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DTSTART;TZID=Europe/Berlin:20240930T000000
DTEND;TZID=Europe/Berlin:20241002T235959
DTSTAMP:20260525T070342
CREATED:20240202T112523Z
LAST-MODIFIED:20240829T134035Z
UID:2532-1727654400-1727913599@aesgermany.org
SUMMARY:5th International Symposium on the Internet of Sounds - Erlangen
DESCRIPTION:– International Audio Laboratories Erlangen– September 30 – October 2\, 2024– https://internetofsounds2024.ieee-is2.org/We are pleased to invite you to the 5th International Symposium on theInternet of Sounds (IS2 2024). The Internet of Sounds is an emergingresearch field at the intersection of the Sound and Music Computing andthe Internet of Things domains.The symposium will be hosted at the International Audio LaboratoriesErlangen\, Germany\, a joint institution of the Friedrich-AlexanderUniversität Erlangen-Nürnberg (FAU) and Fraunhofer Institute forIntegrated Circuits IIS.The aim is to bring together academics and industry to investigate andadvance the development of Internet of Sounds technologies by usingnovel tools and processes. The event will consist of presentations\,keynotes\, panels\, poster presentations\, demonstrations\, tutorials\, musicperformances\, and installations.*Keynote Speakers*The program will include three keynotes:– Toon van Waterschoot\, KU Leuven– Georg Hajdu\, Hamburg University of Music and Theatre– Hanna Lukashevich\, Fraunhofer Institute for Digital Media Technology*Satellite Events*The program will include two satellite events:– The 1st International Workshop on the Musical Metaverse:https://internetofsounds.net/1st-international-workshop-on-the-musical-metaverse/– The 2nd International Workshop on Networked Immersive Audio:https://internetofsounds.net/2nd-international-workshop-on-networked-immersive-audio/*Call for Papers and Demos*Topics of interest include and are not limited to:—-> Networked immersive audio for the Internet of Sounds– Web Audio for the Internet of Sounds– Networked Musical XR– Semantic Audio applications for the Internet of Sounds– Embedded audio– Smart musical instruments– Ubiquitous music– Networked music performances– Participatory live music performances– Musical haptics for the Internet of Musical Things– Music education applications for the Internet of Musical Things– Intelligent music production in Internet of Musical Things contexts– Protocols and exchange formats for the Internet of Sounds– Ecoacoustics– Wireless acoustic sensor networks– Privacy and security in acoustic sensor networks– Detection and classification of sounds in acoustic sensor networks– Visualization and Sonification of acoustic sensor networks– Sonification for Internet of Sounds applications– Audio datasets for Deep Learning and Data Mining– Challenges in the management and delivery of large audio databases– Visualization\, access\, and indexing of audio databases– Cloud-based services for musical and audio applications– Improving accessibility and inclusiveness within the Internet of Sounds– Sustainability and ethical aspects of the Internet of Sounds– Music information retrieval in networked applications*Paper Submission*We consider submissions in the form of:– Full paper (min 5 pages\, max 10 pages)– Poster paper (min 2 pages\, max 4 pages)– Demo proposal (max 2 pages)Authors are welcome to submit to all three tracks. We encourage thesubmission of work in progress as well as more mature work. However\,only the contributions of at least 4 pages will be included in theProceedings to be submitted to IEEE.All submissions will be fully\, single-blind peer-reviewed. The expectednumber of pages for contribution should not exceed 10 pages for paper.Authors must follow IEEE ethical and writing guidelines.– LaTeX and Word template:https://www.ieee.org/conferences/publishing/templates.html– Submission portal: https://easychair.org/conferences/?conf=is22024paper*Call for Internet of Sounds Performances and Installations*We invite submissions that showcase the internet of sounds inperformance and sound installations. Proposed works should have a clearconnection to the conference and may relate to a technical paper or demosubmission. We particularly invite pieces that last 5-12 minutes\,however\, shorter and longer performance proposals will be considered.*Performances and Installations Submission*A proposal (compiled in a single pdf) should include:– One-page project description– One-page description of technical requirements– Short program notes– Artist bio(s)– URL to any performance/installation audio or audio-visualdocumentation (if available).  The documentation link should usestreaming-only services\, e.g.\, SoundCloud\, Vimeo\, YouTube.Please keep in mind the following when preparing performance andinstallation submissions:– Space requirements: Indicate whether the work would be more suitablefor a university environment (hallways\, staircases\, indoor and outdoorplazas)\, club\, traditional concert stage\, gallery\, public space\, orother venue. For questions regarding equipment and venue descriptions\,please contact the Music & Installations Co-chairs– Performer(s): List all performers that would need to be involved.Please note that the organizers cannot provide funding to supportperformers’ travel or accommodation.– Feasibility: Provide evidence of the feasibility of the performance orinstallation. Include documentation and list of previous performances ofthe submitted or related work that demonstrate the submitter’s capacityto implement the proposal.Submission portal: https://easychair.org/conferences/?conf=is22024music*Important Dates*All submission deadlines:    July 10\, 2024Author notification:        August 15\, 2024Camera-ready due:        September 9\, 2024Early registration deadline:    August 26\, 2024Late registration deadline:    September 23\, 2024Symposium dates:        September 30 – Oct 2\, 2024*Awards*The Organizing Committee will select the winners for the Best Paper\,Best Student Paper\, and Best Demo awards. To be eligible for the BestStudent Paper award\, the presenting and first author of the paper mustbe a full-time student.*Organizing Committee*– Local Chair: Nils Peters – International Audio Laboratories Erlangen\,University of Erlangen-Nürnberg– Paper Co-chair: Jakob Abeßer – Fraunhofer Institute for Digital MediaTechnology IDMT– Paper Co-chair: Joseph Malloch – Dalhousie University– Music & Installations Co-chair: Esther Fee Feichtner – University ofMusic and Performing Arts Munich– Music & Installations Co-chair: Marlon Schumacher – Institute forMusic informatics and Musicology Karlsruhe– Demo Chair: Robert Hupke – Sennheiser– Diversity Chair: Claudia Rinaldi – University of L’Aquila– Industry Liaison Chair: Jan Dürre – Sennheiser– Communication Chair: Birgit Popp – Fraunhofer Institute for IntegratedCircuits IIS– Web Chair: Alberto Boem – University of Trento– Facility Chair: Stefan Turowski – International Audio LaboratoriesErlangen\, University of Erlangen-Nürnberg– General Chair: Luca Turchet – University of Trento*General Contact*conference-is2-2024@fau.de—Dr. Nils PetersAssociate Professor of Audio Signal Processinghttps://www.audiolabs-erlangen.de/petersInternational Audio Laboratories ErlangenFriedrich-Alexander-Universität Erlangen-NürnbergAm Wolfsmantel 33\, 91058 Erlangen\, GermanyT: +49 9131 85 20506
URL:https://aesgermany.org/event/5th-international-symposium-on-the-internet-of-sounds-erlangen
LOCATION:International Audio Laboratories Erlangen
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241008T000000
DTEND;TZID=Europe/Berlin:20241010T235959
DTSTAMP:20260525T070342
CREATED:20240513T083803Z
LAST-MODIFIED:20240513T084244Z
UID:2789-1728345600-1728604799@aesgermany.org
SUMMARY:AES SHOW 2024 NY
DESCRIPTION:In-Person: Jacob Javits Convention Center New York\n\n\n\nhttps://aesshow.com/\n\n\n\nStep into a world of audio innovation and inspiration at AES Show 2024 NY\, the flagship event of the Audio Engineering Society. This annual gathering unites over 10\,000 audio professionals\, enthusiasts\, and exhibitors from around the globe. Whether you’re a seasoned expert\, a novice\, or a student\, the AES Show provides a platform for collaboration\, discovery\, and learning.
URL:https://aesgermany.org/event/aes-show-nyc
LOCATION:Jacob Javits Convention Center
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241008T080000
DTEND;TZID=Europe/Berlin:20241011T170000
DTSTAMP:20260525T070342
CREATED:20240815T122304Z
LAST-MODIFIED:20240815T122305Z
UID:2860-1728374400-1728666000@aesgermany.org
SUMMARY:Seminar "AkustischeSimulation und Beschallungsplanung" an der TU Berlin
DESCRIPTION:Akustische Simulation und Beschallungsplanung 2024_FlyerDownload\n\n\n\n \n\n\n\nLeitungProf. Dr. Stefan WeinzierlProf. Dr.-Ing. Anselm GoertzDr.-Ing. Michael MakarskiDipl.-Ing. Thomas Steinbrecher \n\n\n\nDas Seminar wendet sich an Sachverständige\,Ingenieure\, Tonmeister\, Elektrofachplaner sowiealle\, die mit der Planung und dem Betrieb vonBeschallungsanlagen in öffentlichen Räumen undVeranstaltungssälen direkt oder indirekt zu tunhaben. Vorausgesetzt werden Grundkenntnisse derAkustik und Beschallung und der dort verwendetenMesstechnik.
URL:https://aesgermany.org/event/seminar-akustischesimulation-und-beschallungsplanung-an-der-tu-berlin
LOCATION:TU BERLIN\, Straße des 17. Juni 135\, Berlin\, 10623
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241017T000000
DTEND;TZID=Europe/Berlin:20241019T235959
DTSTAMP:20260525T070342
CREATED:20240715T112920Z
LAST-MODIFIED:20240715T112920Z
UID:2844-1729123200-1729382399@aesgermany.org
SUMMARY:AES Polish Section: NTAV2024 - Breslau
DESCRIPTION:20. Symposium zu Innovationen in der Audio- und Videotechnik\n\n\n\n\n\nCall for Contributions is open:https://aes.org.pl/ntav2024/#zaproszenie
URL:https://aesgermany.org/event/aes-polish-section-ntav2024-breslau
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241018T160000
DTEND;TZID=Europe/Berlin:20241018T180000
DTSTAMP:20260525T070342
CREATED:20241016T160100Z
LAST-MODIFIED:20241016T212133Z
UID:2927-1729267200-1729274400@aesgermany.org
SUMMARY:Hamburg: Spatial Audio Listening Session @HAW Tonlabor
DESCRIPTION:Moin\, \n\n\n\nIn Kooperation mit der AES Student Section Hamburg und dem Referat Nachwuchs des VDT\, laden wir euch am 18. Oktober ab 16 Uhr zur Spatial Audio Listening Session (SALS) ein. Wir treffen uns in gemütlicher Atmosphäre im Immersive Audio Lab im 3. Stock des Neubaus der Finkenau 35\, um Spatial Audio-Stücke zu hören und uns bei einem Kaltgetränk locker darüber auszutauschen. \n\n\n\nÜber die mehr als 30 Lautsprecher des Immersive Audio Lab können zahlreiche Formate wiedergegeben werden\, von quadrophonischen Stücken über 5.1 Dolby Surround und Dolby Atmos bis hin zu Ambisonics 7th Order. \n\n\n\nDieses Mal beschäftigen wir uns mit psychoakustischen Effekten und hören diesbezüglich eine Auswahl von Stücken und tauschen uns darüber aus. \n\n\n\nDie Teilnahme ist nur mit Anmeldung unter dieser Mail möglich\, da wir nur 15 Plätze anbieten können. Es besteht im Anschluss die Möglichkeit\, sich in kleiner Runde weiter auszutauschen.
URL:https://aesgermany.org/event/hamburg-spatial-audio-listening-session-haw-tonlabor
LOCATION:HAW Hamburg\, Finkenau\, Tonlabor\, FINKENAU 35\, Hamburg\, 22081
ORGANIZER;CN="AES STUDENT SECTION HAMBURG":MAILTO:hamburg-student@aesgermany.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241022T000000
DTEND;TZID=Europe/Berlin:20241024T235959
DTSTAMP:20260525T070342
CREATED:20240322T141421Z
LAST-MODIFIED:20250108T112937Z
UID:2725-1729555200-1729814399@aesgermany.org
SUMMARY:AES Germany presents @LEaTcon Hamburg: AES75 panel + AES67 talk + dinner event + table booth
DESCRIPTION:The AES Student Section Hamburg and AES Germany welcome you at our table in the LEaTcon Lounge. \n\n\n\nBreaking news: Our thanks go to Anselm Goertz and IFAA Aachen who share with us their AES75 comparison study – done just a week before the presentation at LEaTcon 75 for the AES Germany in 2 languages – here in german and in english \n\n\n\n\n\n\n\nTuesday 22.10.2024 16:45 AVstage:AES75: ein neuer Qualitätsstandard bei Lautsprechern\n\n\n\nAES75 – diese Norm beschreibt ein Prüfverfahren zur Messung des maximalen linearen Schallpegels eines Lautsprechersystems oder eines Lautsprechertreibers unter Verwendung eines neuartigen Testsignals namens Music-Noise. In unserem Panel diskutieren die beiden unabhängigen Messtechnikexperten Anselm Goertz und Ralph Kessler gemeinsam mit Merlijn van Veen\, einem Leiter der internationalen AES75 Standardisierungsgruppe\, sowie dem Publikum über Grundlagen\, Neuerungen und Aussichten des 2023 vorgestellten Standards. Auch zur Sprache kommen Alternativen und bisherige Verfahren.Speaker:Ralph Kessler // Moderator\, Pinguin Ing.Büro\, AES Germany eVAnselm Goetz // IFAA Institut für Akustik und Audiotechnik Merlijn van Veen // AES 75 co-chair der Standardisierungsgruppe \n\n\n\nSprache:DEUm AES75 Details tiefer kennenzulernen\, gibt Merlijn bereits vorher – 15:15 – einen Vortrag auf dem Speakers Corner :https://www.leatcon.com/en/timetable/event/aes75-in-progress/ In unserem Panel wird es aber auf jeden Fall auch eine kurze Zusammenfassung der Grundlagen und Neuigkeiten geben. Danach wird es in einem offenen Diskurs darum gehen\, wie wir gemeinsam die inflationären MAX SPL Angaben in manchen Datenblättern und Ausschreibungstexten stoppen und dem zwar überaus bekannten\, aber von Systemingenieuren oft ignorierten Parameter wieder etwas mehr Sinn geben können. \n\n\n\n\n\n\n\nWednesday 11:00   Keynote Main StageBeyond the Standards: Crafting Immersive Audio for Cutting-Edge Venues – and what goes ahead\n\n\n\n\n\n\n\nSpeaker: Tom Ammermann \n\n\n\nToday we have new benchmarks for immersive audio like the Sphere in Las Vegas. What makes such environments so special and are such venues however asked for more\, maybe interactivity? And how to create the content for such custom and complex loudspeaker environments? The presentation will touch these tasks and offer some more details and insides as well as showing a workflow example. \n\n\n\n\n\n\n\nWednesday 23.10.2024 11:15 AVstage:MILAN\, Dante\, RAVENNA\, AES67 & the 7 Layers to Hell\n\n\n\nIn this session Andreas Hildebrand will provide an overview of the current AoIP solutions and explains how the various technologies align with the 7-layer OSI model. The audience will learn about the main commonalities and differences between MILAN\, Dante and RAVENNA – and if AES67 can help guiding us from Hell to Purgatory… \n\n\n\n\n\n\n\nSpeaker:Andreas Hildebrand (ALC NetworX\, Germany\, LAWO AG\, RAVENNA Evangelist)Language: EN \n\n\n\n\n\n\n\nWednesday 13:30-15:00 LEaT Academy Space 2How to train a Spatial Audio Dome\n\n\n\n*Deep Dive Workshop* \n\n\n\nAudio pre-production for large custom configured venues is always a challenge. The mix cannot be made onsite because it’s always busy and in regular audio production fascicles like studios and with headphones the loudspeaker formats normally just match to standard formats like Stereo\, 5.1\, and 7.1.4. Another issue is how to check and play it finally onsite. What kind of master is requested. The workshop will offer an example and workflow how deal with and solve all this issues. \n\n\n\nSpeaker:Tom Ammermann | founder\, general manager\, and visionary behind New Audio Technology \n\n\n\nSprache:EN / DE \n\n\n\nWo?LEaT Academy Space 2 \n\n\n\nInfo:Dieser Workshop findet inhaltlich aufbauend auf die Keynote von Tom Ammermann statt (es ist jedoch nicht erforderlich\, an beiden Programmpunkten teilzunehmen). // Info: This workshop builds on the content of Tom Ammermann’s keynote (however\, it is not necessary to attend both parts of the program). \n\n\n\n\n\n\n\nSocial Events \n\n\n\nA dinner event for AES members & friends is not really fixed currently. We have currently in mind: Tuesday 18:30 at a restaurant (close to the Messehalle B6).Please drop us an email if you’re interested in registering a seat. There’s a good chance to meet our speakers there…;-)Also a lunch meeting at the show after the AES67 talk on wednesday is possible. \n\n\n\n\n\n\n\nhttps://www.leatcon.com/\n\n\n\nTimetable LEaTconTimetable StudioszeneTimetable AVcon \n\n\n\nINSIGHTS workshop program (extra ticket required)Timetable Training (stage Lighting workshops)LEaT special area:Tuesday: LEaTcon Science Talks \, special conference Wednesday: Immersive Audiovation Summit (presented by Audio-Technica\, Lawo und TiMax)Thursday: Follow & Tracking Special \n\n\n\nTuesday evening: LEaTcon Networking Party (extra ticket required) \n\n\n\n \n\n\n\nAES members can our discount code for reduced ticket prices on request.The AES Student Section Hamburg and AES Germany welcome you at our table in the LEaTcon Lounge. \n\n\n\n\n\n\n\nNews of March 2024:Dear Members & Friends\, \n\n\n\nbe invited to this premium Live\, Entertainment & media technology event @ Hamburg Messe Oct 22-24 2024.Together with the “Studioszene” & “AV con” you can expect once again a highly innovative event format. \n\n\n\nAs in the last 2 years the AES Germany is again a partner organisation of LEaTcon with the following resources for its members: \n\n\n\n– presenting interesting\, audio related\, innovative topics and speakers\, workshops and masterclasses. \n\n\n\n– make it possible for small companies to present new solutions\, workflows or products to an expert audience. Our offer for 2024 is to co-fund a common booth for german audio startup companies. \n\n\n\n– organize an evening dinner or lunch date for a common regionalAES group meeting. \n\n\n\ncu there ? We want to hear your your opinion on future involvement in such events. \n\n\n\nyour AES Germany board
URL:https://aesgermany.org/event/leat-con-hamburg
LOCATION:HAMBURG MESSE\, Messeplatz 1\, Hamburg\, 20357
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241030T170000
DTEND;TZID=Europe/Berlin:20241030T183000
DTSTAMP:20260525T070342
CREATED:20241016T191301Z
LAST-MODIFIED:20241019T124527Z
UID:2931-1730307600-1730313000@aesgermany.org
SUMMARY:DE&I Colloquium
DESCRIPTION:AES Germany Hosts Its First Research Colloquium on Diversity\, Equity and Inclusion (DE&I) in Audio Engineering \n\n\n\nWe are excited to announce the Audio Engineering Society (AES) Germany’s very first Research Colloquium on Diversity and Inclusion in Audio Engineering. This event will focus on important issues including the gender pay gap\, strategies for overcoming obstacles in male-dominated industries\, and the inclusion of individuals with disabilities in the audio engineering field. We will explore how different countries are addressing these challenges and what we can learn from one another. \n\n\n\nThe colloquium will bring together experts who will share insights and real-world examples from both industry and research. Our featured speakers include Leslie Gaston-Bird\, President of the AES\, Jiayue Cecilia Wu and Mary Mazurek\, chairs of the Diversity and Inclusion Committee at AES and Michelle Guadalupe Felix Garcia\, an advocate for equal employment opportunities for professionals with disabilities. We are also pleased to have Ingo Weismantel share insights from the “Women in Sound” discussion series by the German Association for Audio Professionals (VDT). \n\n\n\nThis colloquium presents a unique opportunity to engage in meaningful discussions and explore actionable solutions for creating more inclusive and accessible workplaces in audio engineering. \n\n\n\nShort Biographies:  \n\n\n\n\nLeslie Gaston-Bird \n\n\n\nDr. Leslie Gaston-Bird CAS\, MPSE began her term as President of the Audio Engineering Society this year. As Supervising Sound Editor and Re-Recording Mixer\, she was also nominated for an MPSE Golden Reel award for Outstanding Achievement in Sound for a Non-Theatrical Feature for her work on Publish or Perish\, a dark comedy by David Liban. In addition\, Leslie is currently a Senior Lecturer in Sound Recording & Music Production at City\, University of London.  She is founder and director of Immersive and Inclusive Audio\, CIC\, which provides training in Avid Pro Tools and Dolby Atmos certification for underrepresented groups\, an initiative which she created as part of her PhD at the University of Surrey. Leslie is author of the books Women in Audio (Routledge) and Math Fundamentals for Audio (A-R Editions). She is a Pro Tools | Dolby Professional Avid Certified Instructor and Dante Level 3 Certified audio engineer specializing in re-recording mixing and sound editing. She is a member of the Recording Academy (The Grammys®)\, BAFTA\, Cinema Audio Society\, and Motion Picture Sound Editors (MPSE). She has worked for National Public Radio (Washington\, D.C.)\, Colorado Public Radio\, the Colorado Symphony Orchestra\, Post Modern Company\, and was a tenured Associate Professor at the University of Colorado Denver. \n\n\n\n\n\nJiayue Cecilia Wu \n\n\n\nDr. Jiayue Cecilia Wu (AKA 武小慈)\, a scholar\, composer\, and audio engineer\, specializes in harnessing music technology for healing. With a B.Sc. in Design and Engineering\, she spent a decade as a music producer and consultant with EMI Records\, Universal Music Group\, and Shazam. Her academic journey led her to earn a Master of Art in Music\, Science\, and Technology from Stanford University and a Ph.D. in Media Arts and Technology from UC Santa Barbara. Her music has been performed in Asia\, the U.S.\, Canada\, Australia\, South Africa\, Brazil\, and Europe. Her significant intellectual contributions include 27 peer-reviewed journal articles\, three book chapters\, two book publications\, and 100+ multimedia compositions\, exhibitions\, and installations showcased globally. Currently\, Dr. Wu is an Assistant Professor and Program director at the University of Colorado’s College of Arts and Media. She actively participates in her academic community\, serving as a peer-reviewer for high-impact research journals\, chairing the DEI Committee at the Audio Engineering Society (AES)\, and holding leadership roles in the Society for Electro-Acoustic Music in the United States (SEAMUS) and the International Computer Music Association (ICMC). Dr. Wu’s expertise extends worldwide\, with guest lectures and workshops in Embodied Sonic Meditation at prominent R1 research institutions and international events.  \n\n\n\n\n\nMary Mazurek \n\n\n\nDr. Mary Mazurek is currently an Assistant Professor of Digital Audio Arts at the University of Lethbridge in Alberta\, Canada and a GRAMMY-nominated recording engineer. The Recording Academy awarded her nomination at the 61st Annual Grammy Awards in the category of Best Engineered Album\, Classical for the album Liquid Melancholy Clarinet Music of James Stephenson. Her audio work is also regularly featured on WFMT Radio and WFMT.com. Additionally\, she is an author\, sought-after speaker and educator who enjoys contributing in the classroom and on panels and committees within her industry and beyond. She serves as a role model and advocates for women in the recording industry\, which is currently less than 5% female. Furthermore\, she serves as a governor and the Diversity Equity and Inclusion Chairperson for the Audio Engineering Society.  \n\n\n\n\n\nMichelle Guadalupe Felix Garcia \n\n\n\nMichelle Guadalupe Felix Garcia is a passionate audio engineer\, composer\, tech enthusiast and lifelong learner from Mexico. She graduated from the music recording technology and audio design program at San Diego State University. After a life-changing invitation to spend an afternoon at Coldplay’s studio\, she realized the ways blind audio engineers record\, edit\, produce and mix are beautiful\, worthy of celebrating and sharing with the world. She launched a video series to educate the sighted community\, encourage more blind people to join this fascinating field\, and to generate awareness that leads to equal employment opportunities for people with disabilities. She is an enthusiastic member of the Audio Engineering Society’s Accessibility Subcommittee\, and serves as chair of the hardware and software standards group\, providing guidelines that can help manufacturers make accessibility the norm in every product from the start. As a freshman\, she was the only woman enrolled for an audio degree. The statistic for women joining the workforce has been steadily increasing. The same cannot be said for professionals with disabilities\, for whom there is no research or statistics available. She actively works towards the day when blind engineers are welcome in every workplace as tour crew members\, A1’s in theaters\, in-studio producers\, and can show up to work\, no questions asked\, being recognized as valuable contributors who move the music industry forward. \n\n\n\n\n\nIngo Weismantel \n\n\n\nIngo Weismantel is a labor engineer at Darmstadt University of Applied Science\, where he has worked since 2021. Previously\, he served as an event production manager at the Deutsche Nationalbibliothek and the Hochschule für Musik und Darstellende Kunst in Frankfurt. He holds a B.A. in Sound and Music production and a qualification as a Master of Event Technology from the Europäische Medien and Eventakademie.  \n\n\n\nIn addition to his professional roles\, he is active in the sound engineering community\, co-founding the platform wiki.audio and serving as the Officer for Training and Further Education in the Association of German Sound Engineers. He plays a key role in the organisation’s “Women in Sound” discussion series\, promoting diversity and inclusion in the audio industry.   \n\n\n\n\nREGISTER HERE
URL:https://aesgermany.org/event/dei-colloquium
LOCATION:Online Zoom
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