Meeting Topic: Tutorial Seminar on Acoustics (two days)
Moderator Name: Akira Omoto, Atsushi Maui, Jun Yamazaki, Kazuhiko Kawahara, Kazuya Nagae, Masataka Nakahara, Masayuki Mimura, Shinji Koyano, Tetsuya Nakazawa and Toru Kamekawa
Speaker Name: Akira Nishimura (Tokyo Univ. of Info. Sciences), Akira Omoto (Kyushu Univ.), Atsushi Marui (Tokyo Univ. of the Arts), Bike H. Suzuki (SONA / MQA), Hisaharu Suzuki (Evixer), Kazuho Ono (NHK STRL), Kazuma Hoshi (Nihon Univ.), Masataka Nakahara (SONA / ONFUTURE), Shinji Koyano (Koyano Sound Lab.), Toru Kamekawa (Tokyo Univ. of the Arts), Yoshitaka Tamura (Studio Equipment), Yuko Watanabe (Tokyo Denki Univ.)
Meeting Location: Senju Campus, Tokyo University of the Arts, Tokyo, Japan
It is the seventh annual seminar which has been planned to held annually since 2010.
The seminar consists of 12 classes which covers most of areas on acoustics and audio technologies. In the seminar professionals give lectures which should be usually learned in universities as a special knowledge expertise.
This year, a total of 62 people attended the seminar, and 6 people joined AES this time.
The seminar has one master class which introduces latest technologies on acoustics and audio. This year, it was entitled "How capture and reproduce music with 4pi atmosphere in the object-based era?" It was chaired by Dr. Masataka Nakahara from SONA Corp. / ONFUTURE Ltd, and two presenters introduced miking strategies for capturing 3D sound.
Prof. Akira Omoto from Kyushu University firstly outlined miking schemes based on the physical principles. He introduced a Fullerene 80ch Microphone Array utilized for a wave-theory-based Boundary Surface Control techniques, and a geometric-acoustic-based Hedgehog 24ch Microphone Array.
Then another strategy, surround miking scheme with height mic array was introduced by Prof. Toru Kamekawa from Tokyo University of the Arts.
The audience enjoyed live music performance, whistling with piano, and then moved to a 22ch playback room to experience two kinds of reproduced 3D sounds created by two miking methods; Kamekawa's surround miking and Omoto's 24ch Hedgehog miking.
Both reproduced sound filed were visualized by a VSV method by Dr. Nakahara, and an active exchange of views for 3D sound reproduction technologies took place among presenters and audience.
The titles of the lectures are as follows.
[1st day] 9:00 — 18:00, September 2nd
@ Lecture Room 1
-2.0h : (A2) Psychoacoustics (Akira Nishimura)
-2.0h : (A4) Electroacoustics (Yoshitaka Tamura)
-3.0h : (B1) Room Acoustics (Masataka Nakahara)
@ Lecture Room 3
-2.0h : (A1) Basic Properties of Sound (Kazuma Hoshi)
-2.0h : (A3) Digital Signal Processing (Yuko Watanabe)
-3.0h : (B2) Subjective Evaluation Method of Sound (Atsushi Marui)
[2nd day] 9:00 — 17:30, September 3rd
@ Lecture Room 1
-3.0h : (B4) Loudspeaker (Shinji Koyano)
-2.0h : (B5) Microphone (Kazuho Ono)
@ Lecture Room 3
-3.0h : (B3) Digital Audio Programming (Hisaharu Suzuki)
-2.0h : (C1) Technical Writing in English (Bike H. Suzuki)
@ Studio A
-3.0h : (B6) Stereophonic Recording (Toru Kamekawa)
@ Studio A & B
-2.0h : (M) How capture and reproduce music with 4pi atmosphere in the object-based era? (Masataka Nakahara, Akira Omoto and Toru Kamekawa)
[Banquet] 18:00 — 21:00
Written By: Masataka Nakahara