AES San Francisco Section

DAW vs DAW
2022-11-19 13:30 - 15:00 (America/Los_Angeles) | CA, United States
This AES San Francisco Audio Education Series live+streaming event will put five of the most popular DAWs head-to-head in a friendly competition! Five audio industry professionals will demonstrate functions from basic to advanced as they execute various challenges in real time in their respective DAWs. You will see the screens of Logic, Pro Tools, Ableton Live, Cubase, and Studio One. While beginners will get a good idea about how to efficiently approach simple audio tasks in the various programs, committed users of any DAW will find out about the truths and myths of the “competition” – and maybe even leave compelled to switch over to a new favorite.
This is a livestreamed event.
Speaker Bios
Phil Hawkins (panelist: Studio One)
Phil is an accomplished audio engineer and has worked on recordings by Ray Obiedo, David K. Mathews, Tuck and Patti, Pete Escovedo, Disney Internet Group and many others. Phil has also done complete video productions for artist EPKs, documentary films and product videos for companies such as Lauten Audio, Hudson Music and the United States Air Force. He is a full-time faculty member at Mission College where he has taught Music Production and Audio Engineering courses since 2004.
Matt Blostein (panelist: Cubase)
Matt Blostein is currently the Director of Music Technology and Recording Arts at Cabrillo College near Santa Cruz, CA. He has also taught graduate and undergraduate Music Technology courses at Five Towns College, University of Valley Forge, and Manhattan School of Music. He has an undergraduate degree in Jazz Performance from the Manhattan School of Music, a graduate degree in Music Technology from the University of Valley Forge, studied orchestration at the Mannes School of Music, film scoring with Rick Baitz, and game audio design at Berklee College of Music.
Matt has composed and produced music for television, film, commercials, games, and production music libraries, with his music being featured on over 500 TV shows, including scoring original music for two Nickelodeon series and a theme for a major network news program. Previous to his work composing and producing music for media, Matt spent many years touring as a saxophonist with bands such as Maynard Ferguson, The Tommy Dorsey Orchestra, and the Blostein / Sperrazza Quartet, performing in venues such as the Montreux Jazz Fest, North Sea Jazz Fest, Thailand Cultural Center, Kennedy Center, Ravinia Center and many more.
John “JD” David (panelist: Ableton Live)
Early interest in sound and audio lead to interdisciplinary physics, music, CS and EE studies. JD completed a Bachelor’s degree in Physic and Music from Bates College in Lewiston Maine. Inspired by their special course in loudspeaker design, he began working in industry as a loudspeaker System Engineer with a/d/s/-Apogee Acoustics in 1997, then moved to Boston Acoustics in 1998 to serve first as Transducer Engineer for three years. This led to a role there as Systems Engineer and Project Manager at BA on their new Integrated Products team. In 2005, attracted by the lure of San Francisco and the Bay Area, JD commenced work as an Applications Engineer at Dolby Labs, In 2007, he took over as Manager of DSP Implementation application team, and led that team for four years, focused on Dolby audio codec and post-processing algorithm implementation in SoC’s, DSP’s, Android/iOS and PC/macOS software libraries. In 2012, JD transitioned into Product Management at Dolby, leading development of studio software products used for Dolby Atmos content creation. Since 2017 he has consulted to the industry and private individuals while working on his own musical productions. Clients have included software plugin companies, recording studio professionals, corporate clients designing mixed-use presentation and recording facilities and homeowners adopting Dolby Atmos. He has been using Ableton Live for over 14 years, both for his own work and for recording and producing music for local vocalists. Under the name Palindrome, he crafts unique experimental breakbeat, downtempo and ambient musical works. He also enjoys occasional work as a DJ, and a live-sound FOH engineer for concerts and special events, and offers PA rental and on-site systems engineering for such events too. His hobbies include guitar, hand percussion, outdoor sports and travel. JD has been a full member of the Audio Engineering Society for over 15 years, and the IEEE for 10 years.
Erik Foreman (panelist: Pro Tools)
Erik Foreman is an award-winning sound designer, re-recording mixer and musician working in the post-production industry since 1994. He grew up as an audiophile; passionate about the sound, the gear and the people that made great recordings. He worked at Skywalker Sound as an editor and re-recording mixer from 1999 – 2016 covering the film, tv and game industries. He is now at Dolby Labs where he serves as an in-house expert on their technologies helping to develop, teach, and showcase all things Dolby. He has been an active member of AES since 2016.
Austin Rowe (panelist: Logic Pro X)
Austin’s affinity for music and sound started at a young age playing and recording in punk bands and working as a EDM producer. He then founded linear and interactive post-production audio company, Cave Bat, in 2017 and has been working there as supervising sound editor, sound designer, and music composer since. Cave Bat’s work can be heard in Sundance Film Festival acclaimed films, HBO Max and Hulu documentaries, Billabong and Aston Martin advertisements, Amazon Music marketing materials, and indie video games.
Always looking to get involved in the cutting edge of sound, lately he’s been fascinated in pushing the boundaries of interactive audio and finding new ways to capture players’ imaginations sonically. When he isn’t caught up cooking new taco recipes, playing guitar, or making lo-fi hip hop for fun, Austin enjoys long walks on a moonlit beach and brushing up on Star Wars trivia.
Julius Dobos (moderator: Pro Tools, Digital Performer, Ableton Live)
Julius Dobos is an award-winning, platinum-album electronic music and film composer, mix engineer and sound synthesist, best known for his eleven album releases and film scores. His scoring and production credits include Dragon Ball Z, NCIS, You Don’t Mess with the Zohan, Paul Blart: Mall Cop, Paul Wall, Erykah Badu and more. Releasing under his pseudonym, forgotten future, he builds musical concepts and creates epic-ambient electronic music with a distinct character that heavily relies on musical sound design and performance. Dobos’ digital installations and live performances, such as the 2019 Human Intelligence Control show, have featured audio experiences that promote human interaction and organic expression in electronic music. With a composition background, EE and MA degrees, Dobos has also engineered, mastered records in his Studio CS for over two decades. He is a Distinguished Professor at the University of Silicon Valley, where he teaches electronic music, film scoring, sound design, sound synthesis and studio production, and directs audio for media projects. He currently serves as Vice Chair of AES San Francisco, is the founder of the AI-Free Organization, and enjoys beta-testing audio tools, tweaking his arsenal of electronic instruments and speaking on production culture, synthesis and education reform topics.

Analog vs. Digital Processing - Bob Katz's Choices
2023-02-07 18:00 - 20:00
Bob Katz will present some technical measurements and aesthetic observations about this disputable topic. Standby for the fireworks!
Join the AESSF for what’s certain to be a rousing discussion.
Included in this meeting:
VIRTUOSO: BINAURAL TRANSLATOR
A discussion and high resolution demonstration, hosted by Bob Katz
Virtuoso is a new, cutting edge binaural technology for virtualizing stereo or immersive audio and a listening room for headphone monitoring, with excellent tonal/spatial fidelity and a highly accurate translation to real loudspeakers.
For example, create a stereo or immersive mix, feed it through Virtuoso and out comes binaural that Bob feels sounds like it’s coming from his Mastering-quality loudspeaker system in his well-treated mastering room. With excellent externalization (out of head impression). Virtuoso can be used on the road or wherever quality loudspeaker monitoring is not available. You can be the judge of that on Tuesday, February 7.
Virtuoso was developed by Dr. Hyunkook Lee of the University of Huddersfield, England.
Bob will be using Streamwire to send high resolution audio. For the very best audio quality, please use a DAW at 48 kHz, internal clock. Use your best DAC, headphones, and headphone amplifier. You can listen to high resolution audio through your browser.
Come by early to get accustomed to Streamwire, Bob will be playing music starting at 5pm.
Here is a link with full information and the link to the Streamwire stream (which does not require any downloads or subscriptions):
https://digido.com/livestream
Log in to this live online presentation at: https://youtu.be/8pLr4dHXlOk with the samples playing on Streamwire.
Bio
With over 50 years as an audio professional, Bob Katz has recorded and mastered three Grammy-winning albums and several nominees. He masters all styles of music as president and mastering engineer at Digital Domain, Orlando, FL.
In 1988, Bob became Technical Supervisor and recording engineer for audiophile label Chesky Records. He produced the world’s first commercial oversampled recordings with his own implementation of the DBX ADC. His recordings for Chesky used one mike or minimalist miking, were acclaimed for their balance, depth, clarity and purity of tone. In 1997, he recorded the first 96 kHz/24-bit audio-only DVD.
He is a life Fellow of the AES. He was workshops Chairman of the AES 74th Convention, Facilities Chair of the 79th, and chaired the 1994 NY Section. Most recently, he has been an active member the subcommittee which produced TD-1008, Recommendations for Loudness of Internet Audio Streaming and In-Demand Distribution, superceding TD-1004. This group took over a year to refine every word in this document.
His book, “Mastering Audio: The Art and the Science”, in its third edition, has been translated to Chinese, German and Spanish. It has sold over 150, 000 copies.
He has created several digital audio products and has invented, patented and licensed the K-stereo and K-Surround Processes.

Hyde Street Studios Drum Miking Workshop with Will Chason
2023-02-16 19:30 - 21:00
Grammy award winning engineer Will Chason walks through his drum miking setup at historic Hyde Street Studios.
Log in to this live online presentation at: https://youtu.be/FZUbIep-XHc
Bio
Will Chason is an award winning (engineer- Best Rap Song Grammy 2021, BBMA Best Christian Album, Best Gospel Album), multiplatinum engineer, as well as a producer and multi-instrumentalist.
Will has worked as a lead engineer with artists and producers such as Lil Nas X, Kayne West, Rick Rubin, Tyler The Creator, RZA, Pusha T, The Head and The Heart, Steve Lacey (The Internet), Mike Dean, Corey Henry (Snarky Puppy), Vory, Walk The Moon, Warryn Campbell, and many others.
Equally at home setting up and running large scale writers camps, detailed driven recording sessions, or production and mixing services, Will can take your vision to where it needs to go, at any scale.

GPU Audio in Modern Creation and Industry Compute Platforms
2023-06-10 15:00 - 18:00 | University of Silicon Valley, 191 Baypointe Parkway, San Jose, CA, 95134, United States
Today’s computation platforms draw remarkable benefit from the parallelism capability of GPUs (Graphic Processing Units) for both visual rendering and non-visual workloads, including machine learning tasks. In contrast, audio processing has traditionally been handicapped due to algorithm topologies not readily mapping to GPU architectures. In this panel, we’ll learn from industry leaders about overcoming this persistent limitation in future GPU-powered compute platforms, thereby breaking workflow and efficiency barriers in embedded or cloud-based artistic and industrial applications.
Meet the panelists for our in-person event on June 10 at the University of Silicon Valley.
Jonathan Rowden, Co-Founder & Managing Partner of GPU Audio
Andres Viso, Product Manager at Braingines/GPU Audio
Jonathan Wyner, Senior Mastering Engineer at M Works and Professor at Berklee College of Music
Jeremy Krinitt, Lead, Generative AI at NVIDIA
Carl Wakeland, Fellow at AMD
Moderator: Jean-Marc Jot, Founder & Principal at Virtuel Works
Agenda
3:00-3:30 Refreshments & Networking
3:30-5:00 Panel
5:00-6:00pm Networking
Space is limited. Registration is here.
Admission is $20 for general public, free for current AES members, use your member number in the promo box. If you need to renew your membership, visit https://aes2.org/aes-membership-overview/

San Francisco Studio Crawl
2023-09-29 12:00 - 22:00 | Hyde Street Studios, 245 Hyde Street, San Francisco, CA, 94102, United States
It’s like a pub crawl, open-house, and house party all rolled into one day. Tickets will be required and space is limited. To attend and get the latest updates and info which you’ll need to participate, book early. Over the coming weeks we’ll be announcing more participating studios, prizes and sponsors.
A. Hammer Mastering
A. Hammer Annex
Dreamrack
Fogel Sounds
Hyde Street Studios
Light Rail Studios
One Union
Outpost Studios
Rancho Rivera
Tape Vault Studio
Track Tribe West
Wally’s Hideout
Due to the nature of the business, there could be changes among studio availability.
Open Studios
12:00pm to 5:00pm:
You can get an inside look at many of the recording and post-production studios in San Francisco. Be sure to pick up a raffle ticket at each stop, for a chance to win our raffle prizes at the mixer. The more studios you visit, the more chances to win.
AES San Francisco will provide a list and details of participating facilities to registered participants in a password protected interactive map the evening before, and you’ll be responsible for your own for transportation. There is no shuttle. If you’re car-challenged, many of the studios can be reached by BART, bus or bike.
The Big Audio Mixer and Raffle
5:00pm to 10:00pm:
Hyde Street Studios
Studio Crawl attendees are invited to mingle with hundreds of local Bay Area professional audio people, maybe win some prizes from our raffle drawing. We’re still lining up prizes. Refreshments and beverages are included.
Note: It’s very important that you register with the correct email address, because all of the details you need to participate will be emailed to registered participants, including the password protected map and addresses of participating the studios.
Only registered ticket holders can attend these studio tours and the mixer event. All of the details needed to participate will be sent by email to registered attendees.

Atomic Clocks in Digital Audio
2023-10-04 18:00 - 19:30
The sample clocks driving audio CODECs in digital recording systems have been based on crystal oscillators almost exclusively. Due to advances in materials and integration, atomic clocks can be deployed with electrical and footprint requirements on the order of integrated circuits. We investigate the applicability of current atomic clock varieties in controlling CODECs, with jitter performance an important quality factor. We also investigate the measurement of clock jitter in search of a method to capture anecdotal qualities of jitter in audio applications.

Join us for this live online Zoom co-presentation with the Colorado section of AES.
Meeting on Zoom here
Meeting ID: 815 4639 5565
Passcode: [REDACTED]

Speaker Bios

Duane Wise has developed software for scientific and signal processing applications for over forty years. He earned a BA at the University of Colorado in 1982 and an MS at The Johns Hopkins University in 1990. He is currently researching algorithms for digital audio signal processing and developing digital audio systems and educational materials for a diverse clientele. He is also the founder and president of Wholegrain Digital Systems LLC, a developer of audio signal processing applications. He is a member of the Audio Engineering Society, Cinema Audio Society, NARAS, and Phi Beta Kappa.
Will Krzewick is a principal engineer of product marketing in the frequency and time systems (FTS) business unit at Microchip Technology. He is responsible for managing rubidium oscillators, GNSS disciplined oscillators (GPSDO) and test sets. He also supports numerous atomic clock products and has co-authored several papers on their applications. Previously, Krzewick worked in the defense industry researching and modeling radio frequency (RF) and microwave technology. He earned his Master of Science in Electrical Engineering from Boston University and his Bachelor of Science in Electrical Engineering from the University of Massachusetts-Lowell.
Dr. Jun Ye is a Fellow of JILA, University of Colorado, and a Fellow of the Nattional Institute of Standards and Technology. He is also a member of the National Academy of Sciences, a Fellow of APS, and a Fellow of OSA. His research focuses on the frontiers of light-matter interactions that include precision measurement, quantum science, ultracold matter, and frequency metrology. He has co-authored 380 scientific papers and delivered 600 invited talks. His awards and honors include Breakthrough Prize in Fundamental Physics, Micius Quantum Prize, N.F. Ramsey Prize, I.I. Rabi Award, US Presidential Rank Award, five Gold Medals from the U.S. Commerce Department, Foreign Member of the Chinese Academy of Sciences, Frew Fellow of the Australian Academy of Science, European Frequency and Time Forum Award, Carl Zeiss Award, William F. Meggers Award, Adolph Lomb Medal, Arthur S. Flemming Award, Presidential Early Career Award, Friedrich Wilhem Bessel Award, Samuel Wesley Stratton Award, and a Jacob Rabinow Award.

Audium-Theatre of Sound Technical Presentation
2023-10-30 19:00 - 21:00 | Audium-Theatre of Sound, 1616 Bush Street, San Francisco, 94109, United States
Audium–the first theater of its kind in the world– has been pioneering the idea of live sound movement for over 50 years. The installation occupies a custom-built facility designed specifically for the creation and performance of spatial sound-art. Audiences at its weekly performances sit and listen in total darkness, while they are enveloped by sounds emanating from 176 speakers in sloping walls, a floating floor, and a suspended ceiling.
AES San Francisco members are invited to a special presentation at Audium on Monday, October 30th. Space is limited, so tickets are required. You can reserve your seat using your AES member number in the Promo box at our Eventbrite listing.
No late arrivals can be seated once the presentation begins.
We’re holding seats for members through October 23, after which we’ll make any remaining tickets available to our community list.
Join us for an unforgettable audio experience at the Audium-Theatre of Sound in San Francisco, CA, USA. Immerse yourself in a world of mesmerizing sounds and cutting-edge technology.
Photo courtesy of Kim Huynh

AES San Francisco Elections 2024
2023-12-12 00:00 - 2023-12-22 23:59
Election Cycle 2024
Everything you need to know about the Audio Engineering Society San Francisco section committee elections.
Call for Candidates: December 1-9, 2023
Thank you for all of the candidates who came forward!
Here is our slate of candidates for 2024
Voting: Online voting information will be sent to members. Voting runs between December 13-22, 2023.
Results will be announced through email by December 31, 2023. Newly elected officers and committee members begin their terms on January 1, 2024 through December 31, 2025.
For 2024, the positions of Chair, Secretary and several Member at Large seats are up for election. These are all two-year positions.
You can read more about the duties at aessf.org/about/officer-duties and in our bylaws at aessf.org/about/bylaws.
FAQs:
How much time does it take?
Answer: Minimally a couple of hours a month, some volunteers put in more. We have planning meetings, often by video conference. There are some sub-committees for additional focused work as needed, like Media, Studio Crawl and Bylaws.
What does an AES San Francisco Committee Member do?
Answer: We ask everyone to plan at least one presentation a year, although collaborating on other meetings is helpful. There are varied duties to putting together a meeting, from selecting a topic/speaker, lining up a venue, emailing invites to our lists, social media, picking up meeting snacks and conducting the meeting. Often we divide these duties up, so most meetings are a team production.
Who can run for the AES Committee?
Answer: AES Members. All of our events are planned and produced by this team of volunteers. It’s a great way to be in the loop for networking and local audio industry information. Look at the past events they have produced over the years here.
What if I have more questions?
Reach out to our AESSF Election Committee by email: elections@ aessf.org.

Silicon Valley Video Summit
2024-01-23 09:00 - 18:30 | Computer History Museum, 1401 N Shoreline Blvd, Mountain View, CA, 94043, United States
AES SF has partnered with Silicon Valley Video Summit to bring you a full day of audio for video workshops on January 23. And the best part? The show is free for AES members! Don’t miss this opportunity to enhance your skills and knowledge. Register now or Find Out More!
HERE’S WHO’S SPEAKING (SO FAR)
Program Chair:
Brian (BT) Gibbs, Skyline Entertainment and Publishing, Co-Owner and Principal
Presenters & Panelists:
Sam Craig, Advanced Systems Group, VP, Cloud Engineering
David Frerichs, Media Tuners, President
Jean-Marc Jot, Virtuel Works, Founder and Principal
Patrick Killianey, AV Consultant | AV Community
Sven Mevissen, Xperi, Director, Product Management – Home and Media Solutions
Alan Seefeldt, Dolby Laboratories, Principal Member Research Staff
Mark Thomas, Dolby Laboratories, Senior Staff Researcher
HERE’S WHAT THEY’RE SPEAKING ABOUT

Networking for Production: AoIP/AES67/Dante
Immersive For Consumer “After the Decode”
Fixing the Loudness Problem for Streaming
Immersive Audio for Broadcast and Linear Media

DON’T MISS THESE OTHER TRACKS

Live Event Production
Studio & Post Production
Staffing Workshop
Virtual Production Workshop
SMPTE Student Workshop

Dolby Atmos Experience at Dolby Headquarters
2024-03-05 17:00 - 19:30 | Dolby Headquarters, 1275 Market Street, San Francisco, 94103, United States
Join Dolby’s Head of Music Partnerships Christine Thomas and team, together with the AES San Francisco Section, for an exciting look into the latest developments within the Dolby Atmos music ecosystem. Learn about updates to the music creation tools and native integration into leading DAW’s, plus an overview of the latest in services and devices, including automobiles and much more. Guests will hear a selection of Dolby Atmos music in the cinema and Mercedes S-Class automobile. Presentations will include a demonstration of Dolby Atmos music mixing workflows, tips and insights featuring Dolby veteran mixer Erik Foreman.
Q&A to follow. We look forward to seeing you there.
Order Your Tickets Here

Speaker Bios

Christine Thomas is the Head of Music Partnerships for Dolby Laboratories, leading strategy and business development for music industry enablement. Christine works closely with major and independent labels, distribution partners, studios, and creatives to facilitate the adoption of Dolby Atmos technologies for Music. She is a passionate leader with extensive experience across the media and entertainment ecosystem, leading strategic initiatives and driving the growth of new technologies for several major media companies.

Erik Foreman is an immersive audio expert, consultant, and educator. He worked in-house at Dolby Labs for eight years, where he created and demonstrated showcase material for consumer experiences of all kinds, for all types of content. Foreman was a sound designer and re-recording mixer at Skywalker Sound for 16 years prior. His experience encompasses film, TV, interactive, and public exhibits. His work has been recognized with multiple industry awards.Foreman is an active member of the local AES section as a committee member-at-large.

AESSF Swap Meet
2024-04-20 12:00 - 16:00
It’s time to dust off, spark to life, bundle up and trundle out that gear that’s been lurking in the corner, longing for use in some other studio, live rack, classroom or other loving home.
Hosted by the Audio Engineering Society San Francisco , this is a volunteer-run, not-for-profit, community event for music and audio industry professionals. All transactions are 100% buyer to seller, with no commissions. This event is open to non-AES members as well. Fine opportunity to hobnob with fellow knob-twiddlers and catch up on what colleagues are up to.
Tickets to attend:
AES Members: Free (enter your AES membership number in the promode field to apply the discount)
Non AES Members: $5 per person pre-sales or $10 at the door, cash or check please
Snacks and beverages included, so good opportunity to network with other local audio people.

Get Tickets
Audio Engineering Society San Francisco will post an advance page on our website of gear sellers plan to bring and a wishlist of what people are looking for, as that information gets communicated to us.

Info for Sellers:
If you have professional audio gear or musical instruments to sell, contact us with the form to request a spot.
We’ll have a limited number of tables and chairs available for vendors. Should some items be too large, weighty or awkward to schlep, pics, spec sheets or manuals can be displayed on your table to transact for later pickup or delivery.
Vendor spaces are payable in advance through eventbrite.
AES Members: Free (enter your AES membership number in the promode field to apply the discount)
Non-AES Members: $15 (includes your admission)
Locations on floor will be on a first arrival basis once you’ve reserved a spot. We’ll be indoors, with electricity available for testing gear. There are tables & chairs for sellers, Sellers are responsible for all of your own transactions and fund collection.
Move-in at 11:00 am. Doors for shoppers at noon.
Once you sign up, you will be invited to submit some of the gear you have to offer for sale.
Street parking is available

List Your Gear!

Partial List of Sellers and Gear
CCSF BEMA students, faculty, and staff

Guitars:
– Gibson SG guitar
– Eastwood 2×4 guitar
– Carvin V220 guitar
(2) Presonus Eris 8 Active monitors
Mackie 1202 mixer
Electrix rack-mounted units:
– mo-fx time synchronized fx
– repeater loop-based recorder
– warp factory vocoder
Morley Black Gold basic volume pedal
Korg Toneworks DTR-2 Rackmount Tuner
Microphones:
– CAD Equitek e100 supercardioid condenser mic w/shock mount
– (2) AKG C418 condenser mics (clip on),
– BLUE Yeti Nano dual-pattern USB mic
Lots of old digital from Gary Hobish’s studio:
– Euphonix MC Control and Euphonix MC Mix,
– Sony PCM 800 Hi-8 digital multitrack
– Sony PCM R500 DAT Recorder
– Sony PCM 601 esd digital audio processor
– Sony Super BETA HiFi VCR
– JVC TDW354 dual cassette deck
– Metric Halo ULN-8 mkIV multi-channel audio interface with snakes
Speakers:
– Klipsch R12SW 12″ subwoofer
– Hafler Transnova reference monitor 12″ subwoofer

BZ Studio

Pro Co DB-1 direct box, $25 – Top, right, and left views
C.B.I. DBGL Pro direct box – $25, Top, right, and left views
JK Audio phone line tap
Rocktron Compressor/Hush
Opcode Studio 3
Peavy Sampler
Blue Tube Mic Pre
Roland R8 Drum Machine
Proteus 1 Midi Module

David Bowles

Meyer CP10-E911275 analogue EQ unit
Meyer CP10-00467847 analogue EQ unit
EMM Labs SWM3 (6-channel/3 source analogue switcher) with remote control

Jonah Strauss

AMS Neve 1073dpx
SPL Transient Designer TD4
Meyer CP10S
Lexicon PCM60
BSS DPR-504
DBX PA2 w/mic
Valley People Gatex
FMR RNLA
FMR RNP
Presonus EQ3B
ARX Multi-Q
Mackie HMX56
Radial MC3
Furman RP-8
2x 6U ATA
Much more

JX Loeb

G&L ASAT Guitar
Agile LP Style Guitar
Electro Harmonix 12AY7 Mic Pre
Assorted speaker and signal cables
SansAmp Classic
Assorted Guitar FX pedals
Vintage Wharfdale woofers
Sony MZ-R90
Boss BR-80
AKG K-240
Auratone Copies
dbx parts
Crown D-75 amp
Vox AC-4 amp

Markus Cremer

Guitars:
– BC Rich Virgin w/ Bareknuckle Aftermath PU set
– ESP LTD F-207 w/ Fishman Fluence PU set
– Seagull 12-string acoustic Cedar (~1990)
– Ovation CS-257
– Squire bass guitar
Amps:
– Mesa Boogie 295
– Line 6 LD150
– Sony STR-DN1030
– Sony STR-DG600
Speakers:
– Laney 4×12 (~1990)
– EV ELX115P PA/Stage Monitors (pair)
– Epicure EPI202 HiFi speakers (pair) (~1975)
– Siemens HiFi speakers (pair) (~1965)
Various:
– Chauvet Scorpion laser
– ADJ VFI300 fog machine

Matt Boudreau

Retro Instruments OP-6 Microphone Preamp
Amphion Amp500
AT4047MP
Universal Audio Apollo Silver
Neumann U87
WhiteStone Audio P331
AEA TRP2 Mic Pre

Steve Oppenheimer

dbx PB-48 48-point TRS patch bays (2)
DigiTech Studio Vocalist EX vocal harmony processor
dbx Project 1 Model 242 Parametric EQ
dbx 140A Type II Broadcast Noise Reduction
dbx 263X de-esser
Aphex Model 110 Aural Exciter Type E
Hughes Sound Retrieval System AK-100 3-D audio processor
Hughes Retriever AK-500 3-D audio processor
PreSonus FireStudio Tube audio/MIDI interface
Conquest MPS-1000 48-point TRS modular patch bay
Boss SE50 stereo multi-effects

About Airship Laboratories
Airship Laboratories is a 3,000 square foot media production facility adjacent to the San Francisco Bay in Richmond, CA. Built in the late ’70s, the studio has had two major retrofits: first in the ’90s with the Studio A build-out and then again in 2011 when new studio owner Neil Godbole took over and invested in a full digital integration.
The Airship features two control rooms, one of the largest and best-sounding live rooms in the Bay Area, several auxiliary and isolation rooms, a listening lounge, and a full kitchen. In addition to an airy and inviting floor-plan, the ability to bring in natural air and light allows the peaceful surroundings of the bay to fill the studio with character—the perfect environment for focused creativity.

AI and the Audio Professional 2024
2024-07-18 18:30 - 21:00 | CCSF Ocean Campus, MUB 140, 55 Frida Kahlo Way, MUB 140, San Francisco, CA, 94112, United States
Agenda

6:30-7 pm: Networking & Light Refreshments
7-8 pm: Panel Discussion
8-9 pm: Q&A

Panel Discussion
In 2020, at the height of the pandemic, we brought you the AI vs the Audio Professional panel discussion, featuring prominent figures in the audio and music industries. Our diverse conversation centered around the audio professional’s role in shaping the future of AI and our field. But since, much has changed in the world of AI – and we’re ready for a sequel!
The AES San Francisco is inviting you for a live discussion among some of our Section Committee members – and you, the Audio Pro. Panelists will include audio engineer David Bowles, engineer / producer Nahuel Bronzini, composer / synthesist Julius Dobos, audio director Ken Felton, immersive audio specialist Eric Foreman, audio technology innovator Jean-Marc Jot and AESSF Section Chair Loic Maestracci. We will talk about its applications, usage practice, ethics, and whether it’s an exciting opportunity or a threat in 2024 and beyond.
One thing for certain, AI is here to stay and evolve – so don’t miss this exciting conversation!

Get Free Tickets
Or attend via Zoom
https://ccsf-edu.zoom.us/j/84223452115?pwd=[REDACTED]
Meeting ID: 842 2345 2115
Passcode: [REDACTED]

Nahuel Bronzini
Well-versed in writing and recording string arrangements, horns, pop, folk, and chamber ensembles, Nahuel is a master of multifaceted disciplines that come together in every way to support the music and the elevation of each song beyond the concept of genre. Also, being a musician himself with ties to many Bay Area artists, his collaborative spirit both inspires and enlivens the local community. One notable example of this was his release entitled “The String Quartet Experience”, in which he wrote string arrangements for local singer-songwriters, and gathered everyone together for a filmed showcase that was simply enchanting. Nahuel is a graduate from the San Francisco Conservatory of Music and from Escuela de Música Contemporánea (Argentina), and studied audio and acoustics at Universidad de Tres de Febrero (Argentina). He has served as Governor of the Recording Academy, San Francisco Chapter, as a member of the Producers and Engineers Wing Committee, and also as a committee member for the Audio Engineering Society, SF Chapter.

Julius Dobos
Julius Dobos is an award-winning, platinum-album electronic music and film composer, sound synthesist and professor of music technology. His music production credits include major movies, tv shows and Grammy®-winning performers. As forgotten future, he builds musical universes and creates organic electronic music with a distinct character. His multimedia installations and performances have attracted audiences internationally – the 2019 Los Angeles Human Intelligence Control show featured an inventive musical experience through digitally-tracked physical interaction with the audience. Julius has also engineered, mastered hundreds of records, beta-tested and preset-programmed synthesizers and music technology tools for the past three decades. He is currently the Vice Chair of AES San Francisco and the founder

David Bowles

David v.R Bowles formed Swineshead Productions, LLC as a classical recording production company in 1995. His recordings have been GRAMMY- and JUNO-nominated and critically acclaimed worldwide. His releases in 3D Dolby Atmos can be found on Avie Records, Delos and Parma Recordings. In collaboration with NYU Steinhardt’s Music Technology programme, Mr. Bowles researches and teaches 3D audio recording techniques for their Tonmeister Seminar. He has presented his papers on 3D audio gathering at AES (Audio Engineering Society) conferences in São Paulo, San Francisco and Boston. In addition, he is currently AES Western Regional Vice President.

Loïc Maestracci

Loïc Maestracci is originally from France where he graduated from the Ecole Supérieure de Commerce International, a 3-year graduate business school that delivers a master in international business. As part of his studies, he spent 2 semesters abroad: One semester at the Southeastern Louisiana University in Hammond, LA and one semester at the Universidad de Palermo in Buenos Aires, Argentina. This gave him an opportunity to see how business was instructed in different countries. On top of his promotion, he was offered to pursue a dual degree and transferred to California State University in San Bernardino to earn an MBA in Corporate Management and Marketing in addition to his master in international business. Armed with 2 graduate degrees and a passion for media, technology, and marketing he started his career in Los Angeles working in marketing for various mobile music companies with many international clients where his international business education gave him an edge. He had the privilege of working with some of the world’s most iconic brands such as Twitter, Samsung, Apple, or SOL Republic. He recently concluded his tenure at Twitter, contributing to notable campaigns such as the NFL’s Thursday Night Football, FIFA World Cups, and NASA’s Mars landing. At Twitter, Loïc helmed large teams to build these global consumer campaigns. In 2014, Loic founded Music Expo, a series of events in San Francisco designed to unite artists, producers, engineers, and industry professionals, eventually expanding to Miami, Nashville, and Boston. Apart from his professional pursuits, Loïc is a passionate music producer. Under his artist name, Iguazúl, he has released several EPs and singles. He is member of the Recording Academy (The Grammys) and since January 2024, he is the chair of the Audio Engineering Society San Francisco Section. Today Loïc lives in San Francisco with his wife Karen, their 2 year old son Matteo and their cat Dindi.

Ken Felton
Ken Felton is an Audio Director and Sound Designer with decades of experience in many different professional audio industries. Ken’s current passion is collaborating with talented game/app/experience teams that value quality audio and are fun to work with. Ken started in pro-audio by touring N. America and running sound reinforcement systems. Ken then learned from talented engineers, producers, and artists during his time in the L.A. music business and Film/TV post-production world. In 1994 he moved to Northern California and started working with interactive audio at Electronic Arts. Ken moved to Sony PlayStation in 2006. He continued sound designing and directing while managing the sound design and dialog team in NorCal. Ken joined Spatial Inc. in 2021 and applied all the experience and knowledge collected in his prior pro-audio lives to creating immersive and compelling sound scenes in real world environments. Since late 2023 Ken is focused on helping to create immersive and healing soundscapes by collaborating with teams developing audio experiences that promote wellbeing and good health. Ken lives in the S.F. Bay Area with his wife- Lynn, and their two sons- Casey and Quinn. Ken enjoys mountain and road biking, good wine, and playing ice hockey.

Jean-Marc Jot

Jean-Marc Jot is a globally recognized audio technology innovator in consumer electronics and pro markets, lately focusing more particularly on immersive audio, hearing personalization and music technology innovation. He founded Virtuel Works to help accelerate the development and deployment of audio, voice and music computing technologies that will power future immersive experiences. Previously, he initiated and drove the development of novel sound processing technologies, platforms and standards for virtual and augmented reality, gaming, broadcast, cinema, and music creation – with Magic Leap, Creative Labs, DTS / Xperi, and iZotope / Native Instruments. Before relocating to California in the late 90s, he conducted research at IRCAM in Paris, where he created the Spat software library for immersive music creation and performance. He is a Fellow of the Audio Engineering Society, a regular speaker in industry and academic events, and has authored numerous publications and patents on digital audio signal processing.

Erik Foreman

Erik Foreman is an immersive audio expert, consultant, and educator. He worked in-house at Dolby Labs for eight years, where he created and demonstrated showcase material for consumer experiences of all kinds, for all types of content. Foreman was a sound designer and re-recording mixer at Skywalker Sound for 16 years prior. His experience encompasses film, TV, interactive, and public exhibits. His work has been recognized with multiple industry awards. Foreman is an active member of the local AES section as a board member at large.

Experimental Music Panel Discussion and Performance
2024-07-31 18:00 - 22:00 | Center for New Music, 55 Taylor Street, San Francisco, CA, 94102, United States
Agenda

6-7 pm: Welcome Reception
7-8 pm: Panel Discussion
8-8:30 pm: Q&A
8:30-10: Performance

Panel Discussion
A diverse set of music experts and practicing musicians will be sharing their unique viewpoints on what experimental music is in 2024, what kind of creative approaches they are applying to push the boundaries of the art form, what the future holds for experimental musicians, and more. The panelists will discuss, exchange thoughts about their craft, tools, methods, processes – while inspiring (and maybe even shocking) attendees by revealing what music can be.
Panelists: Julius Dobos, Frank Martin, Karen Stackpole, William Winant, Krys Bobrowski
Facilitator: Brent Miller
Performance:
Following the discussion, panelists will give an improvisational live performance, collaborating on stage the first time together.

AES Members can register for FREE by entering their membership number in the promo code field.
Get Tickets

Karen Stackpole
Drummer/percussionist Karen Stackpole started out as a rock drummer in the late ‘80s and soon became fascinated with improvised music and multi-media collaboration. She became active in the creative music scene, playing new music and stretching beyond established boundaries as well as working with dancers, spoken word, and experimental film. She has a long-standing passion for gongs. In her exploration of metals, she has cultivated some distinctive techniques for drawing harmonics out of tam tams with various implements. She specializes in dynamic soundscapes and textures and has contributed gong sounds to more conventional musical genres as well as recording source material for film soundtracks. In addition to solo work, she has performed and recorded with various projects including Machine Shop: Live Amplified Gong Experience (a duo with electronics master, Drew Webster), Sabbaticus Rex, Ghost in the House, Vorticella, the Francis Wong Unit, and the rock band Steel Hotcakes, as well as being involved in numerous other collaborations. Most recently her work has focused on duo performances and recordings with experimental instrument builder Krys Bobrowski (Gliss Glass & Gongs), contrabassist Bill Noertker (Talking Frog), and guitarist extraordinaire, Fred Frith.

Franck Martin
Born and raised in France, a 20-year resident of Fiji and traveller to all the Pacific Islands, Franck Martin is now based out of San Francisco. His musical journey encompasses this multicultural experience. His search for sounds, emotions, going outside the rules, led him to experiment with micro-tones and quadraphonic music using either his modular synthesizer or producing music in 5.1 surround sound, ambisonic or Dolby Atmos/Spatial Audio. Franck Martin performs long sets, 15-30mn or more of live music on his quadraphonic modular synthesizer. He produces electronic music, organizes and promotes well attended events and concerts.

Julius Dobos
Julius Dobos is an award-winning, platinum-album electronic music and film composer, sound synthesist and mastering engineer, best known for his eleven album releases and film scores. His scoring and production credits include Dragon Ball Z, NCIS, You Don’t Mess with the Zohan, Paul Blart: Mall Cop, Zookeeper, and work with Grammy®-winning performers. Under his pseudonym, forgotten future, Julius builds musical universes and creates epic-ambient organic electronic music with a distinct character, which heavily relies on cutting edge musical sound design and philosophical themes. Dobos’ digital installations and live multi-media performances promote the organic expression in electronic music and have attracted audiences internationally. His 2019 Los Angeles Human Intelligence Control show featured an inventive musical experience through digitally-tracked physical interaction with the audience. With a background in composition, sound synthesis and audio production, Dobos has also engineered, mastered hundreds of records, beta-tested and preset-programmed synthesizers and music technology tools for the past three decades. Dobos is a university professor, the Vice Chair of AES San Francisco, and the founder of the AI-Free Organization. He enjoys designing unique sonic concepts in his Studio CS, a modular space is filled with vintage and cutting edge electronic musical instruments, giving talks on the topics of creativity and electronic music culture.

William Winant
William Winant has collaborated with some of the most innovative and creative musicians of our time, including Joelle Leandre, John Cage, Iannis Xenakis, Pierre Boulez, Frank Zappa, Keith Jarrett, Roscoe Mitchell, Anthony Braxton, Fred Frith, James Tenney, Terry Riley, John Zorn, Cecil Taylor, Gerry Hemingway, Mark Dresser, Barry Guy, Marilyn Crispell, George Lewis, Steve Reich and Musicians, Nexus, Charles Wuorinen, Jean-Philippe Collard, Frederic Rzewski, Ursula Oppens, Joan LaBarbara, Annea Lockwood, Danny Elfman/Oingo Boingo, Ash Fure, Sonic Youth, Marc Ribot, Keith Rowe, Ikue Mori, Joey Barron, Lin Culbertson, Bill Frisell, Yo-Yo Ma, Rova Saxophone Quartet, Lawrence “Butch” Morris, and the Kronos String Quartet.

Krys Bobrowski

Krys Bobrowski is a composer, sound artist and musician based in Oakland CA. In addition to French horn, she plays acoustic and electronic instruments of her own design. She is an active performer and improviser, a long-time member of the improvisation ensemble Vorticella, the Bobrowski/Stackpole Gliss Glass Gong project, and a current member of Wendy Reid’s Bird Ensemble. Bobrowski earned her M.F.A. in Electronic Music and Recording Media from Mills College and her B.A. in Computers and Music from Dartmouth College where she first met Jon Appleton and Christian Wolff and became interested in electronics and experimental music. At Mills she studied computer music with Larry Polansky and developed an interest in interactive computer music. She has a long association with the Exploratorium as a sound exhibit developer, artist-in-residence, guest performer and speaker. Currently, she teaches and directs the Electronic Music Program at the College of San Mateo. Bobrowski has presented her work in a number of music festivals and venues including the San Francisco Electronic Music Festival, the Metronom Festival in Barcelona, the Lincoln Center Out of Doors Festival in NYC, the Ex Teresa Arte Actual Sound Art Festival in Mexico City, and at the Konzerthaus Berlin with the Unitedberlin ensemble. Recent commissions include a work for choir and kelp horns for the SF Bay Area Chamber Choir, a wind activated sound installation for Aeolian Day at a park in Oakland, and a piece for Dan Goode’s Flexible Orchestra which included ten bassoons, NYC.

Brent Miller
Brent Miller (b. 1978) is a composer, performer, and arts administrator based in San Francisco, CA. Recent projects include works for Rova Saxophone Quartet, violinist Eric km Clark (Southland Ensemble, EAR Unit), Dither Electric Guitar Quartet, and Sqwonk. He has received grants from Zellerbach Family Foundation and American Composers Forum to fund his work. He studied composition at the University of Arkansas with Robert Mueller and University of Missouri-Kansas City with James Mobberley and Paul Rudy. Brent is active in the arts administration field founding and serving as Managing Director for The Center for New Music in San Francisco, a work/performance space that supports creative music, as well as managing Rova:Arts, a non-profit organization that supports Rova Saxophone Quartet. He also has worked with Other Minds, helping to produce the annual Other Minds Festival, and is a founding member of The Collected, a group dedicated to the advancement of new music.

Sisters with Transistors Screening
2024-08-08 18:00 - 20:30 | The Roxie Theater, 3117 16th Street at Valencia, San Francisco, CA, 94103, United States
Agenda

6:00-7:30 pm: Film Screening
7:45-8:30 pm: Live conversation with Suzanne Ciani

AES San Francisco is inviting you to a very special, one-night screening of Sisters with Transistors at the historic Roxie Theater, followed by a live conversation with Suzanne Ciani, one of the artists featured in the film.
Sisters with Transistors the remarkable untold story of electronic music’s female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today. The film features Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel.
With Laurie Anderson as our narrator, we’ll embark on a fascinating journey through the evolution of electronic music. We’ll learn how new devices opened music to the entire field of sound, how electronic music not only changed the modes of production but in its wide-ranging effects also transformed the very terms of musical thought.
Sisters with Transistors is more than just the history of a music genre: it’s the story of the critical but little-known role that female pioneers played at its beginning.
Whether you’re an electronic music history fan, a synthesizer enthusiast, or just want to support underrepresented minorities in the arts, you won’t want to miss this very special event!
AES members will receive a promo code via email to get your ticket at 50% off the general admission price!
Get Tickets

Suzanne Ciani
Suzanne Ciani is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums including “Seven Waves,” and “The Velocity of Love,” along with a landmark quad LP “LIVE Quadraphonic,” which restarted her Buchla modular performances. Her work has been featured in films, games, and countless commercials as well.
She was inducted into the first class of Keyboard Magazine’s Hall of Fame alongside other synth luminaries, including Bob Moog, Don Buchla and Dave Smith and received the Moog Innovation Award. Most recently, she is the recipient of the Independent Icon Award from A2IM.
Suzanne has provided the voice and sounds for Bally’s groundbreaking “Xenon” pinball machine, created Coca-Cola’s pop-and-pour sound, designed logos for Fortune 500 companies, and carved out a niche as one of the most creatively successful female composers in the world. A Life in Waves, a documentary about Ciani’s life and work, debuted at SXSW in 2017 and is available to watch on all digital platforms.
Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California, Berkeley.

AES San Francisco Elections 2025
2024-09-18 00:00 - 2024-10-26 00:00
Election Cycle 2025
Everything you need to know about the Audio Engineering Society San Francisco section committee elections.
Call for Candidates: September 18 – October 25, 2024

If you would like to nominate yourself or another audio professional, please fill out the 2025 Call for Candidates form.
Voting: An online ballot will be sent to members. Voting runs between November 1-15, 2024.
Results will be announced through email by December 1, 2024. Newly elected officers and committee members begin their two-year terms on January 1, 2025.
For 2025, the positions of Vice Chair, Treasurer, and several committee member seats are up for election. These are all two-year positions.
You can read more about the duties at aessf.org/about/officer-duties and in our bylaws at aessf.org/about/bylaws.
FAQs:
How much time does it take?
Answer: Minimally a couple of hours a month. Some volunteers put in more. We have planning meetings, typically via Zoom. There are some subcommittees for additional focused work as needed, like Media, Studio Crawl, and Bylaws.
What does an AES San Francisco Committee Member do?
Answer: We ask everyone to contribute to at least one presentation each year. There are varied duties to putting together a meeting, from selecting a topic/speaker, lining up a venue, emailing invites to our lists, social media, picking up meeting snacks, and conducting the meeting. We often divide these duties, so most meetings are a team production.
Who can run for the AES Committee?
Answer: Any AES member, associate member, or student member can run for an officer or committee member position. All of our events are planned and produced by this team of volunteers. It’s a great way to be in the loop for networking and local audio industry information. Look at the past events they have produced over the years here.
What if I have more questions?
Reach out to our AESSF Election Committee at elections@aessf.org.

Studio Crawl & Mixer 2024
2024-09-20 12:00 - 22:00
We’re bringing back our East Bay studio crawl on Friday, September 20th, with a mix of returning studios and some new additions. This is a one-day opportunity to visit some of the top audio facilities in the Oakland, Alameda, Berkeley & Richmond area, followed by an audio-industry mixer at 25th Street Recording in Oakland.
Member Tickets
Tickets are free for AES Members. Directions to sign up were emailed to current San Francisco members. If you are an AES Member, but you aren’t part of the San Francisco Section, please email studiocrawl@aessf.org and include your member number to be added to the list.
Guest Tickets
Tickets, which include everything you will need to know to find the participating studios on that day, admission to the Mixer after, with refreshments and beverages included, are $20 and available at Eventbrite. Service charges do apply.
Get Tickets
Schedule
12:00 pm to 5:00 pm: Open Studios
You can get an inside look at many of the rehearsal, recording and post-production studios in the East Bay. Be sure to pick up a raffle ticket at each stop, for a chance to win our raffle prizes at the mixer. The more studios you visit, the more chances to win.
AES San Francisco will provide details for finding participating facilities to registered participants, and you’ll be responsible for your own for transportation. There is no shuttle. If you’re car-challenged, many of the studios can be reached by BART, bus or bike.
5:00 pm to 10:00 pm:
Audio mixer and raffle at 25th Street Recording.
Mingle with other local Bay Area professional audio people and maybe win some prizes from the raffle drawing. AES will be providing refreshments for attendees at the mixer.
Participating Studios in 2024 include:

25th Street Recording
Bird and Egg Recording Studio
Brothers (Chinese) Recording
Coast Mastering
East Bay Recorders
Hand Me Down Recording
Infinite Studios
Riley Sound Labs
Santo Recording
Skyline Studio
Soundwave Studios
Studio 132
Studio X
Survivor Sound

2025 AES SF Elections | Vote for Candidates
2024-11-02 00:00
Voting is open until November 15, 2024
It’s time for AES members to vote for candidates who will join the AES San Francisco Committee in 2025. We have candidates for Treasurer and Vice Chair positions as well as members at large.
Thank you to all of the members who came forward to run this year, including several who are new to the committee.
See running candidates and check your inbox with instructions to vote.

AES San Francisco Section Annual Meeting and Holiday Party
2024-12-07 18:00 - 22:00 | Hyde Street Studios, 245 Hyde Street, San Francisco, CA, 94102, United States
Agenda

5:45 pm Arrive
6:00 pm AES SF Annual Meeting
8:00 pm Hyde Street Studios’ Holiday Party

AES Members are cordially invited to AES SF Annual Meeting and Holiday Party at Hyde Street Studios on Saturday, December 7, starting at 6 pm.
During our Annual Meeting, we’ll introduce our new committee members, celebrate our 2024 accomplishments and share exciting plans for 2025.
Following the meeting, join us for Hyde Street Studios’ Holiday Party featuring live music, drinks, snacks and holiday cheers! Light hors d’oeuvres and refreshments will be served.
RSVP required: Please register using your AES member number to reveal the RSVP form. You are welcome to invite a guest.
RSVP/Get Tickets

Experience Sony's 360 Virtual Mixing Environment at Coast Mastering
2025-03-19 13:00 - 17:00
AES Members and community are invited to get personalized measurement for Sony’s 360 Virtual Mixing Environment (360VME). With 360VME and Sony MDR-MV1 headphones, you can edit, design, and pre-mix your sound anywhere.
Register for your preferred demo time slot directly with Sony through this link (you can only sign-up for one time-slot). Please provide your full name, mobile number, and email address. Come join us and learn about 360VME!
Date: Wednesday, March 19
Time: 1pm-5pm PT
Location: Coast Mastering, Berkeley, CA

What is 360VME?
360VME is a game-changing remote sound creation technology, providing incredibly accurate reproduction of sound room acoustics, proven by four years of commercial title post production sound.
Sound professional user’s voice: 360VME user interview: MDR-MV1 Open-Back Studio Monitor Headphones have been designed for spatial sound professionals and fully tested with 360 VME technology. The 360 VME free trial program uses only MDR-MV1 headphones to provide a consistent sound experience.
Please e-mail: sec-360vme-contact@sony.com if you need assistance.
By submitting your RSVP, you consent to the collection and use of your personal information in order to create your personal 360 Virtual Mixing Environment profile. Additionally, please be aware that photographs and videos may be taken during the event and used for promotional or marketing materials.

2200 Studios Open House for AES Members
2025-03-20 18:30 - 21:30
AES San Francisco members are invited to an exclusive tour of the iconic 2200 Studios for a one-of-a-kind open house event.
2200 Studios first opened in 1973 as Record Plant Recording Studios. Operating for many years thereafter as “The Plant” and “Plant Studios”, 2200 Studios is home to that San Francisco sound made famous by legendary artists, producers, and engineers coupled with some of the most extraordinary musical legends and antics that defined the California music scene and delivered hit after hit to the world around.
This preserved historic studio has been revitalized with a solid mix of vintage and modern technology and plenty of unparalleled vintage vibe.
You don’t want to miss this special evening for AES Members!
Date: Thursday, March 20th, 2025
Time: 6:30-9:00 pm PT
This is an exclusive event for AES Members. It’s free, but you need to RSVP using your member number in the Access Code field to book your spot for this special event.
RSVP Here
Artists who have recorded here include:
Rick James, Santana, Fleetwood Mac, Prince, Deftones, Mariah Carey, Whitney Houston, Chris Isaak, Luther Vandross, Fleetwood Mac, Prince, D’Angelo & The Vanguard, Dave Matthews, Huey Lewis and the News, Aretha Franklin, Widespread Panic, Carrie Underwood, Susan Tedeschi, Too Short, Primus, Journey, Cher, Joe Walsh, Van Morrison, Sammy Hagar, Jefferson Starship, Tracy Chapman, Los Lobos, Tower of Power, Larry Graham, Bob Marley, and Metallica.

The Future of Immersive Sound
2025-04-17 18:00 - 19:30 | SFJAZZ Center, 201 Franklin Street, San Francisco, CA, 94102, United States
Join us for an exciting panel discussion exploring how AI and other technologies will create new, immersive audio worlds. Industry leaders from Skywalker Sound, Meta, Virtuel Works, Spatial Explorer and AudioShake will dive into innovations that transform how we experience music. Don’t miss this unique opportunity to discover how cutting-edge technology is reshaping the art of listening.
Presented in partnership with SF Jazz
Get Tickets

Moderator:

Jessica Powell
Jessica Powell is the CEO and co-founder of AudioShake, a stem-splitting AI technology that makes audio more editable, accessible, and useful, powering new creative use and monetization across the entertainment and tech industries. The company works with all three major label groups, most large US publishers and film studios, and a wide range of broadcasters, sports teams, and tech companies. Prior to starting AudioShake, Powell spent over a decade at Google, where she sat on the company’s management team. She is also an award-winning author whose work has been published in the New York Times, TIME, WIRED, and elsewhere.

Panel:

Rémi Audfray
Rémi Audfray is an Engineering Manager on the XR Sonic team at Meta, working at the intersection of spatial audio, acoustic simulation, signal processing, and software architecture. Prior to joining Meta, Rémi spent over 7 years on the Sound Technology Research team at Dolby Labs and then 3.5 years on AR audio at Magic Leap.

Jean-Marc Jot
Jean-Marc Jot is a globally-recognized audio technology innovator in consumer electronics and pro markets, currently focusing more particularly on immersive audio, hearing personalization and music technology innovation. He founded Virtuel Works to help accelerate the development and deployment of audio, voice and music computing technologies that will power immersive experiences. Has worked across virtual and augmented reality, gaming, broadcast, cinema, and music creation – with Magic Leap, Creative Labs, DTS / Xperi, and iZotope / Native Instruments.

Michael Romanowski
Michael Romanowski is the chief mastering engineer of Coast Mastering in Berkeley, California. He is one of the very first Immersive Audio Mastering engineers. Michael has been mastering records for over 30 years and more than 4000 albums. He’s a sought-after consultant and advisor for companies such as DOLBY, SONY, FRAUNHOFER, and more. Five-time GRAMMY Award winner and Ten-time GRAMMY® nominee.

Dan Zeitman
Dan Zeitman, founder and CTO of Spatial Explorer, has produced immersive music and entertainment experiences for brands like Disney, Bose, Dolby, and Capitol Records. His work includes the KOKOverse VR experience, a music-driven virtual world, and the Bose AR Star Wars Experience, which used spatial audio and augmented reality for interactive storytelling. He is currently developing immersive music experiences for the Apple Vision Pro, pushing the boundaries of how audiences engage with music and sound in XR.

California Soundscapes with Dan Dugan
2025-08-12 18:00 - 21:00
California Soundscapes – Recording Natural Environments with Dan Dugan
The San Francisco Audio Engineering Society, the Nature Sounds Society, and Meyer Sound will present a special presentation of California Soundscapes, a lecture/demonstration about recording natural environments in immersive formats.
This presentation will emphasize the technical aspects of Dan Dugan’s work including “heavy” systems, which use professional mics and cables, and “light” systems, designed to be backpacked. The differences between one-point mikes vs. near- and wide-spaced mikes will be demonstrated, and a current controversy about height mikes will be briefly discussed. There will be immersive playback of recordings from regions of California ranging over the coastal zone, the Valley, the deserts, and the Sierras.
Doors at 6:00 pm. Light refreshments and networking.
Presentation: 7:00 pm – 8:30 pm, followed by Q&A
Space is extremely limited. Ticket information is being sent directly to our AES SF email list members.

Dan Dugan
Dan Dugan has always been fascinated by combinations of art and technology. As a child, when he was taken to the theater he always wanted to go backstage to see the light board. In his teens he built a huge model circus and two small pipe organs. He was very active in music, singing bass in the church choir, the San Diego Bach Chorus, Roger Wagner’s summer workshops, and in madrigal groups performing on the green at the Shakespeare Festival. In college he dropped out of a four-year scholarship to work full-time in the theater doing lighting, which became his first career. He did lighting designs for the San Diego National Shakespeare Festival, the San Diego Opera, and the San Francisco Actors’ Workshop.
At age 24 Dan switched to doing theater sound, working for the San Diego National Shakespeare Festival and the American Conservatory Theatre in San Francisco. The title “Sound Designer” was created in 1968 to describe what Dan was doing. He provided sound services for many seasons of the Mondavi Jazz Festival, and engineered several independent record albums, including Kate Wolf’s first two albums, which are still in print.
Dan is well-known in audio engineering as the inventor of the automatic microphone mixer. His patented equipment is used in thousands of churches, courtrooms including the trial of Saddam Hussein, and on television shows including the PBS NewsHour, Washington Week, presidential debates, and ESPN sports commentary. Currently he works in his laboratory in San Francisco designing new versions of his inventions and editing his surround-sound nature recordings.

San Francisco Studio Crawl 2025 & Mixer
2025-09-26 12:00 - 22:00
We are back–ten years after we began–with another studio crawl in San Francisco. Join us for the largest audio engineering gathering in Northern California, on Friday, September 26th, from noon to 10pm. Tickets are available now at https://StudioCrawl2025.eventbrite.com
It’s like a pub crawl, open-house, and house party all rolled into one day. Tickets will be required and space is limited. To attend and get the latest updates and info which you’ll need to participate, book early. The map will be sent to registered participants the night before the crawl.
Brooklyn Basin Studios
Dreamrack Studios
Fogel Sound Studios
GetReel Productions
Handsome Sound
Hobie’s Corner
Hyde Street Studios-Studio A
J Moe Soundcrafting
Light Rail Studios
Mothership Studios
One Union Recording Studios
Outpost Studio SF
ShutterMindz Studio
Sonic Roots Studio
The Beat Barn
Wally’s HydeOut
Women’s Audio Mission
Due to the nature of the business, there could be changes among studio availability which we will update on this list.
Open Studios
12:00pm to 5:00pm:
You can get an inside look at many of the recording and post-production studios and rehearsal spaces in San Francisco. Be sure to pick up a raffle ticket at each stop, for a chance to win our raffle prizes at the mixer. The more studios you visit, the more chances to win lots of great gear, software and swag from our sponsors.
AES San Francisco will provide a list and details of participating facilities to registered participants in a password protected interactive map the evening before, and you’ll be responsible for your own for transportation. There is no shuttle. If you’re car-challenged, many of the studios can be reached by BART, bus or bike.
The Big Audio Mixer and Raffle
5:00pm to 10:00pm:
Hyde Street Studios
Studio Crawl attendees are invited to mingle with hundreds of local Bay Area professional audio people, maybe win some prizes from our raffle drawing. We’re still lining up prizes. Refreshments and beverages are included.
Note: It’s very important that you register with the correct email address, because all of the details you need to participate will be emailed to registered participants, including the password protected map and addresses of participating the studios.
Only registered ticket holders can attend these studio tours and the mixer event. All of the details needed to participate will be sent by email to registered attendees.

Spatial Composition - The New Frontier – at Dolby Headquarters
2025-10-09 17:00 - 20:00 | Dolby Headquarters, 1275 Market Street, San Francisco, 94103, United States
Join the AES & Recording Academy members as we explore SPACE as compositional element – and its effects on audio production – at Dolby HQ.

Composers have been using melody, rhythm, and harmony for thousands of years. Musique concrète expanded the use of timbre 75 years ago. Are we at the verge of another musical disruption? What if, using space as a compositional tool, songwriters, composers, and producers not only mixed but composed in immersive systems? Can SPACE become a new element of music?

The AES and the Recording Academy invite you to a member-exclusive event: a research presentation about the use of space in music composition and production, by composer Julius Dobos and producer BZ Lewis.
Audio engineers, producers, composers, songwriters and music creators of all disciplines are invited to explore SPACE as an element of music composition, experience demonstrations of new, spatially-composed music and immersive mixes in the Dolby Cinema, and hear about updates on the Dolby Atmos ecosystem.

Do spatial decisions made during composition have an effect on musical content?
Do listeners respond differently to spatially-composed music vs the spatial mixes of traditionally composed music?
How to approach writing in an immersive environment that can yield conceptually solid musical content?
How music created in Dolby Atmos (vs music mixed in Dolby Atmos) may affect the roles and responsibilities of artists and audio engineers?

Guests will hear Dolby’s latest updates to the Dolby Atmos music ecosystem, experience Dolby Atmos enabled car demos, and experience new, spatially-composed music & immersive mixes in the Dolby Cinema.

Space is limited: tickets will be required. Ticket information is being sent directly to our AES SF email list members.This ticket is for AESSF members only (your AES member number is your exclusive access code to register with). Space is limited, so please plan to attend if you RSVP.

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Speaker Bios

Julius Dobos is an award-winning, platinum-album European-American composer, sound synthesist, music director and mastering engineer. He is best known for his 11 electronic- and electro-orchestral albums, music produced for film, television, installations, major events and international brands. His composition credits span over 30 years and include You Don’t Mess with the Zohan, Paul Blart: Mall Cop, The Zookeeper, the DragonBall Z series, NCIS, to name a few. His production work includes Grammy®-awarded artists Martha Sebestyen, Erykah Badu and a colorful list of music & audio projects.
Under the pseudonym forgotten future, Dobos crafts one-of-a-kind, dynamic electronic music with a distinct style and sonic character. His live music performances have attracted audiences worldwide. His 2019 Los Angeles Human Intelligence Control show featured a novel musical experience through digitally-tracked interaction with the audience.
Dobos is a Distinguished Adjunct Professor at the University of Silicon Valley, a published author and speaker on electronic music and production culture, a long-time synthesizer- and audio technology beta-tester. He is a BMI and Artisjus writer, publisher, and the Vice Chair of the Audio Engineering Society San Francisco section.

BZ Lewis is a producer/engineer, working in Stereo and Dolby Atmos. He’s been in the biz for 30+ years, earning six Emmy Awards and a multitude of other recognitions and awards along the way via his recording studio, Studio 132. His favorite thing is using immersive audio to help tell the story of the artists he works with.
His work includes projects with Intel, Google, Microsoft, Apple, Sony, Ridley Scott; TV shows include The World Poker Tour, People Magazine investigates, Dateline, too many MTV credits to mention; and his band production credits encompass such artists as Roberta Flack, Blame Sally, Ann Moss, Victor Krummenacher, Kitka, Swordtongue, Magilo, Samri, Monica Pasqual, and Chelsea.
BZ Lewis is a voting member of the Grammys, a BMI member writer and publisher, chair of the Audio Engineering Society’s San Francisco chapter, and is currently enjoying publishing deals with Media Creature Music, Iron Mike Publishing, and BOK music in L.A.

Silicon Valley Video Summit Call For Contributions
2025-10-31
The AES SF Section has been asked to help curate a half-day audio track for Silicon Valley Video Summit (SVVS) 2026. This includes quick, 30 minute presentations or panels discussing audio topics closely-related to the video world. Some sample 2025 topics can be found here. However, the door is wide open for topics appropriate to an A/V audience heavily weighted to video including AoIP and VoIP (audio-over-IP or voice-over-IP, aka MoIP for media-over-IP).
If you (know anyone who) might be interested in presenting/curating a panel for SVVS 2026, please complete this G Form to submit your proposal by October 31st. You can see the panels in 2025 had almost no repeat presenters and the topics were wide ranging. However, for the audio track, there could be closely related topics which some presenters could also speak to (e.g., multichannel audio for livestreaming -plus- spatialization or up-mixing of audio for live streaming).
All presentations will be reviewed, however, with only four, 30 minute slots, we might not be able to accommodate all submissions. If you are unsure if your session proposal meets the format for the Silicon Valley Video Summit, please submit it anyway. Our local AES San Francisco section may suggest submitting your proposal for another venue and time later in 2026.
Click here for statistics about attendees, presenters and sponsors from 2025.
Any questions can be directed to info@AESSF.org.
Thank you for being a part of our AES San Francisco community!

Annual Meeting and Solstice Party
2025-12-21 18:00 - 21:00 | 25th Street Recording, Oakland, CA, 94612
AES members are invited to AES SF Annual Meeting and Solstice Party at 25th Street Studios on Sunday, December 21, starting at 6 pm.
During our Annual Meeting, we’ll introduce our new committee members, celebrate our 2025 accomplishments, and share exciting plans for 2026. Following the meeting, join us for drinks, snacks, and Solstice cheers!
Agenda:

6:00 PM — Doors
6:30 PM — AES SF Annual Meeting
7:00 PM — Solstice Party

RSVP Required: Please register using your AES membership to reveal the RSVP form. You are welcome to invite a guest.

RSVP Now

Silicon Valley Video Summit 2026
2026-01-27 09:00 - 18:30 | Computer History Museum, 1401 N Shoreline Blvd, Mountain View, CA, 94043, United States
AES SF has partnered with Silicon Valley Video Summit to bring you a half day of audio for video workshops on Tuesday, January 27, 2026. And the best part? The show is free for AES members! Don’t miss this opportunity to enhance your skills and knowledge.

Register Now

AES Sessions

Time
Room
Description

9:45 am
Boole
AES: Higher Order Audio Capture
Discussion around solutions for live-event multi-channel audio capture (sporting, concerts, etc.) Detailed discussion on multi-channel audio capture with feeds sent in real-time to broadcast mixers who can then make decisions on creating the listening environment to match the visual experience. David will discuss multiple, currently available, product solutions to facilitate the audio capture. This session is ideal for audio professionals providing real-time mix engineering along with capture for later post-production purposes.
Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios
Panelist: David Bowles, Swineshead Productions, LLC

10:15 am
Boole
AES: Eclipsa Audio Format for Streaming and Sound Design
Eclipsa Audio is a new open source spatial audio format based on the IAMF (Immersive Audio Model and Formats) specification, available under a royalty-free license from the Alliance for Open Media. Eclipsa Audio is designed to enable high-quality, immersive audio experiences across various devices and platforms, including streaming, gaming, and virtual reality. The IAMF specification is codec-agnostic and allows for flexible rendering and mixing, making it adaptable to different playback environments.Eclipsa Audio streaming and upload support has launched on YouTube. Join this tutorial session to learn more about the IAMF specification and to listen to creators talk about how to do sound design for Eclipsa Audio format. Learn about sound design differences and similarities for factual, animation & high end narrative content.
Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios
Panelist: Jan Skoglund, Google

10:45 am
Exhibits
Networking Break

11:30 am
Boole
AES: Cleaner Audio, Faster Decisions: Real-Time Separation for Modern Broadcast Workflows
AudioShake, the leading audio isolation and separation tool for media and entertainment, today announced the launch of its first streaming-capable SDKs designed specifically for real-time music detection and copyright-safe audio cleanup. The SDK enables broadcasters, sports leagues, and media creators to automatically detect and remove copyrighted music from live and post-production content—helping them avoid takedowns, fines, muted audio, and distribution delays.
Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios
Panelist: Jessica Powell, AudioShake

12:00 pm
Boole
AES: Architecting Next-Generation Immersive Audio: Advanced Spatial Audio Formats and Codecs
The rapid evolution of immersive experiences, particularly in Extended Reality (XR) applications like Virtual Reality (VR), Mixed Reality (MR), and Augmented Reality (AR), presents significant challenges for delivering compelling and perceptually accurate spatial audio. Traditional audio formats and rendering techniques fall short of meeting the requirements of these environments, leading to a need for novel approaches to audio representation, encoding, and delivery. Using the Apple Spatial Audio Format (ASAF) and its underlying Apple Positional Audio Codec (APAC) as a case study, we will examine how a unified framework can natively support a diverse array of immersive audio representations, including object-based audio, High Order Ambisonics (HOA), channel-based audio, and binaural rendering.
Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios
Panelist: Deep Sen, Apple

12:30 pm
Boole
AES Sessions: All Speaker Q&A
Presenters from the previous sessions will participate in a Q&A session moderated by Brian Gibbs and Jean‑Marc Jot.
Moderators:
BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios; Jean‑Marc Jot, Virtuel Works

AES Presenters

David Bowles
David v.R Bowles formed Swineshead Productions, LLC as a classical recording production company in 1995. His recordings have been GRAMMY- and JUNOnominated and crucially acclaimed worldwide. All releases are available as high-resolution paid downloads. Those in Dolby Atmos streaming audio format can be found on Avie, Delos and Navona Records. In collaboration with New York University’s Music Technology programme at Steinhardt School of Music, Mr. Bowles researches and teaches 3D audio recording for their Tonmeister Seminar. He has sat on panels at several AES conventions (with colleagues from NYU, Dolby, Huddersfield University and Sennheiser), and presented his papers on 3D height gathering at AES conferences in New York, San Francisco, São Paulo and Warsaw.Mr. Bowles is also a guest lecturer at the Royal Danish Academy of Music and Peabody Recording Arts and Sciences (John Hopkins University). He was Visiting Professor of Recording Arts at Indiana University’s Jacobs School. Mr. Bowles is a member of the AES (Audio Engineering Society): he’s served twice on the Board of Governors, and is Western Regional VP (United States and Canada, 2023-26). He is also a voting member of NARAS (National Academy of Recording Arts & Sciences) and active in their Producers & Engineers Wing.

Jan Skoglund
Jan Skoglund leads a team at Google in San Francisco, CA, developing speech and audio signal processing components for capture, real-time communication, storage, and rendering. These components have been deployed in Google software products such as Meet and hardware products such as Chromebooks. After receiving his Ph.D. degree at Chalmers University of Technology in Sweden, 1998, he worked on low bit rate speech coding at AT &T Labs-Research, Florham Park, NJ. He was with Global IP Solutions (GIPS), San Francisco, CA, from 2000 to 2011 working on speech and audio processing, such as compression, enhancement, and echo cancellation, tailored for packet-switched networks. GIPS’ audio and video technology was found in many deployments by, e.g., IBM, Google, Yahoo, WebEx, Skype, and Samsung, and was open-sourced as WebRTC after a 2011 acquisition by Google. Since then he has been a part of Chrome at Google. Jan is the vice chair of AES Technical Committee on Coding of Audio Signals.

Jessica Powell
Jessica Powell is the CEO and co-founder of AudioShake, a sound-splitting AI technology that makes audio more editable, accessible, and useful, powering new creative use and monetization across broadcast, film, TV, and music. Powell spent over a decade at Google, where she sat on the company’s management team. She is also an award-winning author whose work has been published in the New York Times, TIME, WIRED, and elsewhere.

Deep Sen
Proven industry leader with senior management positions at Apple & Qualcomm with stints in Academia and a Bell Labs alumni. Technical leadership and direction in Audio Signal Processing, Immersive Media, Broadcasting, Codecs, Machine Learning, Hearing Aids and Cochlear Prosthetics. Multiple publications & granted patents.

Brian Gibbs
Brian (Bt) “Gibbs”, principal at Skyline Entertainment and Publishing (www.SkylineEP.com) and Tool Shed Studios is a producer and engineer whose credits include assistant engineer on the 2015 GRAMMY winning album “Realidades” (Los Tigres del Norte). The studio, located in Morgan Hill California produces over 50 record credits annually. Committed to helping our SF Chapter make a difference for music creators.Gibbs a graduate of Berklee College of Music B.M. (Jazz Composition) is engaged in a number of organizational, networking and educational initiatives.

Jean-Marc Jot
Globally recognized audio technology innovator in consumer electronics and pro markets, currently focusing more particularly on immersive audio, hearing personalization and music technology innovation. I founded Virtuel Works to help accelerate the development and deployment of audio, voice and music computing technologies that will power immersive experiences. Previously, I initiated and drove the development of novel sound processing technologies, platforms and standards for virtual and augmented reality, gaming, broadcast, cinema, and music creation – with Magic Leap, Creative Labs, DTS / Xperi, and iZotope / Native Instruments. Before relocating to California in the late 90s, I conducted research at IRCAM in Paris, where I created the Spat software library for immersive music creation and performance. Fellow of the Audio Engineering Society, regular speaker in industry and academic events. Authored numerous publications and patents on digital audio signal processing.

Meta's Immersive Studios Tour
2026-02-18 18:00 - 21:00
AES San Francisco members are invited to an exclusive tour of Meta’s Creative Audio Studios for an exclusive tour of the state-of-the-art immersive studios operated by the Meta Creative Audio – Studio Production Team.
We’ll explore a range of world-class facilities, including:

A spacious 9.1.6 immersive audio room
Dedicated 7.1.4 rooms
Multiple 5.1 suites
A professional foley stage
A large music studio

During the tour, you’ll learn about Meta’s work in immersive audio—what drives their innovation, how they’re pushing boundaries, and the impact of some of their projects. Experience a selection of music created by the team, and get a glimpse of where their work is headed next.
Light hors d’oeuvres and non-alcoholic refreshments will be provided.

Sony Playstation
2026-03-31 18:00 - 21:00
AES San Francisco members are invited to an exclusive tour of Sony PlayStation’s Creative Arts Music & Sound Studios for a one-of-a-kind open house event and exclusive tour of PlayStation Studios’ state-of-the-art facilities, hosted by AES SF chapter member Anthony Caruso and the PlayStation Studios Music Team.
The team will present their production pipeline for interactive music, with live Wwise demos showing how their workflow translates to the in-game experience. You’ll also hear about their work across game IP extensions—including TV, film, live concerts, and GRAMMY®-nominated soundtracks like Helldivers II, God of War: Ragnarok, and Marvel’s Spider-Man 2.
Following the presentation, you’ll tour Studio A’s control room for an interactive music demo and explore the rest of the Music & Sound department.
Light hors d’oeuvres and non-alcoholic refreshments will be provided.
Schedule:
Doors: 6:00 PM Networking and refreshments
Presentation: 7:00-8:00 PM
Q&A: 8:00-9:00 PM
This is an exclusive event for AES Members. It’s free, but you need to RSVP using your member number in the promo field to book your spot for this special event. (Invitations will be sent to AES San Francisco members in March.)

Physical Modeling Synthesis History, Applications and the Future
2026-05-18 18:00 - 21:00 | CCRMA | Stanford Center for Computer Research in Music and Acoustics, 660 Lomita Drive, The Knoll, Room 217, Stanford, CA, 94305, United States
Join AES San Francisco for a presentation on Physical Modeling Synthesis History, Applications and the Future, with Gregory Pat Scandalis, Dr. Julius O Smith III, Nick Porcaro and Jordan Rudess at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA).
Schedule:
6:00 pm doors, networking & refreshments
7:00-9:00 pm presentation
The story of physical modeling spans nearly a thousand years—from early explorations of acoustics to today’s cutting-edge synthesis technologies. We now live in a time when anyone can perform like Jimi Hendrix with just small device in the palm of their hands. It’s a fun and deeply technical topic, drawing on many fields, including physics, acoustics, digital signal processing and music.
This tutorial will explore:

A historical overview of physical modeling synthesis, illustrated with compelling audio examples.
The critical role of MPE (MIDI Polyphonic Expression) in unlocking the expressive potential of physical models.
Practical applications for composers and orchestrators using physical modeling instruments.
Future Applications of Physical Modeling including MIDI 2, the MIDI 2 Orchestral Articulation Profile, and AI Virtual Performers controlling Physical Models.

Bios:

Pat Scandalis
Julius Smith
Jordan Rudess
Nick Porcaro

Light hors d’oeuvres and non-alcoholic refreshments will be provided.
This event requires advance sign-up.
Get Tickets
