AES New York 2018
Broadcast & Online Delivery Track Event Details
Wednesday, October 17, 9:00 am — 10:30 am (1E17 (Surround Rm))
Broadcast & Online Delivery: B01 - Broadcasting in Emergency Situations: “It Can Happen to You…Because It Happened to Us”
Chair:Howard Price
Panelists:
Jason Ornellas, Bonneville International - Sacramento, CA, USA
Alex Roman, Emmis Broadcasting - New York, NY, USA
When disaster strikes your broadcast operation, when audiences and clients alike may be counting on you the most, it’s too late to plan or resource your response. From those who lived through Sandy and Harvey, hear the first-person stories of broadcast engineers who experienced catastrophe, and survived to teach you their operational secrets.
 | This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Wednesday, October 17, 9:00 am — 10:00 am (1E08)
Sound Reinforcement: SR01 - Live Sound Production in a TV World
Presenters:Jenny Montgomery, IATSE Local One - New York, NY, USA; A2, Brute?
Matt Kraus, IATSE
Jenny Montgomery was the lead A2 on the recent live event broadcast of Jesus Christ Superstar. She and other members of the production team will discuss the issues of a one off live event and how the live sound is integrated into the overall production.
Wednesday, October 17, 9:00 am — 10:00 am (1E10)
Networked Audio: NA01 - Network Fundamentals for Audio Engineers
Presenter:Patrick Killianey, Yamaha Professional Audio - Buena Park, CA, USA
Everything in our industry is going to IP. It isn’t just audio—video, lighting, control and intercom are there, as well. This session forms a great base networking skill for anyone in live sound or media production. If you’re comfortable setting up a home network and joining a WiFi hotspot at Starbucks, then this session will launch you comfortably to an intermediate-level user.
By the end of this session, you’ll have the concepts to structurally design a medium sized network for an installation, recording studio or live production. You’ll also have the basic terminology to interact with an IT department, as needed.
This session will be taught by Patrick Killianey from Yamaha. Patrick produced a YouTube video series called “Network Fundamentals for Professional Audio” which has become part of the curriculum in college programs towards IT and audio production alike.
This live variant of this class will review the key pieces of that video series and chart new territory. We’ll refocus on key concepts on Subnet Mask, Gateway, Reserved LAN ranges, IP addresses to avoid, DNS and DHCP. From there, we’ll add on common structural topics in audio designs like trunk lines, VLANs and VLAN tagging, Spanning Tree Protocol (STP), Link Aggregation Groups (LAGs), non-blocking backplane architecture, and basics of fiber
Wednesday, October 17, 10:30 am — 12:00 pm (1E07)
Broadcast & Online Delivery: B02 - Podcast Production Roundtable
Chair:Rob Byers, Minnesota Public Radio | American Public Media - Minneapolis, MN, USA
Panelists:
Haley Shaw, Gimlet Media - Brooklyn, NY, USA
Alex Trajano, Audible - Detroit, MI, USA
Building on the success of last year’s session, Rob Byers (American Public Media and Criminal) will host a special roundtable discussion on the art and techniques of podcast production. Specifically focused on productions that tell stories, this session will bring together engineers, sound designers, and producers to talk about their top-of-the-charts work. The conversation will range from specific mixing and sound design techniques to considerations for an audience that is often listening on smart speakers and mobile devices. Join us for a unique view in to this blossoming format — and come with questions!
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Wednesday, October 17, 11:15 am — 12:15 pm (1E12)
Sound Reinforcement: SR02 - Audio Production for Corporate Events
Chair:Lee Kalish, Positive Feedback llc - Kingston, NY, USA
Lee Kalish will host a panel of experts in live sound production in the corporate event world. This will include sound system design to fit the venue, RF coordination for wireless mics and communications, music production and band support.
Wednesday, October 17, 2:30 pm — 3:30 pm (1E21)
Recording & Production: RP02 - Mastering Content for Loudness Specifications: A Discussion of Best Practices, Pitfalls, and Other Practical Considerations for Engineers and Educators
Presenters:Adam Ayan, Gateway Mastering Studios - Portland, ME USA
Adam Grover, Sterling Sound
Bob Katz, Digital Domain Mastering - Orlando, FL, USA
Alex Kosiorek, Central Sound at Arizona PBS - Phoenix, AZ, USA
Jamie Tagg, Indiana University - Bloomington, IN, USA; Stagg Sound Services, LLC
Navigating today’s loudness standards can be confusing to young engineers and others not frequently working with these requirements. This panel of audio experts and educators will address the justification for these standards, what they mean for us and how to optimize our workflow to accommodate their requirements over a variety of commercial delivery formats. Particular attention will be payed to balancing problematic sound sources with dialogue, the state-of-the-art in metering, formats and delivery methods, and workflow considerations with which young engineers and interns should be familiar.
Wednesday, October 17, 2:30 pm — 4:00 pm (1E07)
Broadcast & Online Delivery: B03 - Advanced Audio for Television Broadcast
Moderator:Fred Willard, Univision - Washington, DC, USA
Panelists:
Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Tim Carroll, Dolby Laboratories - San Francisco, CA, USA
Kazuho Ono, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan
Skip Pizzi, NAB - Washington DC, USA
Jim Starzynski, NBCUniversal - New York, NY, USA; ATSC Group - Washington D.C.
Immersive and personalized audio workflows are now ubiquitous in the industry and finally breaching into consumer delivery; not just through cable TV and streaming but also over consumer broadcast channels.
Whether to a personal device in binaural through headphones, or to a multichannel home theater playout system, advanced transmission systems are now up and running to deliver the excitement and realism of a three-dimensional playback space with relative ease, carrying metadata to adapt to any listening environment.
ATSC 3.0, Hi-Vision 22.2, and Mpeg-H have shot beyond theory and are now up and running in approaching 100 transmitters in cities and countries around the world.
Again, AES brings you the world’s foremost experts on the subject as they bring us up to speed on the very exciting milestones bested over the past year.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Wednesday, October 17, 3:45 pm — 4:45 pm (1E21)
Recording & Production: RP03 - Metadata – Getting Found, Getting Paid
Presenter:Paul Jessop, County Analytics Ltd - Dunstable, Bedfordshire, UK
Metadata used to be hurried notes on tape boxes. Now it is the way music is found, celebrated, and paid for. It may not be as sexy as high resolution or surround mixing—but it is arguably just as important. For each of us in music, it is part of our present and our future and it needs to be done right.
Paul Jessop has been working on standards in this area for decades and will present an overview of the practical steps that audio sector professionals need to take. He will cover ISRC, ISWC, ISNI, IPI, DDEX, RIN, and indeed other terms found in the left-over alphabet soup bowl.
Wednesday, October 17, 4:15 pm — 5:45 pm (1E07)
Broadcast & Online Delivery: B04 - OTT Loudness Is Critical to Content Providers, Distributors and Audiences Alike
Chair:Jim Starzynski, NBCUniversal - New York, NY, USA; ATSC Group - Washington D.C.
Panelists:
Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Scott Kramer, Netflix - Los Angeles, CA, USA
Scott Norcross, Dolby Laboratories - San Francisco, CA, USA
Sean Richardson, Starz Entertainment - Denver, CO, USA
OTT (over the top television) and OVD (online video distribution) are the two preeminent services that are the focus of this important session on loudness of streaming video content.
Essential documents like The Advanced Television Systems Committee’s (ATSC) A/85 provides the solution to government’s concern with over the air (OTA) and cable loudness raised by the CALM Act. AES-71 takes loudness a step further, recommending OTA’s successful international practices and more, to address audio of online OTT and OVD content.
This session will give background on how ATSC A85, EBU r128, Japan’s ARIB TR-832 and Free TV Australia’s OP-59 were the basis for creating OTT / OVD loudness specs and how an international group of audio experts developed these current streaming guidelines.
Content consumed on phones, tablets, and devices with varied fidelity even further motivate the need to optimize loudness, dynamic range, and the listening experience. The Consumer Technology Association has stepped up and supports R4WG8, their group made up of these familiar audio experts determined to complete the OTT loudness initiative by creating a standard for the audio design of these devices.
Come and participate with a distinguished expert panel and learn how and why standardizing audio quality for OTT is so vital to content creators, distributors and their audiences. Review the practical business ramifications and technical framework required to implement AES-71, the loudness recommended practice of the AES standards organization, intended to optimize listening and avert any potential OTT loudness concerns. Hear about each expert panelist’s unique perspective on the topic.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Wednesday, October 17, 5:00 pm — 6:00 pm (1E21)
Recording & Production: RP05 - Podcast Production
Moderator:Terri Winston, Women's Audio Mission - San Francisco, CA, USA
Panelists:
Mitra Kaboli, The Heart, WNYC
Chaquita Paschal, Uncivil/Gimlet, Another Round/Buzzfeed
Haley Shaw, Gimlet Media - Brooklyn, NY, USA
An inside look at the audio production and sound design of podcasts. The panel will feature podcast producers and engineers deconstructing clips and discussing the production process from story inception to sound design to editing and mixing.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Thursday, October 18, 9:00 am — 10:30 am (1E15 +16 SE)
Broadcast & Online Delivery: B05 - Techniques for Success with AoIP Technology
Moderator:Kirk Harnack, Telos Alliance - Nashville, TN, USA; South Seas Broadcasting Corp. - Pago Pago, American Samoa
Panelists:
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
Gary Kline, Kline Consulting Group LLC - Atlanta, GA, USA
Greg Shay, The Telos Alliance - Cleveland, OH, USA
Kent Terry, Dolby Laboratories Inc. - San Francisco, CA, USA
Christopher Tobin, Newark Public radio - Newark, NJ USA
Audio over IP, a technology first deployed at radio stations some 15 years ago, is mature, stable, flexible, and most certainly viable for decades to come. There are now over ten-thousand radio studios constantly producing roughly a half-million IP-audio streams. Equipment manufacturers and engineers have come to understand what’s critical in designing and installing studios built on AoIP infrastructure. The AES67 standard for AoIP interoperability plays a key role in IP-audio adoption.
Now, the television world is moving to an IP-centric infrastructure for both audio and video. Notably, the AES67 AoIP standard is at the center of the new SMPTE 2110-30 TV-audio specification. This panel presentation and discussion reveals techniques that radio engineers have been learning and perfecting for over a decade. Some panelists will also suggest the best practices for television engineers as AoIP is implemented alongside video-over-IP infrastructure.
This session is designed for audio and video engineers and technicians from radio, TV, and post-production facilities. IT engineers will also benefit from by learning key concepts in these real-time applications of IP-audio and IP-video.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, October 18, 10:15 am — 11:15 am (1E10)
Audio for Cinema: AC01 - Best Practices in Re-Recording Mixing: Focus on Episodic
Presenter:Tom Fleischman, Soundtrack Film & Television - New York, NY, USA
This session on re-recording will reprise some of Tom Fleischman's master class from AES143, but with an added focus on the particular challenges associated with episodic television and series. Tom will discuss how he approaches a project from the beginning through to the end, on how the mix can enhance storytelling, the importance of clarity of dialogue, and how music and sound effects engage the audience. Also covered will be the distinctions between cinema and episodic productions, dealing with continuity between episodes, changing creative hierarchies, and the blinding speed at which mixes are made for series.
Thursday, October 18, 10:15 am — 11:15 am (1E17 (Surround Rm))
Immersive & Spatial Audio: IS04 - STAAG Implementation Expanded: A Practical Demo of STAAG Mic Technique and its Use in Stereo, Surround, and Height-Channel Capture for Recording and Broadcast
Presenters:David Angell, Central Sound at Arizona PBS - Phoenix, AZ, USA
Jamie Tagg, Indiana University - Bloomington, IN, USA; Stagg Sound Services, LLC
While working on location, audio engineers are often challenged by insufficient monitoring, making choices which lead to timbral, wet/dry balance, and stereo image problems. This tutorial examines the use of STAAG (Stereo Technique for Augmented Ambience Gradient) and its established advantages for addressing stereo image, acoustic realism, and flexibility in the mix. While originally optimized for immersive headphone listening, this technique has proven advantageous when upscaling to stereo, surround, and even height-channel loudspeaker systems and stereo/surround broadcast streams. Also, this setup is advantageous when working on location and in live performance scenarios due to its compact arrangement and compatibility with a wide variety of microphones. This tutorial will feature physical configurations and playback of audio examples in a variety of formats.
Thursday, October 18, 10:45 am — 12:15 pm (1E07)
Broadcast & Online Delivery: B06 - Audio of March Madness
Moderator:Tom Sahara, Turner Sports Vice President, Operations and Technology, Turner Sports - Atlanta, GA, USA
Panelists:
Bob Baker, Sr Media Transport Architect, Broadcast Infrastructure & Technology, BEST Engineering
Erinn Thorp, Turner Studios - Atlanta, GA, USA
The NCAA Men’s Basketball Tournament has often been described as one of the greatest sports tournaments, due to the unpredictability of college sports wrapped in the tradition of generations of fans. Bringing this unique experience to fans across a variety of delivery platforms is a complex technical challenge.
Starting with games originating from eight venues ranging from on campus sports facilities to professional sports arenas, maintaining a consistent audio experience across all of the games and platforms pushes the limits of technology.
This panel follows the entire audio signal path from originating the mix at the game venues, capturing and packaging all of the game feeds into an assortment of consumer products, and delivering that experience across a wide assortment of devices.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, October 18, 11:30 am — 12:30 pm (1E10)
Audio for Cinema: AC02 - Collaboration at a Distance: Real-Time Remote Recording Tools for Scoring and Post Audio
Presenter:Robert Marshall, Source Elements
Market forces and the advent of new technology and the internet have greatly altered the world of film scoring, along with other related enterprises in audio post. Excellent tools exist for collaborating remotely on recording sessions. Workflows have built up and developed over time to allow those constrained by budget, or desiring the artistic services of someone who is geographically remote, to conduct full sessions with talkback and good monitor audio. This workshop is an exploration of one of the major tools, along with examples of how remote recording is being used in scoring and other disciplines.
Thursday, October 18, 1:00 pm — 4:00 pm (1E13)
Special Event: SE06 - DTVAG Forum
Moderator:Roger Charlesworth, DTV Audio Group - New York, NY, USA
Panelists:
Tim Carroll, Dolby Laboratories - San Francisco, CA, USA
Stacey Foster, Saturday Night Live
Jackie Green, Alteros - Stow, OH, USA
Scott Kramer, Netflix - Los Angeles, CA, USA
Sean Richardson, Starz Entertainment - Denver, CO, USA
Tom Sahara, Turner Sports Vice President, Operations and Technology, Turner Sports - Atlanta, GA, USA
Steve Silva, Vice President of Technology and Strategy, Fox Networks - Los Angeles, CA, USA
Jim Starzynski, NBCUniversal - New York, NY, USA; ATSC Group - Washington D.C.
Television in Transition: Expanding Possibilities for Audio
The entire television consumption and distribution ecosystem is being transformed at breakneck speed. Ubiquitous and cheap wireless and broadband networking; smart TVs and mobile devices; and massively-scalable cloud computing are building a completely new entertainment distribution system practically overnight, upending the traditional broadcast model, and changing viewing habits forever. This transition from “hardwired” to “virtualized” distribution is expanding the possibilities for television audio innovation, further raising the bar on ultimate quality of premium viewing experiences, while presenting creative challenges in translating these experiences to an ever-widening range of devices.
“The rule book for television distribution is being completely re-written. The migration away from traditional broadcasting to IP delivery will continue to accelerate the uptake of advanced encoding solutions and sophisticated audio services. This transition creates new challenges in providing quality and consistency across an ever-widening range of device and environments. Please join the DTVAG for a discussion of these and other important television audio issues.”~ Roger Charlesworth, Executive Director, DTV Audio Group
Forum topics will include:
Chasing Quality
The advent of affordable consumer 4K and HDR on TVs and other devices is transforming the home viewing experience. Combined with the story-telling power of premium episodic content, upscale home viewing is supplanting cinema as the ultimate Hollywood entertainment consumption experience. Audio has been front and center in this transition as more and more premium content becomes available in Dolby Atmos. Is this trend sustainable? How are broadcasters and others responding to the demand for premium audio content?
Surround Virtualization
An important aspect of next-generation audio systems is the ability to virtualize surround presentations over a range of devices and environments. Consumers are already being offered increasingly sophisticated immersive-audio-capable soundbars and TV sets; what are the prospects for enhanced surround virtualization on headphones, earbuds and mobile devices?
Infrastructure and Workflow for Next-Generation Audio
Next-generation audio services greatly increase network operations payloads with additional immersive channels, alternate languages, accessibility features, and all their attendant metadata. Can linear routing systems keep up with these demands or is SMPTE ST 2110 IP media infrastructure arriving just in time to save the day? If so, where are we on the attendant standards and operating protocols to make next-gen audio work in the IP domain? We will debate the issue and take an expert look at the standards crafting work going on behind the scenes.
The Wireless Spectrum Crunch Marches On
Carriers are quickly rolling out services in their newly-acquired 600 MHz blocs making life difficult for wireless mics and other low-power users in many parts of the country. As the rollout in open blocks continues, stations are beginning to exit their existing allocations and head for new frequencies in an already over-crowded 500 MHz TV band. What is the long-term feasibility of operating in what remains of the UHF TV band, and are there practical alternatives on the horizon?
Presenters and Panelists Include:
Roger Charlesworth, Executive Director, DTV Audio Group
Tim Carroll, Senior Director Technology, Sound Group, Office of the CTO, Dolby Laboratories
Stacey Foster, Coordinating Producer, Saturday Night Live
Jackie Green, President and Chief Technology Officer, Alteros
Scott Kramer, Manager Sound Technology, Netflix
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
The DTV Audio Group Forum at AES is produced in association with the Sports Video Group and is sponsored by: Calrec; Dale Pro Audio; Dolby Laboratories; Lawo; Sanken; Plus 24
Thursday, October 18, 1:30 pm — 3:00 pm (1E07)
Broadcast & Online Delivery: B07 - Standardizing Streaming Audio Descriptive Metadata
Chair:Samuel Sousa, Triton Digital - Montreal, QC, Canada
Panelists:
Dean Mitchell, StreamGuys - San Luis Obispo, CA, USA
Mike Smith, MainStreaming, Inc. - San Francisco, CA, USA
It is easy to say that metadata is available of files and for on demand delivery most CMS systems will have some mechanism of storing metadata along with the file. But having it available during live broadcasts is something that seems to be very neglected. The main reason is often because of technical reasons where the automation system is just limited and making this information available. What can we do about that and which standard should we be pushing forwards to help alleviate this.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, October 18, 1:45 pm — 2:45 pm (1E10)
Networked Audio: NA03 - Optimizing Networks for Media
Presenter:Patrick Killianey, Yamaha Professional Audio - Buena Park, CA, USA
This session will examine the network technologies used to optimize a network for modern media transport like Dante. With this knowledge, attendees will have a much better understanding of how to manage networks with mixed traffic and have the basic knowledge to begin diagnosing networked audio issues.
This session will cover TCP vs UDP, Unicast vs Multicast and Quality of Service (QoS). A discussion of clocking will also ensue, contrasting traditional clock distribution on (baseband) BNC vs the networked Precision Time Protocol (PTP). System examples will be given where these technologies have been used.
Thursday, October 18, 3:00 pm — 4:30 pm (1E07)
Broadcast & Online Delivery: B08 - Loudness for Streaming
Moderator:David Bialik, Entercom.com - New York, NY, USA
Panelists:
Robert Bleidt, Fraunhofer USA Digital Media Technologies - San Jose, CA, USA
Frank Foti, The Telos Alliance - Cleveland, Ohio, USA
John Kean, Kean Consulting LLC - Washington DC, USA
Thomas Lund, Genelec Oy - Iisalmi, Finland
Mike Smith, MainStreaming, Inc. - San Francisco, CA, USA
Samuel Sousa, Triton Digital - Montreal, QC, Canada
Audio fidelity and loudness control are becoming more important as streaming audio grows. Audio being injected from multiple sources, smart speakers becoming a preferred listening device, and being able to listen anywhere to anything make audio quality paramount.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Thursday, October 18, 3:00 pm — 3:30 pm (1E21)
Recording & Production: RP11 - Mastering in the Box—Why You Don't Need Anything Else
Presenters:Ezequiel Morfi, TITANIO - Buenos Aires, Capital Federal, Argentina
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
There has been already much controversy on the topic "analog vs. digital" when it comes to regular use inside the modern studio for mixing and mastering. Not willing to join in that discussion, here is a proposal for a processing-chain entirely conceived inside the digital domain that will deliver on any mastering application needed without the operator "having to do with" or miss anything from the analog world—an entire ITB procedure for common mastering practices for any music genre. Technical explanation of the “workarounds” as done with plug-ins for the common digital shortcomings will be fully explained along with a simple but effective mastering processing chain that is designed to be a template for most studio applications regardless of type of program material.
Thursday, October 18, 4:15 pm — 5:45 pm (1E10)
Networked Audio: NA05 - AES67/ST2110 Technical: Synchronization and Redundancy
Presenters:Claudio Becker-Foss, DirectOut GmbH - Mittweida, Germany
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
With a shared interest in media operability, the AES and SMPTE have both been developing standards for networked media. The audio part of SMPTE’s new standard for “Transport of Professional Media over Managed IP Networks”, ST 2110, builds on AES67, the “High-performance streaming audio-over-IP interoperability” standard. This session features several noted authors in the field to discuss these standards from a technical perspective, namely explaining commonalities and constraints among both standards, the principles of sample-accurate synchronization among individual essence streams and how to implement increased operating safety utilizing stream redundancy as defined in SMPTE ST2022-7.
Thursday, October 18, 4:30 pm — 6:00 pm (1E07)
Broadcast & Online Delivery: B09 - Modern Transmission Facilities
Chair:Scott Fybush, Northeast Radio Watch
Panelists:
Karl Lahm, Broadcast Transmission Services, LLC - Traverse City, MI, USA
Jim Leifer, American Tower - Boston, MA, USA
John Lyons, Durst Broadcasting LLC - New York, NY, USA
Shane O’Donoghue, Empire State Building - New York, NY, USA
The broadcast transmission facility of the 21st century is a different beast from its 20th century predecessor. Bulky tube transmitters have largely given way to sleek solid-state rigs, and radio broadcasters are beginning to adopt the same liquid-cooled technology that has transformed TV broadcasting. In New York and other cities, older master FM antennas are being replaced with new combiners and antennas for the first time in decades. Ownership consolidation has brought former competitors together to share engineers and transmitter rooms. In this session the site managers and station engineers who oversee many of the biggest broadcast facilities will discuss the challenges they face in keeping their plants at the cutting edge of technical innovation.
Co-organized by the Society of Broadcast Engineers.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Friday, October 19, 9:00 am — 10:30 am (1E13)
Networked Audio: NA06 - Interoperability Standards for IP Media Networking
Chair:Terry Holton, Yamaha R&D Centre - London, UK
Panelists:
Mike Cronk, Grass Valley - Hillsboro, OR, USA; AIMS Alliance
Kevin Gross, AVA Networks - Boulder, CO, USA
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
In the past few years, two major standards have been published with very significant implications for media networking interoperability: AES67 and SMPTE ST 2110. This session will review the background and objectives behind each of these standards. The relationship between these two standards (the commonalities and constraints) will be explained. Recent developments and the future roadmap for both of these important standards will also be explored.
The session will address a range of topics in relation to the AES67 and ST 2110 standards, particularly emphasizing the symbiotic relationship between these standards. The session will also clarify the differences in motivation and objectives behind of the creation of these two standards, as well as looking at recent updates and possible future developments for these standards.
Friday, October 19, 9:00 am — 10:30 am (1E07)
Broadcast & Online Delivery: B10 - Listener Fatigue and Auditory Stress
Moderator:Thomas Lund, Genelec Oy - Iisalmi, Finland
Panelists:
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Susan Rogers, Berklee College of Music - Boston, MA, USA
Listening with acuity for long hours is discussed from recording, mixing and mastering perspectives. We also review recent physiological and psychological studies on listener fatigue, along with research into efferent components of perception. Hearing might be more accurately understood as primarily a reach-out phenomena, and therefore prone to exhaustion of pathways in both directions
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Friday, October 19, 10:45 am — 12:15 pm (1E07)
Broadcast & Online Delivery: B11 - The Future of Audio Delivery to the Consumer—Home & Mobile
Chair:David Layer, National Association of Broadcasters - Washington, DC, USA
Panelists:
Jeffrey Riedmiller, Dolby Laboratories - San Francisco, CA USA
Brian Savoie, National Association of Broadcasters - Washington, DC, USA; NAB
Samara Winterfeld, VP of Product Management, Content and Solutions, Xperi Corporation - Los Angeles, CA, USA
Audio technology has never stood still, newer and better ways to deliver audio are constantly being developed. While some legacy audio delivery systems, like AM and FM radio, survive and continue to evolve, others, like cassette tapes and even compact discs, go by the wayside. This session will include presentations focusing on where audio delivery is headed in the internet age and what the proliferation of mobile broadband in particular is doing to increase competition and opportunities for audio service providers. Also to be discussed is the advent of object-based audio formats and the new opportunities available to broadcasters from smart speakers and hybrid (over-the-air plus mobile broadband) radio platforms.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Friday, October 19, 1:30 pm — 2:30 pm (1E13)
Networked Audio: NA08 - Real World AES67
Chair:Claudio Becker-Foss, DirectOut GmbH - Mittweida, Germany
Panelists:
Andreas Hildebrand, ALC NetworX GmbH - Munich, Germany
Ievgen Kostiukevych, European Broadcasting Union - Le Grand-Saconnex, Genéve, Switzerland
Since the publication of AES67 and its recent adoption by the ST 2110 media over IP standard, we see a growing number of installations and studio built around this standard. This workshop and Q&A session will focus on practical aspects of using AES67 and ST 2110-30 in the field: what are the benefits of using AES67? What are the difficulties? What should I do / not do, when configuring my network? Panelists experienced in real-world applications will provide valuable insights and share opinions on the importance of AES67 and its role as part of ST 2110 for the wider broadcast market.
Friday, October 19, 3:30 pm — 5:00 pm (1E07)
Broadcast & Online Delivery: B12 - Building a Modern Broadcast Facility in a 152-Year Old House
Chair:Matthew Ballos, Walters-Storyk Design Group - Highland, NY, USA
Panelists:
Jimmy Buff, WKNY - Kingston, NY, USA
John Storyk, Walters-Storyk Design Group - Highland, NY, USA
Kristen Thorne, Finance Director WKNY Radio
HOW WKNY RADIO IS TURNING A 152-YEAR-OLD OCTAGONAL HOUSE INTO A CUTTINg EDGE COMMUNITY SERVICE BROADCAST STUDIO
In December 2017 Radio Station WKNY (Kingston, NY) announced plans to move from its long-time home to a brand new, cutting-edge broadcast center. On the air since December 1939, WKNY’s new home is singularly unique. Hexagonal in shape, the 152-year-old structure (circa 1866) has served a variety of purposes, from Tavern to (most recently) a Hair Salon. Jimmy Buff, Executive Director of the Radio Kingston Corp., which purchased the station in 2017, reports the building’s unique six-sided profile is particularly cool, as it “faces all parts of the city.” A Hudson Valley broadcast icon, Buff is exec director and an on-air personality at WKNY Radio, WSDG (Highland, NY) is a global broadcast facility, recording studio, teaching/production complex and performance venue architectural/acoustical design firm, retained to create the new station. Though tied in to the local power grid, WKNY is designed to function as an “all solar power” facility. The new complex will include a separate building, which will serve as a Community Center/video production studio for podcasts. WKNY Technical Director Kale Kaposhilin will cover all aspects of the station design process, and address a variety of issues including the challenges of constructing within a building with six sides, systems integration, and funding.
Friday, October 19, 4:30 pm — 5:45 pm (1E09)
Product Development: PD14 - Audio Source Separation—Recent Advancement, Applications, and Evaluation
Chair:Chungeun Kim, University of Surrey - Guildford, Surrey, UK; Sony Interactive Entertainment Europe - London, UK
Panelists:
Jon Francombe, BBC Research and Development - Salford, UK
Nima Mesgarani, Columbia University - New York, NY, USA
Bryan Pardo, Northwestern University - Evanston, IL, USA
Audio source separation is one of the signal processing techniques inspired by the humans' corresponding cognitive ability in auditory scene analysis. It has a wide range of applications including speech enhancement, sound event detection, and repurposing. Although initially it used to be only possible to separate the sources in very specific capturing configurations, only to a suboptimal level of quality, advanced signal processing techniques, particularly deep learning-related approaches, have both widened the applicability and enhanced the performance of source separation. In this workshop the recent advancement of source separation techniques in various use-cases will be discussed, along with the challenges that the research community is currently facing. Also, research activities on the quality aspects specific to source separation towards effective performance evaluation will be introduced.
| This session is presented in association with the AES Technical Committee on Semantic Audio Analysis |
Friday, October 19, 7:00 pm — 9:00 pm (Off-Site 1)
Broadcast & Online Delivery: B13 - 80th Anniversary of The Mercury Theater’s “War of the Worlds”
Chair:David Bialik, Entercom.com - New York, NY, USA
Moderator:
Sue Zizza, SueMedia Productions - Carle Place, NY, USA
Presenters:
Frank Beacham
Sammy Jones
David Shinn, National Audio Theatre Festivals - New York, NY
Joel Spector, Audio Consultant - New York
Herb Squire, Herb Squire - Martinsville, NJ
Seth Winner, Seth B. Winner Sound Studios, Inc. - Merrick, NY, USA
The Green Space
44 Charlton St., New York
Actual time: 7:00 pm – 9:00 pm
The Orson Welles radio broadcast, "The War of the Worlds," was monumental in the history of radio broadcasting. Performed as a Halloween episode of The Mercury Theater of the Air broadcast on the CBS network, Sunday, October 30, 1938, it scared the nation and became a classic demonstration of the extraordinary power of the radio medium.
An adaptation of H. G. Wells' novel, "The War of the Worlds" (1898), the afternoon rehearsal for the show was thought to be poor by writer, Howard Koch, Welles and the cast. Then, the young Welles, only 23-years-old, went into action, using his dramatic genius to create a last minute radio masterpiece.
Martians may not have really landed in Grover’s Mill, New Jersey in 1938, but the broadcast did send the young Orson Welles to Hollywood, where he next made Citizen Kane, one of the greatest films ever produced.
This 80th anniversary of "The War of the Worlds" will feature Frank Beacham, who worked with Welles, to discuss the dramatic tricks he used to turn the broadcast into a compelling and believable drama, plus recordings of the behind-the-scenes story in the CBS Studio that frantic night.
SueMedia's Sue Zizza and David Shinn along with the HEAR Now Festival and Voicescapes Audio Theater will produce and perform live recreations and interpretations from The War of the Worlds with actors.
Seth Winner and Sammy Jones will play excerpts from the newly remastered recording of the original broadcast, while Herb and Laurie Squire will discuss the reactions of the audience and public to the broadcast.
New York Public Radio is hosting this event for the Audio Engineering Society Convention. Tickets will be required for access. Space is limited.
| This session is presented in association with the AES Technical Committee on Broadcast and Online Delivery |
Saturday, October 20, 9:00 am — 10:00 am (1E10)
Immersive & Spatial Audio: IS13 - Canceled
Saturday, October 20, 9:30 am — 12:30 pm (2D16)
Broadcast & Online Delivery: B14 - SBE Certification Tests
In cooperation with the Audio Engineering Society (AES), the SBE is offering an opportunity for registered AES Convention participants to take an SBE certification exam while attending the 145th AES Convention in New York City.
The exam session will be held on Saturday, Oct. 20 in the Javitz Center. The time and room will be provided to participants. Those interested in taking an SBE certification exam at the AES Convention must submit their certification application to the SBE National Office no later than Sept. 21.
Saturday, October 20, 10:45 am — 1:00 pm (1E06 (Immersive/PMC Rm))
Recording & Production: RP22 - Planning for On-Location Audio Recording and Production (including Surround)
Presenters:Alex Kosiorek, Central Sound at Arizona PBS - Phoenix, AZ, USA
Steve Remote, Aura-Sonic Ltd. - NYC, NY USA
Corey Schreppel, Minnesota Public Radio|American Public Media
George Wellington, New York Public Radio - New York, NY, USA
Eric Xu, Central Sound at Arizona PBS - Phoenix, AZ, USA
Artists and engineers are recording more productions on-location or in locations other than the studio. Whether it’s audio for spoken word, chorus, small chamber ensembles to large symphony orchestra, or complex jazz/pop/rock shows involving splits from FOH, pre-production is a critical aspect of any remote recording. Moreover, with new forms of immersive delivery on the horizon, surround production is now part of this equation. Some of the challenges for on-location include maintaining a consistent aesthetic across productions, varying venue acoustics, discretion of microphone placement, monitoring, and redundant backup systems. In this workshop, today’s working professionals will give relatable and practical methods of tackling production for mobile/on-location events and discuss how it differs from studio recording. Such topics include venue scoping, bids and quotes, stage plots, communication with venue or ensemble production managers, talent coordination, and other logistics. Some audio examples (including those in surround) will be included.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |