AES NEW YORK 2019
147th PRO AUDIO CONVENTION

AES New York 2019
Engineering Brief EB4

EB4 - Posters: Recording and Production


Friday, October 18, 3:30 pm — 5:00 pm

EB4-1 A Comparative Pilot Study and Analysis of Audio Mixing Using Logic Pro X and GarageBand for IOSJiayue Cecilia Wu, University of Colorado Denver - Denver, CO, USA; Orchisama Das, Center for Computer Research in Music and Acoustics (CRMA), Stanford University - Stanford, CA, USA; Vincent DiPasquale, University of Colorado Denver - Denver, CO, USA
In this pilot study we compare two mixes of a song done with GarageBand on iOS and Logic Pro X in a professional studio environment. The audio tracks are recorded and mastered in the same controlled environment by the same engineer. A blind listening survey was given to 10 laypersons and 10 professional studio engineers who have at least 10 years of related experience. 80% lay persons and 60% professional studio engineers reported a higher preference for the Logic Pro X version. To further compare these two productions, we look at (1) short-term perceptual loudness to quantify dynamic range and (2) power spectral densities in different frequency bands to quantify EQ. The analysis provides evidence to back the survey results. The purpose of this study is to examine how, in a real-life scenario, a professional studio engineer can produce the best results using the best plugins, effects, and tools available in GarageBand on iOS and Logic Pro X environment, and how these two results are comparatively perceived by both the general audience and professional audio experts.
Engineering Brief 539

EB4-2 The ANU School of Music Post-Production Suites: Design, Technology, Research, and PedagogySamantha Bennett, Australian National University - Canberra, Australia; Matt Barnes, Australian National University - Canberra, Australia
This engineering brief considers the design, construction, technological capacity, research, and pedagogical remit of two post-production suites built at the ANU School of Music. These suites were constructed simultaneously to the recording studio refurbishment, as detailed in AES e-Brief #397 (2017). This new e-Brief first considers the intention and purpose behind the splitting of a single, large control room into two separate, versatile post-production spaces. Secondly, the e-Brief focuses on design and construction, with consideration given to acoustic treatment, functionality, ergonomic workflow, and aesthetics. The e-Brief also focuses technological capacity and the benefits of built-in limitations. Finally, the post-production suites are considered in the broader context of both the research and pedagogical activities of the School.
Engineering Brief 540

EB4-3 A Case Study of Cultural Influences on Mixing Preference—Targeting Japanese Acoustic Major StudentsToshiki Tajima, Kyushu University - Fukuoka, Japan; Kazuhiko Kawahara, Kyushu University - Fukuoka, Japan
There is no clear rule in the process of mixing in popular music production, so even with the same music materials, different mix engineers may arrive at a completely different mix. In order to solve this highly multidimensional problem, some listening experiments of mixing preference have been conducted in Europe and North America in previous studies. In this study additional experiments targeting Japanese major students in the field of acoustics were conducted in an acoustically treated listening room, and we integrated the data with previous ones and analyzed them together. The result showed a tendency for both British students and Japanese students to prefer (or dislike) the same engineers’ works. Furthermore, an analysis of verbal descriptions for mixing revealed that they gave most attention to similar listening points, such as “vocal,” and “reverb.”
Engineering Brief 541

EB4-4 A Dataset of High-Quality Object-Based ProductionsGiacomo Costantini, University of Southampton - Southampton, UK; Andreas Franck, University of Southampton - Southampton, Hampshire, UK; Chris Pike, BBC R&D - Salford, UK; University of York - York, UK; Jon Francombe, BBC Research and Development - Salford, UK; James Woodcock, University of Salford - Salford, UK; Richard J. Hughes, University of Salford - Salford, Greater Manchester, UK; Philip Coleman, University of Surrey - Guildford, Surrey, UK; Eloise Whitmore, Naked Productions - Manchester, UK; Filippo Maria Fazi, University of Southampton - Southampton, Hampshire, UK
Object-based audio is an emerging paradigm for representing audio content. However, the limited availability of high-quality object-based content and the need for usable production and reproduction tools impede the exploration and evaluation of object-based audio. This engineering brief introduces the S3A object-based production dataset. It comprises a set of object-based scenes as projects for the Reaper digital audio workstation (DAW). They are accompanied by a set of open-source DAW plugins–—the VISR Production Suite—–for creating and reproducing object-based audio. In combination, these resources provide a practical way to experiment with object-based audio and facilitate loudspeaker and headphone reproduction. The dataset is provided to enable a larger audience to experience object-based audio, for use in perceptual experiments, and for audio system evaluation.
Engineering Brief 542

EB4-5 An Open-Access Database of 3D Microphone Array RecordingsHyunkook Lee, University of Huddersfield - Huddersfield, UK; Dale Johnson, University of Huddersfield - Huddersfield, UK
This engineering brief presents open-access 3D sound recordings of musical performances and room impulse responses made using various 3D microphone arrays simultaneously. The microphone arrays comprised OCT-3D, 2L-Cube, PCMA-3D, Decca Tree with height, Hamasaki Square with height, First-order and Higher-order Ambisonics microphone systems, providing more than 250 different front-rear-height combinations. The sound sources recorded were string quartet, piano trio, piano solo, organ, clarinet solo, vocal group, and room impulse responses of a virtual ensemble with 13 source positions captured by all of the microphones. The recordings can be freely downloaded from www.hud.ac.uk/apl/resources. Future studies will use the recordings to formally elicit perceived attributes for 3D recording quality evaluation as well as for spatial audio ear training.
Engineering Brief 543


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