AES Vienna 2007: Workshop Details

Saturday, May 5, 09:00 — 11:30

W1 - AUDIO QUALITY EVALUATION—DESCRIPTIVE ANALYSIS 2: INDIVIDUAL VOCABULARY DEVELOPMENT

Chair:
Jan Berg, Luleå University of Technology - Luleå, Sweden
Panelists:
Sylvain Choisel, Bang & Olufsen a/s - Struer, Denmark
Garmt Dijksterhuis, Unilever Food & Health Research Institute - Vlaardingen, The Netherlands
Natanya Ford, Bang and Olufsen a/s - Struer, Denmark
William Martens, McGill University - Montreal, Quebec, Canada

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 explore. In order to capture and quantify listener experience, different methodological approaches are utilized. One of the approaches involves development of individual vocabulary of test subjects. This considers a collection of techniques that can be used for evaluating the detailed perceptual characteristics of products or systems through listening tests. This workshop aims to provide guidance to the researcher and experimenter regarding the nature of descriptive analysis by means of individual vocabulary development techniques and their application in audio.

Saturday, May 5, 09:00 — 12:00

W2 - THE PRACTICE OF AUDIO FORENSICS

Co-chairs:
Richard Sanders, UCDHSC - Denver, CO, USA
Sylvia Moosmüller, Acoustics Research Institute - Vienna, Austria
Panelists:
Durand Begault, NASA Ames Research Center - Mountainview, CA, USA
Eddy B. Brixen, ebb-consult - Smørum, Denmark
Catalin Grigoras, Forensic Examiner - Bucharest, Romania
Gordon Reid, CEDAR Audio Ltd. - Cambridge, UK

Abstract:
This workshop will examine the common challenges of an audio forensic professional. Topics will include voice identification, analog and digital media authenticity, audio enhancement, and adaptive filtering and running a forensic business. This three hour workshop will include Q & A during and after each 30-minute presentation. Audio and visual examples will be shown where appropriate. Software will be demonstrated in real-time and input along with questions from the attendees will be encouraged. All of the presenters are considered to be experts in audio forensics and some related fields.

Saturday, May 5, 09:30 — 11:30

W3 - SURROUND FOR BROADCASTING: AN OVERVIEW

Co-chairs:
Kimio Hamasaki, NHK Science and Technical Research Laboratories - Tokyo, Japan
Lars Jonsson, SR - Swedish Radio
Panelists:
Steve Church, Telos Systems
Erik Lundbeck, SVT Sweden
Tony Spath, Dolby Laboratories, UK
Gerhard Stoll, IRT - Munich, Germany

Abstract:
This workshop will review proprietary systems and MPEG Surround/spatial standards. Which systems are in use? Which systems will come?

TV and radio broadcasters are using distribution systems for transmitting 5.1 surround sound with different audio coding methods. The workshop will review the current state of the art of used systems and report from broadcasters' experience of starting up new services and give an overview of the receiver penetration in various countries.

The panel will also discuss future directions.

Saturday, May 5, 13:30 — 16:30

W4 - NEAR SIDE BIAS

Chair:
Tom Nousaine, Contributing Technical Editor, Sound & Vision
Panelists:
David Carlstrom, DCX
Roger Dressler, Dolby Laboratories
Dan Field, Harman Specialty Group
Jon Lane, Nissan
Geoff Martin, Bang and Olufsen a/s
Richard Stroud, Stroud Audio
Mark Ziemba, Panasonic

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 well over 95% of passenger seat listeners receive a soundstage with images that are asymmetrically clustered toward the near side of a car with individual images sometimes being placed at or on the near door loudspeakers. Surround system systems with center channel transducers seldom produce an optimal solution and the majority of driver side listeners receive a smaller degree of the same problem. 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 individual interpretation of the situation along with methods and techniques for solving the condition.

Saturday, May 5, 14:00 — 16:00

W5 - INTERACTIVE AUDIO AND HUMAN PERCEPTION: CAN WE CONNECT KNOWLEDGE WITH PRACTICE?

Chair:
Renato S. Pellegrini, sonic emotion ag - Oberglatt, Switzerland
Panelists:
Durand Begault, NASA Ames Research Center - Mountainview, CA, USA
Douglas S. Brungart, WPAFB
Bill L. Chapin, Ausim-3D
Jyri Huopaniemi, Nokia
John-Marc Jot, Creative Advanced Technology Center - Ottawa, Ontario, Canada
William Martens, McGill University - Montreal, Quebec, Canada
Olivier Warusfel, IRCAM

Abstract:
The term “Interactive audio” is used here in its most general sense to mean real-time modification of an audio signal in which attributes of a reproduced sound source (such as the source’s apparent position, timbral character, etc.) can be controlled by a user’s actions (using interaction interfaces such as trackers, game-controllers, joysticks, etc.). Interactive audio is a growing field in today’s audio environments. The complexity of interactive environments in computer games and simulations continues to grow. Understanding the perceptual effects of this increase in complexity is becoming a greater challenge. This workshop investigates these perceptual effects by exploring the design of interactive spaces and by highlighting what is already known from established techniques for generating virtual environments.

Saturday, May 5, 16:30 — 18:30

W6 - LOUDNESS METERING SYSTEMS AND INTERNATIONAL ACTIVITIES

Chair:
Lars Jonsson, SR/Swedish Radio
Panelists:
Kimio Hamasaki, NHK Science & Technical Research Laboratories - Tokyo, Japan
Erik Lundbeck, SVT Swedish TV
Thomas Lundh, TC Electronics - Denmark
Ralph Kessler, Pinguin - Germany
Andrew Mason, BBC - UK
Tony Spath, Dolby Laboratories - UK
Gerhard Spikofski, IRT - Germany
Matti Zemack, SR - Swedish Radio - Sweden

Abstract:
This workshop will cover loudness metering and automatic level adjustments and present an overview of systems and international activities. The session will cover the latest progress in standards made by the ITU and the EBU to recommend solutions for broadcasting. The general problem to solve is common to all new digital distribution systems. Old analog audio metering methods have become obsolete and can no longer create a smooth perceived level for listeners. Manufacturers making proposals along with the new standards are presenting their products. A general discussion among the panel members and the audience will point out the direction for the future.

Sunday, May 6, 09:00 — 11:00

W7 - USER-CENTERED DESIGN OF CONTROLLERS FOR PRO AUDIO

Chair:
William Martens, McGill University - Montreal, Quebec, Canada
Panelists:
Durand Begault, NASA Ames Research Center - Mountainview, CA, USA
Florian Camerer, ORF - Austrian TV
George Massenburg, GML - TN, USA

Abstract:
The design of controllers and/or work surfaces for music recording and mixing will be examined from the experienced user’s perspective. This examination is motivated by the belief that there may be better ways to organize controllers, ways that prioritize access to controls in a manner that is based upon what experienced users know about how they do their work. The list of workshop panelists, which includes representatives from live sound, postproduction, and mastering will have a brainstorming session about new control layouts using tools designed to stimulate “thinking outside of the box.” Also planned are breakout sessions, within which small groups will be lead to focus on particular applications and/or problems, with results that hopefully contribute some new and useful ideas.

Sunday, May 6, 12:30 — 14:30

W8 - ADVANCED TECHNIQUES FOR BUILDING INTERACTIVE ENVIRONMENTS

Chair:
Damian Murphy, University of York
Panelists:
Stefan Bilbao, University of Edinburgh
Renato S. Pellegrini, sonic emotion ag
Ville Pulkki, Helsinki University of Technology
Lauri Savioja, Helsinki University of Technology

Abstract:
Interactive environments are defined by the unpredictable actions of their users and by the real-time processing required to generate them. Until recently, many audio processing techniques that could be used in interactive environments require computational or bandwidth resources that prohibit their implementation in real time. Such techniques include methods to create audio content, to model the environment, to communicate
audio data between remote participants and to render the spatial audio output. The workshop will introduce state-of-the-art techniques for each of these four areas and discuss how suitable each is to particular applications in terms of practicality as well as computational and financial cost. The example techniques are physical modeling, interactive virtual reality environment modeling, wave field synthesis and directional
audio coding for each of the four areas respectively.

Sunday, May 6, 13:00 — 15:30

W9 - THE HOWS AND WHYS OF SIGMA DELTA CONVERTERS

Chair:
Joshua Reiss, Queen Mary, University of London - London, UK
Panelists:
Jamie Angus, University of Salford - Salford, Greater Manchester, UK
Lars Risbo, Texas Instruments, Denmark - Lyngby, Denmark
Brian Trotter, 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’ll 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.

Sunday, May 6, 14:00 — 15:30

W10 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—JAZZ

Chair:
Ulrich Vette, University of Music and Performing Arts Vienna

Abstract:
In recordings of jazz combos and big bands it is a common concept to record instruments acoustically separated by screens or even in multiple rooms. In a live recording situation this is not possible in the same way, so often close microphone positioning is the solution. By using path length delay compensation a different recording approach is possible: The use of main and ambience microphones leads to a more realistic spatial image and allows more natural sound colors of instruments than a mix with only spot microphones.
This acoustical concept will be demonstrated with a Big Band concert recorded at the Porgy and Bess Jazz Club in Vienna and a studio recording of a Jazz Quartet.

Sunday, May 6, 15:00 — 18:00

W11 - MUSIC 2.0: MUSIC AND THE SEMANTIC WEB—CONSUMING AND PRODUCING MUSIC IN THE 21ST CENTURY

Chair:
Mark Sandler, Queen Mary, University of London - London, UK
Panelists:
Oscar Celma, Universitat Pompeu Fabra
Lucas Gonze, Yahoo! Music
Yves Raimond, Queen Mary, University of London

Abstract:
Music and udio have evolved to encompass the Internet and all it offers for purchase and consumption of music; this is often called Digital Music. But the Internet is evolving, too. With Web 2.0 products already on offer, how will this affect digital music? Come to think of it, what exactly is Web 2.0?

This workshop will provide some answers to these questions. Topics to be covered by leading researchers include: Semantic Web and Web 2.0; Semantic Audio basics; Current Music 2.0 projects; future Music 2.0 projects.

Sunday, May 6, 16:00 — 17:30

W12 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—JAZZ

Chair:
Ulrich Vette, University of Music and Performing Arts Vienna

Abstract:
In recordings of jazz combos and big bands it is a common concept to record instruments acoustically separated by screens or even in multiple rooms. In a live recording situation this is not possible in the same way, so often close microphone positioning is the solution. By using path length delay compensation a different recording approach is possible: The use of main and ambience microphones leads to a more realistic spatial image and allows more natural sound colours of instruments than a mix with only spot microphones.

This acoustical concept will be demonstrated with a Big Band concert recorded at the Porgy and Bess Jazz Club in Vienna and a studio recording of a Jazz Quartet.

Monday, May 7, 09:00 — 11:30

W13 - SURROUND RECORDING AND REPRODUCTION WITH HEIGHT

Chair:
Kimio Hamasaki, NHK Science and Technical Research Laboratories - Tokyo, Japan
Panelists:
Arnaud Laborie, Trinnov Audio - France
Jeff Levison, Producer/Consultant, USA
Ville Pulkki, Helsinki University of Technology - Finland
Wilfried Van Baelen, Galaxy Studios - The Netherlands
Helmut Wittek, Schoeps Mikrofone - Germany
Wieslaw Woszczyk, McGill University - 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. A 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.

Panelists will give separate demonstrations in another room following this workshop. Details will be announced.

Monday, May 7, 09:00 — 11:00

W14 - PROCESS MODELING FOR BROADCAST PROFESSIONALS

Panelists:
Chris Chambers, BBC
Karl Petermichl, ORF

Abstract:
Managing workflow processes is an increasingly challenging task due to the complexity of modern, multimedia-oriented program departments. Process modeling is a way to graphically draw and analyze workflows, as well as integrating business parameters from the "Balanced Score Card" model into those processes.

Process modeling with the method ADONIS (used at ORF) and modeling with BPMN and UML in various applications will be explained and demonstrated.

Monday, May 7, 09:00 — 10:30

W15 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—CLASSICAL

Chair:
Ulrich Vette, University of Music and Performing Arts Vienna

Abstract:
Experiences with acoustical surround recordings for the ITU 5.1 loudspeaker setup often lead to the conclusion to combine different ambience microphones to reproduce ambient sound. In this workshop a concept for time relations between ambience microphones in different distances to the sound source will be presented and discussed.

Moreover there will be a comparison between surround reproduction using the ITU 5.1 loudspeaker setup and advanced ideas using a second pair of lateral or elevated rear speakers. Multitrack recordings will be presented from
- research about different surround microphone setups at the University of Music and performing Arts, Vienna
- examples of concert and studio-recordings with more than one pair of microphones for surround reproduction.

Monday, May 7, 11:00 — 12:30

W16 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—CLASSICAL

Chair:
Ulrich Vette, University of Music and Performing Arts Vienna

Abstract:
Experiences with acoustical surround recordings for the ITU 5.1 loudspeaker setup often lead to the conclusion to combine different ambience microphones to reproduce ambient sound. In this workshop a concept for time relations between ambience microphones in different distances to the sound source will be presented and discussed.

Moreover there will be a comparison between surround reproduction using the ITU 5.1 loudspeaker setup and advanced ideas using a second pair of lateral or elevated rear speakers. Multitrack recordings will be presented from
- research about different surround microphone setups at the University of Music and performing Arts, Vienna
- examples of concert and studio-recordings with more than one pair of microphones for surround reproduction.

Monday, May 7, 11:00 — 13:00

W17 - HANDS-ON DEMONSTRATION SUBJECTIVE EVALUATION BY REFERENCE RECORDINGS WITH SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Presenters:
Hideo Irimajiri, Mainichi Broadcasting Corporation
Toru Kamekawa, Tokyo National University of Fine Arts and Music
Masayuki Mimura, Yomiuri Telecasting Corporation
Hideaki Nishida, Asahi Broadcasting Corporation
Koichi Ono, Kansai Telecasting Corporation

Abstract:
There are many different setups for surround main microphones for classical music and orchestra. But it is very difficult to research and study them practically and academically under identical conditions and judge their performance. Consequently the AES Japan Surround Study Project has been organized and put into practice after one year of preparation. It was organized around 10 broadcasters and 2 universities; 12 manufacturers supported by HBF provided financial support. There were 15 different combinations of main and ambience microphone setups that were recorded on 96 channels independently in Pro Tools HD at 24 bit / 96-kHz. The musical examples
were performed by the Osaka Philharmonic Orchestra on September 24-27, 2006.
In this workshop each individual setup will be played back. Participants will have the opportunity for feedback in a listening test environment, and the data will be collected for subjective evaluation.

Monday, May 7, 12:00 — 14:00

W18 - THE REPLAY OF HISTORICAL MAGNETIC TAPE—MORE THAN PRESSING THE PLAY BUTTON

Chair:
Dietrich Schüller, Phonogrammarchiv Vienna
Panelists:
Friedrich Engel, Magnetic Recording Historian
Alexander Füller, Replay Practitioner, Phonogrammarchiv Vienna
Bernhard Graf, Replay Practitioner, Phonogrammarchiv Vienna
Nadja Wallaszkovits, Chief Technician Audio, Phonogrammarchiv Vienna

Abstract:
Since analog magnetic tape technology is no longer a part of the audio production process, specific knowledge is endangered to decline. The workshop discusses the various problems occurring in the transfer process of historical magnetic audio tapes. Basing on a definition of historical tape brands and an overview of early magnetic tape developments, the practical handling of critical tapes is outlined.

Starting with the analysis of the physical and chemical preservation status of the individual tape, the choice and adjustment of the replay equipment and parameters are discussed. Problems of carrier handling and physical restoration are demonstrated, as well as possible signal enhancement on the playback process only. The workshop focuses on a practical demonstration of handling and reproduction of original tapes from the early ages of magnetic recording, stored under irregular conditions.

Monday, May 7, 13:00 — 15:00

W19 - PLATINUM ENG'RS/5.1 MIXING TECHNIQUES

Chair:
George Massenburg, GML - TN, USA
Panelists:
Ronald Prent, Galaxy Studios
Jeff Wolpert, Desert Fish, Inc.

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 the next day in the same 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, tickets will be available after the workshop.

Monday, May 7, 13:30 — 18:30

SURROUND WITH HEIGHT—BREAKOUT SESSIONS

Abstract:
The presenters of workshop W13 “Surround Recording and Reproduction with Height” will do several demos of recordings that involve height information in a specially equipped 13.1 surround room with multiple surround and height speakers. Also different versions of the same example can be heard. These demos will be repeated over the course of the whole session. Please refer to details on site.

Monday, May 7, 15:00 — 17:00

W20 - HANDS-ON DEMONSTRATION SUBJECTIVE EVALUATION BY REFERENCE RECORDINGS WITH SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Presenters:
Hideo Irimajiri, Mainichi Broadcasting Corporation
Toru Kamekawa, Tokyo National University of Fine Arts and Music
Masayuki Mimura, Yomiuri Telecasting Corporation
Hideaki Nishida, Asahi Broadcasting Corporation
Koichi Ono, Kansai Telecasting Corporation

Abstract:
There are many different setups for surround main microphones for classical music and orchestra. But it is very difficult to research and study them practically and academically under identical conditions and judge their performance. Consequently the AES Japan Surround Study Project has been organized and put into practice after one year of preparation. It was organized around 10 broadcasters and 2 universities; 12 manufacturers supported by HBF provided financial support. There were 15 different combinations of main and ambience microphone setups that were recorded on 96 channels independently in Pro Tools HD at 24 bit / 96-kHz. The musical examples
were performed by the Osaka Philharmonic Orchestra on September 24-27, 2006.
In this workshop each individual setup will be played back. Participants will have the opportunity for feedback in a listening test environment, and the data will be collected for subjective evaluation.

Monday, May 7, 15:30 — 18:00

W21 - RADIO MUSIC RECORDING

Panelists:
Martin Leitner, ORF
Anton Reininger, ORF
Josef Schütz, ORF
Ulrike Schwarz, BR

Abstract:
This workshop will present three senior sound balancing engineers from ORF Radio, sharing their own individual working procedures toward music recordings in 5.1 and stereo for live and deferred broadcasting. The musical genres will encompass classical, jazz, and world music. A method used for surround pickup, the "Karreth-Disc," will be introduced by the BR engineer.

Monday, May 7, 16:00 — 18:00

W22 - CURRENT ISSUES IN BINAURAL LOUDNESS ASSESSMENT

Chair:
Ville P. Sivonen, University Hospital of Oulu - Oulun Yliopisto, Finland
Panelists:
Pavel Zahorik, University of Louisville - Louisville, KY, USA

Abstract:
The most commonly-used standardized model for predicting the loudness of sound fields (ISO-532B, 1975) relies on the use of monophonic acoustical measurements and does not take into account the signals that actually reach a listener’s ears. That is, the acoustical input to the model is obtained in the absence of a listener, using a microphone placed in the position where the center of the listener’s head would be. Binaural sound fields encountered in typical measurements are more complex than those assumed by the standard model, most often consisting of a combination of spatially localized sound source(s) and spatially distributed indirect sound. Workshop panelists will discuss current issues in binaural loudness modeling and report the results of recent studies on directional loudness perception.

Monday, May 7, 16:30 — 17:30

W23 - BC 9001: QUALITY MANAGEMENT SYSTEMS FOR BROADCASTERS

Chair:
Guillaume Cheneviere, CERTIMEDIA

Abstract:
A group of international experts has compiled a comprehensive certification program that is compatible with ISO 9001:2000. This program is targeted directly to the needs and organizational procedures of national public and private radio and television broadcasters and should be of high interest to anyone looking for a framework to analyze and certify the practical operation of their stations.

Tuesday, May 8, 09:00 — 11:00

W24 - DIGITAL STORAGE CARRIERS FOR ARCHIVES

Chair:
Stefani Renner, Ingenieurbuero Renner
Panelists:
Wolfgang Draese, Hitachi Data Systems
Stewart Vane-Tempest, Plasmon
Magnus Widmer, IBM Switzerland, Storage Systems Group

Abstract:
Nearly all sectors of the professional audio industry, in particular large radio stations, face the same problem: masses of analog archives, waiting to be digitized. Because digitalization pervades all levels of production today, converting from analog archives to digital media has become a necessity, not only to improve quality and preservation but also to make those archives compatible with current production methods. So, it should be no surprise that digital archiving has become a major field of interest in broadcasting.

This workshop will focus on identifying the best storage carrier for archives. Since one storage carrier no longer fits every situation—as it did back when p” analog tape predominated—each archive should be able to utilize the mass storage system that best meets its needs. Today’s archives generally use one of three types of mass storage carrier: tape-based, hard disk, and optical. In this workshop, we will present an overview of these three types of carrier along with their specific features and conclude with an in-depth discussion on how to select the best storage system for your archiving needs. Aspects such as the future-proof of the storage and the total cost of ownership are examined as well as questions about the behavior in high humidity, in dusty environments or at high temperatures. In addition, real-life experiences with archive installations in broadcasting will be shared.

Tuesday, May 8, 09:30 — 11:30

W25 - "Wanna Feel My LFE?" and 5.1 Other Questions to Confuse Your Girlfriend and Scare Your Grandma

Presenters:
Florian Camerer, Austrian TV
Bosse Ternstrom, Swedish Radio

Abstract:
This radical multichannel battle features two notorious surround-sound-nerds with an armoury to die for. From the loudest to the softest, the most brain-melting to the downright boring, a variety of mixes will provide the basis of a discussion of esthetics, philosophies and the quest for the ultimate place in town for a cold beer.

Tuesday, May 8, 11:00 — 12:30

W26 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—ORGAN

Co-chairs:
Werner Dabringhaus
Ulrich Vette

Abstract:
This presentation concentrates on the comparison of different surround concepts with the outlook for upcoming technical possibilties. The organ recording from the recital of Graham Blyth in the Jesuitenkirche (see Technical Tour, May 7th , 16:00) will be reproduced in 2+2+2+2, ITU 5.1 and further loudspeaker setups.

Tuesday, May 8, 12:00 — 18:00

PLATINUM BREAKOUT SESSIONS

Abstract:
The panelists of the workshop “Platinum Engineers – 5.1 Mixing Techniques” will
do a hands-on demonstration of several of their mixes with audience interactivity.
The mixes are presented with the original multitrack sessions, so they can be broken down into the individual elements, and mixing techniques can be experienced very intuitively.

Schedule:
12.00 George Massenburg
13.00 Ronald Prent
14.00 Jeff Wolpert
15.00 George Massenburg
16.00 Ronald Prent
17.00 Jeff Wolpert

Tuesday, May 8, 13:00 — 15:00

W27 - HANDS-ON DEMONSTRATION SUBJECTIVE EVALUATION BY REFERENCE RECORDINGS WITH SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Presenters:
Hideo Irimajiri, Mainichi Broadcasting Corporation
Toru Kamekawa, Tokyo National University of Fine Arts and Music
Masayuki Mimura, Yomiuri Telecasting Corporation
Hideaki Nishida, Asahi Broadcasting Corporation
Koichi Ono, Kansai Telecasting Corporation

Abstract:
There are many different setups for surround main microphones for classical music and orchestra. But it is very difficult to research and study them practically and academically under identical conditions and judge their performance. Consequently the AES Japan Surround Study Project has been organized and put into practice after one year of preparation. It was organized around 10 broadcasters and 2 universities; 12 manufacturers supported by HBF provided financial support. There were 15 different combinations of main and ambience microphone setups that were recorded on 96 channels independently in Pro Tools HD at 24 bit / 96-kHz. The musical examples
were performed by the Osaka Philharmonic Orchestra on September 24-27, 2006.
In this workshop each individual setup will be played back. Participants will have the opportunity for feedback in a listening test environment, and the data will be collected for subjective evaluation.

Tuesday, May 8, 13:00 — 14:30

W28 - ACOUSTIC CONCEPTS AND TIME MANAGEMENT FOR SURROUND RECORDINGS—ORGAN

Co-chairs:
Werner Dabringhaus
Ulrich Vette

Abstract:
This presentation concentrates on the comparison of different surround concepts with the outlook for upcoming technical possibilties. The organ recording from the recital of Graham Blyth in the Jesuitenkirche (see Technical Tour, May 7th , 16:00) will be reproduced in 2+2+2+2, ITU 5.1 and further loudspeaker setups.

Tuesday, May 8, 16:00 — 18:00

W29 - HANDS-ON DEMONSTRATION SUBJECTIVE EVALUATION BY REFERENCE RECORDINGS WITH SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Presenters:
Hideo Irimajiri, Mainichi Broadcasting Corporation
Toru Kamekawa, Tokyo National University of Fine Arts and Music
Masayuki Mimura, Yomiuri Telecasting Corporation
Hideaki Nishida, Asahi Broadcasting Corporation
Koichi Ono, Kansai Telecasting Corporation

Abstract:
There are many different setups for surround main microphones for classical music and orchestra. But it is very difficult to research and study them practically and academically under identical conditions and judge their performance. Consequently the AES Japan Surround Study Project has been organized and put into practice after one year of preparation. It was organized around 10 broadcasters and 2 universities; 12 manufacturers supported by HBF provided financial support. There were 15 different combinations of main and ambience microphone setups that were recorded on 96 channels independently in Pro Tools HD at 24 bit / 96-kHz. The musical examples
were performed by the Osaka Philharmonic Orchestra on September 24-27, 2006.
In this workshop each individual setup will be played back. Participants will have the opportunity for feedback in a listening test environment, and the data will be collected for subjective evaluation.