This year’s 139th AES International Convention is set to offer up a number of unique
presentations and events, October 29 – November 1, 2015, 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 keen 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 Convention
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 sound checks 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 L.A. 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,’ stated veteran live sound engineer, writer/editor and Live Sound Expo
host, Mark Frink. Adds 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.’
