Mark Waldrep, aka Dr. AIX, has been producing and engineering music for over 40 years. He learned electronics as a teenager from his HAM radio father while learning to play the guitar. Mark received the first doctorate in music composition from UCLA in 1986 for a "binaural" electronic music composition. Other advanced degrees include an MS in computer science, an MFA/MA in music, BM in music and a BA in art. As an engineer and producer, Mark has worked on projects for the Rolling Stones, 311, Tool, KISS, Blink 182, Blues Traveler, Britney Spears, the San Francisco Symphony, The Dover Quartet, Willie Nelson, Paul Williams, The Allman Brothers, Bad Company and many more. Dr. Waldrep has been an innovator when it comes to multimedia and music. He created the first enhanced CDs in the 90s, the first DVD-Videos released in the U.S., the first web-connected DVD, the first DVD-Audio title, the first music Blu-ray disc and the first 3D Music Album. Additionally, he launched the first High Definition Music Download site in 2007 called iTrax.com. A frequency speaker at audio events, author of numerous articles, Dr. Waldrep is currently writing a book on the production and reproduction of high-end music called, "High-End Audio: A Practical Guide to Production and Playback". The book should be completed in the fall of 2013.

8 thoughts on “AES 2014 In Los Angeles

  • “the most challenging issues facing the recording industry today concerning the adoption of high resolution audio”………
    The use of the word “challenging” says it all. I would suggest that the only challenge it faces is getting the bean counters to recognise a profit in it. Rather than an AES convention, perhaps it should be held by the CPA (Certified Practising Accountants.)
    Our love of music and the art simply doesn’t come into it.

  • Hi Mark,

    I’m sure you will find an opportunity to chat with some of those ‘celebreties’ – maybe some of them will even listen to your experiences with 15 years of handling ‘highres’ in the production.

    Do you know, if these sessions in some way or another will be available online afterwards?


    • It’s true that I know most of these people…I’ve even been included on panels and sessions with them on previous occasions. They are all very fine engineers…but they work within the traditional model of the record business and therefore are constrained in ways that I’m not. I’ll keep you posted.

  • James Anno

    I recently had a hearing test and found out I have hearing loss above 15kHz. My hearing otherwise is excellent and I enjoy mainly classical music and jazz. Would I benefit at all from Hi-Res music?

    I have been buying recordings almost exclusively in 5.1 surround sound for several years now, mostly SACD, since that seems to be the most common media. I listen to them on my home theater setup. I also have a lot of DVD-Audio and have just started buying Blu-ray Audio. And I have a FiiO X3 for Hi-Res files listening. But in view of my hearing loss, would I be wasting money going down the Hi-Res path?

    • I don’t believe that having some hearing loss will diminish the value of real high-resolution audio for you. There are lots of other factors that might make these recordings sound “better” than previous versions.

  • Your “plate” may be full already or you may already know or be aware of the work these people do or already know them, but if not I recommend you try to track down JJ Johnston to chat about your desired HRA test and also about his superb work in perceptual soundfield recording and reconstruction (crudely put and horribly simplified, where to put microphones for recording), and Zoran Cvetkovic for his work in the soundfield recording space as well. For example,
    http://www.academia.edu/973523/Perceptual_evaluation_of_a_circularly_symmetric_microphone_array_for_panoramic_recording_of_audio and http://www2.ensc.sfu.ca/~ljilja/cnl/guests/cvetkovic.pdf.

    I think these 2 people are doing some of the most insightful work in how to best record and reproduce a soundfield to either reproduce the original performance or reproduce what a recording engineer wants listeners to hear.

  • Regarding the HRA panels – of course you were excluded – they (the major labels) know where you stand and want none of it. Now that they’ve made it rather clear (if they hadn’t already) that HRA is to be marketing fluff only, I suggest a few questions in the sessions like:

    “If I decide to license ‘hi-res’ files from major labels for distribution, how will the licensing terms protect me from consumers who want hi-res but know that upconverted and anything other than 96k/24 bit PCM or similar recordings aren’t better than CDDA and thus can’t be ‘hi-res’?

    “Please explain how high resolution recording best practices differ depending on the recorded music being “mainstream” or not “mainstream”.

    • Just being at the panels will be enough to get a reaction…I don’t usually have to ask any questions. I am thinking about doing some “man in the convention hall” type interviews with audio engineers and ask them what they think HRA is. Should prove interesting.


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