AES London 2011
Friday, May 13, 10:30 — 12:30 (Room 5)
W1 - Music and Semantic Web
David De Roure, University of Oxford
Yves Raimond, BBC
David Bretherton, Southampton University
Gregg Kellogg, Connected Media Experience
Alexandre Passant, Seevl
Evan Stein, Decibel
This workshop will provide an inter-disciplinary forum to explore and promote the combination of music and Semantic Web technologies—specifically, to develop an understanding of how Semantic Web technologies can contribute to the growth of music-related data on the Web, as well as applications of this data. Activities in this area are becoming well established, driven by projects in both research and industry, and they span personal applications together with all aspects of the creation, management, discovery, delivery and analysis of musical content. The ambitions of this inaugural workshop are to bring together this emerging and energetic community, to share information and practice, and especially to articulate the research agenda in Music and the Semantic Web. Through this we aim to facilitate innovation, inform Semantic Web research, and establish the basis and momentum for future events.
Friday, May 13, 14:00 — 16:00 (Room 2)
W2 - What's the Use of Recording?
Sean Davies, S.W. Davies Ltd. - Aylesbury, UK
Ted Kendall, Independent Engineer
Robert Philip, Open University
Gordon Reid, CEDAR Audio Ltd. - Cambridge, UK
As engineers we tend not to think too much about the eventual purpose of what we do, but this can influence not only our own techniques, but can have ramifications far afield. A panel of specialists will consider recording as evidence in legal cases; as propaganda; as a true record of musical styles for different periods; as a way of delivering drama; and as a means of transmitting secret intelligence.
Saturday, May 14, 09:00 — 11:00 (Room 3)
W3 - Panning for Multichannel Loudspeaker Systems
Filippo Fazi, ISVR, University of Southampton - Southampton, UK
Matthias Frank, IEM - Austria
Florian Keiler, Technicolor - DE
Amplitude panning is the most used method to position virtual sources over layouts where the number of loudspeakers is between two and about forty. The method is really simple, it provides a nice spatial effect, and does not color the sound prominently. This workshop reviews the working principle and psychoacoustic facts of amplitude panning for stereophony and for multichannel layouts. Panelists will describe some recent improvement suggestions to amplitude panning, which target some shortcomings of amplitude panning in spatial accuracy. A lively discussion is expected on the pros and cons of such processing.
Saturday, May 14, 11:00 — 13:00 (Room 3)
W4 - Production for Upcoming Spatial Audio Systems
Frank Melchior, IOSONO GmbH - Erfurt, Germany
Marc Emerit, Orange Labs - France
Kimio Hamasaki, NHK - Tokyo, Japan
Jeff Levison, IOSONO GmbH - USA
Jörn Loviscach, Fachhochschule Bielefeld (University of Applied Sciences) - Bielefeld, Germany
Wieslaw Woszcyk, McGill University - Montreal, Quebec, Canada
Gregor Zielinsky, Sennheiser - Hannover, Germany
Driven by the force of 3-D pictures the demand for spatial audio experiences is increasing. Several systems have been proposed just adding more channels around the auditorium. While the integration of new channels seems to be simple from a workflow perspective, problems arise if the content needs to be adapted to different setups in different venues. On the other hand, and driven by new spatial audio reproduction methods, a paradigm shift toward object-based audio production is currently under discussion in the community. This workshop brings together the experience and tools in production for new multichannel formats and new spatial audio reproduction methods in general. Examples of related productions and installations are given.
Saturday, May 14, 14:00 — 15:00 (Room 3)
W5 - Auro 3D—High Quality and Low Latency PCM Encoding and Data Reduction
Wilfried Van Baelen, Galaxy Studios - Belgium
Auro-3D is first and foremost a family of surround formats including height information, starting with 4 overhead channels (and loudspeakers) and leading up to 13.1. The obvious use for such enlarged arrays is in the cinema, but the 9.1 Auro-3D solution is also applicable to the home theater, as the additional speakers are exactly above the existing ones (L+R front, L+R surround). Besides being a family of formats, also a codec has been developed that can fold down 9.1 to 5.1 or 5.1 eo 2.0 purely in the PCM domain, with ultra-low latency decoding (1ms). The man behind Auro-3D, Wilfried Van Baelen from Galaxy Studios in Belgium, will give an introduction to the Auro-3D codec, talk about latest developments, and play some examples using the codec.
Saturday, May 14, 15:15 — 16:15 (Room 3)
W6 - Bounce to App
Jörn Loviscach, Fachhochschule Bielefeld (University of Applied Sciences) - Bielefeld, Germany
Martin MacMillian, Bounce Mobile
Martin Roth, RjDJ
Recorded music used to be a lean-back experience, but mobile devices have changed the game: Applications such as interactive 360-degree music videos begin to leverage the nonclassical man-machine interfaces of these devices—cameras, accelerometers, and GPS receivers—and employ their always-connectedness to access social music recommendation sites or music analysis and synthesis Web services. So far, the soundtracks of these apps have been produced from the final mixes. Can there be a better integration of audio production and the development of interactive music applications? What would that mean in terms of workflow and user interfaces? The issues that arise in this context are markedly different from those arising in the production of full-scale video games.
Saturday, May 14, 15:15 — 16:15 (Room 5)
W7 - Art of Record Production
Haydn Bendall, Engineer/Music Producer
Steve D'Agostino, Artist/Music Producer
Paschall de Paor, University of Glamorgan
Tony Platt, MPG and JAMES
This year will see the seventh international Art of Record Production (ARP) Conference in San Francisco and the re-launch of the ARP Journal. The Association for the Study of the Art of Record Production aims to provide an international and interdisciplinary organization for promoting the study of the production of recorded music that involves both academics and industry professionals. This workshop brings together the two directors of ARP with top record producers to discuss how the development of record production as an academic subject within the university system relates to the nuts and bolts of doing the job. What kind of approaches are researchers engaging in? What do producers think about these types of research and the emergence of practice led research in this field?
Saturday, May 14, 16:00 — 18:00 (Room 2)
W8 - High Resolution Audio Publishing
Stefan Bock, MSM Studios - Germany
Morten Lindberg, 2L - Norway
Darcy Proper, Wisseloord Studios - The Netherlands
Tokuyama Takeshi, Imagica - Japan
Neil Wilkes, Opus Productions
Yunichi Yoshio, Pioneer - Japan
There are a great deal of formats suitable for high resolution audio delivery. Which ones will succeed? What challenges do they need to overcome to become a standard? This panel will present a complete panorama of the available options, reviewing their advantages and disadvantages.
Sunday, May 15, 09:00 — 11:00 (Room 2)
W9 - What Every Sound Engineer Should Know about the Voice
Eddy B. Brixen, EBB Consult - Denmark, TC-MA and TC-AF
Evelyn Abberton, Department of Phonetics and Linguistics University College - London, UK
Adrian Fourcin, Department of Phonetics and Linguistics University College - London, UK
Julian McGlashan, Department of Otorhinolaryngology, Queen’s Medical Centre Campus, Nottingham University Hospitals - UK
Mikkel Nymand, Timbre Music / DPA Microphones - Denmark
Cathrine Sadolin, Complete Vocal Institute - Denmark
The purpose of this workshop is to teach sound engineers how to listen to the voice before they even think of microphone picking and knob-turning.
The presentation and demonstrations are based on the “Complete Vocal Technique” (CVT) where the fundamental is the classification of all human voice sounds into one of four vocal modes named Neutral, Curbing, Overdrive, and Edge. The classification is used by professional singers within all musical styles, and has in a period of 20 years proved easy to grasp in both real life situations and also in auditive and visual tests (sound examples and laryngeal images/ Laryngograph® waveforms). These vocal modes are found in the speaking voice as well.
Cathrine Sadolin, the developer of CVT, will involve the audience in this workshop, while explaining and demonstrating how to work with the modes in practice to achieve any sound and solve many different voice problems like unintentional vocal breaks, too much or too little volume, hoarseness, and much more. Julian McGlashan, Adrian Fourcin, and Evelyn Abberton will explain the physical aspects of the voice and demonstrate laryngograph waveforms and analyses. Mikkel Nymand will explain essential parameters in the recording chain—especially the microphone—to ensure reliable and natural recordings.
Sunday, May 15, 11:00 — 12:30 (Room 5)
W10 - Acoustics for Sound Reinforcement
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Ben Kok, Ben Kok – Acoustic Consulting
Traditionally, acoustic design for performance spaces focuses on optimum acoustics for non-reinforced performances. However, a fine concert hall for symphonic music can be very troublesome for reinforced sound. Even performance spaces designed with variable acoustics are mostly optimized for acoustic sources, little consideration is given to the needs for reinforced sound.
This session addresses the different acoustic requirements for reinforced sound as opposed to non-reinforced sound. Topics to be discussed will include:
- Reverberation, support or interference?
- Source directivity, positioning and aiming
- Discrete reflections and how to avoid them
- What to include in a new venue for optimum adaptation for reinforced sound
- Practical measures in existing situations
- Workarounds in acoustic harsh environments
Sunday, May 15, 11:30 — 13:00 (Room 4)
W11 - Emerging Trends in Audio for Games
Michael Kelly, Sony Computer Entertainment Europe
Steve Martz, THX
This workshop looks at the current state of technology requirements for audio in game applications and discusses emerging trends and the technical requirements imposed by those trends. The workshop is presented by the Co-Chairs of the AES Technical Committee on Audio for Games. The workshop also summarizes some of the topics presented at the recent 41st International Conference on Audio for Games.
Sunday, May 15, 14:00 — 16:00 (Room 2)
W12 - Deaf Aid Loops and Assistive Listening Systems—Understanding the Needs and the Technology
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Conny Anderson, Univox
Doug Edworthy, DGE Associates
Ken Hollands, Ampetronic
John Woodgate, J M Woodgate & Associates
Although Deaf Aid loop systems have been around for a considerable period of time, they are still not well understood, and many systems do not achieve an acceptable standard. Deaf aid loops—or AFILS as they are formally known—are installed in all forms of venue or public building raging from churches, theaters, and cinemas to railway and underground stations. Loop systems can vary from large systems covering many hundreds of seats to counter-top systems intended for individual users. The workshop will review the theory and practice of Audio Frequency Induction loop systems (AFILS) as well as discussing other technologies such as infra red. Ways of optimizing system performance and day to day problems will be discussed.
Sunday, May 15, 15:45 — 16:45 (Room 4)
W13 - Implementation of Interactive Music in Games
Erasmus Talbot, Black Rock Studio - Brighton, UK
This workshop looks at the implementation of interactive music in current video games. It focuses on the approach taken in “Split/Second,” an arcade racing game packed with action of an epic scale. To reflect its allusions to Hollywood blockbusters in audio, the team turned their backs to licensed music tracks and opted for a bespoke score. Initially all music was delivered externally, but the talk explains how the team became increasingly involved in the music production process. This approach allowed the team to realize creative possibilities that could only emerge from strong familiarity with the game.
The workshop gives a detailed explanation of the novel production method and playback system used in Split/Second and highlights how bold choices, informed by a particular outlook on interactive music, can lead to a simple, yet effective smoke-and-mirror type solution. It will also highlight some pitfalls that were encountered, which elicited future improvements to the system.
Sunday, May 15, 16:30 — 18:00 (Room 2)
W14 - Champagne Lifestyle on a Beer Budget
Simon Bishop and Richard Merrick contrast location audio acquisition from both ends of the budget spectrum. Discussing and comparing techniques and tricks collectively acquired from 60 man-years of experience, from being awash with money and equipment to begging, borrowing, and hunting on eBay. Light-hearted, but informative, both will prove that it’s not the size of your nail, but the skill of the guy with the hammer!
Regardless of your budget, we’ll prove you still have to have STANDARDS!!
Sunday, May 15, 17:00 — 18:00 (Room 4)
W15 - Green Issues and the Future of Touring Sound
Phil Anthony, Martin Audio
Catherine Langabeer, Julie's Bicycle
Claudio Lastrucci, Powersoft
Andy Mead, Firefly Solar
A 2007 study by the University of Oxford’s Environmental Change Institute, commissioned by music industry “greening” body Julie’s Bicycle, found that the annual overall Greenhouse gas emissions for the UK music industry alone were approximately half a million tons of carbon. Of this total, three quarters of the impact were derived from activities associated with live music performances.
With such a large share of the UK music industry’s emissions, finding environmentally friendly solutions to the live sector’s carbon and environmental impacts is an ongoing concern—and an opportunity to get ahead of artist and audience demand, more volatile energy costs with all the knock-on impacts, and emerging regulation.
Phil Anthony from Martin Audio, manufacturers of professional audio sound products, will chair this session and will also be explaining how they reduced the carbon footprint of operating their new touring sound system. Alongside Phil, panelists from Julie’s Bicycle, a non-profit company working with the creative industries to coordinate best practice in sustainability and greenhouse gas emission reduction; Powersoft, the developers of efficient “Green Audio Power” amplifiers; and Firefly Solar, whose provision of AV equipment and solar generators aims to move the industry toward sustainable power solutions, will present information on how members of the live community are implementing green initiatives in their events, tours, and technology, many at low or no additional cost.
Monday, May 16, 09:00 — 11:00 (Room 3)
W16 - Up and Downmixing—Approaches, Solutions
Florian Camerer, ORF – Austrian TV
Tom Allom, Penteo
Antoine Hurtado, Isostem
Clemens Par, Swissaudec
Pieter Schillebeeckx, Soundfield
Christian Struck, Lawo
Upmix solutions are coming to the market with increasing speed. Broadcasters need those solutions especially for HD services to fulfill the expectations of the audience for consistent surround sound presentation. Various approaches can be found that try to provide a convincing illusion of a discrete surround sound signal. In this workshop, 6 company representatives will present their products in a short introduction. Then their upmix results of 2 stereo tracks previously given to them will be played and discussed. Also, downmix aspects will be touched as this is also a vital ingrediant of a suitable surround sound signal.
Monday, May 16, 11:00 — 13:00 (Room 2)
W17 - (Why) Does Live Sound Have a Bad Name?
Nichola Bailey, Nichola Bailey School of Voice
Bob Lee, QSC Audio Products
David Millward, FOH Engineer
Ian Nelson, FOH Engineer, Adlib Audio
Bruce Olson, Acoustic Consultant, ADA Acoustics
Tuomo Tolonen, Shure Distrubution, UK
In this session we will explore the aspects that contribute to good sound and those that conspire against it. Our panel of practitioners, users and manufacturers will discuss and debate matters determined to be the scourge (and savior) of live
In addition to discussion, we will attempt to practically demonstrate of some of the points. We look forward to seeing you there!
Monday, May 16, 11:30 — 13:00 (Room 3)
W18 - The Eurovision Songcontest 2010 in Oslo—A Case Study
Gaute Nistov, NRK Oslo
Ina von Lucas, NRK Oslo
The Eurovision Songcontest is the biggest live transmission in Europe. The demands on all aspects of production are daunting and the bar has been raised in past years to challenging heights. Sound Supervisor Gaute Nistov tells how he stepped up to the plate, and Ina van Lucas will elaborate on the complex communication and routing system installed.
Monday, May 16, 14:00 — 15:30 (Room 4)
W19 - Automixing and Artificial Intelligence
Michael "Bink" Knowles, Independent Live Sound Mixer
Alice Clifford, Queen Mary University of London - London, UK
Ron Lorman, Busy Puppy Productions
Josh Reiss, Queen Mary University of London - London, UK
This workshop will cover two aspects of automixing: the current use of automixers for live sound mixing, and a projection of the future of artificial intelligence and automatic functions applied to live sound.
The first part of the workshop will focus on the problems facing the operator who is mixing panel discussions and improvisational theater, and the benefits of automixers under the control of human hands. The second part will consider the aspects of live sound mixing that may be totally automated in the future, including the setting of input gain, high-pass filtering, channel equalization, and the more distant goal of musical balance.
Monday, May 16, 15:45 — 17:45 (Room 4)
W20 - Loudness in Broadcasting—EBU Recommendation R 128 Steps on the Gas
Florian Camerer, ORF – Austrian TV, and Chairman of EBU PLOUD
Yannick Dumartineix, TSR Geneva
Matthieu Parmentier, France Television
Alessandro Travaglini, Fox Italia
The EBU group PLOUD has now published all their intended documents, centering around the loudness recommendation R 128. Implementation of this concept is underway, and the loudness normalization paradigm is gaining ground. The end of the "loudness war" is nigh! At least in broadcasting that seems to be the prospect. . . .
In this workshop, members of PLOUD who already implemented the concepts of R 128 will talk about their experiences and illustrate it with examples.