.com

MUTEC - Sonic DistributionSomerville, MA, USAwww.sonicus.net

MV Pro Audio Grants Pass, OR, USAwww.mvproaudio.com

MXL MicrophonesEl Segundo, CA, USAwww.mxlmics.com

Mytek DigitalBrooklyn, NY, USAwww.mytekdigital.com

Neumann/USAOld Lyme, CT, USAwww.sennheiserusa.com

*Neutrik USA, Inc.Charlotte, NC, USAwww.neutrik.com

NKK SwitchesScottsdale, AZ, USAwww.nkkswitches.com

NonLinearAudioBrooklyn, NY, USAwww.nonlinearaudio.com

nonzero \ architectureSanta Monica, CA, USAnonzeroarch.com

NTI Americas Inc.Portland, OR, USAwww.nti-audio.com

NTP Technology ASGentofte, Denmarkwww.ntp.dk/digitalaudio.dk

NUGEN AudioNew York, NY, USAwww.nugenaudio.com

*OCA Alliance, Inc. Bothell, WA, USAwww.oca-alliance.com

Pacific PAC Technologies,Inc. Rancho Santa Margarita, CA,USAwww.ppactech.com

PACSYS LimitedNottingham, UK www.vibroacoustics.com

PCB PiezotronicsDepew, NY, USAwww.pcb.com

Pearlman MicrophonesBurbank, CA, USAwww.pearlmanmicrophones.com

Pelonis Sound andAcoustics, Inc. Santa Barbara, CA, USAwww.pelonissound.com

Pendulum Audio Inc.Gillette, NJ, USAwww.pendulumaudio.com

Phoenix AudioCosta Mesa, CA, USAwww.phoenixaudio.net

Pivitec, LLC Bethlehem, PA, USAwww.pivitec.com

plus24West Hollywood, CA, USwww.plus24.net

*PMC MonitorsIrvine, CA, USAwww.pmc-speakers.com

PMI Audio GroupGardena, CA, USAwww.pmiaudio.com

PreSonus Baton Rouge, LA, USAwww.presonus.com



*Prism Media Products, Inc.Rockaway, NJ, USAwww.prismsound.com

Pro Audio DistributionPembroke, MA, USAwww.proaudiodesign.com

Pro Audio LALos Angeles, CA, USAproaudiola.com

Pro Audio ReviewNew York, NY, USAwww.prosoundnetwork.com

Pro Sound NewsNew York, NY, USAwww.prosoundnews.com

Pro Sound News EuropeNew York, NY, USAwww.psneurope.com

Professional Audio Design,Inc.Pembroke, MA, USAwww.proaudiodesign.com

Pulse Techniques, LLCFort Collins, CO, USAwww.pultec.com

Purple Audio LLCJim Thorpe, PA, USAwww.purpleaudio.com

Quantec München, Germanywww.quantec.com

R&D TeamSalgen, Germanywww.randteam.de

Radial Engineering Ltd.Port Coquitlam, BC, Canadawww.radialeng.com

Radio Active DesignsLincoln, NE, USAradioactiverf.com

RCI Custom ProductsFrederick, MD, USAwww.RCIcustom.com

RealAcoustix LLCFarr West, UT, USAwww.realacoustix.com

ResolutionHaywards Heath, WestSussex, UK www.resolutionmag.com

*Rohde & SchwarzColumbia, MD, USAwww.rohde-schwarz.com

Roll Music Systems Inc. Minneapolis, MN, USAwww.rollmusic.com

Royer Labs Burbank, CA, USAwww.royerlabs.com

RSPE Audio & VideoSolutionsUniversal City, CA, USAwww.rspeaudio.com

RTW GmbH & Co KGCologne, Germanywww.rtw.cin

Rupert Neve Designs Wimberley, TX, USArupertneve.com

Sandhill Audio OyPusula, Finlandwww.sandhillaudio.com

Sanken Microphones/plus24West Hollywood, CA, USAwww.sanken-mic.com

SBEIndianapolis, IN, USAwww.sbe.org

Schurter, Inc. Santa Rosa, CA, USAwww.schurterinc.com

sE ElectronicsHitchin, Herts., UK www.seelectronics.com

*Sennheiser Electronic Corp.Old Lyme, CT, USAwww.sennheiserusa.com

Shadow Hills IndustriesKyle, TX, USAwww.shadowhillsindustries.com

ShinyBoxCovington, WA, USAwww.shinybox.com

*Shure Inc.Niles, IL, USAwww.shure.com/americas

SKnoteLa Punta, Italywww.sknote.it

SMPTEWhite Plains, NY, USAwww.smpte.org

Society of ProfessionalAudio Recording Services(SPARS.COM) Palacios, TX, USAwww.spars.com

*Solid State LogicNew York, NY, USAwww.solidstatelogic.com

Sonic Farm AudioBurnaby, BC, Canadasonicfarm.com

Sonnox Ltd. Finstock, Oxfordshire, UKwww.sonnoxplugins.com

Sonodyne Technologies New Alipore, Kolkata, Indiawww.transaudiogroup.com/sonodyne

Sonoma Wire WorksLos Altos, CA, USAwww.sonomawireworks.com

Sontec Ripplemead, VA, USAwww.iti-audio.com

Sontronics MicrophonesPoole, Dorset, UK www.sontronics.com

Sony Electronics, Inc. Park Ridge, NJ, USAwww.sony.com/professional

Sound & PictureLos Angeles, CA, USAsoundandpicture.com

Sound & Video Contractor New York, NY, USAwww.svconline.com

Sound IdeasRichmond Hill, ON, Canadawww.sound-ideas.com

*Sound on Sound Bar Hill, Cambridge, UK www.soundonsound.com

Sound Radixwww.soundradix.com

*Soundcraft Northridge, CA, USAwww.soundcraft.com

Soundproof WindowsReno, NV, USAwww.soundproofwindows.com

SoundToys, Inc. Burlington, VT, USAwww.soundtoys.com

Source Elements LLCEvanston, IL, USAwww.source-elements.com

SPLNiederkruechten, Germanywww.spl.info

Stage DirectionsLas Vegas, NV, USAwww.stage-directions.com

Stagetec (SalzbrennerStagtec Mediagroup, Inc.Atlanta, GA, USAwww.stagetec.com

Stanford Research SystemsSunnyvale, CA, USAwww.thinksrs.com

Stonebridge Mastering &EgglestonworksTN, USAwww.stonebridgemastering.com

*StuderNorthridge, CA, USAwww.studer.ch

Studio Bau : TonSanta Monica, CA, USAwww.bauton.com

Studio Six Digital LLCBoulder, CO, USAStudiosixdigital.com

SwissaudecCinuos-chel GR, Switzerlandwww.swissaudec.com

Tac System, Inc. Tokyo, Japanwww.tacsystem.com

Tape Op MagazineSacramento, CA, USAwww.tapeop.com

*TASCAMMontebello, CA, USAwww.tascam.com

TC Applied TechnologiesToronto, ON, Canadawww.tctechnologies.tc

TC ElectronicKitchener, ON, Canadawww.tcelectronic.com

TELEFUNKENElektroakustikSouth Windsor, CT, USAwww.t-funk.com

*THAT CorporationMilford, MA, USAwww.thatcorp.com

THD-LABS 1Montreal, Quebec, Canadawww.thd-labs.com

The Blackbird AcademyNashville, TN, USAtheblackbirdacademy.com

The Record CompanyBoston, MA, USAwww.therecordco.org

The Recording AcademySanta Monica, CA, USAwww.grammypro.com

The Recording StudioInsurance ProgramAlbany, NY, USAwww.ajg.com/albany

Thermionic Culture Ltd.Harlow, Essex, UK www.thermionicculture.com

Tonecraft AudioLa Jolla, CA, USAwww.tonecraftaudio.com

Torus Power Toronto, ON, Canadawww.toruspower.com

TowersonicUKwww.towersonic.com

Transamerica Audio GroupLas Vegas, NV, USAwww.transaudiogroup.com

Tree Audiowww.treeaudio.com

Triad-Orbit Advanced StandSystemsKingston, WA, USAwww.triad-orbit.com

Trinnov Audio Neuilly-Plaisance, Francewww.trinnov.com

TruNorth Music and Sound,Inc.Blainville, QC, Canadawww.trunorthmusicandsound.com

Unity Audio StudioMonitorsWest Milford, NJ, USAwww.unityaudio.co.uk

*Universal Audio, Inc.Scotts Valley, CA, USAwww.uaudio.com

USITT (United StatesInstitute for TheatreTechnology)Syracuse, NY, USAwww.usitt.org

UVI-Sounds and SoftwareParis, Francewww.uvi.net

*Vintage King AudioFerndale, MI, USAwww.vintageking.com

Wave DistroWest Milford, NJ, USAwww.wavedistro.com

Waves Inc. and DiGiGridKnoxville, TN, USAwww.waves.com

Weiss Engineering Ltd.Uster, Switzerlandwww.weiss.ch

WhisperRoom, Inc.Knoxville, TN, USAwww.whisperroom.com

Women's Audio MissionSan Francisco, CA, USAwww.womensaudiomission.org

XQP AudioTulsa, OK, USAwww.xqpaudio.com

*Yamaha Commercial AudioSystems, Inc.Buena Park, CA, USAwww.yamahaca.com

Yellow MatterEntertainment/Slate DigitalLos Angeles, CA, USAwww.slatedigital.com

Zaor Studio FurnitureBlainville, QC, Canadawww.zaorstudiofurniture.com

Zaxcom Pompton Plains, NJ, USAwww.zaxcom.com

Zynaptiq, GmbH Hannover, Germanywww.zynaptiq.com


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