The Past, Present and Future of High Resolution Audio

MIT Cables is proud to present:

Please join us for two days of informative presentations from some of the industry's most accomplished engineers.

Keith O. Johnson
Keith is known for state of art recordings and technical arts craftsmanship. He strives for a full bodied, articulate and big stage character of recording that captures the artist performer experience. Beginning in the 1960's, his hand built recorders and equipment has produced well over 100 classical and jazz titles, many with continuing demand. Three have been Grammy winners, including one for Keith, along with many nominations for engineering and top awards from the industry. He is also an AES fellow, life-time silver medalist and presents master classes. His technical expertise and creativity are found in Spectral products as well as patents and contributions to companies he previously co-founded. Gauss tape duplicators, MCA - Pioneer optical memory, DBX - Colortech motion picture sound restoration, and Microsonics digital converters have changed the industry. His "Projectron" collaboration with Allan Parsons introduced expressive three-dimensional sampling to keyboards. East West introduced Keith's methodology and recordings with their popular Orchestra Library. After his wife introduced High Resolution Computer Sound to consumers, he has been advocating quality standards to support an emerging new media industry.

Keith's Topic
What is High Resolution Audio? There's no better person to ask than Keith Johnson. In his segment of the presentation, Keith will introduce to you what is and what is not high resolution. He'll cover the history of high resolution and will go deep into the topic in both the analog and digital domains. He will discuss microphones and how they relate to how the ear works as well as what engineers listen for during the recording and mastering processes. Keith will also share how this information can help the audiophile critically listen to music.

Leslie Ann Jones
Leslie Ann Jones has been a recording and mixing engineer for over 30 years. After starting her career at ABC Recording Studios in Los Angeles in 1975, she moved to Northern California in 1978 to accept a staff position with David Rubinson and Fred Catero at the legendary Automatt Recording Studios. There, she worked with such artists as Herbie Hancock, Bobby McFerrin, Holly Near, Angela Bofill, and Narada Michael Walden, and started her film score mixing career with Apocalypse Now.

From 1987 to 1997 she was a staff engineer at Capitol Studios located in the historic Capitol Records Tower in Hollywood. She recorded projects with Rosemary Clooney, Michael Feinstein, Michelle Shocked, BeBe & CeCe Winans, and Marcus Miller, as well as the scores for several feature films and television shows.

In February of 1997, she returned to Northern California to accept a position as director of music recording and scoring with Skywalker Sound, where she continues her engineering career mixing music for records, films, television, and commercials. In 2003, Jones was nominated for a Grammy Award for Best Engineered Recording, Classical, and received a Grammy Award for The Kronos Quartet's recording of Berg: Lyric Suite, which won Best Chamber Music Album.

Leslie's Topic
The method in which a recording is made significantly affects the listening experience for the audiophile. During Leslie Ann's presentation, she will discuss the recording engineering side of professional audio in both stereo recordings as well as movie making. As a scoring engineer, Leslie Ann will take you deep into the processes of scoring a motion picture.

Michael Bishop
Michael Bishop has been engineering award-winning recordings for more than 30 years and has received SEVEN Grammy® Awards (2007, 2006, 2004, 2002 and 1997) including FIVE for Best-Engineered Recording. He has received the Surround Music Award for Best Surround Mix - Orchestral and multiple nominations in that category over the past several years. A part of the engineering and production team at Telarc Records since 1988, Michael has recorded many major orchestral, jazz, blues, and pop recordings, plus notable independent projects. Additionally, Michael's production and sound effects recordings helped Peter Schickele (PDQ Bach) earn a record-setting four consecutive Best Comedy Grammy® Awards. Michael has also earned a biographical listing in the Marquis Publications Who's Who in Entertainment and Who's Who in Music. January 2009 marks a new chapter in Michael's career with the launch of Five/Four Productions Ltd., an independent World-Class audio production company. As a part-owner of Five/Four Productions, Michael records and produces independent audio projects, maintaining the high audio production standards he successfully carried in his twenty-year career at Telarc Records.

Michael's Topic
As an expert in the art and science of audio mastering, Michael will discuss the process of preparing and transferring the recorded audio, including the final mix, to the master; the source from which all copies will be made. The often controversial subjects of equalization and dynamic enhancement will be discussed, as well as the critical listening skills required to do the job of the mastering engineer.

Aaron Reiff
Growing up in northern California, Aaron Reiff was greatly influenced by his musical family. He became an accomplished musician at a very early age. His outstanding achievements on the classical trumpet earned him the prestigious Semper Fidelis Scholarship for musical excellence. Playing trumpet and other instruments gave him a very keen sense of tonal perception and greatly increased his critical listening skills. These skills helped him graduate Grove School of Music's recording engineering program with honors.

For the last several years Aaron has been working as an audio system designer, integrator, consultant, and Mastering Engineer, designing high resolution two channel systems for the home, small production suites, and large recording rooms. His clients include 20th Century Fox, EMF Broadcasting, and Skywalker Sound. He specializes in ultra high resolution audio, with a focus on developing high resolution engineering techniques for power conditioning, grounding, and digital jitter reduction.

From 1996-2004, Aaron was the Chief Scoring Engineer at Skywalker Sound in San Rafael, California. While at Skywalker Sound, he designed complex recording and playback systems used to record orchestras and many top 40 bands. He also worked on many motion pictures including, Star Wars, Titanic, Saving Private Ryan, Spy Kids and many other noteworthy films.

Prior to Skywalker Sound, Aaron worked in many well-known recording studios in California including Capitol Studios, where he worked as an Audio Engineer, and the Devonshire Studio Complex in North Hollywood where he was Chief Engineer. He was also part of the team that designed the recording facility for Mattel Toys.

Aaron's Topic
Aaron will introduce the audience to the art and science of systems integration. His presentation will include the manifestation of AC power problems in high resolution audio systems, both in the recording and playback arenas, how to identify, listen for, and correct them.

Bruce Brisson
Bruce Brisson began designing audio cables in the 1970's after hearing the sonic problems inherent in typical audio cables of the day. In 1981 he licensed the first of many of his designs and patents to Monster Cable. Many of Monster's products are still using his designs today and have become some of Monster's most enduring and successful products. In 1984, he founded Music Interface Technologies (MIT), which as been a leading force in the research, design, and manufacture of high performance audio, video and AC products.

Since forming MIT, Bruce has also designed or manufactured cables and components for many other well know audio companies such as Spectral Audio, Jeff Rowland Design Group, Wilson Audio Specialties, Martin Logan Electrostatic Loudspeakers and Goldmund Audio. MIT products are used in many recording studios and have become crucial components in many Hollywood productions. If you have listened to a hit record or attended a hit movie within the three decades, you have undoubtedly heard many of his products.

Bruce's Topic
Carrying on the topic of the consumer side of the industry, Bruce will take the audience through the process of interfacing components in a high resolution audio/video system. He will discuss quantifiable measurements of a high resolution interface and how to correlate those measurements to what the listener hears. He will continue his presentation discussing three dimensionality and soundstaging, helping the audience learn how to optimize their system for a better overall experience.

Bob Hodas
For the past 16 years Bob Hodas has been analyzing and correcting studio control rooms, home theaters, and high end listening rooms. He travels the world for clients ranging from Sony Music Entertainment in Tokyo to the esteemed Abbey Road Studios in London. He has also tuned home studios for Oscar winning mixers such as Alan Meyerson and Chris Boyes and commercial facilities or award winning composers like James Newton Howard and John Debney. His home theater clients include George Lucas, Shaquille O'Neal, Stewart Filmscreen, George Clooney, and Francis Ford Coppola.

Since entering the studio scene in 1971, Bob has made excellence in audio a primary goal - from live mixing with The Doobie Brothers to remixing the Aladdin soundtrack for Walt Disney's World on Ice. Bob has consulted on the development of many successful products for manufacturers such as Meyer Sound Laboratories, Dolby Labs, and AKG Acoustics. As a contributing editor for Recording Engineer/Producer, Mix, and, he has written many articles that contribute to the advancement of audio quality.

Bob's Topic
The anchor of the seminar will be discussing the importance of the listening environment, both in the studio and in the home. He will guide the audience through a series of techniques designed to help them tune their listening environment to achieve the maximum performance out of their space. Acoustics, room treatments, and why audiophiles shouldn't fear an equalizer will be covered in depth.