Original Resource is Vinyl Records
Unless you are still one of those holdouts with a dial-up modem, you’ve probably heard about and perhaps considered trying Amazon Music and Amazon Music HD. This streaming service, like all things Amazonian, wants to be the 500-pound gorilla that stomps into the quiet forest glen of high-resolution music streaming and claims it for chimps everywhere. Amazon has priced its HD music service at $12.99 per month for Prime users and $15.99 for everyone else, which places it under Qobuz’s and Tidal’s monthly fees if you are already a Prime user. If not a Prime member, then Qobuz new “Studio Premier” at $14.99 per month is currently the least expensive true high-resolution-capable streaming service.
The question of whether Amazon Music would be a better option for you depends on a number of factors, not the least of which is how you feel about Amazon, Alexa, and smart devices in general. Since we are an audiophile publication, we will look not only at ergonomics and catalog accessibility and depth, but also at sound quality differences, if they exist.
What this article will not be is a tutorial for Amazon Music HD.
Amazon Music HD Is Not For Audiophiles
I’ll begin with something that may or may not surprise you. Amazon music and Amazon Music HD are not designed for audiophiles, but for pop music fans! Depending on your musical tastes, you may find it a welcoming bastion for pop, but less welcoming for roots, Americana, classical, jazz, and small-label releases. While I saw many novel offerings from international artists that I have never heard before, I also found it harder to find and populate my Amazon HD playlist with many of my favorite older and less well-known folk, blues, classical, and jazz artists. While Amazon HD does have “genre specific” options for its search, just like other streaming services, the closest I found to the bluegrass and roots genres was “folk,” which was populated by far more international roots than domestic roots offerings. While Tidal’s streaming service is often accused of being tilted too much toward current pop music, Amazon Music HD’s home page can be accused of the same thing—the primary spots near the top of the page were all for new pop music or albums you have played recently. You must go to the very bottom of the page to find new HD and “Ultra HD” music options.
Playlists are popular these days. Amazon Music HD has entire pages of pre-prepared playlists for streaming. Under “Playlists for You” Amazon Music HD had 99 playlists available for me. Naturally I was flattered that Amazon took such an interest, and it was much easier to find palatable playlists than individual albums. So if you are devotee of playlists, Amazon Music HD has plenty for you.
Amazon Music HD—When HD Is Not HD
OK. Amazon, you may be big, but even you aren’t big enough to go reinventing the meaning of technical terms without some serious pushback. Amazon HD simply is not HD! When you click on the cool “HD” logo next to an “HD track” you will find it is 44.1/16, which is Red Book CD, but not HD quality. To find a track that is really HD quality, you have to look for the “Ultra HD” logos. For anything above Red Book 44.1/16, this badge will read “Ultra HD,” but many may be only 44.1/24. Compare that with Qobuz where every track is at least 44.1/16, and many are true higher-resolution tracks, and you begin to see that Amazon Music HD is not as fully fleshed out as other services. HD is there, but not in the quantity or with the ease of access you find in Qobuz or Tidal MQA. If your sole reason for joining Amazon HD is for true high-definition music, I suggest you look elsewhere.
No Streaming Service Is An Island, Is It?
For anyone with a large digital music library on his/her local hard drive, having a centralized playback methodology that lets him/her access that library as well as his/her streaming services would be preferable to individual apps and services that do not integrate with each other. Roon, and for OSX users Audirvana+, offer this kind of cross-platform integration, so that one playback app can locate and play everything in your musical eco-system from hard drives to high-resolution Internet streaming services. Roon and Audirvana do not currently support Amazon or Apple Music streaming platforms. Neither playback app has announced any plans for future integration of Amazon or Apple. Roon currently supports any Roon-aware device on your local network, as well as Tidal, Qobuz, and Dropbox, while Audirvana supports Tidal and Qobuz. Making it easy to access any of your music is one of the promises of digital music, but if you want that kind of integration you can’t get there from Amazon or from Apple Music. However, if you have never acquired a library of music and want only one source of music for both portable and home devices, then Amazon HD’s apps and players should be sufficient for your needs, but you may find it constricting when you do begin to develop your own home library of digital music.
So, Who Will Enjoy Amazon Music HD?
If you want a streaming service primarily for your smartphone or tablet, Amazon Music HD will work fine, because those are the platforms it was designed for. Desktop integration was less WYSIWYG. The OSX version of the Amazon Music HD App has the annoying habit of not changing the bit-rate automatically to match the best possible resolution available for a particular track. Instead, you have to make the adjustment manually via your Mac’s midi control panel. That is so 1990.
Is Regular Amazon Music Without HD Good Enough?
The simple answer is, no. When I first signed up to Amazon Music, I did some listening and was disappointed to discover that I could easily hear the added IM distortion and grain on every track I auditioned compared to Tidal, Qobuz, and my own ripped CDs. Even at merely background levels the added sonic nastiness would be enough to turn me off streaming forever if I had no other options.
Amazon Music HD was sonically worlds better than Amazon Music. When I compared tracks that had the same bit-rate and length (that’s as close as an average consumer can get to seeing if files are identical) they did sound comparable in sound quality. After spending a hour doing comparisons, I was thankful that (since I’m a Roon and Audirvana user) I can easily find and play a track at that track’s native bit-rate without all the midi control adjustments Amazon HD Music requires on many tracks.
Will Amazon HD Be A Gateway To Audiophilia?
If Amazon has its way, that answer would be a resounding no! Amazon’s goal, just like Apple and Facebook, is to keep you involved in its content to the point where it becomes your exclusive digital ecosystem. Amazon wants you to buy Amazon devices for Amazon HD, not some esoteric third-party hardware.If you are already using network devices and streaming services, I suspect that, like me, you will find no compelling reasons to add Amazon Music HD.
Will Amazon Music HD create a new generation of young “woke” music lovers, hip to the delights of high-resolution music? Yes and no…it will create awareness of that something called “HD Music” exists, but except for those who put in the extra effort required to hear it at its maximum potential, which does require some digging, most new users may not even get it, which would be a shame.
The post Amazon Music HD Wants You, But Do You Want Amazon Music HD? appeared first on The Absolute Sound.
Original Resource is Articles – The Absolute Sound
Initially I wasn’t entirely sure about how to approach reviewing Sir Paul McCartney’s new album. But I realized recently that I had a little something to perhaps offer to my friends out there in music appreciation land: perspective.
This was prompted by watching an interview with McCartney the other night on a popular talkshow. Somewhat bemused, I got the sense that the host was unfamiliar with some of the artist’s history even though he did seem to try to come across as being a serious fan (of which I’m sure he is, no disrespect).
I’ve been a fan of Paul McCartney’s music for almost literally my entire life — one of the three earliest memories I have is The Beatles on The Ed Sullivan Show, when I was maybe 3 years old! So, there are fanboy details which I take for granted and assume everyone just knows.
Clearly, many people don’t! It has indeed been interesting watching people’s comments on social media. I read one post by someone who was genuinely surprised to learn that McCartney could play all his own instruments…
So before I get to the new album I’ll mention some things about his old albums which form a loose trilogy of sorts when taken together. For example, one underlying function of McCartney’s first solo album (simply titled McCartney) was to begin to blaze a path away from the universe of The Beatles. It was a bold statement at the time which even shocked some fans.
There, McCartney showed the world that he could do pretty much everything from playing the drums and lead guitars to all the vocals and even the production. And he did it with fairly bare-bones equipment – – well, bare bones by Beatle standards! Basic tracks for much of that album were made without a mixing board, he just plugged his microphones right into the back of a Studer four-track multi-track recorder. An unconventional approach for sure, but at the end of the day it accomplished his goal. And while there were some inevitable Beatle-worthy cuts — notably the brilliant instant classic “Maybe I’m Amazed” — much of the album didn’t sound like Beatle Paul McCartney.
Perspective may help the unfamiliar with understanding the shock of that album. Consider that it came out right after The Beatles’ pinnacle that was Abbey Road — still considered to this day by many as one of the best produced albums ever — and right before the super glossy Phil Spector over-produced version of Let It Be. Basically Paul McCartney created the D.I.Y. indie rock album on that first solo album in 1970. It was panned at the time by many critics, but it still became a big hit (#1 US, #2 UK)
Ten years later he put out his McCartney II album which again came at a point where he needed to rethink and reinvent himself, especially after his second band (Wings) had run its course.
While there were some classic Macca melodies — such as the beautiful song “Waterfalls,” the big hit “Coming Up” and the still fresh computer-vibe of “Temporary Secretary” — in general the album didn’t sound like anything that Paul had done in the past. And, yet it somehow fit in and felt right for the times. Despite negative reviews it did make it to #3 on the charts at one point (for five weeks according to the wiki!)
Fast forward to the end of 2020 and the release of McCartney III, it makes sense that Sir Paul might want to do another album like this especially given the circumstances with the current pandemic. I mean, why not?! He had the time, the songs and recording studio at his fingertips.
I haven’t been able to get my hands on a vinyl copy of it yet but I have been listening to McCartney III on two of the high resolution streaming music services at 96 kHz and 24 bit resolution. It is sounding pretty great all things considered as modern Paul McCartney records go — don’t expect to feel a lot of rich analog warmth to it but that doesn’t make it any less listenable… its just a different texture.
In keeping with the tradition of its predecessors, parts of McCartney III sounds like he is working on reinventing himself. Parts of it sound like things he’s been doing on recent albums like Egypt Station.
To that, Sir Paul has been reinventing himself over his last several albums made with his band and other producers. His album called New was a lot of fun and it boasted some different textures and production styles. I reviewed it when it came out and later when it was reissued (click here). I also reviewed his last album Egypt Station twice, once for the CD (click here) and later when the vinyl became available (click here). And if you haven’t heard his collaborations with producer Youth as The Fireman (a project which started in the ‘90s), you might be in for some surprises.
The point is, Macca has always been pushing his musical envelope and reinventing himself!
If you haven’t heard those more recent McCartney albums you should listen as it will put McCartney III into some perspective and continuum. Either way at the end of the day it’s great that we have a new Paul McCartney album to enjoy as we wrap up this quite awful year.
Some of my favorite tracks thus far include the Beatles-meets-Bowie “Seize The Day” with its lovely mashup of descending chord ideas and Mick Ronson-flavored glam guitar hook ala Macca’s “Hello Goodbye” as well as Bowie’s “Oh You Pretty Things”’ and “All The Young Dudes.” The opening and closing numbers which book end in the album revolve around a quirky King Crimson-esque acoustic guitar riff. I like the nearly nine minute long excursion that is “Deep Deep Feeling.”
There are some good rockers that will be cool to hear once Paul can play out again with his great band. Current McCartney band members Abe Laboriel Jr. and Rusty Anderson add slammin’ drums and rawk guitar (respectively) on “Slidin’.
“Lavatory Lil” is a surprisingly fun one too!
“Kiss of Venus” is a nice acoustic folk piece which starts off with a finger-picked acoustic guitar figure that reminds me of the kind of back porch blues Hot Tuna’s Jorma Kaukonen lives and breathes, yet he mixes it up with a nifty Harpsichord solo toward the end.
The album’s initial single “Find My Way” is catchy fun too (again with Harpsichord!)
I have been listening to versions of McCartney III on Tidal (click here) and Qobuz (click here). Both are streaming at 96 kHz, 24-bit resolution and both sound about the same. As modern (likely) digital recordings go, especially one that was self produced during a pandemic lockdown, this sounds really quite good. But the album is a bit raw, a warts ’n all scenario and that is one of the hallmarks of these Macca solo albums. It is what it is.
You can get McCartney III on vinyl, CD, cassette, and even in a special CD songbook package. And of course there are innumerable colored vinyl variants, all of which seem to have sold out so I won’t even bother you with that stuff here. I’ll be sure to do an update for this review as soon as I get my hands on a physical version of McCartney III. But for now, if you like Paul McCartney’s music you’ll probably want to make some time to listen to this new one.
McCartney III is a nice way to end the year.
Original Resource is Audiophile Review
Stockholm, Sweden (December 7, 2020)—Puerto Rican rapper Bad Bunny comes out on top in Spotify’s Top 10 artists list of 2020 with more than 8.3 billion streams worldwide while his album, YHLQMDLG (Yo hago lo que me da la gana), is the number one most-streamed album, according to Spotify Wrapped..
Spotify’s annual Wrapped end-of-year listings once again highlight the listening preferences of the music streamer’s global audience. In second place behind Bad Bunny is Canada’s Drake with Colombian reggaeton star J Balvin in third. The fourth most-streamed artist is the late rapper Juice WRLD, who hailed from Chicago. The Weeknd — Abel Makkonen Tesfaye, another Canadian — closes out the top five.
Despite Spotify not yet being available in their native South Korea, K-pop favorites BTS are sixth most-streamed worldwide. U.S. natives complete the list: The top 10’s only two women artists, Billie Eilish and Taylor Swift, are at numbers seven and eight, respectively, while Post Malone slips eight places from 2019 to ninth and Travis Scott is at number 10.
With XY chromosome pairs dominating the global list, Spotify also breaks out the most-streamed female artists. Behind Eilish at number one and Swift at number two are Ariane Grande, Dua Lipa and Halsey.
As for Spotify’s most-streamed song of 2020, “Blinding Lights” by The Weeknd — who was totally overlooked by Recording Academy voters in the recent GRAMMY Award nominations — takes the top slot with almost 1.6 billion streams. Australia’s Tones and I, the stage name of 20-something singer Toni Watson, takes the number two position with her 2019 ear worm, “Dance Monkey.” Roddy Ricch’s “The Box” was third-most streamed. “Roses – Imanbek Remix” by Imanbek and SAINt JHN is in fourth place and “Don’t Start Now” by Dua Lipa closes out the top five.
In second place behind Bad Bunny’s YHLQMDLG on 2020’s most-streamed album list is The Weeknd’s After Hours. Post Malone’s Hollywood’s Bleeding album, the second most-streamed full-length worldwide on Spotify last year, proves that it has legs, dropping only one spot to third place this year. Harry Styles’ Fine Line and Future Nostalgia by Dua Lipa are at numbers four and five, respectively.
Spotify offers more than just music, of course. The platform’s list of most-streamed podcasts offers some insight into the most popular genres. At the top of the list is society and culture followed by comedy, lifestyle and health, arts and entertainment, and education. Wellness podcast listening figures were up 180% over 2019 with Unlocking Us with Brené Brown and Get Sleepy: Sleep meditation and stories among the reported favorites.
More 18-to-24-year-olds listened to podcasts for the first time in 2020, Spotify reports. The most popular time period overall for podcast listening was in the early morning, 6 a.m. through 9 a.m.
With the coronavirus pandemic confining many people to their homes, Spotify also reports an increase in nostalgia-themed and work-from-home-themed playlists. Spotify observed a more than 1,400% increase in work-from-home themed playlists. Garden-themed playlists grew more than 430%, there was an almost 50% increase in at-home haircut playlists and cleaning-themed playlists were up 40%. There was an overall uptick in people streaming from home, observed by way of the playlists they created, including a 55% increase in the number of listeners streaming from gaming consoles.
This year’s social justice campaigns were reflected in Spotify’s playlists, too. The streamer reports that there were more than 64 million Black Lives Matter playlists, with nearly 65,000 of the playlists created by Spotify listeners including BLM or Black Lives Matter in the title.
Original Resource is ProSoundNetwork.com
Santa Fe Springs, CA (December 2, 2020)—Tascam has announced its new US-HR Series of USB audio interfaces, intended for use in project studios, content creation situations, podcasting, streaming and so on.
The three models – US-1x2HR, US-2x2HR and US-4x4HR – incorporate 24-bit audio resolution at sample rates up to 192 kHz; low latency with buffer sizes starting from four samples; Ultra-HDDA mic preamplifiers; and a suite of included software. According to Tascam, these interfaces, designed for ease of use and flexibility, are a good choice for any demanding sound creator, from beginners in recording technology to project studio operators to podcast and webcast producers.
All models have a mono/stereo switchable Loopback function and support OBS Studio and other streaming software. Each of the interfaces comes with Steinberg Cubase LE (including Cubasis LE3) for recording and production; IK Multimedia Sample Tank SE 4 offering a 30-Gigabyte sound library; and a 3-month subscription to Auto-Tune Unlimited from Antares.
The US-1x2HR sports one XLR microphone input, one TRS instrument/line input (both switchable to line inputs on RCA connectors) and two RCA outputs. Stepping up, the US-2x2HR provides two mic/line/instrument inputs and two balanced line outputs as well as MIDI I/O to add keyboards, drum machines and other MIDI equipment to the production environment.
Topping the line, the US-4x4HR provides four XLR mic inputs, four TRS balanced line inputs (two of which can also be used for instruments), four balanced line outputs, MIDI I/O and two headphones connectors.
The series will ship in early December and is priced with the US-1x2HR (2 in / 1 mic, 2 out) at $99; US-2x2HR (2 in / 2 out) at $149; and US-4x4HR (4 in / 4 out) at $199.
TASCAM • www.tascam.com
Original Resource is ProSoundNetwork.com
Baton Rouge, LA (November 10, 2020)—PreSonus has introduced its new PreSonus Revelator USB microphone. Intended primarily for home studio use as well as podcasting and voice overs, the mic includes accessible presets, loopback audio, and selectable polar patterns.
The Revelator offers the same DSP algorithms found in PreSonus’ StudioLive Series III mixers, providing users with eight presets with various combinations of EQ and compression, and offers an additional eight user-defined presets that can be created and saved using the full StudioLive Fat Channel controls available in Universal Control. Also onboard are a selection of voice effects and the ability to store up to four presets to be instantly selectable via the Preset button on Revelator.
Revelator also features two stereo streams for loopback audio so users can conference in Zoom calls, record gameplay, or showcase the audio in a YouTube video. The presence of two streams for loopback audio means users can mix and record the audio from two different applications on a computer, along with their voice, at the same time using the intuitive interface in Universal Control. Built-in monitoring and an onboard headphone amplifier let users listen to your performance and your mix in real-time.
Three pickup patterns are provided—cardioid pattern, for one-person use; figure 8 for two users, such as in an interview situation; and omnidirectional to pick up multiple speakers around the microphone.
The bus-powered, USB-C-compatible mic comes with PreSonus’ Studio One Artist recording and production software and Studio Magic Software Suite, as well as an integrated desktop stand with built-in cable management.
Revelator is available now for a U.S. street price of $179.95.
PreSonus • www.presonus.com
Original Resource is ProSoundNetwork.com
New York, NY (November 4, 2020)—Virtual Crowd, a collaboration between Fireplay, PRG, and Clair Global, is a scalable multimedia technology that facilitates interaction between presenters/performers and viewers in both online and hybrid experiences. It is primarily intended for use in concerts and other major events.
Virtual Crowd allows performers or speakers to see and interact with their audience on large video screens. Meanwhile, viewers experience a live, interactive performance with professional production value and can interact directly with the performer. The aesthetics are customizable in order to suit the presentation, whether a concert, business meeting, esports event or something else.
Clair Global’s Virtual Live Audience proprietary platform is at the heart of Virtual Crowd, reportedly providing minimal latency, simplified logging in, a Moderation Mode ensures that moderators have full control of who participates in the event, and Interview Mode, which allows the client or production team to choose one or two guests and interact with them directly.
“The fact that our team was able to come together to develop a technology tailored to experiencing live events during these unfamiliar times is exciting,” said Matt Clair, chief information officer at Clair Global. “Clair’s pivot towards packaged data services allowed us to utilize our experience in production audio/IT and be back at the table working alongside PRG and Fireplay in a new way. The prospect of getting our road crew – and the entire live events industry – back to work with the deployment of each and every Virtual Crowd system is the biggest win from our vantage point.”
“PRG is excited to collaborate with two well-respected companies in entertainment to bring to market a vital missing piece of live shows,” said Randy Hutson, CEO of PRG’s Music Group. “This solution, while creating jobs for our crews, will create an environment of live enhancement to support an artist’s interaction with their audiences. Further, with PRG’s unsurpassed inventory of technology, clients can easily activate Virtual Crowd on any scale, anywhere around the world.”
Nick Whitehouse, CEO of Fireplay, noted, “Nothing will ever replace the experience of an in-person live show, but I believe Virtual Crowd is a fantastic way for artists, live events, concerts and streams to re-engage their audiences who are getting tired of watching virtual events. I am really proud of the team here at Fireplay and excited that the two biggest and most respected companies in the industry have partnered with us to support our vision with their equipment, tech, and most importantly, creating jobs to put crew back to work.”
Virtual Crowd • www.virtualcrowd.live
Original Resource is ProSoundNetwork.com
Original Resource is Real HD-Audio
Ontario, Canada (October 16, 2020)—Bluesound Professional is now shipping its BSP1000 and BSP500 network active loudspeakers. The PoE speakers incorporate integrated streaming capability and are designed specifically for use in either indoor or outdoor commercial installations.
Offered in choice of White or Black matte finish, the speakers come supplied with an integral wall mounting bracket for installation. Based around a one-wire connection paradigm—hence the PoE aspect—the speakers use the BluOS platform, which is capable of playing and distributing content from local network storage as well as from a large number of streaming services, including some specifically designed for commercial use, such as SoundMachine, Custom Channels, QSIC and internet radio stations.
A pair of BSP speakers can also be used in stereo configuration and multiple speakers in a room in either mono or stereo configurations. Use of either BSP model in a larger BluOS system is also possible, allowing for grouping into user-definable groups of whatever size is required with other BSP speakers and/or any other connected Bluesound Professional players, amplified players or network speakers on the network in an installation.
Both models utilize a 1” HF driver while the BSP1000 features a 6.5” LF driver and the BSP500 utilizes a 5.25” woofer. Each is powered by a high-efficiency amplifier including a low power standby mode. The LF driver on BSP1000 is port-loaded with a provided port plug for outdoor use. The frequency response of the BSP1000 is 45 Hz-23 kHz (63 Hz – 23 kHz for the BSP500) and the THD+N of either model is 0.095% at full-rated power.
An integral bracket allows for wall mounting with 90 degrees of swivel and 170 degrees of rotation possible. IP65 rating allows for either indoor or outdoor use.
“At Bluesound Professional, our focus is to combine exceptional sound quality with unique flexibility and convenience for both the installer and their customers”, explained Graeme Harrison, Vice President and General Manager for Bluesound Professional. “Of course, reliability of the components as well as the BluOS operating system is also paramount so the brand is all about testing and continuous improvement.”
Bluesound Professional • https://bluesoundprofessional.com
Original Resource is ProSoundNetwork.com
New York, NY (October 6, 2020)—The AES Show 2020 Convention’s Broadcast and Online Delivery Track will examine key technologies and applications while taking a look back at broadcast history and a look forward to the opportunities that lie ahead.
The session “Practical Tips for Using Digital Audio in a 2110 Facility” will offer in-depth expertise on IP architecture and the SMPTE ST 2110 media networking protocol, of which the Audio Engineering Society’s AES3 and AES67 standards are key components, as well as related technologies and workflows. In this featured Broadcast and Online Delivery Track event, moderator Andy Butler (PBS) will host Wesley D. Simpson (Telecom Product Consulting), Robert Welch (technical solutions lead, Arista Networks) and Peter Wharton (principal consultant, Happy Robotz, Inc.) to share their tips for media networking success and respond to your toughest questions in the follow-up Q&A.
Track sessions of historical importance include “Pass the Mic,” which will celebrate this year’s 100th anniversary of radio broadcasting and its innovations with host John Holt. In “A Century of Radio: What You May Not Know About the History of Broadcasting,” presenters Donna Halper (associate professor of communication and media studies at Lesley University, Cambridge MA) and Barry Mishkind (editor/publisher of the Broadcasters’ Desktop Resource) will share surprising facts about broadcast history and dispel some of the myths perpetuated throughout the industry.
Microphone hygiene and podcast production are timely topics to be closely examined in the presentations: “Stay Safe: Disinfecting Microphones in the time of Covid-19” with presenter David Prentice and “Podcasts: Telling Stories with Sound” with Rob Byers of American Public Media. Byers will host a panel including designer/composers Jim Briggs and Fernando Arruda from Reveal from The Center for Investigative Reporting, as well as podcast series reporter/producers Laura Starecheski and Ike Sriskandarajah.
In addition, two compelling virtual tours will be conducted in the sessions “A Virtual Tour and Discussion: BBC Broadcasting House Studio” led by Jamie Laundon and “A Virtual Tour and Discussion: BBC Wales – Cardiff Central Square IP-based Broadcast Facility” with Adrian Wisbey.
“Even though we are celebrating the 100th anniversary of broadcasting, everything is new,” states AES Show Broadcast and Online Delivery Track chair David Bialik, now in his 36th year of curating the Convention’s Broadcast Track and events. “The pandemic has added new parameters to getting broadcasts out.
“With all information out there on the ST-2110 media networking standard being adopted by broadcasters, I find it amazing that there’s so much for so many to learn. The AES Show 2020 Broadcast and Online Delivery Track will explore today’s critical issues, visit showcase facilities and recall the history of how we got to where we are through a deep and diverse list of sessions that promise to educate and fascinate.”
AES Show • www.aesshow.com
Original Resource is ProSoundNetwork.com