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AES San Francisco 2006
Workshop Details


Thursday, October 5, 9:00 am — 11:30 am

W1 - CONSIDERATIONS FOR FACILITY DESIGN

Chair:
Sarah Jones, MIX Magazine
Panelists:
Dan Braverman, Radio Systems
Ray Legnini, Aviom
Eric Hoehn, XM Radio
David Prentice, VCA-Fusion
John Storyk, Walters Storyk Design Group
Mike Uhl, Axia Audio
Bice C. Wilson, Meridian Design

Abstract:
There are many details to consider when designing and building a facility. We will discuss: radio, television, recording studio, production, wiring, acoustics, ergonomics, and budgeting.


Thursday, October 5, 9:30 am — 11:30 am

W2 - SURROUND SOUND–NOW & IN FUTURE

Chair:
Gregor Zielinsky, Sennheiser Electronic KG - Wedemark, Germany
Panelists:
Richard King, Sony/BMG
Mike Pappas, KUVO FM - Denver, CO, USA
Ronald Prent, Galaxy Studios

Abstract:
The audio and music industries have made incredible efforts to increase the quality of music recording and authentic replay possibilities for the consumer. The practicalities for high level audio and also video reproduction qualities have risen enormously. How can we bring the benefits of improved audio quality and surround sound to a larger group of common music consumers? What is the market situation for pure music surround productions (SACD/DVD-A), surround music videos (DVD), and movie DVDs? Do we as engineers influence, by the way we produce surround sound, the general acceptance of surround—especially in pure music listening? What ways of surround projection(s) can be effectively or easily received by the "common user"? What possibilities do we have in the future for mp3 surround, especially through headphone reproduction?


Thursday, October 5, 2:00 pm — 4:00 pm

W3 - PREFABRICATED ACOUSTICAL TREATMENTS

Chair:
Tony Grimani, Performance Media Industries (PMI), Ltd. - Fairfax, CA, USA
Panelists:
Russ Berger, Russ Berger Design Group - Addison, TX, USA
Dirk Noy, Walters-Storyk Design Group - Highland, NY, USA
Chris Pelonis, Pelonis Sound and Acoustics - Santa Barbara, CA, USA

Abstract:
Controlling the acoustic reflections in a control room, recording room, or listening room is crucial in order to hear reality. That’s because sound energy contributed by these reflections can be louder than that from the loudspeakers or instrument sources. This workshop will present pre made solutions for controlling sound reflections. Both expert users, and manufacturers will be on hand to discuss applications of these products.


Thursday, October 5, 4:30 pm — 6:30 pm

W4 - REFERENCE OR PREFERENCE? METHODOLOGIES IN THE SUBJECTIVE EVALUATION OF AUTOMOTIVE SOUND SYSTEMS

Chair:
Tim Nind, Harman/Becker Automotive Systems - Bridgend, UK
Panelists:
Kristina Busenitz, Harman/Becker Automotive Systems - Bridgend, UK
David Clark, DLC Design - Wixom, MI, USA
Sean Olive, Harman International Industries, Inc. - Northridge, CA, USA
Francis Rumsey, University of Surrey - Guildford, Surrey, UK
Richard Stroud, Delphi Delco Electronics - Kokomo, IN, USA

Abstract:
In recent years there has been an increasing level of debate as to whether preference or reference investigations (for instance, fidelity tests) are most appropriate when evaluating the quality of automotive audio products.

With the aim of faithfully recreating an original audio event, many manufacturers turn to fidelity-testing as a means of establishing a (quasi-objective) measure of perceived audio quality. Although beneficial where an obvious reference exists (for example, when comparing a degraded sample with an unprocessed original), the rationale for conducting fidelity testing in automotive audio is less clear: What, for example, are the elements which constitute utmost fidelity in terms of automotive audio? Does a measure of audio quality (with respect to a known reference) provide the ultimate gauge of a successful automotive audio system? What do the numbers on a fidelity scale actually mean? In measuring the fidelity of an automotive reproduction, is there a danger of overlooking qualities in the sample that are different to the reference and yet potentially more pleasing to the listener? Would an indication of unstructured listener preference be more useful?
In considering the above questions, workshop panelists will reflect on the goals of automotive audio and how the attainment of these goals can be achieved using subjective methods. Following a brief introduction to the arguments and questions of interest, individual panelists will present their rationale for conducting fidelity or preference testing. Limitations to both methods will also be provided and research suggesting similarities between audio quality and preference will be summarized. The workshop will conclude with a brief discussion on why the question of what we should be measuring depends on our specific goals at the time. Methods for conducting the most appropriate test to fit the circumstances will be outlined at this stage.


Thursday, October 5, 5:00 pm — 7:00 pm

W5 - LATENCY ISSUES IN NETWORKED AUDIO SYSTEMS

Chair:
Elizabeth Cohen, Stanford University - Stanford, CA, USA
Panelists:
Chris Chafe, Stanford University - Stanford, CA, USA
Elaine Chew, University of Southern California - Los Angeles, CA, USA
Michael Goodman, Centrance Inc. - Morton Grove, IL, USA
Kevin Gross, Cirrus Logic, Inc. - Austin, TX, USA

Abstract:
This workshop presents case studies and recent research results on latency in networked audio systems. Case studies include live concert experiences, spatially distributed performance issues and solutions, and studio design issues. Possible topics for discussion include:
• Monitoring/FOH for live concerts and productions
• Sound reinforcement for theater or classical performance
• Project and professional recording studio
• Teleconference, VoIP, distance learning, performance
• Acoustics and acoustical design
Participants will address the following questions:
• What are the specific effects of latency on performers and audience?
• When latency becomes obtrusive, what measures can be taken to mitigate it?
• What sort of tradeoffs to you deal with in balancing latency issues with other system performance metrics?
• Are there cases where latency is a useful attribute?
• Identify and quantify the latency critical aspects within your application area.


Friday, October 6, 1:30 pm — 3:30 pm

W6 - HIGH RESOLUTION AUDIO — DISCS VS. DOWNLOADS

Co-chairs:
Vicki Melchior, Audio Signal Processing Consultant - San Anselmo, CA, USA
Malcolm Hawksford, University of Essex - Colchester, Essex, UK
Panelists:
Jeff Levison, DTS, Inc. - Agoura Hills, CA, USA
Elliot Omiya, Microsoft Corp. - Redmond, WA, USA
Sudheer Sirivara, Microsoft Corp. - Redmond, WA, USA
Mark Waldrep, AIX Media - West Hollywood, CA, USA

Abstract:
Even as the next generation DVD discs appear and vie to replace the DVD, there are contenders on the horizon that may displace discs altogether as means of audio and video distribution. For high resolution multichannel audio, BluRay and HD DVD offer expansive bit capacity in an easily distributed and secure medium. Yet the rapid evolution of HDTV along with HD infrastructure and networked playback imply a supportive environment for distribution in file-based and streamed versions. This workshop examines the requirements of still evolving high resolution audio formats and the issues facing disc versus electronic delivery. A number of perspectives will be addressed including the availability and uses of bandwidth, DRM and interconnectivity standards, acceptable delivery formats, content creation, and the evolution of public expectations as standards and capability develop for both audio and video.


Friday, October 6, 2:00 pm — 4:00 pm

W7 - HANDS-ON WORKSHOP ON SURROUND MIXING TECHNIQUES

Chair:
George Massenburg, George Massenburg Labs - Franklin, TN, USA
Panelists:
Chuck Ainlay
Frank Fillipetti
Elliot Scheiner
Al Schmitt

Abstract:
Even with the increasing confusion over the future of surround music mixes there is an increasing demand for efficiently-produced surround products for film and television, as well as for music-only release. At the same time, it is economically tempting for film and television producers to accept surround mixing simulacrums ("faux 5.1" processing such as Unwrap or Logic 7) even when multichannel originals are available for remix.
Methods and techniques will be presented in this workshop to demonstrate how good, modern surround mixes are being made by successful professional practitioners.
The workshop will cover subjects such as:
• Different approaches to "spreading out" multichannel sources
• Strategies for different media
• Use of the center channel
• Bass management
• Reverb, delay, and other effects
• Monitoring
In addition to the panel presentation, there will be several "break-out" presentations in a surround mixing room where each of the panelists will present one or more mixes, discuss and present techniques, and interact with the audience. Seats for these sessions will be limited, and a sign-up sheet will be available at the panel Workshop.


Friday, October 6, 4:00 pm — 6:00 pm

W8 - CONTENT PROTECTION AND AUDIO DISTRIBUTION: CAN THIS MARRIAGE BE SAVED?

Chair:
Skip Pizzi, Microsoft Corp. - Redmond, WA, USA

Abstract:
One of the most important—and controversial—elements to emerge in the audio industry recently is the use of digital content protection in the distribution of published music. This subject touches both the business and technical realms, and while the workshop will emphasize technical topics, industry policy and business practices also will be considered where appropriate. The workshop will bring attendees up to date on the major issues, current status, and likely next steps for this critical industry sector.


Saturday, October 7, 8:30 am — 10:30 am

W9 - SURROUND RECORDING AND REPRODUCTION WITH HEIGHT

Chair:
Kimio Hamasaki, NHK Science & Technical Research Laboratories - Tokyo, Japan
Panelists:
Wolfram M. Burgert, 2+2+2 - Switzerland
Arnaud Laborie, Trinnov Audio - Paris, France
Jeff Levison, DTS, Inc. - USA
Tomlinson Holman, TMH - Los Angeles, CA, USA
Wilfried van Baelen, Galaxy Studios - Belgium
Wieslaw Woszczyk, McGill University - Montreal, Quebec, Canada

Abstract:
Two-dimensional multichannel sound systems such as 5.1, 6.1, and 7.1 are widely applied to movie theaters, home audio, and broadcasting. While new video formats such as 4k and 8k for the digital cinema is currently discussed, next-generation multichannel audio systems for the movie theater such as 10.2 and 22.2 are also discussed. New features on next-generation multichannel audio include the sensation of height and elevation of sound sources. Three-dimensional audio system is not only discussed among the sound professionals for movie productions but also among the broadcasters and home audio developers. This workshop will review the latest proposals of three-dimensional audio systems and will discuss the surround sound recording and reproduction to provide the sensation of height.


Saturday, October 7, 8:30 am — 10:30 am

W10 - WHY THE ROOM IMPULSE RESPONSE AFFECTS EVERYTHING WE HEAR: What Is It; Why Does It Matter, and How Do We Measure It?

Chair:
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Panelists:
Durand Begault, NASA Ames Research Center - Moffet Field, CA, USA
Bob Coffeen, University of Kansas - Lawrence, KS, USA
Angelo Farina, University of Parma - Parma, Italy
Stefan Feistel, SDA - Germany
Brad Gover, National Research Council - Ottawa, Ontario, Canada

Abstract:
The Room Impulse Response (RIR) has a major effect on what we hear, whether it is in an arena, recording studio, cathedral or home movie theater. It is the “DNA” of room acoustics, allowing us to see and analyze how a room or space is affecting the sound that we hear. There are many ways of obtaining an RIR ranging from gunshots to log sine sweeps and binary maximal length sequences. Which is best? Should we use an omnidirectional microphone or binaural technique? Or even multi-microphone arrays? How do you process the data? What does the data mean? How do speech intelligibility, clarity, and STI relate to the impulse response? Which reflections are useful and which are detrimental?

The workshop aims to answer all these questions and will also show participants how you can hear the measured Room Impulse Response and how this can be used to diagnose and help remedy room acoustic or loudspeaker location problems. The international workshop panel has a wealth of experience in the measurement, analysis, and interpretation of RIRs and will be letting you hear as well as see what the RIR is all about. The workshop is therefore a “must hear” event if you have anything to do with room acoustics, sound systems or setting up audio systems.


Saturday, October 7, 11:00 am — 1:00 pm

W11 - HIGH DEFINITION RECORDING

Chair:
Joe Bean, ProTech - Hendersonville, TN, USA
Panelists:
Graemme Brown, Zen Mastering - Vancouver, Canada
Kevin Brown, Genex Audio - Woodland Hills, CA, USA
Peter Eastty, Oxford Digital - Oxford, UK
Ronald Prent, Galaxy Studios - Belgium
Herbert Walti, Media Hyperium - Torrance, CA, USA

Abstract:
High Definition recording for the new high data capacity consumer media is a workshop for the discussion of issues and technological challenges that the industry faces with regard to the hardware and software tools available for HD recording. The industry has been constrained to a limited amount of storage space on CD and DVD now with the advent of Blu Ray and HD DVD; these constraints no longer exist. This interactive workshop will bring together Industry professionals to explore the production issues, market demands and future direction. One of the main themes of the event is how to immerse the consumer audience in a high definition sound field in order to improve the listening experience and drive market demand for more products.


Saturday, October 7, 2:00 pm — 5:00 pm

W12 - LISTENING TEST SOFTWARE

Chair:
Jan Berg, Luleå University of Technology - Luleå, Sweden
Panelists:
Rafael Kassier, University of Surrey - Guildford, Surrey, UK
Sean Olive, Harman International Industries, Inc. - Northridge, CA, USA
Gilbert Soulodre, Communications Research Centre - Ottawa, Ontario, Canada
Nick Zacharov, Nokia Research Center - Tampere, Finland

Abstract:
As knowledge about the listener experience of audio applications is fundamental in research and product design within the audio field, methods that can be used for evaluation of perceived sound quality are essential to utilize. In order to capture and quantify listener experience, different methodological approaches are implemented in listening test software.

This workshop introduces the scientific rationale behind selected test procedures. In addition, examples of software that are used to facilitate listening tests are shown, such as listener training, quality attribute generation, testing of car audio, ITU tests, etc. Following the presentations the software is demonstrated, and the audience is encouraged to get hands-on experience of the different applications.


Sunday, October 8, 9:00 am — 11:00 am

W13 - CHALLENGES OF INTERACTIVE MIXING

Chair:
John GriffIn, Dolby Laboratories - San Francisco, CA, USA
Panelists:
Randy Buck, Midway Studios
Scott Gershin, Soundelux Design Music Group - Hollywood, CA, USA
Andrew Lackey, Electronic Arts
Adam Levenson, Activision - Santa Monica, CA, USA
Gene Semel, High Moon Studios - Carlsbad, CA, USA

Abstract:
When mixing for a linear medium, such as a film, the mixer knows what will happen. Games, on the other hand, are a nonlinear medium. The sound designer does not know what the gamer will do in advance. This presents a variety of challenges unique to mixing for interactive media such as games. This workshop will discuss techniques and tools used to deal with clipping, unintelligible dialog, real-time surround panning, and repetitive sounds and music. Industry leaders will discuss practical ideas and solutions for interactive mixing.


Sunday, October 8, 9:00 am — 11:00 am

W14 - LOSSLESS AUDIO COMPRESSION—TECHNOLOGY AND FORMATS

Chair:
Tilman Liebchen, LG Electronics - Willich, Germany
Panelists:
Zoran Fejzo, DTS, Inc. - Los Angeles, CA, USA
Ralf Geiger, Fraunhofer IIS - Erlangen, Germany
Noboru Harada, NTT Communication Science Labs. - Atsugi, Japan
Werner Oomen, Philips Applied Technologies - Eindhoven, The Netherlands

Abstract:
Fueled both by the availability of high capacity media (e.g., DVD-Audio, Blu-ray Disk, HD-DVD) and by the desire for high-definition audio offering maximum quality, lossless audio coding technology has found its way into the market, thus complementing the plethora of perceptual coding schemes. Moreover, the well-known ISO/MPEG audio standardization group has recently finalized work on a set of lossless audio coding technology that addresses a broad range of application scenarios.

This workshop provides a comprehensive overview of standardized and most relevant proprietary lossless audio formats, including the illustration of underlying technologies and a discussion of existing and envisaged applications.


Sunday, October 8, 11:30 am — 1:30 pm

W15 - BINAURAL TECHNOLOGIES FOR MOBILE APPLICATIONS

Chair:
Jyri Huopaniemi, Nokia Research Center - Helsinki, Finland
Panelists:
David Gallagher, QSound - Calgary, Alberta, Canada
William Martens, McGill University - Montreal, Quebec, Canada
Jan Plogsties, Fraunhofer IIS - Erlangen, Germany
Andrew Reilly, Lake - Surrey Hills, New South Wales, Australia

Abstract:
Mobile phones have evolved in recent years from basic voice communication devices into advanced multimedia computers that are able to handle demanding signal processing tasks in real time. The use of stereo headphones or stereo speakers has enabled the mobile device to take advantage of binaural technology, which provides immersive sound experiences for a variety of applications and use cases. These applications range from stereo widening of music over 3-D ring tones to full 3-D positional audio for mobile games.

This workshop will focus on how binaural technology can be used in mobile devices, what are the future applications and the underlying technical challenges. Key industry and academic experts will discuss their perspectives on evolution of binaural technologies for mobile applications.


Sunday, October 8, 2:00 pm — 4:00 pm

W16 - MPEG SURROUND — THE MPEG STANDARD FOR PARAMETRIC MULTICHANNEL AUDIO CODING

Chair:
Jürgen Herre, Fraunhofer IIS - Erlangen, Germany
Panelists:
Jeroen Breebart, Philips Research Laboratories - Eindhoven, The Netherlands
Steve Church
Kristofer Kjörling, Coding Technologies - Stockholm, Sweden
Werner Oomen, Philips Applied Technologies - Eindhoven, The Netherlands

Abstract:
In the area of audio coding, one of the notable recent advances has become popular under the term “Spatial Audio Coding” and alludes to high-quality parametric coding of multichannel audio. Based on an improved understanding of binaural perception and related synthesis techniques, this approach enables a bit rate-efficient and backward compatible representation of multichannel audio that accommodates the transmission of surround sound even for applications with a very limited bit budget, including digital audio broadcasting and Internet streaming. The workshop will discuss the current state of technology (most notably the technology under standardization in ISO/MPEG Audio), open challenges, and applications.


Sunday, October 8, 4:30 pm — 6:30 pm

W17 - NEAR SIDE BIAS IN AUTOMOTIVE AUDIO

Chair:
Tom Nousaine, TN Communications - MI, USA
Panelists:
Roger Dressler, Dolby Laboratories
Daniel Field, Harman/Becker Automotive Systems
Alan Trevena, DLC Design
Mark Ziemba, Panasonic Audio Systems

Abstract:
In testing nearly 700 OEM autosound systems, over 200 competitive aftermarket autosound systems and several hundred aftermarket loudspeaker systems Tom Nousaine has found that nearly all passenger seat listeners receive a soundstage with images asymmetrically clustered toward the near side of the car with individual images sometimes being placed at the door speakers. A majority of driver side listeners receive a smaller degree of the same problem and even surround system systems with center channel transducers seldom produce an optimal solution. In the opinion of Mr. Nousaine near side spatial bias is a nearly universal problem in autosound design and implementation. In considering this issue, individual panelists will present their interpretation of the situation and discuss methods and techniques for solving the condition.


Sunday, October 8, 4:30 pm — 6:30 pm

W18 - HUMAN FACTORS IN THE DESIGN OF AUDIO PRODUCTS AND SYSTEMS

Chair:
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
Panelists:
Durand Begault, NASA Ames Research Center - Moffett Field, CA, USA
William Martens, McGill University - Montreal, Quebec, Canada
George Massenburg, George Massenburg Labs - Franklin, TN, USA

Abstract:
This combined workshop/tutorial will begin with a primer on the design of audio products and systems, and is intended to serve as an introduction to the question of "What audio engineers should know about human factors." From there, we will review existing resources and successes to aid designers and provide an overview of design and testing methodology and discuss a range of user interface paradigms that go beyond the generic graphical UI. In the workshop that follows the tutorial introduction, experts will present a series of case studies, describing from both a user and designer perspective the "what" and "why" certain interfaces are successful.


Sunday, October 8, 4:30 pm — 6:30 pm

W19 - THE HOWS AND WHYS OF DELTA SIGMA PROCESSING

Chair:
Joshua Reiss, Queen Mary, University of London - London, UK
Panelists:
Bob Adams, Analog Devices, Inc. - Norwood, MA, USA
Jamie Angus, University of Salford - Salford, UK
John Melanson, Cirrus Logic, Inc. - Austin, TX, USA

Abstract:
Sigma delta modulation is the most popular form of analog-to-digital conversion used in audio applications. They are also commonly used in D/A converters, sample rate converters, and digital power amplifiers. This workshop will discuss methods of operation, design, and use of sigma delta modulators. The theory behind their operation will be introduced and explained. We will discuss the issues with their use and how they can be resolved. We will explain how their performance is assessed and how best to navigate through the specifications on a sigma delta modulator’s data sheet. Finally practical examples will be given to illustrate the concepts presented.

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