New York, NY - Oct 14, 2013 - The Audio Engineering Society (AES) was formed on March 11, 1948, with the purpose of uniting the audio engineering community; collecting, collating and disseminating scientific knowledge in audio and its allied arts; and creating literature and periodicals relative to these purposes and policies. Since its formation, the organization has been involved in every key development in professional audio technology. The year the organization was founded saw the introduction of the microgroove 33-1/3 rpm long-play vinyl record (LP) by Columbia Records, the Scotch type 111 and type 112 acetate-base tapes, and the Magnecord PT-6, the first tape recorder in a portable case. This year's 135th Audio Engineering Society Convention (Oct. 17 - 20, 2013, at the Javits Center in New York City) will celebrate that history.
The AES has seen many milestones in audio, including the introduction of the 45 rpm, large-hole, 7-inch record (1949), surround sound (1953), "Sel-Sync" overdubbing (1955), Dolby's Type A noise reduction (1965), the development of digital audio recording (1975-1980), the proposed MIDI standard (1981), the launch of the CD (1982), the arrival of Digidesign's Sound Tools, the forerunner to Pro Tools (1987), and 24-bit/96 kHz recording (1996). The list goes on, including the introduction of seminal technologies such as the Tascam Portastudio, which some say precipitated the project studio trend, and the arrival of file-based music recording, distribution and consumption, which forever changed the way the culture looks at music.
The AES says it has been an integral part of almost all of the major technology advances of pro audio since it was founded. "Over the years, the AES convention has served as the industry's technology incubator where new technologies are unveiled, discussed, perfected and deployed - often in the form of standards and best practices created by the AES Standards Committee," explains Bob Moses, executive director of the AES. Standards committee meetings held at the conventions leverage the resources and expertise of top researchers, engineers, academics, system designers, manufacturers and others in attendance. Recently, the AES announced the publication of AES67-2013, a new engineering standard for networked/streaming audio-over-IP interoperability. Past examples of standards work include the ubiquitous AES3 - aka AES/EBU - interface, AES10 (commonly known as MADI) and the AES26 XLR polarity standard.
"Today's standards groups are working on tomorrow's new technologies such as networked audio, mobile formats, virtualization, and so on," Moses continues. "The AES is also proud of its partnerships with other organizations such as The Recording Academy, which result in exciting events like the annual Grammy SoundTables panel with leading artists and engineer/producers discussing the secrets of their craft." The Society of Professional Audio Services (SPARS) is another example. SPARS is heavily invested in the success of AES Mentoring activities.
AES outreach has increased, and currently more than 14,000 members are affiliated with more than 75 AES professional sections and more than 95 AES student sections throughout the U.S., Latin America, Europe, Japan and the Far East. Section activities may include guest speakers, technical tours, demonstrations and social functions. Through local AES section events, members gain access to valuable opportunities for professional networking and personal growth.