kylie grace snyder

audio engineering, technology, and miscellany . . .

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Snyder Presents at 142nd Audio Engineering Society Convention

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At the 142nd Audio Engineering Society Convention hosted in Berlin, Germany from May 20 – 23, Ohio University Lecturer & Director of Outreach Kyle P. Snyder chaired a panel, Audio Education—What Does the Future Hold.

According to Snyder:

In this roundtable discussion featuring invited experts from across the continent, we discussed the trajectory of audio education including challenges unique to both educators and students, suggestions for the future, and how employers expect audio education to adapt to their ever-changing needs.

Workshop Links:

The 142nd AES Convention brought together the world’s largest gathering of audio professionals, offering attendees opportunities to hear from top audio industry figures while also sharing the latest research and technology information through informative papers, tutorials, workshops and special events.

Snyder To Chair Panels At 11th Annual Central Region Audio Student Summit

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img_0766At the 11th annual Central Region Audio Student Summit hosted by Webster University, Ohio University Lecturer Kyle P. Snyder will chair two exciting panels:

  • Audio For Film – Exploring techniques used in audio for film (view schedule)
  • What the AES Did For My Career – How involvement in professional organizations can open new doors for your career (view schedule)

This event welcomes over 300 people consisting of audio students, high school students, audio professors from around the area, and anyone interested in audio. Panelists consist of a wide variety of professionals in the audio field, including 14-time Grammy Award winner Richard King, engineer for Wiz Kalifa and The Roots Paul Womack, and our Keynote Speaker this year, AES President Alex Case. The event features many different panels ranging from recording and mixing, audio for film, live sound, and much more.

Snyder Leads Audio Team On Paul Laurence Dunbar Documentary To Be Broadcast Nationally Across PBS Stations

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The Ohio University Scripps College of Communication is proud to announce that the “Paul Laurence Dunbar: Beyond the Mask” documentary, a collaborative project between School of Media Arts & Studies faculty and the Central Region Humanities Center at Ohio University, has been accepted by PBS for broadcast by individual stations during Black History Month (February) and National Poetry Month (April).

“Paul Laurence Dunbar: Beyond the Mask,” a 2-hour feature, explores the life and legacy of Paul Laurence Dunbar, who was born in 1872 and died in 1906. Dunbar was the first African-American to achieve national fame as a literary artist. Born to former slaves in Dayton, Ohio, Dunbar wrote novels, plays, and essays but is known mainly for poems and short stories expressing black Americans’ voices and the challenges of their lives. He is best remembered for his poem “We Wear the Mask” and for lines from “Sympathy” that became the title of Maya Angelou’s autobiography “I Know Why the Caged Bird Sings.” Dunbar’s story is also the story of the African American experience around the turn of the century.

The project is a collaboration between two faculty members from the Scripps College of Communication’s School of Media Arts & Studies: Professor Emeritus Joseph Slade, co-producer and executive producer and emeritus director of the Central Region Humanities Center; and Associate Professor Frederick Lewis, writer, director, and co-producer.

Kyle P. Snyder, Lecturer & Outreach Coordinator in the School of Media Arts & Studies, served as Audio Post Production Coordinator & Engineer for “Paul Laurence Dunbar: Beyond the Mask” and led a team of students in the completion of the final deliverables.

More than 25 past and present students from the School of Media Arts & Studies also assisted with archival research, production, post production and musical composition. “No one could make a documentary of this scope without extensive collaboration, and we are grateful for all the help we received,” said Slade. “It has been a long but gratifying experience, especially when we consider the end result.”

The two-hour documentary utilizes narration, sound and music, vintage images and original footage to recount Dunbar’s life in greater detail than in any previous retelling and also includes extensive discussion of his influence on and legacy for contemporary writers, artists, dancers, musicians, scholars, and students.

“Writing a documentary isn’t just writing narration and stringing sound bites together,” said Lewis. “You are writing with words, images, sound effects, music, et cetera. Everything has to work in concert. What I really wanted to develop very carefully was the structure of the documentary–weaving contemporary segments about Dunbar’s legacy in with the archival materials that provide historical context and tell his biography.”

The documentary is the capstone of the Central Region Humanities Center’s Dunbar Project, a series of public and academic events taking place in Ohio and neighboring states since 2004. The Dunbar Project was launched by the CRHC in 2001 with funding from the National Endowment for the Humanities and the Ohio Humanities. Dr. Judith Yaross Lee, director of the Central Region Humanities Center and Distinguished Professor of Communication Studies, has directed the Dunbar Project since its start.

To date, “Paul Laurence Dunbar: Beyond the Mask” is scheduled to air on PBS stations in Ohio, Wisconsin, North Carolina, California, and the Virgin Islands. Locally, WOUB will broadcast the documentary on Tuesday, Feb. 14 at 8 p.m.

A free screening will be held at Case Western Reserve University on Thursday, Feb. 9 at 5 p.m. The documentary will also be shown at the Underground Railroad Museum and Freedom Center in Cincinnati on Sat., Feb. 11, at 11 a. m. Additional public screenings are being planned.

Original article by By Claire Berlin

Snyder Contributes Chapter To The Routledge Companion To Music, Technology, And Education

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The Routledge Companion to Music, Technology, and Education is a comprehensive resource, released in December 2016, that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research. The 37 chapters in this volume consider the major aspects of the use of technology in music education:

  • Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies.
  • Part II. Real Worlds. Discusses real world scenarios that relate to music, technology, and education. Topics such as computers, composition, performance, and the curriculum are covered here.
  • Part III. Virtual Worlds. Explores the virtual world of learning through our understanding of media, video games, and online collaboration.
  • Part IV. Developing and Supporting Musicianship. Highlights the framework for providing support and development for teachers, using technology to understand and develop musical understanding.

Kyle P. Snyder is excited to have contributed Chapter 11, Audio and Education, to The Routledge Companion to Music, Technology, and Education. In this chapter, Snyder considers the interrelated nature of Music, Technology, and Education within today’s classroom and especially audio engineering curricula. He also considers ways technology is used within audio engineering curricula, research germane to pedagogy and effectiveness, and suggestions for future development with a nod to practical implementation as is the long withstanding heritage of the trade.

With technologies themselves a primary curricular focus proving to be a powerful platform for study, not just of audio specifically, but of music more generally, the recording studio is itself rewarding musical instrument. It is an instrument well-suited for composing and performing music, individually or in ensemble. It is an interactive environment offering multiple modes of rich user feedback, and several paths for structured and independent exploration and research, across a broad range of musical elements. Relating to music via the multitrack recording studio offers a wealth of opportunities – by doing and through listening – for a rich and rewarding music education.

The Routledge Companion to Music, Technology, and Education is designed for undergraduate and post-graduate students, music educators, teacher training specialists, and music education researchers. It serves as an ideal introduction to the issues surrounding technology in music education.

Snyder Featured By Ohio University SMART Lab Profile

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Ohio University Lecturer and School of Media Arts & Studies Outreach Coordinator Kyle P. Snyder was recently featured by the Scripps College of Communication Social Media Analytics Research Team Lab in a video profile series. The Social Media Analytics Research Team (SMART) was established as an interdisciplinary laboratory to foster and promote cutting-edge research. Founded in 2015, the aim of the SMART Lab is to further enhance the understanding of online user behavior in online communities and predict future outcomes.

Snyder Presents at 141st Audio Engineering Society Convention

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img_0766At the 141st Audio Engineering Society Convention hosted in Los Angeles from 28th September – 2nd October 2016, Ohio University Lecturer Kyle P. Snyder presented his peer-reviewed paper, Understanding Project-Based Learning in the Audio Classroom: Using PBL to Facilitate Audio Storytelling.

According to Snyder:

One of the more prevalent buzzwords in education today, project-based learning is a natural fit for the audio engineering classroom. With students that thrive by working toward a common goal or “learning by doing,” this constructivist framework is worth examining as implemented by educators. This paper discusses project-based learning as implemented in an audio engineering classroom to facilitate audio storytelling and provides recommendations for faculty looking to implement project-based learning into their curriculum.

Paper Session Files:

img_0764Also at the 141st Convention, Snyder will co-chair MIDI Makes Music, MIDI Makes Money and MIDI Makes Careers! along with the Student, Education, & Careers track which contains dozens of events.

The 141st AES Convention will bring together the world’s largest gathering of audio professionals, offering attendees opportunities to hear from top audio industry figures while also sharing in the latest research and technology information through informative papers, tutorials, workshops and special events.

Snyder Featured By Mix Magzine & Others For Design Of MDIA Post Production & Critical Listening Studio

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Preparing audio engineers and content creators is key to the curriculum at Ohio University’s (Athens, Ohio) Scripps College ofCommunication, School of Media Arts & Studies (MDIA). And now, thanks to pro audio supplier Vintage King L.A. and Yamaha Professional Audio Steinberg staff, the school now houses a 32-fader NUAGE DAW advanced audio post-production system in their Steven L. Schoonover Post-Production andCritical Listening Lab with a companion classroom containing 30-plus seats of Nuendo 7.1. The college also boasts a second 16-fader NUAGE system in theirImmersive Media Initiative facilities.

Kyle P. Snyder, Lecturer and Outreach Coordinator within theSchool of Media Arts & Studies who has a long history of system design,initially began to research a new state-of-the art system, one that was more appropriate for an educational environment than their previous system and one that could handle the ever-increasing influx of students within the music production curriculum. “Looking around initially at other controllers that would work with ProTools, I stumbled upon NUAGE which remembered from when it was first launched at AES by Yamaha,” states Snyder. “It had a great presence,and I thought it would be a very interesting work surface though I was concerned about its reliance upon Nuendo. However, as I continued my research it became evident that the most important decision was our software platform for teaching. We made the decision that adopting Nuendo as an editing platform,which isn’t necessarily normative but is absolutely the superior tool was the way to go. This allows us to focus more on technique, backed up by the trademark Yamaha stability that NUAGE brings to the table.”

The facility also houses a Dynaudio BM15A 5.1 surround-monitoring array, featuring nine Foley pits, an ADR stage, projection capabilities for post-production mixing, and more. The MDIA Sound Studios offer a Rupert NeveDesigns 5088 analog-centric music recording and mixing studio with tracking rooms alongside two other control rooms, including the brand new post/listening lab and a mixing/mastering facility.

Snyder said the Yamaha Steinberg sales representative offered to send over a demo system and came out to assist with their tech expertise when necessary. “I was blown away by how easy it was to set up,” Snyder says. “Just knowing things were going to work easily was critically important. With the help of a few students, we set up the NUAGE demo unit within 5 minutes. The system is a game changer for post sessions making them very easy. I was very impressed with how Yamaha and Steinberg developed the system. Working with everyone at Yamaha has made it so much easier and helped us through the transition process. This is the kind of corporate support you just don’t see often.”

The 16-fader NUAGE system is installed as part of the ImmersiveMedia Initiative (IMI) within Ohio University’s Game Research and ImmersiveDesign (GRID) Lab. The IMI was created for students to produce game and virtual reality content. These same students are also shooting video in 360—they have already produced a 16-minute short film–using green screen for motion capture,and more. “There is absolutely no better software for creating audio for virtual and augmented reality than Nuendo,” notes Snyder.

In both the large lab and singular studio, Nuendo works nicely;several students can be in front of the system in the studio and with the added Nuendo seats, the others can work over the network down in the classroom lab and send their part of projects into the studio, adding in vocals, dialogue,and sound effects. The class as a whole can be working on different projects through to the final mix stage, thanks to the Nuendo network.

With their critical listening classes, Snyder said faculty are very excited about the capabilities of the system and can feed RDL Format-A viaDante right out to every desk. Using Radio Design Labs RDL TP-HA1A stereo headphone amplifiers for personal listening purposes, classes can listen via their own headphones and playback from NUAGE via headphone amps at their own pace. “NUAGE is very much what previous products we’ve owned were trying to achieve, so we are really proud to finally be able to offer this superb monitoring and networking environment to our students with our new Dante systems.NUAGE with Nuendo work extremely well, very seamless. It’s really something else.”

Article originally published by Mix Magazine. Similar stories can be seen at Yamaha Commercial Audio Systems, Yamaha Pro Audio,ProSoundWeb, ProSoundNetwork, and Sports Video Group.

Snyder Produces Journal of the Audio Engineering Society Podcast

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cover170x170The Journal of the Audio Engineering Society (JAES) — the official publication of the AES — is the only peer-reviewed journal devoted exclusively to audio technology. Published 10 times each year, it is available to all AES members and subscribers.

The Journal contains state-of-the-art technical papers and engineering reports; feature articles covering timely topics; pre and post reports of AES conventions and other society activities; news from AES sections around the world; Standards and Education Committee work; membership news, patents, new products, and newsworthy developments in the field of audio.

The JAES podcast, also produced 10 times a year in tandem with the Journal, is produced and engineered by Snyder and it is written each month by the Technical Editor of the Audio Engineering Society. The podcast introduces the contents of each issue of the Journal of the Audio Engineering Society.

To learn more about the JAES Podcast, the AES Journal, or the Audio Engineering Society, visit the AES today at www.aes.org.