In This Section
- 137th Audio Engineering Society Convention Breaks Records and Draws Acclaim from Attendees, Exhibitors and Presenters Alike
- Convention reminds West-Coast audio community, “If It’s About Audio, It’s At AES!”
- AES 2014 Election Results
- The results are in!
- Time to Vote: 2014 AES Elections
- Deadline was Friday, July 11th
- AES Showcases Latest Audio Innovations and Best Practices at 136th International Convention in Berlin
- Successful Technical Program and Exhibition draw high attendance and positive response from attendees and exhibitors alike
Initiated during an Audio Engineering Society Historical Committee meeting in 1997 by long-time member Irv Joel, the AES Oral History Project was envisioned as a personal record of the creative and technical thought process of the doyens of professional audio. "This AES Oral History Project was initiated as an inspiration to new generations of audio industry professionals," explains AES executive director Roger Furness. "Education remains an AES priority, and these unique DVD personal histories represent a priceless link between the past contributions of our worldwide membership and the on-going innovations of our rapidly evolving future.
"Irv Joel has had close, long-standing relationships with many of the giants of our industry," he continues. "In addition to co-ordinating the interviews, he served as cameraman and off-camera interviewer for the greater part of them, a massive undertaking. The entire professional audio community owes him a vote of thanks for producing over 100 irreplaceable one-on-one interviews."
In 2007, after 10 years of shooting with a basic lighting kit, two lavalier mics and... (continued at following link)
Posted: Tuesday, April 27, 2010
Rozenn Nicol has been investigating Spatial Audio technology at Orange Labs for more than ten years. With the publication of this monograph, she aims to promote a better understanding of how binaural technology really "works". Despite its straightforwardness the reproduction of binaural audio with headphones is always impressive - a really convincing 3D sound scene is achieved. This is possible because binaural technology merely mimics the spatial encoding that we use daily when we localize sounds in real life.
Starting from practical issues, concerning what is the real meaning of sound recording and rendering for binaural technology, the underlying theory is then progressively examined. The diffraction of the acoustic wave by the listener's body defines the key concept of binaural technology and can be represented by the associated transfer functions, which are known as Head Related Transfer Functions (HRTF). HRTFs are therefore the raw material of binaural spatialization. It is shown how the spatial information is conveyed through HRTFs, investigating both physical phenomena and auditory localization mechanisms.
Special attention is given to binaural synthesis which consists in simulating the left and right signals as they would have been recorded by a pair of microphones inserted in the listener's ear. This is one of the most well known applications of binaural technology, since it allows one, to create with full control a virtual auditory space for psychoacoustic experiment or virtual reality purposes. by straightforward filtering.
Although binaural technology is a powerful tool for sound spatialization, it should be kept in mind that, as the spatialization is determined by the listener's morphology which is unfortunately strongly individual, the spatial encoding of a sound scene is theoretically valid for one sole individual. The monograph ends with an overview of solutions for adapting the binaural spatialization process to an individual’s variability.
Posted: Monday, April 5, 2010