AES San Francisco 2006
Tutorial Session Details
Thursday, October 5, 9:00 am — 12:00 pm
T1 - DESCRIPTIVE ANALYSIS 1: CONSENSUS VOCABULARY DEVELOPMENT
Presenters:
Søren Bech, Bang and Olufsen a/s - Streuer, Denmark
Gaëtan Lorho, Nokia Corporation - Espoo, Finland
Geoff Martin, Bang and Olufsen a/s - Streuer, Denmark
Nick Zacharov, Nokia Corporation - Espoo, Finland
Abstract:
Descriptive analysis (DA) considers a collection of techniques that can be used for evaluating the detailed perceptual characteristics of products or systems through listening tests. The application of DA techniques to audio has been evolving over the last few years.
This tutorial aims to provide clear guidance to the researcher and experimenter regarding the nature OF descriptive analysis (DA) and its practical application in audio. The focus will be placed on so-called consensus language methods. Guidance on the meaning of attributes and their development will be studied using consensus vocabulary DA techniques. A review of standards pertaining to such methods will be presented and with several practical examples of applications in audio.
Thursday, October 5, 9:00 am — 11:00 am
T2 - PSYCHOPHYSICS AND PHYSIOLOGY OF HEARING
Presenter:
Poppy Crum, Johns Hopkins University School of Medicine - Baltimore, MD, USA
Abstract:
This tutorial presents psychoacoustical phenomena from a physiological perspective. What we hear for a given acoustic signal is often not easily predicted without considering nonlinear transformations occurring at subsequent stages of the ear and brain. Psychoacoustical studies elucidate this relationship and offer mapping functions that better enable prediction from the acoustic source to the perceptual experience. In this tutorial we will discuss many such phenomena as they occur in natural hearing and consider current understandings of physiology that may lead to a particular perceptual outcome. Initial emphasis will be on how the ear (outer, middle, and inner) processes a simple sound with a focus on the physiology of the inner ear. From here we will consider psychoacoustic phenomena associated with perceptual experiences such as loudness, masking, scene analysis, and spatial localization.
Thursday, October 5, 2:00 pm — 4:00 pm
T3 - AUDIO LATENCY
Presenter:
Kevin Gross, Cirrus Logic, Inc. - Boulder, CO, USA
Abstract:
Latency or group delay is a measure of time delay experienced by a signal passing through a system. Latency is increasingly recognized as an important performance metric for digital audio systems. Audio professionals accustomed to analog equipment may not be wholly familiar with latency's characteristics and effect on system performance.
What causes latency? What does latency sound like? When is latency an important consideration? How much latency is too much? Is lower latency always better? What can be done to mitigate latency?
This tutorial will cover the fundamentals of latency, will draw on literature and experience of live-sound engineers, and use live demonstrations to address these questions.
Thursday, October 5, 4:30 pm — 6:30 pm
T4 - THE GRAND STORY OF MUSICAL SCALES FROM ANCIENT TO MODERN
Presenters:
Gareth Loy, Gareth, Inc. - Corte Madera, CA, USA
Sandra Soderlund, Mills College - Oakland, CA, USA
Abstract:
Why are musical scales organized the way they are? Why is most Western music based on scales made up of seven tones when there are twelve tones per octave? What does “equal-tempered” mean, and why after all these centuries is it still controversial? What choices have other cultures made about intonation, and why? What can we learn about ourselves, our music, and our culture by taking a careful look at the underlying mathematics? This tutorial examines one of the most basic issues of music technology: musical scales, tuning, and intonation.
This tutorial develops a simple, flexible, and convenient way of describing tones and intervals mathematically. However, what starts out simple becomes a surprisingly twisty trail with some deep insights into the choices our culture has made about the music we want to hear.
Friday, October 6, 8:30 am — 10:30 am
T5 - INTRODUCTION TO MICROPHONE TECHNIQUES FOR STEREO AND MULTICHANNEL
Presenter:
Geoff Martin, Bang and Olufsen a/s - Struer, Denmark
Abstract:
This tutorial will give an introduction to microphone techniques for stereo and surround recording. Fundamentals of microphone polar characteristics, microphone array behavior, monitoring configurations, and the listener's perception will be discussed and combined to provide a general model for choosing the appropriate microphone configuration. A number of "textbook" configurations will also be compared and contrasted.
Friday, October 6, 9:00 am — 12:00 pm
T6 - BASICS OF DIGITAL AUDIO: SEMINAR WITH DEMOS
Presenters:
Stanley Lipshitz, University of Waterloo - Waterloo, Ontario, Canada
John Vanderkooy, University of Waterloo - Waterloo, Ontario, Canada
Abstract:
This is an introductory-level tutorial aiming to explain and demonstrate with "live" examples the two fundamental aspects of any digital audio system—sampling and quantization. These two operations will be discussed and illustrated in real-time using a custom-built sampler and quantizer. This will enable us to present some of the pathologies of such systems, which should not normally be audible, and also show that, when properly implemented, a digital system has analog characteristics. This will make the presentation interesting to newcomers and "old pros" alike.
Topics to be covered will include:
— Sampling only (without quantization)
— Sampling artifacts (aliases and images)
— Reconstruction
— Quantization only (without sampling)
— Quantization errors
— Dither
The demonstrations will enable the audience to hear and see what is going on, both good and bad.
Friday, October 6, 11:00 am — 1:00 pm
T7 - HEARING HEALTH AND RISKS FOR THE IPOD GENERATION
Presenters:
Kathy Peck, H.E.A.R. - San Francisco, CA, USA
Mary Elizabeth Yarbrough, San Francisco Exploratorium - San Francisco, CA, USA
Abstract:
This tutorial includes important hearing health education facts to benefit new groups at high risk for hearing loss. Participants will acquire a better understanding of the importance of protecting their ears from the ear buds they're blasting their iPods through, the music they're playing, and the shows they're going to see. The discussion will include a preview of the new Exploratorium exhibit “Hearing Health and Risks.”
Friday, October 6, 1:30 pm — 3:30 pm
T8 - TECHNIQUES FOR DIGITAL SOUND MORPHING
Presenters:
Kelly Fitz, Starkey Hearing Research Center - Berkeley, CA, USA
Lippold Haken, University of Illinois at Urbana-Champaign - IL, USA
Abstract:
Sound morphing has been used to synthesize the voices of aliens and talking fish and a wide variety of sound effects in sound tracks and popular music. This tutorial will present a variety of techniques that are used to create hybrid sounds or to impart the characteristics of one sound onto another. We will discuss various sound models and techniques for interpolation in the model domain and the construction of filter and resonator systems that shape the spectrum of one sound by the spectrum of another. We will present the principles underlying the different algorithms and considerations for implementing them. Different morphing techniques are suited to different kinds of source sounds, achieve different effects, and are vulnerable to different artifacts. We will discuss the strengths and weaknesses of the various methods, and the variety of sounds and effects produced by each one. We will illustrate the capabilities of each method and give live demonstrations under real time control. We will morph machines, mammals, musical instruments, and anything else we can get our converters on.
Friday, October 6, 1:30 pm — 3:30 pm
T9 - DIGITAL PLUMBING FOR STUDIO, BROADCAST, AND LIVE AUDIO
Presenter:
Michael Poimbeuf, Digidesign - San Francisco, CA, USA
Abstract:
This seminar presents an overview of commonly used digital audio interconnection technologies, including cabling, circuits, modulation theory, and analysis techniques for performance measures. The interconnect technologies we study include AES-3 (AES/EBU), IEC60958 (S/PDIF), and IEEE802.3 (ethernet). Cabling includes shielded 110-ohm twisted pair, UTP and ScTP “category” cable (Cat5/5e/6), and 75-ohm coaxial cable. Circuits include clock/data recovery and PLLs. Analysis techniques and performance measures range from eye-diagrams and transport jitter measurements, to bit error rate (BER) estimation based on signal-to-noise measures such as NEXT, FEXT, and Alien Crosstalk. We conclude with discussion of new interconnection technology currently in development.
Friday, October 6, 4:00 pm — 6:00 pm
T10 - EMBEDDED DSP SYSTEMS CONSIDERATIONS WITH AUDIO SIGNAL PROCESSING
Presenters:
Lester Longley, Texas Instruments, Inc. - Stafford , TX , USA
Michael Truman, Texas Instruments, Inc. - Stafford , TX , USA
Matthew A. Watson, Texas Instruments, Inc. - Stafford , TX , USA
Abstract:
Audio Signal Processing systems have come a long way since the early days of a main() loop with calls to input/output functions, communication functions, and signal processing functions. These advances have come about due to the need for the embedded audio DSP to balance performing more complex tasks and reducing development time and effort. This tutorial session will explore a few advances in the area of audio signal processing systems and focus on some key concerns with each of them. In particular, the topics that will be discussed include simultaneous audio inputs and multi-zone outputs, control architecture, device interfaces, memory management, and use of real-time operating systems (RTOS). Additionally, some systems-level issues with audio-video mixed products will be described.
Friday, October 6, 4:00 pm — 6:00 pm
T11 - MUSIC MASTERING FOR STEREO RELEASE
Presenter:
Paul Stubblebine, Paul Stubblebine Mastering & DVD - San Francisco, CA, USA
Abstract:
We will start with just enough of the history of mastering to give some perspective to today's practice. We will settle once and for all the questions that have plagued philosophers for centuries: Is mastering a technical job or an aesthetic one? Do we fix a recording's drawbacks and flaws, or enhance its good qualities? We will discuss the advantages and difficulties of various formats, both for delivery to mastering and delivery to manufacturing. There will be a discussion of the role of monitoring in the mastering process and how that relates to the many varied playback environments that the recording may encounter after release. We will pay special attention to good engineering practice relative to handling digital audio in the mastering stage, including sample rate and bit depth reduction. The secret to creating a "hit" MIGHT be revealed.
Saturday, October 7, 8:30 am — 10:30 am
T12 - ACOUSTICS OF LARGE ROOMS: DOES SIZE MATTER?
Presenter:
Kurt Graffy, ArupAcoustics - San Francisco, CA, USA
Abstract:
A tutorial for those curious about sound in big rooms and not afraid to admit it. So if acoustics is like playing pool at 1130 ft/s, what happens if somebody stretches the table to be larger or shaped differently? If we consider rooms to be a form of acoustic energy storage cell, do their charge/discharge rates differ as room size changes? Do we care? Or for that matter, what, in fact, is a big room? What would Schroeder say? Will the reverberant level help straighten things out? Is the mean free path ever truly free, or ever really mean? Come and find out, no one will be turned away.
Saturday, October 7, 9:30 am — 11:30 am
T13 - MIXING SURROUND
Presenter:
Frank Filipetti, Right Track Recording - New York, NY, USA
Abstract:
Since the introduction of 5.1 DVD audio there’s been a world of confusion regarding recommended procedures for the professional and the consumer. AES, ITU, and NARAS have all tackled these issues with varying degrees of success. The problem has been exacerbated by the seemingly conflicting demands of the film and audio communities’ dual use of the DVD format. How do we reconcile the consumers’ desire to have one home monitoring setup that will work equally well for both home theater and 5.1 DVD Audio? And for the professional, what mixing guidelines and monitoring setups will ensure compatibility with current and future modifications of the format? Some of the questions we hope to answer are: proper setup procedures for the surround and LFE channels; the use (or non-use) of the center and LFE channels; how do we reconcile film’s need for a diffuse surround environment versus the pin point location demanded in the satisfactory reproduction of many modern DVD Audio disks; and how do the new HD DVD and Blu-Ray standards affect an already confusing array of choices for music and film mixers. Many examples and excerpts will be provided including a soon to be released 5.1 mix of Frank Zappa.
Saturday, October 7, 11:30 am — 1:30 pm
T14 - AN INTRODUCTION TO AMBISONICS
Presenters:
Eric Benjamin, Dolby Laboratories - San Francisco, CA, USA
Dave Malham, Music Technology Group - University of York - Heslington, York, UK
Abstract:
Ambisonics is a surround sound system that allows unparalleled flexibility in the recording, distribution, and reproduction process.
Rotation of sound fields is easily accomplished. The system allows a continuous homogenous distribution of sound images in the horizontal plane or in true 3-D sound reproduction. The number of channels that are recorded or transmitted is not directly related to the number of loudspeakers used for reproduction, which gives uncommon flexibility in configuring systems. The directional resolution and size of the sweet spot can be increased by increasing the numerical order of the system.
Ambisonics makes use of psychoacoustic models of localization to optimize its performance. How Ambisonics works and some of its applications will be discussed.
Saturday, October 7, 2:00 pm — 4:00 pm
T15 - PROJECT STUDIO DESIGN AND ACOUSTICS - 1
Presenter:
Anthony Grimani, Performance Media Industries (PMI), Ltd. - Fairfax, CA, USA
Abstract:
Statistics tell us that fully 93 percent of all A titles go through a “project” studio in some phase of their production cycle. In fact, there are an estimated 350,000 project studios worldwide. Whether to cut costs, be more convenient, or more convivial, the project studio trend is growing; and gear is available at astoundingly low prices to all those interested in setting up their own project room. The real challenge today is how to maintain quality and consistency in the transition from “professional” studio to project studio and back. Ultimately, project studios need to be set up following some fundamental rules if the program material is to stand a chance of surviving the transition between facilities. These two tutorials will focus on guidelines for proper set-up of a project studio: room layout, acoustics, sound system design, and calibration. The information will cover all the details that affect the system design, from room to equipment, and will provide simple recipes for improving quality and consistency. Basic knowledge of audio engineering theory, acoustics, and electroacoustics are recommended.
This is the first tutorial of a two-part series. The main topics covered in this first part are:
• Room and system layout
• Room acoustics and dimensioning
• Sound isolation
• Noise control
• Vibration and rattle control
Saturday, October 7, 2:30 pm — 5:30 pm
T16A - ON-LOCATION RECORDING OF GRAHAM BLYTH'S ORGAN RECITAL
Moderator:
Ron Streicher, Pacific Audio-Visual Enterprises - Pasadena, CA, USA
Abstract:
The tutorial will center on the setup and recording of Graham Blyth's Organ Concert at Trinity Episcopal Church. This will be a "hands-on" session, with direct involvement of any and all who attend. Participants should come prepared to work. We will do everything required to setup and record this concert, from unloading the van of equipment through to reloading following the concert. All aspects of this process will be thoroughly discussed during the setup process:
- Microphone selection and placement
- Microphone stand security and safety
- Cable routing and taping for safety
- Equipment configuration: the recording chain
- Choice of recording formats for stereo and surround
- ProTools session setup for stereo and surround
- Multi-track (DA78HR) equipment setup
- The "on-location monitoring dilemma" (i.e. headphones or loudspeakers)
- Techniques for logging the session (i.e. the "paperwork")
- Striking the session: cable coiling the RIGHT WAY
Saturday, October 7, 4:30 pm — 6:30 pm
T17 - PROJECT STUDIO DESIGN AND ACOUSTICS - 2
Presenter:
Anthony Grimani, Performance Media Industries (PMI), Ltd. - Fairfax, CA, USA
Abstract:
Statistics tell us that fully 93 percent of all A titles go through a “project” studio in some phase of their production cycle. In fact, there are an estimated 350,000 project studios worldwide. Whether to cut costs, be more convenient, or more convivial, the project studio trend is growing; and gear is available at astoundingly low prices to all those interested in setting up their own project room. The real challenge today is how to maintain quality and consistency in the transition from “professional” studio to project studio and back. Ultimately, project studios need to be set up following some fundamental rules if the program material is to stand a chance of surviving the transition between facilities. These two tutorials will focus on guidelines for proper set-up of a project studio: room layout, acoustics, sound system design, and calibration. The information will cover all the details that affect the system design, from room to equipment, and will provide simple recipes for improving quality and consistency. Basic knowledge of audio engineering theory, acoustics, and electroacoustics are recommended.
This is the second tutorial of a two-part series. The main topics covered in the second part are:
• Acoustical treatments for optimized reflections, echoes, and energy decay
• Sound system selection
• Sound system placement optimization
• System calibration
Saturday, October 7, 4:30 pm — 6:30 pm
T18 - AUDIO DATA COMPRESSION
Presenters:
Marina Bosi, MPEG LA, LLC - Denver, CO, USA
Karlheinz Brandenburg, Fraunhofer IDMT - Ilmenau Technical University, Ilmenau, Germany
Abstract:
Audio coders are part of our daily lives. Current applications include digital radio and television, digital sound on film, DVD, multimedia/Internet audio, portable devices, electronic music distribution, and 3rd generation mobile. This tutorial introduces basic principles behind perceptual audio coding systems and the design choices applied in different coding schemes, e.g., AC-3; MPEG Layers I, II, and III (MP3); MPEG AAC; MPEG-4; MPEG-Surround. Demonstrations will allow participants to hear different aspects of the audio coding process and potential artifacts as well as the quality of state-of-the-art implementations including parametric, bandwidth extension, and spatial audio coding at varying data rates.
Saturday, October 7, 6:45 pm — 10:00 pm
T16B - ON-LOCATION RECORDING OF ORGAN RECITAL
Presenter:
Ron Streicher, Pacific Audio-Visual Enterprises - Pasadena, CA USA
Abstract:
The tutorial will center on the setup and recording of Graham Blyth's Organ Concert at Trinity Episcopal Church. This will be a "hands-on" session, with direct involvement of any and all who attend. Participants should come prepared to work. We will do everything required to setup and record this concert, from unloading the van of equipment through to reloading following the concert. All aspects of this process will be thoroughly discussed while we are working:
- Microphone selection and placement
- Microphone stand security and safety
- Cable routing and taping for safety
- Equipment configuration: the recording chain
- Choice of recording formats for stereo and surround
- ProTools session setup for stereo and surround
- Multitrack (DA78HR) equipment setup
-The "on-location monitoring dilemma" (i.e. headphones or loudspeakers)
- Techniques for logging the session (i.e. the "paperwork")
- Striking the session: cable coiling the RIGHT WAY
Please note: this tutorial will be in two parts: 2:30-5:30 p.m. for load-in, setup, and soundcheck; and 6:45-10:00 p.m. for concert and load-out. It is necessary to register for the tutorial at at the Special Events Registration Desk, where you will be provided with the address and a map to the Church and the parking available in the vicinity of the Church, as well as the full, detailed schedule for the day's proceedings.
Sunday, October 8, 9:00 am — 11:00 am
T19 - AUDIO FORENSICS
Presenters:
Durand Begault, Charles M. Salter Associates - San Francisco, CA, USA
Eddy B. Brixen, ebb-consult - Smørum, Denmark
Gordon Ried, CEDAR Audio Ltd. - Cambridge, UK
Richard Sanders, University of Colorado at Denver and Health Sciences Center - Denver, CO, USA
Lise-Lotte Tjellesen, Consultant - Ceacon Espergaerde, Denmark
Abstract:
This 2-hour tutorial will give an overview of the technical procedures and challenges for those working in the field of forensic audio. It is presented by members of the recently formed Technical Committee on Audio Forensics. Topics include an overview of the field; crime scene analysis; speech recording enhancement; authentication; voice analysis; and future areas and challenges.
• What is Forensic Audio? (EBB)
• Enhancement and transcription of noisy recordings. (DRB)
• An overview of adaptive and other filtering in audio forensic investigation. (GR)
• Crime Scene Analysis from an acoustical point of view. (LLWT)
• Audio Forensics at CU-Denver and the proposed National Center for Audio/Video Forensics (RS)
Sunday, October 8, 11:00 am — 1:30 pm
T20 - SURROUND MASTERING – A DISCUSSION OF TECHNIQUES FOR MUSIC AND FILM
Presenters:
Brant Biles, Mi Casa Multi Media - Hollywood, CA, USA
David Glasser, Airshow Mastering - Boulder, CO, USA
Jeff Levison, DTS, Inc. - Agoura Hills, CA, USA
Abstract:
In stereo music production mastering has become an exacting science with specific goals, techniques, and tools. With so many years experience, mastering for stereo has become well understood. In recent years, surround systems are emerging as a new standard in consumer applications. As a result, mastering engineers and studios have found it necessary to provide surround services for their clients. How has the stereo mastering experience been adapted for surround audio? This tutorial will examine the multichannel work of the mastering engineer in music and the repurposing of motion picture audio for DVD. A discussion of practical approaches and work procedures (with real world examples) will illustrate issues such as dynamics control, stereo downmix, bass management, bitrate, and audio encoding for authoring. Goals, differences, and similarities related to mastering for music and film will be compared. Special emphasis will be placed on the new challenges for broadcast, Blu-Ray, and HD-DVD.
Sunday, October 8, 11:30 am — 1:30 pm
T21 - PRESERVATION: THE SHIFT FROM FORMAT TO STRATEGY
Presenters:
David Ackerman, Harvard College Library Audio Preservation Services - Cambridge, MA, USA
Chris Lacinak, Independent - Brooklyn, NY, USA
Abstract:
We are currently in a gap between the leap away from open reel tape and the upcoming commonplace digital repository solution available to those outside of main stream commercial business and large institutions. Currently, and in anticipation of the exodus from tape, there are many audio archives that are using formats that are “questionable” in their ability to serve the role of preservation. The stand-ins have been CD-R, DAT, and digital files stored in any number of ways. In recognition that there is actually no format that can serve the role of preservation in and of itself this tutorial aims to offer guidance on strategies for preservation given the challenges of predominant formats. Conversation will include defining the main challenges for each format and an associated appropriate strategy for storage and migration with preservation as the goal. This would include a list of available and used formats, associated challenges, recommended lifecycle/refresh rates and migration strategies.
Sunday, October 8, 2:00 pm — 4:00 pm
T22 - HUMAN FACTORS IN THE DESIGN OF AUDIO PRODUCTS AND SYSTEMS
Presenters:
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
William Martens, McGill University - Montreal, Quebec, Canada
Abstract:
This combined workshop/tutorial will begin with a primer on the design of audio products and systems, intended to serve as an introduction to the question of "What audio engineers should know about human factors." From there, we will review existing resources and successes to aid designers and provide an overview of design and testing methodology and discuss a range of user interface paradigms that go beyond the generic graphical UI. In the workshop that follows this tutorial introduction, experts will present a series of case studies, describing from both a user and designer perspective the "what" and "why" certain interfaces are successful.
Sunday, October 8, 2:00 pm — 4:00 pm
T23 - RECORDING THE VERDI REQUIEM IN HIGH-DEFINITION VIDEO AND SURROUND AUDIO
Presenter:
David Griesinger, Harman Specialty Group - Bedford, MA, USA
Abstract:
The Verdi Requiem is a massive and highly emotional work. This tutorial will describe and demonstrate the microphones, mixing, and video techniques used to recreate this unique experience, overcoming the difficulties presented by an unfavorable hall, limited setup time, and an HDV camera.
Sunday, October 8, 4:30 pm — 6:30 pm
T24 - REVERB REDUX—FROM YESTERDAY'S CHAMBERS TO TODAY'S CONVOLVERS: WHAT A RECORDIST OUGHT TO KNOW
Presenter:
Alex U. Case, University of Massachusetts Lowell - Lowell, MA, USA
Abstract:
Reverberation in the recording studio comes from a variety of technologies and achieves a great range of results. Echo chambers, plates, and springs still have their place in contemporary music production even as digital reverb algorithms dominate. This tutorial reviews the technologies behind studio reverb units, shares a broad range of measurement data, and offers organization and insight into the creative, musical applications of reverb. Audio engineers reach for reverb effects to create space and ambience, to be sure. Reverb is also employed to influence timbre, create textures, invoke scene changes, cause or overcome masking, and synthesize new sounds entirely. This tutorial articulates a comprehensive set of strategies for fully leveraging the broad range of effects reverb makes possible.
Sunday, October 8, 4:30 pm — 6:30 pm
T25 - GROUNDING AND SHIELDING
Presenter:
Bill Whitlock, Jensen Transformers, Inc. - Chatsworth, CA, USA
Abstract:
Many designers and installers of audio/video systems think of grounding and interfacing as a “black art.” Do signal cables really “pick up” noise, presumably from the air like a radio receiver? Equipment manufacturers, installers, and users rarely understand the real sources of system noise and ground loop problems, routinely overlooking or ignoring basic laws of physics. Although myth and misinformation are epidemic, this tutorial brings insight and knowledge to the subject. Signals accumulate noise and interference as they flow through system equipment and cables. Both balanced and unbalanced interfaces transport signals but are also vulnerable to coupling of interference from the power line and other sources. The realities of ac power distribution and safety are such that some widely used noise reduction strategies are both illegal and dangerous. Properly wired, fully code-compliant systems always exhibit small but significant residual voltages between pieces of equipment as well as tiny leakage currents that flow in signal cables. The unbalanced interface has an intrinsic problem, common-impedance coupling, making it very vulnerable to noise problems. The balanced interface, because of a property called common-mode rejection, can theoretically nullify noise problems. Balanced interfaces are widely misunderstood and their common-mode rejections suffer severe degradation in most real-world systems. Many pieces of equipment, because of an innocent design error, have a built-in noise coupling mechanism dubbed the “pin 1 problem” by Neil Muncy. A simple troubleshooting method that uses no test equipment will be described. It can pinpoint the exact location and cause of system noise. Most often, devices known as ground isolators are the best way to eliminate noise coupling. Signal quality and other practical issues are discussed as well as how to properly connect unbalanced and balanced interfaces to each other. While immunity to RF interference is a part of good equipment design, it must often be provided externally. Finally, power line treatments such as technical power, balanced power, power isolation transformers, and surge suppression are discussed.
Sunday, October 8, 4:30 pm — 6:30 pm
T26 - THE MAKING OF LISTEN UP! BY THE OMAR HAKIM BAND—AN HD VIDEO WITH HI-RESOLUTION AUDIO
Presenters:
Jeff Levison, DTS, Inc. - Agoura Hills, CA, USA
Ronald Prent, Galaxy Studios - Mol, Belgium
Abstract:
This tutorial details the making of Listen Up!, a special recording of Omar Hakim and his band in HD-Video and 48-track HD audio. Produced at Galaxy Studios in Belgium, this project was recorded, mixed, and mastered at 192 KHz/24 bit. Sony HD-Betacam’s were utilized to capture the performance and behind-the-scene material. Documentary video of the production in process will be shown as well as the completed music video. Playback will be in HD-video and surround with height speakers. A central part of the discussion and demonstration concerns the mixing of various versions of the song in 7.1 speaker arrangements especially for Bluray and HD-DVD, as well as standard 5.1 and stereo.
