V2.8, 200400501, ht
W1 AURALIZATION, TOOL OR TOY
Jan Voetman, DELTA Acoustics and Vibration, Lyngby, Denmark
Ingolf Bork, PTB, Braunschweig, Germany
Dorte Hammershoi, Aalborg University, Aalborg, Denmark
Christoph Moldrzyk, Technical University of Berlin, Berlin, Germany
Jens Holger Rindel, Technical University of Denmark, Lyngby, Denmark
Lise-Lotte Tjellesen, DELTA Acoustics and Vibration, Lyngby, Denmark
Auralizationas you might rememberis the technique used in room acoustic computer modeling, that enables you to listen to the orchestra in the simulated, non-existing room. The technique has fascinated acoustic consultants, their clients, architects, researchers, etc., for years. But quite frankly how realistic or how close does this technique simulate the real world?
Very little work has been done in order to compare real situations with simulated, simply because it is quite complicated to do this kind of comparison. For instance, how do you simulate the directional characteristics of an orchestra on a stage?
This workshop will take you through the basics of auralization, discuss the difficulties in doing this kind of comparison, and show you the latest step forward in the technique.
Saturday, May 8 12:30 h-14:00 h
W2 THE DOS AND DONTS OF MICROPHONES
This workshop will give practical examples of microphone behavior in standard and non-standard circumstances. Demonstrations will be given of wind, humidity & weather effects, occurrences with phantom power, gain settings and distortion, interference problems with RF and mobile phones; finally, hints for detecting defects and evaluating used equipment, as well as safety & longevity issues. The topics will be covered with short theoretical introductions and extensive audio examples.
Saturday, May 8 14:00 h-16:00 h
W3 MULTICHANNEL IN AUTOMOBILES
Tim Nind, Harman/Becker Automotive Systems, Martinsville, IL, USA
Martin Lindsay, Dolby
The adoption of multichannel surround systems for the reproduction of music and cinema sound in the domestic market is finding its way into the automotive world. A number of the luxury car makers already offer surround systems based on 2 channel source material and the first genuine 5.1 discrete systems are just emerging. This will be followed rapidly by a great number of both 2 channel and discrete systems not only in luxury cars but also those covering the wider market. This poses interesting question in terms of the way these systems are engineered and evaluated. This workshop will explore some of these issues and will include panelists from both OEM suppliers and the recording industry.
Saturday, May 8 16:00 h-18:00 h
W4 PERCEPTION OF LOUDSPEAKER NONLINEAR DISTORTION: AN OPEN DISCUSSION
John Stewart, Harman/Becker Automotive Systems, Inc., Martinsville, IN, USA
Michael Keyhl (Perception and Perception Models)
Wolfgang Klippel, Klippel GmbH, Dresden, Germany (Live Listening Test)
Steve Temme, Listen Inc., Boston, MA USA (Live Buzz and Rub detection)
The Standards Committee SC-04-03, Loudspeaker Modeling and Measurement, has been struggling with distortion specifications and their relationship to listener perception. The Technical Committee on Loudspeakers and Headphones presents a window into this issue with a workshop on our perception of reproduced sound.
Workshop attendees will have a chance to participate in a distortion threshold test. They will gain insight to the properties of the human hearing mechanism and how it can be modeled mathematically. The detection of what might be called extremely audible nonlinear distortion will be presented. A guide to appropriate signals for audible and measurable nonlinearities will be offered.
W5 WAVE FIELD SYNTHESIS: BASICS AND AUTHORING CONSIDERATIONS
Karlheinz Brandenburg, Fraunhofer Institute for Digital Media Technology, Ilmenau, Germany
Frank Melchior, Fraunhofer Institute for Digital Media Technology, Ilmenau, Germany
Renato Pellegrini, sonicEmotion, Dielsdorf Switzerland
Guenther Theile, IRT, Germany
Diemer de Vries, Delft Technical University, Delft, The Netherlands
Wave Field Synthesis is on its way to real world applications. This workshop will introduce the current state of the art and focus on authoring: What tools are available today, what needs to be done, what are the new effects available?
Sunday, May 9 11:00 h -12:30 h
W6 SUBJECTIVE MICROPHONE EVALUATIONS
Jürgen Wahl, Sennheiser/Neumann, Van Nuys, CA, USA
The purpose of this workshop is to analyze the variables that make it so difficult to predict a microphones performance in actual applications, and to understand why microphones with seemingly identical technical specifications sound differently, even when used under the same circumstances.
The workshop will demonstrate how to concentrate on less complex segments of performance behavior. For example, when evaluating electronic performance, we can concentrate on good signal-to-noise ratio, low self-noise during very quite passages, and distortion components in the non-linear operating range. To evaluate the microphones acoustic behavior we listen for the imaging of instruments, how it captures room acoustic, reverberation, ambience, and distant instruments. When we analyze the tonal characteristic of the microphone under test, we may include the natural frequency response for all instruments, the extended frequency range, the transient response, the uniform polar pattern, the detailed resolution of harmonic components, and how the microphone works together with other microphones.
Sunday, May 9 13:00 h-15:30 h
W7 COMPARISON OF EXISTING ARCHIVING TOOLS
Klaus M. Heidrich
E. Dohlus, Bayrischer Rundfunk, Bavarian Broadcasting Corporation
W. Grieger, Norddeutscher Rundfunk-North German Radio
Rainer A. Kellerhals, Tecmath AG
Karl W. Pieper, VCS AG
Niko Waesche / Yvonne Graf, IBM Business Consulting Services
Two other panelists from European broadcasters are expected to also join the panel.
During the past few years, digital audio archiving solutions, also labeled Media Asset Management or Content Management, have evolved steadily. Different system concepts and tools have become part of daily operations, and have proved successful. However, continuous improvement is a must, in terms of technology, organization and processes, and cost-benefit ratio. This workshop will focus on fundamental issues such as return on investment, standards and interfaces, and workflow integration, rather than on details of dedicated products and tools. The panel is excellently suited to highlight both the broadcasters and the industrys points of view.
Sunday, May 9 15:30 h-18:00 h
W8 INTERFACING LOUDSPEAKER AND ROOM
Jan Abildgaard Pedersen, Bang & Olufsen a/s, Streuer, Denmark
Andrew Goldberg, Genelec Oy, Ilsami, Finland
John Mourjopoulos, University of Patras, Patras, Greece
Todd S. Welti, Harman International Industries, Inc., Northridge, CA, USA
Rhonda J. Wilson, Meridian Audio Ltd., Huntingdon, Cambridgeshire, UK
This research area has gained more and more focus and it has proven to be an essential element in optimizing the sound quality in an audio reproduction system. Several different approaches have been presented during the last 2 years and this workshop will combine short presentations of several of the principal systems by experts within the research field and an open floor discussion, where the experts form a panel. In different ways the new systems are addressing some of the problems known from the traditional room equalization systems. Both the use of DSP and different acoustic strategies have enabled this.
W9 DIGITAL RADIO MONDIALE
Peter Senger, DRM, Deutsche Welle, Bonn, Germany
Martin Dietz, Coding Technology
Heinz-Peter Friedrich, Deutsche Welle
Olaf Korte, Fraunhofer Gesellschaft
DRM/Digital Radio Mondiale is a new digital broadcasting system for frequency bands below 30 MHz. It uses the most sophisticated audio encoding system MPEG 4 AAC+ and offers high audio quality in 9 or 10 kHz rf channels. Audio encoding experts from DRM will explain the new system and production experts will explain the new possibilities for radio program producers. After an introduction experts will answer and discuss questions from the participants.
Monday, May 10 11:30 h-13:30 h
W10 HIGH SPEED AUDIO NETWORKING
Markus Berg, IRT, Germany
Martin Pistor, MCI, Germany
Henrik Svantesson, Net Insight, Sweden
In the last few years, transmission standards in audio production networks converged and moved from FDDI and ATM toward Ethernet and IP protocol. This workshop presents a survey of the typical broadcast environment and the data formats used in audio production networks today. Besides the TCP/IP performance parameters which have a great impact on network throughput there will be presented a new technology called dynamic transfer mode (DTM). In wide area networks, DTM can be a cost-effective alternative to carrier technologies like SONET and ATM.
Monday, May 10 14:00 h-16:00 h
W11 SOUND SYSTEMS FOR HEARING IMPAIRED PEOPLE
Birger Kollmeier, Universität Oldenburg and Kompetenzzentrum HörTech
Panelists and Introductions:
Birger Kollmeier, Universität Oldenburg and Kompetenzzentrum HörTech, Germany: "Acoustical requirements for Hearing-Impaired listeners"
Inga Holube, Fachhochschule Oldenburg /Ostfriesland /Wilhelmshaven, Germany: "Design principles for modern hearing instruments
Torsten Niederdränk, Siemens Audiologische Technik, Erlangen, Germany: "Hi-Fi-Hearing aid!?"
Stefan Launer, Phonak AG, CH-Stäfa, Switzerland: "Assistive Listening devices
What aspects of sounds are not perceived by hearing-impaired listeners? Why does the impaired ear produce more distortion even though it is less nonlinear than the normal ear? And what principles are used in modern hearing instruments to overcome these problems? The workshop will cover signal processing techniques used in state-of-the-art digital hearing instruments as well as the limitations and futur developments in hearing aid hardware components. The roadmap towards a HiFi-Hearing aid will be covered as well as recent developments in assistive listening devices, such as, e.g., remote directional FM-microphones and telecoil systems. The panelists are recruited from leading experts in fundamental and applied university research as well as from R&D departments of the leading hearing aid manufacturers.
Monday, May 10 16:00 h-18:30 h
W12 TOURING SOUND SYSTEMS: DO CURRENT SPEAKER CONCEPTS MEET THE USERS REQUIREMENTS: AN OPEN DISCUSSION
Tony Andrews, Funktion one, UK
Christian Heil, L-Acoustics, France
Evert Start, DURAN Audio, Netherlands
Are current "flavor of the year" touring sound systems hype or technological advancements? What are the pros and cons of different system solutions? What do different types of users really need, and are their requirements met by currently available systems and tool sets? And what are the future perspectiveswishes versus realities. Viewpoints from and an open discussion together with both experienced users from different touring application backgrounds and leading experts from some of the key players in the industry.
W13 FORENSIC AUDIO
Eddy B. Brixen
Durand Begault, Audio Forensic Center & NASA, CA, USA
Werner A. Deutsch, Institut für Schallforschung der Österreichischen Akademie der Wissenschaften
Wes Dooley, Audio Engineering Associates, Pasadena, CA, USA
Forensic Audio covers all types of audio analyses from which the results are evaluated for presentation in court. This includes voice comparison and voice identification, acoustical crime scene analysis, authentication of audio/video recordings, examination of sound incidents on sound recordings, etc. In many cases audio recordings can be the most important evidence in a case. Precision and control for error are very important due to possible legal consequences for the client. In this workshop a number of audio forensic specialists from the AES will present some of the procedures and techniques used and discuss possibilities and limitations in the field.
Tuesday, May 11 11:00 h-13:00 h
W14 THE ROLE OF MULTIPLE LOW-FREQUENCY SIGNALS IN THE PERCEPTION OF REPRODUCED SOUND
William Martens, McGill University, Montreal, Canada
Jonas Braasch, McGill University, Montreal, Canada
David Greisinger, Lexicon, Bedford, MA, USA
Geoff Martin, Tonmeister, Bang & Olufsen a/s, Struer, Denmark
Robin Miller, Filmakers Inc, Bethlehem, PA, USA
Gunther Theile, IRT, Munich, Germany
Todd Welti, Harman International Industries, Inc
This workshop will examine the relative value of reproducing more than a single channel low-frequency (i.e., subwoofer) signal in two-channel and multichannel stereophonic sound reproduction. As this workshop is sponsored by the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals, the emphasis of the workshop will be on the differences that people can hear when presented with two or more subwoofer signals, rather than on optimizing bass management schemes for conventional 5.1 channel surround sound. Two of the questions raised are: What is best to do with two LFE signals? What is best when there are none?
Tuesday, May 11 13:30 h-16:00 h
W15 ADVANCED RECORDING AND REPRODUCTION PARADIGMS COMPATIBLE WITH 5.1 MEDIA
Angelo Farina, University of Parma, Parma, Italy
Dave Malham, University of York, Heslington, York, UK
Robin Miller, Filmakers Inc
Itai Neoran, ks Waves Ltd., Tel-Aviv, Israel
Diemer de Vries, Delft University of Technology, Delft, The Netherlands
Coding schemes such as DTS, Dolby, MLP, etc., and media such as SACD and DVD (and eventually blue laser) may be used to deliver virtual reality, surround cinema, or the 3-D concert-hall experience, via such psychoacoustically valid paradigms as Ambiophonics, Ambisonics, Wave Field Synthesis, 10.2, and even novel 2.0. This panel of experts in both recording and reproduction methodologies, discusses these and new research in related areas of psychoacoustic verisimilitude, including hall ambience convolution and capturing height.
The seminar panel will explore such topics as recording live 360-degree sound fields, using impulse responses instead of microphones to record hall ambience, combining Ambisonic B format for surround with 5.1 LCR speakers, 3-D playback of existing stereo recordings by eliminating crosstalk, ways of achieving 360 degree direct sound via 5.1 speakers, center speaker vs. stereo dipole, monitoring 5.1 recording sessions via Ambiophonics, advanced microphone designs, measuring hall impulse responses, etc.
Depending on the interests of those in attendance and their questions, some demonstrations of psychoacoustic phenomena will be staged.
Tuesday, May 11 16:00 h-18:00 h
W16 MEASURING & VERIFYING THE SPEECH INTELLIGIBILITY PERFORMANCE OF VOICE ALARM & EMERGENCY SOUND SYSTEMS
Peter Mapp, Peter Mapp Associates, Colchester, UK
Wolfgang Ahnert, ADA Acoustic Design Ahnert, Berlin, Germany
Thomas Steinbrecher, Bose, Germany
Peter Swarte, P.A.S., Eindhoven, Netherlands
As more and more reliance is placed on voice announcements for emergency alerts and alarms instead of traditional warning tones and sirens, the intelligibility performance of such systems has never been so important. Verification of the intelligibility of Voice Alarm (VA) Systems and Sound Systems for Emergency Purposes is therefore becoming an increasingly important and topical issue. The workshop will review the currently available techniques and highlight the practical shortfalls and difficulties associated not only with the methods themselves but also with testing emergency sound systems in practice. The workshop will show that although some forms of modern signal processing can be used to enhance intelligibility, the current measurement techniques and metrics do not always indicate the improvement. The errors and accuracy of such measurements will also be discussed and comparisons made with computer aided design and prediction programs. The workshop is a must for anyone involved with the design or testing of Public Address, Voice Alarm and emergency paging systems. It is planned to carry out a number of live demonstrations and measurements during the workshop using the latest state of the art equipment and programs.
Tuesday, May 11 16:00 h-17:30 h
W17 SOUND DESIGN IN FILM POSTPRODUCTION
Robin Pohle, ATMO Audio Produktion, Berlin, Germany
Jörg Höhne, Studio Babelsberg GmbH, Berlin, Germany