AES San Francisco 2012
Workshop Details
Friday, October 26, 10:00 am — 12:00 pm (Room 130)
W1 - Forensic Authentication of Digital Audio
Panelists:Catalin Grigoras, University of Colorado at Denver - Denver, CO, USA
Jeff M. Smith, National Center for Media Forensics - Denver, CO, USA; University of Colorado Denver - Denver, CO, USA
Abstract:
Following the successful presentation of numerous papers on the subject of digital audio authentication at the recent 46th International Conference of the AES on Audio Forensics, this workshop will summarize and present the latest developments in the field. Digital audio authentication methods including data analysis, database management and validation, inter-laboratory testing, and methods for ENF analysis will be discussed. Dr. Catalin Grigoras and Jeff M. Smith of the National Center for Media Forensics will share research and findings related to these topics and explore implications that the latest developments mean for forensic audio analysis and digital media authentication.
Friday, October 26, 10:45 am — 12:30 pm (Room 133)
W2 - Spatial Audio Evaluation
Chair:Sean Olive, Harman International - Northridge, CA, USA
Panelists:
Poppy Crum, Dolby Laboratories - San Francisco, CA, USA
Martin Dewhirst, University of Surrey - Guildford, Surrey, UK
Ville Pulkki, Aalto University - Espoo, Finland
Thomas Sporer, Fraunhofer IDMT - Ilmenau, Germany
Abstract:
While there are an increasing number of audio technologies aimed at improving the spatial rendering of live and recorded sounds in homes, performance spaces, cinemas, automobiles, and personal audio systems, there currently exists no standardized or recommended methods for evaluating their perceived spatial quality. This workshop will provide an overview of some current and future best-practices for subjective evaluation of spatial aspects of sound reproduction with the goal of helping promote methods that provide more accurate, reliable, and meaningful data.
Friday, October 26, 2:00 pm — 4:00 pm (Room 133)
W3 - What Every Sound Engineer Should Know about the Voice
Chair:Eddy B. Brixen, EBB-consult - Smorum, Denmark
Panelists:
Henrik Kjelin, Complete Vocal Institute - Denmark
Cathrine Sadolin, Complete Vocal Institute - Denmark
Abstract:
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. The physical aspects of the voice will be explained and laryngograph waveforms and analyses will be demonstrated by Henrik Kjelin. Eddy Brixen will demonstrate measurements for the detection of the vocal modes and explain essential parameters in the recording chain, especially the microphone, to ensure reliable and natural recordings.
Saturday, October 27, 9:00 am — 11:00 am (Room 133)
W4 - What Does an Object Sound Like? Toward a Common Definition of a Spatial Audio Object
Chair:Frank Melchior, BBC R&D - Salford, UK
Panelists:
Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Jean-Marc Jot, DTS, Inc. - Calabasas, CA, USA
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Matte Wagner, Red Storm Entertainment - Cary, NC, USA
Hagen Wierstorf, Technische Universität Berlin - Berlin, Germany
Abstract:
At the present time, several concepts for the storage of spatial audio data are under discussion in the research community. Besides the distribution of audio signals corresponding to a specific speaker layout or encoding a spatial audio scene in orthogonal basis functions like spherical harmonics, several solutions available on the market are applying object-based formats to store and distribute spatial audio scenes. The workshop will cover the similarities and difference between the various concepts of audio objects. This comparison will include the production and reproduction of audio objects as well as their storage. The panelists will try to find a common definition of audio objects in order to enable an object-based exchange format in the future.
Saturday, October 27, 11:00 am — 1:00 pm (Room 133)
W5 - Loudness Wars: The Wrong Drug?
Chair:Thomas Lund, TC Electronic A/S - Risskov, Denmark
Panelists:
John C. Atkinson, Stereophile Magazine - New York, NY, USA
Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Robert Katz, Digital Domain Mastering - Orlando, FL, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Abstract:
Newly produced pop/rock music rarely sounds good on fine loudspeakers. Could it be that the wrong mastering drug has been used for decades, affecting Peak to Average Ratio instead of Loudness Range? With grim side effects all around—and years of our music heritage irreversibly harmed—the panel provides a new status on the loudness wars and sets out to investigate the difference between the two from a technical, a perceptual, and a practical point of view. In a normalized world, bad drugs will no longer be compensated by a benefit of being loud. Learn to distinguish between a cure and quack practice, and save your next album.
Saturday, October 27, 2:00 pm — 4:00 pm (Room 133)
W6 - Are You Ready for the New Media Express? or Dealing with Today's Audio Delivery Formats
Chair:Jim Kaiser, CEMB / Belmont University - Nashville, TN, USA
Panelists:
Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Stefan Bock, msm-studios GmbH - Munich, Germany
David Chesky, HD Tracks/Chesky Records
Robert Katz, Digital Domain Mastering - Orlando, FL, USA
Abstract:
With the rapid dominance of digital delivery mediums for audio, traditional physical media and their associated standards are losing relevance. Today's audio mastering engineer is expected to provide an appropriate format for any of their client's expanding uses. The ability to do so properly is affected by the preceding production and mixing processes, as well as an understanding of what follows. This workshop will focus on detailing newer audio delivery formats and the typical processes that a digital file goes through on its way through to the end-consumer. The intention is to provide the know-how to ensure that one is not technically compromising the client's music on the way to providing for various lower and higher-resolution releases (e.g., Mastered for iTunes, HD Tracks, etc.).
Sunday, October 28, 9:00 am — 11:00 am (Off-Site 1)
WH1 - Sound Design Tools for Multichannel Audio with Height
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center).
Chair:Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
Panelists:
Kimio Hamasaki, NHK - Tokyo, Japan
Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Brett Leonard, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Frank Melchior, BBC R&D - Salford, UK
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Abstract:
Multichannel audio systems in advanced cinema and television utilize many loudspeaker channels distributed horizontally and vertically in the listening space. Comprehensive tools have been developed to control sound design and mixing in such environments as traditional stereophonic tools are inadequate. The panelists will present different channel, object based, and hybrid approaches and demonstrate how the respective systems are used in post-production to achieve artistic flexibility and save time. Discussion on merits of these solutions will follow.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 9:00 am — 10:30 am (Room 130)
W7 - MUSHRA Reloaded
Chair:Thomas Sporer, Fraunhofer IDMT - Ilmenau, Germany
Panelists:
Poppy Crum, Dolby Laboratories - San Francisco, CA, USA
Frederik Nagel, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany; International Audio Laboratories - Erlangen, Germany
Abstract:
Since its finalization in 2001 Recommendation ITU-R BS.1534, nicknamed MUSHRA (multi stimulus with hidden reference and anchors), for testing audio quality has become very popular. It is widely used and to some extent misused. Many recent studies have also identified limitations of the current Recommendation. These limitations can have a direct impact on the interpretation of data collected using ITU-R BS.1534. ITU-R WP 6C is currently working on a revision of MUSHRA. The modification should preserve the general multiple-stimulus-hidden-reference (MUSHRA) design characteristic of ITU-R BS.1534 while improving the robustness and testing reliability. This workshop will present current discussions and results from the autumn 2012 meeting of ITU-R.
Sunday, October 28, 9:00 am — 11:00 am (Room 132)
W8 - The Controversy over Upsampling—Boon or Scam?
Chair:Vicki R. Melchior, Technical Consultant, Audio DSP - Lynn, MA, USA
Panelists:
Poppy Crum, Dolby Laboratories - San Francisco, CA, USA
Robert Katz, Digital Domain Mastering - Orlando, FL, USA
Bruno Putzeys, Hypex Electronics - Rotselaar, Belgium; Grimm Audio
Rhonda Wilson, Dolby Laboratories - San Francisco, CA, USA
Abstract:
Many “high resolution” releases on Blu-ray, DVD, and also some HD downloads are created by upsampling Redbook or 48-kHz data, a practice that draws frequent and quite vehement outcries of fraud. Yet at the same time upsamplers, both hardware and software, are commonly marketed to consumers and professionals now with the promise of boosting redbook sonics to near-equality with high resolution. What's going on? A panel of experienced mastering engineers, DAC, and DSP designers looks at the long-standing controversies and claims behind upsampling, as well as its uses in audio. The issues relating to down/up conversion go well beyond headroom and relate directly to hardware and software implementation, the design of low pass filters, consequences of signal processing, and mastering considerations related to the production and release of modern high quality discs and music files.
Sunday, October 28, 11:15 am — 12:45 pm (Off-Site 1)
WH2 - Height Channels: Adding the Vertical Dimension to Surround Sound
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center).
Chair:Paul Geluso, New York University - New York, NY, USA
Panelists:
Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Gregor Zielinsky, Sennheiser Electronic GmbH & Co. KG - Germany
Abstract:
While a great deal of development has gone into reproducing audio in the horizontal plane, the next step in immersive audio moves into the vertical dimension. How does one capture and create height information for a true 3-D listening experience? How does the listener perceive the addition of height loudspeakers? New recording techniques, microphone configurations, processing methods, and transmission formats are needed to fill this demand. At this workshop a panel of music producers and engineers will present different methods to capture and process vertical ("Z axis") information for later reproduction in surround playback environments with height channels. Post-production methods to create 3-D sonic imagery for recordings not originating in 3-D will be discussed as well. Recordings made using these technologies will be demonstrated.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 12:00 pm — 1:00 pm (Room 122)
W9 - Acoustic and Audio iPhone Apps
Chair:Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Abstract:
A range of audio and acoustic apps are available for the iPhone, iPad, and other smartphones. Both Measurement and Calculation apps are available. The workshop will review current apps and discuss some of their uses and limitations.
Sunday, October 28, 1:45 pm — 3:45 pm (Off-Site 1)
WH3 - Recording Music in 9.1 Height Surround
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center).
Chair:Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway
Panelists:
Stefan Bock, msm-studios GmbH - Munich, Germany
Wilfried Van Baelen, Auro Technologies - Mol, Belgium
Abstract:
Balance Engineer and Recording producer Morten Lindberg will present Norwegian 2L¹s approach to recording music in 9.1 surround sound. Playing original navigation for high-resolution audio on Blu-ray Disc. 352.8 kHz/24 bit masters, showing photos and stage layout from recording sessions and discussing the resources and considerations involved in the process of venue recording, editing, mix, and mastering. The workshop will also discuss how 9.1 can be encoded to the Blu-ray format and how the disc can be programmed for a CD-player-style screen-less navigation as Pure Audio Blu-ray. Morten Lindberg has produced twelve GRAMMY nominations since 2006 (seven of these for "Best Engineered Album" and "Best Surround Sound Album"). Wilfried Van Baelen is the founder of Galaxy Studios in Belgium and the creative force behind the new Auro-3D codec. Stefan Bock is the founder of msm-studios in Germany and the author of the AES-21id, Screen-less navigation for high-resolution audio on Blu-ray Disc.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 4:00 pm — 6:00 pm (Off-Site 1)
WH4 - 3-D Audio Formats—Multichannel Sound with Height: Channel- or Object-Based?
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center).
Chair:Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Panelists:
Kimio Hamasaki, NHK - Tokyo, Japan
Jeff Levison, IOSONO GmbH - Germany
Toni Mateos, imm sound - Barcelona, Spain
Wilfried Van Baelen, Auro Technologies - Mol, Belgium
Abstract:
Several proposals for multichannel sound with height have been brought to the market in the past year(s). One of the differences of these propositions is the use of channel vs. object-based mixing and distribution methods. Some proposals also introduce a hybrid method, combining both methods into one format. This workshop aims to discuss these methods and their strengths and weaknesses. Topics that will be addressed are production methods and tools, how to fold down that 3-D Audio mix into standard distribution formats, consequences for reproduction in the professional (e.g., digital cinema), as well as consumer markets.
Workshop will be held at Pyramind, 832 Folsom Street (a 10-minute walk from Moscone Center). Space is limited and tickets can be obtained at the AES Tours Desk.
Sunday, October 28, 4:00 pm — 6:00 pm (Room 130)
W10 - Show Me The Money! Finding Success In An Evolving Audio
Chair:Bill Gibson, Hal Leonard Performing Arts Publishing Group - Seattle, WA, USA; The Art Institute of Seattle
Panelists:
Moses Avalon, Moses Avalon Company
Dave Hampton
Mixerman
Steve Turnidge, Ars Divina/UltraViolet Studios - Seattle, WA, USA
Abstract:
Music Business Panel: Show Me the Money! Finding Success in an Evolving Audio Industry includes a panel discussion about the new music business. The mission of this workshop is to provide insightful tactics and techniques for the modern audio professional—ways to make money in the current business reality. Topics include proven ways to increase profitability, nuts and bolts explanations of setting up your business to receive payments for licensing, sync fees, Internet and other new media delivery systems, and more. Panel consists of noted authors and music business experts, Moses Avalon (Confessions of a Record Producer, Million Dollar Mistakes), Dave Hampton (The Business of Audio Engineering), Mixerman, and Steve Turnidge (UltraViolet Studios).
Monday, October 29, 1:30 pm — 3:30 pm (Room 130)
W11 - Multi-Microphone Applications and Testing in Telecommunications Systems
Chair:Bob Zurek, Motorola Mobility - Antioch, Il, USA
Panelists:
Samir K. Gupta, Qualcomm, Inc. - San Diego, CA, USA
Plamen Ivanov, Motorola Mobility - Libertyville, Il, USA
Eric Skup, Audience, Inc. - Mountain View, CA, USA
Abstract:
Over the last few years mobile communication devices have gone from single channel speech only devices to wide-band multichannel audio recording devices that can also be used for communication. The inclusion of multiple microphones into phones has improved voice quality, reduced background noise, and allowed for the capture of quality multichannel audio. This workshop is geared toward the designers of communications devices, the developers of multichannel audio algorithms, the programmers of applications utilizing these new multichannel acquisition devices, and the engineers tasked with testing these devices. The workshop will begin with an introduction to the subject, including presentations of various aspect of design, test, and standardization of multichannel microphone systems for telecommunications by each of the panelists. The panel will then discuss the current technology and testing landscape centered around questions from the audience.
