AES San Francisco 2008
Thursday, October 2, 9:00 am — 10:45 am
W1 - New Frontiers in Audio Forensics
:Eddy B. BrixenRob MaherJeffrey SmithGregg Stutchman
In recent history Audio Forensics has been primarily the practice of audio enhancement, analog audio authenticity, and speaker identification. Due to the transition to “all things digital,” new areas of audio forensics are necessarily emerging. Some of these include digital media authenticity, audio for digital video, dealing with compressed audio files such as cell phones, portable recorders and messaging machines. Other new topics include the possible use of the variation of the electric network frequency and audio ballistics analysis. Dealing with the new technologies requires an additional knowledge base, some of which will be presented in this workshop.
Thursday, October 2, 11:00 am — 1:00 pm
W2 - Archiving and Preservation for Audio Engineers
:Chuck AinlayGeorge MassenburgJohn Spencer
The art of audio recording is 130 years old. Recordings from the late 1890s to the present day have been preserved thanks to the longevity of analog media, but can the same be said for today's digital recordings? Digital storage technology is transient in nature, making lifespan and obsolescence a significant concern. Additionally, digital recordings are usually platform specific; relying on the existence of unique software and hardware platforms, and the practice of nondestructive recording creates a staggering amount of data much of which is redundant or unneeded. This workshop will address the subject of best practices for storage and preservation of digital audio recordings and outline current thinking and archiving strategies from the home studio to the large production facility.
Thursday, October 2, 2:30 pm — 4:00 pm
W3 - Analyzing, Recommending, and Searching Audio Content—Commercial Applications of Music Information Retrieval
, Imagine ResearchPanelists
, GracenoteMatthias Gruhne
, Fraunhofer Institute for Digital Media TechnologyTristan Jehan
, The Echo NestKeyvan Mohajer
, Melodis Corporation
This workshop will focus on the cutting-edge applications of music information retrieval technology (MIR). MIR is a key technology behind music startups recently featured in Wired
and Popular Science
. Online music consumption is dramatically enhanced by automatic music recommendation, customized playlisting, song identification via cell phone, and rich metadata / digital fingerprinting technologies. Emerging startups offer intelligent music recommender systems, lookup of songs via humming the melody, and searching through large archives of audio. Recording and music software now offer powerful new features, leveraging MIR techniques. What’s out there and where is this all going? This workshop will inform AES members of the practical developments and exciting opportunities within MIR, particularly with the rich combination of commercial work in this area. Panelists will include industry thought-leaders: a blend of established commercial companies and emerging start-ups.
Thursday, October 2, 5:00 pm — 6:45 pm
W4 - How to Avoid Critical Data Loss After Catastrophic System Failure
, DriveSavers, Inc.
Natural disaster, drive failure, human error, and cyber-related crime or corruption can threaten business continuity and a studio’s long-term survival if their data storage devices are compromised. Back up systems and disaster recovery plans can help the studio survive a system crash, but precautionary measures should also be taken to prevent catastrophic data loss should back-up measures fail or be incomplete.
A senior data recovery engineer will review the most common causes of drive failure, demonstrate the consequences of improper diagnosis and mishandling of the device, and provide appropriate action steps you can take for each type of data loss. Learn how to avoid further media damage or permanent data loss after the crash and optimize the chance for a complete data recovery.
Thursday, October 2, 5:00 pm — 6:45 pm
W5 - Engineering Mistakes We Have Made in Audio
, Oxford Digital Limited - UKPanelists
, Audio ImaginationJames D. (JJ) Johnston
, Neural Audio Corp.Mel Lambert
, Media & MarketingGeorge Massenburg
, Massenburg Design WorksJim McTigue
, Impulsive Audio
Six leading audio product developers will share the enlightening, thought-provoking, and (in retrospect) amusing lessons they have learned from actual mistakes they have made in the product development trenches.
Friday, October 3, 9:00 am — 10:30 am
W6 - Audio Networking for the Pros
, ZP Engineering srlPanelists
, Peavey Digital ResearchGreg Shay
, Axia AudioJérémie Weber
, AuvitranAidan Williams
Several solutions are available on the market today for digital audio transfer over conventional data cabling, but only some of them allow usage of standard networking equipment. This workshop presents some commercially available solutions (Cobranet, Livewire, Ethersound, Dante), with specific focus on noncompressed, low-latency audio transmission for pro-audio and live applications using standard IEEE 802.3 network technology. The main challenges of digital audio transport will be outlined, including compatibility with common networking equipment, reliability, latency, and deployment. Typical scenarios will be proposed, with panelists explaining their own approaches and solutions.
Friday, October 3, 5:00 pm — 6:30 pm
W7 - Same Techniques, Different Technologies—Recurring Strategies for Producing Game, Web, and Mobile Audio
, NickOnlineGeorge "The Fatman" Sanger
, Legendary Game Audio GuruGuy Whitmore
, Microsoft Game Studio
When any new technology develops, the limitations of current systems are inevitably met. Bandwidth constraints then generate a class of techniques designed to maximize information transfer. Over time as bottlenecks expand, new kinds of applications become possible, making previous methods and file formats obsolete. By the time broadband access becomes available, we can observe a similar progression taking place in the next developing technology. The workshop discusses this trend as exhibited in the gaming, Internet, and mobile industries, with particular emphasis on audio file types and compression techniques. The presenter will compare and contrast obsolete tricks of the trade with current practices and invite industry veterans to discuss the trend from their points of view. Finally the panel makes predictions about the evolution of media.
Friday, October 3, 5:15 pm — 6:45 pm
W8 - Low Frequency Measurements of Loudspeakers
, Polk AudioPanelists
:Marshall BuckDavid ClarkLaurie FinchamDon KeeleSteve Temme
Measuring the low end of a loudspeaker is a difficult task. Given the wavelengths involved, most indoor spaces conspire to create a less than ideal environment. In this workshop, industry experts will present some of the practical methods used to perform measurements under these circumstances. Pros and cons of these methods and others will be discussed. Correlation between measurement and model will also be discussed. CEA2010 is a consumer oriented standard recently released by the CEA which specifies the performance of subwoofers. We will examine this standard and how measurements for it are conducted.
Saturday, October 4, 9:00 am — 10:30 am
W9 - Low Frequency Acoustic Issues in Small Critical Listening Environments - Today's Audio Production Rooms
:Renato CiprianoDave Kotch
Increasing real estate costs coupled with the reduced size of current audio control room equipment have dramatically impacted the current generation of recording studios. Small room environments (those under 300 s.f.) are now the norm for studio design. These rooms, particularly in view of current 5.1 audio requirements, create special challenges, associated with low frequency audio response in an ever expanding listening sweet spot. Real world conditions and result data will be presented for Ovesan Studios (New York), Roc the Mic Studios (New York), and Diante Do Trono (Brazil).
Sunday, October 5, 9:00 am — 10:45 am
W10 - File Formats for Interactive Applications and Games
, Beatnik, Inc.Panelists
, Illusonic LLCJohn Lazzaro
, University of California, BerkeleyJuergen Schmidt
There are a number of different standards covering file formats that may be applicable to interactive or game applications. However, some of these older formats have not been widely adopted and newer formats may not yet be very well known. Other formats may be used in non-interactive applications but may be equally suitable to interactive applications. This tutorial reviews the requirements of an interactive file format. It presents an overview of currently available formats and discusses their suitability to certain interactive applications. The panel will discuss why past efforts at interactive audio standards have not made it to product and look to widely-adopted standards in related fields (graphics and networking) in order to borrow their successful traits for future standards. The workshop is presented by a number of experts who have been involved in the standardization or development of these formats. The formats
covered include Ambisonics B-Format, MPEG-4 object coding, MPEG-4 Structured Audio Orchestral Language, MPEG-4 Audio BIFS, and the upcoming iXMF standard.
Sunday, October 5, 11:00 am — 1:00 pm
W11 - Upcoming MPEG Standard for Efficient Parametric Coding and Rendering of Audio Objects
, Fraunhofer Institute for Integrated Circuits IISPanelists
:Jonas EngdegårdChristof FallerJürgen HerreLeon van de Kerkhof
Through exploiting the human perception of spatial sound, “Spatial Audio Coding” technology enabled new ways of low bit-rate audio coding for multichannel signals. Following the finalization of the MPEG Surround specification, ISO/MPEG launched a follow-up standardization activity for bit-rate-efficient and backward compatible coding of several sound objects. On the receiving side, such a Spatial Audio Object Coding (SAOC) system renders the objects interactively into a sound scene on a reproduction setup of choice. The workshop reviews the ideas, principles, and prominent applications behind Spatial Audio Object Coding and reports on the status of the ongoing ISO/MPEG Audio standardization activities in this field. The benefits of the new approach will be highlighted and illustrated by means of real-time demonstrations.
Sunday, October 5, 2:30 pm — 4:00 pm
W12 - Revolt of the Mastering Engineers
:Greg CalbiBernie GrundmanMichael Romanowski
Mastering engineer Bernie Grundman has started a label, Straight Ahead Records, to record music he and his partners like in a straight-ahead recording fashion, and is putting it out on vinyl. Greg Calbi and the other mastering engineers at Sterling have started a vinyl label. A couple of mastering engineers, Paul Stubblebine and Michael Romanowski have started a re-issue label putting out music they love on 15 IPS half track reel to reel (www.tapeproject.com).
What’s behind this trend? Why are mastering engineers giving up their non-existent free time to start labels based on obsolete technologies? What does this say about the current state of recorded music?
Sunday, October 5, 2:30 pm — 4:00 pm
W13 - Wanna Feel My LFE? And 51 Other Questions to Scare Your Grandma
, ORF – Austrian TVBosse Ternstrom
, Swedish Radio
Florian Camerer, ORF, and Bosse Ternstrom, Swedish Radio, are two veterans of surround sound production and mixing. In this workshop a multitude of diverse examples will be played, with controversial styles, wildly differing mixing techniques, earth shaking low frequency effects, and dynamic range that lives up to its name! Be prepared for a rollercoaster ride through multichannel audio wonderland!
Sunday, October 5, 2:30 pm — 4:00 pm
W14 - Navigating the Technology Mine Field in Game Audio
, Midway GamesPanelists
, Midway GamesClark Crawford
, Midway GamesKristoffer Larson
, Midway Games
In the early days of game audio systems, tools and assets were all developed and produced in-house. The growth of the games industry has resulted in larger audio teams with separate groups dedicated to technology or content creation. The breadth of game genres and number of “specialisms” required to create the technology and content for a game have mandated that developers look out of house for some of their game audio needs.
In this workshop the panel discusses the changing needs of the game-audio industry and the models that a studio typically uses to produce the audio for a game. The panel consists of a number of audio directors from different first-party studios owned by Midway games. They will examine the current middleware market and explain how various tools are used by their studios in the audio production chain. The panel also explains how out-of-house musicians or sound designers are outsourced as part of the production process.
Sunday, October 5, 4:30 pm — 6:00 pm
W15 - Interactive MIDI-Based Technologies for Game Audio
, THX Ltd.Panelists
, IASIGLarry the OTom Savell
, Creative Labs
The MIDI Manufacturers Ass’n (MMA) has developed three new standards for MIDI-based technologies with applications in game audio. The 3-D MIDI Controllers specification allows for real-time positioning and movement of music and sound sources in 3-D space, under MIDI control. The Interactive XMF specification marks the first nonproprietary file format for portable, cue-oriented interactive audio and MIDI content with integrated scripting. Finally, the MMA is working toward a completely new, and drastically simplified, 32-bit version of the MIDI message protocol for use on modern transports and software APIs, called the HD Protocol for MIDI Devices.