Experimental Virtual Archeological-Acoustics 

Experimental Virtual Archeological-Acoustics : Multimodal study of the influence of rooms on playing techniques of musicians on 17th and 18th century instruments at Versailles
Thesis funding : Fall 2019 (2019-2022)
Candidatures will be processed starting 17-July-2019 and evaluated as received until the position is filled.
Details also available at http://www.lam.jussieu.fr/Stages/index.php?page=These_FSP
In the context of the collaborative project EVAA, the EVAA_Ver project unites the following team members to provide a PhD funding opportunity (2019-2022):
Labo ETIS – U. de Cergy Pontoise
Institut Jean Le Rond ∂’Alembert
CRC – Equipe Conservation et recherche du Musée de la musique – Cité de la musique – Philharmonie de Paris
Centre de recherche du château de Versailles

Subject
Experimental Virtual Archeological-Acoustics: Multimodal study of the influence of rooms on the playing techniques of musicians on instruments of the 17th and 18th century at Versailles

Keywords
Virtual acoustics, virtual reality, room acoustics, psychoacoustics, musical acoustic, historically informed performance, musicology, Baroque period, Chateau de Versailles

Thesis topic
The PhD project consists of assisting in the creation of a real-time room acoustic simulator for use with musicians, taking into account the musicians movements and the impact of dynamic source directivity. The simulator will be put into use for studying the impact of room acoustics on musicians playing, focusing on comparisons between Baroque chamber music venues and classical period equivalents (Berlioz time). The thesis work will contribute to the research and documentation of pertinent venues, acoustic measurements of existing venues, and the creation of ecologically valid geometrical acoustics models of some of these venues. The thesis will include a series of perceptual studies examining the impact of acoustic variations on playing, in the context of historically informed performance methods.

Context
Research in the history of music and musical acoustics has led to what is known today as a historically informed performance (HIP) using period instruments. Historically informed performance consists of an ideal match between musical instrument, repertoire, and playing techniques. However, for the moment, little research has been carried out on the interaction between the musician and the performance space from an acoustic point of view. Thanks to real-time acoustic simulations of historic rooms, the project proposes to include this dimension in the historically informed performance. By positioning the musician, who plays on accurate facsimile of historical instruments, in virtual play spaces, the influence of the sound and visual environment on the musical practice can be studied. One of the innovative aspects of this thesis subject is to couple a real-time acoustic simulator with a visual room simulator providing musicians with an immersive audio-visual experience. This tool, beyond understanding baroque and classical musical practices will also help to understand the technical evolutions of instruments of the corpus selected in relation to the evolution of the concert halls.
The EVAA_Ver project will build on the results obtained in the VERSPERA project (Digitization and Modeling of Versailles Plans under the Ancien Regime), funded by the Heritage Science Foundation and the Ministry of Culture. The software developed by ETIS as part of the VERSPERA project makes it possible to rapidly build a 3D visual model of the spaces represented by digitized plans, complimented by graphic design students from the “Heritage, visualization and 3D modeling” program, for a precise and photo-realistic 3D model of spaces that are now missing or modified.
The project EVAA_Ver will extend VERSPERA by adding the dimension of sound. By associating musicians, acousticians, historians, and computer scientists, EVAA_Ver strives to federate around the same cultural heritage object a diverse and complementary collection of scientific disciplines. Exploring different disciplinary fields, the results of EVAA_Ver and the overall EVAA umbrella project can nourish each other.Thesis topic
The PhD project consists of assisting in the creation of a real-time room acoustic simulator for use with musicians, taking into account the musicians movements and the impact of dynamic source directivity. The simulator will be put into use for studying the impact of room acoustics on musicians playing, focusing on comparisons between Baroque chamber music venues and modern day equivalents. The thesis work will contribute to the research and documentation of pertinent venues, acoustic measurements of existing venues, and the creation of ecologically valid geometrical acoustics models of on these venues. The thesis will comprise a series of perceptual studies examining the impact of acoustic variations on playing, in the context of historically informed performance methods.

Candidate
The candidate, with a master’s degree in acoustics or related fields, will need the skills to work at the intersection of room acoustic modelling, psychoacoustics, virtual reality, and archeological acoustics (archeoacoustics). An interest/passion for history and music be an additional asset.
Computer skills are also necessary, for virtual reality prototype and integration of experimental tests. Knowledge of MatLab, MaxMSP, programming in C/C++ or python, and Unity would be benefitial.
The ability to work independently as well as part of a group is fundamental to a successful candidate. Motivation, self-discipline, and maturity are needed for this highly interdisciplinary and collaborative project.

Supervision
The PhD will be supervised by both Catherine Lavandier, full professor at the University of Cergy-Pontoise ETIS laboratory (UMR 8051), and Brian FG Katz, CNRS Research Director at the Institut d’Alembert (UMR 7190), Sorbonne University.

Candidature
Candidatures will be processed starting 17-July-2019 and evaluated as received until the position is filled, or 1-Sep-2019. Preferred starting date is 01-Oct-2019, but must be before the end of 2019. Please submit a detailed CV, Master’s degree transcript, letter of motivation concerning the proposed subject, and a list of 2 references (name, telephone, and email address) that can be contacted regarding your qualifications. Material, in PDF format, should be addressed to catherine.lavandier@u-cergy.fr & brian.katz@sorbonne-universite.fr.

Salary
Follows university’s full-time doctoral student rate.

Relevant articles
C. Lavandier, O. Warusfel, and J-P Jullien “Preference analysis derived from perceptive tests in room acoustics,” Intl Cong on Acoustics, pp. 165-168, 1989.
C. Nathanaïl, C. Lavandier, J-D Polack, and O. Warusfel “Influence of Sensory Interaction between Vision and Audition on the perceptual Characterization of Room Acoustics,” Intl Comp Music Conf, 414–417, 1997.
B. N. Postma, S. Dubouilh, and B. F. Katz, “An archeoacoustic study of the history of the Palais du Trocadero (1878-1937),” J. Acoust. Soc. Am., pp. 2810–2821, Apr. 2019, doi:10.1121/1.5095882. SI: Room Acoustics Modeling and Auralization.
B. N. Postma, H. Demontis, and B. F. Katz, “Subjective evaluation of dynamic voice directivity for auralizations,” Acta Acust united Ac, vol. 103, pp. 181–184, 2017, doi:10.3813/AAA.919045.
B. N. Postma and B. F. Katz, “Perceptive and objective evaluation of calibrated room acoustic simulation auralizations,” J. Acoust. Soc. Am., vol. 140, pp. 4326–4337, Dec. 2016, doi:10.1121/1.4971422.
B. N. Postma and B. F. Katz, “Creation and calibration method of virtual acoustic models for historic auralizations,” Virtual Reality, vol. 19, no. SI: Spatial Sound, pp. 161–180, 2015, doi:10.1007/s10055-015-0275-3.
D. Thery, D. Poirier-Quinot, B. N. Postma, and B. F. Katz, “Impact of the visual rendering system on subjective auralization assessment in VR,” in Virtual Reality and Augmented Reality (J. Barbic, M. D’Cruz, M. Latoschik, M. Slater, and P. Bourdot, eds.), no. 10700 (EuroVR 2017) in Lecture Notes in Computer Science (LNCS), pp. 105–118, Springer, 2017, doi:10.1007/978-3-319-72323-5_7.
B. N. Postma, D. Poirier-Quinot, J. Meyer, and B. F. Katz, “Virtual reality performance auralization in a calibrated model of Notre-Dame Cathedral,” in Euroregio, (Porto), pp. 6:1–10, June 2016.

Acoustic Consultant

Idibri

Location: Dallas or San Diego

 

Idibri is a multi-disciplinary consulting firm who specializes in design for spaces where people share an experience. We offer:

  • Support from a skilled and trusted team that enjoys working together.
  • An open, interactive office environment.
  • A team that believes in the community of knowledge, and challenges the status quo.
  • Work on projects that make a difference in people’s lives.

Idibri works on projects you’ve actually heard of: stadia, arenas, entertainment venues, universities and worship facilities. We are known for high creativity, being easy to work with, and for the talent within our team. Not only that, but the people we hire tend to stay. Our average employment is 14 years.

We are looking for talented graduates who…

  • Have a Master’s degree in architecture, acoustics, physics or mechanical engineering.
  • Enjoy working in teams, have high-level thinking skills, and can help facilitate decisions.
  • Are able to present complex issues/data with transparency and impact.
  • Are proficient (or can readily learn) applications such as REVIT, AutoCAD, AIM/TAP, EASE and/or SoundPlan.

You have a choice of location.

We flow work between our Dallas and San Diego offices. You can choose which office you prefer to join.

We are seeking United States citizens or those who can legally work in the United States without our sponsorship.

Why should you apply?

Idibri offers competitive compensation. We also provide an excellent benefits package, including 401(k) and continuing educational reimbursement. We facilitate a flexible work schedule and PTO to help with work/life balance.

Equal Opportunity

We consider having a variety of perspectives and backgrounds a competitive advantage in the marketplace. We are committed to treating all employees as the professionals that they are, without regard to any characteristics that have no bearing on job performance.

Idibri does not discriminate against any employee or applicant for employment because of gender, age, race, creed, color, national origin, ancestry, marital status, or sexual orientation. We review resumes based on qualifications, including experience and education.

Think you might be a good fit?

Send a letter of interest along with your resume to: Robert Rose, rrose@idibri.com.

Acoustical Consultant 

ABD Engineering & Design

Loation: Portland, OR

Acoustical Consultant 

Position Summary

Working under the supervision of the Senior Consultant, the Acoustical Consultant is responsible for designing and engineering acoustical solutions for optimizing acoustical performance as well as controlling, isolating, and mitigating vibration and structure-borne, HVAC, equipment generated, and environmental noise. 

The Acoustical Consultant will work independently as well as collaboratively with staff to learn the fundamentals of solving acoustical challenges in a wide variety of projects including healthcare, education, industrial, religious, corporate, outdoor, and more.

If you like working in collaborative environment where you can put your acoustical knowledge and expertise to practice and you have the following qualifications and experience, send your cover letter and resume to:
Marci Boks
mboks@abdengineering.com

About Us

ABD Engineering & Design is one of the nation’s leading independent acoustical consulting and AV design firms. Our offices in Grand Rapids, MI and Portland, OR allow us to serve our clients across the country, and around the world.

For more information, visit www.abdengineering.com.

Qualifications:

  • Bachelor’s Degree in Architectural Acoustics, Engineering, Physics, or related field with emphasis on acoustics.
  • Two to five years of experience in acoustical consulting, acoustical engineering, or related occupation.
  • Excellent problem-solving skills with the ability to think creatively.
  • Excellent time management, multi-tasking and organizational skills.
  • Experience with sound and vibration test equipment, preferably Larson-Davis.
  • Solid understanding of acoustic principles and real-world application of building and environmental acoustics.
  • Aware of sustainable design principles – preferably LEED AP certification.
  • Experience in AutoCAD systems and acoustical modeling software including EASE, AIM, CATT, SoundPLAN, Cadna-A, or equivalent.
  • Rigorous data processing and analysis skills, excellent verbal and written communication skills, and outstanding teaming skills.
  • Willingness to be flexible, performing responsibilities not specifically identified in the job description and assuming new responsibilities as ABD’s needs change.
  • Ability to travel as needed.
  • Ability to relocate to our office in Portland, Oregon

PhD full funding openings

Experimental Virtual Archeological-Acoustics : Influence of performance spaces on Historically Informed Performance

Thesis funding : Fall 2019 (2019-2022)

 

Candidatures will be processed starting 3-July-2019 and evaluated as received until the position is filled.

In the context of the collaborative project EVAA, comprising the Institut Jean Le Rond ∂’Alembert, IReMus, and the CRC – Equipe Conservation et recherche, a PhD funding opportunity (2019-2022) is available.

Subject

Experimental Virtual Archeological-Acoustics: Influence of performance spaces on Historically Informed Performance

Context

The research and practice of “historically informed performance” (HIP) has advanced significantly in recent decades. This discipline can be summarized as a regard to performance which aims to be faithful to the approach, manner, and style of the musical era in which a work was originally conceived. Two aspects are typically considered in such efforts: performance practice of musicians and use of period instruments. However, little consideration has been given to the influence of performance space on the performance, instrument, or composition of the time. Using real-time virtual acoustic simulations, EVAA aims to include the performance venue’s acoustics as a third component of study for HIP. Placing musicians in various virtual performance spaces, we examine the impact of the room’s acoustics on performance. Such a study also informs investigations on the evolution of instruments themselves, with respect to the evolution of performance venues. Inclusion of the role of composition completes the circle, as it can be seen as both a driving force of change and a response to the changing physics of the instruments and rooms used for music performance. Extending the methodologies of experimental archeology, recent advances in computational accuracy of acoustic virtual reality simulations offer the possibility to create ecologically valid reconstructions of historic sites. The project will employ an interactive immersive real-time simulator allowing musicians to perform “live” within virtual reconstructions of historic venues. This simulator significantly advances upon previous projects in realistic off-line rendering of historic sites. Observations of the impact of acoustic variations on player performance, and comparisons of resulting performances between historically suitable venues and modern performance spaces from an audience perspective, will complete the feedback loop between performer and listener necessary for a full understanding of the historical musical context. The three participating laboratories bring complementary knowledge and skills to the project. IReMus has developed a musicological expertise on the historical approach of music and acoustics and historically informed performance issues. d’Alembert brings its experience in historical virtual acoustic simulations, physical and musical instrument acoustics, and performer and psychoacoustic studies. CRC brings its notable experience in heritage musical acoustics and heretically accurate facsimile construction as well as initial documentary research on performance venues, present in its permanent collection.

Thesis topic

The PhD project consists of assisting in the creation of a real-time room acoustic simulator for use with musicians, taking into account the musicians movements and the impact of dynamic source directivity. The simulator will be put into use for studying the impact of room acoustics on musicians playing, focusing on comparisons between Baroque chamber music venues and modern day equivalents. The thesis work will contribute to the research and documentation of pertinent venues, acoustic measurements of existing venues, and the creation of ecologically valid geometrical acoustics models of on these venues. The thesis will comprise a series of perceptual studies examining the impact of acoustic variations on playing, in the context of historically informed performance methods.

Candidate

The candidate, with a master’s degree in acoustics or related fields, will need the skills to work at the intersection of room acoustic modelling, psychoacoustics, and archeological acoustics (archeoacoustics). An interest/passion for history and music be an additional asset. The ability to work independantly as well as part of a group is fundamental to a successful candidate. Motivation, self-discipline, and maturity are needed for this highly interdisciplinary and collaborative project.

Supervision

The PhD will be supervised by Brian FG Katz, CNRS Research Director at the Institut d’Alembert, Sorbonne University, and Théodora Psychoyou, Assistant Professor, University of Paris-Sorbonne and IReMus.

Candidature

Please submit a detailed CV, Master’s degree transcript, letter of motivation concerning the proposed subject, and a list of 2 references that can be contacted. Material, PDF format, should be addressed to brian.katz@sorbonne-universite.fr.

Relevant articles

B. N. Postma, S. Dubouilh, and B. F. Katz, “An archeoacoustic study of the history of the Palais du Trocadero (1878-1937),” J. Acoust. Soc. Am., pp. 2810–2821, Apr. 2019, doi:10.1121/1.5095882. SI: Room Acoustics Modeling and Auralization.

B. N. Postma, H. Demontis, and B. F. Katz, “Subjective evaluation of dynamic voice directivity for auralizations,” Acta Acust united Ac, vol. 103, pp. 181–184, 2017, doi:10.3813/AAA.919045.

B. N. Postma and B. F. Katz, “Perceptive and objective evaluation of calibrated room acoustic simulation auralizations,” J. Acoust. Soc. Am., vol. 140, pp. 4326–4337, Dec. 2016, doi:10.1121/1.4971422.

B. N. Postma and B. F. Katz, “Creation and calibration method of virtual acoustic models for historic auralizations,” Virtual Reality, vol. 19, no. SI: Spatial Sound, pp. 161–180, 2015, doi:10.1007/s10055-015-0275-3.

D. Thery, D. Poirier-Quinot, B. N. Postma, and B. F. Katz, “Impact of the visual rendering system on subjective auralization assessment in VR,” in Virtual Reality and Augmented Reality (J. Barbic, M. D’Cruz, M. Latoschik, M. Slater, and P. Bourdot, eds.), no. 10700 (EuroVR 2017) in Lecture Notes in Computer Science (LNCS), pp. 105–118, Springer, 2017, doi:10.1007/978-3-319-72323-5_7.

B. N. Postma, D. Poirier-Quinot, J. Meyer, and B. F. Katz, “Virtual reality performance auralization in a calibrated model of Notre-Dame Cathedral,” in Euroregio, (Porto), pp. 6:1–10, June 2016.

Experimental Virtual Archeological-Acoustics : Influence of performance spaces on Historically Informed Performance

Thesis funding : Fall 2019 (2019-2022)

 

Candidatures will be processed starting 3-July-2019 and evaluated as received until the position is filled.

In the context of the collaborative project EVAA, comprising the Institut Jean Le Rond ∂’Alembert, IReMus, and the CRC – Equipe Conservation et recherche, a PhD funding opportunity (2019-2022) is available.

Subject

Experimental Virtual Archeological-Acoustics: Influence of performance spaces on Historically Informed Performance

Context

The research and practice of “historically informed performance” (HIP) has advanced significantly in recent decades. This discipline can be summarized as a regard to performance which aims to be faithful to the approach, manner, and style of the musical era in which a work was originally conceived. Two aspects are typically considered in such efforts: performance practice of musicians and use of period instruments. However, little consideration has been given to the influence of performance space on the performance, instrument, or composition of the time. Using real-time virtual acoustic simulations, EVAA aims to include the performance venue’s acoustics as a third component of study for HIP. Placing musicians in various virtual performance spaces, we examine the impact of the room’s acoustics on performance. Such a study also informs investigations on the evolution of instruments themselves, with respect to the evolution of performance venues. Inclusion of the role of composition completes the circle, as it can be seen as both a driving force of change and a response to the changing physics of the instruments and rooms used for music performance. Extending the methodologies of experimental archeology, recent advances in computational accuracy of acoustic virtual reality simulations offer the possibility to create ecologically valid reconstructions of historic sites. The project will employ an interactive immersive real-time simulator allowing musicians to perform “live” within virtual reconstructions of historic venues. This simulator significantly advances upon previous projects in realistic off-line rendering of historic sites. Observations of the impact of acoustic variations on player performance, and comparisons of resulting performances between historically suitable venues and modern performance spaces from an audience perspective, will complete the feedback loop between performer and listener necessary for a full understanding of the historical musical context. The three participating laboratories bring complementary knowledge and skills to the project. IReMus has developed a musicological expertise on the historical approach of music and acoustics and historically informed performance issues. d’Alembert brings its experience in historical virtual acoustic simulations, physical and musical instrument acoustics, and performer and psychoacoustic studies. CRC brings its notable experience in heritage musical acoustics and heretically accurate facsimile construction as well as initial documentary research on performance venues, present in its permanent collection.

Thesis topic

The PhD project consists of assisting in the creation of a real-time room acoustic simulator for use with musicians, taking into account the musicians movements and the impact of dynamic source directivity. The simulator will be put into use for studying the impact of room acoustics on musicians playing, focusing on comparisons between Baroque chamber music venues and modern day equivalents. The thesis work will contribute to the research and documentation of pertinent venues, acoustic measurements of existing venues, and the creation of ecologically valid geometrical acoustics models of on these venues. The thesis will comprise a series of perceptual studies examining the impact of acoustic variations on playing, in the context of historically informed performance methods.

Candidate

The candidate, with a master’s degree in acoustics or related fields, will need the skills to work at the intersection of room acoustic modelling, psychoacoustics, and archeological acoustics (archeoacoustics). An interest/passion for history and music be an additional asset. The ability to work independantly as well as part of a group is fundamental to a successful candidate. Motivation, self-discipline, and maturity are needed for this highly interdisciplinary and collaborative project.

Supervision

The PhD will be supervised by Brian FG Katz, CNRS Research Director at the Institut d’Alembert, Sorbonne University, and Théodora Psychoyou, Assistant Professor, University of Paris-Sorbonne and IReMus.

Candidature

Please submit a detailed CV, Master’s degree transcript, letter of motivation concerning the proposed subject, and a list of 2 references that can be contacted. Material, PDF format, should be addressed to brian.katz@sorbonne-universite.fr.

Relevant articles

B. N. Postma, S. Dubouilh, and B. F. Katz, “An archeoacoustic study of the history of the Palais du Trocadero (1878-1937),” J. Acoust. Soc. Am., pp. 2810–2821, Apr. 2019, doi:10.1121/1.5095882. SI: Room Acoustics Modeling and Auralization.

B. N. Postma, H. Demontis, and B. F. Katz, “Subjective evaluation of dynamic voice directivity for auralizations,” Acta Acust united Ac, vol. 103, pp. 181–184, 2017, doi:10.3813/AAA.919045.

B. N. Postma and B. F. Katz, “Perceptive and objective evaluation of calibrated room acoustic simulation auralizations,” J. Acoust. Soc. Am., vol. 140, pp. 4326–4337, Dec. 2016, doi:10.1121/1.4971422.

B. N. Postma and B. F. Katz, “Creation and calibration method of virtual acoustic models for historic auralizations,” Virtual Reality, vol. 19, no. SI: Spatial Sound, pp. 161–180, 2015, doi:10.1007/s10055-015-0275-3.

D. Thery, D. Poirier-Quinot, B. N. Postma, and B. F. Katz, “Impact of the visual rendering system on subjective auralization assessment in VR,” in Virtual Reality and Augmented Reality (J. Barbic, M. D’Cruz, M. Latoschik, M. Slater, and P. Bourdot, eds.), no. 10700 (EuroVR 2017) in Lecture Notes in Computer Science (LNCS), pp. 105–118, Springer, 2017, doi:10.1007/978-3-319-72323-5_7.

B. N. Postma, D. Poirier-Quinot, J. Meyer, and B. F. Katz, “Virtual reality performance auralization in a calibrated model of Notre-Dame Cathedral,” in Euroregio, (Porto), pp. 6:1–10, June 2016.

Western Regional Sales Manager (US)

GRAS Sound & Vibration

Location: West of the Rocky Mountains (within defined sales region)

How to apply: Email intro letter and resume to:

Edward M. Okorn

General Manager – North America

GRAS Sound & Vibration

2234 E. Enterprise Pkwy.

Twinsburg, OH 44087

T: 330.425-1201 | E: Ed@GRAS.US <mailto:Ed@GRAS.US> | W: www.GRAS.US <http://www.GRAS.US>

Full description of the position:

Western Regional Sales Manager

GRAS Sound & Vibration – North America

Position Title: Western Regional Sales Manager (W-RSM)

Reporting Office Location: Twinsburg/Cleveland, Ohio

Position Office Location: Home based office located West of the Rocky Mountains

Geographic Responsibility: MT, WY, CO, NM, AZ, UT, ID, WA, OR, NV, CA, AK, HI

Job Description

Management of strategic account development and sales representative distribution channel in the defined region, selling measurement grade acoustic sensors and accessories in R&D, research, and manufacturing test to the following markets: Audiology/Commercial Electronics, Automotive/Transportation, and Aerospace/Defense.

As a Regional Sales Manager (RSM), your primary role is to grow the region by translating market opportunities and strategic accounts into sales activities, thereby enabling the company to increase its sales and profit. The RSM is to build vertical and horizontal relationships across strategic accounts and applications, support the Sales Representatives to close sales, within the defined geographic region. This will require the judicious and autonomous management of GRAS-NA resources, sales representatives, and factory support to achieve.

We require an individual with a hunter mentality, self-directed, and a leader who is passionate about succeeding, talented, and experienced to motivate and lead our sales efforts in the region. GRAS has accrued an industry leading reputation for the excellence of our acoustic solutions and our ability to understand and meet the specific needs of our customers and offer top-line customer support.

Your role will be to expand the sales of our products and expertise, develop our sales partners knowledge in the region, and bring critical customer requirements back into the development and marketing processes. You will ensure that our sales partner’s always have GRAS products in the forefront of their mind when doing business. You will work in concert with our sales partners to build relationships with customers.

Our products are innovative and technical. A critical part of the sales and marketing process involves communicating features and applications effectively, demonstrating our expertise, and understanding the customer’s needs while interacting with our sales partners and their customers’ engineering teams. Our customers possess a wide variety of applications, resources, and capabilities. Many of our customers require support and design services in implementing our technology. The successful Regional Sales Manager will work with our sales channels’ and their customers to understand their products and capture their requirements.

Part of your responsibilities will to be to make presentations for customer visits, participate in one day seminars, quote preparation, CRM management and growth, and to follow through the entire sales process. The position also includes sales/marketing planning and budget responsibility.

Requirements

* Education: Bachelor level min., preferably in acoustics, engineering, or business administration.

* Experience in technical sales of acoustics, sensors, or electronically complicated products.

* Experience with customers – either in a direct or indirect sales role identifying business opportunities and transforming them into sales.

* Experience in managing and motivating sales representative teams to support and expand sales.

* Hunter mentality, strategically using all available resources to meet and exceed goals.

* To know what it means to stay “top of mind” with your customers.

* The ideal candidate displays initiative, is a good influencer who takes a solutions-based customer approach.

* Team player ~ Must be connected to the business, communicates openly, shares information and knowledge, networks internally and externally, persuades rather than pushes, involves and respects colleagues.

* 3-5 years of progressive experience and proven success in a technical sales role.

* Travel as necessary, 30-60% of time, to support sales team in customer meetings.

* Must be self-motivated and driven working autonomously in a remote/home-based office.

* Fluent in all current office computer software, e.g. (MS Word, Excel, Dynamics 365, WebEx, Skype, etc.).

* Must be responsive and react quickly and with a sense of urgency to requests, issues, emails or other events in a timely and flexible fashion.

Are you ready for the challenge?

We offer you a challenging and demanding position in a well-established company facing continued large growth over the next couple of years. You are expected to contribute with your view on things, and intensive training in the GRAS products will be planned.

About Our Company

GRAS Sound & Vibration develops and manufactures a broad range of measurement grade acoustic sensors and accessories. We are innovative and work in close cooperation with our customers and partners. In the market we are known for high quality, flexibility and service. Our customers are a global company and we export to more than 40 countries through our own sales offices and distributors. GRAS is a private family-owned company.

GRAS North America is a wholly owned subsidy of Denmark-based GRAS Sound & Vibration. We are a well-lead dynamic and spirited team, rapidly growing, and on track to double sales in the Americas in the next 3 yrs. If you want to be part of a winning team selling into exciting and diverse applications, we look forward to hearing from you. Read more about GRAS at www.GRAS.us <http://www.GRAS.us>

We look forward to hearing from you

Applications should be sent to ContactUs@GRAS.us 

Entry Level Acoustical Consultant

Newson Brown Acoustics, LLC

Location: Santa Monica, CA

 

Entry Level Acoustical Consultant, Newson Brown Acoustics, LLC, Santa Monica, CA

Newson Brown Acoustics, LLC is seeking to hire an entry-to-mid level acoustical consultant to work in our office located in Santa Monica, California.

Newson Brown Acoustics, LLC has been in business for over twenty five years. Consultants at our company provide a full range of acoustical consulting services including architectural acoustics, building services noise and vibration control, community and environmental acoustics and acoustical troubleshooting. Our office works on a broad range of project types including television and movie studios, radio and recording studios, corporate headquarters, courts and other civic buildings, educational facilities, healthcare, residential, resorts and hotels, laboratories, libraries, museums, performing arts spaces, screening rooms, theaters and worship spaces. Clients served include all major Hollywood movie studios, tech companies, major global corporations, governments and academic institutions.

Duties and Responsibilities

• Reviewing architectural, mechanical, electrical and plumbing drawings.
• Providing sound isolation and acoustical finish recommendations.
• Using software to predict mechanical noise levels and recommending appropriate noise control.
• Providing vibration isolation specifications for electrical, plumbing and elevator systems.
• Carrying out noise surveys of project sites and recommending upgrades to building exteriors as needed to meet interior noise level criteria.
• Noise control of emergency generators and other outdoor equipment.
• Acoustical testing and troubleshooting.
• Vibration measurements.
• Analysis of noise and vibration data.
• Understanding of acoustics standards.
• Reviewing and responding to requests for information and product submittals during construction.
• Visiting projects during construction to determine if they are being built per the plans.
• Preparation of technical reports and communicating with clients.
• Attending meetings to discuss and present reports.
• Effective time management to meet deadlines on multiple projects.

Required Qualifications and Experience

• A Bachelor’s Degree or Master’s Degree (preferred) in acoustics, or a related subject.
• Experience with Word and Excel.

Beneficial Experience

• Experience with TAP, CATT Acoustic, Auto CAD, Revit and EASERA.
• Experience with both Bruel and Kjaer and Larson Davis sound level meters and software.
• Knowledge of common architectural terms, structures, building systems and design practices.
• Ability to read, understand, interpret and analyze architectural and technical drawings, specifications and other related materials.

Professional Skills

• Strong analytical, problem-solving, and decision making capabilities.
• Excellent writing, listening and verbal communications skills, with a strong commitment to learning.
• Excellent time management skills with the ability to prioritize and multi-task, work under strict deadlines in a fast-paced environment, interface effectively with management, and handle multiple requests.
• Ability to work independently and as a team.
• Ability to work with all levels of internal staff, as well as outside clients and vendors.
• Proactive, conscientious and flexible, with a strong work ethic.
• Organized and detail oriented.
• Passion for acoustics, building/construction, and design.
• Sound business ethics, including the protection of proprietary and confidential information.

Training and Benefits

We aim to fully train entry level consultants in all of the duties and responsibilities listed above within two to three years of joining the company.

We offer competitive salaries and outstanding benefits including:
o Fifteen days of paid vacation per year for starting employees.
o Seven paid holidays per year.
o Five days of paid sick leave per year.
o Health and dental coverage.
o 401k plan with company contributions.
o Long term disability insurance.
o Reimbursement of relocation expenses.

Newson Brown Acoustics, LLC is an equal opportunity employer. Applicants must be able to work legally in the United States. Qualified applicants are invited to send a resume and salary requirements to martin@newsonacoustics.com. Both graduates and people with work experience are welcome to apply.

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