Thursday, September 29, 9:00 am — 10:30 am (Rm 408A)
Abstract:
In an industry deluged by acronyms, Immersive Audio appears to have leapfrogged the trend (although I.A. or 3D Audio, may suffice). As with Surround Sound, Quad Sound, and their various 3.1 – 5.1 – 7.1…, etc., iterations, much of the noise made by these new innovations is focused on hype rather than on specific real world listener/viewer needs or actual desires. That said, I.A. systems for producing, distributing and receiving this new sound experience do exist, they work and, they are proliferating.
This Panel Discussion will feature four experts in radio and TV broadcast technology, systems development /integration, and studio design. Panelists include: Grammy Award-winning engineers Robert Margouleff and Matt Marrin, and award-winning Studio Designer, Chris Pelonis. Moderated by WSDG Founding Partner, John Storyk, the discussion will explore studio and gear design issues both acoustic and technological. Areas to be covered will include: What needs to be done to equip, upgrade, and future proof existing studios for the production, broadcast and streaming of Immersive Audio? What creative and/or technical issues differentiate traditional speaker performance from headphone/earbud reception for I. A. What loudness issues need to be addressed, e.g., Noise and quietness, Internal room responsiveness, Speech vs. music, Reflection and Absorption.
This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, September 29, 9:00 am — 12:30 pm (Off-site 1)
Abstract:
Visit Sony Computer Entertainment America’s state-of-the-art audio facilities located within Santa Monica Studios, the game studio behind the hit God of War franchise. This walkthrough tour of the facilities includes an explanation of tools, process and pipeline, and samples of the studio's audio work in recent releases. Attendees will need to sign a non-disclosure agreement to enter the studio.
Space limited to 30 people
Participants need to be ticketed and travel with the tour group to attend a technical tour.
Thursday, September 29, 9:00 am — 11:00 am (Rm 409B)
Chair:
Doyuen Ko, Belmont University - Nashville, TN, USA
P2-1 Understanding Project-Based Learning in the Audio Classroom: Using PBL to Facilitate Audio Storytelling—Kyle P. Snyder, Ohio University, School of Media Arts & Studies - Athens, OH, USA
One of the more prevalent buzzwords in education today, project-based learning is a natural fit for the audio engineering classroom. With students that thrive by working toward a common goal or “learning by doing,” this constructivist framework is worth examining as implemented by educators. This paper discusses project-based learning as implemented in an audio engineering classroom to facilitate audio storytelling and provides recommendations for faculty looking to implement project-based learning into their curriculum.
Convention Paper 9601 (Purchase now)
P2-2 The Graduate Audio Database Project: A Look into Pragmatic Decision-Making in Postgraduate AE Curricular Design—Daniel A. Walzer, University of Massachusetts Lowell - Lowell, MA, USA
This paper reports on the first phase of a comparative project to build a Graduate Audio Database (GAD) of North American colleges and universities (N=66) offering 86 Master’s degrees. Data came from available information drawn from institutional websites, course descriptions, professional and educational organizations, and targeted keyword searches. Each credential received categorization across seven areas. Results indicate that 38% of institutions list the Master of Fine Arts (MFA) as the most common degree offering and 92% of universities emphasize the creative aspects of audio and sound. This paper explores the role of action research to build an exploratory review of graduate-level audio degrees and reflect on how decision-making affects postgraduate curricular mapping.
Convention Paper 9602 (Purchase now)
P2-3 Equalizing Frequencies: Gender and Audio Technology in American Higher Education—Roseanna Tucker, University of Southern California - Los Angeles, CA, USA
Unequal gender representation pervades audio engineering and production programs in higher education in the United States but has hitherto been the subject of limited discourse. This paper intends to corroborate survey data and observations from audio-technology professors and students with research concerning gender and academic performance in audio-technology and other disciplines displaying similar gender inequities. Research pertaining to female science, technology, engineering, arts, and math (STEAM) majors suggests a number of strategies to assist educators in affecting more inclusive, equitable classroom cultures. The author focused primarily on the dearth of female audio-technology professors, gender as a factor in classroom participation, and extracurricular student culture, and the impact of gendered expectations concerning music and audio-technology during the precollege years.
Convention Paper 9603 (Purchase now)
P2-4 Withdrawn—N/A
Convention Paper 9604 (Purchase now)
Thursday, September 29, 9:30 am — 10:30 am (Rm 406AB)
Abstract:
High fidelity and non-repetitive sound effects, music, dialogue, and ambience are only the beginning of a compelling in-game sound experience. Spatialization (hearing sounds from where they are perceived to occur) is increasingly critical for traditional gameplay and virtual/augmented/mixed reality experiences alike. This talk surveys real-time 3D sound manipulation techniques that marry psychoacoustic theory with practical-for-real-time applied engineering. Topics will include dynamic simulation of position, distance, interaction with game geometry, environmental reverberation, and more. We’ll offer a primer on topics both technical (HRTFs and other processing; spatial formats; middleware integration) and creative (placing non-diegetic audio in a mixed-reality game; mixing techniques; evolving best practices for spatial implementations for headphone and speaker solutions).
This session is presented in association with the AES Technical Committee on Audio for Games |
Thursday, September 29, 10:45 am — 11:45 am (Rm 406AB)
Abstract:
Dynamic music is becoming more common in video game projects. At its most basic it can highlight a variety of events and states within the gameplay, but at its most complex it can underscore the narrative and action of a game and dramatically improve the player’s experience. A Dynamic or interactive score, however, can take on many different forms, and the process of designing and creating a dynamic score can become very complex before a single note of music is even written. This session will discuss some of the variety of formats that dynamic music can adopt and how some of these formats may suit a specific project better. This session is not about writing the music itself, but about how to analyze a project and work out what dynamic elements may work best under different circumstances.
This session is presented in association with the AES Technical Committee on Audio for Games |
Thursday, September 29, 2:15 pm — 3:15 pm (Rm 406AB)
Abstract:
The human voice is a core part of most large video games. We use voice to tell stories, add dynamism, and create worlds and situations that players care about. The sheer scale and complexity of dialogue in most AAA games dwarfs that of feature films, with typically 10 to 100 times as many lines as a movie, with non-linear implementation supporting player experiences that can last dozens of hours. This session will look at the challenges this presents: technical, artistic, and logistical. We’ll look at issues ranging from getting good performances from actors who can’t see what they’re reacting to, to some of the nuts-and-bolts rigor required to deliver dialogue in the form of data that a piece of game software can digest. We’ll touch on micing and signal flow techniques used by many games, some specialized toolsets developed for game workflows, and how some general-purpose tools are often used in games. We’ll also look at ways to tie voice to body motion and facial movement, bringing full performance capture to games.
This session is presented in association with the AES Technical Committee on Audio for Games |
Thursday, September 29, 2:15 pm — 3:45 pm (Rm 409B)
Chair:
Hyunkook Lee, University of Huddersfield - Huddersfield, UK
P4-1 A Three-Dimensional Orchestral Music Recording Technique, Optimized for 22.2 Multichannel Sound—Will Howie, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada; Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Denis Martin, McGill University - Montreal, QC, Canada; CIRMMT - Montreal, QC, Canada
Based on results from previous research, as well as a new series of experimental recordings, a technique for three-dimensional orchestral music recording is introduced. This technique has been optimized for 22.2 Multichannel Sound, a playback format ideal for orchestral music reproduction. A novel component of the recording technique is the use of dedicated microphones for the bottom channels, which vertically extend and anchor the sonic image of the orchestra. Within the context of highly dynamic orchestral music, an ABX listening test confirmed that subjects could successfully differentiate between playback conditions with and without bottom channels.
Convention Paper 9612 (Purchase now)
P4-2 Subjective Graphical Representation of Microphone Arrays for Vertical Imaging and Three-Dimensional Capture of Acoustic Instruments, Part I—Bryan Martin, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, QC, Canada; Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
This investigation employs a simple graphical method in an effort to represent the perceived spatial attributes of three microphone arrays designed to create vertical and three-dimensional audio images. Three separate arrays were investigated in this study: 1. Coincident, 2. M/S-XYZ, and 3. Non-coincident. Instruments of the orchestral string, woodwind, and brass sections were recorded. Test subjects were asked to represent the spatial attributes of the perceived audio image on a horizontal/vertical grid via a pencil drawing. It can be seen in the subjects’ representations that these techniques clearly capture much more information than a single microphone and exhibit vertical as well as horizontal aspects of the audio image.
Convention Paper 9613 (Purchase now)
P4-3 Grateful Live: Mixing Multiple Recordings of a Dead Performance into an Immersive Experience—Thomas Wilmering, Queen Mary University of London - London, UK; Centre for Digital Music (C4DM); Florian Thalmann, Queen Mary University of London - London, UK; Mark B. Sandler, Queen Mary University of London - London, UK
Recordings of historical live music performances often exist in several versions, either recorded from the mixing desk, on stage, or by audience members. These recordings highlight different aspects of the performance, but they also typically vary in recording quality, playback speed, and segmentation. We present a system that automatically aligns and clusters live music recordings based on various audio characteristics and editorial metadata. The system creates an immersive virtual space that can be imported into a multichannel web or mobile application allowing listeners to navigate the space using interface controls or mobile device sensors. We evaluate our system with recordings of different lineages from the Live Music Archive’s Grateful Dead collection.
Convention Paper 9614 (Purchase now)
Thursday, September 29, 2:15 pm — 3:45 pm (Rm 408A)
Abstract:
There is no doubt that audio and sound is essential to every storyline. It enhances the visual experience and adds depth, dimension, and emotion. It is sound that engages the viewer and drives the storyline. The creativity of the audio design and balancing of multiple audio elements produces the key "sonic signature" of the sound and brings a unique life to the content. In the spirit of SMPTE’s centennial year, this panel will look back at key developments in audio and sound technologies for both broadcast and cinema and how these have affected production for live events, movie shoots and post-production sound. The panel will discuss important milestones such as digital recording, editing and distribution, immersive audio and, perhaps, if we’re lucky, share a few personal experiences and memories as they travel along with the evolution.
Coproduced with Society of Motion Picture and Television Engineers
This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, September 29, 2:15 pm — 3:45 pm (Rm 403B)
P5-1 Combined Inverse Filtering and Feedback Control for Robust Equalization and Distortion Reduction in Loudspeaker Systems—Yusuke Kadowaki, Kyushu University - Kyushu, Japan; Toshiya Samejima, Kyushu University - Kyushu, Japan
A method for the robust equalization and distortion reduction of loudspeakers is proposed. The proposed method adopts both an IIR-type inverse filter and a feedback control. The feedback control based on model-following control theory is used to force a loudspeaker to move as a linear time-invariant (LTI) system. Accordingly, we expect the inverse filter that is specifically designed for the LTI system to work correctly. Furthermore, nonlinear distortion of a loudspeaker is expected to be reduced. Computer simulation shows that the proposed method achieves more robust equalization of a loudspeaker than inverse filtering alone. In addition, the proposed method simultaneously reduces nonlinear distortion of the loudspeaker.
Convention Paper 9608 (Purchase now)
P5-2 Investigation of Impulse Response Recording Techniques in Binaural Rendering of Virtual Acoustics—Kaushik Sunder, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media dn Technology (CIRMMT) - Montreal, Quebec, Canada; Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
With the advent of virtual reality headsets, accurate rendering of the acoustics of the real space is critical to deliver a truly immersive experience. To ensure the veracity of immersion, there is a need to obtain high quality impulse responses that captures all the relevant acoustical features of the space. In this work we investigate and compare the perception of virtual acoustics rendered over headphones using impulse responses captured with (a) binaural dummy-head, and (b) multichannel (8-channel) microphone array. A downmixing algorithm is developed that converts the free-field 8-channel impulse responses to binaural for rendering over headphones. Subjective experiments suggest higher quality of immersion with reconstructed binaural from multichannel room impulse responses compared to the measured binaural room impulse responses. This investigation provides important information in understanding the essential elements in creating a convincing perception of an acoustic space.
Convention Paper 9609 (Purchase now)
P5-3 New Recording Application for Software Defined Media—Masahiro Ikeda, Yamaha Corporation - Hamamatsu, Shizuoka, Japan; Takuro Sone, Yamaha Corporation - Shizuoka, Japan; Kenta Niwa, NTT Media Inelligence Laboratories - Tokyo, Japan; Shoichiro Saito, NTT Media Intelligence Laboratories - Tokyo, Japan; Manabu Tsukada, University of Tokyo - Tokyo, Japan; Hiroshi Esaki, University of Tokyo - Tokyo, Japan
In recent years, hardware-based systems are becoming software-based and networked. From IP based media networks, the notion of Software Defined Media (SDM) has arisen. SDM is an architectural approach to media as a service by virtualization and abstraction of networked infrastructure. With this approach, it would be possible to provide more flexible and versatile systems. To test this concept, a baroque orchestra was recorded by various methods with 82 channels of microphones in total. All the data was organized based on the object-based concept and we applied advanced signal processing to the data based on array signal processing technology to produce a content matching various purposes of possible applications. Through this study, the value of SDM concept is verified.
Convention Paper 9610 (Purchase now)
P5-4 Interference Evaluation of Parametric Loudspeakers on Digital Hearing Aids—Santi Peksi, Nanyang Technological University - Singapore; Woon-Seng Gan, Nanyang Technological University - Singapore, Singapore; Dong-Yuan Shi, Nanyang Technological University - Singapore; Satya Vijay Reddy Medapati, Tan Tock Seng Hospital - Singapore; Eu-Chin Ho, Tan Tock Seng Hospital - Singapore
Parametric loudspeakers are able to generate a highly-directional sound, and recently it has also been used to help the hearing impaired to hear TV programs better. However, there are incidents that particular hearing aid users have reported audible interferences in the path of directional sound beams during the clinical trials. The interference varies from buzzing noise to static noise for various commercialized behind-the-ear (BTE) hearing aids. To investigate the audible interference, hearing aid output measurements were carried out using B&K Head and Torso Simulators (HATS) inside an anechoic room at various distances for four types of parametric loudspeakers. This paper also investigates its possible cause of interference and raises awareness to professionals on potential audible interference on hearing aids using parametric loudspeakers.
Convention Paper 9611 (Purchase now)
Thursday, September 29, 4:00 pm — 5:30 pm (Rm 408A)
Abstract:
Immersive audio in the home is now way beyond 5.1 channel surround. The most advanced systems have up to 22.2 channels and place speakers at different elevations, including the ceiling. Beyond the number of speakers, object oriented audio now allows people to customize the way they consume content like never before. It lets them increase the volume of the voice track or decrease the volume of the background sounds to better understand voices. It lets them silence voices, like the announcers at a ballgame, if they simply want to experience the background noise in their program. And it lets them customize their experience in many other ways. This panel will cover the latest developments in bringing more advanced and more flexible audio into the home
This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, September 29, 4:00 pm — 6:00 pm (Rm 409B)
Chair:
Durand R. Begault, NASA Ames Research Center - Moffet Field, CA, USA; Charles M Salter Associates- Audio Forensic Center - San Francisco, CA USA
P7-1 Minimum-Audible Angles in Wave-Field Synthesis: A Case Study—Florian Völk, Technische Universität München - München, Germany; WindAcoustics UG (haftungsbeschränkt) - Windach, Germany
Wave-field synthesis aims at creating a predefined sound field within a restricted listening area. Implementing and maintaining a wave-field-synthesis system is rather costly, as a high number of loudspeakers must be set up meticulously and driven individually. Despite this effort, a physically perfect synthesis is not possible. This contribution addresses a critical and relevant benchmark of synthesis quality: perceptual directional resolution. The study was conducted with a typical living-room-scale system by measuring minimum-audible angles in the horizontal plane with different stimuli. The results indicate that the procedure provides a directional resolution close to that of real sound sources.
Convention Paper 9619 (Purchase now)
P7-2 Accurate Timbre and Frontal Localization without Head Tracking through Individual Eardrum Equalization of Headphones—David Griesinger, David Griesinger Acoustics - Cambridge, MA, USA
The ear and brain perceive the vertical position of sounds by matching the timbre detected at the eardrum of a listener to timbre patterns built up by that individual over a long period of time. But the eardrum timbre depends dramatically on ear canal resonances between 1000 Hz and 6000 Hz that boost the pressure at the eardrum as much as 20 dB. These resonances are highly individual and are either eliminated or altered by headphones. In-head localization is the result. We have developed an app that uses an equal-loudness procedure to measure and restore the natural timbre. Accurate timbre and frontal localization are then perceived without head-tracking, and binaural recordings can be stunningly realistic.
Convention Paper 9620 (Purchase now)
P7-3 The Room-in-Room Effect and its Influence on Perceived Room Size in Spatial Audio Reproduction—Richard J. Hughes, University of Salford - Salford, Greater Manchester, UK; Trevor Cox, University of Salford - Salford, UK; Ben Shirley, University of Salford - Salford, Greater Manchester, UK; Paul Power, University of Salford - Salford, Greater Manchester, UK
In spatial audio it can be desirable to give the impression of a target space (e.g., a church). Often the reproduction environment is assumed acoustically dead; in practice most listening spaces (e.g., domestic living rooms) introduce significant reflections. The result is a room-in-room effect: a complex interaction of target and reproduction environments. This study investigates the influence on perceived room size. A number of target spaces were measured and rendered for loudspeaker playback. Reproduction rooms were measured, with variations produced via impulse response adjustment. Dynamic binaural playback allowed different target and reproduction room combinations, with participants judging the size of environment being reproduced. Results indicate the more reverberant of the target and reproduction rooms is most commonly heard.
Convention Paper 9621 (Purchase now)
P7-4 Compressing Higher Order Ambisonics of a Personal Stereo Soundfield—Panji Setiawan, Member IEEE; Wenyu Jin, Member IEEE - Wellington, NZ
In this work we propose an approach to encode the multizone soundfield within the desired region that features a so-called bright zone with stereo sound effects based on higher order ambisonics (HOA) formats. We decompose the B-format signals for the complex multizone soundfield into the coefficients of a formulated planewave expansion. The multizone soundfield B-format signals are then directly compressed using state-of-the-art audio codecs. The results confirm the effectiveness of this HOA based multizone soundfield encoding. A significant reduction on the compression rate of the desired multizone soundfield with sufficient accuracy can be achieved by quantitatively analyzing the reproduction performance.
Convention Paper 9622 (Purchase now)
Thursday, September 29, 4:15 pm — 5:45 pm (Rm 502AB)
Abstract:
Implementing and mixing music and sound for VR games raises many technical and artistic questions. Realism is not always the end-goal as the sonic aesthetics must match the game play in order for the experience to feel cohesive. There is no one correct way to go about this just as there are various tools that can achieve the same or similar results. This panel will explore both the variable aesthetics at play as well as discuss some of the latest platform, middleware and plug in developments being used to achieve them. Topics of discussion will range from implementation of ambisonic and binaural spatialized audio to non-spatialized audio placement, appropriate soundscapes and ambiences, room and environmental effects, suitable volume levels for long term listening, diegetic use of music, and effects such as occlusion through filtering, equalization, and distortion.
Thursday, September 29, 6:00 pm — 7:30 pm (Rm 502AB)
Abstract:
The Richard C. Heyser distinguished lecturer for the 141th AES Convention is instrument designer, AES Fellow, and Grammy-winner Dave Smith.
Musical synthesizers first appeared in the 1960s – large modular beasts covered with cables. In the early '70s, portable monophonic instruments became available, leading to a gradual acceptance by musicians in popular music. In the late '70s, fully programmable polyphonic analog synths came out, and the synthesizer went mainstream. Things changed dramatically in the '80s as digital synths appeared: first the FM-based DX-7 and eventually the M-1 sample playback synth. From that point onward, digital was the norm. In the '90s, digital synths continued and were implemented in software as computers gained enough power for native signal processing. For 25 years, analog synths were generally not available. Things have changed in the last 10 years, though. Musicians started searching for old analog synths and began using them again. New analog synths became available. Modular synths are back, and very popular. Throughout this 50-year history of the synthesizer its impact on music of all genres has been very significant.
Please note: the Organ Concert start time has been delayed to 8:15 pm so that Heyser attendees could also attend the Organ concert if they so wished (and vice-versa).
Friday, September 30, 9:00 am — 10:30 am (Rm 408A)
Abstract:
4k and 8k UHD broadcasting and streaming is edging beyond standards creation and quickly becoming ubiquitous, with a more than tenfold increase in consumer product over the past year. NHK and U.S. broadcasters are on the air with ATSC 3.0 and Super Hi-Vision experimental transmitters, while cable and satellite providers are already delivering movies and sports; from Super bowl 50, The Master’s Tournament, and the Summer Games. Immersive 3D and object oriented audio adds a striking polish to wider visual resolution, gamut, and dynamic range. This session has been very popular in past years and we have another group of impressive speakers from the myriad facets of audio production and delivery.
This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Friday, September 30, 9:30 am — 10:30 am (Rm 406AB)
Abstract:
Games are a massive headphone application. Beyond common stereo is virtualization (binaural) a huge new issue. More and more gamers understand that current virtualization technologies offer a fantastic new experience far away from creepy low quality “surround simulations” in the past. But game adventures can also be played on new immersive home theater environments. The presentation shows current strategies and applications for multichannel game adventures today and in the future.
This session is presented in association with the AES Technical Committee on Audio for Games |
Friday, September 30, 10:45 am — 12:15 pm (Rm 406AB)
Abstract:
Bound transports you into a beautiful, fantastical world that exists in the mind of a woman revisiting the memories of her childhood. The game’s style and mechanics presented audio with unique challenges and led the team to learn valuable lessons. This session will present the findings in a post-mortem format as well as share techniques used while developing a game to be release in both VR and traditional formats.
This session is presented in association with the AES Technical Committee on Audio for Games |
Friday, September 30, 1:30 pm — 3:00 pm (Rm 402AB)
Abstract:
This session will discuss how Design Thinking using the User Centered Design process influences mobile application design for audio products. Mobile applications are becoming a central component of the overall product and brand experience. These applications are becoming personalized, technically advanced, and can define the product experience. Learn common practices in the User Experience discipline that place the user at the center of your product design process.
Friday, September 30, 1:30 pm — 2:30 pm (Rm 406AB)
Abstract:
In this talk Alex will discuss the relationship between audio and storytelling. He will draw from his experience in Film, Games, and VR to demonstrate how focusing on narrative and emotion has been the solution to his most difficult creative challenges.
This session is presented in association with the AES Technical Committee on Audio for Games |
Friday, September 30, 3:15 pm — 4:45 pm (Rm 406AB)
Abstract:
Delivering a convincing audio experience in VR is not just challenging but seemingly unobtainable at times. There is a complicated chain of variables that must work together in order to create realistic sonic environments (plugins, HRTFs, middleware, headphones, etc.). The goal of the session is to help game makers better understand the spatializer rendering process and be able to more easily work in this format. But more importantly, it will focus on problems with implementation and discuss the key ingredients to getting the most out of your game.
This session is presented in association with the AES Technical Committee on Audio for Games |
Friday, September 30, 5:00 pm — 6:30 pm (Rm 402AB)
Abstract:
High-level programming languages are frequently used by DSP and Audio Engineers in audio product design. These languages allow engineers to rapidly create and understand new audio processing ideas which later are targeted for implementation in various audio products. In this workflow, real-time tuning is an important component.
In this tutorial, we will use our industry knowledge to summarize the best programming practices adopted by audio companies to reuse research code directly for real-time prototypes. We will show a number of examples, tips, and tricks to minimize latency, maximize efficiency, run in real-time on a PC, and generate native VST plugins for testing and prototyping without writing any C or C++ code.
Saturday, October 1, 9:00 am — 10:30 am (Rm 501ABC)
Abstract:
The Sound Design of a film or TV production is an important and specific task to ensure the director’s vision is delivered to the audience. We hear from leading sound design professionals in this workshop.
This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 1, 9:00 am — 10:30 am (Rm 409B)
Abstract:
Data and network connections are growing at rapid rates. Just as the data is growing, the expectations for audio and video continue to grow and evolve, demanding more from networks, including connecting more devices. With AV increasingly residing on the network, it becomes part of the larger IT ecosystem. The next natural step of the communications evolution is for Pro AV to become part of the IoT. With more media on the network, the need for network infrastructure that can support that becomes essential. This presentation will answer questions about network infrastructure and considerations for how to scale from small to large, as well as coexistence of multiple AV and control systems . The session will also look at how interoperability and open standards play into the evolving network.
This session is presented in association with the AES Technical Committee on Network Audio Systems |
Saturday, October 1, 9:00 am — 10:30 am (Rm 406AB)
Abstract:
Game audio education programs are starting to take root and sprout up all over the world. Game audio education is becoming a hot topic. What are some of the latest training programs out here? What are the pros and cons of a degree program versus just getting out there on my own? I am already a teacher, how can I start a game audio program at my current school? Good questions! This panel brings together entrepreneurs from some of the top private instructional institutions and teachers from some growing programs to discuss the latest and greatest educational models in audio for interactive media. Attendees will get a fantastic overview of what is being offered inside and outside of the traditional education system. This is a must for students and teachers alike who are trying to navigate the waters and steer a path toward programs that are right for them in the shifting tides of audio for games and interactive media.
This session is presented in association with the AES Technical Committee on Audio for Games |
Saturday, October 1, 10:45 am — 12:15 pm (Rm 501ABC)
Abstract:
Once the dialog, music, and sound effects have been prepared, the dubbing mixers for film and television have the final impact on these productions. The complexity of the task has increased dramatically over the years and the skills of these professionals is quite often make-or-break for the project. We bring the leading professionals in this craft to discuss the challenges they face in their work.
This session is presented in association with the AES Technical Committee on Audio for Cinema |
Saturday, October 1, 11:00 am — 12:00 pm (Rm 405)
Abstract:
Technical Committee Meeting on Audio for Games
Saturday, October 1, 1:30 pm — 6:30 pm (Rm 408A)
Abstract:
The explosion in streamed-content delivery to fixed and mobile devices has accelerated the adoption of advanced audio services for television. These offer immersive sound, enhanced personalization, and improved bandwidth efficiency. Cinema-quality immersive soundtracks are now starting to show up on popular streaming platforms. At the same time, the VR craze is driving interest and innovation in personalization and virtualized surround sound on mobile devices.
How is Hollywood coping with streamlining object workflows for episodic production? What tools are being developed to manage the demands of both live and pre-produced content? While next-generation audio systems are becoming more widely deployed, a great deal of content is still being pushed through outdated format-and-dynamic-range-limited encoding workflows. How do we manage the loudness and consistency issues this creates? Can cinema-like television experiences coexist in the same content universe with cat videos and tornado alerts?
Discussion topics will include:
The Impact of VR and Gaming on Immersivity and Personalization in Television
VR is the ultimate personalized immersive experience. How will technologies and trends driven by VR re-calibrate our thinking about television sound? Viewer-driven object-audio-enabled surround experiences have stable and long-established workflows and production practices in gaming. Is it time for television content creators to look around at personalized entertainment platforms and take some lessons?
Object Audio Deliverables and Emerging Tools for Interchange and Content Management
As content creators ramp up the production of premium immersive audio content for online delivery, are scalable workflows in place to absorb and manage this content on the distributor side? We will explore the progress on universal interchange standards and practical mezzanine deliverables, and discuss future requirements for versioning and editing for re-exploitation.
The challenges of Loudness Management in Multi-Platform Streamed-Content Delivery
As the center of gravity for television viewing shifts to an online experience, are the best practices for loudness, dynamic range and format management in danger of being lost along the way? Can a line still be drawn between fixed and mobile or desktop streaming? How do content preparation and audio encoding processes need to catch up? Our panelists will discuss the challenges of bring the same commitment to consistency and quality from network linear television to the online experience.
Atmos Mixing for Episodic Television
This fall, post-production of premium episodic content in advanced surround is in full swing. With dubbing stages all over Hollywood filling up with Atmos productions, how are mix teams adapting cinema audio production values to television budgets and timelines.
Wireless Spectrum Update
With the first forward-auction round completed, how is the future UHF spectrum picture shaping up? Initial clearing targets would make UHF microphone operation virtually impossible in many areas. Wherever we end up, things are going to get a lot more crowded. We will indulge in some speculation on the final band plan and examine the limited relocation options.
Presenters and Panelists Include:
Tim Carroll, Senior Director, Office of the CTO, Dolby Laboratories
Roger Charlesworth, Executive Director, DTV Audio Group
Michael Englehaupt, Vice President and Chief Technology Officer, Graham Media Group
Stacey Foster, President Production Services, Broadway Video, Coordinating Producer, Saturday Night Live, Technical Consultant, Tonight Show with Jimmy Fallon
Richard Friedel, Executive Vice President and General Manager, Fox Networks Engineering and Operations
Jackie Green, Vice President R&D and Engineering, Audio-Technica
Steve Harvey, West Coast Editor, Pro Sound News
Scott Norcross, Manager Sound Platform Group, Office of the CTO, Dolby Laboratories
Skip Pizzi, Senior Director, Media Technology, National Association of Broadcasters
Jeffery Riedmiller, Senior Director, Sound Group, Office of the CTO, Dolby Laboratories
Sean Richardson, Executive Director and Principal Audio Engineer, Starz Entertainment
Tom Sahara, Vice President Operations and Engineering, Turner Sports, Chairman Sports Video Group
Steve Silva, Consultant, Technology Strategy, Fox Networks Engineering and Operations
Jim Starzynski, Director and Principal Audio Engineer, NBC Universal, Chairman DTV Audio Group
Joel Susal, Director, Virtual and Augmented Reality at Dolby Laboratories
Will Wolcott, Senior Audio Developer, Netflix
The DTV Audio Group Forum at AES is produced in association with the Sports Video Group and is sponsored by: Calrec, DAD, Dale Pro Audio, Dolby Laboratories, JBL, Lawo, Linear Acoustic, Sanken, Studer
Saturday, October 1, 1:30 pm — 3:00 pm (Rm 408B)
Abstract:
Producing live events directly to the various VR platforms requires special techniques and workflows. This session will discuss the following:
1) 3d Live Sound Acquisition—positional significant, location specific microphones, such as the basketball rim, cup on the 18th hole, etc., and the associated challenges, as well as binaurals, b-format, etc.;
2) Creating the Bed—the VR audio must not jar the viewer out of the moment, so creating a realistic but familiar feeling 3d bed to layer on the special tracks is critical to success;
3) Monitoring and Mixing for Live VR—how does one both monitor for all possible viewing angles and also keep up with the live action and primary viewing angle at the same time—special challenges require some special solutions;
4) QC checking the final product—The best laid plans can sometimes get complicated when the various VR platforms attempt to render out the streams provided. Care must be taken to insure success for all viewing platforms.
Saturday, October 1, 1:30 pm — 3:00 pm (Rm 406AB)
Abstract:
Games are big business. From social and mobile games to consoles, the field is diverse and growing. So, what is the best way to get that first gig in audio for games? How can I transfer my existing skills to interactive media? We will take a panel of today’s top creative professionals from large game studios to Indie producers and ask them what they think you need to know when looking for work in the game industry. So, whether you are already working in the game industry or just thinking of the best way to transfer your skills from film, TV or general music production to interactive media or a complete newbie to the industry, this panel is a must!
This session is presented in association with the AES Technical Committee on Audio for Games |
Sunday, October 2, 9:00 am — 10:30 am (Rm 404AB)
Abstract:
Developing sample libraries for virtual and hardware instruments requires a complex balance of recording knowledge, the real-world behavior of the instrument sampled, detailed editing, and final programming of the software of hardware product. This tutorial will review the general process of planning, recording, editing, and programming a sample library using real world case studies on pianos and drums.
Sunday, October 2, 3:15 pm — 4:45 pm (Rm 404AB)
Abstract:
In 2015, Sono Luminus began its experimentation and implementation of 9.1 Auro-3D recording. To date, Sono Luminus has created numerous 9.1 recordings, five of which are now commercially available with more on the way. Immersive audio quite literally takes the listening experience of the home consumer to the next level. It allows Sono Luminus the opportunity to deliver an even more in-depth, intriguing, and unique listening experience.
Recording both on location, and in the 100 year old converted church in the Virginia countryside that is now the home of Sono Luminus Studios, Sono Luminus focuses on techniques for capturing native immersive audio, rather than mixing for the format. In the end though, it is all about the serving the music, and we have taken the opportunity to work with the musicians and composers to develop recordings that bring out the all of the musical nuances in a way not possible before.
Examples in this tutorial will demonstrate various styles of music including choral, early music, Celtic, percussion, electronics, experimental music just to name a few demonstrating vastly different instrumentation and sonic textures.