117th AES CONVENTION WORKSHOPS
V3.4, 200401026, ht
V3.4, 200401026, ht
W1 SUBJECTIVE EVALUATION METHODS FOR MULTICHANNEL AUTOMOTIVE SOUND SYSTEMS
Tim Nind Harman-Becker, Bridgend, Glamorgan, Wales UK
Kristina Busenitz - Harman-Becker, Bridgend, Glamorgan, Wales - UK
Dave Clark - DLC Design, Wixom, MI - USA
Laurie Fincham - THX, Ltd., San Rafael, CA - USA
Hans Lahti - Volvo, Göteborg - Sweden
Mark Ziemba - Panasonic Automotive, Southfield, MI - USA
Audio systems fitted to cars have become progressively more sophisticated, with both high quality audio and movie playback now commonplace. Systems which decode 5.1 channel material from both movie and music sources have appeared this year and are set to be widespread in the near future. This workshop will explore the issues associated with the reliable evaluation of these systems. These include the experiment design, data analysis, dependency of system architecture, seat position, source material, etc. There will be evaluation clinics in cars running through the convention and these will be explained with the results to be reported at the next AES Convention in Barcelona. This study is intended to illuminate the issues discussed and provide data to eventually help draft a recommended practice.
Thursday, October 28, 1:00 pm 3:00 pm
W2 FIELD RECORDING IN THE WILD
Bernie Krause Wild Sanctuary, Glen Ellen, CA USA
Rob Danielson University of Wisconsin Milwaukee, Milwaukee, WI USA
Charlie Fox University of Regina, Regina, Saskatchewan Canada
Ann Kroeber Sound Mountain, Berkeley, CA USA
Judy Rocchio National Park Service, Oakland, CA USA
Natural soundscapes comprise one of the most fragile and quickly disappearing acoustic constituencies of our planet. This workshop will address the issues of what we once had, what we've lost within the lifetimes of most field recordists capturing natural soundscapes, and the extraordinary lengths to which recordists are compelled to go to capture what's left.
Thursday, October 28, 4:00 pm 6:00 pm
W3 HIGH RESOLUTION AUDIO IN AN AGE OF UNIVERSAL PLAYBACK
Vicki Melchior - Audio Signal Processing Consultant, San Anselmo, CA - USA
John Atkinson Stereophile Magazine USA
Malcolm O. Hawksford University of Essex, Colchester UK
Hajime Kawai Texas Instruments Japan
George Massenburg - GML, LLC USA
Is it possible to maintain high quality, high resolution audio when audio is played back through players/receivers that out of necessity must support not only high resolution audio (likely both PCM and SACD) but also video and a plethora of other audio formats? Can the fundamental issues of conversion, processing, clocking, etc., readily be addressed across the demands of multiple A/V formats? This workshop seeks to address the following issues: What defines high resolution? Are multi-format players compatible with high resolution? What problems afflict them (e.g., clocking, conversion, quality of ICs, jitter, optimization for video, analog design)? Are the design issues fundamental or merely implementation-specific (i.e., dependent only on cost effectiveness)? What system design approaches are preferable?
W4 SPATIAL CODING OF SURROUND SOUND: A PROGRESS REPORT
Mark Davis Dolby Laboratories, Inc., San Francisco, CA USA
David Griesinger - Lexicon, Inc., Bedford, MA - USA
Jürgen Herre - Fraunhofer IIS, Erlangen - Germany
Jean-Marc Jot - Creative Labs, Scotts Valley, CA - USA
Leon van de Kerkhof - Philips, Eindhoven - The Netherlands
Robert Reams - Neural Audio, Kirkland, WA - USA
Gilbert Soulodre - Communications Research Centre, Ottawa, Ontario - Canada
Mark Vinton - Dolby Laboratories, Inc., San Francisco, CA - USA
The rise in popularity of surround sound in recent years has resulted in a duality of formats, with both stereo and 5.1-channel surround enjoying wide acceptance. This in turn has made it desirable to implement a common data format from which either presentation format can be derived. While it is a relatively straightforward matter to downmix a 5.1-channel program to stereo, it is more compact to provide a stereo format which can be upmixed to surround. Two traditional approaches are the blind upmixing of a pure stereo source, e.g. without side-chain information, and upmixing an encoded stereo file (Lt/Rt) which has been derived from a 5.1-channel source via a specific encoding downmix matrix. Systems employing augmented downmixed channels with side-chain information have demonstrated the feasibility of conveying compatible stereo/5.1-surround programs at data rates of 64 Kbps or less, and have become the focus of a new MPEG standardization process. This workshop will provide an overview of the principles of such systems, and examine some of the outstanding problems and proposed solutions of systems currently under development.
Friday, October 29, 11:30 am 1:30 pm
W5 FIREWIRE IN STUDIOS: BENEFITS AND CHALLENGES
Richard Foss Rhodes University, Grahamstown - South Africa
Jun-ichi Fujimori Yamaha Corporation, Hamamatsu Japan
Morten Lave - TC Applied Technologies, Markham, Ontario Canada
Bob Moses Island Digital Media Group, Vashon Island, WA USA
Tim Thompson Kurzweil Music Systems, Waltham, MA USA
Mark Olleson Yamaha, Ltd., London UK
Experts in the field will highlight the benefits and practical challenges of implementing FireWire (IEEE-1394) into studios. Discussion topics will include: The physical connection of devices cable types and lengths; Audio transmission - sample rates, word lengths, synchronization, and jitter; Device control - MIDI and other protocols; Software integration integration of Firewire device and software plug-in management within Digital Audio Workstations; mLAN how it addresses issues of connection management.
Friday, October 29, 2:00 pm 4:00 pm
W6 MASTERING FOR LOW BIT-RATE PERCEPTUAL CODECS
Bob Ludwig Gateway Mastering Studios, Portland, ME USA
John Arthur Apple Computer, Inc., Cupertino, CA USA
Grant Davidson Dolby Laboratories, Inc., San Francisco, CA USA
Bob Katz - Digital Domain, Alamonte Springs, FL - USA
Tony Masiello XM Satellite Radio Washington DC USA
Most DVD-V clients are interested in perceptual audio coding (e.g., Dolby Digital and DTS 5.1 surround). The convenience of MP3 and AAC (e.g., iTunes) has attracted a far wider audience than any high resolution audio format could ever hope for. Satellite radio, working with extremely low bit-rates, has also had good success. All sound engineers need to know about codecs and what kinds of signal processing needs to be done in order to achieve commercially acceptable sounding low bit-rate streams. The discussion will include: A quick overview of perceptual codecs and their history; What bit-rates are sufficiently high that NO pre-mastering is necessary?; Mastering for medium bit-rate streams; Extreme signal processing for the lowest bit-rate streams. Audio examples will be provided as applicable.
Friday, October 29, 4:30 pm 6:30 pm
W7 HOW WE MADE GAMES IN THE HALLWAY ROCK!
Martin Wilde Motorola, Schaumburg, IL USA
Murray Allen San Francisco, CA USA
Buzz Burrowes Sony Corporation
Jack Buser Dolby Laboratories Inc., San Francisco, CA USA
Brian Schmidt Microsoft Corporation, Redmond, WA USA
Attendees will likely have experienced the audio capabilities of many different games and gaming platforms at the convention. The audience will hear first-hand from the companies providing this equipment how each of them went about making this as good an audio exhibit as it could be. The audio design and considerations for this event are numerous. Topics for discussion will include: Design of the walk-up gaming stations; Speaker design and performance considerations for games; PC solutions for excellent game audio; Acoustical treatment challenges of this hostile situation.
W8 ARCHITECTURAL ACOUSTICS FOR FILM AND BROADCAST STUDIOS
David R. Schwind Charles M. Salter Associates, Inc, San Francisco, CA USA
George L. Augsburger - Perception, Inc., Los Angeles, CA USA
Russ Berger - Russ Berger Design Group, Dallas, TX USA
Tomlinson Holman - TMH Corporation, Los Angeles, CA USA
Jan Voetmann - DELTA Acoustics, Hørsholm Denmark
The digital era is bringing numerous changes to Film and Television audio. This workshop will review aspects of good architectural acoustic design practice for new facilities. Topics for discussion, in the form of project case studies, will include: Planning considerations and design criteria; Internal and external sound isolation; The use of Noise Criteria (NC) and Room Criteria (RC); Noise reduction; Structure-borne noise; Proper HVAC system design; Room shape and its influence on acoustics.
Saturday, October 30, 11:30 am 1:30 pm
W9 WHICH AUDIO RECORDING AND STORAGE MEDIUM FOR WHAT PURPOSE?
Derk Reefman Philips Research, Eindhoven The Netherlands
Chris Chambers BBC Research, London UK
Kimio Hamasaki NHK, Tokyo Japan
Nicolas Hans Dalet, Paris France
Kieran Maloney Exabyte Corporation, Boulder, CO USA
Masaaki Shinmachi Fostex, Tokyo Japan
Many people have their preferences for a certain type of storage medium but without unanimous scientific/technical reasoning. The AES TC on Audio Recording and Storage Systems (TC-ARSS) has also identified the need to discuss various audio data storage media. This workshop tries to bring together experts on different storage media, such that a discussion of the pros and cons of different media can be started that has roots in real science. In addition, the user perspective will be detailed by an end-user panelist. Areas of discussion and storage media will include: Digital tape; Optical disk; Hard disk; Distributed network/local storage; End-users for both recording and archiving; Views on the future.
Saturday, October 30, 2:00 pm 4:00 pm
W10 THE POWER OF LOUDSPEAKER MODELS
Wolfgang Klippel Klippel GmbH, Dresden - Germany
Andrew Bright Nokia Research Centre Tampere Finland
David Clark DLC Design, Wixom, MI USA
Jürgen Ringlstetter Harman-Becker, Straubing Germany
Richard Small Harman-Becker, Martinsville, IN USA
With the progress in loudspeaker modeling new parameters are introduced which describe essential properties of loudspeakers more concisely. The workshop gives an overview of linear, nonlinear and thermal models and associated parameters and shows the practical application for loudspeaker design, diagnostics, system development and active loudspeaker control. The validity of the models and reproducibility of parameters are discussed and illustrated with practical demos. The workshop reveals the border line between established theory and un-modeled but significant effects which are subject of further research.
Saturday, October 30, 4:30 pm 6:30 pm
W11 SIGNAL PROCESSING AND HEARING AIDS
Brent Edwards Starkey Laboratories, Berkeley, CA USA
Andrew Dittberner - GN ReSound, Chicago, IL - USA
Mead Killion - Etymotic Research, Elk Grove Village, IL - USA
Neeraj Magotra - Texas Instruments, Dallas, TX - USA
Robert Shannon - House Ear Institute, Los Angeles, CA - USA
Fan-Gang Zeng - University of California at Irvine - USA
The focus of the hearing industry has been on the development of signal processing features enabled by DSP technology, such as noise reduction, feedback cancellation and environment recognition. The purpose of this panel discussion will be to discuss where the industry should be focusing its effort with regard to signal processing development, what the panel foresees in the development of DSP algorithms in the future, what problems currently exist with signal processing in hearing aids, and what should be the forward-looking strategy for DSP research and development. The discussion will involve issues, current problems, and future development regarding: Compensation for hearing impairment; Improved functionality of hearing aids; Quality issues related to signal processing; Subjective and objective measures of benefit; Limitations to what signal processing can do today and in the future.
W12 THE ROLE OF MULTIPLE LOW-FREQUENCY SIGNALS IN THE PERCEPTION OF REPRODUCED SOUND
William Martens McGill University, Montréal Canada
Jonas Braasch McGill University, Montréal, Quebec Canada
David Griesinger Lexicon, Inc., Bedford, MA USA
Geoff Martin Bang & Olufson, Struer Denmark
Robert E. (Robin) Miller III Filmakers Inc., Bethlehem, PA - USA
Todd Welti Harman International, Northridge, CA USA
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 sound reproduction. The emphasis 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. Topics for discussion include: At what frequency can low-frequency sound be presented via a single reproduction channel without degrading spatial imagery? (And conversely, at what frequency does low-frequency sound need be presented via more than one channel?); Besides the detectability of differences, what are the perceptual consequences of reproducing more than a single channel low-frequency (i.e., subwoofer) signal in two-channel and multichannel stereophonic sound reproduction? What is the best way to handle two (or more) LFE signals? What is best when there are none? What should be recommended when considering costs versus benefits?
Sunday, October 31, 11:30 am 1:30 pm
W13 FUTURE CHALLENGES FOR THE ALL-SOFTWARE STUDIO: SCALABILITY, STABILITY, USABILITY
Dana Massie Waves, Inc., London - UK
Todor Fay New Blue, Inc., La Jolla, CA USA
Adrian Freed Center for New Music and Audio Technologies, Berkeley, CA USA
David Gibbons Digidesign, Daly City, CA USA
Gerhard Lengeling Apple Computer, Cupertino, CA USA
Roger Linn Roger Linn Design, Berkeley, CA USA
Guy McNally Pinnacle Systems, Mountain View, CA USA
Andy Moorer Adobe Systems, Inc, Panacea, FL USA
With the all-software studio, our fundamental mode of interaction with the studio has changed profoundly. What have we gained and what have we lost? What technologies are around the corner to solve the limitations of the all software studio? We can now edit and transform audio with unprecedented ease and clarity, and produce digital effects that have no counterpart in the analog world. However, there are new challenges: Can any pro studio tolerate a workstation crash in the middle of a billable session? Can a pro studio tolerate gaps in the delivery of audio packets? Likewise, can a studio tolerate latencies of tens of milliseconds in live monitoring of a record track? How can a studio incrementally add more processing power? User interfaces can also be non-standard and complex, requiring big investments in training, and creating obstacles to entry for new engineers.
Sunday, October 31, 2:00 pm 4:00 pm
W14 LOSSLESS AUDIO CODING: MPEG & DE-FACTO STANDARDS
Jürgen Herre Fraunhofer IIS, Erlangen Germany
Peter Craven Algol Applications, Steyning UK
Ralf Geiger Fraunhofer IDMT, Ilmenau Germany
Tillman Liebchen Technical University of Berlin, Berlin Germany
Werner Oomen Philips, Eindhoven The Netherlands
Lossless audio coding is becoming increasingly used in the context of high-definition audio and archiving. Besides established schemes in consumer applications (e.g., MLP for DVD-Audio), new technology is being developed within ISO/MPEG. This workshop will provide an overview of widely used current systems for lossless audio coding and their applications. Special attention will be given to the technology developed by the ongoing MPEG work on this topic which provides a number of novel features compared to existing systems, such as combined lossy/lossless audio coding, fine grain scalability and compression of floating point audio.