jim anderson

Always open to questions, here. Jim

Thanks. There is another fine engineer in the Boston area with the unprobable name "jim anderson" He may have done that. There are a few albums that have been attributed to me that were his. This may be one. Or I'm just getting old! Best Jim

Hi, Sorry for the break in communications. I just returned from attending Midem in Cannes, last night. As far as the difference between 90º and 180º depends upon the track and the role the organ's going to play in it. Many times, I find that the 180º works if the organ's a feature (Jimmy Smith, ect.) or if the organ's a pad or an effect (a texture?) such as what I did with D.D.Jackson's latest. I consider the back of the organ to be the back of the organ with the open parts, where you can get the microphones closer to the sources. I just spent some time on All Music looking for "Noisy Old Men" but couldn't find it anywhere. Can you provide any more information? I really like working with David S. Ware and his bands. I first met him when he was recording for the Japanese label DIW. We had recorded many. many albums with David Murray and DIW felt he was a young tenor player to watch. We would record those projects over the course of 2 intense days, direct to stereo. Many times he would concentrate on the upcoming track, centering himself and the band on the upcoming course and then perform the track, one take. Move on the the next track, same proceedure. And then with three tracks recorded, and hour of concentrated listening to playbacks in the control room. The producer for the DIW tracks was Kazunori Sugiyama and it was he who put us together. There was a time when DIW distributed selected titles domestically by Columnbia and David was eventually signed by Columbia by Branford, when he was in charge of jazz, for a short time. Branford came to the session "Godspelized" and would sit and listen, mesmerized. When David moved to AUM Fidelity, Stephen Joerg produced. The most recent project that I did with David and AUM was the remake of the Sonnly Rollins "Freedom Suite". Recorded in a day, direct to stereo. One aside by me, I always wanted to hear David with that amazing intensity play an album of the music of Gato Barbier. All the best. Jim Anderon

Joe, That's exactly the problem. Asking a musician with an amplifier to acoustically balance themselves with an ensemble seems to be difficult. Come to think about it, even "Kind of Blue" used 9 microphones: Neumann M49's. JA

Jim, The mikes are very close, just a few inches away. Sometimes I've had to use windscreens or popperstoppers to avoid the breeze of the Leslie. JA

Allen, The three mic thing is fine, if you have a group that can properly balance themselves and perform without any anticipated performance changes, but it's highly impractical. It's really something that works for classical ensembles. It also implies that you're working in a room that has an accoustic that is worth listening to. I applaud that you're able to work in such a minimalist technique. It's the more difficult way to proceed. JA

and that's what it's all about

Bertrand, I've been waiting for the box set, too! We mixed all of that a long time ago. The mixes were from the original analogue 1" 8 track tapes, which were in excellent shape. The masters needed no baking or help of any kind. We mixed all 4 nights of recording at Sony, New York. Airto wasn't there for the first night and McGlaughlin was only there for Saturday ("Live-Evil" release). The guitar takes away the audience track, so the audience is only picked up by the stage microphones. The tracks were: 1-Keith Keyboard 1, 2-Keith Keyboard 2, 3-Gary Bartz, 4-Miles, 5-Bass, 6-Airto, 7-Drums, 8-Audience We did mix in stereo and surround, although I don't think the surround mixes are due to be released anytime soon. The music is phenominal. I lived in DC during the 70's and went to the Cellar Door many, many times. I tried to make sure the ambience of the club was felt. The story that I heard from Adam Holtzman and Bob Belden was that the tapes that were in the library were mislabeled, or forgotten because of the release and success of "Live/Evil". As was the custom, back in the day. artists would have a 7" 7.5 ips session tape to take home for audition. Remember this was long before cassettes started to sound acceptable and an acetate disc would be difficult to arrange. Apparently, Adam found a white 7" box in Miles' library which had, written in pencil, a number that looked like a Columbia work order number. He jotted it down and the next time in the Sony library, put the number in the computer and BINGO! There was a lot of material and we mixed for 2 weeks. The latest release date I've heard is December 27. The Downbeat review from the summer was quite good, but a little premature. It will be an extraordinary release (when it comes out). The band really never sounded better and there's an excitement that's lacking in a lot of music, these days. Best Jim

Here's a list of the technical program (accurate as of today) to give you an idea of the topics to be discussed at the AES Convention. Jim Paper Sessions Session P1 Analysis, Synthesis of Sound Chair: Durand Begault P1-1 Perceptual Modeling of Piano Tones Brahim Hamadicharef Emmanuel Ifeachor P1-2 Multichannel Audio Processing Using a Unified Domain Representation Kevin Short Ricardo Garcia Michelle Daniels P1-3 Multichannel Audio Time-Scale Modification David Dorran Robert Lawlor Eugene Coyle P1-4 Improving MPEG-7 Sound Classification Holger Crysandt Session P2 ACOUSTICS & DESKTOP PRODUCTION Chair: Brad Gover P2-1 Measurement of Architectural Speech Security of Closed Offices and Meeting Rooms Bradford Gover John Bradley P2-2 Frequency-Based Coloring of the Waveform Display to Facilitate Audio Editing and Retrieval Stephen Rice P2-3 Development of Auditory Alerts for Air Traffic Control Consoles Densil Cabrera Sam Ferguson Gary Laing P2-4 Multichannel Impulse Response Measurement, Analysis, and Rendering in Archaeological Acoustics Damian Murphy Session P3 RESTORATION, STORAGE & CAR AUDIO Chair: Brett Crockett P3-1 Preferred Listening Levels in the Automotive Environment Eric Benjamin Brett Crockett P3-2 High Frequency Compensation for Compressed Digital Audio Using Sampled-Data Control Koji Fujiyama Naoya Iwasaki Riku Kaibe Hiroshi Kano Yutaka Yamamoto P3-3 Are There Criteria to Evaluate Optical Disc Quality that Are Relevant for End-Users? Jean-Marc Fontaine Jacques Poitevineau P3-4 An Open Design and Implementation for the Enabler Component of the Plural Node Architecture of Professional Audio Devices Jun-ichi Fujimori Harold Okai-Tettey Richard John Foss Session P4 SPATIAL PERCEPTION AND PROCESSING Chair: Richard Stroud P4-1 Audibility of Spectral Switching in Head-Related Transfer Functions Pablo Faundez Hoffmann Henrik Møller P4-2 Virtual Source Location Information for Binaural Cue Coding Sang Bae Chon In Yong Choi Han-gil Moon Joengil Seo Koeng-Mo Sung P4-3 Perceptual Movement of Auditory Images Fed through Multiway Loudspeakers Perpendicularly Set Up Yu Agatsuma Eiichi Miyasaka P4-4 High Order Spatial Audio Capture and its Binaural Head-Tracjed Playback Over Headphones with HRTF Cues Ramani Duraiswami Dmitry Zotkin Zhiyun Li Elena Grassi Nail Gumerov Larry Davis P4-5 Performance of Spatial Audio Using Dynamic Cross-Talk Cancellation Tobias Lentz Ingo Assenmacher Jan Sokoll P4-6 An Application of Lined-Up Loudspeaker Array System for Mixed Reality Audio-Visual Reproduction System Hiroyuki Okubo Yasushige Nakayama Yoichi Naito Toshikazu Ikenaga Setsu Komiyama Session P5 MULTICHANNEL SOUND -1 Chair: Thomas Sporer P5-1 Perceptual Evaluation of 5.1 Downmix Algorithms Thomas Sporer Beate Klehs Judith Liebetrau Felix Richter Alexander Krake Gabi Muckenschnabl Mandy Weitzel P5-2 Discrimination of Auditory Source Focus for Musical Instrument Sounds with Varying Low-Frequency Cross Correlation in Multichannel Loudspeaker Reproduction Sungyoung Kim William Martens Atsushi Marui P5-3 Optimizing Placement and Equalization of Multiple Low Frequency Loudspeakers in Rooms Adrian Celestinos Sofus Birkedal Nielsen P5-4 An Immersive Audio Environment with Source Positioning Based on Virtual Microphone Control Jonas Braasch Wieslaw Woszczyk P5-5 Simulation and Visualization of Room Compensation for Wave Field Synthesis with the Functional Transformation Method Stefan Petrausch Sascha Spors Rudolf Rabenstein P5-6 Acoustic Intensity in Multichannel Rendering Systems Antoine Hurtado-Huyssen Jean-Dominique Polack Session P6 SIGNAL PROCESSING FOR AUDIO -1 Chair: Vicki Melchior P6-1 Toward a Procedure for Stability Analysis of High Order Sigma Delta Modulators Josh Reiss P6-2 An Interface for Analysis-Driven Sound Processing Niels Bogaards Axel Röbel P6-3 A Comparison of Digital Power Amplifiers with Conventional Linear Technology: Performance, Function, and Application Craig Bell Isaac Sibson P6-4 Selective Mixing of Sounds Piotr Kleczkowski P6-5 An Efficient Asynchronous Sampling-Rate Conversion Algorithm for Multichannel Audio Applications Paul Beckmann Timothy Stilson Session P7 MULTICHANNEL SOUND -2 Chair: Richard Duda P7-1 An Approach for Multichannel Recording and Reproduction of Sound Source Directivity Roland Jacques Bernhard Albrecht Frank Melchior Diemer de Vries P7-2 Artificial Reverberation Algorithm to Control Distance and Direction of Sound Source for Multichannel Audio System Jeong-Hun Seo Hwan Shim Jae-Hyoun Yoo Koeng-Mo Sung P7-3 Surround Recording of Music: Problems and Solutions Joerg Wuttke P7-4 Motion-Tracked Binaural Sound for Personal Music Players V. Ralph Algazi Robert Dalton, Jr. Richard Duda Dennis M. Thompson P7-5 Subjective Consumer Evaluation of Multichannel Audio Codecs Jim Barbour P7-6 Advanced Multichannel Audio System for Reproducing a Live Sound Field with Ultimate Sensation of Presence Kimio Hamasaki Hiroyuki Okubo Toshiyuki Nishiguchi Yasushige Nakayama Reiko Okumura Masakazu Iwki Session P8 SIGNAL PROCESSING FOR AUDIO -2 Chair: Gilbert Soulodre P8-1 VisualAudio—An Environment for Designing, Tuning, and Testing Embedded Audio Applications David A. Jaffe Paul Beckmann Britton Peddie Timothy Stilson Scott Van Duyne P8-2 Analysis and Design Algorithm of Time Varying Reverberator for Low Memory Applications Tacksung Choi Young-Cheol Park P8-3 A Comparison of the Performance of “Pruned Tree” versus “Stack” Algorithms for Look-Ahead Sigma Delta Modulators James Angus P8-4 Adaptive Strategies for Inverse Filtering Scott Norcross Martin Bouchard Gilbert Soulodre P8-5 New Understandings of the Use of Ferrites in the Prevention and Suppression of RF Interference to Audio Systems Jim Brown P8-6 Parametric Control of Filter Slope versus Time Delay for Linear Phase Crossovers David McGrath Justin Baird Bruce Jackson Session P9 POSTERS: MISCELLANEOUS -1 P9-1 A Robust Partial Tracker for Analysis of Music Signals Hamid Satar-Boroujeni Bahram Shafai P9-2 Automatic Retrieval of Musical Rhythmic Patterns Bozena Kostek Jaroslaw Wojcik P9-3 A Spectrogram Display for Loudspeaker Transient Response David Gunness William Hoy P9-4 Quality Enhancement of Low Bit Rate MPEG1-Layer 3 Audio Based on Audio Resynthesis Demetrios Cantzos Chris Kyriakakis P9-5 Obtaining 120-dB Performance Using Switching Power Supplies Gregg Rouse Larry Gaddy P9-6 Influence of Artificial Mouth’s Directivity in Determining Speech Transmission Index Fabio Bozzoli Paolo Bilzi Angelo Farina Session P10 POSTERS: CODING & LOUDSPEAKERS & HI RESOLUTION P10-1 A New Low-Delay Codec for Two-Way High-Quality Audio Communication Aníbal Ferreira Deepen Sinha P10-2 Compensation of Nonlinearities of Horn Loudspeakers Delphine Bard Mario Rossi Mauro Del Nobile P10-3 Diaphragm Parameters and Radiation Characteristics of Multilayer Piezoelectric Ceramic Loudspeakers Jun Fujii Juro Ohga Norikazu Sashida Ikuo Oohira P10-4 A Study on Lumped Elements Model and Thermal Effects of Eddy Currents in Loudspeakers Ning Wu Yong Shen Xiaobing Xu P10-5 Spatial Audio Coding System Based on Virtual Source Location Information Jeongil Seo Inseon Jang Kyeongok Kang P10-6 An Ultra High Performance DAC with Controlled Time-Domain Response Paul Lesso Anthony Magrath P10-7 Understanding the Effects of AES-17 When Evaluating 192-kHz Converter Performance Richard Kulavik Larry Gaddy Session P11 LOUDSPEAKERS - 1 Chair: Wolfgang Klippel P11-1 Wideband Piezoelectric Rectangular Loudspeaker Using A Tuck Shape PVDF Bimorph Toshinori Ouchi Juro Ohga Toshitaka Takei Nobuhiro Moriyama P11-2 Modeling Compression Drivers Using T-Matrices and Finite Element Analysis David J. Murphy Rick Morgans P11-3 A Proposal for Low Frequency Loudspeaker Design Utilizing Ultrasonic Motor Juro Ohga Hirokazu Negishi Ikuo Oohira P11-4 Finite Element Modeling of a Loudspeaker. Part 1: Theory and Validation David Henwood Gary Geaves P11-5 Radiated Sound Field Analysis of Loudspeaker Systems: Discrete Geometrical Distribution of Circular Membranes versus Co-Incident Annular Rings Bernard Debail Hmaied Shaiek P11-6 Loudspeaker Nonlinearities— Causes, Parameters, Symptoms Wolfgang Klippel Session P12 AUDIO CODING -1 Chair: Alan Seefeldt P12-1 Upfront Time Segmentation Methods for Transform Coding of Audio Omar Niamut Richard Heusdens Huib Lincklaen Arriëns P12-2 Enhanced Accuracy of the Tonality Measure and Control Parameter Extraction Modules in MPEG-4 HE-AAC Sang-Uk Ryu Kenneth Rose P12-3 New Techniques in Spatial Audio Coding Alan Seefeldt Mark Vinton Charles Robinson P12-4 A New Broadcast Quality Low Bit Rate Audio Coding Scheme Utilizing Novel Bandwidth Extension Tools Deepen Sinha Anibal Ferreira P12-5 The MPEG-4 Audio Lossless Coding (ALS) Standard—Technology and Applications Tilman Liebchen Takehiro Moriya Noboru Harada Yutaka Kamamoto Yuriy Reznik Session P13 LOUDSPEAKERS -2 Chair: D. B. (Don) Keele, Jr. P13-1 Improving Loudspeaker Transient Response with Digital Signal Processing David Gunness P13-2 Simulation of Harmonic Distortion in Horns Using an Extended BEM Postprocessing Michael Makarski P13-3 Modal Analysis and Nonlinear Normal Modes (NNM) on Moving Assemblies of Loudspeakers Fernando Bolaños P13-4 Finite Element Modeling of a Loudspeaker. Part 2: Applications John Vanderkooy David Henwood Gary Geaves P13-5 Ground-Plane Constant Beamwidth Transducer (CBT) Loudspeaker Circular-Arc Line Arrays D. B. (Don) Keele, Jr. Douglas J. Button P13-6 A Balanced Modal Radiator (BMR) Neil Harris Graham Bank Session P14 AUDIO CODING -2 Chair: Jürgen Herre P14-1 Jointly Optimal Time Segmentation, Distribution, and Quantization for Sinusoidal Coding of Audio and Speech Richard Heusdens Jesper Jensen Pim Korten P14-2 Enhanced Performance in the Functionality of Fine Grain Scalability KiHyun Choo Eunmi Oh Jung-Hoe Kim ChangYong Son P14-3 Scalability in KOZ Audio Compression Technology Kevin Short Ricardo Garcia Michelle Daniels P14-4 MPEG Spatial Audio Coding/MPEG Surround: Overview and Current Status Jeroen Breebaart Jürgen Herre Christof Faller J. Rödén F. Myburg S. Disch Heiko Purnhagen G. Hotho M. Neusinger P14-5 Efficient Design of Time-Frequency Stereo Parameter Sets for Parametric HE-AAC Wen-Chieh Lee Chung-Han Yang Kan-Chun Lee P14-6 Structural Analysis of Low Latency Audio Coding Schemes Ralf Geiger Manfred Lutzky Markus Schnell Markus Schmidt Session P15 POSTERS: SIGNAL PROCESSING P15-1 The Design of Half-Band FIR Filters Using Ripple Attenuation of a Manipulated Lowpass Duane Wise P15-2 Single Channel Source Separation Using Short-Time Independent Component Analysis Dan Barry Derry Fitzgerald Eugene Coyle Bob Lawlor P15-3 A New Class of Smooth Power Complementary Windows and their Application to Audio Signal Processing Deepen Sinha Anibal Ferreira P15-4 Active Leak Compensation in Small-Sized Loudspeakers Using Digital Signal Processing Varun Chopra P15-5 Digital Signal Processing within the Steinberg VST Architecture Roberto Osorio-Goenaga P15-6 Comparison Between Time Delay Based and Nonuniform Phase Based Equalization for Multichannel Loudspeaker-Room Responses Sunil Bharitkar Chris Kyriakakis P15-7 Objective Function for Automatic Multiposition Equalization and Bass Management Filter Selection Sunil Bharitkar Chris Kyriakakis P15-8 Acoustical Monitoring Research for National Parks and Wilderness Areas Rob Maher B. Jerry Gregoire Zhixin Chen Session P16 POSTERS: MISCELLANEOUS -2 P16-1 A Binaural Model to Predict Position and Extension of Spatial Images Created with Standard Sound Recording Techniques Jonas Braasch P16-2 An Unsupervised Adaptive Filtering Approach of 2- to 5-Channel Upmix Yan Li Peter Driessen P16-3 Investigation on the Related Effect Caused by ECM Miniaturization Jun Lee Zonghan Wu Zongbao Hu Tao Zhang P16-4 On Amplitude Panning and Asymmetric Loudspeaker Set-Ups Arno van Leest P16-5 Phantom Audio Sources with Vertically Separated Loudspeakers Shiva Sundaram Chris Kyriakakis P16-6 Difference of the Sound Levels among 15 Japanese Terrestrial and Digital Satellite TV Broadcasting Channels Eiichi Miyasaka Takahiro Kamada P16-7 Electroacoustic Analogy Analysis of Electret Condenser Microphones with Noise-Canceling Effects Fang-Ching Lee Session P17 HI RES & PSYCHOAC., PERCEPT., LISTENING TESTS Chair: Malcolm Hawksford P17-1 Noise Shaping in Time-Domain Quantized LFM Malcolm Hawksford P17-2 Stereo and Multichannel Loudness Perception and Metering Gilbert Soulodre Michel Lavoie P17-3 The Influence of Stereophony on the Restitution of Timbre by Loudspeakers Mathieu Lavandier Benjamin Guyot Sabine Meunier Philippe Herzog P17-4 Audio Processor ICs for Advanced TV Johan Mansson et al. Session P18 MICROPHONES & INTERNET AUDIO Chair: Eddy B. Brixen P18-1 The Native B-Format Microphone: Part 1 Eric Benjamin Thomas Chen P18-2 A Web Search Engine for Sound Effects Stephen V. Rice Stephen M. Bailey P18-3 Alternative Approaches for Recording Surround Sound Colin Preston P18-4 Microphones, High Wind, and Rain Eddy B. Brixen Session P19 PSYCHOACOUSTICS, PERCEPTION, LISTENING TESTS Chair: Bozena Kostek P19-1 Automatic Evaluation of Musical Sound Separation Quality Marek Dziubinski Bozena Kostek P19-2 Internet-Based Automatic Hearing Assessment System Andrzej Czyzewski Bozena Kostek Henryk Skarzynski P19-3 Constructing Individual and Group Timbre Spaces for Sharpness-Matched Distorted Guitar Timbres Atsushi Marui William Martens P19-4 Physiological and Content Considerations for a Second Very Low Frequency Channel for Bass Management, Subwoofers, and LFE Robert (Robin) Miller III P19-5 Individual Vocabulary Profiling of Spatial Enhancement Systems for Stereo Headphone Reproduction Gaëtan Lorho Session P20 SOUND REINFORCEMENT Chair: Wolfgang Ahnert P20-1 Assessing the Suitability of Digital Signal Processing as Applied to Performance Audio such as In-Ear Monitoring Systems Steve Armstrong Keith Gordon Betty Rule P20-2 New Data Format to Describe Complex Sound Sources Stefan Feistel Wolfgang Ahnert Steffen Bock P20-3 The Significance of Phase Data for the Acoustic Prediction of Combinations of Sound Sources Stefan Feistel Wolfgang Ahnert P20-4 Simulation, Auralization, and Their Verification of Acoustic Parameters Using Line Arrays Wolfgang Ahnert Stefan Feistel Workshops Workshop Session W1 Surround Sound: A Chance for Enhanced Creativity Chair Martha de Francisco Panelists George Massenburg Akira Fukada Richard King Bob Ludwig Ronald Prent Everett Porter Workshop Session W2 Switching Amplifiers for High-Resolution Audio Chair Vicki Melchior Panelists Karsten Nielsen John J.H. Oh Lars Risbo Skip Taylor Workshop Session W3 Pre-Fab Acoustics for the Audio Production Environment Chair John Storyk Panelists Russ Berger Chris Bowman Peter D’Antonio Jeff Szymanski Ethan Winer Workshop Session W4 What’s Shakin’? - Auditory Haptic Interaction Chair Wiliam Martens Panelists Bernard D. Adelstein Durand Begault Aleksander Väljamäe Wieslaw Woszczyk Workshop Session W5 New Issues In Audio/Video Synchronization Co-chairs Kimio Hamasaki Stephen Lyman Panelists Stanley J. Chayka Hiroyuki Okubo Junichi Yoshio Workshop Session W6 Measuring Room Acoustics—An Overview of Techniques and Relevance Chair Sam Berkow Panelists David Griesenger TBA Workshop Session W7 Audio Networking Applications and Requirements Chair Kevin Gross Workshop Session W8 Hearing Meaning In Machine Listening Chair Dan Ellis Panelists James Ballas Jan Berg Jens Blauert Ute Jekosch Workshop Session W9 Next Generation Audio Communications Chair Gerald Schuller Panelists Bernd Edler Manfred Lutzki Gregory Pallone Rudolf Rabenstein Sean Ramprashad Redwan Salami Thomas Sporer Workshop Session W10 Performance Issues In Digital Audio Chair Dan Lavry Panelists Robert Adams Richard Cabot David Smith Workshop Session W11 Beyond Clicks, Pops, and Hiss: New Strategies For High Fidelity Restoration Chair Jamie Howarth Panelists Carl Haber Christoph M. Musialik John Newton Patrick Wolfe Workshop Session W12 Automotive Sound Systems Part II: Considerations in Methodology and Sound Quality Attributes for Subjective Evaluations Chair Tim Nind Panelists Søren Beck Kristina Busenitz William Martens Russell Mason Sean Olive Workshop Session W13 Mixing with Personal Stage Monitors: The Whys, the Hows, and How Much Is too Much? Co-chairs Bob Schulien Michael Santucci Rachel Cruz Panelists Mike Adams Brian Bavido Bernie Becker John Bruey Ian Kuhn Mike Pirich Workshop Session W14 Academia Meets the Industry: The Future of Audio and Music Research Co-chairs John Strawn Xavier Amatriain Nicola Bernardini Panelists Karlheinz Brandenburg Peter Eastty Jyri Huopaniemi Morton Lave Rob Maher William L. Martens Karsten Nielsen Broadcast Events Broadcast Event B1 Digital Radio Broadcast Forum Chair David Bialik Panelists Jan Andrews Leonard Kahn Mark Kalman David Layer Mike Lyons Tony Massielo Skip Pizzi David Wilson TBA Broadcast Event B2 Audio for HDTV Chair Andy Butler Panelists Tim Carroll Rocky Graham Alan Kraemer Geir Skaaden Dave Wilson Broadcast Event B3 Surround Sound for Digital Radio Chair Herb Squire Panelists Steve Fluker Frank Foti Stephan Geyersberger Alan Kraemer Steve Lyman Tony Massielo Noel McKenna Mike Pappas Skip Pizzi Geir Skaaden Broadcast Event B4 Designing a Broadcast Facility for 5.1 Co-chairs Mike Pappas Chris Scherer Broadcast Event B5 Designing a Facility for HDTV: The Audio Considerations Co-chairs Ken Hunold David Radin Broadcast Event B6 Mixing a Live Broadcast in Surround Chair Mike Pappas Tutorials Tutorial Session T1 The Acoustics and Psychoacoustics of Loudspeakers in Small Rooms: A Review Presenter Floyd Toole Tutorial Session T2 Audio System Grounding and Interfacing—An Overview Presenter Bill Whitlock Tutorial Session T3 Dynamic Range Compression—A Real World Users Guide Presenter Alex U. Case Tutorial Session T4 Analog Design in a Digital Environment Presenters Dennis Bohn, Rick Jeffs, & Paul Mathews Tutorial Session T5 Designing with Delta-Sigma Converters Presenter Steve Green Tutorial Session T6 DJ Mixing: Are You Ready For The Transition Presenters Richie Hawtin “PlastikMan” Ronald Prent Tutorial Session T7 Chamber Reverb—D.I.Y. : Send Your Snare to the Stairwell, Your Kalimba to the Kitchen, and Your Bassoon to the Bathroom Presenter Alex U. Case Tutorial Session T8 Loudspeaker Basics and Planar-Magnetics Presenter David Clark Tutorial Session T9 Preservation, Archiving, and Restoration: A Look at Practical Application Presenters David Ackerman Peter Alyea Chris Lacinak Tutorial Session T11 Audio Compression Presenter John Strawn Tutorial Session T12 Project Studio Design: Layout, Acoustics, Sound System, Tuning – Part 1 Presenter Anthony Grimani Tutorial Session T13 Audio Ear Training Presenter David Moulton Tutorial Session T14 Distance and Depth Perception Presenters Durand Begault William Martens Tutorial Session T15 Fundamental Knowledge about Microphones Presenter Jörg Wuttke Tutorial Session T16 Psychophysics and Physiology of Hearing Presenter Poppy Crum Tutorial Session T17 Project Studio Design: Layout, Acoustics, Sound System, Tuning—Part 2 Presenter Anthony Grimani Tutorial Session T18 Digital Filters and Filter Design—A Tutorial Presenters James Johnston Bob Adams Jayant Datta Tutorial Session T19 Assembly Language Programming: Street Smarts from OOP Presenter John Strawn Master Classes Master Class M1 Terry Manning: Classic Recording Techniques from Albert King to ZZ Top Master Class M2 Doug Sax: What Happened to Dynamic Range, and Why Master Class M3 Oliver Archut: Vintage Gear Insider Master Class M4 John Klett: The Art of Studio Maintenance Master Class M5 Bob Clearmountain: Mix This Live Sound Seminars Live Sound Event LIVE SOUND SYMPOSIUM: SURROUND LIVE III - Totally Surrounded Chair Frederick J. Ampel Panelists Kurt Graffy Dave Haydon Randy Hoffner Mark Hood Jonathan Lane-Talaskey Riccardo Mazza Mike Pappas Live Sound Event L1 Broadway Designers’ Symposium: The Musical Live Sound Event L2 Wireless Microphones and Performers: Mic Placement and Handling for Multiple Actors Live Sound Event L3 Sound Design for Drama—Soundscape/Soundscore Live Sound Event L4 System Tuning Live Sound Event L5 Wireless Management in Stressful Environments: Broadway/Times Square—Live and Televised Events with Multiple Channels of RF and RF Intercom Live Sound Event L6 Intercom and Large Scale Events—Olympics/Superbowl—Stadiums Live Sound Event L7 Industrial Strength Audio—Corporate Theater and Its Peculiarities Live Sound Event L8 Playback Live Sound Event L9 PA for TV: Mixing for a Live Audience while Satisfying Production Demands Live Sound Event L10 Touring Sound—Live Music in a Different Venue Every Night of the Week for Weeks or Months or Years at a Time Special Events Special Event Session GRAMMY ROUNDTABLE Special Event Session PLATINUM PRODUCERS Moderator Ron Fair Panelists TBA Special Event Session Platinum Engineers—The All-Star Mix Engineers Panel Moderator Jack Joseph Puig Panelists TBA Special Event Session Platinum Road Warriors: Live Sound Moderator Clive Young Special Event Session Platinum Mastering—Award-Winning Mastering Moderator Bob Ludwig Panelists David Glasser Gavin Lurssen Joe Palmaccio Doug Sax Mark Wilder Special Event Session An Afternoon with Ray Dolby Co-moderators Barry Fox Paul Gallo Special Event Session PLATINUM SURROUND Moderator Nathaniel Kunkel Technical Tours Technical Tour AVATAR STUDIOS Technical Tour ARUP ACOUSTICS Technical Tour LATE SHOW WITH DAVID LETTERMAN Technical Tour ELECTRIC LADY RECORDING STUDIOS Technical Tour TRUTONE MASTERING Technical Tour SIRIUS SATELLITE RADIO Technical Tour CHUNG KING STUDIOS Technical Tour MASQUE SOUND Technical Tour FOOD NETWORK Technical Tour JAZZ AT LINCOLN CENTER Historical Events Historical Session Recording Studios Past, Present, Future Moderator Harry Hirsch Panelists Michael Barbiero David Malekpour Robbie Norris John Storyk, Walters Historical Session 70th Anniversary of FM Broadcasting: A look at Major Armstrong’s Contribution to Broadcasting Moderator Scott Fybush Panelists Robert Carter Brecht Henry G. Dietz Steve Hemphill Gilbert R. Houck Mike Katzdorn Renville H. McMann, Jr. Jerry Minter Charles E. Sackermann, Jr. Historical Session History of the Grand Recording Studios of New York City Moderator Elliot Mazer Panelists Brooks Arthur Dick Charles Frank Laico Jeffrey Lesser Jim Reeves Walter Sear Ed Stasium

I'm passing through, for the moment, and checking in to see how everyone is. Here in New York, we're busy putting on the finishing touches on the schedule for the upcoming AES Convention in October. I hope if you're in New York October 7-10 you'll come by the Javits Convention Center and say hello. The amazing news is that Rupert Neve will be the Keynote Speaker at the Opening Ceremonies! How cool is that? http://www.aes.org/events/119/ All the best, Jim

betty, bud and kathy are all well thanks for asking ja

yes?

Wow, I'm happy to weigh in. I grew up with original vinyl of "Road Show", "Wagner", "West Side Story" "Neophonic Orchestra" "Christmas Album" and a few more of Kenton's classics from the time and thought they sounded pretty darn good. In fact, I still do think they're exceptional recordings. I haven't bothered to check out the cd releases since I've got the albums. The original gatefold of Road Show has a shot of the engineers, but they're unidentified. Val Valentine (one of my teachers) may have engineered some. He did engineer "Only the Lonely" for Sinatra and was on staff at Capitol at the time JA

Mastering is an integral part of the recording process. Or should we say the final part of the recording process? It is the last chance to put a few things right: level, from track to track, a general eq, which can put a nice sheen or gloss on the mix or secure the bottom end, a bit of compression to tighten up the mix, sequence, pacing, sometimes edit, etc. i like to work with a few people in new york, allan tucker at foothill digital, alan silverman at arf!digital, greg calbi at sterling sound, bob ludwig at gateway mastering, scott hull at hit factory, paul stubblebine in san francisco they're people that i don't have to monitor and, if i can, i like to be there, just because i like to listen to them work. We were live from Dizzy's Coca-Cola at the new Jazz at Lincoln Center. The mix was a live 5.1 surround mix and the stereo mix, which was heard by most of the listeners, was derived from the Neural Audio 5525 downmix. We were unable to monitor the stereo mix and concentrated on the surround.

SS, Any idea what went wrong? Did you attend the mastering session or have a chance to hear a reference? JA

Don't quote me, but I might have to agree. Did anyone have a chance to hear the live 13 hour NPR 5.1 broadcast on New Years Eve? In New York, we celebrated the new year with Cyrus Chestnut, Frank Morgan and Marcus Printup. JA

Eric Alexander and I were talking about hyper-magnum sound on the trip to the studio from LAX. He said that he liked hyper-magnum because he felt that when he's playing at a quiet volume, it allows a lot of his expression to come through. He felt that it sounds best on ballads. ja

Doi! Thanks. I'll fix that!! ja

I have done quite a few Venus titles, Jay Leonhardt, Eddie Harris, One for All and some that I've never received copies, so I don't know the titles. I do have a little problem with the 'hyper magnum' sound. If I put on some cd's in rotation on the player and have a Venus in the pile, I have to jump to turn down the volume control. I feel that they go a little to far in the 'volume wars'. Has anyone else noticed that? JA

I do want to say that I've never been a fan of the Chesky recordings. To me, they always get one thing right, but the overall effect never knocks me out. The sound that they get may be true to what it is in the recording room (or church, etc.), but I always feel that I want to run out of the studio and into the control room and turn a couple of knobs. I'm familiar with their techniques and it's just a matter of taste. Any takers? JA

Phil, I'll give Terry your best. We're out here in Burbank at O'Henry Studios with Terry, Joey DeFrancesco (organ), Eric Alexander (Tenor), Dan Faehnle (guitar), Ray Armando (conga), Jerry Gibbs (drums). The recording will be with a live audience in the studio and they'll be arriving in about 25 minutes. If you're in the neighborhood this weekend, come on by!

Back in the 50's, one of my first LP's was Tony Scott, "South Pacific Jazz". An ABC-Paramount Stereo with the 1KHz tone at the end of side two! Tony playing the music from the musical South Pacific. I played it until I wore it out. Has that been released on CD? (without the 1KHz tone, I hope) JA

I like all the Ernie Watts sessions that I was fortunate to work on. A lot of credit, of course, goes to Ernie and much has to go to his producer Akira Taguchi, who is one of the great unsung audiophiles in our world. He loves audio quality and lets me do anything I can or want to do to go for great sound. All of the sessions for JVC were live to stereo, with no back-up. So, it's the old what you hear is what we did. Also, the mastering on those projects is exceptional. Alan Yoshida does terriffic work and lets all the sound come out. Those sessions were at Clinton Recording and everyone was in the large room (If you want to take a look at the room, here's their link: http://clintonrecording.com/studios.html) with a little space between the musicians to help the separation. Rhythm section was against the wall and Ernie was in the middle of the room facing them. In fact, the piano is in the same spot in their photo as it was for the session. I've listened to Ernie warm up and he starts with Coltrane's Giant Steps solo in the original key and then plays it again going through the circle of fifths. What an amazing talent! The other thing I wanted to point out, these 'isolation booths' really aren't. They're separation rooms. Usually, there's not enough separation for complete isolation. One of the very few can be found in studio A at Clinton, it's that rectangular window to the right of the patio doors, leading into their large booth. Access to that booth is from the hallway across from the control room. There you have isolation! Taguchi likes Sanken microphones and that's what we used on Ernie and Mulgrew. I happen to have quite a few of them. Also, the master of that recording is ANALOGUE! 1/2" at 30ips, no noise reduction (NNR). I feel that's a lot of the sound, too. By the way, many times, I'm a gun for hire and always hate to hear that I'm too expensive! It never hurts to ask. I'm off to LA to record with Terry Gibbs, tomorrow. TTYL All the best JA

That leakage is unobtainable, for the most part, due to the way recordings are made, these days, and the way bands perform. Part of the problem is that everybody wants to fix everything and that's the reason for the lack of leakage. Everyone's in a different booth, or room, scattered around the studio. Many times, I can sense a lack of concentration or commitment in a track because, collectively, it's known that we can go in and replace the bass, for example (not to pick on bass players...well, why not pick on bass players?), or get a better version of the head from the horns. So that chance at natural leakage is long gone. I can think of quite a few Blue Note albums that have some major clams in them and they're, sometimes, my favorite part of the track. I was working on a vocalist project over the summer and I remarked to the assistant (as I was making a fix on the protools) "No one makes mistakes anymore. Everything's 'perfect'."

The mics on the Miles records were about as close to the drums, then, as they are today. Drummers play differently now, than they did back then in the studio. Try to get a drummer to play in the proper dynamic (or any musician in the group, for that matter) of the group that they're in. It's next to impossible. Mostly it's because these groups recording today are only brought together for the sake of a recording and aren't bands that tour and play together extensively. It's my observation. Most of the records from the 50's and the 60's the drummers are tippin'. JA