Issue link: https://digital.copcomm.com/i/1543070
38 S P R I N G 2 0 2 6 I C A S Q U A R T E R L Y AES members' names are like an equipment list for a well- equipped studio: Fairchild, Neumann, Studer, Sennheiser, Massenberg, Neve, that obscure genius, Dolby, and so many more… Currently, the AES boasts 12,000 members worldwide, and this year, I became one of them. Not just a member, but was also honored to be elected to the Executive Committee of the Los Angeles section. For those of you who think it is strictly for people who design equipment and that you b y C h a r l e s D a y t o n C A S M P S E Thoughts on AES Long Beach from a CAS Member The Audio Engineering Society (AES) has been around since 1948. It began as an informal lunch of scientists, engineers, and audio industry manufacturers. These once-a-week lunches, in New York and Hollywood, formed the basis of a technical group that has been responsible for creating the standardization of sound recording and playback technology since that time. The AES/EBU in and out on your interface? That's the AES. MADI? That's AES10. Digital audio syn- chronization, AES11. Audio over IP, AES67. Etc., etc., etc. have to present a white paper to get accepted, well, that's just not true—not anymore. That's the thing about audio—there is a technical side and there is an artistic side. The AES has come to value the input of the artists who use these designs, theories, and standards and put them into practice. This is where the CAS's voice becomes an important part of the discussion about implementation and use.