This year’s 139th AES International Convention is set to offer a number of unique presentations and events, October 29-November 1 at the Jacob Javits Center in New York City.
- Notable among them is the return, for its second year, of Live Sound Expo (LSE), which will bring insight and expert advice to live sound engineers of all types, from installed sound to Broadway to touring sound.
This year’s Live Sound Expo, produced in association with Pro Sound News, offers expert advice for the broad spectrum of live sound engineers – some 25% of attendees – with an emphasis on practical applications covering topics ranging from live sound in theaters, music venues, and houses of worship. It will address key topics such as how the changing state of wireless audio will affect professional users, how virtual soundchecks and networked audio are combining to create a more efficient workflow for live sound engineers, and live sound console and microphone design and use.
This second edition of the AES Live Sound Expo follows its highly successful debut at last year’s AES Convention in Los Angeles. This year the LSE will be broken up topically across the three days, addressing important segments of live sound and sound reinforcement slated to include a “Broadway Day,” a "House Of Worship Sound/Fixed Install Day,” and a “Tour Sound Day” – each with dedicated programs consisting of presentations and panels featuring industry leaders. Sponsors for the LSE include Cadac, Clear-Com, DiGiCo, DPA Microphones, EAW, L-Acoustics, Optocore, Sennheiser, Waves Audio, and Yamaha.
Broadway Day (Friday, October 30) is devoted to live sound in the theatrical environment, with topics slated to include Theatrical Vocal Miking; Wireless Issues for Live Theater: Broadway and Beyond; Theater Sound System Design and Optimization; Theatrical Console Automation; Networking for Theater; and Theatrical Sound Design. The Word and Music: House Of Worship Sound/Fixed Install Day (Saturday, October 31) offers a range of HOW and venue installation presentations including topics such as Speech Intelligibility: Contributing Factors; Miking Grand Piano and Choirs; Mono vs Stereo vs LCR in HOW and Fixed-Install; IEM Fundamentals and Hearing Conservation; The Future of Wireless: Now What?; and Modern Digital Mixing Console Fundamentals: A Practical and Ergonomic Approach.
Tour Sound Day (Sunday, November 1) will cover the latest in tour sound technologies and techniques, with presentations slated to include Virtual Sound Checks and Processing in a Networked Environment; Shed and Arena Loudspeaker Optimization: Pulling Big Shows Together; Choosing the Right Vocal Mic; and Talking with the Artist: Sharing the Vision.
“AES in New York was where I introduced a live sound loudspeaker networking users group in 1987 at the 83rd convention, and it has always been a destination for professional live sound, where it's the only pro audio trade show to address standards and professional papers, while showcasing demo rooms and new products,” said veteran live sound engineer, writer/editor and Live Sound Expo host Mark Frink.
Added AES executive director Bob Moses, “We like to say that if it’s about audio, it’s at AES, and with the success of the Live Sound Expo and similar initiatives, we feel that this is truer than ever.”
For the latest information on AES139 Convention Registration and Housing, visit http://www.aes.org/events/139/.