AES - Audio Engineering Society - Melbourne Section

Meeting Report: 5th February 2024 – State Theatre Tour

2024/02/102024/02/10Secretary

On Monday 5^th 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.

Group of people gathering in the Stage Door Foyer of the State Theatre — *Gathering at the stage door entrance.*

We assembled at the stage door lobby, where Nick explained the theatre’s history and the areas we would be visiting.

View down on the stage from the auditorium. Nick Walker describing the theatre. — *In the Auditorium*

He then took our group into the auditorium, describing the configuration, sound reinforcement, and lighting.

26th February Meeting Notice: Stephan Schutze on Game Audio Assets

2024/02/072024/02/07Secretary

The next meeting of the AES Melbourne Section will be an in-person event held on
Monday 26^th February 2024 at 7:30pm at the Collarts Collingwood campus.

It will also be live-streamed on our YouTube channel https://www.youtube.com/AESMelbourneSection

Game Audio Designer Stephan Schutze will present on the topic of:

Game audio asset collection, production and management

One of the key aspects of game audio production that is seldom covered is how we deal with our assets. There are various approaches for the creation of sounds, but often the raw source material is not part of that conversation.

Stephan Schutze creating a sound with multiple microphones capturing the event — *Stephan creates and captures a specific effect*

Meeting Report: November 2023 – David Lauritsen on Game Sound Design

2023/11/182023/11/18Secretary

On Monday 13^th 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)

Photo of Graeme Huon — Section Chair Graeme Huon introduces David

Photo of David Lauritsen — Section Chair Graeme Huon introduces David

Meeting Report: August 2023 – Ben Osmo on Film Location Sound Mixing

2023/08/222023/08/22Paolo Menolotto

On Monday 14^th August, the Melbourne Section of the AES held our Annual General Meeting followed by our regular bi-monthly meeting.

Further details on the AGM proceedings can be found at https://aesmelbourne.org.au/2023-agm

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 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.

Photo showing the crush of news crews covering a live event. — The one-man sound crew.

Photo of early film set with sound recorder and boom operator — The one-man sound crew.

Game audio asset collection, production and management

Video Game Sound Design and Curriculum Development:

Developing the Skills for a Growing Field

Film Production Sound Through the Years changes and added responsibilities.

Film Production Sound Through the Years
changes and added responsibilities.