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AES Munich 2009
Workshop Details Thursday, May 7, 09:00 — 11:00
W1 - Lies, Damn Lies, and Statistics
Chair:
Sylvain Choisel, Philips Consumer Lifestyle - Leuven, Belgium
Panelists:
Thomas Sporer, Fraunhofer Institute for Digital Media Technology IDMT - Ilmenau, Germany
Florian Wickelmaier, University of Tübingen - Tübingen, Germany
Abstract:
Listening tests have become an important part of the development of audio systems (CODECS, loudspeakers, etc.). Unfortunately, even the simplest statistics (mean and standard deviation) are often misused.
This workshop will start with a basic introduction to statistics, but room will be given to discuss the pertinence of some commonly-used tests, and alternative methods will be proposed, thereby making it interesting for more experienced statisticians as well. The following topics will be covered (among others): experimental design, distributions, hypothesis testing, confidence intervals, analysis of paired comparisons and ranking data, and common pitfalls potentially leading to wrong conclusions.
Thursday, May 7, 13:30 — 15:30
W2 - New Technologies for Audio Over IP
Chair:
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
Panelists:
Steve Church, Telos
Christian Diehl, Mayah
Manfred Lutzky, Fraunhofer IIS
Greg Massey, APT
Abstract:
This workshop is intended to provide an "under the hood" discussion of various low-latency codecs as well as a comparison of their pros and cons for different applications. Codecs including AAC-ELD and ULD will be discussed, along with techniques such as adaptive jitter buffer management.
Thursday, May 7, 14:00 — 16:00
W3 - Intelligent Digital Audio Effects
Chair:
Christian Uhle, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Panelists:
Alexander Lerch, Z-Plane - Berlin, Germany
Josh Reiss, Queen Mary, University of London - London, UK
Udo Zölzer, Helmut-Schmidt-Universität - Hamburg, Germany
Abstract:
Intelligent Digital Audio Effects (I-DAFx) process audio signals in a signal-adaptive way by using some kind of high-level analysis of the input. Beat tracking, for example, enables the automated adaption of time delays or of the LFO rate in tremolos, auto-wahs, and vibrato effects. A harmonizer can adapt the additional intervals to the melody that is played. Automatic mixing is approached by analyzing the signal content in all channels to control the panning. These are examples of techniques that are in the scope of this workshop. It presents an overview of I-DAFx and of methods of semantic audio analysis used in these devices. Practical examples are described and sound examples are demonstrated.
Thursday, May 7, 16:00 — 18:30
W4 - Microphones—What to Listen For—What Specs to Look For
Chair:
Eddy B. Brixen
Panelists:
Jean-Marie Greijsen, Polyhymnia International
David Josephson, Josephson Engineering
Douglas McKinnie, Middle Tennessee State University
Mikkel Nymand, DPA Microphones
Ossian Ryner, DR, Danish Broadcasting
Abstract:
When selecting microphones for a specific music recording, it is worth knowing what to expect and what to listen for. Accordingly it is good to know what specifications that would be optimum for that microphone. This workshop explains the process of selecting a microphone both from the aesthetical as well as the technical point of view. Also explained and demonstrated: what to expect when placing the microphone. This is not a “ I feel like . . .” presentation. All presenters on the panel are serious and experienced engineers and tonmeisters. The purpose of this workshop is to encourage and teach young engineers and students to take advantage by taking a closer look at the specifications the next time they are going to pick a microphone for a job.
Thursday, May 7, 16:30 — 18:30
W5 - Professional Audio Networking in Sound Reinforcement and Broadcast Applications
Chair:
Umberto Zanghieri, ZP Engineering srl
Panelists:
Bradford Benn, Crown International
David Revel, Technical Multimedia Design
Greg Shay, Axia Audio
Jérémie Weber, Auvitran
Abstract:
Several solutions are available on the market today for digital audio transfer over conventional data cabling. This workshop presents some commercially available solutions, 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 reliability, latency, and deployment. Typical usage scenarios will be proposed, with specific emphasis on live sound reinforcement and broadcast applications.
This event promises a discussion of the challenges and planning involved with deploying digital audio in such scenarios.
The workshop will include a brief overview of potential evolutions related to pro audio networking.
Friday, May 8, 09:00 — 11:00
W6 - The Opera Behind the Opera—Challenges and Real World Solutions in Transmissions of Big Opera Productions
Presenters:
Billy Henningsen, Senior Sound Engineer, Norwegian TV - Oslo, Norway
Joseph Schütz, Senior Engineer, Austrian Radio - Vienna, Austria
Peter Urban, Senior Engineer, Bavarian Radio - Munich, Germany
Abstract:
In this workshop the aesthetics and concepts of an ideal opera sound will be introduced, theoretically. Be swept away by the realities of awkward acoustics, directors and producers with challenging stage directions and last minute ideas. Both Bayreuth and Vienna, the new opera of Oslo, and all the other big stages have had their transmissions and you will hear how the challenges have been met. In stereo and surround.
Friday, May 8, 09:00 — 11:00
W7 - Audio Coding for Broadcasting—Status Report
Chair:
Gerhard Stoll, IRT Munich
Panelists:
Bjørn Aarseth, NRK, Norway
Udo Appel, Bayerischer Rundfunk - Germany
Dave Marston, BBC - UK
Roger Miles, EBU, Switzerland
Thomas Saner, SRG SSR idée suisse - Switzerland
Karl M. Slavik, Broadcast Consultant Dolby Laboratories, Inc./Artecast - Austria
Abstract:
Both Digital Radio and Digital TV are relying on new, efficient audio codecs in order to supply the listener with lots of audio channels. Lots of audio channels may have a different meaning for TV and radio. Whereas TV, in particular HDTV, is going toward mainly multichannel audio, digital radio, here in particular terrestrial radio, is aiming for more and more radio programs with stereo as the main audio format. In this context several questions need to be answered, e.g.:
• Do we have the appropriate audio coding systems for stereo and multichannel audio?
• What kind of audio quality do we need together with HDTV?
• Is 5.1 multichannel audio still the suitable format for HDTV?
• What happens with cascading multichannel audio codecs, which occur in real-life situations?
• Is broadcast quality, as defined by EBU in 1990, when DAB had been developed, still an issue for radio broadcasting?
• How many radio programs can be provided by new radio broadcast systems, e.g., DAB+?
• What is the role of 5.1 multichannel audio in radio broadcasting?
Several broadcast experts will talk about their experience with low bit-rate audio in a modern broadcast infrastructure and will try to provide answers to the questions above.
Friday, May 8, 11:30 — 13:30
W8 - We Have You Surrounded—Mastering for Multichannel
Chair:
Darcy Proper, Senior Mastering Engineer, Galaxy Studios - Mol, Belgium
Panelists:
Simon Heyworth, Owner/Chief Engineer, Super Audio Mastering - Devon, UK
Thor Levgold, Owner/Chief Engineer, Sonovo Mastering - Stavanger, Norway
Abstract:
With the increasing adoption of home cinema systems, DVD releases of performing artists as well as the EBU specifying 5.1 surround audio as standard for HDTV, the need for professional mastering in multichannel formats is growing. For many, working in surround represents a change of paradigm and brings with it unique challenges and requirements. The panelists in this workshop will share some of the types of challenges they face in the course of their work and some
practical tips for handling them when they arise in stereo, surround, and multimedia productions.
Friday, May 8, 15:00 — 16:30
W9 - Mixing Sports in 5.1–Part 1
Chair:
Gerhard Stoll, IRT Munich
Panelists:
Dennis Baxter, Sound for the Olympics - USA
Beat Joss, tpc AG - Switzerland
Ales Koman, Slovenia TV - Slovenia
Abstract:
Sports has proven to be a major driving force for the introduction of HDTV into the market. Events like the Football World Championships 2006, the Football European Championships in 2008, and the 2008 Bejing Olympics provide an excellent opportunity to showcase the strengths of high resolution pictures. Teaming up with HD picture is High Definition Surround Sound and a generally more elaborate and creative sound design. The challenges are manifold:
• from capturing a roaring stadium crowd of 80,000 to hearing the details of every ball kick, the so-called “close ball”;
• from producing a surround mix to still serving your stereo-viewers with an appropriate downmix and an intelligible commentator;
• from getting your signal to and through your broadcast center unharmed to arriving at the consumer in sync with the picture;
• from making meaningful use of LFE to using the center channel not only for commentary but for the "sound of sports" as well.
A panel of experienced protagonists will discuss these issues and other challenges. Examples will give the audience the chance to judge the effectiveness themselves.
In Part 2 of this workshop a multitrack recording of one of the finals of the Swiss Ice-Hockey Championship 2009 will be mixed live for the audience to witness the approach to creating a compelling surround sound field, which includes the atmosphere of thousands of bawling, booing, and applauding fans and the “sounds of the match,” which you see on your screen.
Friday, May 8, 16:30 — 18:30
W10 - Audio Network Control Protocols
Chair:
Richard Foss, Rhodes University - Grahamstown, South Africa
Panelists:
John Grant, Nine Tiles
Robby Gurdan, UMAN
Rick Kreifeldt, Harman Professional
Philip Nye, Engineering Arts
Abstract:
With the advent of digital audio networking, there has been a need to manage the connection of devices on networks and also to control and access various parameters of the devices. A number of standard and proprietary protocols have been developed. In this workshop a panel of experts who have helped develop some of these protocols will discuss their approaches and attempt to define a way forward, whereby devices with differing protocol implementations can communicate.
Friday, May 8, 17:00 — 18:30
W11 - Mixing Sports in 5.1–Part 2
Chair:
Gerhard Stoll, IRT Munich
Panelists:
Dennis Baxter, Sound for the Olympics - USA
Beat Joss, tpc AG - Switzerland
Ales Koman, Slovenia TV - Slovenia
Abstract:
Sports has proven to be a major driving force for the introduction of HDTV into the market. Events like the Football World Championships 2006, the Football European Championships in 2008, and the 2008 Bejing Olympics provide an excellent opportunity to showcase the strengths of high resolution pictures. Teaming up with HD picture is High Definition Surround Sound and a generally more elaborate and creative sound design. The challenges are manifold:
• from capturing a roaring stadium crowd of 80,000 to hearing the details of every ball kick, the so-called “close ball”;
• from producing a surround mix to still serving your stereo-viewers with an appropriate downmix and an intelligible commentator;
• from getting your signal to and through your broadcast center unharmed to arriving at the consumer in sync with the picture;
• from making meaningful use of LFE to using the center channel not only for commentary but for the "sound of sports" as well.
A panel of experienced protagonists will discuss these issues and other challenges. Examples will give the audience the chance to judge the effectiveness themselves.
In Part 2 of this workshop a multitrack recording of one of the finals of the Swiss Ice-Hockey Championship 2009 will be mixed live for the audience to witness the approach to creating a compelling surround sound field, which includes the atmosphere of thousands of bawling, booing, and applauding fans and the “sounds of the match,” which you see on your screen.
Saturday, May 9, 09:00 — 11:00
W12 - Reality Is Not a Recording/A Recording Is Not Reality
Chair:
Jim Anderson, New York University - New York, NY, USA
Abstract:
The former New York Times film critic, Vincent Canby, wrote "all of us have different thresholds at which we suspend disbelief, and then gladly follow fictions to conclusions that we find logical." Any recording is a "fiction," a falsity, even in its most pure form. It is the responsibility, if not the duty, of the recording engineer and producer, to create a universe so compelling and transparent that the listener isn't aware of any manipulation. Using basic recording techniques, and standard manipulation of audio, a recording is made, giving the listener an experience that is not merely logical but better than reality. How does this occur? What techniques can be applied? How does an engineer create a convincing loudspeaker illusion that a listener will perceive as a plausible reality? Recordings will be played.
Saturday, May 9, 11:30 — 13:00
W13 - AES 42 Digital Microphones
Chair:
Gregor Zielinsky, Sennheiser
Panelists:
Malgorzata Albinska-Frank
Stephan Flock, Direct Out
Stephan Peus, Neumann
Helmut Wittek, Schoeps
Abstract:
The panel will discuss daily work with digital microphones and their peripheral devices.
While the first digital microphones were launched a few years ago, their use is still within an exclusive community of users.
During the last two years, prices of digital microphones have dropped, while the choice of mics—as well as choices of interfaces—have risen very strongly. More and more companies are incorporating the AES 42 standard.
In this panel manufacturers and users discuss possibilities and workflows of digital microphones. Experienced users will give their view on the AES 42 standard.
Saturday, May 9, 13:30 — 15:30
W14 - 5.1 High Profile Mixing
Co-chairs:
Akira Fukada, Senior Engineer, NHK - Tokyo, Japan
Ulrike Schwarz, Engineer, Bavarian Radio - Munich, Germany
Panelists:
Jean-Marie Geijsen, Director & Balance Engineer, Polyhymnia - Al Baarn, The Netherlands
Sascha Paeth, Owner/Engineer, Gate Studios - Wolfsburg, Germany
Ronald Prent, Residential Surround Engineer, Galaxy Studios - Mol, Belgium
Abstract:
It is very interesting how the perception of music can be altered by a mixing engineer. A conductor or a musician changes the figure of written music, the composer's work, by his or her interpretation and expression. For the recording of music it is rather important what the music conveys to the engineer. In the process of recording and mixing the engineer will approach and embrace the music like an artist or musician.
In this workshop engineers who have various cultural and musical backgrounds present their different mixing results. What did each engineer consider and what did they aim at? We believe that considering the result is a very important element for understanding music and art.
Saturday, May 9, 14:00 — 15:00
W15 - War on Music
Presenter:
Thomas Lund, tc electronic
Abstract:
Music is currently under fire from two sides: Hyper-level and data reduction.
Using theory as well as listening examples, the session will demonstrate how this is a lethal combination. 16 bit audio recorded 20 years ago using less perfect conversion and processing equipment than today easily end up sounding better than modern recordings.
Based on years of research, some of the significant "quality bottlenecks" of today's production and delivery system are identified, and ways of improving on the situation are suggested.
Saturday, May 9, 15:30 — 18:30
W16 - Loudspeaker FE/BE Modeling
Chair:
Steve Hutt, Equity Sound Investments
Panelists:
Wolfgang Klippel, Klippel GmbH
Hermann Landes, SIMetris GmbH
Rich Little, Tymphany Inc.
Peter Larsen, Loudsoft Ltd.
Patrick Macey, PACSYS Limited
Joerg Panzer, R and D Team GmbH
Pierre Thieffry, ANSYS Inc.
Abstract:
This workshop will explore FE/BE modeling of loudspeaker drivers. A case study of an existing loudspeaker driver will be modeled by each panelist to benchmark the capabilities of their modeling software package. A loudspeaker driver's dimensions and material properties will be provided to panelists in advance of the convention so that they may develop a thorough model for presentation at the workshop. Results will be discussed along with measurement analysis of the real loudspeaker driver.
Saturday, May 9, 16:00 — 18:30
W17 - Sound Design for Die Fälscher
Presenters:
Tobi Fleig, Dubbing Mixer
Rainer Heesch, Sound Designer
Tatjana Jakob, Sound Designer
Olaf Mierau, Postproduction Sound Supervisor
Abstract:
Die Fälscher (The Counterfeiters) was awarded the Oscar in 2008 for the best non-English-speaking film. Key members of the sound team will discuss the concepts of sound designing this movie, communication with the director, freedom and constraints, sound as a strong esthetic means for the narrative, and other issues. Several examples from the film will be shown, sometimes in different versions and stages of the mix.
Sunday, May 10, 09:00 — 11:30
W18 - Blu-ray—The Next (And Only?) Chance for High Resolution Music Media
Presenters:
Morten Lindberg, 2L Oslo
Johannes Müller, msm Mastering Munich
Ronald Prent, Freelance Engineer, Galaxy Studios
Abstract:
The concept of utilizing Blu-ray as a pure audio format will be explained, and Blu-ray will be positioned as successor to both SACD and DVD-A. The operational functionality and a double concept of making it usable both with and without screen will be demonstrated by showing a few products that are already on the market.
Sunday, May 10, 09:00 — 11:30
W19 - Audio over IP
Chair:
Heinz-Peter Reykers, WDR Köln
Panelists:
Joost Bloemen, Technica Del Arte BV
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
Gerald List, TransTel Communications GmbH
Peter Stevens, BBC R&D
Abstract:
In radio broadcasting most transmissions and communication between remote broadcast venues and the radio house are based on ISDN lines. Within TV the communication lines are also based on ISDN circuits. But the technology of ISDN networks is gradually being exchanged by IP networks and packet-based transmission. What are the consequences of this migration for the broadcasters? In this workshop the focus will be on practical demonstrations. The topics range from SIP-Servers and infrastructure issues to audio examples regarding latency and other related parameters. Quality of Service and current problems as well as possible solutions will be examined.
Sunday, May 10, 12:00 — 14:00
W20 - Standards-Based Audio Networks Using IEEE 802.1 AVB
Presenters:
Edward Clarke, XMOS Semiconductor - Bristol, UK
Rick Kreifeldt, Harman International - UT, USA
Abstract:
Recent work by IEEE 802 working groups will allow vendors to build a standards-based network with the appropriate quality of service for high quality audio performance and production. This new set of standards, developed by the IEEE 802.1 Audio Video Bridging Task Group, provides three major enhancements for 802-based networks: (1) Precise timing to support low-jitter media clocks and accurate synchronization of multiple streams; (2) A simple reservation protocol that allows an endpoint device to notify the various network elements in a path so that they can reserve the resources necessary to support a particular stream; and (3) Queuing and forwarding rules that ensure that such a stream will pass through the network within the delay specified by the reservation. These enhancements require no changes to the Ethernet lower layers and are compatible with all the other functions of a standard Ethernet switch (a device that follows the IEEE 802.1Q bridge specification). As a result, all of the rest of the Ethernet ecosystem is available to developers, in particular, the various high speed physical layers (up to 10 gigabit/sec in current standards, even higher speeds are in development), security features (encryption and authorization), and advanced management (remote testing and configuration) features can be used. This workshop will outline the basic protocols and capabilities of AVB networks, describe how such a network can be used, and provide some simple demonstrations of network operation (including a live comparison with a legacy Ethernet network).
Sunday, May 10, 12:00 — 14:00
W21 - Multimodal Integration: Audio-Visual-Haptic-Tactile
Co-chairs:
Durand Begault, NASA Ames Research Center
Ellen Haas, US Army Research Lab - MD, USA
Panelists:
Ercan Altinsoy, Technical University of Dresden - Dresden, Germany
Jeremy Cooperstock, McGill University - Montreal, Quebec, Canada
Gerhard Mauter, Audi AG - Germany
Alexander S. Treiber, ACC Akustik - Germany
Abstract:
To design the best human interfaces for complex systems such as automobiles, mixing consoles, shared reality spaces, games, military, and aerospace, an increasing number of designers, psychologists, and human factors specialists are reconsidering multimodal displays of information that includes haptic and tactile feedback in addition to auditory-visual communication. This workshop considers in particular the way in which various modalities of information can be best integrated for a particular application, and identifies future requirements for such research.
Sunday, May 10, 14:30 — 16:30
W22 - MPEG SAOC: Interactive Audio and Broadcasting, Music 2.0, Next Generation Telecommunication
Chair:
Oliver Hellmuth, Fraunhofer IIS - Erlangen, Germany
Panelists:
Jonas Engdegård, Dolby - Stockholm, Sweden
Christof Faller, Illusonic LLC - Lausanne, Switzerland
Jürgen Herre, Fraunhofer IIS - Erlangen, Germany
Werner Oomen, Philips Applied Technologies - Eindhoven, The Netherlands
Abstract:
Recently the ISO/MPEG standardization group launched an activity for bit rate-efficient and backward compatible coding of multiple sound objects that heavily exploits the human perception of spatial sound. On the receiving side, such a "Spatial Audio Object Coding" (SAOC) system renders the transmitted objects interactively into a sound scene on any desired reproduction. Based on the SAOC technology elegant solutions for Interactive Audio and Broadcasting, Music 2.0, Next Generation Telecommunication become feasible. The workshop reviews the ideas and principles behind Spatial Audio Object Coding, especially highlighting its possibilities and benefits for those new types of applications. Additionally, the potential of SAOC is illustrated by means of real-time demonstrations.
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