AES San Francisco 2010
Tutorial Details


Thursday, November 4, 9:30 am — 10:30 am (Room 132)

T1 - iPhone Sound Design—Lessons Learned

Jeff Essex

This one-hour session will be a comprehensive review of factors to be considered when creating audio for iPhone, as well as strategies and tools for getting the best audio performance. Topics to covered include:

* Audio architecture overview

* Using the s/w & h/w channels (compressed music and .caf SFX)

* Designing for the speaker as well as headphones

* Frequency characteristics compared: iPod touch, iPad, iPhone 3x, iPhone 4

* Handy tools: TTW, SoundConverter, real time analyzers

* Case study: iRingPro, and using GarageBand to create ringtones

* 3rd party audio middleware: fmod

* Product demos

Thursday, November 4, 11:30 am — 1:00 pm (Room 130)

T2 - Equalization—Are You Getting the Most Out of this Humble Effect?

Alex U. Case, University of Massachusetts Lowell - Lowell, MA, USA

Track by track, mix by mix, we reach for equalization constantly. Easy at first, EQ becomes more intuitive when you have a deep understanding of the parameters, types, and technologies used—plus deep knowledge of the spectral content of the most common pop and rock instruments. Alex Case offers a routine for applying EQ and strategies for its use: fixing problems, enhancing features, fitting the spectral pieces together, and more.

Thursday, November 4, 2:30 pm — 4:00 pm (Room 132)

T3 - Headphones, Headsets, and Earphones: Electroacoustic Design and Verification

Christopher J. Struck

This presentation reviews basic the electroacoustic concepts of gain, sensitivity, sound fields, signals, linear, and non-linear systems for ear-worn devices. The Insertion Gain concept is introduced. The orthotelephonic response is described as a target for both the free and diffuse fields. Equivalent volume and acoustic impedance are defined. Ear simulators and test manikins appropriate for Circum-, Supra-, and Intra-aural earphones are presented. The salient portions of the IEC 60268-4 standard are reviewed and examples are given of the basic measurements: Frequency Response, Distortion, Impedance. The basic concepts of Noise Canceling devices are also presented.

Thursday, November 4, 4:30 pm — 6:30 pm (Room 132)

T4 - Do-it-Yourself Semantic Audio

Joern Loviscach

How do you tell music files from speech files? How do you find similar-sounding tracks in an unlabeled collection? Content-based music information retrieval (MIR) and similar applications require advanced algorithms that often overburden non-expert developers. However, many building blocks are available for free and in ready-to-use packaging to significantly ease software development, for instance of similarity search methods, or to serve as components for ad-hoc solutions, for instance in forensics or linguistics. This tutorial looks into a variety of software that helps with the extraction of audio features and/or executes machine learning algorithms. Focusing on solutions that require little to no programming in the classical sense, the tutorial’s major part consists in live demos of hand-picked routes to roll one’s own semantic audio application.

Thursday, November 4, 4:30 pm — 6:30 pm (Room 130)

T5 - ImmersAV—"Infinite-Channel" Surround Sound with HD Video—A New Entertainment Format

Robert B. Schulein

In previous tutorials, AES125 and 126 in San Francisco and Munich, the essential elements of binaural hearing, recording, and playback were presented from a historical, current practice, and future trends perspective. One future trend presented the entertainment potential derivable from the synergy of binaural audio and high definition video. Unlike traditional audio recordings, often experienced with ones eyes closed, visual image cues directly related to an audio recording are readily observed to heighten the perceived spatial accuracy of the audio experience. In recognition of the abundance of entertainment audio and video being experienced with earphones connected to personal media players and computers, a scenario can be made for producing entertainment in this fashion. What can result is a "you are there," infinite-multichannel surround audio format with high definition video. The focus of this tutorial is to present the elements of creating such productions from an artistic, and technical perspective. Of particular importance, are the considerations given to the acoustic space, the music and the musician. A range of production examples will be presented supported by a variety of headphone and high definition video playback systems.

Thursday, November 4, 4:30 pm — 6:30 pm (Room 131)

T6 - Managing Tinnitus as a Working Audio Professional

Neil Cherian, Cleveland Clinic - Cleveland, OH, USA
Michael Santucci, Sensaphonics Hearing Conservation - Chicago, IL, USA

Tinnitus is a common yet poorly understood disorder where sound is perceived in the absence of an external source. Significant sound exposure, with or without hearing loss, is the most common risk factor. Tinnitus can be debilitating and can impair quality of life. Anxiety, depression, and sleep disorders are potential consequences. Most importantly for those in the audio industry, it can significantly impair auditory perception.

This tutorial will focus on methods in managing tinnitus in the life of an audio professional. Background information will be provided regarding the basic concept of tinnitus, pertinent anatomy and physiology, audiologic parameters of tinnitus, and an overview of current research. Suggestions for identifying and mitigating high risk behaviors will be covered. Elements of medical and audiologic evaluations of tinnitus will also reviewed.

Friday, November 5, 10:15 am — 11:15 am (Room 120)

T7 - Analysis and Modeling of the dbx 902 De-esser

Aaron Wishnick

Analog device modeling is an increasingly important tool in modern audio signal processing. There are a variety of techniques for modeling many different devices. Here we will present an example of modeling one device, the dbx 902 de-esser, a very well regarded hardware de-esser, from start to finish. We will describe a set of techniques for analyzing the hardware unit as a “grey” box to determine its characteristics, incorporating the device’s specifications, and, most importantly, empirical results from probing the unit with test signals. Mathematical models for analyzing the de-esser will be presented, which would also apply to other dynamic range control processors. We will examine how this device differs from other typical implementations of de-essers, and finally, describe a digital emulation. The lessons learned here should be useful to any beginner interested in device modeling.

Saturday, November 6, 9:00 am — 10:45 am (Room 206)

T8 - Spatial Audio Reproduction: From Theory to Production

Frank Melchior, IOSONO GmbH
Sascha Spors, Deutsche Telekom AG Laboratories

Advanced high-resolution spatial sound reproduction systems like Wave Field Synthesis (WFS) and Higher-Order Ambisonics (HOA) are being used increasingly. Consequently more and more material is being produced for such systems. Established channel-based production processes from stereophony can only be applied to a certain extent. In the future, a paradigm shift toward object-based audio production will have to take place in order to cope for the needs of systems like WFS. This tutorial spans the bridge from the physical foundations of such systems, over their practical implementation toward efficient production processes. The focus lies on WFS, however the findings will also be applicable to other systems. The tutorial is accompanied by practical examples of object-based productions for WFS.

Saturday, November 6, 10:30 am — 12:00 pm (Room 130)

T9 - Damping of the Room Low-Frequency Acoustics (Passive and Active)

Reza Kashani
Jim Wischmeyer

As the result of its size and geometry, a room excessively amplifies sound at certain frequencies. This is the result of standing waves (acoustic resonances/modes) of the room. These are waves whose original oscillation is continuously reinforced by their own reflections. Rooms have many resonances, but only the low-frequency ones are discrete, distinct, unaffected by the sound absorbing material in the room, and accommodate most of the acoustic energy build up in the room.

In this tutorial, after discussing the low frequency room acoustics, different passive and active bass trapping techniques for adding damping to a room will be talked about and their advantages/disadvantages discussed. The event will conclude by comparing/contrasting damping with equalizing.

Saturday, November 6, 11:00 am — 1:00 pm (Room 132)

T10 - Networking for Audio Applications

Bradford Benn, Harman Corporation
Robert Economaki, Cisco
Kevin Gross, AVA Networks

Computer networks, principally Ethernet and IP networks, are becoming a common means of distributing audio within a facility and over distance. Audio engineers need an understanding of how networks work and how to use them effectively.

The tutorial will introduce participants to terminology; technologies and standards; configuration and design considerations; and troubleshooting concepts. Live demonstrations will reinforce specific topics including Network equipment configuration and management; IP subnetting, addressing and routing; and use of diagnostic tools.

The tutorial will give participants the background required to work effectively with IT professionals implementing and maintaining networked audio distribution.

Saturday, November 6, 5:00 pm — 6:15 pm (Room 130)

T11 - The iPod Generation—The Audio Artifacts the Consumer Is Listening To

Ian Corbett, Kansas City Kansas Community College - Kansas City, KS, USA

After a brief introduction to the psychoacoustic principles exploited by data compression (critical bands, minimum audition thresholds, simultaneous masking, and temporal masking), and a brief introduction to the capabilities and limitations imposed by the various components of encoders (frequency lines, windowing, temporal accuracy, compression considerations—CBR versus VBR, bit rates, and stereo modes), common artifacts produced by various encoders will be presented as audio, RTA, or waveform graph examples (stereo image changes, loss of bandwidth, pre and post echoes, double speak, ringing, bass fuzziness, flattening of dynamics, phase shift, “swirlies,” frequency content and noise addition, musical content removed and noise added, and the results of more and less adaptive encodings). The presentation will focus on the artifacts created by a variety of current and common music download and dissemination formats. To conclude, consumer awareness (or lack thereof) of these artifacts is discussed, along with signs that “better” is on the way.

Sunday, November 7, 9:00 am — 10:45 am (Room 130)

T12 - Loudspeakers and Headphones - Diagnostics of Sound Radiation

Wolfgang Klippel, Klippel GmbH

Distributed mechanical parameters describe the vibration and geometry of the sound radiating surface of loudspeaker drive units. This data is the basis for predicting the sound pressure output and a decomposition of the total vibration into modal and sound pressure related components. This analysis separates acoustical from mechanical problems, shows the relationship to the geometry and material properties and gives indications for practical improvement. The tutorial combines the theoretical background with practical loudspeaker diagnostics illustrated on various kinds of tranducers such as woofer, tweeter, compression driver, microspeaker and headphones.

Sunday, November 7, 4:45 pm — 5:45 pm (Room 133)

T13 - Comparative Listening: What Can We Really Hear?

Eric Valentine

Learn objective comparative listening techniques while participating in a series of experiments that will dispel or confirm extraordinary claims made by equipment manufacturers and industry professionals.

Through out his 20+ years as a record maker Eric Valentine has continually heard extraordinary claims about hearing the performance differences between a huge variety of tools and products used in the industry. Frequently when asked, he found people are making claims based on a listening experience that is neither scientific or objective. As the industry continues to push for better and better performance from the equipment we use in many cases (digital converters, external clocking device, cables or even mic pres) the differences have become very minute and are impossible to evaluate in a casual way. Opinions derived from these casual listening tests can be the motivation behind purchases that involve many thousands of dollars. Valentine will explain how to apply traditional scientific method to listening tests; how psychological influences play a roll; and what it all means when choosing the tools and methods for record making. The goal of this tutorial is to have all the attendees leave with techniques and information that help them make confident, objective decisions when choosing equipment to buy or use, while participating in a fun interactive series of listening experiments.

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