AES New York 2015
Spatial Audio Demo Details
Thursday, October 29, 9:30 am — 10:30 am (Room 1A18)
SA1 - Object Based Immersive / 3D Audio Production
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Some new object based formats like Dolby Atmos, MDA, MPEG-H, and ECMA 407 were introduced to the audio industry recently. But how to create content, how to master, how to deliver, and finally content applications are still a bit unclear for a lot of audio producer and service provider. Some insides, tools, strategies and listening examples are given in this event.
Thursday, October 29, 10:30 am — 11:30 am (Room 1A18)
SA2 - Immersive / 3D Audio for Games
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Today immersive/3D audio is a well know task for film as well for music production. Approaches and technologies have been discussed and presented at AES conventions for some years. But immersive / 3D audio for games that involves the gamer much more than ever before is just coming up. These sounds, strategies, and applications will be shown in this event.
This event is part of the Games Track.
Thursday, October 29, 11:45 am — 12:45 pm (Room 1A18)
SA3 - Rules to Get Great Multichannel 3D Sound for Synthesizer Music
Presenter:Lasse Nipkow, Silent Work LLC - Zurich, Switzerland
Abstract:
The 3D 9.1 format and other multichannel 3D formats allow creation of incredibly immersive soundscapes in comparison to standard stereo and 5.1 surround. The listener has a spatial impression of being in the recording room. Room sound is used to realize concert-hall-like envelopment of the listener. Synthesizer music is a different case without a natural reference, consisting to a large extent of sounds, which were not recorded in recording rooms. To render such music immersively, pad sounds, low frequency bass, and other sound elements are used instead of room sound to reach a similar spatial impression. In contrast to classical music there is no need to reproduce the instruments as a body of sound on a stage in the front. Creative composition of the 3D mix enables a multifaceted result. During the presentation, relationships between mixing 3D recordings of classical music and synthesizer music will be described and demonstrated with example recordings and videos.
Thursday, October 29, 2:15 pm — 3:45 pm (Room 1A18)
SA4 - Sounds Across the Sea—A Journey in 9.1 Immersive Audio
Presenters:Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway; Westerdals - Oslo School of Arts, Communication and Technology
Daniel Shores, Sono Luminus - Boyce, VA, USA; Shenandoah Conservatory Music Production and Recording Technology - Winchester, VA, USA
Abstract:
For years Morten Lindberg and Daniel Shores have inspired each other across the Atlantic to develop new techniques and implementing new recording formats; initially in surround sound and lately moving forward in immersive audio. In this workshop we'll meet together playing a wide range of 9.1 examples, discussing microphone techniques, production workflow and musical sound design.
Thursday, October 29, 4:00 pm — 5:30 pm (Room 1A18)
SA5 - Psychoacoustics of 3D Sound Recording
Presenter:Hyunkook Lee, University of Huddersfield - Huddersfield, UK
Abstract:
This tutorial/demo session will explain psychoacoustic principles that need to be considered when making 3D sound recordings, with demonstrating a number of practical 3D recordings made using various microphone configurations. The topics to be addressed include: vertical interchannel time and level relationship, the effect of decorrelation/mic spacing in vertical stereo perception, the role of spectral cue for vertical localization and image spread, and effective microphone configurations for the capturing of height channel ambience. 3D recordings to be demonstrated will be of various types of music: orchestra, chamber choir, string ensemble, organ, piano, jazz funk, etc. This session will be useful for those who would like to learn how perceptual principles can be applied in practical 3D recording.
Friday, October 30, 12:30 pm — 1:30 pm (Room 1A18)
SA6 - ISO/MPEG-H Audio - The New Standard for Universal Spatial / 3D Audio Coding
Presenter:Valentin Schilling, Fraunhofer IIS, Erlangen - Erlangen, Germany
Abstract:
Recently, the ISO/MPEG standardization group created the MPEG-H 3D Audio specification to go along with Ultra High Definition Television (UHDT) video. The specification features several unique elements, such as handling of channel-based content, object-based content and higher order ambisonics (HOA) content or the capability of rendering encoded high-quality content on a wide range of loudspeaker setups (22.2 ... 5.1 ... stereo / headphones). This workshop provides an overview of the MPEG-H 3D Audio standard regarding its underlying architecture, technology, performance and how to produce immersive content for it.
Friday, October 30, 3:00 pm — 6:00 pm (Off-Site 1)
SA7 - Immersive Audio Demos and Listening Sessions at NYU
Co-moderators:Paul Geluso, New York University - New York, NY, USA
Agnieszka Roginska, New York University - New York, NY, USA
Presenters:
Jono Califa, New York University - New York, NY, USA
Andrea Genovese, New York University - New York, NY, USA
Jordan Juras, New York University - New York, NY, USA
Kiran Kumar, New York University - New York, NY, USA
Chris Miller, New York University - New York, NY, USA
Hsin Hwa Tai, New York University - New York, NY, USA
Adrian Tregonning, New York University - New York, NY, USA
Ye Yuan, New York University - New York City, NY, USA
David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Edgar Choueiri, Princeton University - Princeton, NJ, USA
Braxton B. Boren, Princeton University - Princeton, NJ, USA
Rahulram Sridhar, 3D3A Lab, Princeton University - Princeton, NJ, USA
Joseph G. Tylka, 3D3A Lab, Princeton University - Princeton, NJ, USA
Bryan Martin, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, QC, Canada
Paulo Marins, Universidade de Brasília
Ravish Mehra, Oculus Research - Redmond, WA, USA
Alex Ruthmann, New York University - New York, NY USA
Abstract:
This event has a limited capacity. Tickets will be allocated on a first-come first-served basis. To paticipate, please sign up at the AES Tours Desk.
The Music Technology program at NYU Steinhardt will host a multi-presentation immersive audio listening and demo session. Visitors will experience music produced specifically for 3D listening environments, binaural and transaural research and demonstrations. Listening sessions in the James L. Dolan Music Recording Studio will include recordings made by the faculty and students of NYU Music Technology and McGill University and will be presented on a 3D loudspeaker system. Binaural and transaural demonstrations will include HRTF customization, head modeling, BACCH 3D Sound and the BACCH-HP (for headphones), binaural Ambisonics and multi-loudspeaker environments. The session will culminate with a panel discussion on immersive audio in VR for audio and education.
Location: 35 W 4th St, New York, NY
Bus transportation is not provided. We'd suggest taking the 7 Train to the F, M, B, D, A, or C to W 4th St.
A ticket is required - anyone showing up without a ticket will be turned away.
Saturday, October 31, 12:30 pm — 1:30 pm (Room 1A18)
SA8 - Musical Phenomenology: Herbert von Karajan and Immersive Audio
Presenter:Gregor Zielinsky, Sennheiser Electronic GmbH & Co. KG - Germany
Abstract:
"Musical Phenomenology" refers to what happens in our brains when we hear music. Sergiu Celibidache wrote about it, while Herbert von Karajan practised it his whole musical life. Von Karajan was a sound guru: He loved the real, perfect musical sound. What would have happened if he had learned about 3D sound? The workshop describes von Karajan's way of interpreting music and how it relates to 3D. Many audio examples will be presented. These examples describe how 3D sound actually helps to make music performance much better in 3D than in 2D.
Sunday, November 1, 12:30 pm — 1:30 pm (Room 1A18)
SA9 - Kraftwerk—How to Create an Immersive/3D Audio Pop Mix in Dolby Atmos for a Common Blu-ray Release
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
It¹s one thing to move audio objects around the listener like a spaceship in a movie application. It's a totally different approach to create musical landscapes that involve the listener emotionally more than ever before with immersive/3D audio. An example of this is the new Kraftwerk Blu-ray production "Kraftwerk 3D." Production strategies for a common pop Blu-ray release in Dolby Atmos will be shown and explained.
