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AES Amsterdam 2008
Workshop Details Saturday, May 17, 09:00 — 10:30
W1 - PRODUCTION OF SURROUND SOUND WITH HDTV
Chair:
Kimio Hamasaki, NHK Science and Technical Research Laboratories - Tokyo, Japan
Co-chairs:
Christian Hugonnet, Audio Engineering Consultant - Paris, France
Florian Camerer, ORF - Austrian TV
Toru Kamekawa, Tokyo National University of Fine Arts and Music - Tokyo, Japan
Abstract:
HDTV is currently broadcasted in many countries over the world. 5.1 channel surround sound has made great progress in digital broadcasting. Many workshops have discussed the 5.1 channel surround sound at previous AES conventions; however, 5.1 channel sound production and broadcasting accompanying HDTV has not been discussed as often at previous conventions. This workshop will focus on the 5.1 surround sound production and broadcasting for HDTV and discuss various issues such as sound recording, sound design, postproduction, and aesthetic approaches in terms of 5.1 channel sound with large and high-resolution pictures.
Saturday, May 17, 10:30 — 12:00
W2 - USE OF RF 64: A FILE FORMAT FOR SURROUND SOUND
Chair:
Lars Jonsson, Swedish Radio
Panelists:
Axel Holzinger, D.A.V.I.D. GmbH - Munich, Germany
Erik Lundbeck, Swedish Television Stockholm - Stockholm, Sweden
Heinz-Peter Reykers, WDR Cologne - Cologne, Germany
Mark Yonge, AES Standards - UK
Abstract:
In this workshop experiences and utilization by manufacturers and users of the EBU RF 64 standard file format for surround and stereo in tv and radio production will be reviewed. AES Standard Working Group SC-02-08 have begun working on the adoption of this format as an AES standard. The format began to be used with radio automation systems in Germany and in editors. It has now found applications also for file-based TV 5.1 audio operations in Sweden and elsewhere.
Saturday, May 17, 10:30 — 12:00
W3 - RECORDING STUDIO DESIGN
Presenter:
Fritz Fey
Abstract:
Editor of Studio Magazin, Fritz Fey has successfully developed its activities to studio design (Studioplan). He will present various types of studio concepts, from musician personal rooms to more sophisticated installations, with testimonials of users.
Being presented will be some VIPs (very important points) on studio design from a practical point of view that are REALLY helpful for participants. There are different aspects that come across besides a the usually well-bundled package of formula and theoretical know how, just like basic geometry, ergonomics, economics, stereo + surround, working atmosphere, multi-use, loudspeaker environment, and many others. This workshop will show that studio design is not just a matter of absorbers and reverb time issues.
Saturday, May 17, 13:30 — 15:30
W4 - MULTISENSORY INTERACTION: DOES INTERACTION IMPROVE PRESENCE?
Chair:
Renato Pelligrini, sonic emotion ag - Obergltt (Zurich), Switzerland
Abstract:
This workshop investigates the impact of interactivity in audio environments on improving the feeling of presence within those environments. This workshop extends a series of related workshops on perception and interactivity presented at recent AES Conventions. The workshop considers the technical, creative, and psychoacoustic constraints when building interactive environments. A selection of panelists, with varying perspectives on the meaning of interactive audio, will discuss the importance of presence within their own application areas. These include gaming, training, and education. The workshop has an open format and encourageS discussion between panelists and the audience relating to the meaning of interactivity and presence. The workshop is therefore suitable to experts and newcomers alike and offers a chance to share different perspectives of this topic of growing importance.
Saturday, May 17, 13:30 — 15:30
W5 - SPATIAL AUDIO AND SOUND DESIGN IN SPORTS
Chair:
Gerhard Stoll, IRT - Munich, Germany
Panelists:
Dennis Baxter, Sound for the Olympics
Andrea Borgato, Dolby Laboratories
Hans Huber, IRT
Ales Koman, Slovenia TV
Abstract:
Sports productions are a great platform for the combination of HDTV and multichannel audio, i.e., the combination of "best picture and best sound." Since audio has a very high impact on the emotions of the viewer, in particular in the case of very good pictures, more and more attention should be paid to a stimulating sound design, which conveys a major part of the tension in a sport event. The forthcoming Euro 2008, the Beijing 2008 Summer Olympics, and the Vancouver 2010 Winter Olympics will be important examples for bringing exciting sound together with crisp pictures to the home. The applied techniques
range from special microphones and according placement to the use of additional sound effects with samplers, etc., as well as the specific issues of crowd pickup in surround sound. The panelists will explain and discuss their ideas to provide new tools for the production and design of exciting sound in sports.
Saturday, May 17, 14:00 — 16:00
W6 - TRENDS OF STORAGE TECHNOLOGIES FOR AUDIO RECORDING AND MASTERING
Chair:
Kimio Hamasaki, NHK Science and Technical Research Laboratories - Tokyo, Japan
Panelists:
Noboru Harada, NTT Communication Science Laboratories - Tokyo, Japan
Koichi Kitamura, Recording Industry Association of Japan - Tokyo, Japan
Kunimaro Tanaka, Teikyo Heisei University - Tokyo, Japan
Junichi Yoshio, Pioneer Corporation - Tokyo, Japan
Abstract:
Various technologies in terms of storage are currently used for audio recording, mastering, and archiving. 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, mastering, and archiving and will discuss the future of storage and archives. Panels from both media industries and production will discuss the requirement for the next-generation storage and next-generation audio recording and archiving systems.
Saturday, May 17, 16:00 — 18:00
W7 - LOUDNESS – A CHANGE OF PARADIGMS?
Chair:
Thomas Lund, TC Electronic A/S
Panelists:
Andrew Mason, BBC R&D
Jean-Paul Moerman, VRT – Flemish Broadcasting
Gerhard Spikofski, IRT Munich
Alessandro Travaglini, Fox Italia
Abstract:
Canada and Fox TV in Italy have proven that the switch to loudness measurement instead of peak measurement is a possible route—and one which serves to solve the most frequent complaint by consumers. Are we at the beginning of a new practice in audio levels in Broadcasting? Standards are also in place (ITU-R BS.1770), metering tools incorporating it appear, etc. The panel will discuss the state of things, the transition workflow, the tools available, different possible solutions, and practical experiences, also with different methods of measurement.
Sunday, May 18, 09:00 — 11:00
W8 - SURROUND SOUND IN RADIO
Chair:
Bosse Ternstrom, SR - Swedish Radio
Panelists:
Karl Petermichl, ORF Radio
Heinz-Peter Reykers, WDR Köln
Gerhard Stoll, IRT - Munich, Germany
Abstract:
Multichannel audio in radio is steadily catching up and sometimes surpassing the TV realm with regards to number of productions, diversity of genres, and dedication of the people involved. Although there shouldn't be a direct competition, the inherent greater freedom of radio concerning the dramaturgical creativity in genres like radio drama or experimental and electro-acoustic music has led to a promising output of surround sound programs in those stations that pioneer this new format. The panel consists of what you already can call “veterans” of surround sound in radio, and they will discuss the state of the art, current issues, and solutions like file formats, LFE, signal distribution, etc., as well as showcase some of their respective work.
Sunday, May 18, 09:00 — 11:30
W9 - UNEVEN BASS REPRODUCTION IN AUTOMOBILES
Chair:
Tom Nousaine, Listening Technology
Panelists:
David Calristrom, Chrysler Automotive
David Clark, Alpine - USA
Robert Klacza, Chrylser
Alfred Svobodnik, Harman International Industries, Inc.
Mark Ziemba, Panasonic-US
Abstract:
In the evaluation of 800 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, May 18, 09:30 — 11:00
W10 - PROJECT MANAGEMENT IN PRODUCT DEVELOPMENT
Chair:
Jeroen Langevoort, NXP Semiconductors - Nijmegen, The Netherlands
Abstract:
As car radio systems become more and more complex proper project management is key to deliver the products on time and in full to the market. The development project of a car radio system with ROM-codes and IC’s, like the LeafDice and Dirana 2, will be taken as reference. In the workshop attention will be paid to the requirements definition, risk management, and design processes within NXP. Special requirements on quality that are common in the automotive industry will be shortly touched as these are very different of those of the consumer industry. Among the deliverables of such projects is an extensive communication package for the OEM to enable them to use the system in a proper way. This includes application board and application notes.
Sunday, May 18, 11:30 — 13:30
W11 - CREATING A MUSIC DOWNLOAD WEBSITE
Chair:
Vicki Melchior, Consultant - San Anselmo, CA, USA
Panelists:
Brian Armour, CC Technology - Glasgow, Scotland, UK
Philip Hobbs, Linn Audio - Glasgow, Scotland, UK
Bosse Ternstrom, Swedish Radio - Stockholm, Sweden
Abstract:
For labels, bands, and artists facing the decline of physical media, the potential now exists to release new and prior catalogs directly through digital downloads. Downloads can readily be targeted to specialized markets as well as to the broader online community, and at the same time may offer selective digital formats—for example, high resolution or lossless standard resolution, multichannel, surround algorithms such as ambisonics, surround with designated height channels, etc. In this workshop a number of individuals with recent web development experience will describe the challenges and methodology of creating a music download website. The discussion should provide insight for those getting started in this area and will include: what is involved with setting up for web delivery from a producer’s viewpoint, overview of server hardware and network requirements, programming and software development, website issues and licensing, business models and expected volume, choosing download formats, reaching target audiences, and economies of scale including when it’s better to join a much larger website.
Sunday, May 18, 12:00 — 13:00
W12 - AUTOMATED DIRECTIONAL LIVE SOUND REINFORCEMENT
Chair:
Dave Haydon, Out Board, UK
Panelists:
Tom Strebel, Audiopool - Switzerland
Cees Wagenaar - Peutz, The Netherlands
Robin Whittaker, Out Board Electronics - UK
Karsten Wolstadt, Danish Royal Theatre - Denmark
Abstract:
Directional amplification, also referred to as Source Oriented Reinforcement (SOR), describes a practical technique to deliver amplified sound to a large listening area with even coverage while providing directional information to reinforce visual cues and create a realistic and noncontradictory auditory panorama. Audio demonstrations of the fundamental psychoacoustic techniques employed in an SOR design will be presented and limits discussed. The panel of presenters will outline the history of SOR from Steinke & Fels pioneering work with their Delta Stereophony System in the mid 1970s (later licensed to AKG) to Out Boards current-day TiMax Audio Imaging Delay Matrix including the very latest ground breaking technology employed to enable control of precedence by radar tracking the actors on the stage. Descriptions of venues and productions that have employed SOR include the new Copenhagen Royal Theatre Drama House, Einsiedeln Welttheater 2007, the opera Aïda in Rotterdam Ahoy and Basel Tattoo among others. TiMax, a DSP-based audio control system, was launched in 1997 and has since received a number of industry awards for innovation. TiMax has become synonymous with the techniques for localization of sound in theaters and auditoria, and was one of the first commercially available products offering dynamic control of time delay and level for recreating realism in sound reinforcement.
"Human ability to determine the direction from which sound arrives is due to binaural hearing, the brain being able to detect differences between sounds received by the two ears from the same source and thus to determine angular direction." Alan Blumlein 1931
"If two successive sounds are heard as fused, the location of the total sound is determined largely by the location of the first arriving sound. This, among other things, stops you getting confused when a sound comes at you from two speakers or audio sources at once." Helmut Haas 1946
Sunday, May 18, 13:30 — 16:30
W13 - AUDIO AND AUDIO-TACTILE WARNINGS AND ALERTS: FORMING TODAY'S SOUNDSCAPE
Chair:
Durand Begault, NASA Ames Research Center - Moffett Field, CA, USA
Co-chairs:
Ellen Haas, Army Research Lab
Caryl Baldwin, George Mason University
Judy Edworthy, University of Plymouth
Anne Guillaume, ISMA
Elif Ozcan, Technical University of Delft
Rene VanEgmond, Technical University of Delft
Abstract:
Audio warning and alert signals are omnipresent in the soundscape of modern society, ranging from warnings (sirens), to sounds from human interfaces (pushbutton sounds on devices), to cell phone ring tones. Attention has only been given fairly recently in the human factors research community toward the best means of making caution and warning signals discriminable, audible, and tolerable; some high-stress human interfaces are also concerned with increasing the richness of the semantic content of these alarms. Ironically, while it is well documented that people have ignored critical audio alarms in flight and railroad operations, personalized cell telephone ring tones have an apparently high “hit” rate, while simultaneously alerting (and annoying) others. Discussion topics for this workshop include assessment of current standards and best practices for design of auditory alerts; new approaches to forming the sound design of alarms, including multimodal approaches such as including tactile displays; new approaches to forming the sound design of alarms, and defining what best (or worst!) practices might be. We may obtain as a result an idea of how the soundscape of future decades may sound like (or what we would like it to sound like).
Sunday, May 18, 16:30 — 18:00
W14 - CHANGING TO FILE-BASED PRODUCTION
Chair:
Florian Camerer, ORF – Austrian TV
Panelists:
Steinar Bjørlykke, NRK – Norwegian Broadcasting
Dominique Brulhart, Merging Technologies
Jean-Christophe Liechti, TSR – Télévision Suisse Romande
Brendan Mallon, BBC Scotland
Abstract:
While the Radio world has already several years of experience with file-based production and transmission, the TV side is just at the beginning of the transition toward a fully file-based workflow. This is a significant change—one that poses many challenges on the engineers, the infrastructure, the equipment, and the system that ties it all together. Buzzwords like Content Management System, MXF (Material Exchange Format), Buffer Storage, or Playout Server enter the world of the audio engineer—often causing considerable panic. In this workshop representatives of broadcasters who have already gained some experiences in this field will share their viewpoints, introduce their specific solutions to common problems, and generally raise the awareness and urgency to dive into this world. It will soon be the daily life of us all.
Monday, May 19, 09:00 — 10:30
W15 - PRACTICAL USES OF ACOUSTIC MODELING
Chair:
Ben Kok, Nelissen Ingenieursbureau B.V. - Eindhoven, The Netherlands
Panelists:
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Henrik Møller, Akukon Oy Consulting Engineers - Helsinki, Finland
Dirk Noy, WSDG - Basel, Switzerland
Abstract:
What can be achieved by acoustic simulations for various types of environments? The panel members will explain how they used software simulation in their consulting and design practice. Examples will be given for performance spaces, small rooms (like studios), and harsh environments (like stadiums and tunnels).
Monday, May 19, 09:30 — 11:00
W16 - IS THE CHANNEL DEAD? NEW WAYS TO BROADCAST YOUR MESSAGE
Chair:
Eirik Solheim, NRK – Norwegian Broadcasting - Oslo, Norway
Panelists:
Karl Petermichl, ORF Radio
Abstract:
Eirik Solheim and Karl Petermichl will go through the latest trends on the internet. And they'll show you case studies that include the use of YouTube, Facebook, Twitter and a slightly controversial distribution method called BitTorrent.
And possibly one more thing . . .
Monday, May 19, 11:00 — 12:30
W17 - AUDIO NETWORKING FOR THE PROS
Chair:
Umberto Zanghieri, ZP Engineering srl - Rome, Italy
Panelists:
Michael Page, Peavey Digital Research - Oxford, UK
Greg Shay, Axia Audio - Cleveland, OH, USA
Jérémie Weber, Auvitran - Meylan, France
Aidan Williams, Audinate - Broadway, Australia
Abstract:
Several solutions are available on the market today for digital audio transfer over conventional data cabling, but only some of them allow usage of standard networking equipment. This workshop presents some commercially available solutions (Cobranet, Livewire, Ethersound, Dante), with specific focus on noncompressed, low-latency audio transmission for pro-audio and live applications, using standard IEEE 802.3 network technology. The main challenges of digital audio transport will be outlined, including compatibility with common networking equipment, reliability, latency, and deployment. Typical scenarios will be proposed, with panelists explaining their own approaches and solutions.
Monday, May 19, 12:30 — 14:30
W18 - AUDIO OVER IP SYSTEMS FOR REPORTERS
Chair:
Lars Jonsson, Swedish Radio
Panelists:
Gerald List, Tranxtel - Germany
Ulrich Loebbert, WDR - Germany
Lee Chaundy, BBC - UK
Abstract:
This workshop will present case studies on the use of audio over IP systems for reporters out in the field. Audio over IP units have gradually become an alternative to ISDN and other means of reporting. Sometimes well-managed IP-networks can be used, or the unreliable but widely spread Internet. Wireless alternatives for reporters will also be discussed and evaluated. Examples of using the SIP protocol for connecting between AoIP units and VoIP telephones will be discussed.
Monday, May 19, 14:00 — 15:30
W19 - BRINGING DYNAMICS BACK INTO THE MIX
Chair:
Ronald Prent, Galaxy Studios
Panelists:
Thomas Lund, TC Electronic A/S
Darcy Proper, Galaxy Studios
Abstract:
Pop music and the fight for level—this is an ongoing battle of even a hint of dynamics. Peak measurement and normalization has caused the fight for “who is the loudest” and with it intersample peaks well beyond 0dBFS. Severe distortion and listener fatigue is the result. The switch of a few broadcasters from peak normalization to loudness normalization is the straw on which proponents of a dynamic, lively, and “breathing” mix cling to in order to bring this topic center-stage again. Key figures from the mixing and mastering side as well as from the manufacturers and like-minded initiatives will discuss ways out of the loudness race, good practices, spreading the word, etc., and will illustrate their points through examples.
Monday, May 19, 16:30 — 18:00
W20 - WOW, THIS SOUNDS GREAT!
Chair:
Christian Hugonnet, Independent Audio Consultant
Panelists:
Morten Lindberg, 2L Oslo - Oslo, Norway
George Massenburg, GML Inc.
Eirik Solheim, NRK – Norwegian Broadcasting
Helmut Voitl, Director
Abstract:
What parameters do we have and do/will our children have to say this in the age of MP3, Skype, and general data-reduction? Does high-quality audio have a future? Will new high-resolution music-only formats ever be a commercial success? Is generally the sensitivity for intricacies and detail, for dynamics and resolution deteriorating? Do social developments have an impact on this situation? What is the effect of increasing environmental acoustic pollution? What are our criteria for “quality”?
These and other questions will be discussed by a panel of experts with an acute sensitivity for those changes and a fascinating insight into this development.
Tuesday, May 20, 09:00 — 10:30
W21 - [CANCELLED]
Tuesday, May 20, 09:30 — 11:00
W22 - SOS—SAVE OUR SPECTRUM!
Chair:
Malcolm Johnson, IBS – Institute of Broadcast Sound - UK
Panelists:
Matthias Fehr, Sennheiser – Initiative Digital Dividend
Jürgen Hanelt, VdT Germany
Jan Outters, IRT Munich
Abstract:
The sell-out of the UHF radio spectrum poses a serious threat not only to the broadcast industry but on most other audio fields as well. Coordinated international action is required in a situation where time is running out. The legal situation will be examined and possible and necessary steps will be discussed. Current activities will be presented, hoping to raise the importance of immediate action to still counteract this dramatic development.
Tuesday, May 20, 09:30 — 10:00
W23 - MUSICAL TELEPRESENCE WITH NARROW BAND NETWORKS
Moderators:
Alexander Carôt
Ulrich Kramer
Gerald Schuller
Christian Werner
Abstract:
In this presentation Alexander Carôt will demonstrate a live music performance with professional musicians in Germany. He will play bass guitar live and in real time over the Internet as if in the same room. In that context he will use his Soundjack software in combination with the ULD codec. While Soundjack offers the appropriate low delay audio streaming conditions, the ULD codec (developed at Fraunhofer IDMT and Fraunhofer IIS) introduces a total encoding/decoding delay of only 6 ms and provides decent bitrates for the use in narrow band networks.
Tuesday, May 20, 11:00 — 13:00
W24 - FINDING AND EVALUATING MUSIC FOR DOWNLOADING OR STREAMING
Chair:
Steve Harris, BridgeCo AG
Panelists:
Karlheinz Brandenburg, Fraunhofer Institute
James Cridland, BBC Audio and Music Interactive
Jurgen Jaron, mufin GmbH
Liz Rice, last.fm
Abstract:
The continuing rapid evolution of the online digital music scene has meant that a wide variety of independent music sources now exist, many catering to indie artists or specific genres or niches, and often with individualized business models and distribution methods. In the process, the exploration, discovery, and critiquing of music has become decidedly more complex, if potentially more interesting, for the consumer. Online music sources range from massive data bases, some available only by membership or subscription and tied to hardware or ISPs; to social networking sites; to home websites of labels, bands, orchestras, artists, and radio stations; to blogs; a/v streaming; internet radio, among many others. Methods to adequately search out music among all of these, to judge quality, and to find the bit rates, formats, and software compatible with one’s playback system are still evolving. This workshop looks at current approaches to the search and evaluation problem, including algorithmic methods, the exchange of opinion via social networks, online reviews, etc., and also considers whether online reviews, blogs, and chat rooms are adequate as the new determinants of success and quality.
Tuesday, May 20, 11:30 — 13:30
W25 - 10 THINGS TO GET RIGHT IN PA AND SOUND REINFORCEMENT
Chair:
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Panelists:
Mark Bailey, Harman/JBL
Luke Jenks, Meyer Sound Laboratories - Berkeley, CA, USA
Evert Start, Duran Audio
Abstract:
The workshop will discuss the 10 most important things to get right when designing / operating sound reinforcement and PA systems. However, as attendees at the workshop will learn there are many more things to consider than just the 10 golden rules, and that the order of importance of these often changes depending upon the venue and type of system. The workshop aims to provide a practical approach to sound systems design and operation and will be illustrated with many practical examples and case histories. Each workshop panelist has many years of practical experience and between them can cover just about any aspect of sound reinforcement and PA systems design, operation, and technology. Come along to a workshop that aims to answer questions you never knew you had —but of course, to find out the ten most important ones, you will have to attend the session!
Tuesday, May 20, 13:00 — 14:30
W26 - MIX YOUR OWN NEW YEAR’S CONCERT—PART 1
Chair:
Florian Camerer, ORF – Austrian TV
Panelists:
Jean-Marie Geijsen, Polyhymnia
Morten Lindberg, 2L Oslo - Oslo, Norway
Ronald Prent, Galaxy Studios
Josef Schütz, ORF Radio
Abstract:
A selection of experienced mixers with different backgrounds (classical music, pop, rock) have about 5-7 minutes to set up a 5-channel mix of the current New Year’s Concert with the original multitrack recording. The audience will be able to witness the individual approaches to that task. A second session (30 minutes later) will compare those mixes all aligned so that on-the-fly switching is possible. The different approaches and results will be discussed.
Tuesday, May 20, 15:00 — 16:30
W27 - MIX YOUR OWN NEW YEAR’S CONCERT—PART 2
Chair:
Florian Camerer, ORF – Austrian TV
Panelists:
Jean-Marie Geijsen, Polyhymnia
Morten Lindberg, 2L - Oslo, Norway
Ronald Prent
Josef Schütz, ORF Radio
Abstract:
A selection of experienced mixers with different backgrounds (classical music, pop, rock) have about 5-7 minutes to set up a 5-channel mix of the current New Year’s Concert with the original multitrack recording. The audience will be able to witness the individual approaches to that task. This session (30 minutes later) will compare those mixes all aligned so that on-the-fly switching is possible. The different approaches and results will be discussed.
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