AES New York 2009
Paper Session P2

P2 - Music Production

Friday, October 9, 9:00 am — 12:30 pm
Chair: Jason Corey, University of Michigan - Ann Arbor, MIm USA

P2-1 Computational Optimization of a Practical End-Fire Loudspeaker Array—Andrew Christian
The mechanics of an array of loudspeakers that focuses coherent acoustical energy in the longitudinal direction and attempt to cancel it in the transverse direction are discussed. A practical situation is discussed in generality, which leads to the creation of two absolute measures over which the performance of an array may be evaluated. A numerical scheme to evaluate the performance of different configurations of the array is proposed and its accuracy verified. A realistic situation is proposed as a test bed. A simulation is run over all practical configurations of the array, which generates graphs showing the features of these configurations. These results are discussed and an optimized design settled upon. Further practical considerations of end-fire arrays are discussed.
Convention Paper 7827 (Purchase now)

P2-2 Improved Methods for Controlling Touring Loudspeaker Arrays—Ambrose Thompson, Martin Audio - London, UK
Users of modern array loudspeakers, used for high level sound reinforcement, demand more precise control of these systems. Current methods of control were examined and found to be inadequate for meeting a new more stringent set of user requirements. We investigate how these requirements may be formed into a mathematical model of the system suitable for numerical optimization. The primary design variable for optimization was the complex transfer functions applied to each acoustic source. We then describe how the optimized transfer functions were implemented with FIR filters on typically available hardware. Finally, comparison was made between the predicted and measured output for a large array.
Convention Paper 7828 (Purchase now)

P2-3 Investigations on the Inclusion of the LFE Channel in the ITU-R BS.1770-1 Loudness Algorithm—Scott G. Norcross, Michel C. Lavoie, Communication Research Centre - Ottawa, Ontario, Canada
The current ITU-R BS.1770-1 loudness algorithm does not include the LFE channel for 5.1-channel audio signals. It has been proposed that the LFE channel should be included in the loudness measurement to improve measurement accuracy and to fully reflect all the channels of a 5.1 audio signal. On the other hand the exclusion of the LFE channel in most downmixing systems may be one reason not to include it in the loudness measurement. Along with looking at objective pros and cons of adding the LFE channel to the BS.1770-1 loudness algorithm, results of formal subjective tests are used to show the effect of the LFE channel on perceived loudness of multichannel program material.
Convention Paper 7829 (Purchase now)

P2-4 Automatic Equalization of Multichannel Audio Using Cross-Adaptive Methods—Enrique Perez-Gonzalez, Joshua Reis, Queen Mary, University of London - London, UK
A method for automatically equalizing a multi-track mixture has been implemented. The method aims to achieve equal average perceptual loudness on all frequencies amongst all multi-track channels. The method uses accumulative spectral decomposition techniques together with cross-adaptive audio effects to achieve equalization. The method has applications in live and recorded audio mixing where the audio engineer would like to reduce set-up time, or as a tool for inexperienced users wishing to perform audio mixing. Results are reported that show how the frequency content of each channel is modified, and that demonstrate the ability of the automatic equalization method to achieve a well-balanced and equalized final mix.
Convention Paper 7830 (Purchase now)

P2-5 Inside Out— Time Variant Electronic Acoustic Enhancement Provides the Missing Link for Acoustic Music Outdoors—Steve Barbar, E-coustic Systems - Belmont, MA, USA
No matter how good the acoustic ensemble, moving them from the concert hall to an outdoor stage dramatically changes the listening experience for both the musicians, and those in attendance—usually, not for the better. For the musicians, the loss of reflected and reverberant energy alters communication between members of the ensemble. The physiology of playing the instrument changes as well—without support from reflected and reverberant energy, musicians must compensate. Thus while the outdoor performance experience of may be deemed “good” for both those playing as well those listening, it is not the experience that either desire. This paper describes how time variant electro-acoustic enhancement has been successfully used to dramatically improve the acoustical musical experience for outdoor performance.
Convention Paper 7831 (Purchase now)

P2-6 Engineering Outreach for Student Chapter Activities—Scott Porter, Todd Marco, Jeremy Joseph, Jason Morris, The Pennsylvania State University - State College PA, USA
The Penn State Audio Engineering Society Student Section has been active since its establishment in late 1991. Recently, the student officers have made a concerted effort to increase the section’s visibility and outreach to university students in science and engineering disciplines at both the graduate and undergraduate level. To accomplish this, the authors built around the existing infrastructure by adding new events and programs to engage students at a variety of technical, artistic, and interpersonal levels. In this paper the section’s core programming will be briefly discussed and followed by an examination of the additional events that have attracted new science and engineering students to the section.
Convention Paper 7832 (Purchase now)

P2-7 Desktop Music Production and the Millennials: A Challenge for Educators, Researchers, and Audio Equipment and Music Software Industry—Jan-Olof Gullö, Royal College of Music - Stockholm, Södertörn University, Huddinge, Sweden
Music is very important for today’s youth the Millennials. They often listen to music for hours every day and many also produce music by themselves. As a result young people now show different musical abilities compared with earlier generations. New software for music production, combined with the development of less expensive but more powerful computers, has made Desktop Music Production available to a large public. Producers of music production software also show a growing interest in the educational market. This raises questions about what demands this puts on the training and work of teachers in music production and audio education as well as the future challenges to suppliers of music production software and music technology.
Convention Paper 7833 (Purchase now)