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AES New York 2005
Workshop Details

Friday, October 7, 9:00 am — 12:00 pm

W1 - Surround Sound: A Chance for Enhanced Creativity

Martha de Francisco, McGill University - Montreal, Quebec, Canada
George Massenburg, GML LLC - TN, USA
Akira Fukada, NHK Japan Broadcasting Corporation - Tokyo, Japan
Richard King, Sony Music Studio
Bob Ludwig, Gateway Mastering & DVD - Portland, ME, USA
Ronald Prent, Galaxy Studios - Belgium
Everett Porter, Polyhymnia - Baarn, The Netherlands

With multichannel/surround sound recording we have entered a new era in the transmission of music. This calls for an increased creativity and new ideas to be applied to music recording. The rules of recording aesthetics need to be reviewed and redefined. How does the impact of a multichannel recording on the listener compare to that of the same recording in stereo? When recording in surround sound, do we need to follow the spatial rules imposed by the live-concert performance of classical music and jazz? Are we facing a possible revolution in the recording of pop music? Does the level of technical recording quality have a significant influence on the way in which the listener perceives the performance? With the help of listening excerpts of a variety of multichannel recordings, a panel of leading engineers discusses issues of sound aesthetics and practical aspects of surround sound recording, focusing on the creative possibilities that result from the use of multichannel.

Experience Immersive Surround Sound in Room 1E11 as the panelists of this workshop demonstrate their recordings:
George Massenburg—Saturday, Oct. 8, 12:30–1:30
Ronald Prent—Saturday, Oct. 8, 1:30–2:30
Bob Ludwig—Saturday, Oct. 8, 2:30–3:30
Everett Porter—Saturday, Oct. 8, 5:30–6:30
Richard King—Sunday, Oct. 9, 5:30–6:30
Akira Fukada—Monday, Oct. 10, 3:00–4:00
Martha de Francisco—Monday, Oct. 10, 4:00–5:00

Friday, October 7, 1:30 pm — 3:30 pm

W2 - Switching Amplifiers for High-Resolution Audio

Vicki Melchior, Audio Signal Processing Consultant - San Anselmo, CA, USA
Karsten Nielsen, Bang&Olufsen ICEpower, Denmark
John J.H. Oh, Pulsus Technologies, South Korea
Lars Risbo, Texas Instruments, Denmark
Skip Taylor, D2Audio, USA

Increasingly, switching amplifiers are found in a broad range of applications in consumer and professional audio, in simplified integrated systems where high efficiency low power is key, and in complex multichannel systems where high performance is key. The technology of these amps has improved markedly over the past ten years to the point that they are competitive with conventional linear amplification, yet offer advantages in cost, power efficiency, size, and overall system flexibility. The purpose of this workshop is to review both design and practice in switching amp technology. The discussion will include pulse width modulation and sigma delta methodologies, techniques and quality of linearization, open and closed loop implementations, analog as well as digital inputs, and handling of noise and EMI. Also, the integration of adaptive dsp processing into the amplifier design will be discussed, along with future trends and challenges.

Friday, October 7, 3:30 pm — 6:30 pm

W3 - Pre-Fab Acoustics for the Audio Production Environment

John Storyk, Waters Storyk Design Group - NY, USA
Russ Berger, Russ Berger Design Group - TX, USA
Chris Bowman, CHBO Construction - NY, USA
Peter D’Antonio, RPG Diffusor Systems - MD, USA
Jeff Szymanski, Auralex Acoustics - IN, USA
Ethan Winer, RealTraps, USA

Many affordable options are now available to acoustically treat and shape audio production environments. A panel of studio designers, builders, and materials vendors will discuss the range of products and their proper use.

Friday, October 7, 3:30 pm — 6:30 pm

W4 - What’s Shakin’? - Auditory Haptic Interaction

William Martens, McGill University - Montreal, Quebec, Canada
Bernard D. Adelstein, NASA Ames Research Center, USA
Durand Begault, NASA Ames Research Center, USA
Aleksander Väljamäe, Chalmers University of Technology, Sweden
Wieslaw Woszczyk, McGill University, Montreal, QC, Canada

There are a variety of audio applications that can benefit from the coordinated display of haptic information, whether it is your finger or your whole body that is being shaken. The workshop participants will discuss the relatively untapped potentials for including vibro-sensory stimulation in user interfaces and in multimedia displays. The term haptic is used broadly here to include any kinaesthetic or tactile stimulation of skin or somatic senses, such as that provided by devices you hold in your hand or by vibrating seats on which you are positioned. Emphasis will be placed upon the results of research designed to examine experimentally the effects of audio-haptic interaction, especially for applications in which the simulation of structural vibration can provide a more natural experience of reproduced acoustic events.

Saturday, October 8, 9:00 am — 11:00 am

W5 - New Issues In Audio/Video Synchronization

Kimio Hamasaki, NHK Science & Technical Research Laboratories - Tokyo, Japan
Stephen Lyman, Dolby Laboratories - San Francisco, CA, USA
Stanley J. Chayka, Sigma Electronics, USA
Hiroyuki Okubo, NHK Research Laboratories - Tokyo, Japan
Junichi Yoshio, Pioneer Corporation - Tokyo, Japan

As new formats, transmission media, audio and video codecs, and signal processors in consumer devices are developed, synchronization issues are becoming more prevalent. High-definition broadcasts, interactive audio/visual systems, and networked communications present unique problems in synchronization. A panel of experts from the broadcast, consumer electronics, and communications industries will discuss problems and solutions.

Saturday, October 8, 12:00 pm — 1:30 pm

W6 - Measuring Room Acoustics—An Overview of Techniques and Relevance

Sam Berkow, SIA Acoustics, USA
David Griesenger, Lexicon, USA

This workshop will review the various methods used to measure the performance of concert hall acoustics. There are several different acoustical values that define the "acoustics" of a hall. From ambient noise measurements to measurements of reflections and reverberation, this workshop will review several methods of obtaining data, and even more methods for extracting comparative information from the raw data. Measured results from several real concert halls will be presented and analyzed.

Saturday, October 8, 2:00 pm — 4:00 pm

W7 - Audio Networking Applications and Requirements

Kevin Gross, Cirrus Logic, Inc.
Jeff Berryman, Jason Audio - Canada
Tom Blank, Microsoft Corp. - USA
Roland Hemming, Independent
Jim Meyer, Clair Bros. - USA
Bruce Olson, Independent
Dave Revel, Independent - USA

This workshop will discuss applications of digital audio networking and explore the requirements of each application. General applications areas include: concert sound; fixed installation commercial; recording and postproduction; long-distance applications, intercom systems, and broadcast facilities. The workshop will use the results of an audio networks requirements survey as a starting point for discussion. The survey is being conducted via the internet at A panel of survey respondents from representative applications will provide anecdotes and discuss and elaborate on audio networking requirements.

Saturday, October 8, 3:30 pm — 5:30 pm


Jeff Levison, Phontrum - Woodstock, VT, USA
David Griesinger
Jürgen Herre
Russell Mason
George Massenburg
Charles Robinson, Dolby Labs - San Francisco, CA, USA

5.1 multichannel sound has become very popular in the market, coexisting with the 2-channel stereo standard. Producers and providers are confronted with the necessity of delivering optimum quality not only for the new format but also for the old one. In other words, optimum aesthetical downward compatibility is required. It is without a doubt that simultaneously offering the multichannel as well as the 2-channel format (DVD-A, SACD, simulcast broadcasting) is advantageous in comparison with known downmix matrix techniques (e.g., ITU matrix) because optional mixes can be provided in principle. However, the provision of an extra 2-channel handmade mix is a significant matter of cost. At least broadcasters are not able to afford production, archiving, and distribution of two formats in the case of simulcast broadcasting. They need automatic downmix methods that guarantee satisfying stereophonic quality for any material. Furthermore, matrix based surround sound downmix-upmix systems such as 4-2-4 and 5-2-5 are in use, and automatic downmix strategies should ensure sufficient aesthetical downward compatibility as well as full backward compatibility with existing decoders. Last not least, sophisticated 5-2-5 spatial coding systems will be applied in the future. As a potential candidate for broadcast applications the spatial coding system requires optimum performance with respect to the downmix algorithm.
Related questions will be addressed in the workshop. Panellists will demonstrate practical results of automatic and handmade downmixes in comparison with the original 5.1 version as well as among each other. The following topics will be discussed, aiming for an acceptable automatic downmix solution:
• How close are we to achieving a separate 2.0 handmade mix?
• How close are we to a standard ITU downmix?
• How close are we to a sophisticated automatic downmix?
• Automatic downmix for economic and technical reasons
• Intelligent automatic downmix strategies
• Spatial coding—new possibilities or new problems?
• Is automatic downmix monitoring during 5.1 production
• The balance of 5.1 mix quality and 2.0 downmix quality?

Saturday, October 8, 4:30 pm — 6:30 pm

W9 - Hearing Meaning In Machine Listening

Dan Ellis, Columbia University, USA
James Ballas, Naval Research Labs, USA
Jan Berg, Lulea University of Technology, Sweden
Brian Gygi, Austrian Academy of Sciences - Austria
Ute Jekosch, Rensselaer Polytechnic Institute, USA

In any human listening experience, it is the abstract percepts of objects and their properties that provide the most important elements of the experience, but this aspect is difficult to study and discuss. This workshop brings together several perspectives on how meaning is carried by and constructed from sound, approaching from both signal and from semantic directions. The goal is to inform future developments of automatic systems for both creating meaningful sounds, and extracting the meaning from sounds in a human-like way.

Sunday, October 9, 9:00 am — 12:00 pm

W10 - Next Generation Audio Communications

Gerald Schuller, Fraunhofer IDMT and Ilmenau University of Technology - Ilmenau, Germany
Bernd Edler, University of Hannover - Germany
Roch Lefebvre, University of Sherbrooke
Manfred Lutzki, Fraunhofer IIS
Gregory Pallone, France Telekom
Lucas Parra, City University of New York
Sean Ramprashad, NTT Docomo Labs
Greg Shay, Telos Systems
Thomas Sporer, Fraunhofer IDMT, Germany

High quality audio communications is becoming interesting and important in a variety of applications. Examples are high quality video conferencing, increasingly also with multichannel capability, or even wave field synthesis technology; applications with next generation wireless networks like UMTS or 3GPP, 3GPP2; in-studio communications, musicians playing together over long distances, or wireless connections of speakers or microphones. In all those applications a very low end-to-end processing and transmission delay is important, such that traditional audio coders, for instance, cannot be used. This Workshop will provide an overview over the state-of-the-art of existing technologies and give an insight about possible future developments, by bringing together leading experts in this promising new field.

Sunday, October 9, 1:00 pm — 4:00 pm

W11 - Performance Issues In Digital Audio

Dan Lavry, Lavry Engineering - Bainbridge Island, WA, USA
Robert Adams, Analog Devices, Inc. - Norwood, MA, USA
Richard Cabot, Sensurround, Inc. - Portland, OR, USA
David Smith, SONY BMG Music Studios - USA

A wide-ranging discussion of digital audio performance problems and solutions will take place. Topics will include jitter, sample and hold, quantization, and essential differences between analog and digital signal processing. What are the limitations of DSP and what can be done about it? There will be some concentration on semiconductors and the problems associated with mixed signals—digital next to sensitive analog. Focus will also be on digital audio computer interfaces and archiving of digital audio formats. The session will be as interactive as possible with lively Q&A encouraged.

Sunday, October 9, 4:30 pm — 6:30 pm

W12 - Beyond Clicks, Pops, and Hiss: New Strategies For High Fidelity Restoration

Jamie Howarth, Plangent Processes - Nantucket, MA, USA
Mitch Golden, Lawrence Berkeley Laboratories - USA
Christoph M. Musialik, Algorithmix, Germany
John Newton, SoundMirror - USA
Gordon Reid, CEDAR - UK
Patrick Wolfe, Harvard University - Cambridge, MA, USA

The workshop will focus on novel methods to retrieve information from vintage sources, and on how to utilize digital signal processing to undo the damage caused by the mechanics of media. For many audio carriers there is a finite window of time to rescue their content before it gets lost or degenerates completely. Antique wax cylinders or old shellac records are often so fragile that a playback with traditional methods is very risky. Special playback technologies have been developed to avoid further mechanical damage: e.g. laser and electron microscope sampling. Recent carriers such as lacquer, vinyl, professional analog tape, and film have their own life-span and quality limitations. New digital processes have been developed to correct distortions and undo inherent artifacts without subtracting information or adding new artifacts. It is also hoped that a discussion can take also take place regarding the value of the recorded performance versus the antique character of the vintage recording itself. Must we listen through a horn, or on an analog tape deck, or can we legitimately attempt to utilize analytical techniques to reclaim fidelity not obviously present in the material? Samples and documentation of recent developments will be heard and displayed.

Monday, October 10, 9:00 am — 12:00 pm

W13 - Automotive Sound Systems Part II: Considerations in Methodology and Sound Quality Attributes for Subjective Evaluations

Tim Nind, Harman/Becker Automotive Systems - Bridgend, UK
Søren Beck, Bang and Olufsen - Struer, Denmark
Kristina Busenitz, Harman Becker Automotive Systems - Bridgend, UK
William Martens, McGill University - Montreal, Quebec, Canada
Russell Mason, University of Surrey - UK
Sean Olive, Harman International Industries, Inc. - Northridge, CA, USA

The rapid growth in the number of 2 channel and 5.1 surround systems in automobiles has raised the question of how to evaluate their performance: Multi-channel systems have significantly different spatial characteristics compared to 2 channel stereo systems. It is therefore appropriate to review the validity and reliability of the current methods and to assess whether they can cover this significant change in the spatial attributes. A workshop at the 117th Convention discussed some of the current methods and related issues. At this same Convention, a number of automotive listening tests and surveys were staged to illustrate some of these complexities. This workshop at the 119th will provide feedback of selected results. A team of recognized experts in the field of scientific methodologies will discuss the pros and cons of the methods, the data analysis and the conclusions that can be inferred from these experiments. Although this workshop relates to an automotive environment, the debate will delve into the important generic issues of validity and reliability in subjective testing and will therefore be useful to anyone who wants to find out more about this field. This is another chance to hear this workshop which was presented at the 118th Convention in Barcelona.

Monday, October 10, 2:30 pm — 5:30 pm

W14 - Mixing with Personal Stage Monitors: The Whys, the Hows, and How Much Is too Much?

Bob Schulein, RBS Consultants - Schaumburg, IL, USA
Michael Santucci, Sensaphonics Hearing Conservation - Chicago, IL, USA
Rachel Cruz, House Ear Institute - Los Angeles, CA, USA
Brian Bavido, Monitor Engineer Dashboard Confessional, Lisa Loeb)
John Bruey, Monitor Engineer (Bruce Springsteen, Goo Goo Dolls, Limp Bizkit)
Ian Kuhn, Monitor Engineer (Dave Matthews Band)
Jeff Pelletier, Audio Systems Engineer (Willow Creek Community Church, Barrington, IL, USA)

This workshop will focus on technical and creative issues unique to mixing for personal stage monitors (PSMs). Our expert panelists have mixed live for a variety of musical genres; rock, pop, soul, r&b, hip hop and church music. Our discussion will focus on how common use of PSMs has altered the performance and listening experience for both artists and audience as well as how the use of PSMs effects live sound production. Additional topics include ways in which PSMs may alter the way a Monitor Engineer approaches a mix, how the relationship between FOH and Monitors may be affected, and the use of in-ear monitors as a potential tool for hearing conservation.

Monday, October 10, 3:00 pm — 6:00 pm

W15 - Academia Meets the Industry: The Future of Audio and Music Research

John Strawn, S Systems Incorporated - Larkspur, CA, USA
Xavier Amatriain, Create, USA
Nicola Bernardini, Firenze Tecnologia , Italy
Karlheinz Brandenburg, Fraunhofer AEMT, Germany
Peter Eastty, SONY Pro Audio, UK
Nick Zacharov, Nokia Technology Platforms, Finland
Morton Lave, TC Electronics, Canada
Rob Maher, Montana State University, USA
William L. Martens, McGill University, Canada
Karsten Nielsen, Bang & Olufsen, Denmark

This workshop will discuss the future of audio research and the way that research institutions can approach industrial needs. It also aims at strengthening the communication channels between these two communities. During the convention, different companies will be approached with a questionnaire in order to understand how they see the future of the audio industry and what research topics they consider most interesting. The results of this survey, and a similar survey from the 118th convention in Barcelona, will be made public at the workshop. The workshop will be organized as a discussion around these results including the opinion of relevant members of both the industry and the research institutions on the panel as well as the participation of the audience.

The AES is grateful to S2S² for funding Nicola Bernardini's and Xavier Amatriain's participation, and for supporting Damien Cirotteau (Firenze Tecnologia). S2S² is a research project funded by the European Commission to investigate state-of-the-art research in sound together with humanities, technological research, and neuropsychological sciences.

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