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AES@NAMM Pro Sound Symposium Unveils Rich and Varied Program of Educational Training Sessions

AES@NAMM Pro Sound Symposium Unveils Rich and Varied Program of Educational Training Sessions

With a full schedule for the inaugural AES@NAMM Pro Sound Symposium: Live & Studio now online at both the AES and NAMM websites, participants will be able to review the rich and varied educational program and select technical and training sessions they would like to attend. The four-day international symposium from the Audio Engineering Society, which will be held at the 2018 NAMM Show from January 25-28 in Anaheim, CA, is targeted at working professionals in the live sound, recording and performance-audio communities. The program comprises a series of Training Academies and related sessions on line-array technologies, live-sound mixing consoles, wireless systems, in-ear monitoring and recording studio environments, in addition to tutorials on system measurement and optimization, plus a selection of technical papers in related fields. Classes will be held within the Anaheim Hilton Hotel’s NAMM U Education Center, adjacent to a new pro-audio exhibit space. The entire schedule of nearly 300 sessions can be accessed here: https://www.namm.org/thenammshow/2018/events/education/aes

In addition to the Line Array Loudspeaker Academy, with program supporters AdamsonBose ProfessionaldB Technologies and EAW, the Live Mixing Console Academy with QSC and Yamaha, and Entertainment Wireless Academy with Lectrosonics and Sennheiser, stand-out tutorials and workshops include Main Stage: StudioMain Stage: Live and Sound System Measurement & Optimization. Other symposium supporters and technical participants in The Studios sessions include Apogee, DigiGrid, Digital Audio Denmark, Eventide, Focal, Genelec, Meyer Sound Laboratories and Waves/Soundgrid

Main Stage: Live sessions will cover contemporary live sound-system mixing and concert system engineering, with support and participation from top-tier rental sound company owners and leading FOH mixers. Individual presentations and technical tutorials will be offered on live digital mixing console automation, virtual soundchecks, low-frequency management in live concert venues, world-tour logistics and more, as well as daily panels on other popular live-sound topics. During the four days of sessions, participating expert speakers joining veteran FOH host Robert Scovill include Rat Sound founder Dave Rat, Sound Image president Dave Shadoan, ATK/Audiotek president Michael MacDonald, and several surprise guests. Pat Baltzell of Baltzell Audio Design will reveal details of his experiences mixing live entertainment segments for the Superbowl halftime shows. The unique challenges of co-mixing FOH for the Sting/Paul Simon Tour will be highlighted by Coach Conner (FOH, Paul Simon) and Clair Global senior system engineer Howard Page (FOH, Sting).

Hosted by producer/engineer/author Bobby Owsinski, Main Stage: Studio presentations occur hourly during all four days from such industry experts as Andrew SchepsSylvia MassyGavin LurssenRichard ChyckiScott Gershinand many more. Topics range from Outside-the-Box Recording Techniques and Virtual Microphones to Alternative Studio Design and DIY Projects; they also focus on business, social media and creativity topics.

Sound System Measurement & Optimization Workshop, hosted by John Murray of Optimum Systems, will include breakout classrooms on AFMG’s SysTune, Rational Acoustics’ Smaart and Studio Six Digital’s Audio Tools. Sessions include Bruce Olson addressing Delay Fill Alignment, Charlie Hughes’s famous Subwoofer Series, Jamie Anderson on Multi-Mic Measurement, Chris Tsanjouries on Crossing the Art/Science Line and Andrew Smith on Choosing the Right Frequency Analyzer.

“This unique, new Audio Engineering Society AES@NAMM Symposium will spotlight the application of audio science and technology to sound-system operations, along with studio workflow practices,” emphasizes AES president David Scheirman. Advance registration costs are $99 for a full-day session or $69 for a half-day session; prices for non-AES members are $129 and $89, respectively. Non-members are encouraged to join the Society prior to purchasing Access Passes for the symposium program to receive the discounted price.

“We're pleased to be a part of the inaugural AES@NAMM programming at The NAMM Show 2018,” says Marc Weber, director of product and brand management with Adamson Systems Engineering. “NAMM's effort to boost the live-performance audio presence at this year's show is very encouraging.” “Bose Professional will be providing hands-on training for our compact line array assembly with DeltaQ technology, along with details of our collaboration with Powersoft's DSP and amplification platform,” adds Jeff Lange, the firm’s global loudspeaker trainer.

The equally important Social Events Program includes “Live Sound, Lessons Learned,” a Press Invitational that will honor the memory of Audio Analysts’ Albert Leccese on Thursday; an AES@NAMM Student Mixer on Friday; and a Saturday cocktail reception honoring women working in professional audio, organized by the Society’s new AES Diversity and Inclusion Committee.

The Technical Papers Sessions of peer-reviewed papers that are standard fare for such AES gatherings will be book-ended by Chinese-language sessions on selected pro-audio topics curated and presented by Bing Li, who chairs the AES Guangzhou Professional Section, together with Xiaowei Fan, lecturer on acoustics at Communication University of China, Nanjing College. Spanish-language sessions on studio recording workflow processes will also be presented and curated by Juan de Dios Martin, an experienced producer/engineer and Avid Pro Tools practitioner.

More: www.AESatNAMM.com | Facebook AES at NAMM 2018| Twitter @NAMMShow 

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Posted: Friday, December 15, 2017

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AES President David Scheirman Gives Keynote Speech at International Symposium on ElectroAcoustic Technologies

Shen Yong, ISEAT Chair; Zhou Haichang, Chairman - China Audio Industry Association; AES President David Scheirman; Zhu Xincun, Chairman - China Entertainment Technology Association; Li Jianwei, Chairman - China Electronic Components Association electroacoustic device branch

Shen Yong, ISEAT Chair; Zhou Haichang, Chairman - China Audio Industry Association; AES President David Scheirman; Zhu Xincun, Chairman - China Entertainment Technology Association; Li Jianwei, Chairman - China Electronic Components Association electroacoustic device branch

Audio Engineering Society President David Scheirman recently gave the keynote speech for the 6th International Symposium on ElectroAcoustic Technologies (ISEAT 2017) in Shenzhen, China, held November 4-5. Scheirman’s speech opened the symposium with the topic “Past, Present, and Future: an Overview of Large-Scale Loudspeakers Arrays” and additionally shared perspectives on the worldwide influence of the AES in the field of audio engineering.

 

ISEAT has been held every two years since 2007 and was initiated by Professor Shen Yong from Nanjing University, who serves as the chairman of the symposium. Aimed to promote technology exchange and learning in electroacoustics and related fields, ISEAT offers attendees a rich technical program with scientific paper presentations, workshops and tutorials. The symposium lays claim to being the most influential and best-attended technology exchange platform in China’s growing professional audio industry. 

 

ISEAT 2017 brought together dozens of the most outstanding scientists and engineers in audio science and technology from all over the world. AES leaders and members included Scheirman, Past President Sean Olive, Fellow and silver medal recipient David Griesinger and Fellow and silver medal recipient Wolfgang Klippel. Also in attendance were ASA standards director Christopher Struck; Ning Xiang, associate editor of the JASA; Akira Mochimaru, senior specialist from Bose; and many other experts. More than 50 papers were presented, covering five primary technical topics: consumer electroacoustics, micro electroacoustics, professional electroacoustics, smart electroacoustics and architectural acoustics. Attendees streamed through the doors of lecture halls, with a registration of over 6000. The symposium also invited founders of China’s top companies in the electroacoustics industry, well-known entrepreneurs, the Chairman of the China Entertainment Technology Association, the Chairman of the China Electronic Components Association – electroacoustic device branch, the Chairman of the China Audio Industry Association and other industry leaders.

 

ISEAT has worked with the Audio Engineering Society for over a decade and has invited a number of AES presidents and recipients of AES awards to give paper presentations at previous symposiums. The event organizers have actively developed a platform for deeper communication with AES, with the Society contributing valuable technical knowledge, while enthusiastically stimulating a cross-organizational technical seminar. After his keynote speech at ISEAT 2017, Scheirman discussed various aspects of AES membership and activities, including member profiles; organization and the resulting influence of AES across the range of professional audio disciplines; career development; community and human networking benefits; events (local, regional and international); and standards and recommended practices. Scheirman outlined upcoming AES events to be held in 2018, including the 144th AES Convention in Milan, the 2018 AES International Conference on Music Induced Hearing Disorders and AES@NAMM. He also spoke about the dissemination of scientific research through the Journal of the Audio Engineering Society and the AES’s E-library, as well as by the AES Technical Council and its various topical committees. Scheirman closed his presentation by thanking Professor Shen for his long-time contribution to the international electroacoustic field, also thanking the symposium staff that had supported the event so successfully. At the same time, he noted that the AES would keep in close contact and maintain in-depth cooperation with ISEAT for further expansion of the Audio Engineering Society’s growing influence in China. 


Posted: Friday, December 8, 2017

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The Latest AES Journal is Now Online and Free to View for All AES Members

The Latest AES Journal is Now Online and Free to View for All AES Members
The latest AES Journal is now online, and free to view for all AES Members.
 
Conference Reports, Papers, Special Features, Call for Contributions, Section Reports, and much more - Find out what's happening with Your AES!

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Posted: Wednesday, November 29, 2017

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AES@NAMM Pro Sound Symposium Opens Online Registration With News of Key Program Supporters

AES@NAMM Pro Sound Symposium Opens Online Registration With News of Key Program Supporters

- Industry-leading brands and companies supporting unique tutorial sessions -

Registration is now open for the inaugural AES@NAMM Pro Sound Symposium: Live & Studio, a unique education and training program from the Audio Engineering Society targeted at working professionals in the live sound, recording and performance-audio communities. The four-day international symposium, which will be held at the 2018 NAMM Show from January 25-28 in Anaheim, CA, comprises a series of Training Academies and related sessions on line-array technologies, live-sound mixing consoles, wireless systems and studio environments, in addition to tutorials on system measurement and optimization, plus a selection of technical papers in related fields. These must-attend classes will be held within the Anaheim Hilton Hotel’s NAMM U Education Center, adjacent to a new pro-audio exhibit space.

“The Audio Engineering Society is leveraging up-to-date expert knowledge from both its members and supportive pro-audio equipment manufacturers,” states AES president David Scheirman. “This symposium will throw a creative spotlight on the application of audio science and technology to sound-system operations, along with studio workflow practices.” Advance registration costs are $69 for a half-day session and $99 for a full-day session; prices for non-AES members are $169 and $199, respectively. Non-members are encouraged to join the Society prior to purchasing Access Passes for the symposium program, since they will receive a significant discount of $100 for each day they sign up.

The organizing committee also has named numerous symposium supporters, which for the Line Array Loudspeaker Academy comprise AdamsonBose Professional and EAW, with more to be added soon. QSC and Yamaha are supporting the Live Mixing Console Academy – with others expected –  while Lectrosonics and Sennheiser are supporting the Entertainment Wireless Academy. Supporters for the Studios Academy, which will profile studio monitors, interfaces, DAWs, plug-ins and more in three separate studio environments, include ApogeeDigiGridFocalGenelecMeyer Sound Laboratories and Waves.

“We're pleased to be a part of the inaugural AES@NAMM programming at The NAMM Show 2018,” says Marc Weber, director of product and brand management with Adamson Systems Engineering. “NAMM's effort to boost the live-performance audio presence at this year's show is very encouraging. Our participation in the Line Array Loudspeaker Academy complements our dedicated focus on training and education for our users, and we're looking forward to giving NAMM Show attendees a taste of our premium, made-in-Canada loudspeaker products."

“Bose Professional looks forward to sharing configuration and set-up details of our ShowMatch™ System Solutions during the AES@NAMM Symposium,” says Jeff Lange, the company’s global loudspeaker trainer. “We will be providing hands-on training for our compact line array assembly with DeltaQ™ technology, along with details of our collaboration with Powersoft's DSP and amplification platform, and a thorough explanation of our line array calculation software using AFMG's EASE Focus. I'm really looking forward to seeing rental company owners, system engineers and field technicians in Anaheim.”

The Main Stage: Studio sessions coordinated by seasoned author and engineer/producer Bobby Owsinski with a team of studio industry experts will address a range of key operational parameters for recording and production facilities. The Sound System Measurement & Optimization Tutorials will be presented by a panel of seasoned experts, including John MurrayBruce OlsonCharlie HughesJames AndersonChris Tsanjouries and Andrew Smith, who will discuss measuring and then optimizing the technical performance of various audio systems.

Newly added to the program is the In-Ear Monitor Academy, which will spotlight the installation and operation of in-ear monitoring systems, and Main Stage: Live Sound, which will focus on setting up and using contemporary live-sound systems, with instruction on configuring and interfacing key components in high profile, real-world applications. A related, special social event on Thursday January 25, entitled “Live Sound, Lessons Learned,” will honor the memory of Audio Analysts’ Albert Leccese.

The Technical Papers Sessions of peer-reviewed papers that are standard fare for such AES gatherings will be book-ended by Chinese-language sessions on selected pro-audio topics curated and presented by Bing Li, who chairs the AES Guangzhou Professional Section, together with Xiaowei Fan, lecturer on acoustics at Communication University of China, Nanjing College. Spanish-language sessions on studio recording workflow processes will be presented and curated by Juan de Dios Martin, an experienced producer/engineer and Avid Pro Tools practitioner.

As with all Technical Sessions at traditional Audio Engineering Society events, AES@NAMM is a fee-based symposium with limited seating secured through advance registration, open to all show attendees with a NAMM Badge. Attendees can purchase half-day or whole-day admission, with registration now open. Academy trainees will receive a Certificate of Attendance to confirm their participation in educational sessions. 

NAMM U Education Center
AES@NAMM’s Education Center comprises multiple rooms on the fourth floor of the Anaheim Hilton that face the Grand Plaza. Symposium sessions will run 9:00 am to 5:00 pm from Thursday, January 25 through Sunday, January 28, with the last day ending at 4:00 pm.

More: www.AESatNAMM.com | Facebook The NAMM Show | Twitter @NAMMShow 

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Posted: Monday, November 20, 2017

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David Scheirman Takes Office as President of the Audio Engineering Society

AES President David Scheirman

AES President David Scheirman

The AES has announced that David Scheirman has taken office as the new President of the Audio Engineering Society. In continuing its role of promoting audio science and education, the AES welcomes Scheirman and his forty-plus years of experience and expertise in professional audio – and as a long-time active member of the AES, where he’s served three terms on the Board of Governors, along with numerous roles and chair positions at AES conventions and within the AES committee system.

“David has played a leading role in the past year as Chair of the President’s strategic planning team,” said Alex Case, as he ends his own one-year presidential term. “David was instrumental in our development of new events and collaborations. With his broad and deep industry experience, he is uniquely prepared to lead these AES initiatives in the coming year.” Case will continue to serve on the AES Executive Committee as Past President, while also chairing the Membership and Nominations Committees.

Scheirman, an AES member since 1975, has been directly involved with PA rental companies, an installed system integrator, an electro-acoustical measurement laboratory, a computer-control system developer, a networking technology R&D firm and leading loudspeaker system manufacturers, with previous recent experience notably including his work with HARMAN Professional and JBL. Currently, he holds the position of Director, Global Concert & Rental Business at Bose Professional.

Past AES duties include three terms on the AES Board of Governors; Past Chair, AES Pacific NW section; Executive Committee, Los Angeles Section; Facilities Chair, 137th and 139th Conventions; Session Chair, AES International Conference on Sound Reinforcement; and Co-Chair, AES international Conference on Computer Controlled Sound Systems. Further, Scheirman is a member of the AES Standards Committee’s Standards Task Force, and has served on or chaired additional AES committees, including Executive Committee, Board of Governors, Conference Policy, Convention Policy, Laws & Resolutions, Membership, Nominations, Regions & Sections, 143rd Convention and AES@NAMM. His professional development background includes executive education programs with California Institute of Technology (Accelerating Product Development), Stanford University (Market Strategy for Technology-Based Companies), M.I.T. (Managing Complex Product Development Processes), and University of Washington (Finance for Non-Financial Managers).

“I’m honored to have been elected President of the AES by our membership,” said Scheirman, “and the timing takes place as our Society moves forward with so many promising initiatives like our collaborative events and our membership growth activities in China and elsewhere across the globe. Equally promising is our ongoing investment in the future through service to our growing student membership, and, as evidenced by our creation of the new Diversity and Inclusion committee, in proactively promoting opportunity both within the AES and the audio industry at large. I look forward to helping facilitate further progress.”

Read David Scheirman’s AES Presidents Message here and learn more about how you can be a part of the AES at aes.org.


Posted: Tuesday, November 14, 2017

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AES Celebrates UNESCO World Day for Audiovisual Heritage, Friday, October 27, 2017, with Conference Scholarship

AES Celebrates UNESCO World Day for Audiovisual Heritage, Friday, October 27, 2017, with Conference Scholarship
To celebrate UNESCO’s World Day for Audiovisual Heritage (Friday, October 27, 2017), the Audio Engineering Society has established a scholarship to cover travel and registration costs to fund participation by an audio archivist from an emerging nation in the 2018 AES International Conference on Audio Archiving, Preservation and Restoration. The conference will take place June 28 to 30, 2018, at the United States Library of Congress’ National Audio Visual Conservation Center (NAVCC) in Culpeper, Virginia, USA.
 
“This event presents a remarkable opportunity to bring researchers and practitioners together for three days to discuss critical preservation issues and to focus on strategies that will support and encourage collaboration and interoperability between industry and the preservation, restoration and archiving communities,” said Conference Chair John Krivit. “To serve the mission of UNESCO’s World Day for Audiovisual Heritage, we want to make it possible for a deserving audio archivist to gain knowledge they can bring home to aid the preservation of the audio artifacts of a language and culture.”
 
With a theme of “Discover, Remember and Share,” UNESCO’s (United Nations Educational, Science and Cultural Organization) World Day for Audiovisual Heritage is a commemoration of the adoption, in 1980 by the 21st General Conference, of the Recommendation for the Safeguarding and Preservation of Moving Images. The vision for the event also encapsulates the motivation behind AES’s technical Conference on Audio Archiving, Preservation and Restoration. “Audiovisual archives tell us stories about people’s lives and cultures from all over the world,” states the event website. “They represent a priceless heritage which is an affirmation of our collective memory and a valuable source of knowledge since they reflect the cultural, social and linguistic diversity of our communities. They help us grow and comprehend the world we all share. Conserving this heritage and ensuring it remains accessible to the public and future generations is a vital goal for all memory institutions as well as the public at large.”
 
Topics for the AES’s Conference on Audio Archiving, Preservation and Restoration will include object-based preservation & material science, handling and storage of audio carriers, new developments in material research, preservation by digitization, mechanical vs. optical transfer, restoration of obsolete disc formats, preservation issues for emerging high-end audio formats, preserving legacy professional formats (including multitrack tapes and obsolete digital formats), storage and access technology, current status and future development of digital archives, metadata, aesthetic considerations in digital restoration of historical audio, public/private collaboration for preservation and access, and considerations for archiving in preserving commercial audio. The conference program will include a tour of the NAVCC.
 
For more information about the 2018 AES Conference on Audio Archiving, Conservation and Restoration, and the call for contributions, visit http://www.aes.org/conferences/2018/archiving/. Guidelines for applying for the scholarship will be posted at that site on November 1, 2017.
 

For more information on UNESCO’s World Day for Audiovisual Heritage, visit https://en.unesco.org/wdah2017 


Posted: Thursday, October 26, 2017

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AES New York 2017 Attendees Experience Maximum Audio in the Big Apple

AES New York 2017 Attendees Experience Maximum Audio in the Big Apple
- Hundreds of tech sessions and exhibitors provided myriad opportunity for throngs of attendees to Listen, Learn and Connect -
 
Declared a rousing success by attendees, exhibitors, presenters and sponsors alike, the AES New York 2017 Convention once again hosted the year’s largest annual contingent of pro audio professionals, students, and enthusiasts at the Jacob Javits Center, October 18 – 21. Convention co-chairs Agnieszka Roginska and Paul Gallo, along with numerous convention organizers and volunteers, provided the programming and events spanning the four days of audio presentations, discussion panels, and three-day gear exhibition. Additionally, co-location at the Javits Center with the NAB New York show created an additional edge, bringing in an even more diverse attendee base to the premier professional audio education and networking event of the year.
 
Total registration for the 143rd International Convention eclipsed that of last year’s Los Angeles Convention. With 15,590 registrants, AES New York 2017 registrations were 24% higher than final registration for AES LA 2016 (where 12,540 registrations were tallied, including those for the parallel AVAR Conference).  The quality of the technical program in New York drew over 40% more All Access attendees than in Los Angeles last year, setting a new milestone.
 
“I’ve never been so proud of our team and of an AES Convention as I am after the amazingly successful AES New York 2017,” said AES Executive Director Bob Moses. “Words don’t come close to conveying the admiration I have for every member of the Convention committee and every member of the AES staff and our volunteers. Attendees and the Convention exhibitors and sponsors offered unsolicited praise for the entire convention experience, from the technical program to the exhibition hall. Our co-location experience with The NAB Show New York proved that working with collaborative partners can be mutually beneficial and still allow each organization to retain its unique and independent identity.”
 
With the theme of Maximum Audio, AES New York brought a diverse array of special events and prominent industry names and technologies into the spotlight. In addition to the opening Diversity Town Hall meeting and Keynote Speech by Prof. Edgar Choueiri, the Heyser Lecture given by renowned, award-winning engineer and producer Leslie Ann Jones, and numerous other featured events, AES New York offered well over 200 technology presentations including 700 presenters and a half-dozen offsite Tech Tours, as well as 260-plus brands exhibiting the latest gear and services on the AES Exhibition floor. Further exhibition floor events featured the return of the Project Studio Expo and Live Sound Expo, as well as the addition of the new Broadway Sound Expo, Broadcast Audio Expo, Software@AES presentations, and three days of AES Mix with the Masters workshops.
 
AES New York Convention research papers and E-briefs can be found online in the AES E-Library, and recordings of the convention presentations and proceedings will soon be online as part of the AES Live: Videos collection. Full E-Library access is a benefit enjoyed by all AES members. Additional photos and convention news will be posted to the aesshow.com site, as well as other AES social media channels.
 
“At the close of the exhibition on Friday,” added Moses, “the hall was still packed when the lights were dimmed. Attendance in the technical program sessions continued unabated on the final day of the Convention, which included another first: the Immersive Audio Super Saturday event, offering binaural and 9.1 experiences throughout the day. As we continue to develop content that spans all of the audio disciplines, and offers pioneering insights into emerging technologies, we hope that you will join us, as a member and as an attendee, at our events throughout the coming year.”
 

Next up, the Audio Engineering Society returns to the west coast for the AES@NAMM Pro Sound Symposium, Live and Studio, to be held in NAMM’s education campus, adjacent to the Anaheim Convention Center, during The 2018 NAMM Show, which runs January 25 – 28, 2018 (aesatnamm.com). This first-of-its-kind education and training event is a collaboration with NAMM, bringing AES expertise to AES@NAMM attendees while offering registrants access to the NAMM exhibition. The AES celebrates its 70th Anniversary as the Society returns to the Javits Center in New York for AES New York 2018, the 145th AES International Convention, taking place October 17 – 20, 2018, co-located once again with The NAB Show New York. Visit aes.org/events for AES event updates throughout the year. 


Posted: Thursday, October 26, 2017

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You're Surrounded! AES New York 2017's "Immersive Audio Super Saturday" Events to Feature Binaural and Large-Scale Multichannel Audio Demos and Workshops

You're Surrounded! AES New York 2017's "Immersive Audio Super Saturday" Events to Feature Binaural and Large-Scale Multichannel Audio Demos and Workshops

   Spatial audio workshops on broadcast, recording and gaming to be highlights of Immersive Audio Super Saturday events —

 

The AES New York has announced a full-day program dedicated to Spatial Audio and its production and applications. “Immersive Audio Super Saturday” will showcase the latest in spatial and 3D audio in a series of presentations and workshops on Saturday, October 21 at the AES New York Convention at the Jacob Javits Center. The Immersive Audio Super Saturday sessions will utilize a large-scale 9.1-channel system from PMC and, for binaural sessions, a Sennheiser wireless headphone system. From Xenakis to Doctor Who, and spanning VR, broadcast and music production, the sessions draw from the Convention’s Game Audio & VR, Broadcast & Streaming and Recording & Production tracks.

“Immersive audio has become the state of the art for film sound, as well as for gaming, home entertainment and personal listening. During Immersive Audio Super Saturday, attendees will have an opportunity to experience the sonic and emotional impact of immersive audio at its very best,” said Bob Moses, AES Executive Director. “This is a unique event that will bring an exciting crescendo to the technical program at AES New York.” While the Super Saturday sessions require All Access registration, those who can’t take advantage of the entire four-day Convention technical program can register for a one- or two-day pass and chose to include Immersive Audio Super Saturday.

A spectacular large-scale demo room featuring a full 9.1 channel PMC loudspeakers system will host the “Radical Interpretations of Iconic Musical Works” session, in which contemporary works from Morton Feldman and Iannis Xenakis will be played in 9.1 immersive audio. The Xenakis piece was recorded twice, from the perspective of a listener, and with overhead mics to capture the sound as experienced by the performers, and will be played back in both formats to demonstrate the ways in which immersive audio can capture and convey a variety of listener perspectives.

The iconic TV series Doctor Who has been around for more than 50 years – but now its audio is as futuristic as the Doctor’s TARDIS time machine. At the “What’s This? Doctor Who with Spatial Audio!” demo, BBC lead engineer Chris Pike will utilize a binaural playback system to demonstrate the way post-production transforms a normally-recorded episode into a spatial audio spectacular. Follow us into the next sonic realm with our favorite Time Lord!

In the “Binaural Listening Experience” session, Marta Olko of New York University will present a selection of binaural recordings and mixes from various artists, composers, and recording and mixing engineers, all created to highlight the ways in which binaural audio can complement and enhance the music.

Immersive audio is also a vital component of virtual reality gaming. In “Create Sound and Music for VR and 360 Using Common DAW Workflows,” Tom Ammermann of New Audio Technology GmbH will focus on the latest initiatives and developments of virtual and augmented reality development centers worldwide, including the first publicly-funded VR/AR lab in the US, located in New York.

“Creating Audio for Virtual Reality Applications” will be hosted by Bob Schulein of ImmersAV Technology, who will look at how the quest for more engaging listener experiences has raised the challenges to create more compelling audio. Elements of binaural hearing and sound capture have come to play a central role in existing and evolving production techniques, and this seminar will present and demonstrate techniques for enhancing audio for games, music, radio and music education.

Immersive Audio Super Saturday Schedule, October 21

9.1 sessions, Room 1E06

9:00 – 10:30AM, RP17 “Radical Interpretations of Iconic Musical Works” by Morton Lindberg

10:45 am–11:45 am, SA13 “3D Ambeo and Live Recordings” by Jim Anderson & Ulrike Schwartz

1:15 pm–2:45 pm, SA15 “Afternoon Listening Session in 9.1” by David Bowles and Paul Geluso

3:00 pm–4:00 pm, SA14 “Capturing Height” by David Bowles, Paul Geluso and Sungyoung Kim

Binaural sessions, Room 1E13

9:00 am — 10:00 am, SA11 “Creating Audio for Virtual Reality Applications” by Bob Schulein

10:15 am — 12:15 pm, SA12, Binaural Listening Experience” by Marta Olko

1:30 pm — 2:30 pm, GA15, “Create Sound and Music for VR and 360 Using Common DAW Workflows” by Tom Ammermann.

3:00 pm — 5:00 pm, B13, “What's This? Doctor Who with Spatial Audio!” by Chris Pike

Register before Monday, October 16 for Advance Registration online pricing, and make plans to join us at AES New York 2017. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to All Access registration, either four-, two- or one-day, for the Maximum Audio experience, including Immersive Audio Super Saturday, at aesshow.com.

More Information – Scroll over session titles here


Posted: Sunday, October 15, 2017

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Best Paper Awards Announced for Upcoming AES New York Convention

Best Paper Awards Announced for Upcoming AES New York Convention

 — Honors presented for Best Peer-Reviewed Papers and Best Student Papers —

The 143rd Audio Engineering Society Convention, taking place October 18 to 21 at the Jacob Javits Center in Manhattan, will feature the presentation of the annual AES “Best Peer-Reviewed Paper Award” and “Best Student Paper Award” distinctions, which honor outstanding achievement in academic papers being presented at the convention. The awards will be presented during the Opening Ceremonies on October 18 by AES New York Convention Papers Co-chairs Braxton Boren and Areti Andreopoulou.

This year’s “Best Peer-Reviewed Paper Award” distinction will go to Sean OliveTodd Welti, and Omid Khonsaripour, each from HARMAN International – Northridge, CA, USA, for their paper “A Statistical Model that Predicts Listeners’ Preference Ratings of In-Ear Headphones: Part 1 — Listening Test Results and Acoustic Measurements.” The paper will be presented on Thursday, October 19, as part of Paper Session P07. ("Part 2 – Development and Validation of the Model" will be presented as part of Paper Session P14 on Friday, October 20).

The “Best Student Paper Award” goes to Sarah R. Smith and Mark F. Bocko, both students of University of Rochester – Rochester, NY, USA, for their paper “Modeling the Effect of Rooms on Frequency Modulated Tones,” which will also be presented on Friday, October 20, as part of Paper Session P15. 

Abstract for Best Peer Reviewed Paper – “A Statistical Model that Predicts Listeners’ Preference Ratings of In-Ear Headphones: Part 1—Listening Test Results and Acoustic Measurements”
Part 1 of this paper presented the results of controlled listening tests where 71 listeners both trained and untrained gave preference ratings for 30 different models of in-ear (IE) headphones. Both trained and untrained listeners preferred the headphone equalized to Harman IE target curve. Objective measurements indicated the magnitude response of the headphone appeared to be a predictor of its preference rating, and the further it deviated from the response of the Harman IE target curve the less it was generally preferred. Part 2 presents a linear regression model that accurately predicts the headphone preference ratings (r = 0.91) based on the size, standard deviation and slope of the magnitude response deviation from the response of the Harman IE headphone target curve.

Abstract for Best Student Paper Award – “Modeling the Effects of Rooms on Frequency Modulated Tones”
This paper describes how reverberation impacts the instantaneous frequency tracks of modulated audio signals. Although this effect has been observed in a number of contexts, less work has been done relating these deviations to acoustical parameters of the reverberation. This paper details the instantaneous frequency deviations resulting from a sum of echoes or a set of resonant modes and emphasizes the conditions that maximize the resulting effect. Results of these models are compared with the observed instantaneous frequencies of musical vibrato tones filtered with the corresponding impulse responses. It is demonstrated that reduced models may adequately reproduce the deviations when the signal is filtered by only the early or low frequency portion of a recorded impulse response.

 

Best Paper Awards and other presentations are all part of this year’s AES New York Convention, taking place next month. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to the All Access registration for the Maximum Audio experience, including all of the research papers and engineering briefs within the hundreds of sessions that make up the full Technical Program, and reserve housing for the 143rd AES Convention at aesshow.com. Online Advance Registration discounts end Monday, October 16.


Posted: Tuesday, October 10, 2017

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Exploring New Sonic Worlds: AES New York 2017's Game Audio and VR Track Events

Steve Martz, AES New York Game Audio and VR Track co-chair

Steve Martz, AES New York Game Audio and VR Track co-chair

For the 143rd International Audio Engineering Society Convention, the traditional Game Audio Track is expanding into the Game Audio and VR (Virtual Reality) Track to reflect the growing importance of immersive sound and virtual reality audio. This year’s series of events, put together by co-chairs Steve Martz and Michael Kelly, incorporates the latest cutting-edge technologies and techniques used in some of today’s most popular, and growing, forms of entertainment.

“The frenetic pace of ongoing developments in Game Audio, VR, AR, and other related technologies provides the foundation for the VR and Game Audio track in the technical program at this year’s AES New York Convention,” states Track co-chair Martz. “With a common goal of presenting the latest research findings and sharing the latest production tools and techniques known to those in the industry, the AES Convention is the place to come and get a better understanding of each role in the audio production and delivery chain for game and VR content,” Martz concludes.

The new shared virtual reality action-adventure game Star Trek: Bridge Crew takes participants on a dazzling journey through uncharted areas of space, with astounding visuals, sound effects, battles and more. The “Star Trek: Bridge CrewVR Audio Post Mortem” session will feature Justin Drust of developer Red Storm Entertainment and his team as they discuss the contributions from the audio director, audio programmer and others in bringing this fantastic game to market from conception to completion.

“The ‘Horrific’ Sound of Resident Evil 7: Biohazard” will take an in-depth look at the latest installment of the smash hit videogame series. Sound Designer Ken Usami and others from Capcom will talk about their methods in creating realistic high-fidelity sound, including their use of “musique concrète” – music constructed by mixing recorded sounds to create a wide variety of textures, tones and noises to deliver an uncomfortable and disturbing sonic environment.

Video games are a worldwide phenomenon, as evidenced by the seminar “Gateways to the East: Music and Recording for Chinese Video Games.” Fei Yu, music supervisor for the NetEase multiplayer online game Revelation Online, will discuss the challenges of working with collaborators around the world, and the creative and technical processes of working with ethnic soloists and orchestras to create authentic world-music sounds. The Revelation soundtrack has won the BSOSpirit Jerry Goldsmith Award and the Tracksounds Genius Choice Vote for Best Score: Video Game.

What does the aspiring VR audio professional need to know in order to excel in this new field, and how is higher education responding to the current skills gap? “Immersive Audio and VR/AR: A Traveler’s Guide to the Growing Landscape of Experiential Audio” will address these topics and more in a session led by Josh Antonuccio, lecturer at the School of Media Arts and Studies at Ohio University and co-creator of the Immersive Media Initiative, and Richard Warp, founder of music production company Intonic. A related panel, “State of the Art: Kickstart Your Career in Audio for Games, VR and Beyond” will discuss how to succeed in this field via the deep expertise and experiences shared by industry pros.

With the new XBOX One and Windows’ addition of native platform-level support for spatial sound, games and other applications can now implement audio above, below and around the listener, as well as transparently render to multiple endpoints (speakers, headphones) and formats (Dolby Atmos, Windows Sonic for Headphones). This functionality opens up new technical and creative possibilities for game designers, as addressed in the talk “Spatial Sound for Console and PC Games,” hosted by Microsoft’s Robert Ridihalgh, Scott Selfon, and Mark Yeend, exploring a multitude of impactful and common use examples in this burgeoning field.

Additional information about these and other AES Game Audio and VR Track events is available at http://www.aes.org/events/143/gameaudio/.

Register now and make plans to join us at AES New York 2017. The convention will be co-located with the independent and adjacent NAB Show New York 2017. Registration, at any level, for AES New York 2017 will give attendees access to the NAB Show New York exhibition floor and the content in the NAB Show New York’s Core Package (a $75 value). Register now, upgrade to the All Access registration for the Maximum Audio experience, including the Game Audio and VR Track, and reserve housing for the 143rd AES Convention at aesshow.com. Online advance registration discounts end soon.


Posted: Thursday, September 28, 2017

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