On Monday 5th February, the Melbourne Section of the AES held a members-only tour of the State Theatre at the Melbourne Arts Centre.
Due to space limitations in some areas of the facility, we were limited to a maximum of 12 people. It was decided to restrict this event to members, and the quota was filled within a few days of the email notice going out.
As the venue is closing to undergo major renovations next month after 40 years of hosting world-class performances, it was seen as a good opportunity for one last look at the venue as it stands. The hope is that we can return in three years’ time post-renovations to appreciate the changes and improvements. Our host for the evening was Nick Walker, the Arts Centre Manager of Sound and Vision. Our AES Committee member, Rod Brown, who arranged the tour, was a founding Arts Centre A/V staff member and was also on hand to give us some interesting background on the early days of the venue, providing some details that were even news to Nick.
We assembled at the stage door lobby, where Nick explained the theatre’s history and the areas we would be visiting.
He then took our group into the auditorium, describing the configuration, sound reinforcement, and lighting.
On Monday 13th November, the Melbourne Section of the AES held our (slightly delayed) bi-monthly meeting.
Game Sound Designer/Educator/Musician David Lauritsen presented on the topic of:
Video Game Sound Design and Curriculum Development:
Developing the Skills for a Growing Field
After a brief introduction from Section Chairman Graeme Huon, David started his presentation by outlining his history as a musician and developing an interest in audio engineering, leading to his study for a Bachelor of Audio Engineering and a Masters of Creative Industries. He briefly covered his audio recording work at Coloursound and Black Pearl Studios, and film sound work, moving on to audio education at JMC Academy and ultimately into game sound design at Big Ant Studios (AFL23 and Cricket24)
Following the AGM, Academy Award winner Ben Osmo (Best Achievement in Sound Mixing 2015 – Mad Max: Fury Road) presented on the topic of:
Film Production Sound Through the Years changes and added responsibilities.
Newly re-elected Chairman Graeme Huon introduced Ben with a brief outline of Ben’s career.
Ben Osmo in front of his “sound cart”
Ben then took us through his career in location sound production from his start in 1975 at the ABC. He told us that the typical setup of the time was a Nagra portable battery-operated tape recorder and a shotgun microphone on a long boom pole. He explained that the shoots were often one-camera affairs with shots framed as wide-shot, mid-shot, and close-up with the microphone positioned accordingly to achieve the appropriate sound balance.
On Monday 19th June, the Melbourne Section of the AES held our regular bi-monthly meeting.
It was another in-person event held at ABC Melbourne’s Southbank Studios.
Alex Stinson, a senior ABC Classical Music Producer, Recording Engineer and Editor welcomed a capacity group of twenty members and guests for a short tour of the venue’s music facilities, starting at the main orchestral recording space, the Iwaki Auditorium (Studio 355), moving through the other production facilities and recording spaces, and ending up at Studio 356, where he presented to us on the topic of:
Modern Classical Music Production
Techniques, challenges, and workflow
Alex describes the process of recording in the Iwaki Auditorium – Photo Rod Staples
Alex described their approach to classical music recording, starting with a description of the process of orchestral recording, and then moving on to recording smaller ensembles, duets and solo pieces.
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