AES San Francisco 2010
Master Class Details


Thursday, November 4, 11:30 am — 1:00 pm (Room 206)

M1 - Perception/Evaluation Audio

David Griesinger

This workshop focuses on performance acoustics in venues large and small. We will demonstrate a new neural mechanism that can detect the direct sound (DS) as separate from reverberation. The DS is vital to creating and holding the undivided attention of a listener. We will show how the perception of DS in a strong reverberant field depends on frequency, the direct to reverberant ratio, and the time delay between DS and the reverberant energy. The implications for listening rooms and hall design will be discussed. Some conclusions: listening rooms benefit from directional loudspeakers, small concert halls should not have a shoe-box shape, early lateral reflections are not necessarily beneficial, and electronic enhancement of late reverberation may be vital in small halls.

Thursday, November 4, 2:30 pm — 4:30 pm (Room 206)

M2 - High Resolution Computer Audio

Keith O. Johnson

Computers, televisions, and mobile devices are functionally merging and integrating to become easy to set up fun to run systems. Right now, server-like versions can play high-resolution multichannel files from workstations, function as a control center, create loudspeaker crossovers and equalization, as well as perform room correction using all loudspeakers. Data management and processing create these advanced features but systems like these can present issues with processing activity, sample rate conversion, jitter, noise propagation, digital conversion, and interfaces. One encounters discussion about perceptual differences from technical changes that should not affect accuracy nor produce large differences in timing spectra. The class will briefly introduce systems and components, then show potential behavioral artifacts within system parts and describe test methods that might reveal explanations. Then we'll explore process monitoring, buffers, quick locking low jitter clocks, floating conversion environments, jitter from OP Amps and a test methodology that targets process related intrinsic behavioral problems. Cluster, subtraction and DSP overload tests will be described along with projected human perceptual and mental load that might have audibility or hinder playback involvement. This presentation of an overall background knowledge should encourage studies that are more detailed and it should be helpful with creation and development of very high quality systems.

Sunday, November 7, 11:00 am — 1:00 pm (Room 132)

M3 - DSP—Why So Hard?

Peter Eastty

If you’ve ever wondered why audio DSP programming is so hard when the algorithms are so simple, this is the place for you. Hundreds of strange and wonderful audio processors have been developed over the past four decades and the presenter has struggled with dozens of them. In order to learn from our mistakes this master class will tour examples of gross bad practice (suitably anonymized to protect the guilty) and in doing so we’ll extract some general principles useful to those who will design audio DSPs in the future. As a practical example of what can be achieved, we’ll go from simulator based algorithm development to listening to production quality code in a matter of minutes.

Sunday, November 7, 3:30 pm — 4:30 pm (Room 133)

M4 - Hybrid Mixing: A Step by Step Class on Mixing The All-American Rejects Hit Single "Gives You Hell"

Eric Valentine

Eric Valentine will walk through the process of mixing "Gives You Hell." He will discuss all of the techniques, plug-ins, outboard gear, and external summing used in the process. Valentine will start with the unmixed material and go through the process of transforming it into the final mixed version that many folks may be familiar with. The audience will be able to participate by asking questions through out the process and will be invited to improve on the finished version when it is done.

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