Mic Maven Digs Desert
Wes Dooley is a man with a lot of experience in manufacturing great ribbon mics. His AEA line of vintage model re-issue microphones are considered some of the best in their class. In addition to being the creator of AEA, Dooley has been heavily involved with the Audio Engineering Society, sitting on several standards committees and chairing workshops. He has served as AES Western Regional Vice President, as a member of the Board of Governors and chaired several positions for the Los Angeles Section.
While at the school, Dooley demonstrated his R44 ribbon mic and discussed a broad range of topics, from the history of microphones and their uses to producers and technicians and what they have given to the industry. He stressed the importance of the AES as a technical and educational entity as well as one for making a personal connection in the industry. "Wes encouraged students to get involved with audio in any way they are able and praised the education they receive at the Conservatory." said Seth Dockstader, AES Student Section Chairman. "He not only has an impressive line of ribbon mics, but has also worked extensively with location recording and forensic audio. The students were impressed with his expertise and found him to posess a wealth of information." Dooley visited the school as part of the ongoing guest-lecture program that has brought such luminaries as Mr. Rupert Neve and engineer Mike Farrow to the campus.
Photo caption: L to R : Instructor Glen O'Hara and Wes Dooley in front of one of his signature RCA re-issue microphones
Glad Grad Hits Big Screen
Eryne Prine is a prime example of what happens when proper attitude, passion and determination power your dreams. In the competitive audio job market, knowing your stuff can be the difference between getting your foot in the door and getting nowhere. Eryne's Conservatory training and internship helped put on the fast track to a future in audio postproduction, making her dreams a reality.
Hometown: Born and raised in Redmond Washington, Lived in Arizona from age 16 -21
Last School attended: The Art Institute of Phoenix, Degree in Video Production
Last Book Read: Sylvia Browne's Soul's Perfection
Favorite CD: Currently, Ben Folds Rockin' the Suburbs
What got you first interested in a career in audio?
While I was attending The Art Institute, they never really taught anything about audio. The farthest we went was to record our audio directly in the Beta Cam. I knew this wasn't how it was really done. I really wanted to learn about sound for movies, and how it was done. I knew about The Conservatory by word of mouth. After graduating I got on the Internet and checked out The Conservatory's web site. I was on the year waiting list, but I got lucky and a spot opened up about a month later. It all just fell into place.
How much prior experience did you have coming into the school?
I've played the piano since I was 6, and a wee little bit of the guitar, and I messed around with ACID for a while. That's about it.
What other recording schools had you considered besides the Conservatory?
I looked into Full Sail and I think a couple of other workshops.
What made you choose the Conservatory?
I liked how it was small and the success realized by other students.
What did you get out of your time at the Conservatory?
I got more out of the Conservatory than I thought I would. The knowledge I got out of the Post Production classes was just what I needed to get my start. Pro Tools was the best thing I learned there. I work with Pro Tools everyday now. I have to thank the whole staff for opening the door to where I am today.
Tell us about your experiences after graduation.
I decided to do the California thing. I came out here in December 2000 for the big internship. Luckily I had my parents helping me while I was trying to make it. To my Dad who recently died in December 2001, I hope I make you proud. I got into my place of choice, Danetracks. I started by loading and mastering sfx from DAT into Pro Tools. I did the usual things like runs and answering phones. They were really good about letting me see everything. I would sit in with editors and watch them do their thing. I also worked on some short films. I sometimes went to the mixing stage to answer phones and hang out and watch the mix. After about three months I asked if I could be the official intern on a non-union feature they were working on called Amy and Isabelle. I got to do more than I expected. I was basically the Foley assistant, helping cue and edit. When that show was over they hired me to work on the next non-union that came in, Pumpkin. I was seriously shocked when they asked me. Unfortunately I didn't get any credit, but (cliché) the experience was worth it. Between shows they kept me on, doing more mastering and runs. I supervised a "glass breaking" recording session for Thirteen Ghosts. I was the Foley supervisor on my most recent show called The Good Girl. This was where I really felt like a professional. I recently went to the screening and I am excited to tell you that I have my first credit as an Assistant Sound Editor. Both Pumpkin and The Good Girl will be released this year. Despite how competitive it is in the industry, Danetracks let me in. Thanks to Dane Davis and the crew for giving me a chance. If you want something, you've got to ask and be persistent. Always be there.
What is your dream goal?
Well, my first goal was to work on a movie and get my name in the credits. I really love editing Foley but I see myself getting more into sfx and sound design. I wouldn't say I have another goal at the moment. I just want to get involved in all areas and progress as much as I can. Getting into the Union is important, however it's not something I'm worrying about just yet. I'm also starting to invest in my recording equipment to start my own sound effects library.
Hafler Reps Crave CRAS
As part of the ongoing effort to build alliances with audio manufacturers, the Conservatory recently played host to Hafler's domestic rep force. The reps visited the campus in order to see Hafler equipment being used in real world, state-of-the-art surround sound applications. Administrator Kirt Hamm comments: "It was nice to have Brad (Tabor) and the Hafler field reps visit us. It's gratifying to hear compliments from audio professionals, but there's more to it than that. It's all about partnership. In our quest to provide the highest quality audio education, we must feature the highest quality audio products, and our relationships with organizations like Hafler enable us to do exactly that."
Photo caption: L to R (front row): Gary Marshank (Marshank Sales); Jerry Colmenero; John McJunkin (CRAS); Donn Nelson (Pro Media) Dave Clark (Marshank)
L to R (back row): Brad Tabor (Hafler); Kirt Hamm (CRAS) Steve Armstrong (PRO's Pacific Northwest); Sean Rasbury (Pro Media); Jens May (Marshank); Rob Joseph (R. Joseph Group);
Noel Darby (The Performance Group)
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