Session Title:	3D Audio in Virtual Environments
Session Chair:	Frank Filipanits
Participants:	Stacy Lynn Welsh, Aureal Semiconductor, Fremont, California, USA, Conrad Maxwell, VLSI Technology, Tempe, Arizona, USA
Frank Filipanits: As internet connection bandwidths increase and computing power increases, users are demanding increasingly sophisticated immersion for their virtual environment, whether it be a simple web page, a VRML virtual space, or a game. Sound - particularly 3-D sound - is playing an increasingly important role in this presentation. This session will focus on current and future technologies and issues related to auralization, the placement of sound sources in a three dimensional environment. Stacy Lynn Walsh: Multimedia and internet developers are currently looking at three-dimensional audio as an important emerging technology that will increase both the realism and the excitement in their applications. 3D audio, which until recently was only the domain of high-end research facilities, is now available to these developers and perhaps more importantly, consumers. The focus of this presentation will be on 3D audio as related to these areas. A brief explanation will be given of HRTF-based 3D audio, including comparisons to other technologies, and the evolution of 3D audio from Crystal River Engineering's Convolvotron to today's currently shipping products. Microsoft's DirectSound 3D API and hardware acceleration will be discussed, as well as VRML and Aureal DirectSound 3D API Extensions. These passive environmental extensions include reflection inclusion, underwater effects and automatic resource management. Conrad A. Maxwell: Overview of Four Interrelated topics A status of the IASIG - 3D Working Group effort and 3D Audio Standards. An overview of "How 3D Audio Works" and issues with implementing 3DAudio. An overview of the current standard called 3Dxp for 3D Audio authoring. An overview of Legacy Accommodation Mode to eliminate ISA for good Overheads and two white-papers provided as reading material.

Biographies:

Frank Filipanits Jr., Stacy Lynn Welsh, Conrad A. Maxwell

Frank Filipanits Jr. Frank Filipanits Jr. became passionately involved in audio while pursuing a BS EE at Caltech. He continued on to earn a M.S. degree in Music Engineering at the University of Miami, Coral Gables, where his Master's research focused on 3-d auralization techniques and optimizations. Frank is currently exploring audio opportunities with his start-up, Cool Stuff Labs. Recent work includes contributions to DSP plug-ins by Dolby, Liquid Audio, and QSound. During his prior employment at Digidesign, Frank authored several plug-ins including the TEC award-winning DINR 2.0. Frank maintains his sanity by playing bass in one blues and one rock band, repairing pinball machines, and restoring classic muscle cars. Stacy Lynn Welsh Stacy Lynn Welsh received a B.M. in Music Engineering in 1992 from the University of Miami, Miami, FL. In 1991, she worked as an assistant sound engineer at Crescent Moon Studios in Miami, FL and went on to be a concert production/stage manager. In 1995, she joined Crystal River Engineering, a pioneer and leading developer of true three-dimensional audio technology. In spring of 1996, CRE was acquired by Aureal Semiconductor, an early licensee of CRE's technology for the PC and consumer market places. Currently, she is in the Advanced Signal Processing group at Aureal working on the next generation of 3D audio products. Conrad A. Maxwell Conrad A. Maxwell is currently the Senior Strategic and Product Marketing Manager at VLSI Technology. He is the also the Charmin of the 3D Working Group of the Interactive Audio Special Interest Group sponsored by the MIDI Manufacturers Association. He is actively supporting the foundry of audio products and pushing investment into audio controllers and codec technologies. He started his career in Sunnyvale in Electronic Design with an Electrical Engineering Degree. After many years in design, he went back to Business School and completed an M.B.A. He plays the keyboard and was attracted to digital audio controllers in order to provide better audio in the PC space.

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