Page 8 - 2013 Spring

American Conservatory Theater (San Francisco), and the Oregon Shakespeare Festival. As a free-lance mixer and audio supervisor he has worked for the Academy Awards, Boston Pops Television Series (PBS), Great Performances (PBS), and the original audio design and installation at NBC Saturday Night. He has recently worked as a consultant and mixer for the Boston Symphony Orchestra, Pacific Symphony Orchestra, Tanglewood Music Festival and the Hollywood Bowl. Since 1983 he has worked on over 340 fea- ture films, primarily as a recording engineer and mixer. He won an Academy Award for Best Sound for Jurassic Park and was also nominated for Indiana Jones and the Last Crusade, and Star Wars Episode I: The Phantom Menace. Other credits include: Lincoln, The Bourne Legacy, The Bourne Ultimatum, The Hunger Games, Men in Black (I and III), Indiana Jones and the Kingdom of the Crystal Skull, Star Wars Episodes I, II, and III, Harry Potter and the Prisoner of Azkaban, Titanic, Saving Private Ryan, Jurassic Park, Apollo 13, Braveheart, Schindler’s List, and Dances with Wolves. He is a Fellow of the Audio Engineering Society and a Member of the Academy of Motion Picture Arts and Sciences.
Floyd E. Toole studied electrical engineering at the University of New Brunswick, and at the Imperial College of Science and Technology, University of London, where he received a Ph.D. In 1965 he joined the National Research Council of Canada, where he reached the position of Senior Research Officer in the Acoustics and Signal Processing Group. In 1991, he joined Harman International Industries, Inc. as Corporate Vice President—Acoustical Engineering. In this position he worked with all Harman International companies, and directed the Harman Research and
Development Group, a central resource for technology development and subjective measurements, retiring in 2007. His research focused on the acoustics and psychoa- coustics of sound reproduction in small rooms, directed to improving engineering measurements, objectives for loud- speaker design and evaluation, and techniques for reducing variability at the loudspeaker/room/listener interface. For papers on these subjects he has received two Audio Engineering Society (AES) Publications Awards and the AES Silver Medal. He is a Fellow and Past President of the AES, a Fellow of the Acoustical Society of America, and a Fellow of CEDIA (Custom Design and Installation Association). He has been awarded Lifetime Achievement awards by CEDIA and ALMA (Association of Loudspeaker Manufacturing & Acoustics International). He is the author of the book, Sound Reproduction—Loudspeakers and Rooms. Marshall Long is the guest editor of this issue. He received a B.S.E. from Princeton University in 1965, attend- ed the University of Grenoble in France (1965-66), and the University of Madrid in Spain (1966), and received M.S. and Ph.D. degrees (Distinguished Graduate) from the University of California, Los Angeles (UCLA) in 1971. He held a post doctorate position at UCLA in 1972. Since 1972, he has been engaged in acoustical and audio visual engineering consult- ing as principal of the firm he founded. His firm has estab- lished a national and international reputation, completing over 3,000 projects in architectural acoustics, noise and vibration control, environmental impact assessment, and audio visual design. He is a Fellow of the Acoustical Society of America and author of the engineering textbook,
ArchitecturalAcoustics.
KEMAR
- rejuvenated
• Improved robustness
• Improved access to and mounting of ear simulators • Improved, standardized tripod mounting
• Various application-specific kits
We make microphones kemar.us
From the Guest Editor 7