AES Rome 2013
Workshop Details
Saturday, May 4, 10:30 — 12:30 (Auditorium Loyola)
W1 - Capturing the Acoustics of Concert Halls with a Loudspeaker Orchestra
Chair:Tapio Lokki, Aalto University - Aalto, Finland
Panelists:
Jukka Pätynen
Sakari Tervo
Abstract:
The sensory evaluation process to assess the quality of concert hall acoustics requires that the spatial sound in a concert hall can be reproduced accurately with a multichannel reproduction system. This workshop introduces methods to create a listening system, with which a subject can switch between the acoustics of different rooms, e.g., concert halls, in real time. The acoustics is captured by measuring spatial impulse responses from 34 loudspeakers on stage with a microphone array. The impulse responses are spatially encoded for a 24-loudspeaker 3-D setup. Finally, a convolution of anechoic symphony orchestra recordings with spatially decomposed convolution reverbs reproduces the spatial sound from the concert hall for listening and for comparison of acoustics. The workshop includes several sound samples from famous European concert halls.
Saturday, May 4, 11:00 — 12:30 (Sala Manzoni)
W2 - Applications of 3-D Audio in Automotive
Chair:Alan Trevena, Jaguar Land Rover - Gaydon, UK
Panelists:
Oliver Hellmuth, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Michael Kelly, DTS, Inc. - London, UK
Adam Sulowski, Audi AG - Ingolstadt, Germany
Bert Van Daele, Auro Technologies NV - Mol, Belgium
Abstract:
While there are a number of technologies aimed at improving the spatial rendering of recorded sounds in automobiles, few are offer the advantages and challenges as 3-D surround. This workshop will explore theoretical applications and system configurations as well as limitations of 3-D surround applications in automotive. Questions such as what is the reference experience, and how is a system evaluated will be addressed.
Saturday, May 4, 14:15 — 16:15 (Sala Alighieri)
W3 - Sound Mixers Discuss Their Craft
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
Marco Coppolecchia, Technicolor - Rome, Italy
Simone Corelli, Post in Europe - Rome, Italy; Cesma - Lugano, Switzerland
Carlos Zarattini, Discovery Networks Italy - Milan, Italy
Abstract:
Cinema sound has traditionally been limited in fidelity because optical soundtracks, used until recently, were incapable of delivering full-bandwidth audio to the theaters. As digital cinema replaces film in distribution, sound mixers are now delivering uncompressed lossless tracks to the audience. Leading sound mixers from both Hollywood and Europe will discuss their approach and methodology in producing award-winning soundtracks.
Saturday, May 4, 14:15 — 15:45 (Sala Manzoni)
W4 - Semantic Analysis for Speech Signals
Co-chairs:Jörn Loviscach, University of Applied Sciences - Bielefeld, Germany
Christian Uhle, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Panelist:
Yves Raimond, BBC Research and Development - London, UK
Abstract:
Semantic audio analysis is the automated extraction of meaning from audio signals, with applications in, e.g., music information retrieval, intelligent audio editing, and automated music transcription. The workshop focuses on the semantic analysis of signals containing speech. It discusses speech detection methods and their application to speech enhancement, broadcast monitoring, loudness control and audio coding, presents recent work on automatic tagging of speech in the BBC World Service radio archive, and gives an overview of possible future developments, e.g., speaker identification, emotion recognition, and automated editing of speech recordings. The panelists will discuss the state of the art in semantic audio analysis for speech and its challenges.
Sunday, May 5, 14:30 — 16:30 (Sala Manzoni)
W5 - Cinema Sound—Acoustical and Calibration Issues
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelists:
David Murphy, Krix Loudspeakers - Hackham, South Australia
Philip Newell
Abstract:
First, we will take a theoretical look at the problems of cinema sound and shortcomings in the current SMPTE standards and testing methodology.
Then we will explore a practical look at the perils of on-site measurements and the application of new standards to the calibration of sound systems in cinemas.
Sunday, May 5, 16:30 — 18:30 (Sala Manzoni)
W6 - Design and Build of First Atmos-Equipped Dubbing Theater
Chair:Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Panelist:
Philip Newell
Abstract:
With immersive sound being talked about as the "next generation sound" for cinema and TV, this workshop will discuss in detail the design, construction, and commissioning of the world's first Atmos-equipped dubbing stage in Moscow, Russia.
Monday, May 6, 09:00 — 12:00 (Sala Manzoni)
W7 - Multichannel Immersive Audio Formats for 3-D Cinema and Home Theater
Chair:Christof Faller, Illusonic GmbH - Uster, Switzerland
Panelists:
Brian Claypool, Barco
Kimio Hamasaki, NHK Science & Technology Research Laboratories - Setagaya, Tokyo, Japan
Wilfried Van Baelen, Auro Technologies - Mol, Belgium
Abstract:
Several new immersive sound formats are under active consideration for cinema soundtrack production. Each was developed to create realistic sound "motion" and "immerse" the audience in a more realistic soundfield. This workshop is a repeat of the program presented at AES 133 in San Francisco, with the proponents of four of the leading immersive sound systems to discuss their specific technologies.
Monday, May 6, 14:30 — 17:30 (Sala Foscolo)
W8 - Current Reference Listening Room Standards: Are They Meaningful
Chair:Todd Welti, Harman International - Northridge, CA, USA
Panelists:
Sean Olive, Harman International - Northridge, CA, USA
Francis Rumsey, Logophon Ltd - Oxfordshire, UK
Andreas Silzle, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Thomas Sporer, Fraunhofer IDMT - Ilmenau, Germany
Abstract:
The ITU BS.1116 standard “Methods for the Subjective Assessment of Small Impairments in Audio Systems … ” contains guidelines for standard listening environments used for assessing subjective quality of audio systems. This includes factors like dynamics and frequency/directivity response for loudspeakers, physical, and acoustical properties of the room. This standardized playback environment should be consistent and representative of high quality systems, yet representative of systems that actually exist. This workshop takes a fresh look at the ITU BS.1116 standard and how it could be improved. In fact some changes that in theory might improve the specification might not actually be practical. Many aspects of the discussion would be relevant to reference listening room standards other then the BS.1116 standard, thus the more general workshop title.
Tuesday, May 7, 09:00 — 11:30 (Auditorium Loyola)
W9 - Acoustic Enhancements Systems—Implementations
Chair:Ben Kok, SCENA acoustic consultants - Uden, The Netherlands
Panelists:
Steve Barbar, E-coustic Systems - Belmont, MA, USA
Peter Mapp, Peter Mapp Associates - Colchester, Essex, UK
Thomas Sporer, Fraunhofer IDMT - Ilmenau, Germany
Takayuki Watanabe, Yamaha Corp. - Hamamatsu, Shizuoka, Japan
Wieslaw Woszczyk, McGill University - Montreal, QC, Canada
Abstract:
Acoustic enhancement systems offer the possibility to change the acoustics of a venue by electronic means. The way how this is achieved varies by the working principle and philosophy of the system implemented. In this workshop various researchers, consultants, and suppliers active in the field of enhancement systems will discuss working principles and implementations.
This workshop is in close relation with the tutorial on acoustic enhancement systems; people not yet too familiar with the applications and working principles of these systems are recommended to attend the tutorial before attending the workshop.
Tuesday, May 7, 14:30 — 16:30 (Sala Foscolo)
W10 - Miking for PA
Chair:Eddy B. Brixen, EBB-consult - Smorum, Denmark
Panelists:
Giacome De Caterini, Casal Bauer - Italy
Igor Fiorini, VDM Group - Italy
Cathrine Sadolin, Complete Vocal Institute - Copenhagen, Denmark
Henrik Sadolin, Complete Vocal Institute - Copenhagen, Denmark
Abstract:
Miking for PA is a very important task. Providing amplification to the spoken or singing voice or the acoustical music instrument requires good knowledge about the sound source, about the PA-system, about the monitoring system—and about the microphones. This workshop takes you through some of the important issues and decisions when selecting the microphone with regards to peak level capacity, sensitivity, directivity, frequency response, sensitivity, etc. Getting balance, getting definition, getting the right timbre or “sound”—and still avoiding acoustical feedback, that’s the thing. Recognized engineers and sound designers will generously share their experiences from their work on the stages. Warning: Some of the attendees may pick up ideas that will change their habits forever…
