AES San Francisco 2010
Workshop Details
Thursday, November 4, 9:30 am — 11:15 am (Room 206)
W1 - Applications of Time-Frequency Processing in Spatial Audio
Chair:
Ville Pulkki, Aalto University School of Science and Technology - Helsinki, Finland
Panelists:
Christof Faller, Illusonic LLC
Aki Harma, Philips Research Laboratories
Jean-Marc Jot, DTS Inc.
Abstract:
The time-frequency resolution of human hearing has been taken into account for long time in perceptual audio codecs. Recently, the spatial resolution of humans has been exploited in time-frequency processing as well. This has already lead to some commercial applications. This workshop covers the capabilities and incapabilities of human spatial hearing and the audio techniques that exploit these features. Typically the techniques are based on the estimation of directional information for each auditory frequency channels, which information is then used in further processing. The application areas discussed in the workshop include audio coding, microphone techniques, upmixing, directional microphones, and studio effects.
Thursday, November 4, 9:45 am — 11:45 am (Room 120)
W2 - Standards for Multichannel Audio Distribution
Chair:
Veronique Larcher, Sennheiser Research
Panelists:
Peter Jax, Peter Jax, Technicolor, Research, & Innovation
Rozenn Nicol, Orange Labs
Nils Peters, CNMAT, ICSI, UC Berkeley
Jack Vad, San Francisco Symphony
Wilfried van Baelen, Galaxy Studios
Abstract:
The case of 7.1 audio distribution seems to be well covered with Blu-Ray disks and Dolby TrueHD or DTS-HD formats. But how should this audio content be streamed? What mechanisms are in place to play it back on mobile platforms? Or to broadcast it to stadiums? To the home? The benefits offered by more channels and specifically by surround sound with height are gaining traction in the car industry. What benefits exactly? Will the channel inflation ever stop? The video industry has made progress toward ubiquitous high-definition and 3-D formats. What are their constraints to combine their video content to our multichannel audio? This workshop will gather practitioners from these application fields and collect everyone's hopes and constraints towards the next multichannel audio distribution standard.
Thursday, November 4, 2:30 pm — 4:15 pm (Room 130)
W3 - The Future Is Tactile: How Does Whole Body Vibration Affect Perception of Binaural Audio Over Headphones?
Chair:
Todd Welti, Harman International
Panelists:
Clemeth L. Abercrombie, Artec Consultants Inc.
M. Ercan Altinsoy, Technische Universität Dresden
Sungyoung Kim, Yamaha Corporation
Sean Olive, Harman International
Abstract:
Audio playback at moderate to high levels over headphones alone does not recreate tactile sensations of the recorded or simulated environment. When striving for an accurate and compelling experience, inclusion of tactile stimuli can make the playback system more physically accurate; however including accurate tactile stimulation is not trivial. For example, how do you reproduce tactile stimuli accurately, and does it significantly enhance the experience? More specifically, what is the effect of tactile stimuli on perceived spectral response and loudness? What is the effect of timing asynchrony between aural and tactile channels? How do tactile and aural stimuli interact perceptually? Some of the psychoacoustic issues for haptic feedback systems may also be relevant to binaural playback.
Friday, November 5, 9:00 am — 11:00 am (Room 130)
W4 - Wireless Audio Streaming
Chair:
Gary Spittle, Audio Consultant
Panelists:
Deepen Sinha, ATC Labs
David Trainor, APTX
Abstract:
High quality audio is streamed wirelessly using many forms of radio channels. These range from satellite broadcasts, to mobile telephone networks, to Bluetooth ecosystems, and proprietary ultra low latency systems. This workshop will discuss the challenges we face, along with some of the techniques used, in delivering high quality audio over these connections. Audio codecs are an essential component of each radio link. It will be shown how they are adapted for the specific audio source material, radio channel, and receiving device in the system. Furthermore, the impact of interference on the channel will be presented in relation to the codec and how the effects can be minimized.
Friday, November 5, 9:00 am — 10:45 am (Room 133)
W5 - How Does It Sound Now? The Evolution of Audio
Chair:
Gary Gottlieb, Webster University
Panelists:
Ed Cherney
Mark Rubel
Elliot Scheiner
Al Schmitt
Abstract:
With 27 Grammy awards between them, panelists Al Schmitt, Elliot Scheiner, Ed Cherney, and Mark Rubel are uniquely qualified to address the issues surrounding quality in audio, the one constant through decades of transitions in our business. Moderator Gary Gottlieb (engineer, author and educator) draws from the old Chet Atkins story with the punch line, "How does it sound now?" as these audio all-stars discuss the methodology employed when confronted with new and evolving technology and how we retain quality and continue to create a product that conforms to our own high standards. This may lead to other conversations about the musicians we work with, the consumers we serve, and the differences and similarities between their standards and our own. How high should your standards be? How should it sound now? How should it sound tomorrow?
Friday, November 5, 10:30 am — 12:45 pm (Room 206)
W6 - Single Unit Surround Microphones
Chair:
Eddy B. Brixen, EBB-Consult
Panelists:
Gary Elko, mh acoustics LLC
David Josephson, Josephson Engineering
Jim Pace, Sanken Microphones / Plus 24
Pieter Schillebeeckx, SoundField
Morten Stove, DPA Microphones
Mattias Strömberg, Milab
Helmut Wittek, SCHOEPS Mikrofone GmbH
Abstract:
The workshop will present available single-unit surround sound microphones in a kind of "shoot out." There are a number of these microphones available and more units are on their way. These microphones are based on different principles. However, due to their compact sizes there may/may not be restrictions to the performance. Basically this workshop will present the different products and the ideas and theories behind them.
Friday, November 5, 10:45 am — 12:45 pm (Room 132)
W7 - Applications for High-Quality Audio over Long-Distance Networks
Chair:
Nathan Brock, University of California San Diego
Panelists:
Chris Chafe, Stanford University
Elizabeth Cohen, Cohen Acoustical
Jeremy Cooperstock, McGill University
Peter Stevens, BBC
Abstract:
The recent deployment of wide-area fiber networks has made low-latency streaming of uncompressed and lightly-compressed audio possible for many users in academia and industry. Applications for such streaming media, and for fast file transfers over such networks, have been explored for the past decade but are not widely known outside of the networking research community. This workshop will present several use cases for such networks in areas including live performance, production and postproduction, archiving, telecommunications, remote pedagogy, and broadcasting.
Friday, November 5, 11:15 am — 12:45 pm (Room 130)
W8 - Mastering: Art, Perception, Technologies–1
Chair:
Michael Romanowski, Michael Romanowski Mastering
Panelists:
Gavin Lurssen, Gavin Lurssen Mastering
Andrew Mendleson, Georgetown Masters
Joe Palmacio, The Place for Mastering
Mike Wells, Mike Wells Mastering
Abstract:
This is a continuation of the Mastering panel from AES 2009 in New York. We will discuss the state of Mastering in 2010. Mastering engineers use technology to achieve the desired results. But what gets little or no discussion is the perceptions and approaches that cause the engineer to make those choices. In this two part series, we want to talk about the art of perception and technology as it pertains to the Mastering industry in 2010 and the future. This particular discussion will focus on mastering technologies and the state of mastering today and looking forward.
Friday, November 5, 2:30 pm — 4:00 pm (Room 130)
W9 - Live Monitoring and Latency with Digital Audio Networks
Chair:
Umberto Zanghieri, ZP Engineering srl
Panelists:
Carl Bader, Aviom
Kevin Gross, AVA Networks
Michael Lester, Shure
Robert Scovill, Avid
Abstract:
The increasing adoption of digital audio networks for live events can impact the latency of audio signals as perceived on stage. Issues related to audio latency when considering personal monitoring and traditional, speaker-based monitoring are discussed. Real cases are shown and detailed, as well as the preferences and habits of performers.
Friday, November 5, 4:30 pm — 6:30 pm (Room 130)
W10 - Audio Network Control Protocols
Chair:
Kevin Gross, AVA Networks - Denver, CO, USA
Panelists:
Bradford Benn, Harman Corporation - Los Angeles, CA, USA
Richard Foss, Rhodes University - Grhamstown, South Africa
Jeff Koftinoff, Meyer Sound - Berkeley, CA, USA
Andy Schmeder, CNMAT - University of California Berkeley
Peter Stevens, BBC - London, UK
Abstract:
Digital audio networks have solved a number of problems related to the distribution of audio within a number of contexts, including recording studios, stadiums, convention centers, theaters, and live concerts. They provide cabling ease, better immunity to interference, and enhanced control over audio routing and signal processing when compared to analog solutions. There exist a number of audio network types, and also a number of audio network protocols, that define the messaging necessary for connection management and control of devices within networks. In this workshop a panel of audio network protocol experts will share the features of audio network protocols that they are familiar with and how network protocols might adapt and change over the next few years, bearing in mind the need for interoperability.
Friday, November 5, 4:30 pm — 6:00 pm (Room 132)
W11 - AES42 and Digital Microphones
Chair:
Helmut Wittek, SCHOEPS Mikrofone GmbH
Panelists:
Stephan Flock, DirectOut GmbH
Tom Frey, Sennheiser
Stephan Peus, Georg Neumann GmbH
Abstract:
The AES42 interface for digital microphones is not yet widely used. This can be due to the relatively young appearance of digital microphone technology but also a lack of knowledge and practice with digital microphones and the corresponding interface exists. The advantages and disadvantages have to be communicated in an open and neutral way regardless of commercial interests but on the basis of the actual need of the engineers. Along with an available “White paper” about AES42 and digital microphones, which is aimed a neutral in-depth information and which was compiled from different authors, the proposed workshop intents to enlighten facts and prejudices on this topic.
Friday, November 5, 4:30 pm — 6:30 pm (Room 131)
W12 - Keep Turning it Down! Developing an Exit Strategy for the Loudness Wars
Chair:
Martin Walsh, DTS Inc.
Panelists:
Bob Ludwig, Gateway Mastering
Thomas Lund, TC Electronic
Susan Rogers, Berklee College of Music
Abstract:
Following on from the popular workshop presented at the 127th AES Convention that delved into topics relating to the nature and the consequences of the loudness wars, our panel of loudness experts and "master" mastering engineers will provide an update on the progress toward ending the war and returning peace, harmony, and dynamic range to the people.
The workshop will focus on alternatives to the practice of overly aggressive dynamic range compression using weapons such as seasoned mastering techniques and gain normalization algorithms and standards. Audience participation is encouraged and all are welcome to voice their own opinion and comments in relation to the issues discussed.
Saturday, November 6, 11:00 am — 1:00 pm (Room 206)
W13 - Progress in Computer-Based Playback of High Resolution Audio
Chair:
Vicki R. Melchior, Audio DSP Consultant - Boston, MA, USA
Panelists:
Bob Bauman, Lynx Studio Technology - Costa Mesa, CA, USA
James Johnston, DTS Inc. - Calabasas, CA, USA
Andy McHarg, dCS Ltd. - Cambridge, UK
Daniel Weiss, Weiss Engineering Ltd. - Zurich, Switzerland
Abstract:
With the continuing decline in discs as music sources and concurrent growth of electronic distribution, computers and network attached storage (NAS) are now rapidly evolving as front end components in place of traditional transports and players. Computers have long been useful within mastering workflows, though not always loved, and their introduction into high quality music systems raises a new range of engineering challenges.
Intrinsic to computers are problems of EMC, switching noise, dirty power, jittered clocks, crosstalk, driver and operating system variability, protocol incompatibilities, and software errors, to name a few. These may directly influence audio quality. Of special importance, for example, are the design as well as system configuration of digital audio interfaces (USB, Firewire, S/PDIF, WiFi, Ethernet etc), D/A conversion, and data processing, along with clocks and power sourcing.
The panel in this workshop are active in the design of these systems and will discuss some of their results and thoughts regarding the most salient factors for optimization of sonic performance in this area.
Saturday, November 6, 2:30 pm — 3:30 pm (Room 130)
W14 - Rethinking the Digital Audio Workstation
Chair:
Michael Hlatky, accessive tools GmbH
Panelists:
Jörn Loviscach, University of Applied Sciences Bielefeld
Guy McNally, Uncut Video Inc.
Bernard Mont-Reynard, SoundHound Inc.
Allen Saego, London Metropolitan University
Abstract:
The DAWs of today very much resemble those of 1989. Yes, the buttons have become nicer and we can record more tracks in parallel, but with the technology advances since then, we should be doing much better. There are, however, not many companies on the market today that have the ability to rethink how their products work. Yet, universities and research centers have brought us an immense collection of new technologies to build new products upon. How about, for instance, real-time online cross-DAW collaboration, leveraging social networks for finding the optimal effect settings, and making DAWs not only bulletproof, but also foolproof? This workshop surveys existing technologies; it looks into possible synergies from other fields of computing sciences, and proposes practical improvements for and/or radical changes to DAW software.
Saturday, November 6, 3:45 pm — 4:45 pm (Room 130)
W15 - Semantic Audio Success: Commercial Applications of Semantic Audio Analysis
Chair:
Jay LeBoeuf, Imagine Research
Panelists:
Ching-Wei Chen, Gracenote, Inc. - Emeryville, CA, USA
Aaron Master, SoundHound Inc
Erling Wold, Audible Magic
Abstract:
Thanks to mobile devices, cloud-computing, and ample storage and computing, we are now seeing a great dawn of products that include semantic audio analysis (SAA) technologies. Without even knowing it, millions of users reap the benefits of semantic audio analysis on a daily basis. Companies include SAA techniques to provide their users with magical experiences: offering intelligent, simple, work flows that listen to and richly interact with a user's speech, music, or environment. This workshop will introduce AES members to some of the commercial uses and applications of semantic audio analysis. A panel discussion will engage companies to describe how SAA technology has powers their innovative products, the technical challenges that they face, and the future of things to come.
Saturday, November 6, 4:45 pm — 6:15 pm (Room 131)
W16 - Mastering: Art, Perception, and Technologies–2
Chair:
Michael Romanowski, Michael Romanowski Mastering
Panelists:
Gavin Lurssen, Gavin Lurssen Mastering
Andrew Mendleson, Georgetown Masters
Joe Palmacio, The Place for Mastering
Paul Stubblebine, Paul Stubblebine Mastering
Mike Wells, Mike Wells Mastering
Abstract:
This is a continuation of the Mastering panel from AES 2009 in New York. We will discuss the state of Mastering in 2010 by Mastering Engineers. Mastering engineers use technology to achieve the desired results. But what gets little or no discussion is the perceptions and approaches that cause the engineer to make those choices. In this two part series, we want to talk about the art of perception and technology as it pertains to the Mastering industry in 2010, and the future. In this session, we will talk about perception and the art form of mastering, and how decisions are made based on our approaches and perception in the mastering environment.
Sunday, November 7, 9:00 am — 10:30 am (Room 132)
W17 - Paths to High Resolution Downloads
Chair:
Mike Wells, Mike Wells Mastering
Panelists:
Virgilio Bacigalupo, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Jean Cook, Future Music Coalition
Jeff Price, Tunecore - Brooklyn, NY, USA
John Spencer, BMS/Chase - Nashville, TN, USA
Tony Berman, Berman Entertainment and Technology Law - San Francisco, CA, USA
Abstract:
This panel will explore the current state of digital distribution of commercial audio recordings, and how the audio engineering community can get involved with digital distribution channels to create a new direction toward the goal of high resolution downloads. Beginning with an overview of how modern digital distribution channels have come to the current standards of low-resolution MP3 and AAC codecs as standards, we then explore current efforts toward increasing fidelity and quality of distributed encodings within the digital distribution channels, how we can work with digital distributors to improve interaction of audio engineers with the digital distribution community, and finish with action steps that both parties (audio engineering and digital distribution) can take toward improving fidelity and quality of distributed audio assets.
Sunday, November 7, 11:00 am — 1:00 pm (Room 130)
W18 - Audio System Measurement and Subjective Evaluation
Chair:
Kurt Graffy, ARUP
Panelists:
Charlie Hughes, Excelsior Audio - Gastonia, NC, USA
Peter Mapp, Peter Mapp Associates
Brian McCarty, Coral Sea Studios
Floyd Toole, Consultant/Harman International
Abstract:
With the proliferation of measurement systems that provide both spectral and temporal analysis replacing RTAs (Real Time Analyzers), are the current standards for defining venue or cinema system/room tuning and/or coverage parameters still valid? Just because we can measure it is it subjectively significant? What are we measuring and what does/can it tell us?
Sunday, November 7, 2:30 pm — 4:30 pm (Room 206)
W19 - The Challenge of Producing Blu-ray
Chair:
Stefan Bock, msm-studios - Munich, Germany
Panelists:
Markus Hinz, Minnetonka Audio Software - Minnetonka, MN, USA
John McDaniel, dts - Los Angeles, CA, USA
Joe Rice, MX Production - San Francisco, CA, USA
Mark Waldrep, AIX Media Group - Los Angeles, CA, USA
Abstract:
Blu-ray is catching on at an interesting rate nowadays, either as a storage medium, a platform for high definition video and audio, or even a super high quality format for audio-only titles, such as Pure Audio Blu-ray. Do mixing and mastering engineers need to change their workflow to incorporate such formats? What is the challenge of working for Blu-ray compared to other surround formats? How can lossless codecs be implemented on Blu-ray? How can Blu-ray discs be authored according to the AES X-188 draft? The panel will present the audience different authoring concepts as it can be found in current commercial products.
Sunday, November 7, 4:30 pm — 6:00 pm (Room 130)
W20 - Return to Quality in Audio Production
Co-chairs:
Andres Mayo, Andres Mayo Mastering - Buenos Aires, Argentina
Ronald Prent, Galaxy Studios - Mol, Belgium
Panelists:
Francisco Miranda, Engineer/Studio Owner - Mexico City, Mexico
Dave Reitzas, Mixer/Producer - Los Angeles, CA, USA
Jeff Wolpert, Producer/Educator - Toronto, Ontario, Canada
Abstract:
We are witnessing a return to the search for better quality in current audio productions, with engineers and producers more concerned about long lasting recordings instead of just thinking about MP3 and Internet delivery. In Los Angeles, London, and Mexico City (just to name a few) great sounding studios have recently opened, and established ones are regaining clientele thanks to new and improved recording and mastering systems. This panel will discuss the paradigm shift that is affecting industry professionals positively throughout the globe.
