AES 123rd Convention - Where Audio Comes Alive
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AES New York 2007
Tutorial Details

Friday, October 5, 9:30 am — 11:30 am
T1 - AUDIO ON THE PERSONAL COMPUTER

Presenter:
Elliot Omiya, Microsoft Corporation - Redmond, WA, USA

Abstract:
Confused by WAV, PCM, AAC, WMA, MP3, and other unfathomable TLAs (three letter acronyms)? Ever wondered how audio works in a Windows or Mac PC? This tutorial will cover the past, present, and future of PC audio, including what innards of the PC make audio happen, how the audio industry has contributed to personal computer audio, the mechanisms by which audio streams through a PC, an explanation of various audio formats on the PC, and finally a look at the future of PC audio. No prior knowledge is assumed but detailed questions will be entertained.


Friday, October 5, 1:30 pm — 3:30 pm
T2 - TINNITUS. JUST ANOTHER BUZZ WORD?

Presenters:
Neil Cherian
Michael Santucci, Sensaphonics Hearing Conservation - Chicago, IL, USA

Abstract:
Tinnitus is a common yet poorly understood disorder where sounds are perceived in the absence of an external source (phantom). Significant sound exposure with or without hearing loss is the single most common risk factor. Tinnitus can be debilitating, affecting quality of life or even one’s ability to function. Given the potential harm of sound in the development of tinnitus, more aggressive and proactive attitudes must be taken. In-ear monitoring strategies further necessitate meaningful conversations regarding hearing awareness, hearing protection, safe standards for listening, and appropriate safeguards for products.

This tutorial introduces the concept of tinnitus, the pertinent anatomy and physiology, the audiologic parameters of tinnitus, current research, guidelines for identifying high risk behaviors, and how to determine that you have a problem.


Friday, October 5, 3:00 pm — 5:00 pm
T3 - 7.1 MIXES FOR BLU-RAY AND HD DVD: WORKFLOW FROM MIX TO ENCODE

Presenters:
Ronny Katz, DTS, Inc.
Jeff Levison, DTS, Inc. Consultant/Levison Audio

Abstract:
With the advent of Blu-ray and HD DVD discs on the market, consumers can enjoy up to 8 channels of surround audio. For example, there can be more than the usual two surround channels, or additional loudspeakers for height information can be added. Theatrical movie presentation is just beginning to evolve to take advantage of these new loudspeaker locations, and few re-recording stages are fully implemented to mix in these new configurations. To meet the demand for 7.1 audio for the new optical disc formats, new approaches to original production and remixing techniques will be needed. Jeff Levison will walk you through a variety of strategies for both music and film. Musical approaches from in-studio productions to live recordings will be presented.

As movies are released in these new formats, remixing 5.1 releases to create new 7.1 versions is inevitable. A film mix from 5.1 stems will be used to evaluate decisions for making a new 7.1 mix and the final version compared to the original 5.1 mix. Using this 7.1 master, Ronny Katz will review the workflow of audio encoding for next-generation formats, including PCM audio preparation, surround channel layouts, interactive secondary/sub audio, a bit budgeting overview, and quality control. The tutorial will include a demonstration of audio quality control and discuss relevant topics such as batch encoding, bit-rate analysis for lossless audio, and bit-stream editing.


Friday, October 5, 5:30 pm — 7:30 pm
T4 - SNARE STRATEGIES FOR STAGE AND STUDIO

Chair:
Alex Case

Abstract:
Perhaps no other instrument in rock and roll offers the recording engineer so much opportunity—for success or failure. With a range of sonic capabilities from whispering brushes to cannon fire, the snare drum challenges engineers to know their craft. From our ears to our gear, the snare pushes the limits. Alex Case distills the challenge: from musical acoustics to psychoacoustics, from microphone techniques to signal processing strategies. Please join this discussion as we bring some order to any session involving drums.
Overcome the chaos of studio basics, reduce the stress of the live gig, and take maximum advantage of all the tools available to you at final mixdown.


Saturday, October 6, 9:00 am — 11:00 am
T5 - ARCHITECTURAL ACOUSTICS, PART 1

Presenter:
Tony Hoover, McKay Conant Hoover, Inc. - Westlake Village, CA, USA

Abstract:
This tutorial emphasizes architectural acoustics consulting, which is the art of applying the science of sound in a timely, practical, and easily-understood manner. Three distinct areas are covered: sound isolation (airborne and structurborne), HVAC noise control, and surface treatments (absorption, reflection, and diffusion). The format has been used for decades in meetings and seminars, and for over 40 semesters at Berklee College of Music.

The objective is to provide an overview of fundamentals and terminology, bases for design decisions and evaluations, and confidence to navigate the oceans of information, misinformation, and propaganda about "acoustical" materials, products, and practices.


Saturday, October 6, 3:00 pm — 5:00 pm
T6 - ARCHITECTURAL ACOUSTICS, PART 2

Presenter:
Tony Hoover, McKay Conant Hoover, Inc. - Westlake Village, CA, USA

Abstract:
This tutorial emphasizes architectural acoustics consulting, which is the art of applying the science of sound in a timely, practical, and easily-understood manner. Three distinct areas are covered: sound isolation (airborne and structurborne), HVAC noise control, and surface treatments (absorption, reflection, and diffusion). The format has been used for decades in meetings and seminars, and for over 40 semesters at Berklee College of Music.

The objective is to provide an overview of fundamentals and terminology, bases for design decisions and evaluations, and confidence to navigate the oceans of information, misinformation, and propaganda about "acoustical" materials, products, and practices.


Saturday, October 6, 3:00 pm — 5:00 pm
T7 - ADAPTIVE MUSIC FOR GAMES: INTRODUCTION TO NONLINEAR MUSIC

Presenters:
Simon Amarasingham, dsonic
Brian Gomez, Alchemic Productions

Abstract:
Linear music in a nonlinear world? How can a completely interactive and unpredictable environment like a video game reproduce continuous musical content that adapts to gameplay? This tutorial will provide an insiders' view to the creation and implementation of adaptive music. Discussed will be various approaches for creating adaptive music; dealing with the game environment, what the game designer wants, object-oriented thinking vs. multitrack thinking, and more. While existing tools for adaptive music are barely past their infancy, a description of the available game audio tools will be presented. Following the tutorial will be a demonstration of adaptive music dSonic created for Unreal Tournament 2004 using ISACT — an under-the-hood view of a real world example of constructing adaptive music.


Saturday, October 6, 4:00 pm — 6:00 pm
T8 - AUDIO EAR TRAINING—AN ESSENTIAL RESOURCE

Presenter:
David Moulton, David Moulton Labs.

Abstract:
Audio ear training is a study sequence that enables listeners to effectively recognize and describe the audio spectrum, relative amplitudes, time intervals, and signal processing effects without external objective measurement. This tutorial will present a typical array of drills, interspersed with explanations of the various perceptual problems and processes that occur when using these techniques.


Saturday, October 6, 5:00 pm — 6:30 pm
T9 - PREPARING YOUR MIXES FOR MASTERING

Presenter:
Adam Ayan, Gateway Mastering & DVD

Abstract:
Mastering is often described as the final step in the creative process of making a record and the first step in manufacturing. These days, it's common to receive mixes for a project from multiple engineers, producers, and studios—in multiple formats. The job of the mastering engineer is to bring the mixes to their fullest musical potential and combine all of these sources into a cohesive-sounding album. To do that, it's vital that all source mixes are clearly labeled and that all source media and mastering notes are well organized. This tutorial will cover all facets of preparing mixes for mastering, from technical and organizational aspects to final creative and musical mix decisions.


Sunday, October 7, 12:30 pm — 2:30 pm
T10 - AUDIO FOR GAMES: GAME DEVELOPMENT

Presenter:
Marc Schaefgen, Midway Home Entertainment

Abstract:
Audio for games has come along way from the simplistic bloops and bleeps in synch to virtual game of ping pong. The latest AAA titles have production values that rival Hollywood movies. Do you ever wonder how they do that? This tutorial takes you through the development cycle of the modern video game, not just content creation or production work but the start to finish of the whole process. You will see parallels to film/tv/animation style productions but focus on the uniqueness of game development and how a well-integrated audio team does their thing.


Sunday, October 7, 2:30 pm — 4:30 pm
T11 - WHAT IS THE MATRIX?

Presenters:
Geoff Martin
Helmut Wittek, Schoeps Mikrofone GmbH - Germany

Abstract:
This tutorial will be an introduction to the use of matrixing in microphone and mixing techniques for stereo and multichannel. The basics of microphone polar patterns will be explained, followed by the fundamentals of techniques such as "textbook" M/S and soundfield recording. Included in the tutorial will be a discussion of how to use matrixing to "re-mix" an existing recording, to modify microphone configurations in postproduction, and to manipulate spatial characteristics of stereo mixes. In addition, information on the exciting possibilities in the fast-paced world of karaoke soundtrack production will be presented.


Sunday, October 7, 4:30 pm — 7:00 pm
T12 - HIGH DEFINITION PERCEPTION—PSYCHOACOUSTICS, PHYSIOLOGY, AND THE NUMBERS RACE

Presenter:
Poppy Crum, Johns Hopkins University School of Medicine

Abstract:
Improvements in digital technology have led to higher fidelity recordings by some definitions, but they have also generated much controversy. Sampling rates and bit depths well beyond the limits of conventionally accepted human perception can be used, but are they necessary? This tutorial addresses psychophysical and physiological research of hearing beyond the known limits of audible frequency and dynamic range. In addition to studies of human perception and physiology, we will look at species such as frogs, bats, and hummingbirds known for their development of unique sensitivity to properties of sounds that are crucial in their navigation and communication. Nonstandard mechanisms of hearing transduction will be reviewed across species as an ecological approach to hearing development is considered in the ongoing high-definition debate.


Sunday, October 7, 5:00 pm — 6:30 pm
T13 - CONSUMER AUDIO NETWORKING

Presenter:
Steven Harris

Abstract:
This is a tutorial about the current situation in consumer home audio networking.

Topics include:

• Trends in physical media versus download of music
• Home networking environment, wired and wireless options
• Playback use cases including server and network player interaction
• Digital Rights Management
• Standards for interoperability and control
• Demonstration

The demonstration will consist of a small home network and some examples of commercially available PC servers and networked audio playback devices.


Monday, October 8, 9:00 am — 11:00 am
T14 - PLANNING AND EXECUTING AUDIO PRESERVATION WORKFLOWS

Presenter:
Dave Ackerman

Abstract:
This tutorial will address workflow planning for audio preservation activities, including audio transfers, quality assurance and control, metadata documentation, and repository ingest. The first presentation will address the fundamental concepts and principles of developing a preservation-oriented workflow with a focus on quality assessment and control. The second presentation will demonstrate the practical application of these concepts and principles as developed and documented over the past 15 months in the NEH-funded collaboration between Indiana University and Harvard University known as the Sound Directions project. This project studied multiple workflow options for the audio preservation community. One of the outputs from this project is a suite of open source tools for executing audio preservation work-flows. This presentation will offer a walkthrough of the Sound Directions Toolkit showing demonstrative examples of how it can be applied to automate routine, repetitive and mundane tasks, and create more consistent collection output.


Monday, October 8, 9:00 am — 11:00 am
T15 - LOUDNESS METERING TECHNIQUES AND STANDARDS FOR BROADCASTING

Presenters:
Steve Lyman, Dolby Laboratories - San Francisco, CA, USA
Thomas Lundh, TC Electronic A/S - Denmark
Andrew Mason, BBC R&D
Gilbert Soulodre, Communications Research Centre - Ottawa, Ontario, Canada

Abstract:
This workshop on loudness metering techniques for broadcasting will describe the basics of new standards from ITU-R and give advice on how the actual meters should be used in practice.

ITU-R has recently issued two standards, BS.1770 and BS.1771.
Both the European Broadcasting Union and the World Broadcasting Union have encouraged members to study these new standards and give advice on suitable measuring equipment.

ITU Working Party WP6J gathers broadcasters and manufacturers of equipment to further study and improve the use of loudness meters. For digital contribution and emission, levels need to be more controlled and monitored today. Between programs and within the same program the levelshift can be more than 10 dB.


Monday, October 8, 9:00 am — 11:00 am
T16 - TURNTABLE TECHNIQUE: THE ART OF THE DJ

Presenter:
Stephen Webber, Berklee College of Music - Boston, MA, USA

Abstract:
The last 30 years have seen a revolution in DJ skills, transforming the once endangered turntable into a musical instrument and revered cultural icon.  Originally an expression of hip-hop culture, turntablism has swept the globe and made inroads into jazz, art rock, metal, electronica, advertising, and even symphony hall. Approaching a vinyl platter and a mixer’s faders, pots and switches in the same way as one approaches piano keys or trumpet valves is a concept that can transform an audio engineer’s relationship to their tools. This tutorial will present attendees with a brief history of the origins of turntable technique (including short video performances by influential practitioners), an overview of the concepts and specific skills involved, and strategies for appropriating the aesthetics of turntablism into other areas of music production and engineering. 


Monday, October 8, 12:30 pm — 4:00 pm
T17 - REPRODUCER ALIGNMENT AND CALIBRATION FOR OPTIMAL PLAYBACK

Presenters:
Sean Davies
Eric Jacobs
Mike Spitz

Abstract:
This tutorial is intended to provide a practical overview and insight into the art and science of proper setup and calibration of turntables and analog tape reproducers. In a world where audio is born nearly digital, we now have entire generations of audio engineers who have never learned the proper setup for analog reproducers. Given the enormous amount of cultural heritage that exists only in disc and tape format, it is imperative that the skills necessary to retrieve the original signal from these carriers not be allowed to pass into extinction. This session will be divided into two segments. The first will deal with tone arm calibration, stylus selection, compensation for off center discs, etc. The second segment will discuss the considerations for choosing a playback head, its alignment and the calibration of the tape machines level and equalization electronics. Ideally, reproduction equipment and video cameras will be on hand to allow exhibition of detailed techniques during the presentations.


Monday, October 8, 12:30 pm — 2:30 pm
T18 - "HERE COMES THE SUN"—ARE YOU LISTENING?

Presenter:
William Moylan, University of Massachusetts Lowell - Lowell, MA, USA

Abstract:
Arguably the most important skill in audio work, listening is perhaps the most difficult to understand and master. Hearing requires learning what to listen for (the dimensions of live and reproduced sound), then developing skill in the process of listening (the technique of discovering, experiencing and understanding these many dimensions and details of sound). Listening in audio often requires almost simultaneous attention to a multitude of levels of perspective, critical and analytical listening information, and more. Through listening and analysis of “Here Comes the Sun” and other Beatles productions, this tutorial
illustrates key ways to enhance your listening skills and to learn from those who create the albums we love.


Monday, October 8, 2:00 pm — 4:00 pm
T19 - COMPRESS FOR SUCCESS—MASTER THE MOST MISUNDERSTOOD FX DEVICE

Presenter:
Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

Abstract:
Dynamic range compression confounds many recording engineers, from rookies to veterans. As an audio effect it can be difficult to hear and even more difficult to describe. As a tool its controls can be counterintuitive and its meters and flashing lights uninformative. This tutorial organizes the broad range of effects created by audio compressors, as audio engineers use it to reduce/control dynamic range, increase perceived loudness, improve intelligibility and articulation, reshape the amplitude
envelope, add creative doses of distortion, and extract ambience cues, breaths, squeaks, and rattles. Attendees will learn when to reach for compression, know a good starting place for compression parameters (ratio, threshold, attack, and release), and
advance their understanding of what to listen for and which way to tweak.



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