The AES Student Recording Competition is a unique opportunity for student attendees of AES International Conventions to receive feedback and recognition for their audio production work. If you wish to participate as either an individual or a group, a faculty advisor must recommend your recording to represent your school in one of the competition’s four categories. An individual student or production team may participate in multiple categories by submitting a different recording in each category. However, each school may submit only one entry per competition category. If multiple students or student groups in a school wish to enter the same category, they must consult their faculty advisor.

Students submit an audio recording that is judged by AES members. Students are expected to submit competition mixes that represent their best final mixing efforts without additional mastering. Judges frequently criticize student mixes for excessive peak limiting and inadequate dynamic range. Therefore, contestants should resist the temptation to maximize loudness to the detriment of tonal balance and musical dynamics. The Student Recording Competition submission system will be open to students from 120 days prior to a convention and submissions are due 30 days prior to a convention.[*] Each must be verified by the AES student section's faculty advisor, or a trusted project supervisor of the student's institution. When submitting their projects, students will be asked to provide their faculty advisor’s / supervisor’s email address, who will then be asked to approve the submission within three days of the submission deadline. Submissions are limited to 5 minutes in length, should be no shorter than 3 minutes, and must be edited appropriately to meet this requirement. Files exceeding 5 minutes or 250MB will be rejected. Each submitted recording in Categories 1, 2, and 3 should be uploaded as a single .zip file that includes all appropriate audio files and documentation for that particular track. It is highly recommended that you take the latest AES loudness standards into account, this will prevent your recording from being normalized should it be presented at the convention. Submitted projects for Category 4 should be uploaded as two .zip files: one for the individual audio files (not interleaved) and documentation, and one for the video file. Video files should meet appropriate frame rate standards (PAL for Europian conventions - 25 frames per second, and NTSC for conventions in the US - 29.97 frames per second). All files must be in in PCM .wav, at 24bit, 48kHz. Please remember, however, the firm 250MB upload limit. Surround channels will be treated at equal level including the sub channel. Videos must be an ISO MPEG 4 (.mp4) or Quicktime (.mov) container format. Entrants should use MPEG-4 or H.264 codecs, keep the resolution reasonable in deference to o the upload limit, though also high enough so as to clearly see synchronization elements, such as with dialogue and Foley. Videos should also not contain any sound. Therefore, entrants should make sure that their submitted video and audio files are time-aligned.

Category 1- Traditional Acoustic Recording Category 1 is suitable for recordings of acoustic instruments, vocalists, and ensembles recorded live in natural acoustic settings such as performance halls, churches, theatres, soundstages, pavilions, and similar environments. The recording may take place with or without an audience present. Entries in this category will generally be recorded using combinations of individual microphones and microphone arrays so that the musical balance, perspective, and spatial orientation are largely a function of the ensemble, the acoustic space, and the recording technique. The final stereo or surround balance may be mixed and recorded live. Alternatively, tracks may be recorded to multitrack media and mixed in post- production. Editing is allowed, but overdubs are prohibited. This category may include classical, jazz, folk, or any other genre of music that is performed and recorded live in a suitable acoustic environment. Electronic instruments are allowed, provided that they are reproduced through acoustic means (e.g., amps and loudspeakers) and are recorded live using the microphone techniques described above. Since this category is defined by the live application of stereo and multichannel microphone techniques employed in traditional “classical” music recording, live performances of exclusively close-miked ensembles must be entered in either Category 2 or 3 according to their specific criteria.

• 1. Emphasis on the craft of acoustic music recording on location
  2. All live acoustic or electroacoustic sources
  3. No overdubs
  4. Editing and mixing allowed
  5. All recording and mixing performed by the entrant(s)
  6. Stereo or surround delivery format

Category 2 – Traditional Studio Recording Category 2 is suitable for recordings that are created in a recording studio or similar facility using multitrack studio techniques and technology. Music of any genre is permitted, and both editing and overdubs are allowed. Electronic instruments such as electric guitar, electric bass, and keyboards may be recorded direct and/or by acoustic means. Conventional signal processing techniques (e.g., equalization, dynamics, reverberation, etc.) during recording and mixing are permitted. Since this category is defined by the creative and proficient use of microphones and studio recording techniques, MIDI sequences, sample replacements, and sample loops from pre-recorded sources are prohibited. In other words, all sonic and musical elements must be performed by musicians and recorded by the contestants specifically for the project. Mixes based on highly processed and synthesized sources should be submitted in Category 3.

• 1. Emphasis on the craft of multitrack studio recording and mixing
  2. All live acoustic or electroacoustic sources
  3. Editing and overdubs allowed but not required
  4. No sample loops or sample replacement from synthesized or prerecorded sources
  5. No MIDI sequences
  6. All recording and mixing performed by the entrant(s)
  7. Stereo or surround delivery format

Category 3 – Modern Studio Recording & Electronic Music Category 3 is intended for all multitrack studio projects that do not meet the restrictions of Category 2. All options are allowed with respect to sound sources, recording techniques, creative production, editing, processing, and mixing. Music of any genre is permitted, including, but not limited to, pop, rock, dance, rap, hip-hop, electronica, recordings of live DJ performances, and re-mixes. “Anything goes” in this category, provided that recordings do not violate applicable copyrights. Note: While the use of samples, MIDI, electronic instruments, and other creative process are highly encouraged in Categories 3 and 4, the AES Student Recording Competition is, above all else, designed to judge excellence in audio recording and production. As such, the composition elements discussed are secondary to the recording process.

• 1. Emphasis on the full exploitation of the recording studio as a musical instrument
  2. Any combination of real and virtual sources allowed
  3. Captured in a studio environment onto multitrack tape or DAW, fully programmed on a computer, or anything in between
  4. All modern recording, signal processing, editing techniques are allowed
  5. Programming, sequencing and sampling, including sample loops and sample replacement/enhancement allowed
  6. All recording, production, and mixing performed by the entrant(s)
  7. Stereo or surround delivery format

Category 4 - Sound for Visual Media Category 4 is intended for any type of sound recording created to support a visual experience. The category is open to all visual media, including narrative and documentary video and film, advertising, video games, signature graphics, and image spots. Sonic elements such as dialogue, narration, sound design, and musical scores are permitted. These sources may be derived from production sound, sound effect libraries, synthesis, and original “wild-track” recordings made by the contestant. Audio content must be arranged specifically for use with the video. Music videos, live concert or in-studio style video recordings, or any other music-only works are not acceptable submissions. All category 4 submissions must have non-musical sounds in one form or another (such as narration, sound effects, voices of characters, sounds made by objects in the video, or ambient noise from the environment). Music accompanied by video can be submitted as audio only to any other category as long as they meet the engineering and mixing requirements for the category. For projects involving video games, you may capture raw gameplay and layback audio to that video, or you may implement the audio adaptively and via an appropriate audio engine / middleware and capture that combined audio and video output. Note: While the use of samples, MIDI, electronic instruments, and other creative process are highly encouraged in Categories 3 and 4, the AES Student Recording Competition is, above all else, designed to judge excellence in audio recording and production. As such, the composition elements discussed are secondary to the recording process.

• 1. Emphasis on the craft of recording, editing and mixing sound to complement visual media
  2. Any combination of dialogue, music and sound design elements permitted
  3. All editing and mixing performed by the entrant(s)
  4. Stereo or surround delivery format

The Student Delegate Assembly reserves the right to disqualify entries that are submitted into the incorrect category or that otherwise violate the criteria listed above.

This competition has not yet listed it's awards.

Website: https://aesstudents.org/src

Managing Organization: Audio Engineering Society

Contact:
Student Delegate Assembly
sda@aes-sda.org

Eligibility:
<strong>To participate in the AES Recording Competition, you must:</strong> <ul> <li style="list-style-type: none;"> <ol> <li>Be a current Student Member of the Audio Engineering Society. Join at <a href="http://www.aes.org/join">aes.org/join</a>. Please note that fees vary by region.</li> <li>Engineer the nominated recording while you are a student affiliated with a college audio program.</li> <li>Be selected by your faculty advisor as the sole representative / group for your school in a competition category.</li> <li>Register for a <u>4 day ALL ACCESS BADGE</u> for the Convention Technical Program.</li> <li>Submit your recording and documentation electronically according to the submission guidelines prior to the deadline.</li> <li>Attend the convention in person.</li> </ol> </li> </ul> It is the responsibility of each student to ensure eligibility which must be maintained throughout the Recording Competition. If a project is engineered by a team of students all team members must, at minimum, also be enrolled students affiliated with the same university audio program which will be verified by the faculty advisor. To present as a team at a convention all team members must meet the complete eligibility criteria above. Violation of these rules will result in disqualification. Late entries will not be accepted under any circumstances Once an entry is submitted to an AES Student Recording Competition, it is disqualified from future competitions. This also means submitting additional songs from the same album, scenes from a movie, or any additional material from a whole and complete project is prohibited.

Registration Opens: January 1, 1970

Registration Closes: January 1, 1970

The AES Student Recording Competition is a unique opportunity for student attendees of AES International Conventions to receive feedback and recognition for their audio production work. If you wish to participate as either an individual or a group, a faculty advisor must recommend your recording to represent your school in one of the competition’s four categories. An individual student or production team may participate in multiple categories by submitting a different recording in each category. However, each school may submit only one entry per competition category. If multiple students or student groups in a school wish to enter the same category, they must consult their faculty advisor.

Students submit an audio recording that is judged by AES members. Students are expected to submit competition mixes that represent their best final mixing efforts without additional mastering. Judges frequently criticize student mixes for excessive peak limiting and inadequate dynamic range. Therefore, contestants should resist the temptation to maximize loudness to the detriment of tonal balance and musical dynamics. The Student Recording Competition submission system will be open to students from 120 days prior to a convention and submissions are due 30 days prior to a convention.[*] Each must be verified by the AES student section's faculty advisor, or a trusted project supervisor of the student's institution. When submitting their projects, students will be asked to provide their faculty advisor’s / supervisor’s email address, who will then be asked to approve the submission within three days of the submission deadline. Submissions are limited to 5 minutes in length, should be no shorter than 3 minutes, and must be edited appropriately to meet this requirement. Files exceeding 5 minutes or 250MB will be rejected. Each submitted recording in Categories 1, 2, and 3 should be uploaded as a single .zip file that includes all appropriate audio files and documentation for that particular track. It is highly recommended that you take the latest AES loudness standards into account, this will prevent your recording from being normalized should it be presented at the convention. Submitted projects for Category 4 should be uploaded as two .zip files: one for the individual audio files (not interleaved) and documentation, and one for the video file. Video files should meet appropriate frame rate standards (PAL for Europian conventions - 25 frames per second, and NTSC for conventions in the US - 29.97 frames per second). All files must be in in PCM .wav, at 24bit, 48kHz. Please remember, however, the firm 250MB upload limit. Surround channels will be treated at equal level including the sub channel. Videos must be an ISO MPEG 4 (.mp4) or Quicktime (.mov) container format. Entrants should use MPEG-4 or H.264 codecs, keep the resolution reasonable in deference to o the upload limit, though also high enough so as to clearly see synchronization elements, such as with dialogue and Foley. Videos should also not contain any sound. Therefore, entrants should make sure that their submitted video and audio files are time-aligned.

Category 1- Traditional Acoustic Recording Category 1 is suitable for recordings of acoustic instruments, vocalists, and ensembles recorded live in natural acoustic settings such as performance halls, churches, theatres, soundstages, pavilions, and similar environments. The recording may take place with or without an audience present. Entries in this category will generally be recorded using combinations of individual microphones and microphone arrays so that the musical balance, perspective, and spatial orientation are largely a function of the ensemble, the acoustic space, and the recording technique. The final stereo or surround balance may be mixed and recorded live. Alternatively, tracks may be recorded to multitrack media and mixed in post- production. Editing is allowed, but overdubs are prohibited. This category may include classical, jazz, folk, or any other genre of music that is performed and recorded live in a suitable acoustic environment. Electronic instruments are allowed, provided that they are reproduced through acoustic means (e.g., amps and loudspeakers) and are recorded live using the microphone techniques described above. Since this category is defined by the live application of stereo and multichannel microphone techniques employed in traditional “classical” music recording, live performances of exclusively close-miked ensembles must be entered in either Category 2 or 3 according to their specific criteria.

• 1. Emphasis on the craft of acoustic music recording on location
  2. All live acoustic or electroacoustic sources
  3. No overdubs
  4. Editing and mixing allowed
  5. All recording and mixing performed by the entrant(s)
  6. Stereo or surround delivery format

Category 2 – Traditional Studio Recording Category 2 is suitable for recordings that are created in a recording studio or similar facility using multitrack studio techniques and technology. Music of any genre is permitted, and both editing and overdubs are allowed. Electronic instruments such as electric guitar, electric bass, and keyboards may be recorded direct and/or by acoustic means. Conventional signal processing techniques (e.g., equalization, dynamics, reverberation, etc.) during recording and mixing are permitted. Since this category is defined by the creative and proficient use of microphones and studio recording techniques, MIDI sequences, sample replacements, and sample loops from pre-recorded sources are prohibited. In other words, all sonic and musical elements must be performed by musicians and recorded by the contestants specifically for the project. Mixes based on highly processed and synthesized sources should be submitted in Category 3.

• 1. Emphasis on the craft of multitrack studio recording and mixing
  2. All live acoustic or electroacoustic sources
  3. Editing and overdubs allowed but not required
  4. No sample loops or sample replacement from synthesized or prerecorded sources
  5. No MIDI sequences
  6. All recording and mixing performed by the entrant(s)
  7. Stereo or surround delivery format

Category 3 – Modern Studio Recording & Electronic Music Category 3 is intended for all multitrack studio projects that do not meet the restrictions of Category 2. All options are allowed with respect to sound sources, recording techniques, creative production, editing, processing, and mixing. Music of any genre is permitted, including, but not limited to, pop, rock, dance, rap, hip-hop, electronica, recordings of live DJ performances, and re-mixes. “Anything goes” in this category, provided that recordings do not violate applicable copyrights. Note: While the use of samples, MIDI, electronic instruments, and other creative process are highly encouraged in Categories 3 and 4, the AES Student Recording Competition is, above all else, designed to judge excellence in audio recording and production. As such, the composition elements discussed are secondary to the recording process.

• 1. Emphasis on the full exploitation of the recording studio as a musical instrument
  2. Any combination of real and virtual sources allowed
  3. Captured in a studio environment onto multitrack tape or DAW, fully programmed on a computer, or anything in between
  4. All modern recording, signal processing, editing techniques are allowed
  5. Programming, sequencing and sampling, including sample loops and sample replacement/enhancement allowed
  6. All recording, production, and mixing performed by the entrant(s)
  7. Stereo or surround delivery format

Category 4 - Sound for Visual Media Category 4 is intended for any type of sound recording created to support a visual experience. The category is open to all visual media, including narrative and documentary video and film, advertising, video games, signature graphics, and image spots. Sonic elements such as dialogue, narration, sound design, and musical scores are permitted. These sources may be derived from production sound, sound effect libraries, synthesis, and original “wild-track” recordings made by the contestant. Audio content must be arranged specifically for use with the video. Music videos, live concert or in-studio style video recordings, or any other music-only works are not acceptable submissions. All category 4 submissions must have non-musical sounds in one form or another (such as narration, sound effects, voices of characters, sounds made by objects in the video, or ambient noise from the environment). Music accompanied by video can be submitted as audio only to any other category as long as they meet the engineering and mixing requirements for the category. For projects involving video games, you may capture raw gameplay and layback audio to that video, or you may implement the audio adaptively and via an appropriate audio engine / middleware and capture that combined audio and video output. Note: While the use of samples, MIDI, electronic instruments, and other creative process are highly encouraged in Categories 3 and 4, the AES Student Recording Competition is, above all else, designed to judge excellence in audio recording and production. As such, the composition elements discussed are secondary to the recording process.

• 1. Emphasis on the craft of recording, editing and mixing sound to complement visual media
  2. Any combination of dialogue, music and sound design elements permitted
  3. All editing and mixing performed by the entrant(s)
  4. Stereo or surround delivery format

The Student Delegate Assembly reserves the right to disqualify entries that are submitted into the incorrect category or that otherwise violate the criteria listed above.

This competition has not yet listed it's awards.

Website: https://aesstudents.org/src

Managing Organization: Audio Engineering Society

Contact:
Student Delegate Assembly
sda@aes-sda.org

Entry Fee:

Eligibility:
<strong>To participate in the AES Recording Competition, you must:</strong> <ul> <li style="list-style-type: none;"> <ol> <li>Be a current Student Member of the Audio Engineering Society. Join at <a href="http://www.aes.org/join">aes.org/join</a>. Please note that fees vary by region.</li> <li>Engineer the nominated recording while you are a student affiliated with a college audio program.</li> <li>Be selected by your faculty advisor as the sole representative / group for your school in a competition category.</li> <li>Register for a <u>4 day ALL ACCESS BADGE</u> for the Convention Technical Program.</li> <li>Submit your recording and documentation electronically according to the submission guidelines prior to the deadline.</li> <li>Attend the convention in person.</li> </ol> </li> </ul> It is the responsibility of each student to ensure eligibility which must be maintained throughout the Recording Competition. If a project is engineered by a team of students all team members must, at minimum, also be enrolled students affiliated with the same university audio program which will be verified by the faculty advisor. To present as a team at a convention all team members must meet the complete eligibility criteria above. Violation of these rules will result in disqualification. Late entries will not be accepted under any circumstances Once an entry is submitted to an AES Student Recording Competition, it is disqualified from future competitions. This also means submitting additional songs from the same album, scenes from a movie, or any additional material from a whole and complete project is prohibited.

Registration Opens: January 1, 1970

Registration Closes: January 1, 1970