143rd AES CONVENTION Tutorial & Workshop Details

AES New York 2017
Tutorial & Workshop Details

Wednesday, October 18, 9:00 am — 10:30 am

TW01 - Audio Engineering with Hearing Loss—A Practical Symposium

Jon Boley, GN Advanced Science - Chicago, IL, USA
Richard Einhorn, Einhorn Consulting, LLC - New York, NY, USA; Richard Einhorn Productions, Inc.
Larry Revit, Revitronix - Braintree, VT, USA
Michael Santucci, Sensaphonics - Chicago, IL USA
Tobi Stutz

We are assembling a panel of experts - one to present an audiological perspective of hearing loss and others to focus on the more practical issues of working in the field of audio engineering with hearing loss and/or tinnitus (e.g., listening strategies, supplemental technologies, etc.).


Wednesday, October 18, 2:00 pm — 3:30 pm

TW02 - Disruption: Midi—Machine Learning looking Back and Looking Ahead

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
John Bailey, iZotope
Russell McClellan, iZotope, Inc. - Cambridge, MA, USA
Joshua D. Reiss, Queen Mary University of London - London, UK
Dave Smith, Dave Smith Instruments - San Francisco, CA, USA

Ai, machine learning, and deep learning are beginning to change audio products and workflows. This panel will discuss what the new technological “features” are that are coming out of machine learning development, describe how users are interacting with the new breed of tools, and think about what's coming down the road.


Wednesday, October 18, 3:45 pm — 5:15 pm

TW03 - Creating Sounds from Scratch

Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA
Andrea Perjolo, Berklee College of Music - Boston, MA, USA

A live demonstration using synthesis to create unique sounds. Topics included a brief overview of how we arrived at the methods of synthesis commonly used today, why you should avoid using presets, and examples of working with techniques like physical modeling and wavetable synthesis to create novel sounds. Presented by co-authors of Creating Sounds from Scratch (Oxford University Press) Andrea Pejrolo, Chair, Contemporary Writing & Production, Berklee College of Music, and Scott B. Metcalfe, Director of Recording Arts and Sciences and Chair of Computer Music and Music for New Media at the Peabody Conservatory of Johns Hopkins University.


Thursday, October 19, 10:45 am — 12:15 pm

TW04 - New Developments in Listening Test Design

Brecht De Man, Queen Mary University of London - London, UK
Jan Berg, Luleå University of Technology - Piteå, Sweden
Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Todd Welti, Harman International Inc. - Northridge, CA, USA


Thursday, October 19, 1:30 pm — 3:00 pm

TW05 - Streaming, Hi Res Audio, Loudness and Beyond


Friday, October 20, 9:00 am — 10:30 am

TW06 - Tech Behind the Tools: Production to Playback

Lisa Ferrante-Walsh
Marina Bosi, CA, USA
Veronique Larcher, Sennheiser - Switzerland
Hannah Robertson, iZotope - Cambridge, MA, USA

This panel will take the audience through the job descriptions/roles involved in creating modern audio products, software, and otherwise.


Friday, October 20, 10:45 am — 12:15 pm

TW07 - AES67 Interoperability—Network Audio Systems: A Report on the State of the Technology

Nicolas Sturmel, Digigram S.A. - Montbonnot, France
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
Greg Shay, The Telos Alliance - Cleveland, OH, USA

The AES67 standard for High-performance streaming audio-over-IP interoperability was released in 2013. However, while the standard defines what protocols and functions need to be supported, it still leaves various choices open to the implementer. Interoperability between AES67 devices has been practiced many times at AES67 plug fests and IP Showcases since 2013. This workshop will mainly focus on how to achieve interoperability within the standard. The panelists will share their own experience in preparing for interoperability showcase or tests, designing products, configuring the network and accommodating the various choices open in the standards. Practical advice and tools to facilitate interoperability will also be given to the audience.


Friday, October 20, 1:30 pm — 3:00 pm

TW08 - Machine Learning and Music Recomposition: A Glimpse at the Future

Mark Edward Lewis, Adobe
John Bailey, iZotope
Juke Deck

Ai, machine learning, and deep learning are beginning to change audio products and workflows. This panel will discuss what the new technological "features" are that are coming out of machine learning development, describe how users are interacting with the new breed of tools, and think about what's coming down the road.


Friday, October 20, 4:30 pm — 6:00 pm

TW09 - Podcasts: Telling Stories with Sound

Mary Nichols, FuseBox Radio - Waldorf, MD USA
Jim Anderson, Anderson Audio NY - New York, NY, USA; Clive Davis Institute of Recorded Music, New York University - New York, NY, USA
Jeanne Montalvo

Podcasting is now the latest and greatest frontier for freedom of expression and the press with distribution networks that most of the average creator can gain equal access to with a (mostly) low cost of entry. This event is a jump off point about the many ways one can create, record, host, and distribute a podcast with high audio quality with the latest technologies out in the world today.


Saturday, October 21, 9:00 am — 10:30 am

TW10 - Paths to Being/Becoming a Pro

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Peter Auslan, Manhattan Center Studios - New York, NY, USA
John Krivit, Audio Engineering Society - Marblehead, MA, USA; Emerson College - Boston, MA, USA
Ann Mincieli, Jungle City Studios - New York, NY, USA
Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Oscar Zambrano, Zampol Productions - New York, NY, USA

The Audio Professional focused on music production is looking more and more like a unicorn, particularly with regard to specialization. The panel will describe paths taken to becoming professionals who derive their income from music production, the skills they feel are most important that allowed them to succeed, and their current approaches to maintaining their status. Designed for students and the young engineers


Saturday, October 21, 10:45 am — 12:15 pm

TW11 - Levels, Loudness, Perception, and the Aesthetics of Music Production and Distribution

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Eelco Grimm, HKU University of the Arts - Utrecht, Netherlands; Grimm Audio - Eindhoven, The Netherlands
Paul Tapper, Nugen Audio - UK
Robert Taylor, University of Newcastle - Callaghan, NSW, Australia

This collection of presentations addresses the changing paradigms of music delivery. It will offer observations about market driven forces, the influence of technological changes over the years on the aesthetics of music production and delivery to the consumer. Included is some definitive research regarding perception and loudness. Suggestions and advice about levels for music delivery will be covered.


Saturday, October 21, 1:30 pm — 3:00 pm

TW12 - Towards the New Horizon of Technical Ear Training

Sungyoung Kim, Rochester Institute of Technology - Rochester, NY, USA
Jason Corey, University of Michigan - Ann Arbor, MI, USA
Kazuhiko Kawahara, Kyushu University - Fukuoka, Japan
Doyuen Ko, Belmont University - Nashville, TN, USA
Sean Olive, Harman International - Northridge, CA, USA
Timothy Ryan, Webster University

Recently, various technical ear-training programs have been introduced to audio and acoustic engineering communities. In the previous workshops, the panels have discussed necessary features and methods for efficient and effective training (AES131, 132, and 141). The current workshop aims to (1) let workshop attendees experience and compare the characteristic functions of various ear-training programs through hands-on demonstrations by the panelists, and (2) discuss the latest development trends and future applications. While the workshop locally aims to provide the attendees with chance to experience theoretical and empirical matters of ear training programs around the world, it also globally aims to consider the importance of “listening” in the current video-oriented society.


Saturday, October 21, 3:15 pm — 4:45 pm

TW13 - What Audio Students Are Learning, What Could They Be Learning, What SHOULD They Be Learning

Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Enrique Gonzalez-Muller, Berklee College of Music - Boston, MA, USA
Owen Curtin, Audio Builders Workshop - Lexington, MA, USA
Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA

It’s a golden age of for-profit trade schools and vocational training. Regardless, while institutions flourish, graduates continue to emerge without having learned some of the most rudimentary aspects of audio engineering and production. The Blackbird Academy was founded by recording and live sound engineer John McBride and his wife, country artist Martina McBride, to prepare students for careers in music production and live sound in the best possible way: via mentor-based training. There is a need for a new model in education which gives students access to true working professionals and hands-on experience using a world-class collection of gear in facilities designed for one purpose: making excellent music. This expert-laden panel will explore two fundamental questions: what aren’t audio students being taught, and why not?


Saturday, October 21, 3:15 pm — 4:45 pm


TW14 - Practical 3D Acoustic Measurements

Malcolm Dunn, Marshall Day Acoustics - Auckland, New Zealand

This tutorial will illustrate how 3D impulse response measurements can be utilized in practical applications. An introduction will be provided to 3D acoustic measurement technology with a focus on b-format signal and compact microphone arrays. The types of signals gathered will be described and methods of “visualizing” the results will be presented. Limitations of the information gathered will also be discussed. Examples would be provided for a range of applications where the use of directional information has provided worthwhile insight into the acoustic performance of a space.


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