Four days of Audio for Cinema events are set to take place at the AES New York 2018 Convention
— The focus will be on movie and TV sound with seminars on scoring workflows in Pro Tools, remixing The Fifth Element in 3D audio, re-recording and mixing for episodic TV, and more —
“Even in this golden age of cinema sound technology, right next to the flashy and exciting new toys are humans making art,” noted John Whynot, chair of the 145th Audio Engineering Society International Convention’s Audio for Cinema Track, which will provide attendees an in-depth look at the latest techniques for recording, producing and mixing audio for film and video.
Following are selected seminar highlights from the Audio for Cinema Track available to All Access attendees at the Jacob Javits Center In New York, October 17 – October 20.
“Modern Scoring Workflows: Mixing Multi-Stem Score in the Box – A Master Class Featuring Alan Meyerson” will feature the legendary film scoring mixer, who has more than 200 major credits including Wonder Woman, the Pirates of the Caribbean series and other blockbusters. GRAMMY-award winner Meyerson will explain his approach to mixing multi-stemmed scores “in the box” (on computer) using AVID Pro Tools.
Emmy and Oscar winner Tom Fleischman has worked with a who’s who of TV and film directors. In the “Best Practices in Re-Recording Mixing: Focus on Episodic” session Fleischman will reprise some of his master class from last year’s AES New York Convention, but with an added emphasis on the particular challenges associated with episodic television and TV series. Fleischman will talk about approaching a project from beginning to end, crafting an audio mix to enhance storytelling, assuring continuity between episodes and more – including dealing with the lightning pace of mixing for a TV series.
More and more film scoring and post-production now involves remote recording. In “Collaboration at a Distance: Real-Time Remote Recording Tools for Scoring and Post Audio,” Robert Marshall, founder of real-time audio-over-IP company Source Elements, will examine the ways market forces, new technologies, the internet and budgetary factors have greatly altered the worlds of film scoring and audio post. Marshall will discuss the new tools available for remotely collaborating on recording sessions, and provide examples of how remote recording is being used in scoring and other disciplines.
The Fifth Element has become a science-fiction milestone and a go-to demo movie – and now it’s even more spectacular, thanks to a recently completed remastering in 4K video and Dolby Atmos and Headphone Surround 3D audio. Tom Ammermann of New Audio Technology GmbH will present “The Fifth Element – How a Sci-Fi Classic Sounds with a New 3D Audio Mix,” which will feature a listening session along with inside information about how the new production was created.
All Access registration to AES New York 2018 provides four full days of Technical Program sessions, including the Audio for Cinema Track events, papers and posters, workshops and tutorials (October 17-20), while Exhibits-Plus passes give attendees three days of Exhibition Floor showcases and demos (October 17-19). If it’s about audio, it’s at AES – the ultimate opportunity for audio professionals of all specialties, and future audio pros, to listen, learn and connect!
Register online at aesshow.com for the best possible pricing and options. All Access registration is the ticket to everything the Convention has to offer. AES Members, including student members, enjoy substantial discounts on All Access registration. Registration at any level for AES New York 2018 includes access to the NAB Show New York exhibition. AES New York 2018 Exhibits-Plus registration is complimentary for AES Members and those using the VIP code “AES18NOW” at checkout.
Posted: Tuesday, September 25, 2018
Four days of Audio Archiving and Restoration Track events are set to take place at the AES New York 2018 Convention
— Preserving the Prince archives, bringing classic multitrack recordings to the classroom, new standards for high-resolution music delivery and much more to be covered at the AES’s 145th International Convention —
From archiving the musical legacy of Prince to making classic multitrack tapes available for educational purposes to establishing best practices for organizing modern production workflows, the 145th Audio Engineering Society International Convention’s Archiving and Restoration Track will dig deep into the preservation and perpetuation of the recorded heritage of music, the spoken word and sonic environments. Audio archiving and restoration presentations are part of the All Access Technical Program offered at AES New York 2018, October 17 – 20 at the Jacob Javits Center.
“More than one trillion songs are streamed every year, and countless others are locked away on hard drives, CDs, DATs, vinyl and obsolete playback formats. Preserving our audio history is more important than ever,” said Jessica Thompson, AES Audio Archiving and Restoration Track chair. “And in looking toward the future, the AES also continues to innovate and educate the industry on archiving today’s audio formats for tomorrow’s listeners.”
Audio archiving and restoration can often become its own adventure, with the need for inventive, new approaches to a given project. In “Preserving the Prince Archives,” Susan Rogers (Prince’s recording engineer from 1983 – 1988), Michael Howe (Prince Estate's official Vault Archivist), and engineer/producer Niko Bolas (Prince, Neil Young) will share their memories of working in the studio with Prince and discuss the formidable challenges of sorting through decades of analog and digital formats, and archiving, preserving and releasing Prince’s recorded legacy.
Hosted by presenters John Krivit, George Massenburg, Eric Schwartz and Toby Seay, “Preserving Classic Multi-Tracks for Use in the Classroom” will address the need to make classic multitrack recordings available for educational purposes, and the extra incentive that provides for archiving and restoration. A classroom use demonstration will feature tracks from Earth, Wind and Fire’s classic “September.”
The abundance of recording formats made possible by evolving technology complicates music production and archiving, which will be addressed in the seminar “Archiving and Best Practices for Modern Production Workflows.” Konrad Strauss (professor at Indiana University), Maureen Droney (Executive Director of the Producers & Engineers Wing of The Recording Academy) Chuck Ainlay (producer and engineer) and Michael Romanowski (mastering engineer) will present P&E Wing delivery and production recommended guidelines. The session “Austin City Limits’ Archive: Applying Software Development Methodologies to Audiovisual Archiving” will look at how data management, project management and other factors can be applied in similar ways to both software development and archiving.
The “Help! I have a Tape Machine!” panel will share knowledge about how to evaluate, maintain and even find analog tape machines as the medium heads towards its twilight. Mastering engineers as archivists is the subject of the session “Archive This! How Mastering Engineers Have Become Default Guardians of Audio Assets.” Rounding out the AES New York Archiving and Restoration Track are two related sessions: “An Overview of Optimizing Signal-to-Noise Ratio Primarily in Analog Audio Tape Recording” and “Recent Advances in Noise Reduction: From Multiband Gates to Machine Learning.”
All Access registration to AES New York 2018 provides four full days of Technical Program sessions, including the Audio Archiving and Restoration Track events, papers and posters, workshops and tutorials (October 17-20), while Exhibits-Plus passes give attendees three days of Exhibition Floor showcases and demos (October 17-19). If it’s about audio, it’s at AES – the ultimate opportunity for audio professionals of all specialties, and future audio pros, to listen, learn and connect!
Advance registration is open now at aesshow.com, offering the best possible pricing and options. All Access registration is the ticket to everything the Convention has to offer. AES Members enjoy substantial discounts on All Access registration, with even deeper discounts for Student Members. Registration at any level for AES New York 2018 includes access to the co-located NAB Show New York exhibition.
Posted: Friday, September 14, 2018
Upcoming AES President-Elect Agnieszka Roginska
The Audio Engineering Society has announced the results of its 2018 Board of Governors elections. The Society’s membership has elected Agnieszka Roginska as President-Elect and re-elected Valerie Tyler as Secretary. Additionally, Per Sjösten has been re-elected as Vice President Northern Region, Europe; Gary Gottlieb will join the Board of Governors as Vice President Eastern Region, US & Canada; and Alex Kosiorek will join the Board as Vice President Western Region, US & Canada. Newly elected Governors are Leslie Gaston-Bird (who is completing her term as Vice President, Western Region, USA/Canada), Jessica Livingston and Piper Payne. Per a bylaws amendment passed in the 2018 elections, the terms of office of Board of Governors members will begin on January 1, 2019. Save for the President-Elect, each of the newly elected officers will join the Board of Governors for a two-year term.
The Society’s Executive Committee is composed of the President-Elect, President, immediate Past President, Treasurer and Secretary. As President-Elect, Roginska will begin the first of three years on the Board of Governors’ Executive Committee in 2019, followed by two years as Governor. Current President-Elect Nadja Wallaszkovits will transition to a one-year term as President in 2019, and current President David Scheirman will remain on the Executive Committee as immediate Past President for the coming year. Current Past President Alex Case will transition to Governor for the first of two years. Treasurer-Elect Richard Wollrich will become Treasurer in 2019 as current Treasurer Garry Margolis ends his final-of-five consecutive terms.
Gottlieb will take over as Vice President, Eastern Region USA/Canada, from current Vice President Anthony Schultz, who is completing two consecutive terms in the position. Kosiorek will replace current Vice President Gaston-Bird in the Western Region, USA/Canada. As Sjösten begins his second term, regional Vice Presidents continuing into the second year of offset terms are Thomas Görne – Vice President, Central Region, Europe; Cesar Lamschtein – Vice President, Latin American Region; Ufuk Önen – Vice President, Southern Europe/Middle East/Africa Region; Mike Porter – Vice President, Central Region, USA/Canada; and Shusen Wang – Vice President, Asia-Pacific Region.
Gaston-Bird, Livingston and Payne will replace outgoing Governors Jim Anderson, Masataka Nakahara and Agnieszka Roginska. Current Governors Martha de Francisco, Kyle P. Snyder and Jonathan Wyner enter the final year of their two-year terms. Governor (and Past President, twice removed) Andres Mayo will complete his five-year commitment to the Board of Governors, while Governor (and Past President once removed) John Krivit will begin his final year as Governor.
“On behalf of the Society,” says President Scheirman, “we thank all of the highly-qualified candidates on the 2018 ballot for their willingness to serve, and congratulate those elected.”
The bylaws amendment adjusting the start of Board of Governors members’ terms of office to January 1 of the year following their election was crafted to align terms of office with the AES’s fiscal year. A second amendment to the bylaws was also ratified. That amendment specifies that Members in good standing requesting Life Member status upon reaching age 65 or older after 25 years of AES membership must have been in the Member class of membership for at least the final five years prior to their request.
The election was monitored and the results presented by Christopher Freitag, who, as Chair of the AES’s Board of Tellers, now the Tellers Committee, will step down after 22 consecutive years of faithfully overseeing the Society’s elections.
The 2019 Audio Engineering Society Board of Governors:
Audio Engineering Society 2018 Election Results
President Elect: Agnieszka Roginska
Secretary: Valerie Tyler
Vice President Eastern Region, US & Canada: Gary Gottlieb
Vice President Western Region, US & Canada: Alex Kosiorek
Vice President Northern Region, Europe: Per Sjösten
Governor: Leslie Gaston-Bird
2018 Bylaw Amendment 1 Passed
2018 Bylaw Amendment 2: Passed
Posted: Thursday, September 13, 2018
Four days of Sound Reinforcement Track events are set to take place at the AES New York 2018 Convention
— Wide-ranging presentations at the 145th Audio Engineering Society International Convention will cover the changing RF landscape, live sound for TV and Broadway, wireless intercom system design and more —
Sound reinforcement is one of the highest-profile segments of the audio industry, and the 145th Audio Engineering Society International Convention’s Sound Reinforcement Track will offer cutting-edge insights into live and installed sound including sound system optimization, corporate sound, live sound production for TV, the impact of the continuing reallocation of the RF spectrum, best practices in designing wireless intercom systems and more. AES New York 2018 is being held October 17 – 20 at the Jacob Javits Center.
“Sound Reinforcement is continually evolving due to new technologies and possibilities, and audience expectations. In 2018 sound reinforcement faces continuing regulatory, financial and market challenges,” said Henry Cohen, AES New York 2018 Sound Reinforcement Track co-chair. “With these challenges come opportunities, and the AES New York Convention presents the next chapter in audio engineering evolution.” The Sound Reinforcement Track, co-chaired by Cohen and Mac Kerr, is part of the Convention’s comprehensive technical program, open exclusively to All Access badge holders.
AES New York’s “RF Super Session" will address attendees’ concerns about the new RF landscape, identify specific issues and offer real-world solutions. Moderated by James Stoffo of Radio Active Designs, the panel will feature RF engineers and technicians, manufacturer’s product specialists and government relations experts. A second Super Session, moderated by Peter Erskine of Best Audio, on wireless intercom systems will investigate and compare the major technologies in use today, including associated control platforms.
In the “Live Production in A TV World” seminar, Jenny Montgomery, the lead A2 (audio assist) on the recent live broadcast production of Jesus Christ Superstar, and other members of the production team will discuss handling the challenges of a one-off live event where there’s no option but to get it right the first time. Getting it right every night is the challenge on Broadway, as will be illustrated in the session “Designing for Broadway: ‘The Band’s Visit,’” where sound designer Kai Harada and his crew will provide insights into Tony Award-winning sound design.
Core technologies will be covered in sessions such as “Understanding Line Source Behavior for Better Optimization” and “A Cookbook Approach to Sound System Optimization with Bob McCarthy.” “Audio Production for Corporate Events” will feature a panel of experts addressing topics ranging from fitting the sound system to the venue to RF coordination and music and band support.
AES New York Convention Sound Reinforcement Track events, available with All Access registration, are listed at aes.org/events/145/livesound. The track runs in complement to exhibit floor and demo room events including the Broadcast Audio Expo, Broadway Sound Expo and Live Production Stage, and the AoIP Technology Pavilion.
AES New York 2018 Convention will feature four full days of Technical Program research presentations, workshops and tutorials (October 17-20) and three days of Exhibition Floor showcases and demos (October 17-19) from leading names in professional audio manufacturing and services, along with the popular Project Studio Expo, Live Sound Expo, and other specialized events. Additionally, AES Student and Career activities will include recording and design competitions, a new MATLAB plugin design competition, the annual education and career fair and other ways to network with students and professionals from around the world. If it’s about audio, it’s at AES – the ultimate opportunity for audio professionals of all specialties, and future audio pros, to listen, learn and connect!
Advance registration is open now at aesshow.com, offering the best possible pricing and options. All Access registration is the ticket to everything the Convention has to offer. AES Members, including student members, enjoy substantial discounts on All Access registration. Registration at any level for AES New York 2018 includes access to the NAB Show New York exhibition.
Posted: Wednesday, September 12, 2018
John Meyer to give AES New York Convention Heyser Lecture at AES New York 2018 on Friday, October 19 at 6:30pm
— Sound reinforcement innovator to speak on “Taking the Room Out of the Loudspeaker:
New Tools for Transparent Reproduction” —
Sound reinforcement pioneer and innovator John Meyer will deliver the AES New York 2018 Convention’s Heyser Memorial Lecture on Friday, October 19, at 6:30pm. Speaking on the topic “Taking the Room Out of the Loudspeaker: New Tools for Transparent Reproduction,” Meyer will share his expertise on loudspeaker design and applications from his 50-plus years as one of the most lauded names in the industry. The 145th AES International Convention is being held October 17 – 20 at the Jacob Javits Center in New York City. Advance Registration pricing is available through September 20 at aesshow.com.
Established in 1999 by the AES Technical Council and the Board of Governors, in conjunction with the Richard Heyser Scholarship fund, the Heyser Lecture series, featured at each AES Convention, brings eminent individuals in audio engineering and related fields to speak on a relevant topic of choice. Meyer – also an AES Fellow and recipient of the AES Silver Medal award – offers the following abstract of his presentation:
“With few exceptions, loudspeakers are not used in a free field environment but rather in an enclosed acoustical space. This is inherently problematic, as an acoustical space behaves in a manner similar to that of loudspeakers, making it difficult to separate the problematic characteristics of each using common measurement tools or subjective listening tests. This lecture will review the history of loudspeaker measurement tools as used both in the free field and in acoustical space, including Richard Heyser’s pioneering TDM methods and Meyer Sound’s own SIM (Source Independent Measurement) systems. A key focus will be on a new multi-component studio monitor that exhibits absolutely flat amplitude and phase response from 27 Hz to 20 kHz. Because this system effectively ‘takes the room out of the loudspeaker,’ it opens up possibilities for correlating new objective testing techniques with subjective listening observations. The lecture also will discuss a new test signal known as M-Noise, which effectively mimics the dynamics of music and avoids inherent weaknesses in the use of pink noise with third-octave analyzers when testing loudspeaker systems used for music. The retrospective will touch on other benchmarks in the quest for linear sound amplification, including the early Glyph large-horn systems, the Grateful Dead’s ‘Wall of Sound’ and the HD-1 high resolution studio monitor, a trusted near-field reference that remains in Meyer Sound’s product line 29 years after its introduction.”
John Meyer’s career as an audio innovator was launched in the late 1960s when he started out as designer of custom amplification systems for guitarist Steve Miller. Meyer was then the creator of the legendary Glyph very large horn loudspeakers and he was the in-house loudspeaker designer at San Francisco’s McCune Sound Service. In the 1970s his audio research at the Institute for Advanced Musical Studies in Switzerland led to his first patent, awarded for a low-distortion horn design. In 1979 he co-founded (with his wife, Helen) Meyer Sound Laboratories, a company synonymous with innovations in loudspeaker design and acoustical measurement. Meyer led development of the SIM System for audio measurement, which was awarded the prestigious R&D 100 Award in 1992. Meyer Sound also pioneered development of self-powered sound reinforcement loudspeakers with introduction of the MSL-4 in 1994, launching a trend that has since revolutionized the industry. Throughout his career, Meyer has focused on development of linear loudspeaker systems, with his R&D team most recently achieving phase linearity from 20 kHz down to 27 Hz with the Bluehorn System studio monitor.
For further information on the AES New York Heyser Lecture, as well as the complete All Access Technical Program of events and experiences that comprehensively covers all things audio, visit aesshow.com.
About the 2018 AES New York Convention
The AES New York 2018 Convention will offer four days of Technical Program presentations, workshops, discussion panels, and more (October 17 – 20), as well as the year’s largest dedicated professional audio showcase and exhibition, taking place the first three days of the show (October 17 – 19). AES members and Student members receive additional discounts on All Access passes and further Early Registration discounts are still available. The 145th AES Convention will feature the largest-ever offering of free-to-attend workshops and tutorials on the exhibition floor and throughout the convention’s demo room areas with Exhibits-Plus badge registration. Complimentary Exhibits-Plus badges are available to AES members or by using VIP promo code AES18NOW during online registration. Visit aesshow.com for the latest information.
Posted: Friday, September 7, 2018
The 2018 AES New York Convention detailed calendar of events
The AES New York 2018 Technical Program– the highlight of the AES’s 70th Anniversary year – offers the ultimate audio experience, spanning all audio specialties and topics, and digging as deep as it is wide. The AES has posted online its detailed, interactive AES New York 2018 calendar of events for attendees to explore when planning their AES convention experience. The more than 330 presentations and workshops – offering an inside look at nearly every facet of the audio engineering industry – is available only with All Access registration. There’s no better opportunity to listen, learn and connect with audio engineers from around the world than the AES New York 145thInternational Convention, being held October 17 – 20 at the Jacob Javits Center. Visit aesshow.com for the complete schedule of events.
The comprehensive Technical Program content, brought together by the organizing team led by Co-Chairs Paul Gallo, Valerie Tyler and Jonathan Wyner, includes leading-edge topics like audio for virtual, augmented and extended reality; networked audio; spatial and immersive audio; and game audio, along with core topics including broadcast & online delivery;sound reinforcement; recording & production; audio for cinema; and archiving and restoration. A dedicated track covers product development on the professional level within the product development track, while DIYers can learn and even construct hardware and write code in the new Audio Builders Workshop mini-track. Attendees learn about tomorrow’s technology today in the in-depth Papers and Posters sessions, where the latest in research into all areas of audio is presented.
All Access registration is attendees’ ticket to four full days featuring hundreds of research presentations, workshops and tutorials from the leading audio engineering innovators and practitioners of the audio production arts. All Access badges include admittance to all onsite convention presentations, the exhibition floor, and the Special Events schedule – the complete convention experience, taking attendees’ audio engineering knowledge and understanding to the next level.
AES members receive substantial discounts when registering with online Advance Registration, and Student members receive even deeper discounts. Additional AES Student and Career activities featured at AES New York will include recording and design competitions, an Education and Career Fair, a new MATLAB plugin design competition, and numerous opportunities to network with peers and professionals from around the world.Compare registration options at aes.org/events/145/registration/.
Register now at for Advance Registration pricing and discounts on AES New York partner hotels. Registration at any level for AES New York 2018 includes access to the co-located NAB Show New York exhibition. AES Member and Student Member discounts apply.
Posted: Friday, August 31, 2018
Mark Frink (center), Director of Program & Content and Manager, Live Sound Content heads the team of AES@NAMM2019 program organizers. The team includes Charlie Hughes, Manager, Scientific & Technical content (left) and Bobby Owsinski, Manager, Studio Recording content (right).
Posted: Thursday, August 23, 2018
Electronic music pioneer and technologist Thomas Dolby will focus on next-generation sound technologies in his AES New York 2018 keynote address "The Conscious Sound Byte"
— Thomas Dolby’s AES Opening Ceremonies Keynote address “The Conscious Sound Byte” will focus on next-generation sound technologies, in particular adaptive/non-linear music and audio for games, VR/AR, “hearables” and other new media platforms —
The Audio Engineering Society is delighted to announce that Thomas Dolby will deliver the keynote address during the Opening Ceremonies of the AES New York 2018 International Convention. Since he burst onto the music scene in the 80s with genre-warping compositions and a pioneering production style that embraced and exploited emerging technologies, Prof. Dolby has been a seminal influence on legions of musicians, fans and audio professionals alike. For decades, his work has been introduced to successive generations of audio production students as instructors use his recordings as examples of sonic excellence in music engineering and critical listening courses. While most widely known for his work as a musician, producer, film score composer and filmmaker, Prof. Dolby is also one of the world’s leading innovators in digital technology and has served as a technical consultant on emerging entertainment platforms during his 35-year career, including Laserdiscs, computer games, interactive TV, virtual reality installations and location-based entertainment. His latest roll is as an educator – since the fall of 2014, Thomas Dolby has held the post of Homewood Professor of the Arts at Johns Hopkins University in Baltimore, MD.
With the title “The Conscious Sound Byte,” Thomas Dolby’s AES Keynote address will focus on next-generation sound technologies, in particular adaptive/non-linear music and audio for games, VR/AR, “hearables” and other new media platforms. “A big difference between ‘real’ and ‘electronic' sounds is that electronic sounds have zero awareness of each other,” shares Prof. Dolby. “Sound bytes blindly follow orders, and fire off (usually) as instructed by a human. Yet musicians playing ‘real’ instruments listen, resonate, and respond to the music, the room, and to each other, in a matter of microseconds.”
“In the hands of master arranger or programmer, this is not a problem,” he continues. “Many of the nuances of real music can be simulated quite effectively as processor speed, bandwidth and resolution improve. But as entertainment becomes more interactive, with games and augmented reality and ‘wearable’ technologies, it is increasingly vital that electronic sounds and music learn an awareness of the context in which they are playing.”
“Soon,” Prof. Dolby concludes, “all the accumulated craft and skills of a century of post-production legacy will have to operate in real time, controlled not by the programmer, but by the users themselves via the choices they make. Is it time for us to reconsider why our sound and music files are so ‘dumb’ and rigid?”
“Thomas Dolby is uniquely qualified to address the role of emerging technologies in entertainment,” says Bob Moses, Special Events Chair for the 145th AES International Convention. “As the AES celebrates this 70th anniversary of its own leadership in technological innovation, there’s no more appropriate voice to set the stage for four days of immersion in all things audio. Thomas’ influence on the way artists and content creators embrace technology is nothing short of iconic – his keynote address is sure to be a highlight of the Convention.” Prof. Dolby’s keynote address is open to all AES New York registered attendees.
AES New York 2018 will feature four full days of Technical Program research presentations, workshops and tutorials (October 17-20) and three days of Exhibition Floor showcases and demos (October 17-19) from leading names in professional audio manufacturing and services, along with the popular Project Studio Expo, Live Sound Expo, and other specialized events. Additionally, AES Student and Career activities will include recording and design competitions, a new MATLAB plugin design competition, the annual education and career fair and other ways to network with students and professionals from around the world. If it’s about audio, it’s at AES – the ultimate opportunity for audio professionals of all specialties, and future audio pros, to listen, learn and connect!
Advance registration is open now at aesshow.com, offering the best possible pricing and options. All Access registration is the ticket to everything the Convention has to offer. AES Members, including student members, enjoy substantial discounts on All Access registration. Registration at any level for AES New York 2018 includes access to the NAB Show New York exhibition. AES New York 2018 Exhibits-Plus registration is complimentary for AES Members and those using the VIP code “AES18NOW” at checkout.
Posted: Sunday, August 12, 2018
2018 AES International Conference on Audio for Virtual and Augmented Reality
— Keynote speakers to include experts from Magic Leap, Facebook Reality Labs, and Microsoft Research Labs Redmond —
The Audio Engineering Society is pleased to announce the second International Conference on Audio for Virtual and Augmented Reality, taking place August 20-22, 2018, at the DigiPen Institute of Technology, Redmond, WA. The conference and exhibition will bring together a community of influential research scientists, engineers, VR and AR developers, and content creators.
The conference’s esteemed keynote presenters – Jean-Marc Jot, Distinguished Fellow, Magic Leap; Ivan Tashev, Partner Architect, Microsoft Research Labs Redmond; and Ravish Mehra, Lead Research Scientist, Facebook Reality Labs – are at the forefront of innovation for VR and AR.
According to Tashev, “Audio and video are integral components of AR/VR devices. Spatial audio is an area still under development; we need better capture, representation and rendering technologies. To make it mainstream, we have to catch up with authoring and editing tools as well.”
The three-day conference and expo will focus on the dissemination of top-level research in the field of spatial audio for virtual and augmented reality, with demonstrations and discussions focused on technical solutions and recommended practices. Leading researchers, practitioners and industry luminaries will offer panel discussions, tutorials, and workshops on new and forthcoming technologies.
The conference promises to be as interactive and cross-disciplinary as the field of VR and AR itself, and will include an exhibition of relevant software and product demos. The conference will bring together talented researchers and developers who are creating the next generation of audio tools for immersive content, with presentation topics including:
- The state of AR/VR audio content development tools and workflows, including personalized vs. generic HRTFs
- Realistic sound propagation for immersing the user in virtual environments
- Auditory distance discrimination in cinematic virtual reality
- Spatial audio capture, rendering, and synthesis over headphones and speakers
- Binaural, ambisonics, and wave field synthesis techniques
- 3D sound field navigation
- HRTF modeling and derivation from optical and/or acoustic measurements
- Reverb and room acoustics synthesis
- 3D audio mixing and content production
- Music and sound design for VR/AR
- Higher education & immersive media
- Sound for 360 VR
- XR [extended reality] audio in diverse industries
- Dialogue for VR/AR and MPEG-H
Sponsors include Microsoft, Facebook, Bacch Labs, and Game Sound Con. A variety of sponsorship packages are still available for sponsors who’d like to engage with this highly specialized and influential group. Please contact organizers at email@example.com for more information.
Posted: Wednesday, August 1, 2018
2018 AES International Conference on Spatial Reproduction - Aesthetics and Science -
The 2018 AES International Conference on Spatial Reproduction has begun in Tokyo, Japan. Full program and registration info available at aes.org/conferences/2018/spatial/.
Papers being presented at the conference are available for preview in the AES E-Library at http://www.aes.org/e-lib/.
Posted: Tuesday, July 31, 2018