Areas of Concentration
- Professional Studio and Product R&D /Manufacturing Relationships
- Real – World Equipment Evaluation and Testing Procedures
- Evaluation / Recommended Procedures for Production
- New Tools to Advance Professional Audio Production
- Networking Links to Related Professional Organizations
Current Areas Of Work
The Technical Committee of Recording Technology and Practices is in continuous communication with the Producer’s and Engineers Wing of the Recording Academy in several areas.
In the area of Master Delivery Recommendations, we support a best practices document that is released to both the AES and the Recording Academy constituencies.
Other current work includes similar documents relating to high resolution audio and immersive music production.
These documents do not necessarily express the official position of the AES on the issues discussed at these meetings, and only represent the views of committee members participating in the discussion. Any unauthorized use of these publications is prohibited. Authorization must be obtained from the Executive Director of the AES: Email, Tel: +1 212 661 8528, Address: 551 Fifth Ave., Suite 1225, New York, New York 10176, USA.
Description: TC-RTP Meeting Minutes – 152nd AES Europe
Description: 151st TC-RTP Meeting Minutes
Description: Minutes from TC-RTP Meeting during AES 150th.
Description: Minutes of TC-RTP Meeting in NYC 2018
2018-5-22 TCRTP Milan Agenda
Description: Outline agenda for TC-RTP Meeting in Milan 2018
Description: Draft minutes from AES 141st in LA
Description: TC-RTP Minutes AES 139th NY 2015
Description: Draft minutes 10.31.14
Description: Meeting Minutes
Description: Draft Minutes 124th AES Amsterdam
2006-10-16 METHODS TO ELIMINATE THE BASS CANCELLATION BETWEEN LFE
Description: We have identified the problem of the degradation of bass sound from the main channel, caused by the influence of LFE, and we have proposed a solution.
1999-10-23 An Integrated Approach to Metering, Monitoring, and Levelling Practices
Description: by Bob Katz For the last 30 years or so, film mix engineers have enjoyed the liberty and privilege of a controlled monitoring environment with a fixed (calibrated) monitor gain correlated to a metering level of 0 VU. The result has been a legacy of feature films, many with exciting dynamic range, consistent and natural-sounding dialogue, music and effects levels. In contrast, the broadcast and music recording disciplines have reached a state of chaos at the end of the 20th century. The author proposes an integrated system of metering and monitoring that will encourage more consistent levelling practices among the three disciplines. This system handles the issue of differing dynamic range requirements far more elegantly and ergonomically than in the past. On the threshold of the introduction of a new, high-resolution consumer audio format, we have a unique opportunity to implement a 21st-century approach to levelling. Such a system will also aid production personnel in creating meta-data.
James J McTigue
Andres A. Mayo