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

Friday, October 5, 9:00 am — 12:00 pm
W1 - RECORDING LARGE ENSEMBLES IN MULTICHANNEL

Chair:
Martha DeFrancisco, McGill University - Montreal, Quebec, Canada
Panelists:
Charles (Chuck) W. Ainlay, Independent Producer/Engineer
Michael Bishop, Telarc
Akira Fukada, NHK Japan Broadcasting Corporation
Lawrence Manchester, Bricks & Mortar Music
Everett Porter, Polyhymnia

Abstract:
Born in the European salons of the 18th century aristocracy, the symphony orchestra still plays an important role in the musical life of our times. Capturing the sounds of these and other large ensembles has never ceased to be a challenge to recording engineers and producers worldWIDE.

Multichannel recording adds a new dimension of realism and enhanced means of expressivity to large-ensemble recordings. This workshop explores the ways in which leading recording engineers deal with the age-old question of how to transport a huge body of sound from a hall into the listeners’ private spaces.


Friday, October 5, 9:00 am — 11:00 am
W2 - TRENDS OF STORAGE TECHNOLOGIES FOR AUDIO RECORDING AND MASTERING

Chair:
Kimio Hamasaki, NHK Science & Technical Research Laboratories - Tokyo, Japan
Panelists:
Jeff Levison, Producer/Consultant, USA
Takehiro Moriya, NTT Communication Science Labs - Atsugi, Japan
Masaki Shimmachi, Fostex Company - Tokyo, Japan
Junich Yoshio, Pioneer Corporation - Japan

Abstract:
Various technologies in terms of storage are currently used for audio recording and mastering. Necessary data rate is also increasing due to the complexity of audio production—such as multichannel sound production. This workshop reviews the current situation of technologies regarding the storage for audio recording and mastering and discuss the future of storage. Panels from both media industries and production will discuss the requirement for the next-generation storage, and next-generation audio recording and mastering systems.


Friday, October 5, 1:30 pm — 3:00 pm
W3 - EVALUATION OF SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Chair:
Mick Sawaguchi, Pioneer Corporation
Panelists:
Akira Fukada
Hideo Irimajiri
Toru Kamekawa
Masayuki Mimura, Yomiuri Telcasting Corporation
Hideaki Nishida, Asahi Broadcasting 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 and a half years 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.

This workshop will be presented twice during the convention.


Friday, October 5, 3:00 pm — 5:30 pm
W4 - 5.1 MIXING DO'S AND DON'TS

Chair:
George Massenburg
Panelists:
Frank Filipetti, Right Track Recording - New York, NY, USA
Crispin Murray
Ronald Prent
Jeff Wolpert

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


Friday, October 5, 3:30 pm — 6:30 pm
W5 - AUDIO QUALITY EVALUATION, DESCRIPTIVE ANALYSIS 2: INDIVIDUAL VOCABULARY DEVELOPMENT

Chair:
Jan Berg, Luleå University of Technology - Luleå, Sweden
Panelists:
Sylvain Choisel, 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.


Friday, October 5, 4:00 pm — 7:00 pm
W6 - HOW TO CHOOSE, PURCHASE, RESTORE, AND UPGRADE A MULTITRACK ANALOG TAPE MACHINE

Chair:
Steve Puntolillo, Sonicraft A2DX Lab
Panelists:
John Chester, Consultant - High Bridge, NJ, USA
Dominick Costanzo, Sony Music Studios - New York, NY, USA
John French, JRF Magnetics - Greendell, NJ, USA
John Klett, Tech Mecca - Carmel, NY, USA
Mike Spitz, ATR Services & ATR Magnetics - York, PA, USA

Abstract:
If you are considering adding an analog multitrack tape recorder to your facility, you might be wondering which one to buy, how much to pay, and what is required to get it running and keep it running. Or, if you are already using an analog multitrack, you might want to determine if it is performing at its peak and if you can improve its performance over stock configuration.

This workshop includes a presentation, panel discussion, and question-and-answer period designed to help you answer all of these questions and more. The moderator and panel of industry experts will share in-depth information based on their wealth of hands-on experience with analog tape machine selection, acquisition, restoration, maintenance, customization, and optimization over a wide variety of makes and models.


Friday, October 5, 6:00 pm — 7:30 pm
W7 - VIDEO TO AUDIO TIMING MEASUREMENT AND CORRECTION IN TODAY'S SYSTEMS

Chair:
Randy Conrod, Harris Corporation - Toronto, Ontario, Canada
Panelists:
Ken Hunold, Dolby Laboratories
Tom McDonough, AZCAR
Tom Sahara, Turner Sports

Abstract:
Sorting out timing issues between video and audio in today's systems is difficult to manage. This wokshop addresses HD and SD video and the conversions necessary in today's hybrid environment and the plethora of audio that is supposed to match up with the video: analog, AES, embedded in HD or SD, coded (compressed), and up/down mix technologies. The workshop will consist of a power point presentation and demonstration of Harris's "V2A" test signal and measurement and correction method.


Saturday, October 6, 9:00 am — 12:00 pm
W8 - SURROUND WORKSHOP PLAYBACK SESSION

Chair:
Martha DeFrancisco, McGill University - Montreal, Quebec, Canada
Panelists:
Charles (Chuck) W. Ainslay, Independent Producer/Engineer
Michael Bishop, Telarc
Akira Fukada
Lawrence Manchester, Bricks & Mortar Music
Everett Porter

Abstract:
Experience immersive Surround Sound as Martha DeFrancisco, Akira Fukada, Everett Porter, Chuck Ainlay, Michael Bishop, and Lawrence Manchester—panelists of Workshop 1, Recording Large Ensembles in Multichannel —demonstrate their recordings.


Saturday, October 6, 9:30 am — 11:00 am
W9 - MASTERING FOR NEW MEDIA

Co-chairs:
Gavin Lurssen, Lurssen Mastering
Joe Palmaccio, The Place . . . For mastering - Nashville, TN, USA
Panelists:
Chris Athens, Mastering Engineer, Sterling Sound - New York, NY, USA
Derek Jones, Music Producer, Megatrax - Los Angeles, CA, USA
Andrew Mendelson, Georgetown Masters - Nashville, TN, USA

Abstract:
One common denominator in all commercial music is that it is mastered. This has created a visceral expectation to the untrained ear.

As the industry changes, mastering engineers have become more in demand to fulfill this expectation specifically for new media outlets. Music libraries, production houses, and artists are competing with major record labels vying for alternate revenue streams capitalizing on music for new media. Labels and artists are mastering TV tracks and libraries are now sending their catalogs to mastering facilities.

This development along with new technology has created some changes in the way mastering studios can service clients, one example being the delivery of raw files vs. finished and edited CD’s.

This panel will ask, “What remains the same and what has changed?”


Saturday, October 6, 11:00 am — 1:00 pm
W10 - FROM SAC TO SAOC—RECENT DEVELOPMENTS IN PARAMETRIC CODING OF SPATIAL AUDIO

Chair:
Jürgen Herre, Fraunhofer IIS - Erlangen, Germany
Panelists:
Jeroen Breebaart, Philips Research - Eindhoven, The Netherlands
Christof Faller, EPFL - Lausanne, Switzerland
Barbara Resch, Coding Technologies - Stockholm, Sweden

Abstract:
One of the most remarkable innovations in low bit rate audio coding during the recent years was the arrival of "Spatial Audio Coding" (SAC) technology. Exploiting the human perception of spatial sound, these coding schemes are capable of transmitting high quality surround sound using bit rates that have been used for carrying traditional two-channel stereo audio so far. Following the recent finalization of the MPEG Surround specification, a next technology generation is envisaged for standardization within ISO/MPEG allowing bit-rate-efficient and backward compatible coding of several sound objects. On the receiving side, such a "Spatial Audio Object Coding" (SAOC) system renders the objects interactively into a sound scene on a reproduction setup of choice. The workshop reviews the principles and current status of spatial audio coding schemes and discusses their evolution toward spatial audio object coding with particular focus on the ongoing ISO/MPEG audio standardization activities in this field. The results of the first round of technology selection within MPEG will be discussed.


Saturday, October 6, 1:00 pm — 3:00 pm
W11 - SURROUND CONTRIBUTION FOR RADIO AND TV

Chair:
Jon McClintock, APT UK
Panelists:
Tim Caroll, Linear Acoustic
Kimio Hamasaki, NHK Science & Technical Research Laboratories - Tokyo, Japan
Heinz Peter Reykers, WDR - Cologne, Germany
Geir Skaaden, Neural Audio

Abstract:
The workshop will cover technology over various types of networks for surround sound contribution for radio and tv (not emission systems).

Many systems operate over E1 or T1 synchronous networks. Managed private IP-networks are also now beginning to be used. The Internet is slowly coming with higher bit rates and may in the future also be used for surround contribution of professional audio formats.

Panelists will discuss the pros and cons of various solutions and present practical implementations as case studies.


Saturday, October 6, 1:00 pm — 3:00 pm
W12 - ADAPTIVE MUSIC FOR GAMES: INTERACTIVE XMF IN-DEPTH

Chair:
Chris Grigg, IASIG

Abstract:
The Interactive eXtensible Music Format (iXMF) is the first nonproprietary standard for interactive audio content, recently produced by the Interactive Audio SIG (IASIG). Technical lead Chris Grigg explains iXMF technology and its benefits for audio artists, game designers, and game engine designers. iXMF addresses the difficulty and expense of interactive audio by providing (1) a nonproprietary, cross-platform file format, and (2) an abstract model for the runtime audio engine. The format bundles audio assets with dynamic behavior rules. The model defines how the rules are interpreted in real time to play those assets. Because the model is based on a handful of simple low-level primitives, it is both very portable and very general. Scenario testing indicates any known interactive audio behavior style is possible.


Saturday, October 6, 5:00 pm — 7:00 pm
W13 - INTERACTIVE AUDIO AND HUMAN PERCEPTION—CAN WE CONNECT KNOWLEDGE WITH PRACTICE?

Chair:
Renato Pellegrini, sonic emotion ag - Obergltt (Zurich), Switzerland
Panelists:
Durand R. Begault, NASA Ames Research Center - Mountain View, CA, USA
Jyri Huopaniemi, Nokia Research Center - Finland
John-Marc Jot, Creative Advanced Technology Centre - Ottawa, Ontario, Canada
William Martens, McGill University - Montreal, Quebec, Canada

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. Most elaborate systems can be found in games and simulators, but also telecommunication products and even music listening and production make use of interactive systems such as head-trackers, game-controllers, joysticks, etc. This workshop is jointly elaborates psychoacoustic evidence with current product knowledge from the different market fields.


Sunday, October 7, 9:00 am — 11:00 am
W14 - 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
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
Bob Ludwig, Gateway Mastering Studios - Portland, ME, USA
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 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, October 7, 9:00 am — 12:00 pm
W15 - FORENSIC AUDIO, VIDEO, AND VOICE IDENTIFICATION IN THE DIGITAL AGE

Chair:
Tom Owen, Owl Investigations - Colona, NY, USA
Panelists:
Stuart Allen, International Media Services - Plainfield, NJ, USA
Durand R. Begault, Charles M. Salter Associates - San Francisco, CA, USA
Catalin Grigoras - Bucharest, Romania
Garrett Husveth, Latent Technology Group - Denville, NJ, USA
Richard Sanders, University of Colorado - Denver, CO, USA
Greg Stutchman, Stutchman Forensic Laboratory - Napa, CA, USA

Abstract:
Digital recording has been embraced by both law enforcement and the criminals they seek to apprehend. The corporate side of business has embraced digital audio and video recording to the point where there is no longer any expectation of privacy. With the advent of security digital systems, webcams, phone cameras, and audio/video everywhere in one’s daily life, it’s no wonder the Forensic Examiner is called on to render an opinion to questions regarding the authenticity of recordings, editing of recordings, “Who said what” and “Does the evidence actually reflect the event as it actually occurred”?

Today’s examiner must have an arsenal of tools at his/her disposal to be able to answer these questions to a reasonable degree of scientific certainty. This tutorial will discuss and provide tools of the trade, the realistic expectation of analysis (also known as The CSI Effect) famous cases (The Night Whisperer, John Gotti Jr.), and will include eight panel members from across the world who are internationally known for their expertise in these areas.

This seminar will also include before and after examples of forensic enhancement, digital editing analysis, encase data recovery of “erased files,” digital voice identification, and many other facets of this area.

Also discussed will be employment opportunities in the Forensic Field.


Sunday, October 7, 9:00 am — 11:00 am
W16 - FIR OR IIR? THAT IS THE QUESTION!

Chair:
Tim Nind, Harman/Becker Automotive Systems - Bridgend, UK
Panelists:
Nilo Casimiro, Dirac
Earl Geddes
Tomlinson Holman, Audyssey Laboratories, Inc.
Stanley Lipshitz, University of Waterloo - Waterloo, Ontario, Canada
Ryan Mihelich, Harman
Sean Olive, Harman International Industries, Inc. - Northridge, CA, USA
Jan Pederson, Lyngdorf Audio - Skive, Denmark

Abstract:
There is much debate about the best type of filters to use for equalization of loudspeakers in rooms and cars and a number of products marketed as providing an “ideal” result. This workshop seeks to explore the pros and cons of equalization strategies using IIR or FIR filters in such an application. It presents the engineering facts of both types, looks at the evidence to substantiate claims that absolute and relative phase is audible, and presents case studies for real world FIR and IIR implementations.


Sunday, October 7, 12:00 pm — 1:30 pm
W17 - EVALUATION OF SURROUND MAIN MIKINGS FOR CLASSICAL ORCHESTRA

Chair:
Mick Sawaguchi, Pioneer Corporation
Panelists:
Akira Fukada
Hideo Irimajiri
Toru Kamekawa
Masayuki Mimura, Yomiuri Telcasting Corporation
Hideaki Nishida, Asahi Broadcasting 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 and a half years 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.

This workshop will be presented twice during the convention.


Sunday, October 7, 2:30 pm — 4:30 pm
W18 - AUDIO FOR GAMES: DIALOG RECORDING, WORKFLOW, AND ASSET MANAGEMENT

Chair:
Steve Martz, THX
Panelists:
Jory Prum, studio.jory.org

Abstract:
It is not unheard-of to have 9,000 lines of dialog (or other audio assets) in a game. Understanding how to prepare, organize, and store these assets highlights a principle difference between game audio and other media. This workshop takes a step-by-step look at the monumental task of the recording, editing, and organization process, as well as
strategies to keep it under control. Methods will be presented for script management, session set-up, session flow, actor interfacing, and asset organization and protection, as well as a comparison to similar techniques in other types of media production.


Sunday, October 7, 4:30 pm — 7:30 pm
W19 - UNEVEN BASS REPRODUCTION IN AUTOMOBILES

Chair:
Tom Nousaine, Listening Technology
Panelists:
Natan Budiono, Sr. Acoustical Engineer, Panasonic
David Carlstrom, Audio Specialist, Chrysler
David Clark, Director of Research, Alpine-America
Kenneth Deetz, Design Engineer, Delphi
Daniel Field, Chief Engineer, Harman/Becker Automotive Systems
Robert Klacza, Jeep Speaker and Audio Engineer, Chrysler
Richard Stroud, Stroud Audio Inc. - Kokomo, IN, USA

Abstract:
In the evaluation of 750 OEM Autosound systems Tom Nousaine, Listening Technology, has found that a majority of systems suffer from spectral uniformity problems at low frequencies. This simply means that bass sounds are uneven. For example on a program with an acoustic bass solo, some notes almost disappear while others may seem unusually loud. It is commonly felt that this is a simple equalization issue. Thus, it is puzzling that this problem continues to exist when modern car electronics have significant active sound control capabilities. The panel will discuss the issue, causes, and possible solutions.


Sunday, October 7, 4:30 pm — 6:30 pm
W20 - GAME AUDIO FOR BROADBAND PHONES

Chair:
Peter Drescher, Danger, Inc.

Abstract:
Broadband data connections for cell phones will change everything. This session examines how massive portable storage and speedy data transfer rates will affect interactive audio for mobile devices in general, and mobile game soundtracks in particular. The author presents an overview of the current state of the art, then discusses new cell phone features that are about to come to market. He concludes by making predictions about the future of mobile game audio, based on experience, and supported by analogies drawn from the development of PC/console games and the Internet.


Monday, October 8, 11:00 am — 1:00 pm
W21 - IS YOUR JOB KILLING YOU? (OR JUST MAKING YOU DEAF?)

Chair:
Sarah Jones, Editor, Mix Magazine
Panelists:
DeeDee Acquisto, Musicares
Dave Hampton, Engineer/Producer (Herbie Hancock, Prince)
Kathy Peck, H.E.A.R. (Hearing Education and Awareness for Rockers)
Craig Schumacher, Studio Owner/Producer/Founder, TapeOpCon
Andy Vermiglio, House Ear Institute

Abstract:
Audio engineers are in this field because they have great passion for their work. However that same passion, combined with long hours in stressful working environments can contribute to serious health problems ranging from hearing loss to RSI, stress disorders and even heart problems, if they’re not proactive about taking care of themselves.

The biggest health issue facing engineers is hearing damage, often a taboo issue in the SPL-heavy recording world. It's a vicious cycle: Those who depend on their hearing to do their job put it at risk by doing that job, day after day. Our ears our livelihood; why aren’t we protecting them?

And, it’s not just our ears that are at risk. We've had to adapt quickly to a world that seems to spin faster than ever, making us work harder to survive. Communication technology makes it easier than ever to stay in top of things, but harder to get away from work. And industry changes have made everyone’s jobs more demanding than ever. In the face of budget cuts, more and more audio engineers are “sole proprietors”- not just tracking and mixing, but archiving, bookkeeping, promoting their work. On the production side, technology advances at lightning speed, making it a constant battle to stay on the cutting edge. And what about making time for our personal lives? The fast pace can take a physical toll.

That said, there are proven steps audio pros can take to preserve and improve their health and well-being—and maximize their career potential. This panel of industry experts (including seasoned veterans who have been through it all and can teach us from experience) will discuss hazards that contribute to noise-induced hearing loss, and examine ways audio engineers can protect their hearing while still doing their job. They will tackle problems inherent in this “workaholic” job culture, offering time-tested solutions for surviving long hours in the studio and life on the road, keeping up with the blinding pace of technology, and thriving in expanded job roles—all while balancing work lives and “real” lives.


Monday, October 8, 12:00 pm — 6:00 pm
W22 - 5.1 MIXING TECHNIQUES EXPLAINED AND OBSERVED

Panelists:
George Massenburg
Frank Filipetti, Right Track Recording - New York, NY, USA
Ronald Prent
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


Monday, October 8, 2:30 pm — 5:00 pm
W23 - CONCERT HALLS AND THEIR ACOUSTICS

Chair:
John Allen
Panelists:
Chris Blair
Barry Blesser
Leo L. Beranek
Larry Kirkegaard
Alan Valentine
Jonathan McPhee, Boston Ballet

Abstract:
In the years following the pioneering work in acoustics by Wallace Sabine and the more recent ground breaking contributions of Leo Beranek, how well have the known principles of good acoustics been applied to the concert halls being built today? Hear from some of the leaders in the field, including Dr. Beranek. Topics of the panel will include why we respond to the acoustic environment we are in, why good acoustics are so important for the musicians as well as the audience, case studies of how poor concert halls have been improved, and finally hear about America’s newest concert hall and why it may be one of the best ever built.



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