As we gear up for the LDI Show, we are profiling speakers in our LDI Amplify series of presentations aimed at live sound engineers. This week, we’d like to introduce you to Alex Kosiorek, who will be presenting the AES talk “Loudness Matters! Effective Use of Loudness Management Tools In All Aspects of Production."
Alex Kosiorek wears a lot of hats. He’s currently manager of the award-winning production service Central Sound at Arizona PBS; he’s also executive producer of Classical Arizona PBS productions; and serves as the vice president of the Audio Engineering Society’s Western Region of the USA and Canada.
Before that, he was director of recording services at the Cleveland Institute of Music, where he oversaw the modernization of the department, completing the first THX PM3-certified studio in a music conservatory worldwide and leading the school to become the first conservatory to launch multi-platform mobile applications. Kosiorek also served as audio recording and mastering engineer for the Corbett Studio at Cincinnati Public Radio, where he was instrumental in creating the first U.S. radio station to initiate surround programming.
Live Design: What was your first live sound gig?
Alex Kosiorek: I believe the first real sound gig I had was doing sound for well-known singer-songwriters in Breckenridge, Colorado. It was at the Breckenridge Riverwalk Center, when I was an audio recording engineer for the Breckenridge Music Festival. Each singer-songwriter had his or her own style and instrument complement. While the sets were fairly straightforward, it was challenging to ensure that everything remained balanced and to keep the sound more intimate. It was a pleasure, and the audience remarked how wonderful it was to enjoy a variety of music without having it be loud.
LD: What has most influenced the way you think about sound?
AK: Several great engineers and mentors have helped me become the engineer I have become today. However, there were a few key moments that influenced how I think about sound. One was hearing Christoph von Dohnányi conducting the Cleveland Orchestra in Severance Hall, Cleveland. Another was experiencing Pink Floyd as a young child. Each was truly an immersive experience that only now can be recreated with a variety of immersive playback systems. I am always thinking of sound in a three-dimensional paradigm, whether it is capturing, mixing, or amplification.
LD: What can attendees can expect to learn in your presentation?
AK: That answer is a two-parter. One: tools made for one type of production, such as for broadcast, can be adapted for other types of audio production. Two: utilizing resources from industry trade groups such as the Audio Engineering Society is quite beneficial.
LD: What new sound technologies are you most excited about lately?
AK: In audio production: Object-oriented mixing (whether it is for DTS:X, Atmos, or otherwise), a new paradigm of mixing, can really open up creating a truly immersive experience for consumers. Said another way, mixing beyond surround, such as with surround with height, truly opens up what consumers can experience, and in turn, presents a more realistic experience of a live concert event.
In live sound: I am especially impressed by some of the new compact line array and sound reinforcement loudspeakers that can be more easily integrated into various acoustic spaces in a visually tasteful manner without compromising quality.
LD: What’s the best piece of advice you’ve been given?
AK: There are several, but many moons ago, I was advised to respect the space as well as the people who are working in it. As such, I always consider myself as a guest when working in someone else’s venue, studio, etc.
LD: How about the worst?
AK: To not push boundaries.
To learn more about LDI Amplify programs at the 2019 LDI Show, visit www.ldishow.com.
Sarah Jones is a writer, editor, and content producer with more than 20 years' experience in pro audio, including as editor-in-chief of three leading audio magazines: Mix, EQ, and Electronic Musician. She is a lifelong musician and committed to arts advocacy and learning, including acting as education chair of the San Francisco chapter of the Recording Academy, where she helps develop event programming that cultivates the careers of Bay Area music makers.