Close ☰
Menu ☰

AES mastering conference a success

Posted on: Tuesday 20th of November 2018

The world’s first mastering conference hosted by the new AES Mastering Group at University of Westminster, Regent St, London. Mastering engineers from as far afield as LA, New York, Australia, Sweden, France, joined the UK’s mastering community to discuss the future of our industry.

Positive debate was sparked from the start with Guenter Loibl (Rebeat) laying out the technical implementation of his laser cutting technology for vinyl reproduction. Sponsor technical papers covered background behind AVAA base trap technology, delivered by Roger Roschnik CEO of PSI. PrismSound’s new Verifile system to assist recorded file error checking was warmly received. Continuing the discussion around new formats, Bob Stuart creator of MQA discussed how he views the market place and parameters around take up based on the experiences of past technologies.

After plenty of debate over coffee breaks and lunch, David Bell from Whitemark delivered a considered keynote apprising the key aspects he considers in room design for mastering. There was a very engaging paper by Magdalena Piotrowska regarding comparative examination of automatic mastering systems and outcomes. Not surprisingly loudness played a key part in the companies’ customer satisfaction targeting.

The final keynote of the day was from Darcy Proper, in conversation with Prof. Robert Toulson. Darcy’s responses around implementation of surround were both eloquent and insightful. To round off the day they were joined on-stage by speakers from across the conference for a final plenary debate. This triggered some interesting discussions around delivery, ‘the consumer’ and expectations of ‘us’ as mastering engineers. How the role of ME is perceived and what MEs need to change around this was also considered.

Sunday kicked off with papers around remastering and how/can mastering effectively be taught in Higher Education. Mike Wells delivered an engaging appraisal of loudness in the marketplace and applications to address this with consumers. Mike Cave discussed his approach to stem mastering, and Crispin Herrod-Taylor (Crookwood) delivered a compelling exportation of the current and future market place for mastering engineers, sparking diverse conversations in the room.

The day was rounded up with Mandy Parnell being interviewed by Katie Tavini from a new generation of engineers. Mandy brought her ‘A’ game discussing value and the views on the landscape for the community which led Mandy to invite her mentor to the stage. Sean Davies who’s knowledge of vinyl cutting and the mastering process, legacy formats and their real history is invaluable. It was a truly insightful and historic meeting of generations bring the conference to the most positive close.

All in, the debate and communication between professionals has started the mastering group off on a positive trajectory, leaving everyone involved looking forward to the next meeting.

Over the coming weeks a series of videos from the keynotes will be release on www.aes.org
If you are interested in joining the debate: aesmasteringgroup.org



Latest News & Blog articles

  • The first-of-its-kind Scholarship programme, which begins in 2021, will cover the full cost of the course fees and contribute towards living expenses for two black British students annually to study on Abbey Road Institute’s Advanced Diploma in Music Production and Sound Engineering. Abbey Road Institute is the education arm of Abbey Road Studios, offering highly […]
  • The inaugural Sound of the Year Awards 2020 is a newly launched celebration of everyday sound (not music) in all its forms presented by The Museum Of Sound in partnership with The New BBC Radiophonic Workshop and others. It is a UK-based awards ceremony this year but submissions are encouraged from around the world. Anyone […]
  • The Music & Media Technologies (MMT) programme at Trinity College Dublin has partnered with PreSonus Audio Electronics in adapting to a new online lecturing format, to enable students to carry out their creative and technical audio projects remotely. MMT lecturer Jimmy Eadie said, “We are delighted about the potential of this industry and academic partnership between […]
  • Shenzhen Leiting Digital Entertainment Company Ltd is one of China’s leading video games publishers, with over 45 million players across the country enjoying its mobile and PC releases. A wholly-owned R&D subsidiary of G-bits, the company employs enthusiastic games fans with one simple mission – to produce ‘unique and great games’. As a result of […]
  • Despite the challenges and delays of a global pandemic, manufacturers have continued to develop new and innovative products. Our nominations include both high-tech AoIP equipment and artisanal custom-builds, encompassing the (sometimes esoteric) recommendations from our panel of producers, and drawing on the detail and results from recent reviews by our professional contributors. For the tenth anniversary […]
  • Focusrite Pro has introduced a new Red 8Line interface, RedNet R1 desktop remote controller, and MkII editions of its RedNet A16R and RedNet D16R Dante interfaces. Red 8Line is a completely new addition to the hugely powerful Red range of Pro Tools | HD, Thunderbolt 3 and Dante audio interfaces for Mac and PC. Red […]
  • The award-winning games developer has installed three edit suites and a Dolby Atmos mix room at its facility in Sheffield. While most of the UK has been in lockdown, award-winning game developer Sumo Digital has been expanding its audio facilities by building three 5.1 surround sound edit suites, a Dolby Atmos mix room and a […]
  • The investment company which owns the studios where The Sopranos, Sex and the City and 30 Rock were recorded today signed a deal to build London’s largest Hollywood-style TV and film production centre. Hackman Capital Partners, the owner of sites including Culver Studios in Los Angeles and Silvercup Studios in New York, has agreed to invest […]
Translate »