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

  • A group led by producer Harvey Mason Jr (left). has acquired Burbank’s neighbouring Evergreen and Enterprise Studios, and is in the process of installing two new SSL Duality Fuse consoles in order continue targeting high-profile recording, film and television projects
. The five-time Grammy nominated producer, songwriter and movie producer has also taken on the twin […]
  • Rob Burrell is a double Grammy winner for his work as a mix engineer on gospel records, but he says he’s made sure to stay flexible in the projects he takes on in his Nashville studio. One look at his long list of projects and collaborators shows that he has been successful in that, and […]
  • Avid and Dolby today announced a joint venture to launch the first Pro Tools-centric Dolby Atmos training course and certification. Accessed through the Avid Learning Partners program, the self-paced, blended training course will cover the integration of the Dolby Atmos Renderer with Avid’s flagship audio software. Comprised of 40 hours of self-learning and 18 hours […]
  • Cinevideo SRL, a leading Italian provider of outside broadcasting (OB) production services, has chosen Riedel solutions to provide crew communications onboard its brand-new UHD-12G OB van. Riedel’s install includes an Artist-1024 digital matrix supporting a Bolero wireless intercom system. Roberto Buonomo, Technical Manager of Cinevideo says he opted for the Artist-1024 in order to get […]
  • Angel Studios, which closed last year after 40 years as a prime London recording location, has been leased as the new home for Abbey Road Studios’ education division, Abbey Road Institute. It was rumoured that the Islington site would be redeveloped into accommodation in the wake of the closure, but Abbey Road’s intervention will ensure […]
  •   Solid State Logic, SSL to its friends, has introduced two new modular processors as part of a revamp of its 500 Series module range. The brand new stereo Ultraviolet Stereo Equaliser (UV-EQ) and SiX Channel (SiX CH) modules both launch alongside cosmetically updated G-Comp Bus Compressor, E-EQ and E-Dynamics processing modules – which have […]
  • Los Angeles studio Blue West, run by producer/musician Bill Jabr and head engineer James Kang, has now installed an API 2448 recording console to upgrade the facility. With previous clientele including Andre 3000, Dwayne “the Rock” Johnson, Kiko Cibrian, Wale, Ne-Yo, Pi’erre Bourne and the late Juice Wrld, Blue West wanted to move to a mid […]
  • iZotope has launched the new iteration of its Spire Studio recording device, the entry point to the cloud-based ecosystem of recording, production, and collaboration tools. Billed as a quick and easy way of working for musicians and producers looking to quickly capture inspiration, Spire has received buzzy endorsements from artists including Phoebe Bridgers during the […]
Translate »