Saturday, May 20, 13:00 — 14:30 (Berlin-A)
Alex Arteaga (Keynote Speaker)
Awards Presentation and Keynote Address
Opening Remarks: Bob Moses, Executive Director; Alex Case, President
Convention Chairs: Sascha Spors, Nadja Wallaszkovitz
Please join us as the AES presents Special Awards to those who have made outstanding contributions to the Society in such areas of research, scholarship, and publications, as well as other accomplishments that have contributed to the enhancement of our industry. The awardees are:
BOARD OF GOVERNORS AWARD
• Philip Jackson
• Michael Williams
• Tapio Lokki
DISTINGUISHED SERVICE AWARD
• Mark Yonge
SILVER MEDAL AWARD
• Wolfgang Klippel
This year’s Keynote Speaker is Dr. Alex Arteaga. Alex Arteaga’s research integrates aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between aurality, architecture and the environment through phenomenological and enactivist approaches. He studied piano, music theory, composition, electroacoustic music, and architecture in Berlin and Barcelona and received a Ph.D. in philosophy from the Humboldt University. After being an academic researcher at the Collegium for the Advanced Study of Picture Act and Embodiment at the Humboldt University he developed his own research projects at the Berlin University of the Arts among which Architecture of Embodiment as Einstein Junior Fellow. He currently heads the Auditory Architecture Research Unit and the Department of Auditory Architecture in the MA Sound Studies and Sonic Arts at the Berlin University of the Arts and is professor for contemporary philosophy and artistic research at the Research Master in Art and Design at EINA / Universitat
Autonoma de Barcelona. The title of his address is “Auditory Architecture: Environment, Sense, and Aurality.”
How do our environments emerge when we focus our activity on hearing and listening? How do these modalities of action condition the ongoing process of sense-making? Which practices and methods of research are appropriate to address these questions in a non-reductive way? In this lecture Alex Arteaga will present the conceptual framework and the main practices developed at the Auditory Architecture Research Unit (Berlin University of the Arts) for the research and design of “Klangumwelten”: the “surrounding-aural-worlds.”
Saturday, May 20, 14:45 — 16:15 (Berlin-A)
André Maletz (Chair), David Miles Huber (Panelist), Jan-Michael Kühn (Panelist), Richard Roloff (Panelist), Andreas Schneider (Panelist), Brian Smith (Panelist)
Since the eighties Berlin has grown to the center of electronic music, it developed to a vivid environment with clubs, studios, festivals, communities, companies, and much more, where artists (in general), musicians, DJs, and also music business people want to be part of.
The event will highlight aspects of this scene and their relevance and impact on professional audio, the panelist will discuss and present their view on this as authentic experts from different view angles.
This session is presented in association with the AES Technical Committee on Recording Technology and Practices
Sunday, May 21, 10:30 — 11:15 (Salon 7 Vienna)
Sunday, May 21, 18:30 — 20:00 (Berlin-A)
Jörg Sennheiser (Presenter)
The Technical Council is pleased to announce that Prof. Dr. Jörg Sennheiser will present the 36th Richard C. Heyser Memorial Lecture during the 142nd Convention. Jörg Sennheiser became Sennheiser’s director of technology in 1976 before taking over management of the family business in 1982. He recently handed over the chairmanship to a successor. His many years of experience in the electroacoustics business, particularly in bringing digital technology to bear on the product range, will provide an interesting backdrop to his presentation entitled, “A Historic Journey in Audio-Reality: From Mono to AMBEO.”
The foundations of human audio perception, based on the "natural laws“ of human hearing and their relative validity, will be be revisited at the outset. The interdependence of hearing with other human senses will be outlined, showing the high degree of subjectivity and uncertainty of our audio perception. Keeping this in mind, the evolution of audio capturing, processing and reproduction by technical means will be discussed. The achievable hearing pleasure and the audio quality level is reflected in the continuous development from single- to multi-channel reproduction systems with loudspeakers and headphones, benchmarked against “sonic reality.” The need for more emotionality in the hearing experience – especially together with visual presentations – leads to a requirement for new approaches and solutions throughout the workflow in the entertainment world and entertainment industry. Optimized solutions for capturing sound with action-cameras or smartphones are evolving, with prototypes and first products being already available and undergoing stringent end-user tests. Audio-visual presentations of sports events on TV call for the development of suitable high-quality audio formats in line with an individual choice of video perspective. The rapidly evolving field of gaming, augmented-reality (AR) and virtual-reality (VR) calls for “immersive” audio technologies currently under consideration. Multiple stakeholders in this market segment—from producers and development engineers to end-users—have to work together to imagine and design The Future of Audio.
Sunday, May 21, 20:00 — 22:00 (Off site 1)
Come and enjoy an evening in Berlin with your colleagues.
The dinner will take place at the restaurant Van Loon http://vanloon.de/van-loon-restaurantship/?lang=en which is, in fact, a stationary ship. We will have a bus transfer departing at 20:00 from the hotel. The transfer will take about 15 min, the buffet dinner will start at 20:30. The menu includes a selection of starters (smoked fish, grilled vegetables, salads), a main course (picata milanese with tagliatelle), and a dessert (pana cotta). A selection of beverages is included (soft drinks, coffee, beer, wine).
Tickets will be available at the registration area. Spacing is limited.
Monday, May 22, 13:45 — 15:15 (Berlin-A)
Florian Camerer (Chair), Leslie Gaston-Bird (Panelist), Eelco Grimm (Panelist), Matthieu Parmentier (Panelist)
Optimum loudness normalization for music streaming: Eelco Grimm, HKU University of the Arts and Grimm Audio)
Major pop music releases have suffered from the Loudness War for almost two decades. Now music streaming surpassed CD as major platform for music sales, there is a big opportunity to end this ‘war’, because the music of streaming services can be normalized in one central location. As soon as all music is played at an equal level, it makes no sense to issue loud masters anymore and the loudness war ends. Eelco Grimm cooperates with streaming service Tidal to design an optimal loudness leveling algorithm that does not harm the artistic intentions and opens the door to high sound quality for all major artists. He will present the results of his research into all 4.3 million albums of the Tidal database, plus a subject test. The project focuses on two questions: can album normalization also be used successfully outside the album context? And: which target level should be choosen?
Audio Guidelines for OTT TV and Video Streaming: Leslie Gaston-Bird, University of Colorado - AES administrator
Status of the collaborative work done within the AGOTTVS group chaired by Jim Starzynski (NBC Universal).
Strategies to stream broadcast contents on various platforms: Matthieu Parmentier, France TV – chairman of EBU Audio, co-chair of AES TC-Broadcast and Online Delivery
Production of broadcast contents is now fully constrained by loudness guidelines. Masters are usually aligned to –23 LUFS/-24 LKFS to feed either broadcast, broadband and streaming platforms. Due to the growth of mobile listening, where the overall dynamic needs to be reduced to face the background noise, several solutions arise and affect the The aim of this presentation is to present various strategies to allow the distribution of a same content on various networks and devices.
This session is presented in association with the AES Technical Committees on Broadcast and Online Delivery
This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery
Monday, May 22, 20:00 — 21:30 (Off site 1)
Sigrid Erbe-Sporer (Presenter), Francis Rumsey (Presenter)
AES conventions have entertained delegates with an organ concert for many years, but at the 142nd in Berlin there’ll be a new twist. This time classical themes will morph into jazz style on one of the city’s finest pipe organs.
Included in Francis’ first half program: Mozart’s Fantasia in F minor and Widor’s Finale from the 6th Organ Symphony. Morphing into jazz style for the second half, Sigrid starts with "Mozart Changes" composed by Zolt Gárdonyi, which starts in classical style and gradually shifts into jazz mode. Sigrid continues with the "Suite Jazzique" of Johannes Matthias Michel, inspired by the well-known "Suite Gothique" of Leon Boellmann.
The organ at St Matthias was built in 1958 by the firm of Romanus Seifert & Son. From 1972–4 it was enlarged by Seifert to become what was then the largest organ in Berlin, containing 109 ranks and 74 stops. In 1993 it was subject to a general overhaul during the church renovation, and a new console was built by Stockmann. Thanks to recent additions in 2008–9 it now has an extensive combination system and a few more ranks, bringing the specification to 111 ranks and 76 stops, arranged on four manuals and pedal. More information can be found at http://www.die-orgelseite.de/specials/stmatthias/stmatthias_e.htm, and http://st-matthias-berlin.de/musik/die-st-matthias-orgel.html
Tuesday, May 23, 12:00 — 13:00 (Salon 7 Vienna)
Tuesday, May 23, 15:00 — 16:30 (Berlin-A)
André Maletz (Chair), Martin Eyerer (Panelist), David Miles Huber (Panelist)
What are the practical approaches in sound design and mixing/producing Electronic Music? What are the challenges in differentiation and getting high-end audio results? How do they work and produce and what are their production environments? Is there a Berlin way? The panelists will present their approaches and audio/production examples from their actual work, explain their ways of mixing and producing.