Members of the Central Indiana Section of the Audio Engineering Society-
After some delay due to the present health crisis, we are once again preparing to hold our biennial section election! This election will include the positions of section chair, vice-chair, secretary, and treasurer, as well as committee members. Candidates for these positions must be AES member in good standing who list Central Indiana as their primary section. To nominate yourself or another member of the Central Indiana Section, please email the name, member number, email address, and short bio & headshot (if available) to the current section secretary, Brett Leonard by Thursday, January 20th, 2022. In addition to section officer elections, the upcoming ballot will also include a proposed change of the Central Indiana Section’s name to the Indiana Section, intended to reflect that our Section activities are open to all throughout the state by removing the reference to the central Indiana geographic area, which often has been misinterpreted as being restrictive. The full text of the relevant changes to the bylaws will be included in the ballot.
Voting will open on Monday, January 24th, 2022 via a secure, anonymous online ballot using your AES member number, and voting will remain open for two weeks. Following voting, election results will be announced at the next section meeting, held virtually on Tuesday, February 8th, 2022 at 7 PM.
We are looking forward to a great year, a variety of new events/meetings, and a happy New Year!
Shure’s Michael Pettersen and Gino Sigismondi joined the Central Indiana Section to dive into the storied history of the Unidyne dynamic microphone motor/capsule and the subsequent evolution that have shaped our industry. Michael began the program by taking us back to the original electrical equivalent diagrams written in Benjamin Bauer’s notebook in 1937, describing what would become the “Uniphase Network” to create a single-capsule, directional dynamic microphone. The design was complimented by the work of designer Wesley Sharer, along with a little inspiration from the grill of the ’37 Oldsmobile Coupe Six, and was released as the Unidyne Model 55 in 1939. The Unidyne II was first released within the Model 55S in 1951. The Unidyne II features the same performance with a size some 30% smaller than the original Unidyne capsule, thus the “S” nomenclature for small. The new design was oriented towards the television medium, which considered the original Model 55 to be somewhat obtrusive. The Unidyne III Model 545 was released in 1959, touted as the “smallest cardioid dynamic microphone” ever. The Model 545 was end-addressed, and therefore had a more consistent polar pattern than similar and competing models of the era. This led to popularity with the burgeoning sound reinforcement industry, as the pattern’s consistency allowed for more gain before feedback. The Beatles were marquis users of the Model 545 with the A25B swivel mount. As the Model 545 gained popularity on stage, Bob Carr worked on a line of Unidyne III-based microphones to appeal specifically to studios. This line, dubbed “Studio Microphones” (SM) consisted of microphones using the same capsules as existing mics, but with less reflective finishes, no switches, and included XLR connectors. The venerable Unydine III SM56 was released in 1964, with the SM58 released just two short years later. While not instant sales successes, the use of the SM56 at the Monterey Pop Festival by McCune Sound in 1967 yet again raised their profile in the live sound arena. The push as a live sound microphone line occurred more in the 1970s with their introduction to the performers and sound companies in Las Vegas, with artist such as Frank Sinatra becoming devoted users. Also of note was the introduction of the now-famed SM7 in 1972. Following the history of the Unidyne series, Gino and Michael took audience questions, as well as providing a little “audio mythbusters” surrounding the Unidyne family.
The Central Indiana Section of the Audio Engineering Society presents “Historical Development of the Unidyne I, II, III”
Have you ever wondered how the Shure “Unidyne” became one of the most recognized and familiar items in the audio and broadcasting business?
Joins us as Michael Pettersen and Gino Sigismondi share historical information and photos from the Shure archives to give us an interesting and accurate history of the development and marketing of this classic microphone.
Central Indiana AES Section joins in toasting the New Year!
To help get the year 2021 started in a positive way, we have opted for a virtual “Social Hour.” This will be an opportunity to re-connect with your professional friends in the audio and related fields…
– catch up on what you’ve been doing
– chat about what’s ahead
– share any concerns or positive events during the pandemic
– chat about industry happenings, changes, trends
– find out which company bought out the other
We hope this will be a way to help engage members and professionals in looking forward to a solid recovery in the New Year. If there are enough participants, we will set up breakout rooms to provide a better opportunity to share among a smaller group.
Looking forward to seeing and hearing from you on January 5th! Don’t forget to bring your favorite drink so we can to toast to everyone’s health and well-being in the New Year.
This event is free and will be hosted virtually on Zoom. Register below at our Eventbrite page to receive connection info.
This meeting put together a dynamic group of panelist to discuss different career paths and roles within the audio industry, moderated by Jay Dill and Dr. Tim Hsu. The meeting began with short introductions of each panelist, and a description of their roles within the larger audio industry, including job duties and responsibilities.
Alan Alford of the Indianapolis Symphony began by detailing his job as an IATSE stage hand and audio engineer for both indoor concerts at the Hilbert Circle Theatre and outdoors at the symphony’s summer home at Conner Prairie. Alan briefly detailed his non-audio duties, but focused on his work providing live sound reinforcement as well as advancing audio for guest artists and providing support for audio recordings. Elizabeth Alford then described her varying roles working with Jonas Productions in their backline rental, and her focus on wireless technology and RF coordination. Her shift to RF coordination has put her in roles managing everything ranging from small wireless packages to massive shows with 80+ channels of wireless microphones and in-ear monitors. Elizabeth ardently emphasized the increasing need for knowledge of networking and general IT infrastructure in the modern production environment, as well.
Luke Molloy discussed his role as an audio-video system designer and drafting engineer. His work focuses not only on meeting the needs of a given system design and installation, but in configuring systems to fit within the physical and practical confines of the installation environment. Luke pointed out that his background in both audio and video dovetailed nicely with his engineering background to prepare him to this work. Clem Tiggs described his work as an A2 on major film and television productions, describing the role as the “get it done” person, responsible for everything from placing mics to ensuring signal flow back to the A1 a the mix location. Likewise, a strong technical background, troubleshooting ability, and maintaining a positive rapport with clients/talents were also featured as necessary skills for the A2 role. Clem also highlighted the differences between freelance and traditional salary job, with the freedom of choice being a major upside, but with the caveat of requiring discipline and a strong independent work ethic.
The final panelist, Gavin Haverstick, presented his work as an acoustical consultant with a particular reputation for high-quality recording studio design. The marriage of musical background and engineering education served to propel Gavin towards a focus on musical designs and applications, where his consultancy focuses on recording studios, performances spaces, and multi-purpose auditoriums.
Following individual introductions, the panel took questions from the attendees addressing a variety of related topics.