AES Budapest 2012
Thursday, April 26, 10:30 — 12:30 (Room: Bartók)
W1 - CANCELLED
Thursday, April 26, 11:00 — 12:30 (Room: Brahms)
W2 - Game Audio
Michael Kelly, DTS - UK
Zoltan Nyakacska, Nemesys Games
Zach Zebrowski, Nemesys Games
This workshop starts with a general introduction to the games industry and goes on to discuss the specific implementation of audio in games.
The workshop, presented by Nemesys Games, looks at the pros and cons of selecting different audio engines for game development in the context of their current title, Ignite. The talk shows how the whole audio system for the game is built and discusses the challenging task of implementing car engine sounds; outlining the technical and creative problems and how they are solved.
The workshop concludes by comparing the nonlinear nature of game-sound development to the production of a more linear piece such as a short movie or trailer.
This event is aimed at a general audience who may not be familiar with game development but presents an appropriate level of detail for those who want to dig deeper.
Thursday, April 26, 14:30 — 16:30 (Room: Brahms)
W3 - Audio Hardware in Smartphones
Antti Kelloniemi, Nokia Corporation - Espoo, Finland
Juha Backman, Nokia Corporation - Espoo, Finland
Mika Hanski, GoerTeck - Finland
Jörg Rehder, Knowles - Denmark
Friedrich Reining, Knowles Electronics Austria GmbH - Vienna, Austria
Anders Weckström, GoerTek - Finland
Erik Wiederholtz, Knowles Electronics Austria GmbH - Vienna, Austria
Comparison between novel smartphones and any other professional or consumer audio equipment reveals that phones actually provide highly sophisticated audio functions for their size and price. High quality noise reduction and echo cancellation for telephony and multichannel audio capture with wide frequency response and high dynamic range are expected, as well as loud and clear sound output for alarm tones and multimedia playback. The quality expectations keep rising, while devices should be kept small and affordable.
To start this workshop, the audio solutions in a smartphone are presented on an introductory level. After that, the panel, who are representatives of major audio component manufacturers, discuss the current audio performance requirements and present examples of state-of-the-art in audio component technology.
Thursday, April 26, 17:00 — 18:00 (Room: Brahms)
W4 - The Replay of Historical Magnetic Tape - More than Pressing the Play Button
Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Sciences - Vienna, Austria
Dietrich Schüller, Phonogrammarchiv, Austrian Academy of Sciences - Vienna, Austria
Since analog magnetic tape technology is no longer a part of the audio production process, specific knowledge is endangered to decline. This workshop discusses the various problems occurring in the transfer process of historical magnetic audio tapes. Starting with a definition of historical tape brands and an overview of early magnetic tape developments, the practical handling of critical tapes is outlined: based on an analysis of the physical and chemical preservation status of the individual tape, the choice and adjustment of the replay equipment and parameters are discussed. Problems of carrier handling and physical as well as chemical restoration are outlined, as well as possible signal enhancement on the playback process only. The workshop focuses on the handling and reproduction of original tapes from the early ages of magnetic recording, stored under irregular conditions.
Friday, April 27, 09:00 — 10:30 (Room: Bartók)
W5 - Use Cases for High Performance Audio-over-IP in Broadcast Facilities
Stefan Ledergerber, Lawo Group - Zurich, Switzerland
Axel Holzinger, ALC Networx - Munich, Germany
Lars Jonsson, Swedish Radio
Sonja Langhans, IRT - Munich, Germany
Greg Shay, Telos Systems Inc.
In today’s broadcasting houses the topic of audio networking is heavily discussed. In the overall discussion the audio network is very often seen as a solution for everything. But what are the real use cases today for an audio-over-IP solution within facilities? The panelists will each make a 15 minute presentation about their views, followed by an open discussion with the audience about the hot topics of the migration from established wires into network land.
Friday, April 27, 11:00 — 13:00 (Room: Brahms)
W6 - Open Questions in Spatial Audio
For more than 60 years spatial audio systems are in use. Just in the last 20 years the number of loudspeakers and transmission channels used have been increased, and with Walkman and MP3, player listening via headphone has become popular, too. Both scenarios provide much better audio quality than the old stereo systems, but very often strange, unexpected effects are limiting the perceived quality. This workshop will list aspects where the knowledge in spatial audio quality is not perfect. Examples are influence of room reflections, mixing of the room acoustical properties of recording and reproduction rooms, influence of room on binaural headphone reproduction (sic!), audio-visual coherence in large rooms, and issues about perception of elevated sound sources.
Friday, April 27, 12:15 — 13:45 (Room: Liszt)
W7 - Distributed Music Panel
Alexander Carôt, Hochschule Anhalt - Köthen/Anhalt, Germany
Alvaro Barbosa, UCP Porto - Porto, Portugal
Nathan Brock, University of California at San Diego - San Diego, CA, USA
Karl Steinberg, Digitalmusician - Hamburg, Germany
Andrea Szigetvári, Ferenc Liszt Academy of Music - Budapest, Hungary
David Willyard, Musicianlink - San Jose, CA, USA
This workshop covers the emerging field of music intended for performance over networks, including both advanced research networks and the public Internet. The discussion will cover experimentally determined limits for delay between locations, and methods for performance both above and below these thresholds. Representatives of several different dedicated systems and projects will be present, each with many years’ experience in the networked music scene. Soundjack and the Jamlink hardware interface will be discussed as examples of realistic interaction over networks, while JackTrip and the Digital Musician Link will show methods for overcoming long latencies on long-distance network links. There will also be a discussion of artistic strategies for overcoming excessive delay in performance.
Friday, April 27, 14:00 — 15:30 (Room: Brahms)
W8 - Highly Directional Microphones for Sound Recording
Helmut Wittek, Schoeps Mikrofone GmbH - Karlsruhe, Germany
Christof Faller, Illusonic LLC
Michael Millitzer, Microtech Gefell
Times are changing quickly with regard to highly directional microphones both in theory and in practice. Most systems aim at optimal speech transmission and intelligibility in communication applications. However, there are also new approaches that sound engineers can consider using for certain recording purposes as well (e.g., the Eigenmike and the SuperCMIT). Along with improved communication microphone solutions, they will compete with conventional methods such as short and long interference tubes as well as parabolic mirrors.
So which method fits which application best? Can these new microphone types be used for applications such as music recording, location sound, nature recording? Each has different advantages with regard to frequency response, directivity, flexibility, price, robustness, predictability of results, and practicability. The workshop will compare them on the basis of technical data, practical experiences and sample recordings
Friday, April 27, 14:00 — 16:00 (Room: Bartók)
W9 - Active Acoustics Today: Challenges, Solutions, Applications
Wieslaw Woszczyk, McGill University - Montreal, Quebec, Canada
Leo de Klerk, Bloomline Acoustics b.v. - 's-Gravendeel, The Netherlands
Doyuen Ko, McGill University - Montreal, Quebec, Canada
Karoly Molnar, Meyer Sound Labs, Inc. - Berkeley, CA, USA
Active acoustics uses digital signal processing and electroacoustics to deliver adjustable correction and enhancement of the response of acoustic enclosure used for music and speech communication. Using variable virtual architecture, correction and adaptation of existing acoustics can be done quickly and efficiently for each specific application, something not possible using passive variable acoustics. Recent advances in active acoustics allow us to create superb stage and auditorium acoustics for performing musicians and listening audiences, as well as for recordings. The panelists will discuss about the state of the art in active acoustics, the challenges and solutions encountered in the field, and brainstorm about future directions.
Saturday, April 28, 09:00 — 10:00 (Room: Bartók)
W10 - Screen-less Navigation for High-Resolution Audio on Blu-ray Disc
Stefan Bock, msm-studios GmbH - Munich, Germany
Jim Anderson, New York University - New York, NY, USA
Tomi Pietilä, Producer/Engineer - Tampere, Finland
Darcy Proper, Wisseloord Studios - Hilversum, The Netherlands
David Walstra, Consultant AV Entertainment Industry
High-resolution audio, presented as uncompressed LPCM, has been waiting for a suitable transport format for some time. The Blu-ray Disc (BD) format offers such a transport and supports the necessary linear and lossless codecs as part of its basic specification. While many BD players can be found in home theater and games environments, there are some issues that need to be addressed before they can be introduced into a hi-fi environment that does not have a screen to present visual menus for audio stream setup and track selection. This recommended method specifies a structure for authoring a BD ROM to enable playback in screen-less consumer systems, and to provide simple track selection from the remote control.
Saturday, April 28, 10:30 — 12:00 (Room: Brahms)
W11 - MUSHRA Reloaded
Judith Liebetrau, Technical University Ilmenau - Ilmenau, Germany
Poppy Crum, Dolby Laboratories - San Francisco, CA, USA
Frederik Nagel, Fraunhofer Institute for Integrated Circuits IIS/International Audio Laboratories - Erlangen, Germany
Thomas Sporer, Fraunhofer Institute for Integrated Circuits IIS - Ilmenau, Germany
Since its finalization in 2001 Recommendation ITU-R BS.1534, nicknamed MUSHRA, has become very popular. MUSHRA is an acronym for “multi stimulus with hidden reference and anchors.” Many researchers created variants of the original design and called it still MUSHRA, and very often test reports are missing important information about test parameters and statistical analysis. Very often the mandatory anchor is not used.
ITU-R WP 6C is currently working on a revision of MUSHRA. This revision will specify in more detail how to perform the test and the statistical analysis, will add some of the most popular variants as official alternatives, and will offer new, more powerful anchors.
This workshop will present current discussions and results from the spring 2012 meeting of ITU-R.
Saturday, April 28, 12:30 — 14:30 (Room: Brahms)
W12 - Spatial Sound Reproduction with Height: Why, Where, How, and When?
Frank Melchior, BBC R&D - Salford, UK
Florian Völk, Technical University Munich - Munich, Germany
Jan-Mark Batke, Technicolor, Research and Innovation - Hannover, Germany
Kimio Hamasaki, NHK Science and Technical Research Laboratories - Tokyo, Japan
Michael Kelly, DTS, Inc. - London, UK
Stephan Mauer, IOSONO GmbH - Erfurt, Germany
Norbert Niemczyk, Daimler AG - Sindelfingen, Germany
Jan Plogsties, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Nicolas Tsingos, Dolby Laboratories - San Francisco, CA, USA
At the present time, expanding spatial audio reproduction to the vertical plane seems to be the next logical step from an engineering point of view. The consequence is that new transmission formats, reproduction and production techniques, and processing methods are required. Before starting the discussion from a technical point of view, we propose to determine applications and environments for such new reproduction systems. The aim of this workshop is to ask and discuss the six W’s of information gathering in terms of spatial audio with height: Who is it about? What will happen? Where will it take place? When will it take place? Why will it happen? How will it happen? The workshop will bring together experts of different approaches and use cases where spatial audio reproduction with height is considered being important now and in the future.
Saturday, April 28, 14:30 — 16:30 (Room: Brahms)
W13 - Deploying the Loudness Concept in Europe—How, When and Where
Florian Camerer, ORF
Alfio DiFazio, tpc Switzerland
Matthieu Parmentier, France Television
Askan Siegfried, NDR
Alessandro Travaglini, Fox International Channels Italy
Richard Van Everdingen, Dutch Loudness Committee
European broadcasters are gearing up fast putting the concept of loudness normalization into practice on the basis of the EBUB recommendation R 128. The panelists are representatives of broadcasters who are on the forefront of this development and will shed a light on the process, the intricacies and solutions.
Sunday, April 29, 09:00 — 10:00 (Room: Brahms)
W14 - Semantic Audio Analysis in the Real World
Andrew Mason, BBC R&D - London, UK
Andy Hill, I Like Music - London, UK
Mark Sandler, Queen Mary University of London - London, UK
Nigel Smith, BBC Audio and Music Interactive - London, UK
Christian Uhle, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Semantic audio analysis presents many opportunities for research, and a huge amount of academic effort is expended. Naturally, a significant proportion of the effort is directed toward solving problems of interest to those doing the research. As a result there is a perception that many of the emergent applications are of limited commercial interest: a musicologist might be interested in minutiae of a composer's style, or in creating a play-list from a collection of 10,000 MP3 files. However, in the wider world there are other potential users: archivists with hundreds of thousands of hours of material to manage, and huge value to be realized from their archives; program makers searching for sound bites; and so on. This workshop aims to present some industry needs and to seek out new opportunities for developments in semantic audio analysis.
Sunday, April 29, 10:30 — 12:30 (Room: Brahms)
W15 - Synchronization in a Multichannel Digital Age
Thomas Sporer, Fraunhofer Institute for Digital Media Technology, IDMT - Ilmenau, Germany
Once upon a time, not so long ago, in any system built up from separate items of digital audio equipment everything would be locked to house sync. Now, systems are increasingly built from equipment that is connected to an asynchronous network without a separate sync input; indeed, in many environments (such as in the home) there is no house sync available. And, increasingly, sound fields are produced by independent digitally-interfaced loudspeakers. This workshop examines requirements for synchronization in these scenarios and techniques for achieving it.
Sunday, April 29, 11:00 — 13:00 (Room: Bartók)
W16 - Listen Professionally or Train Your Ear!
Sungyoung Kim, Yamaha Corporation - Hamamatsu, Japan
Kazuhiko Kawahara, University of Kyusyu - Fukuoka, Japan
Doyuen Ko, McGill University - Montreal, Quebec, Canada
Søren Vase Legarth, Delta SenseLab - Hørsholm, Denmark
Atsushi Marui, Tokyo University of the Arts - Tokyo, Japan
Mark McKinnon-Bassett, University of Sydney - Sydney, NSW, Australia
Sean Olive, Harman International Industries Inc. - Northridge, CA, USA
It has been generally accepted that critical listening ability is essential for audio engineers. Recent training programs provide multiple trainees with fast acquisition of such listening ability through a systematic curriculum optimized for the required task. Considering the interests and growth of ear training in the audio communities, it is timely and important to have a chance to share and discuss the opinions from the experts about necessary features and methods that assist trainees in acquiring the critical listening ability with efficiency, both for personal and group training. For this purpose, a workshop at the previous AES 131st convention invited panelists from all around the world who shared their in-depth experience, know-how, and insights in ear training. The current workshop is an extension of the previous one that aims to let workshop attendees experience and compare the characteristic functions of various ear training programs through hands-on demonstrations by the panelists. While the workshop locally aims to provide the attendees with chance to experience theoretical and empirical matters of ear training programs around the world, it also globally aims to consider the importance of “listening” in the current video-oriented society.
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