AES Los Angeles 2014
Recording & Production Track Event Details

Thursday, October 9, 9:00 am — 10:00 am (Room 404 AB)


Networked Audio: N1 - A Primer on Fundamental Concepts of Media Networking

Landon Gentry, Audinate - Portland, OR, USA; Sydney, NSW, Australia

This session will cover the OSI model and how data travels through network layers (a “networking stack”): Layers 1, 2, 3 and 4; Cables, MAC Addresses, IP Addresses, and networking protocols. An overview of some networking standards and standards organizations, including the IEEE and the IETF. An introduction to IP data networking . . . it is how everything is already wired together. Identify some of the advantages and limitations of IP data networks with respect to real-time media. A brief discussion of IP networking standards and protocols that can be leveraged for media networking.


Thursday, October 9, 9:00 am — 11:00 am (Room 408 B)


Tutorial: T3 - An Overview of Audio System Grounding and Signal Interfacing—A Master Class

Bill Whitlock, Whitlock Consulting - Oxnard, CA, USA

Equipment makers like to pretend noise problems don't exist, but this tutorial replaces myth and hype with insight and knowledge, revealing their true causes. Unbalanced interfaces are exquisitely vulnerable to noise due to an intrinsic problem. Although balanced interfaces are theoretically noise-free, they're widely misunderstood by equipment designers, resulting in equipment with inadequate noise rejection in real-world systems. Another widespread design error gives some equipment a built-in noise problem. Simple, no-test-equipment troubleshooting methods can not only identify this equipment but pinpoint the exact location and cause of hum and buzz. Signal-path ground isolators are generally the best solution. Optimum interfaces between unbalanced and balanced connections, RF interference, and power-line treatments are also discussed as well as why some widely-used "cures" are both illegal and deadly.


Thursday, October 9, 10:30 am — 12:00 pm (Room 403 AB)

Recording & Production: RP1 - Raw Tracks: Fleetwood Mac—A Master Class

Jonathan Pines, Rupert Neve Designs - Wimberley, TX, USA; Private Studios - Urbana, IL, USA
Ken Caillat

Renowned Grammy winning engineer/producer Ken Caillat will discuss, analyze, and deconstruct the multi-track recordings of several classic Fleetwood Mac songs from the hit album Rumours in the inaugural "Raw Tracks" series at the AES 137th International Conference in Los Angeles.


Thursday, October 9, 10:45 am — 12:45 pm (Room 306 AB)


Tutorial: T4 - Sound Reproduction: The State of Our Science

Floyd Toole, Acoustical consultant to Harman, ex. Harman VP Acoustical Engineering - Oak Park, CA, USA

Sound Reproduction: The State of Our Science

Most of the music we enjoy is generated by loudspeakers of differing pedigree, and propagated to our ears through spaces that can mostly be described as acoustically arbitrary. In spite of the obvious huge variations, humans have managed to not only enjoy reproduced music, but sometimes even to exhibit enthusiasm for it. Common acoustical measurements confirm the variations. Are they wrong? Do they matter? In double-blind subjective evaluations of loudspeakers in rooms, listeners exhibit strong and remarkably consistent opinions about the sound quality from loudspeakers. The challenge has been to identify those technical measurements that correlate with the subjective ratings. What is it that these listeners are responding to? This review will examine the acoustical properties of loudspeakers (the sound source), rooms (the acoustical conveyance) and listeners (the powerfully perceptive, and adaptable receptor). In some respects, our problems began when we started to make certain kinds of simplistic measurements. Two ears and a brain do not respond to complex sound fields the way an omnidirectional microphone and analyzer do. Belief that “room equalization” is a universal cure-all has added to the confusion. Much of the applied acoustical science was developed for large, reverberant, venues, not those most used for sound reproduction. We can do better. At the present time the audio industry is significantly lacking in meaningful standards, material specifications and loudspeaker performance descriptions. As a consequence, opinions often substitute for facts.


Thursday, October 9, 11:00 am — 12:00 pm (Room 405)

TC Meeting: Archiving, Restoration, and Digital Libraries

Technical Committee Meeting on Archiving, Restoration, and Digital Libraries


Thursday, October 9, 11:30 am — 12:30 pm (Room 406 AB)

Game Audio: G1 - Sound Business: Strategies and Fundamentals in Game Audio Contracts

Keith Arem, PCB Productions and PCB Entertainment

Understand how new technologies and delivery methods can affect ownership, residuals, and copyright. Actors, musicians, composers, sound engineers, and directors can discover new opportunities in the expanding frontier of games. PCB President Keith Arem shares his experiences and insight into how games are transforming the way the entertainment industry works with sound.


Thursday, October 9, 11:30 am — 12:30 pm (Room 408 B)


Tutorial: T7 - All About: The Decibel

Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

The decibel is defined by an equation. “Yuck!” some might say. However that equation is rich with meaning and need not be a source of confusion. Total mastery of the decibel makes interfaces far more informative, specs sheets so much clearer, and every session easier.


Thursday, October 9, 11:45 am — 12:15 pm (Room 309)


Tutorial: T6 - Produce 3D Audio for Music, Film, and Game Applications

Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany

Beyond of formats and applications but having later distribution in mind, the session will show production strategies and tools in 3D audio. Complete sessions from different genres will be opened and setups will be explained. Furthermore current and future end customer application and distribution possibilities will be shown.


Thursday, October 9, 1:00 pm — 2:00 pm (Room 403 AB)

Special Event: Opening Ceremonies
Keynote Speech

Sean Olive, Harman International - Northridge, CA, USA
Bob Moses, AES - Vashon Island, WA, USA
Valerie Tyler, College of San Mateo - San Mateo, CA, USA
Michael MacDonald, ATK Audiotek - Valencia, CA, USA
Jan Abildgaard Pedersen, Dynaudio - Skanderborg, Denmark
Alan Parsons

Awards Presentation
BRONZE MEDAL AWARD • Mark Gander, • Peter Mapp, • Francis Rumsey
FELLOWSHIP AWARD • Alex Case, • Mark F. Davis, • Jim Kaiser, • Bob Lee, • Bruce Swedien, • Edmund Welly, • James Yeary
CITATION • Christopher Freitag

Keynote Speaker
Alan Parsons, the acclaimed engineer, musician, and record producer, has been involved in the production of several legendary albums throughout his career. He was fortunate enough to work as assistant engineer on the final two albums by The Beatles, and after he qualified as a fully-fledged recording engineer, he went on to work with Paul McCartney and The Hollies, among many others. But it was his contribution as engineer on Pink Floyd's classic Dark Side of the Moon that really got him worldwide attention and earned him his first of many GRAMMY® nominations. That soon led to striking successes as a producer – notably with Pilot's “Magic,” John Miles’ “Highfly” and Steve Harley’s “Make Me Smile (Come Up And See Me)”. He also produced the hugely successful Year of the Cat album with Al Stewart and two albums with American progressive rock band Ambrosia. With Eric Woolfson, Parsons co-founded The Alan Parsons Project, famous for its revolving group of studio musicians and vocalists and its platinum albums and singles, including “Games People Play” and “Eye in the Sky.”

Additionally, he developed The Art and Science of Sound Recording, a definitive collection of training videos presented by Parsons, which gives viewers his exclusive insider access to legendary musicians, producers and engineers and their award-winning recording techniques.

Alan has come full circle and is back in his role as producer and engineer, both at his own Santa Barbara studio and other studios internationally. In 2012, Alan produced an album called Grand Ukulele with virtuoso ukulele player Jake Shimabukuro. A collaboration with Steven Wilson as engineer and associate producer resulted in the album The Raven That Refused to Sing (And Other Stories) in 2013, hailed as a major success and reaching Top 5 on the album charts in Germany.

In his Keynote address, Mr. Parsons will provide his unique insights on the current and future direction of the music and recording industry from his singular perspective of success and experience throughout the history of popular music.


Thursday, October 9, 2:15 pm — 4:15 pm (Room 402 AB)

Special Event: The Latin Panel: Great Producers from Latin America (panel en Español)

Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Daniel Anselmi, música caReta - Montevideo, Uruguay
Rafa Arcaute, Rafa Arcaute - Buenos Aires, Argentina
Armando Avila, Cosmos - Mexico
Aureo Baqueiro, Brava! Music - Los Angeles, CA, USA; Nico Plus Music Group - Los Angeles, CA, USA
Humberto Gatica, Lionshare/Gatica Music - Los Angeles, CA, USA
Tweety González, Twitin Records - Buenos Aires , Argentina
Anibal Kerpel, SK Associates - Los Angeles, CA, USA
Sebastian Krys
Guido Nisenson, Sr., Minimal S.L. - Madrid,Spain
Rafa Sardina, Fishbone Productions, Inc. - Los Angeles, CA, USA

Por primera vez en la historia, tendremos un panel oficialmente hablado en idioma Español en una Convención Internacional de AES. El panel "Grandes Productores de América Latina! reunirá a algunos de los más grandes nombres de la región, todos ellos múltiples ganadores de Premios Grammy, para presentar sus últimas producciones y hablar acerca del estado de la industria en América Latina.

For the first time in AES history, there will be a panel officially held in Spanish in an International AES Convention. The panel “Grandes Productores de América Latina” (“Great producers from Latin America”) will bring together several of the biggest names in the region, all of them multiple Grammy Award winners, to present their most recent work and discuss the state of the musical industry in Latin America.


Thursday, October 9, 2:15 pm — 4:15 pm (Room 404 AB)

Historical: H1 - Evolution of Studio Acoustic Design

Mark Gander, JBL Professional/Harman International - Northridge, CA, USA
George Augspurger, Perception Inc. - Los Angeles, CA, USA
Chips Davis, Chips Davis Designs, LLC - San Francisco, CA, USA
Richard Schrag, Russ Berger Design Group - Addison, TX, USA
John Storyk, Architect, Studio Designer and Principal, Walters-Storyk Design Group - Highland, NY, USA

A panel of four distinguished studio designers, George Augspurger, Russ Berger, John Storyk, and Chips Davis, each with career durations of over forty years, will give individual perspectives on how methods have evolved in their work and the industry from the 1960s to the present day. They will outline the development of modern studio design principles by presenting key examples of their projects, to be followed by panel interaction and questions from the audience.


Thursday, October 9, 2:15 pm — 3:45 pm (Room 409 AB)


Tutorial: T9 - Dither and Noise Shaping in Digital Audio: Hows and Whys

Duane Wise, Wholegrain Digital Systems LLC - Boulder, CO, USA

This tutorial investigates finite-word-length in digital audio: how it differs from analog audio, the side-effects of signal quantization, and how the adverse effects of quantization can be diminished via dither and/or noise shaping. The tutorial presents the theory of quantization along with a live interactive audio demonstration that illustrates the motivation behind the theory.

The author invites attendees to download the presentation materials at

AES Technical Council This session is presented in association with the AES Technical Committee on Signal Processing


Thursday, October 9, 3:15 pm — 4:45 pm (Room 408 B)

Game Audio: G3 - Sound Design & Mix: Challenges and Solutions—Games, Film, Advertisement

Charles Deenen, Source Sound Inc. - Los Angeles, CA, USA
John Fasal
Tim Gedemer, Source Sound, Inc. - Woodland Hills, CA USA; Calliope Music Design, Inc.
Csaba Wagner, Freelance Sound Designer - Hollywood, CA, USA
Bryan Watkins, Warner Brothers Post Production Services Game Audio - Burbank, CA, USA

Different media in today’s marketplace require different (immersive) sound. Each media format has it’s own level requirements, channel distinctions, hidden technical challenges to overcome and more. This panel will attempt to demonstrate, through example and discussion, how audio production and post production techniques can (and should) be effectively tailored to their respective visual release media formats, including Games, Mobile, Trailers, Commercials and Film.


Thursday, October 9, 4:30 pm — 6:30 pm (Room 306 AB)

Workshop: W1 - Loudness Wars: Give Peaks a Chance

Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Thomas Lund, TC Electronic A/S - Risskov, Denmark
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Susan Rogers, Berklee College of Music - Boston, MA, USA

Music production, distribution, and consumption has been caught in a vicious spiral rendering two decades of our music heritage irreversibly damaged. Today, new tracks and remastered ones typically sound worse than what could even be expected from compact cassette. As a pro society, do we just sit by and let that happen on our watch?

With us to discuss the most important pro audio topic today are Susan, George and Bob—the finest from music auditory research, production, and mastering—while Florian and Thomas are at the helm of two European initiatives to also help reverse the vicious spiral: EBU R128 and EU legislation to prevent early hearing loss from listening to personal music players. Another glimpse of hope is iTunes Radio with loudness normalization on by default.

More reasonable distribution will not and should not prevent engineers from squashing music for artistic reasons, but it will take away any “advantage” of being louder. Learn to live with it!


Thursday, October 9, 4:45 pm — 6:45 pm (Room 406 AB)

Product Design: PD4 - D/A and A/D Design for Today’s High Resolution Audio Formats

Vicki R. Melchior, Technical Consultant, Audio DSP - Lynn, MA, USA
Andy McHarg, dCS Ltd. - UK
Bruno Putzeys, Hypex Electronics - Rotselaar, Belgium
Daniel Weiss, Weiss Engineering Ltd. - Uster, Switzerland

With new interest in “ultra” DSD and DXD, A/D and D/A converters, to be fully inclusive, now must support a wide range of PCM formats (1Fs, 2Fs, 4Fs, 8Fs) as well as DSD (64 Fs, 128 Fs, and 256 Fs). Converter design and signal processing influence the performance obtained from these various formats and can also affect how they are perceived. A panel of AD/DA design engineers highly experienced in getting the best out of formats ranging from redbook to high resolution offer their take on these formats and on implementation for optimal quality. Along the way, many of the issues, assertions, less understood areas influencing sonic quality, and perhaps some of the canards that have developed surrounding these formats are discussed.


Thursday, October 9, 5:00 pm — 6:30 pm (Room 408 B)


Historical: H2 - Audio Architects of the Nashville Sound: Highlights from the AES Nashville Lifetime Achievement Awards

Michael Janas, Belmont University - Nashville, TN, USA

“Nashville would have never become a recording center without the engineers,” - Country Music Hall of Fame and Musicians Hall of Fame guitarist Harold Bradley.

As often as people talk about how great records sound from many decades back, so little attention has been given to the engineers who captured the sound for all-time. If the sounds weren’t captured just right by the engineer, it would be a completely different story to all who hear them.” - Eddie Stubbs, WSM 650 disc jockey and Grand Ole Opry Announcer. Audio engineers played a crucial role in the evolution of the Nashville sound through the combination of their technical prowess, their own musicianship and their ability to understand the needs of the artist, the music, and bring to fore the elements of a hit song. In 2012 the Nashville Chapter of the AES began to honor these audio engineers with the AES Nashville Lifetime Achievement Awards. Presented annually in the Ford Theater at the Country Music Hall of Fame® and Museum, these awards honor the individuals with a sustained record of outstanding achievement in music and sound in the Nashville recording industry. Many of the twenty-one individuals honored as of 2014 have recorded and mastered thousands of hit recordings from many different genres while others developed technology audio engineers and musicians rely upon today, such as inline console architecture and the distortion pedal. Highlights from the past three AES Nashville Lifetime Achievement Awards presentations will be featured in this program, including audio recordings, still images, video interviews and video footage from the presentations.


Friday, October 10, 9:00 am — 12:00 pm (Room 308 AB)

Paper Session: P6 - Spatial Audio: Part 3

Bob Schulein, RBS Consultants - Schaumburg, IL, USA

P6-1 PHOnA: A Public Dataset of Measured Headphone Transfer FunctionsBraxton B. Boren, Princeton University - Princeton, NJ, USA; Michele Geronazzo, University of Padova - Padova, Italy; Piotr Majdak, Austrian Academy of Sciences - Vienna, Austria; Edgar Choueiri, Princeton University - Princeton, NJ, USA
A dataset of measured headphone transfer functions (HpTFs), the Princeton Headphone Open Archive (PHOnA), is presented. Extensive studies of HpTFs have been conducted for the past twenty years, each requiring a separate set of measurements, but this data has not yet been publicly shared. PHOnA aggregates HpTFs from different laboratories, including measurements for multiple different headphones, subjects, and repositionings of headphones for each subject. The dataset uses the spatially oriented format for acoustics (SOFA), and SOFA conventions are proposed for efficiently storing HpTFs. PHOnA is intended to provide a foundation for machine learning techniques applied to HpTF equalization. This shared data will allow optimization of equalization algorithms to provide more universal solutions to perceptually transparent headphone reproduction.
Convention Paper 9126 (Purchase now)

P6-2 Converting Two-Channel Stereo Signals to B-Format for Directional Audio Coding ReproductionMikko-Ville Laitinen, Aalto University - Espoo, Finland
A method for transforming two-channel stereo audio signals to B-format is proposed, which provides unaltered spatial qualities when the B-format signals are reproduced with directional audio coding (DirAC). The proposed method simulates anechoic B-format recordings of the stereo signals with two different virtual loudspeaker configurations, and the simulated B-format signals are combined according to time-frequency analysis of the stereo signals. The analysis is based on estimating the diffuseness of the generated virtual sound field and the coherence between the loudspeaker channels.
Convention Paper 9127 (Purchase now)

P6-3 Binaural Reproduction over Loudspeakers Using Low-Order Modeled HRTFsKentaro Matsui, NHK Science & Technology Research Laboratories - Setagaya, Tokyo, Japan; Keio University - Yokohama-shi, Kanagawa, Japan; Yasushige Nakayama, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Maho Sugaya, Keio University - Yokohama-shi, Kanagawa, Japan; Shuichi Adachi, Keio University - Yokohama-shi, Kanagawa, Japan
A method for binaural reproduction over loudspeakers using low-order modeled head-related transfer functions (HRTFs) is proposed. The low-order modeling consists of two steps: high-order model estimation using a prediction error method and subsequent model reduction based on asymptotic theory. Binaural processing over loudspeakers using the low-order modeled HRTFs is done in the time domain. In general, the directly derived controller for crosstalk cancellation is unstable, and so a method for approximating the unstable components in the controller as stable ones with processing delays is proposed. Results of computer simulation indicated that the designed controller worked well for producing equalization and crosstalk cancellation.
Convention Paper 9128 (Purchase now)

P6-4 Assessment of Ambisonic System Performance Using Binaural MeasurementsEric M. Benjamin, Surround Research - Pacifica, CA, USA; Aaron Heller, SRI International - Menlo Park, CA, USA
The phenomenon described by Solvang as spectral impairment in Ambisonic reproduction is examined. The timbre of reproduced sounds is arguably the most important aspect of an audio system. In multichannel systems audio is almost always reproduced through two or more loudspeakers simultaneously. The combination of those audio signals produces variable localization, but interference between them also causes comb filtering that then causes a reduction in output at high frequencies. The present work reports on measurements, including binaural measurements, of the spectral changes encountered in Ambisonic systems. In the case where a system has more loudspeakers than the minimum required the amount of interference is increased. What is the best choice for the use of an array designed for higher-order reproduction when used to reproduce lower-order program?
Convention Paper 9129 (Purchase now)

P6-5 The Design, Calibration, and Validation of a Binaural Recording and Playback System for Headphone and Two-Speaker 3D-Audio ReproductionBob Schulein, RBS Consultants - Schaumburg, IL, USA; Dan Mapes-Riordan, Etymotic Research - Elk Grove Village, IL, USA; DMR Consultants - Evanston, IL, USA
The evolution of iOS, Android, Windows Mobile, and other operating systems has fueled a rapid growth in personal entertainment products and has revolutionized the way consumers receive, control, and listen to audio content. Headphones or earphones and two-speaker stereo have become the dominant means of listening. Multichannel /speaker audio systems in contrast are primarily a part of the motion picture and home theater experience and can create audio content with richer spatial content. This 3D or immersive audio experience is desired by consumers but is not a part of the typical listening experience. Binaural sound, reproduced by headphones or two speakers, using cross-talk cancellation techniques, has been shown to provide significant spatial audio benefits when properly implemented. This paper presents a detailed look as to how these technologies are being refined and applied today to create entertainment content with significantly improved spatial qualities.
Convention Paper 9130 (Purchase now)

P6-6 Analytical Interaural Time Difference Model for the Individualization of Arbitrary Head-Related Impulse ResponsesRamona Bomhardt, RWTH Aachen University - Aachen, Germany; Janina Fels, RWTH Aachen University - Aachen, Germany
If dummy head or individual Head-Related Impulse Responses (HRIR) are used for binaural reproduction, either it can result in an incorrect perception of virtual sound sources or poses an enormous measurement effort. Therefore, in this paper a model is presented that helps to calculate the Interaural Time Difference by anthropometric head-data. By means of this Interaural Time Difference, the time of arrival of arbitrary HRIRs can be individualized. This model is compared with 13 individual measured HRIRs and the subjects' anthropometric head-data. The result of comparison leads to the conclusion that the model works well to individualize the Time of Arrival of an arbitrary HRIR.
Convention Paper 9131 (Purchase now)


Friday, October 10, 9:00 am — 11:30 am (Room 309)

Paper Session: P7 - Cinema Sound, Recording and Production

Scott Levine, Skywalker Sound - Marin County, CA, USA; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada

P7-1 Particle Systems for Creating Highly Complex Sound Design ContentNuno Fonseca, ESTG/CIIC, Polytechnic Institute of Leiria - Leiria, Portugal
Even with current audio technology, many sound design tasks present practical constraints in terms of layering sounds, creating sound variations, fragmenting sound, and ensuring space distribution especially when trying to handle highly complex scenarios with a significant number of audio sources. This paper presents the use of particles systems and virtual microphones, as a new approach to sound design, allowing the mixing of thousands or even millions of sound sources, without requiring laborious work and providing a true coherence between sound and space, with support for several surround formats, Ambisonics, Binaural, and even partial Dolby Atmos support. By controlling a particle system, instead of individual sound sources, a high number of sounds can be easily spread over a virtual space. By adding movement or random audio effects, even complex scenarios can be created.
Convention Paper 9132 (Purchase now)

P7-2 Stage Metaphor Mixing on a Multi-Touch Tablet DeviceSteven Gelineck, Aalborg University Copenhagen - Copenhagen, Denmark; Dannie Korsgaard, Aalborg University - Copenhagen, Denmark
This paper presents a tablet based interface (the Music Mixing Surface) for supporting a more natural user experience while mixing music. It focuses on the so-called stage metaphor control scheme where audio channels are represented by virtual widgets on a virtual stage. Through previous research the interface has been developed iteratively with several evaluation sessions with professional users on different platforms. The iteration presented here has been developed especially for the mobile tablet platform and explores this format for music mixing both in a professional and casual setting. The paper first discusses various contexts in which the tablet platform might be optimal for music mixing. It then describes the overall design of the mixing interface (especially focused on the stage metaphor), after which the iOS implementation is briefly described. Finally, the interface is evaluated in a qualitative user study comparing it to two alternative existing tablet solutions. Results are presented and discussed focusing on how the evaluated interfaces invite four different forms of exploration of the mix and on what consequences this has in a mobile mixing context.
Convention Paper 9133 (Purchase now)

P7-3 The Duplex Panner: Comparative Testing and Applications of an Enhanced Stereo Panning Technique for Headphone-Reproduced Commercial MusicSamuel Nacach, New York University - New York, NY, USA
As a result of new technology advances consumers primarily interact with recorded music on-the-go through headphones. Yet, music is primarily mixed using stereo loudspeaker systems consisting of crosstalk signals, which are absent in headphone reproduction. Consequently, the audio engineer's intended sound image collapses with headphones. To solve this, the work presented in this paper examines existing 3D audio techniques—primarily Binaural Audio and Ambiophonics—and enhances them to develop a novel and improved mixing technique, the Duplex Panner, for headphone-reproduced commercial music. Through subjective experiments designed for two groups, the Duplex Panner is compared to conventional Stereo panning to determine what the advantages are, if any.
Convention Paper 9134 (Purchase now)

P7-4 The Role of Acoustic Condition on High Frequency PreferenceRichard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada; Brett Leonard, University of Nebraska at Omaha - Omaha, NE; McGill University - Montreal, Quebec, Canada; Stuart Bremner, McGill University - Montreal, Quebec, Canada; The Centre for Interdiciplinary Research in music Media & Technology - Montreal, QC, Canada; Grzegorz Sikora, Bang & Olufsen Deutschland GmbH - Pullach, Germany
Subjective preference for high frequency content in music program has shown a wide variance in baseline testing involving expert listeners. The same well-trained subjects are retested for consistency in setting a high frequency shelf equalizer to a preferred level under varying acoustic conditions. Double-blind testing indicates that lateral energy significantly influences high frequency preference. Furthermore, subject polling indicates that blind preference of acoustic condition is inversely related to optimal consistency when performing high frequency equalization tasks.
Convention Paper 9135 (Purchase now)

P7-5 Listener Preferences for Analog and Digital Summing Based on Music GenreEric Tarr, Belmont University - Nashville, TN, USA; Jane Howard, Belmont University - Nashville, TN, USA; Benjamin Stager, Belmont University - Nashville, TN, USA
The summation of multiple audio signals can be accomplished using digital or analog technologies. Digital summing and analog summing are not identical processes and, therefore, produce different results. In this study digital summing and analog summing were performed separately on the audio signals of three different recordings of music. These recordings represented three genres of music: classical, pop/country, and heavy rock. Twenty-one listeners participated in a preference test comparing digital summing to analog summing. Results indicated that listeners preferred one type of summing to the other; this preference was dependent on the genre of music.
Convention Paper 9136 (Purchase now)


Friday, October 10, 9:00 am — 10:00 am (Room 404 AB)


Tutorial: T11 - All About: Phase vs. Polarity

Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

The word “phase” is misused almost as often as it is properly applied. Meantime, its close cousin “polarity” is consistently neglected. Worst of all, the two terms are frequently, mistakenly, interchanged. Phase and polarity are essential but distinct concepts that, when fully understood, help the engineer get better sounds, quicker.


Friday, October 10, 10:00 am — 4:00 pm (Room 304 AB)

Special Event: Digital Entertainment Group Presents High Resolution Audio Sessions

Marc Finer, Digital Entertainment Group - Los Angeles, CA, USA
Maureen Droney, The Recording Academy - Los Angeles, CA, USA
Leslie Ann Jones, Skywalker Sound - San Rafael, CA, USA
Chuck Ainlay, METAlliance - Nashville, Tennessee, USA
Jim Belcher, Universal Music
Bruce Botnick, Music Producer, Recording and Mastering Engineer, VP Content Acquisition for Pono Music - Los Angeles, CA, USA
John Burk, Concord Music Group - Beverly Hills, CA, USA; Concord Music Group - Los Angeles, CA, USA
Bob Clearmountain, Apogee Electronics, Inc. - Santa Monica, CA, USA; Mix This! - Pacific Palisades, CA, USA
Michal Jurewicz, Mytek Digital
Ray Kimber, Kimber Kable - Ogden, UT, USA
Owen Kwon, Astell&Kern - Irvine, CA, USA
Aaron Levine, Sony Electronics - San Diego, CA, USA
Fred Maher
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Mark Piibe, Sony Music
John Quick, dCS Ltd. - Cambridge, UK; dCS North America - Boston, MA, USA
Andrew Scheps, Tonequake Records - Van Nuys, CA, USA
Howie Singer, Warner Music Group - New York, NY, USA
J. Robert Stuart, Meridian Audio Ltd. - Huntingdon, UK
Ryan Ulyate, Producer / Engineer - Topanga, CA, USA

10:00 am – 10:50 am
Hi-Res Audio Devices for Every Lifestyle: Learn more details about the growing number of hi-res compatible devices available today from some of the biggest names in hi-res devices including Astell & Kern, dCS, DTS, Kimber Kable, Meridian, Mytek, and Sony. Subjects will include how to demonstrate hi-res audio at retail; the latest options for enjoying hi-res music on-the-go; and how to educate and engage young music enthusiasts. Moderated by Marc Finer, the panel includes Owen Kwon, John Quick, Fred Maher, Ray Kimber, Bob Stuart, Michal Jurewicz, and Aaron Levine.

11:30 am – 12:20 pm
The New Business of Hi-Res Music: Get an inside look at the opportunities and challenges associated with hi-res music from Mark Piibe at Sony Music, Howie Singer at Warner Music, and Jim Belcher at Universal Music. Topics will include licensing hi-res files; the latest distribution partners; ingesting and archiving digital assets; new subscription models; and the best ways to promote hi-res music.

1:00 pm – 1:50 pm
Hi-Res Audio Production Workshop: [co-sponsored by the Recording Academy P&E Wing] Join top producers and engineers as they discuss the music creation process and best practices when recording, mixing and mastering in high resolution. The panel moderated by Leslie Ann Jones features Chuck Ainlay, John Burk, Ryan Ulyate, and Bob Clearmountain who will review the key aspects of various audio formats in context with their latest music projects.

3:00 pm – 3:50 pm
High Resolution Audio—Super Session: Meet and mix with some of the brightest minds in the business including Bruce Botnick, George Massenburg, and Andrew Scheps as they explore a number of the most challenging issues facing the recording industry today concerning the adoption of high resolution audio. Don't miss this rare opportunity to hear from these opinion makers!


Friday, October 10, 10:00 am — 11:30 am (Room 403 AB)

Recording & Production: RP2 - Raw Tracks: David Bowie—A Master Class

Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Ken Scott

Legendary recording engineer and producer Ken Scott will discuss, analyze and deconstruct a classic David Bowie recording track by track, in the inaugural “Raw Tracks” series at the AES 137th International Conference in Los Angeles. Ken Scott has had a hand in many of the most important recordings of the 20th Century: The Beatles, Supertramp, Elton John, Pink Floyd, The Mahavishnu Orchestra, Lou Reed, America, Procol Harum, The Jeff Beck Group, Devo and many others.

Note: this session will not be recorded.


Friday, October 10, 10:00 am — 12:00 pm (Off-Site 1)

Technical Tour: TT5 - East West Studios

From Frank Sinatra to the Rolling Stones, this iconic studio has produced more Grammy-winning albums than any other studio in the world and won numerous technical excellence awards. Previously known as Western Studios, the five-studio complex has been updated with 21st century technology, while preserving the integrity of the live recording rooms legendary engineer Bill Putnam created in 1961. Studio 1 features an 80 channel Neve 8078 console which was originally commissioned for Michael Jackson's best-selling album, Thriller and later used for U2's Rattle and Hum. The lounges were remodeled before the 2009 reopening, offering a full range of amenities and VIP services to facilitate the creative process, and a complete renovation of Studio 5 was completed in 2014.


Friday, October 10, 10:30 am — 12:30 pm (Room 404 AB)

Tutorial: T12 - Acoustics—Sorting it Out and Getting it Right

Tony Hoover

This tutorial on architectural acoustics covers three distinct issues: sound isolation (airborne and structure-borne), HVAC noise control, and surface treatments (absorption, reflection, and diffusion). The format has been widely used, including for over 25 years at Berklee College of Music. The objective is to provide the foundation for optimized audio design and recording decisions, and the confidence to better navigate the oceans of information and propaganda about "acoustical" products and practices.

AES Technical Council This session is presented in association with the AES Technical Committee on Acoustics and Sound Reinforcement


Friday, October 10, 11:00 am — 1:00 pm (Room 306 AB)

Sound for Picture: SP2 - Music Production for Film—A Master Class

Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Tom Salta, Persist Music - Norwalk, CT, USA
Chris Boardman, University of Miami - Miami, FL, USA
Simon Franglen, Class1 Media - Los Angeles, CA, USA; London
Laura Karpman, Art Farm West - Playa Del Rey, CA, USA
Steven Saltzman, Music Visions - Los Angeles, CA USA

Film soundtracks contain three elements: dialog, music, and sound effects. The creation of a music soundtrack is far more complex than previously, now encompassing “temp music” for preview screenings, synthesizer-enhanced orchestra tracks, and other special techniques. This Master Class with one of Hollywood's leading professionals puts the process under the microscope.

AES Technical Council This session is presented in association with the AES Technical Committee on Audio for Cinema


Friday, October 10, 11:15 am — 12:15 pm (Stage PSE)


Project Studio Expo: PSE1 - Vocal Recording in the Project Studio

Mike Senior, Sound On Sound - Munich, Germany; Cambridge Music Technology

Recording vocals is easy, right? Just put up a large-diaphragm condenser mic (with popshield) about six inches away from your mouth, sling up a couple of old quilts to soak up the room sound, grab a pair of headphones for monitoring, and you're away! Sadly, however, this approach frequently achieves poor or inappropriate results in real-world project studios. To find out why, join Sound On Sound magazine's "Session Notes" and "Mix Rescue" columnist Mike Senior who'll be using live demonstrations and audio examples to show you how to get the best out of the stereotypical project-studio vocal tracking setup -- as well as exploring a variety of common situations where you're actually better off abandoning it completely.

AES Members can watch a video of this session for free.


Friday, October 10, 11:45 am — 12:45 pm (Room 309)

Tutorial: T13 - Let Your Eyes Help Your Ears—Techniques and New Challenges in Audio Metering

Paul Tapper

Why use audio analysis or metering at all? Why loudness metering is relevant to engineers working in the music industry and the implications for music mastering practice. If you think that your music might ever get played out on TV, radio, or a music streaming service, you need to have an awareness of loudness normalization. The importance of true-peak metering for music to avoid distortion and fizzing caused by codec conversions. The importance of mono compatibility for music that might ever be listened to on iPod docks, flat-screen TVs, DAB radios, or club PAs. The difficult of auditioning this, and pitfalls to avoid when trying to meter it


Friday, October 10, 12:00 pm — 1:00 pm (Room 403 AB)

Special Event: Friday Keynote Speaker—Neil Portnow

Neil Portnow, President/CEO The Recording Academy, The GRAMMY Foundation, and MusiCares - Los Angeles, CA, USA

Neil Portnow, President/CEO of The Recording Academy® (internationally known for the GRAMMY Awards®) in his keynote address, will discuss the challenges and opportunities currently facing recording professionals, as well as targeted advocacy initiatives The Academy is developing to address some of these concerns.


Friday, October 10, 1:00 pm — 2:00 pm (Room 405)

TC Meeting: Recording Technology and Practices

Technical Committee Meeting on Recording Technology and Practices


Friday, October 10, 1:45 pm — 2:45 pm (Stage PSE)


Project Studio Expo: PSE4 - The Five Most Common Project Studio Recording Mistakes

Mike Senior, Sound On Sound - Munich, Germany; Cambridge Music Technology

Tearing your hair out at mixdown? Then you've probably fallen into one of the classic project-studio traps during tracking. Learn what they are—and, more importantly, how to avoid them—in this down-to-earth workshop with Sound On Sound magazine's "Session Notes" and "Mix Rescue" columnist Mike Senior. The seminar will be specifically tailored to those working on a budget and will feature insider tips on equipment choice, mic technique, and session psychology, with plenty of supporting audio examples so you can judge the results with your own ears.

AES Members can watch a video of this session for free.


Friday, October 10, 1:45 pm — 3:00 pm (Off-Site 2)

Technical Tour: TT7 - Walt Disney Concert Hall

The Walt Disney Concert Hall is one of the most acoustically sophisticated concert halls in the world. Designed by architect Frank Gehry from the inside out, the hardwood-paneled main auditorium with surround seating and state-of-the art acoustics creates an intimate musical experience. Home to the Los Angeles Philharmonic and host to innovative presentations year round, the stainless steel curves of its exterior have made this an internationally recognized architectural landmark. Attendees will have the opportunity to visit the audio production and recording facilities.


Friday, October 10, 2:00 pm — 4:00 pm (Room 403 AB)

Special Event: Platinum Engineers—Dave Pensado

Michael MacDonald, ATK Audiotek - Valencia, CA, USA
Dave Pensado
Herb Trawick

Dave Pensado & Herb Trawick: THE SCRIPT IS FLIPPED

Dave Pensado and Herb Trawick, hosts of wildly popular weekly show Pensados Place, are interviewed for the first time ever. See what they have learned from their superstar guests; from studio technique and engineering, to the pressures of creating online television for 180 straight weeks (and counting). Plus it just wouldn't be Pensadisan without a couple of surprises to boot.

AES Members can watch a video of this session for free.


Friday, October 10, 2:00 pm — 3:30 pm (Room 408 B)

Workshop: W4 - The End Is Near! The Pressing Need to Preserve Historic Analog Sound Recordings: An Overview of Strategies and Best Practices

Konrad Strauss, Indiana University - Bloomington, IN, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada
Brad McCoy, Library of Congress - Culpeper, VA, USA
John Spencer, BMS Chace LLC - Nashville, TN, USA
Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Science - Vienna, Austria

The National Recording Preservation Plan, published in December 2012, identifies in excess of 46 million audio recordings held by the nation's libraries, archives, museums, record companies, and private collectors that are in need of preservation. The window of time to preserve these recordings is rapidly closing; some experts believe that we have as little as 15 years left. Archivists, librarians, engineers, and studio owners will encounter increased demand for preservation and digitization services in the coming years. This workshop, presented by the Association for Recorded Sound Collections, will focus on best practices for preserving and migrating analog audio recordings. Experts in the field will discuss strategies for extending the lifetime of the original media; building and equipping a studio for audio preservation; proper handling, cleaning, and restoration of original media; maintaining & optimizing playback machines; and building a digital infrastructure for preserving digital files.


Friday, October 10, 2:00 pm — 5:00 pm (Room 308 AB)

Paper Session: P8 - Perception: Part 1

Dan Mapes-Riordan, Etymotic Research - Elk Grove Village, IL, USA; DMR Consultants - Evanston, IL, USA

P8-1 Effect of Phase on the Perceived Level of BassMikko-Ville Laitinen, Aalto University - Espoo, Finland; Kai Jussila, Aalto University - Espoo, Finland; Ville Pulkki, Aalto University - Espoo, Finland; Technical University of Denmark - Denmark
The perceived level of bass is typically considered to be related to the level of the magnitude spectrum at the corresponding frequencies. However, recently it has been found that, in the case of harmonic complex signals, also the phase spectrum can affect it. This paper studies this effect further using formal listening tests. It is found out that the phase spectrum that produces the perception of the loudest bass depends on the individual. Furthermore, the loudness of the bass appears to be affected by the phase characteristics of the tone in a relatively wide band.
Convention Paper 9137 (Purchase now)

P8-2 Auditory Compensation for Spectral ColorationCleopatra Pike, University of Surrey - Guildford, Surrey, UK; Russell Mason, University of Surrey - Guildford, Surrey, UK; Tim Brookes, University of Surrey - Guildford, Surrey, UK
The “spectral compensation effect” (Watkins, 1991) describes a decrease in perceptual sensitivity to spectral modifications caused by the transmission channel (e.g., loudspeakers, listening rooms). Few studies have examined this effect: its extent and perceptual mechanisms are not confirmed. The extent to which compensation affects the perception of sounds colored by loudspeakers and other channels should be determined. This compensation has been mainly studied with speech. Evidence suggests that speech engages special perceptual mechanisms, so compensation might not occur with non-speech sounds. The current study provides evidence of compensation for spectrum in nonspeech tests: channel coloration was reduced by approximately 20%.
Convention Paper 9138 (Purchase now)

P8-3 The Importance of Onset Features in Listeners’ Perception of Vocal Modes in SingingEddy B. Brixen, EBB-consult - Smorum, Denmark; Cathrine Sadolin, Complete Vocal Institute - Copenhagen, Denmark; Henrik Kjelin, Complete Vocal Institute - Copenhagen, Denmark
The Complete Vocal Technique defines four vocal modes: Neutral, Curbing, Overdrive, and Edge. This paper reports the result of a listening test involving 59 subjects. The goal has been to find the importance of onset and decay features when identifying the vocal modes. The conclusion is that the onset only to a minor degree is responsible for the aural detection of vocal modes.
Convention Paper 9139 (Purchase now)

P8-4 The Influence of Up- and Down-mixes on the Overall Listening ExperienceMichael Schoeffler, International Audio Laboratories Erlangen - Erlangen, Germany; Alexander Adami, International Audio Laboratories Erlangen - Erlangen, Germany; Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Former studies have shown that up- and down-mix algorithms have a significant effect on ratings of audio quality. The question arises whether this significant effect is also verifiable when it comes to rating the overall listening experience of music. When listeners rate the overall listening experience, they are allowed to take everything into account that is important to them for enjoying a listening experience. An experiment was conducted where 25 participants rated the overall listening experience while listening to music that was artistically mixed and up- and down-mixed by six algorithms. The results show that there are no significant differences between the artistic mixes and the up- and down-mix algorithms except for two mixing algorithms which served as “lower anchors” and had a significant negative effect on the ratings.
Convention Paper 9140 (Purchase now)

P8-5 Measures of MicrodynamicsEsben Skovenborg, TC Electronic - Risskov, Denmark
Overall loudness variations such as the distance between soft and loud scenes of a movie are known as macrodynamics and can be quantified with the Loudness Range measure. Microdynamics, in contrast, concern variations on a (much) finer time-scale. In this study six types of objective measures—some based on loudness level, some based on peak-to-average ratio—were evaluated against perceived microdynamics. A novel measure LDR, based on the maximum difference between a “fast” and a “slow” loudness level, had the strongest perceptual correlation. Peak-to-average ratio (or crest factor) type of measures had little or no correlation. The ratings of perceived microdynamics were obtained in a listening experiment, with stimuli consisting of music and speech of different dynamical properties.
Convention Paper 9141 (Purchase now)

P8-6 Real-Time Infant Cry Detection in Diverse Environments: A Novel ApproachAnant Baijal, Samsung Electronics Co. Ltd. - Suwon, Korea; Jinsung Kim, Samsung Electronics Co. Ltd. - Suwon, Republic of Korea; Jae-hoon Jeong, Samsung Electronics Co. Ltd. - Suwon, Korea; Inwoo Hwang, Samsung Electronics Co. Ltd. - Suwon-si, Gyeonggi-do, Korea; JungEun Park, Samsung Electronics Co. Ltd. - Suwon, Korea; Byeong-Seob Ko, Samsung Electronics Co. Ltd. - Suwon, Korea
We present a novel approach to detect infant cry in actual outdoor and indoor settings. Using computationally inexpensive features like Mel Frequency Cepstral Coefficients (MFCCs) and timbre-related features, the proposed algorithm yields very high recall rates for detecting infant cry in challenging settings such as café, street, playground, office, and home environments, even when Signal to Noise Ratio (SNR) is as low as 6 dB, while maintaining high precision. The results indicate that our approach is highly accurate, robust and, works in real-time.
Convention Paper 9142 (Purchase now)


Friday, October 10, 3:00 pm — 4:00 pm (Stage PSE)

Project Studio Expo: PSE5 - Listen Up, and Learn!

Stephen Webber, Berklee College of Music - Valencia, Spain
Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

Bring your ears, your artistry, and your opinions for an hour dedicated to the art of listening. Guided by your hosts, Stephen Webber and Alex U. Case, you'll focus on an iconic record that is a proven success—artistically and commercially—and glean useful aural insights. We'll listen as producers, engineers, composers, performers, and music fans analyzing the elements that contribute to the work's success. You'll gain a deeper appreciation of this recording. More importantly, you'll be inspired to approach your own work in new ways. Most importantly, you'll get an up-close view into how experienced audio engineers break down what they hear, empowering you to keep learning whenever you listen.

AES Members can watch a video of this session for free.


Friday, October 10, 3:45 pm — 5:15 pm (Room 408 B)

Game Audio: G7 - Dynamic Mixing for Games

Simon Ashby, Audiokinetic

Given the linear nature of film and music, audio mixing is easily controlled and predictable. Mixing game audio brings with it many challenges, including performance constraints and the non-linear event based triggering of in-game sounds. Using real-game practical audio examples, this session will demonstrate the many positive benefits that dynamic audio mixing can have on modern sound design.


Friday, October 10, 4:00 pm — 5:30 pm (Room 407)

Standard: AESSC: Audio-File Transfer and Exchange

Standards Committee Meeting on Audio-File Transfer and Exchange


Friday, October 10, 4:00 pm — 6:30 pm (Off-Site 1)

Technical Tour: TT8 - Capitol Studios

Easily recognizable in the skyline since this Hollywood landmark was completed in 1956, Capitol Studios has been a staple of the recording industry for over 50 years. With a strong commitment to sonic integrity, some of their innovative features include adjustable louvered wall panels in Studio A to control variable decay time, and eight subterranean trapezoidal echo chambers 30 feet underground, designed by Les Paul. Studio B has hosted everything from classic rock and roll albums to Nat King Cole, who preferred the isolation booth for his Steinway or Yamaha C9. With production suites and mastering services, Capitol Studios continues to build on their legacy of creative collaboration.


Friday, October 10, 4:15 pm — 5:00 pm (Stage PSE)


Project Studio Expo: PSE6 - Where to Focus Your Studio Gear Purchasing with a Limited Budget

Larry Crane, Tape Op Magazine - Portland, OR, USA; Jackpot! Recording Studio

Musicians and home recordists on lower budgets are always on the prowl for recording equipment deals and looking to upgrade what they currently have. Tape Op magazine founder and editor, Larry Crane, was once a musician recording at home and for 18 years has owned a commercial studio, Jackpot! recording in Portland, Oregon. In this presentation he will cover what recording equipment is truly important, how to never regret your purchases, and where to focus your spending.

AES Members can watch a video of this session for free.


Friday, October 10, 4:30 pm — 6:30 pm (Room 403 AB)

Special Event: Platinum Mastering: High Resolution Audio

Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
Bruce Botnick, Music Producer, Recording and Mastering Engineer, VP Content Acquisition for Pono Music - Los Angeles, CA, USA
Mark Donahue, Recording and Mastering Engineer, Soundmirror - Boston, MA, USA
Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Barak Moffitt, Head of Strategic Operations at Universal Music Group - Los Angeles, CA, USA

There is a unified push to make High Resolution Audio the next big thing for the consumer. The Digital Entertainment Group in cooperation with the Consumer Electronics Association, The Recording Academy, and the major record labels have recently defined High Resolution Audio as “lossless audio that is capable of reproducing the full range of sound from recordings that have been mastered from better than CD quality music sources.” We will discuss the ramifications of this initiative with experts who have worked with High Resolution Audio for a long time as well as play many examples from the participants so the audience can hear for themselves how High Resolution Audio can allow the listener to hear exactly what the artist has been hearing in the studio while creating their music.


Friday, October 10, 5:00 pm — 7:00 pm (Room 306 AB)

Student / Career: Recording Competition - 1

The Student Recording Competition is a highlight at each convention. A distinguished panel of judges participates in critiquing finalists of each category in an interactive presentation and discussion. The top three finalists in each category, as identified by our judges, present a short summary of their production intentions and the key recording and mix techniques used to realize their goals. They then play their projects for all who attend. Meritorious awards are determined here and will be presented at the closing Student Delegate Assembly Meeting (SDA-2) on Sunday afternoon. The competition is a great chance to hear the work of your fellow students at other educational institutions. Everyone learns from the judges’ comments, even those who don't make it to the finals, and it's a great chance to meet other students and faculty.

Traditional Studio Recording
Judges: David Bowles, Scott Levine, Ulrike Schwarz, Jonathan Wyner

Sound for visual Media
Judges: Tim Edwards, Scott Levine, Scott Stambler


Friday, October 10, 5:00 pm — 6:15 pm (Room 308 AB)

Engineering Brief: EB3 - eBriefs—Papers Session 1

Christoph M. Musialik, Sennheiser Audio Labs - Waldshut-Tiengen, Germany

EB3-1 "It Has to Work With the Picture": Audio Education for Film and Media StudentsUfuk Onen, Bilkent University - Ankara, Turkey
Audio education for students who major in filmmaking, video production, visual media practice, or visual communication design in universities' bachelor-degree programs usually starts with creating and improving awareness for sound both in general and, also, in relation to visual media as well. In addition to that, since these students utilize recording and mixing only as a part of their professional practice, not as their main field of specialty, teaching the technical concepts and aesthetics to them requires making use of different content and approach than to those who intend to become audio specialists. This paper discusses these issues by using COMD 361 Sound Design course at Bilkent University, Department of Communication and Design, as a case study.
Engineering Brief 167 (Download now)

EB3-2 Film Production Sound in Secondary Markets—The Value of NetworkingTom Hauser, Hooz Audio - Winston-Salem, NC, USA
I came back home to North Carolina after a negative experience interning in Nashville and eventually navigated my way into sound for picture in corporate and commercial work. I have built my network over several years, gone to grad school for film scoring, moved away from the slightly more competitive area of Raleigh, and now have a small 5.1 mixing studio in Winston-Salem, NC. I want to highlight some of the things a young person needs to know to get work as a new comer among veterans where ever they go, emphasize continual skill development beyond school, the value of personal relationships, and navigating the ups and downs of being a freelancer.
Engineering Brief 168 (Download now)

EB3-3 "Object" Panning for Film: Challenges and SolutionsBen Loftis, Harrison Consoles - Nashville, TN, USA
Object-based panning allows film mixers to break free of the limits imposed by traditional surround formats. Harrison Consoles has developed software panning that allows sounds to be treated as objects in a 3D space that can then be rendered in various surround formats. This enables users to mix in immersive sound formats and transition to traditional surround formats without having to start a new mix; it was most recently implemented at Sony Pictures for the mix of The Amazing Spider-Man 2. Explained in this paper are the obstacles that we faced, and how we overcame them, making technologies such as Dolby Atmos and Barco Auro3D part of the original mix rather than an afterthought.
Engineering Brief 169 (Download now)

EB3-4 Orchestral Recording and Live Webcasting at McGill UniversityAlejandro Aspinwall, McGill University - Montreal, QC, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Recording and broadcasting live audio and video of a large student orchestra performance can be a tremendous challenge but can also be a great educational experience when organized properly. The most important aspects to succeed in this task are assembling a team of students with the adequate technical skills to resolve potential problems and putting together an efficient system that can handle potential problems such as power outages or digital audio workstation failure. This kind of event prepares the students for real life scenarios where they will encounter similar workflows and will be able to spot and prevent technical flaws that could compromise the success of future events. Finally, having a group of students with assigned responsibilities will improve their teamwork skills and allow them to communicate with peers outside their area of expertise.
Engineering Brief 170 (Download now)

EB3-5 Stereo Bluetooth and Low Latency ApplicationsJonny McClintock, CSR - Belfast, Northern Ireland, UK
The A2DP Bluetooth protocol is used to transport stereo audio over a non-synchronous packetized structure. Using a frame-based codec, i.e., SBC or AAC, results in system latencies between 150 and 800 milliseconds with wide drifts up to +/– 200ms. A2DP can be used for music but because of the problems associated with the frame-based codecs, Bluetooth is not suitable for audio for video or gaming applications. The aptX codec offers an alternative. It uses a fundamentally different coding architecture and is sample-based delivering a system latency of 40ms with minimal drift, i.e., +/– 1 ms. With the use of aptX, Bluetooth can now be used to wireless connect TV’s to soundbars, gaming consoles to headsets, and PC’s to speakers.
Engineering Brief 171 (Download now)


Friday, October 10, 7:00 pm — 8:00 pm (Room 403 AB)


Special Event: Heyser Lecture

Marty O'Donnell, Marty O'Donnell Music - Seattle, WA, USA

Legendary game audio director and composer, Marty O'Donnell is to present the Richard C. Heyser Memorial lecture. Marty is the famed audio director behind the award-winning Halo game series and is responsible for the biggest selling game soundtrack of all time. In his talk entitled "The Ear Doesn’t Blink: Creating Culture With Adaptive Audio," O'Donnell will draw on his unique perspective from games, film and jingle-writing to share the creative challenges of working in non-linear media such as games.


Saturday, October 11, 9:00 am — 10:00 am (Room 405)

TC Meeting: Sound for Digital Cinema and Television

Technical Committee Meeting on Sound for Digital Cinema and Television


Saturday, October 11, 9:00 am — 10:15 am (Room 408 A)


Tutorial: T15 - All About: Timbre

Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

One of the most important properties of audio, timbre’s definition may be broader than you think. Distilling timbre into its essential elements reveals its rich meaning and lets us make a direct connection between it and the decisions, actions, and devices that drive it. Much is in the hands of the performer—their technique and their instrument. Engineers have obvious impact through microphone choice and placement. But we also focus on how to use compression, delay, reverb, and distortion effects to refine timbre.


Saturday, October 11, 9:30 am — 11:00 am (Room 403 AB)

Recording & Production: RP3 - Raw Tracks: Pet Sounds—A Master Class

Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Mark Linett

Renowned engineer/producer and three-time Grammy winner Mark Linett will discuss, analyze and deconstruct track by track two songs from the Beach Boys seminal “Pet Sounds” album: God Only Knows and Wouldn’t It Be Nice, in the inaugural “Raw Tracks” series at the AES 137th International Conference in Los Angeles. Linett has worked extensively with The Beach Boys and Brian Wilson for over twenty-five years, including the first true stereo and 5.1 mix of "Pet Sounds”, and has also worked with an array of artists including Jimi Hendrix, Randy Newman, Rickie Lee Jones, Jane’s Addiction, Eric Clapton and The Red Hot Chili Peppers.


Saturday, October 11, 9:30 am — 11:30 am (Off-Site 1)

Technical Tour: TT9 - Henson Recording Studio

In the former A&M Studios since 2000, Henson Recording Studios has continued the legacy started by Herb Albert and Jerry Moss nearly 50 years ago, with a 5-studio recording facility that blends state of the art with vintage equipment. Designated a Los Angeles Historic-Cultural Monument, the studio was designed to resemble an English village when built in 1917 to house Charlie Chaplin Film Studios. The 80,000 square-foot facility still retains many of the original eccentric architectural features, and a rich history of music and film in Hollywood. This tour will include part of the historic lot.

This tour is limited to 25 people.


Saturday, October 11, 10:30 am — 12:00 pm (Room 408 A)

Broadcast and Streaming Media: B10 - Compliance with CALM Act/PLOUD

Skip Pizzi, NAB - Washington DC, USA
Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Tim Carroll, Telos Alliance - Lancaster, PA, USA
Fadi Malek, DTS Inc.
Scott Norcross, Dolby Laboratories - San Francisco, CA, USA

Regulatory regimes or recommendations for control of television audio loudness are now well in place in the U.S. and Europe. Find out what these procedures entail, and learn the latest on implementation methods from top experts in the field, including some who were instrumental in creation of the governing documents.


Saturday, October 11, 10:30 am — 12:00 pm (S-Foyer 1)

Poster: P13 - Applications in Audio: Part 1

P13-1 Automated Sound Optimization of Car Audio Systems Using Binaural Measurements and Parametric IIR FiltersFriedrich von Tuerckheim, Visteon Electronics Germany GmbH; Tobias Münch, Visteon Electronics Germany GmbH - Karlsruhe, Germany
Sound tuning is an important step towards improved listening conditions in car interiors. In most cases it is done manually by sound engineers. This paper presents an approach for fully automated sound optimization. In a first step, loudspeaker and interior responses are captured by averaged binaural measurements. Then, the resulting frequency response is matched to a given reference curve. As automotive head units often provide limited capacity for audio filters, a small set of second order recursive filters is used for equalization. Numerical optimization leads to a minimum error response while maintaining psychoacoustic specifications. The presented method is used for fast and efficient frequency response correction as well as for copying sound characteristics of different car interiors.
Convention Paper 9166 (Purchase now)

P13-2 Study of TV Sound Level Adjustment System for the Elderly with Speech Rate Conversion FunctionTomoyasu Komori, NHK Science and Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Waseda University - Shinjuku-ku, Tokyo, Japan; Atsushi Imai, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Nobumasa Seiyama, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Reiko Takou, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Tohru Takagi, NHK Science & Technology Research Laboratories - Setagaya-ku, Tokyo, Japan; Yasuhiro Oikawa, Waseda University - Shinjuku-ku, Tokyo, Japan
Elderly viewers sometimes feel that background sound (music and sound effects) in TV programs is too loud, or that narration or speech is too fast to understand. That is why we have constructed a prototype system that compensates for both of these problems with sound on the receiver side. The results of evaluation experiments targeting elderly viewers showed that the use of this system could make it significantly easier to listen to TV sound. These results also showed that elderly viewers exhibit the "recruitment phenomenon." They tend to select processing with a slowed speech rate that is easy to hear.
Convention Paper 9167 (Purchase now)

P13-3 Investigation of Gain Adjustment in a Personal Assistive Listening System Using Parametric Array LoudspeakersSanti Peksi, Nanyang Technological University - Singapore; Woon-Seng Gan, Nanyang Technological University - Singapore, Singapore; Ee-Leng Tan, Nanyang Technological University - Singapore, Singapore; Eu-Chin Ho, Tan Tock Seng Hospital - Singapore; Satya Vijay Reddy Medapati, Tan Tock Seng Hospital - Singapore
Human hearing degrades with ages, which leads to difficulties in viewers of different age groups enjoying television together as they required different audio volumes. To address the problem Simon et al. [1] proposed loudspeaker arrays that boost 10 dB at all frequencies in a narrow spatial zone where hearing-impaired listener is located. This paper presents a different approach using a personal assistive listening (PAL) system that aims to deliver a highly directional sound beam with the required gain amplification through a parametric array loudspeaker to match the hearing profile of a hearing-impaired listener, while delivering normal sound loudness to the rest of normal listeners using conventional electro-dynamic loudspeakers. This paper investigates the gain adjustment of two commercially-available parametric loudspeakers over the frequency range for audiometry testing and relates the gain adjustments to the sound pressure level (SPL) at various positions away from the sound system.
Convention Paper 9168 (Purchase now)

P13-4 Cinema Sound Facility Design for Higher EducationRobert Jay Ellis-Geiger, City University of Hong Kong - Hong Kong, SAR China
This paper is a narrative of the trials and tribulations that the author went through from design through to the commissioning of probably the most advanced higher education cinema sound facilities within the Asia-Pacific region. The facilities include a 7.1 THX and Dolby certified dubbing theatre, audio recording studio integrated into a 30-workstation audio/music technology lab, multiple 5.1 surround screening rooms, color correction, multi-format home entertainment environment and a large sound stage that can accommodate a full symphonic orchestra. The main purpose for the facilities were to support the delivery of undergraduate and post-graduate courses in sound, music, and audio within the academic studios of cinematic arts and animation and to establish a research center for cinema sound and music technology applications.
Convention Paper 9169 (Purchase now)

P13-5 A General-Purpose Decorrelator Algorithm with Transient FidelityRoss Penniman, University of Miami - Coral Gables, FL, USA
In a multichannel spatial audio presentation, a decorrelator is a signal-processing algorithm that helps to create a diffuse sensation for the listener by defeating any localization cues. In this paper the relevant psychoacoustic and signal processing principles are reviewed, and a new decorrelator algorithm is proposed that operates blindly on a single-channel input signal and creates a 5-channel decorrelated presentation. This algorithm uses transient extraction to achieve better fidelity when decorrelating a wide range of input signals. A subjective listening test compares the performance of the proposed algorithm in relation to two existing algorithms drawn from the literature. Results of the test are discussed as well as suggested improvements to the test methodology.
Convention Paper 9170 (Purchase now)

P13-6 Applicability of Perceptual Evaluation of Speech Quality in Evaluating Heavily Distorted SpeechMitsunori Mizumachi, Kyushu Institute of Technology - Kitakyushu, Fukuoka, Japan
Speech quality assessment is indispensable to properly design a speech enhancement algorithm. The perceptual evaluation of speech quality (PESQ) is frequently employed as an objective speech distortion measure. The PESQ is a methodology for estimating subjective assessment of speech quality assuming a slight distortion caused by speech codecs for telephony systems. In case of noise reduction, however, a degree of speech distortion is heavier than those caused by the speech codecs. In this paper applicability of the PESQ is investigated for noisy and noise-reduced speech signals under severe noisy conditions. A relationship between PESQ scores and subjective mean opinion scores reveals that the PESQ can be applicable for heavily distorted speech only under non-stationary noisy conditions.
Convention Paper 9171 (Purchase now)


Saturday, October 11, 10:45 am — 12:15 pm (Stage PSE)

Project Studio Expo: PSE8 - Creating a Project Studio

John Storyk, Architect, Studio Designer and Principal, Walters-Storyk Design Group - Highland, NY, USA
Nellie Barnett, Singer, VO artist, actress - Los Angeles, CA, USA
PK Pandey, Director, GC Pro
Chris Pelonis, Musician, studio designer/owner - Santa Barbara, CA, USA

Part 1: How to create the best sounding, most ergonomically functional and aesthetically pleasing project studio possible on a given a budget (with questions from the audience). Part 2: Addressing the needs and goals for low, medium, and high-budget studios. The discussion will encompass site selection, construction, acoustics, technology, neighbors, clients, and other issues encountered and overcome.

AES Members can watch a video of this session for free.


Saturday, October 11, 11:00 am — 12:30 pm (Room 407)

Standard: AESSC: Metadata for Audio

Standards Committee Meeting on Metadata for Audio


Saturday, October 11, 11:30 am — 12:30 pm (Room 304 AB)

Special Event: Music and Audio for the Smaller Screen

Jerome Rossen, Freshmade Music - San Francisco, CA, USA; Manhattan Producers Alliance
Steve Horowitz, Game Audio Institute - San Francisco, CA, USA; Nickelodeon Digital
Richard Warp, Manhattan Producers Alliance - San Francisco, CA; Leapfrog Enterprises Inc - Emeryville, CA, USA

What are the important issues to take into account when you’re composing, compiling, and refining your masterpiece for the small screen? What should you prioritize during preproduction? How does the smaller screen affect your creative decision making? How can you mix for success? What do you need to know if you’re creating for iOS, Android and the Web? Join members of the Manhattan Producers Alliance as they conduct this panel addressing how to make the best possible audio for the “smaller screen.”


Saturday, October 11, 12:00 pm — 1:00 pm (Room 405)

TC Meeting: High Resolution Audio

Technical Committee Meeting on High Resolution Audio


Saturday, October 11, 12:00 pm — 1:30 pm (Room 404 AB)

Recording & Production: RP4 - Master Mission: Spreading the Word On Mentoring, Formats, and a Changing Industry

Tom Kenny
Gavin Lurssen, Lurssen Mastering - Los Angeles, CA, USA
Andrew Mendelson, Georgetown Masters - Nashville, TN, USA
Joe Palmaccio, The Place . . . For Mastering - Nashville, TN, USA
Michael Romanowski, Michael Romanowski Mastering - San Francisco, CA, USA; Owner Coast Recorders

A discussion with multiple award-winning Mastering engineers on the state of the music industry from a mastering engineers position. They will be discussing the changes in the industry and how the model is changing with manufacturing and online file distribution. Topics also included will be Meta-Data, High resolution, streaming, Singles vs. Albums, LPs.


Saturday, October 11, 12:30 pm — 1:15 pm (Stage PSE)


Project Studio Expo: PSE9 - Mixing Secrets: Production Tricks to Use with any DAW

Mike Senior, Sound On Sound - Munich, Germany; Cambridge Music Technology

Affordable DAW software now provides all the processing tools you need to create commercially competitive music mixes within a home, college, or project studio. As such, the overriding concern for budget-conscious engineers these days should be to develop effective habits with regard to studio monitoring, mix balancing, and quality control. Important techniques in each of these three areas are often neglected in small-scale productions, leading to mixes that don't stack up against professional releases, or that collapse on some mass-market listening systems. In this seminar Sound On Sound magazine's "Mix Rescue" columnist Mike Senior will draw on his experience of thousands of project-studio mixes to highlight the most frequently overlooked studio tricks. In the process he'll demonstrate how these methods can powerfully upgrade your sonics without breaking the bank, no matter which DAW you're using.

AES Members can watch a video of this session for free.


Saturday, October 11, 12:30 pm — 2:30 pm (Off-Site 1)

Technical Tour: TT10 - The Village

The original Village Recorders that Geordie Hormel built in 1968 was on the brink of being demolished in 1995, when new CEO Jeff Greenberg recruited Grammy winning engineer Al Schmitt to consult on a room-by-room renovation. Two years later, freshly rewired and reequipped, The Village was once again a state of the art studio drawing a new generation of talent, like John Mayer and the Raconteurs to the rooms where Johnny Cash and Bob Dylan recorded.

The six studios include the largest collection of Neve analog consoles in the US and an impressive array of modern and vintage mics, amps and outboard gear. Built in a 1920s era former Masonic Temple, Village retains much of the original architecture and has an auditorium and ballroom, in addition to the studios and artist lounges.


Saturday, October 11, 1:00 pm — 2:30 pm (Room 403 AB)

Special Event: Chicks in the Mix

Chris Lord-Alge
Marcella Araica, Recording & Mix engineer (Britney Spears, Madonna, Pink) - Miami, FL, USA; Los Angeles, CA, USA
Amy Burr, Larrabee Sound Studios, Studio Manager - North Hollywood, CA, USA
Emily Lazar, September Mourning (Lead Vocalist for the band) - New York, NY, USA
Lisa Loeb, GRAMMY-nominated Singer/Songwriter - Los Angeles, CA USA
Brenda Russell, BMPR - Los Angeles, CA, USA

Historically the audio and recording industries has been a male dominated workplace. Whether you are a female engineer, product designer, producer, mixer, manager, songwriter or artist, there are challenges you face on a day-to-day basis that your male counterparts do not. Our panel of well-known female industry professionals discuss what it takes to survive and thrive in what James Brown called “It’s A Man’s World.” Moderating this panel is the industry’s most testosterone driven, turn it up to 11, egotistical person AES could find—multi-GRAMMY Award-winning producer/mixer, Chris Lord-Alge whose resume includes recordings for Muse, Pink, Foo Fighters, Avril Lavigne, Green Day, Daughtry, Paramore, and Black Eyed Peas. Whether you are just starting out in the industry or are a seasoned professional, Chicks In The Mix brings together some of the most powerful and successful women to discuss what and how they do what they do. This dynamic panel, debuting at the AES137 Convention, is set to offer lively debate and discussion across all boundaries. No matter your gender, you will want to hear what these Chicks in the Mix have to say.


Saturday, October 11, 1:30 pm — 2:15 pm (Stage PSE)

Project Studio Expo: PSE13 - Listen Up, and Learn!—Track 2

Stephen Webber, Berklee College of Music - Valencia, Spain
Alex Case, University of Massachusetts Lowell - Lowell, MA, USA

Bring your ears, your artistry, and your opinions for an hour dedicated to the art of listening. Guided by your hosts, Stephen Webber and Alex U. Case, you'll focus on another iconic record that is a proven success—artistically and commercially—and glean useful aural insights. We'll listen as producers, engineers, composers, performers, and music fans, analyzing the elements that contribute to the work's success. You'll gain a deeper appreciation of this recording. More importantly, you'll be inspired to approach your own work in new ways. Most importantly, you'll get an up-close view into how experienced audio engineers break down what they hear, empowering you to keep learning whenever you listen.

Replaces PSE10 which is canceled.

AES Members can watch a video of this session for free.


Saturday, October 11, 2:00 pm — 3:30 pm (Room 409 AB)

Workshop: W5 - How Are We Learning Mastering, Teaching Mastering—The Next Wave

Jonathan Wyner, Berklee College of Music - Boston, MA, USA; M Works Mastering
Eric Boulanger, The Mastering Lab - Ojai, CA, USA
Scott Hull, Masterdisk - New York, NY, USA
Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA

Traditionally mastering has been learned by apprenticing. Now with the proliferation of educational resources and the evolution of affordable hi quality in-the-box processing, more people are practicing mastering in more places than ever before. Teaching a young engineer to become a top flight mastering engineer can be challenging. Have you wondered: What does 'Experienced Mastering Engineer' mean? What's the secret of mastering? In this workshop, seasoned mastering engineers and educators discuss how the craft is being taught and learned and how the next generation of mastering engineers will learn from their contemporaries. Topics will include what time tested practices remain essential and what is new in the discipline of mastering. Attendees of this workshop will walk away with a clearer understanding of what it takes to thrive in today's mastering market, how to assess internship/mentorship over 'going solo' early in a mastering career, and how to grow/build your mastering skills in today's market.


Saturday, October 11, 2:00 pm — 5:30 pm (Room 308 AB)

Paper Session: P14 - Perception: Part 2

Sungyoung Kim, Rochester Institute of Technology - Rochester, NY, USA

P14-1 Revision of Rec. ITU-R BS.1534Judith Liebetrau, Fraunhofer IDMT - Ilmenau, Germany; Frederik Nagel, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany; International Audio Laboratories - Erlangen, Germany; Nick Zacharov, DELTA SenseLab - Iisalmi, Finland; Kaoru Watanabe, NHK Science and Technology Research Labs. - Setagaya-ku, Tokyo, Japan; Catherine Colomes, Orange Labs - Cesson Sevigné, France; Poppy Crum, Dolby Laboratories - San Francisco, CA, USA; Thomas Sporer, Fraunhofer Institute for Digital Media Technology IDMT - Ilmenau, Germany; Ilmenau University of Technology - Ilmenau, Germany; Andrew Mason, BBC Research and Development - London, UK
In audio quality evaluation, ITU-R BS.1534-1, commonly known as MUSHRA, is widely used for the subjective assessment of intermediate audio quality. Studies have identified limitations of the MUSHRA methodology [1][2], which can influence the robustness to biases and errors introduced during the testing process. Therefore ITU-R BS.1534 was revised to reduce the potential for introduction of systematic errors and biases in the resulting data. These modifications improve the validity and the reliability of data collected with the MUSHRA method. The main changes affect the post screening of listeners, the inclusion of a mandatory mid-range anchor, the number and length of test items as well as statistical analysis. In this paper the changes and reasons for modification are given.
Convention Paper 9172 (Purchase now)

P14-2 Movement Perception of Risset Tones with and without Artificial SpatializationJulian Villegas, University of Aizu - Aizu Wakamatsu, Fukushima, Japan
The apparent radial movement (approaching or receding) of Risset tones was studied for sources in front, above, and to the right of listeners. Besides regular Risset tones, two kinds of spatialization were included: global (regarding the tone as a whole) and individual (spatializing each of its spectral components). The results suggest that regardless of the direction of the glissando, subjects tend to judge them as approaching. The effect of spatialization type was complex: For upward Risset tones, judgments were, in general, aligned with the direction of the spatialization, but this was not observed in the downward Risset tones. Furthermore, individual spatialization yielded judgments comparable to those of non-spatialized stimuli, whereas spatializing the stimuli as a whole yielded judgments more aligned with the treatment.
Convention Paper 9173 (Purchase now)

P14-3 The Audibility of Typical Digital Audio Filters in a High-Fidelity Playback SystemHelen M. Jackson, Meridian Audio Ltd. - Huntingdon, UK; Michael D. Capp, Meridian Audio Ltd. - Huntingdon, UK; J. Robert Stuart, Meridian Audio Ltd. - Huntingdon, UK
This paper describes listening tests investigating the audibility of various filters applied in high-resolution wideband digital playback systems. Discrimination between filtered and unfiltered signals was compared directly in the same subjects using a double-blind psychophysical test. Filter responses tested were representative of anti-alias filters used in A/D (analog-to-digital) converters or mastering processes. Further tests probed the audibility of 16-bit quantization with or without a rectangular dither. Results suggest that listeners are sensitive to the small signal alterations introduced by these filters and quantization. Two main conclusions are offered: first, there exist audible signals that cannot be encoded transparently by a standard CD; and second, an audio chain used for such experiments must be capable of high-fidelity reproduction.
Convention Paper 9174 (Purchase now)

P14-4 Evaluation Criteria for Live Loudness MetersJon Allan, Luleå University of Technology - Piteå, Sweden; Jan Berg, Luleå University of Technology - Piteå, Sweden
As a response to discrepancies in loudness levels in broadcast, the recommendations of the International Telecommunication Union and the European Broadcasting Union state that audio levels should be regulated based on loudness measurement. These recommendations differ regarding the definition of meter ballistics for live loudness meters, and this paper seeks to identify possible additional information needed to attain a higher conformity between the recommendations. This work suggests that the qualities we seek in a live loudness meter could be more differentiated for different time scales (i.e., momentary and short-term that is defined by two different integration times), and therefore also should be evaluated by different evaluation criteria.
Convention Paper 9175 (Purchase now)

P14-5 Factors Influencing Listener Preference for Dynamic Range CompressionMalachy Ronan, University of Limerick - Limerick, Ireland; Robert Sazdov, University of Limerick - Limerick, Ireland; Nicholas Ward, University of Limerick - Limerick, Ireland
The introduction of loudness normalization has led some commentators to declare that the loudness wars are over. However, factors contributing to a preference for dynamic range compression have not been removed. The research presented here investigates the role of long-term memory in sound quality judgments. Factors influencing preference judgments of dynamic range compression are discussed along with suggestions of further research areas. Research is presented that indicates that an objective measure of dynamic range will facilitate a greater understanding of how dynamic range compression affects individual sound quality attributes.
Convention Paper 9176 (Purchase now)

P14-6 The Influence of Listeners’ Experience, Age, and Culture on Headphone Sound Quality PreferencesSean Olive, Harman International - Northridge, CA, USA; Todd Welti, Harman International - Northridge, CA, USA; Elisabeth McMullin, Harman International - Northridge, CA USA
Double-blind headphone listening tests were conducted in four different countries (Canada, USA, China, and Germany) involving 238 listeners of different ages, gender, and listening experiences. Listeners gave comparative preference ratings for three popular headphones and a new reference headphone that were all virtually presented through a common replicator headphone equalized to match their measured frequency responses. In this way, biases related to headphone brand, price, visual appearance, and comfort were removed from listeners’ judgment of sound quality. On average, listeners preferred the reference headphone that was based on the in-room frequency response of an accurate loudspeaker in a reference listening room. This was generally true regardless of the listeners’ experience, age, gender, and culture. This new evidence suggests a headphone standard based on this new target response would satisfy the tastes of most listeners.
Convention Paper 9177 (Purchase now)

P14-7 A Hierarchical Approach to Archiving and DistributionJ. Robert Stuart, Meridian Audio Ltd. - Huntingdon, UK; Peter Craven, Algol Applications Ltd. - London, UK
When recording, the ideal is to capture a performance so that the highest possible sound quality can be recovered from the archive. While an archive has no hard limit on the quantity of data assignable to that information, in distribution the data deliverable depends on application-specific factors such as storage, bandwidth or legacy compatibility. Recent interest in high-resolution digital audio has been accompanied by a trend to higher and higher sampling rates and bit depths, yet the sound quality improvements show diminishing returns and so fail to reconcile human auditory capability with the information capacity of the channel. By bringing together advances in sampling theory with recent findings in human auditory science, our approach aims to deliver extremely high sound quality through a hierarchical distribution chain where sample rate and bit depth can vary at each link but where the overall system is managed from end-to-end, including the converters. Our aim is an improved time/frequency balance in a high-performance chain whose errors, from the perspective of the human listener, are equivalent to no more than those introduced by sound traveling a short distance through air.
Convention Paper 9178 (Purchase now)


Saturday, October 11, 2:30 pm — 3:45 pm (Stage PSE)

Project Studio Expo: PSE11 - The Special Sauce for Mixing a Hit Record

Fab Dupont
Mick Guzauski

Producer Fab Dupont (Mark Ronson, Jennifer Lopez) talks with esteemed mix engineer, Mick Guzauski (Daft Punk, Pharrell) as they walk through one of today’s hottest tracks. Hear how the pros approach crafting a hit with the same tools available to you and what that “special sauce” is too.


Saturday, October 11, 3:00 pm — 4:30 pm (Room 403 AB)

Special Event: Grammy SoundTable

Ed Cherney, Edward Cherney Company - Venice, CA, USA
Niko Bolas
Michael Brauer, Michael Brauer - New York, NY, USA
Alex Da Kid
No I.D.
Don Was

Songs That Move The Needle

Record production is a hybrid art encompassing vision, musicianship, well-honed instincts, and the bottom-line ability to get a project over the finish line. When these elements combine (and the stars align!), the result can be a milestone recording. At this GRAMMY SoundTable event, presented by The Recording Academy Producers & Engineers Wing, five multi-talented, cross-genre hit-makers will debate the who, what, when, where, and why of songs that have left an indelible imprint.

AES Members can watch a video of this session for free.


Saturday, October 11, 3:00 pm — 4:30 pm (S-Foyer 1)

Poster: P16 - Applications in Audio: Part 2

P16-1 General Volterra and Swept-Sine Diagonal System Estimation and Modeling PerformanceRussell H. Lambert, Harman International - South Jordan, UT, USA
Volterra system modeling performance results are given for various scenarios using both fully-determined and under-determined models. Three nonlinear system estimation methods are presented and compared including a novel and efficient Farina-type Hammerstein algorithm. The diagonal-only Hammerstein methods will not model off-diagonal nonlinear energy for general uncorrelated inputs but will model correlated inputs to some degree. The data matrix estimation methods work for generic input signal types. The nonlinear system must be fully determined to yield best results, but the diagonal-only models are more practical for applications having significantly long memory channels.
Convention Paper 9185 (Purchase now)

P16-2 Downward Compatibility Configurations when Using a Univalent 12 Channel 3D Microphone Array Design as a Master Recording ArrayMichael Williams, Sounds of Scotland - Le Perreux sur Marne, France
It can be shown that Microphone Array Design applied to a 12-channel 3D microphone array can create a master recording array design that will generate downward compatible signals that satisfy most of the present-day univalent lower order channel/loudspeaker configurations. The implementation of this compatibility oriented array design requires no matrixing or processing of the channel signals, while still maintaining the integrity of the overall sound field architecture. This compatibility approach to 3D array design produces a master recording system that can be adopted for an overall production, eventually to be distributed using several different media formats (stereo, DVD, Blu-ray, 3D, etc.). However this approach can also be used as a consumer choice function within a global master recording or file downloading facility.
Convention Paper 9186 (Purchase now)

P16-3 Relative Influence of Spectral Bands in Horizontal Front Localization of White NoiseTomomi Sugasawa, University of Aizu - Aizu-Wakamatsu, Fukushima, Japan; Jie Huang, University of Aizu - Aizuwakamatsu City, Japan; Julian Villegas, University of Aizu - Aizu Wakamatsu, Fukushima, Japan
The relationship between horizontal-front localization and the energy in different spectral bands is investigated in this paper. Specifically, we tried to identify which spectral regions produced changes in the judgments of the position of a white noise, when each band was removed from the noise presented through a front loudspeaker and presented via side loudspeakers. These loudspeakers were set at left and right from the front-midsagittal plane of the listener. Participants were asked to assess whether the noise was coming from the front loudspeaker as bands were moved from front to side loudspeakers. Results from a pilot study suggested differences in the relative importance of spectral bands for horizontal-front localization.
Convention Paper 9187 (Purchase now)

P16-4 Acoustic Digital Communication for Identification SystemsSergio Vazquez, Universidad Nacional de Tres de Febrero - Buenos Aires, Argentina; Virtual Things
In this paper a secure, low cost, energy efficient, robust digital communication system for identification purposes is presented. An alternative to magnetic stripe cards, Bluetooth LE, and NFC (Near Field Communication) that requires no specific hardware, making it compatible with almost every smartphone or portable device that has a working loudspeaker and is capable of reproducing audio. While previous works on the subject established the possibility to transmit digital data over the air using acoustic waves, this paper focuses on its implementation.
Convention Paper 9188 (Purchase now)

P16-5 How Critical Listening Exercises Complement Technical Courses to Effectively Provide Audio Education for Engineering Technology StudentsMark J. Indelicato, Rochester Institute of Technology - Rochester, NY, USA; Clark Hochgraf, Rochester Institute of Technology - Rochester, NY, USA; Sungyoung Kim, Rochester Institute of Technology - Rochester, NY, USA
Music is important to many aspects of our lives including student life at an institution of higher education. Combining music with academic coursework and programs therefore can be an effective way of engaging students to embrace academic programs and be successful in higher education. Some institutions have purposely incorporated audio engineering into technical programs as a way to not only create interest but to increase retention. Others have created music and technology programs and options, leveraging the student passion for music and keen interest in engineering. This paper discusses the benefit of combining music, technology, and engineering into higher education and, in particular, how the development of critical listening skills is key to the success of such a curriculum.
Convention Paper 9189 (Purchase now)

P16-6 On the Acoustics of AlleywaysRegina E. Collecchia, Stanford University - Stanford, CA, USA; SoundHound, Inc. - Santa Clara, CA, USA; Jonathan S. Abel, Stanford University - Stanford, CA, USA; Sean Coffin, Stanford University - Stanford, CA, USA; Eoin Callery, Stanford University - Stanford, CA, USA; Yoo Hsiu Yeh, Stanford University - Stanford, CA, USA; Kyle Spratt, University of Texas, Austin - Austin, TX, USA; Julius O. Smith, III, Stanford University - Stanford, CA, USA
Alleyways bounded by flat, reflective, parallel walls and smooth concrete floors can produce impulse responses that are surprisingly rich in texture, featuring a long-lasting modulated tone and a changing timbre, much like the sound of a didgeridoo. This work explores alleyway acoustics with acoustic measurements and presents a computational model based on the image method. Alleyway response spectrograms show spectral zeros rising in frequency with time and a modulated tone lasting noticeably longer than the harmonic series associated with the distance between the walls. With slight canting of the walls and floors to produce the long lasting modulated tone, the image method model captures much of this behavior.
Convention Paper 9190 (Purchase now)


Saturday, October 11, 3:45 pm — 5:15 pm (Room 409 AB)

Workshop: W6 - Finding a Good Acoustic Space

Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Bob Hodas, Bob Hodas Acoustics - Berkeley, CA, USA
Steven Klein, Steven Klein's Sound Control Room, Inc. - Studio City, CA, USA
Ellis Sorkin, Studio Referral Service Inc. - Calabasas, CA, USA

New audio studios open often, and new people entering the market are always looking for qualified, usable studio space. But where should you start? Build your own room? Find an existing room to rent? Remodel an existing space? What issues should you be concerned with acoustically? How can you find out what available spaces are on the market? What is a "reasonable" rental price range for existing studio space? This workshop aims to address common questions such a these and also to empower the audience with useful information on the subject of finding great acoustical spaces to run an audio business.


Saturday, October 11, 4:00 pm — 4:45 pm (Stage PSE)


Project Studio Expo: PSE12 - The Importance of a Reference Monitoring Level

Hugh Robjohns, Technical Editor, Sound on Sound - Cambridge, UK

If you're serious about recording and mixing you need to set a consistent reference level to which you can always return. SOS Technical Editor Hugh Robjohns explains the concept of a reference operating level in the DAW and how that relates to the common metering formats, before showing how to extend that reference level into the acoustic domain with a simple seven-step process resulting in an appropriate calibrated loudspeaker monitoring level.

AES Members can watch a video of this session for free.


Saturday, October 11, 4:30 pm — 6:30 pm (Room 306 AB)

Student / Career: Recording Competition - 2

The Student Recording Competition is a highlight at each convention. A distinguished panel of judges participates in
critiquing finalists of each category in an interactive presentation and discussion. The top three finalists in each category, as identified by our judges, present a short summary of their production intentions and the key recording and mix techniques used to realize their goals. They then play their projects for all who attend. Meritorious awards are determined here and will be presented at the closing Student Delegate Assembly Meeting (SDA-2) on Sunday afternoon. The competition is a great chance to hear the work of your fellow students at other educational institutions. Everyone learns from the judges’ comments, even those who don't make it to the finals, and it's a great chance to meet other students and faculty.

Traditonal Studio Recording
Judges: Jim Anderson, Jim Kaiser, Richard King, Mandy Parnell

Modern Studio Recording
Judges: Piper Payne, Ron Prent, Darcey Proper, Michael Romanowski


Saturday, October 11, 4:30 pm — 6:30 pm (Room 408 B)

Sound for Picture: SP4 - Immersive Sound and One-Master Mixing

Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Ton Kalker, DTS - Mountain View, CA, USA
Stephan Mauer, BARCO N.V. - Erfurt, Germany
Bert Van Daele, Auro Technologies NV - Mol, Belgium

With “Immersive Sound” and "Object-Based Mixing” the new buzzwords in Sound for Picture production, some are wondering if the systems can be designed to streamline the growing requirements for “special mixes.” The methods and tools currently available and the changes that might be necessary going forward to eliminate specialized mixing for different devices and markets are discussed by this panel.

AES Technical Council This session is presented in association with the AES Technical Committee on Audio for Cinema


Saturday, October 11, 5:00 pm — 6:30 pm (Room 403 AB)

Recording & Production: RP5 - An Afternoon with Geoff Emerick

Geoff Emerick
Howard Massey, OTRW - New York, NY, USA

The Beatles and Beyond

Geoff Emerick is, of course, best known for his work with The Beatles. Yes, he's the man who engineered "Revolver" and "Sgt. Pepper’s Lonely Hearts Club Band," as well as many of the tracks on "Magical Mystery Tour," "The White Album," and "Abbey Road."

But there's much more to his career than just those milestones. Join us for a fascinating conversation with Geoff Emerick as he discusses not only his audio adventures with the Fab Four and each of the Beatles individually (including the making of Paul McCartney's "Band On The Run" in Lagos, despite band desertion and monsoons, not to mention spiders and cockroaches as big as dinner plates) but provides a glimpse behind the scenes of the records he crafted with artists such as Elvis Costello, Jeff Beck, The Zombies, Robin Trower, Badfinger, America, Art Garfunkel and Nellie McKay. This very special presentation will be enhanced with rarely seen photos and video footage as well as rarely heard audio clips. Time will be allotted for questions from the audience.


Sunday, October 12, 9:00 am — 10:00 am (Room 403 AB)


Recording & Production: RP6 - Inside the Mix by Dave Reitzas

Dave Reitzas, Reitzas Inc. - Los Angeles, CA, USA

Join multi-Grammy winning Engineer/Mixer Dave Reitzas (Barbara Steisand, Madonna, Whitney Houston, Josh Groban, Michael Buble), as he dissects the multi-tracks of some of the hit songs that he has worked on as an engineer over the last 30 years. Dave will share the tips and techniques that he uses to record everything from rhythm sections to orchestras, and synthesizers to vocals.


Sunday, October 12, 9:00 am — 10:30 am (Room 408 A)

Workshop: W7 - 21st Century Vinyl

Jonathan Wyner, Berklee College of Music - Boston, MA, USA; M Works Mastering
JJ Golden, Golden Mastering - Ventura, CA, USA
Robert Hadley, The Mastering Lab - CA, USA
Peter Lyman, Infrasonic Mastering - Los Angeles, CA, USA
Doug Sax, The Mastering Lab - Ojai, CA, USA

Vinyl—the cornerstone format of the music industry. Vinyl—despite the array of audio media formats that have come out since the LP, vinyl remains a vibrant format with a large (and growing!) fan base. Now that we find ourselves almost 15 years into the 21st century, how is the process of creating vinyl records changed? How is the equipment holding up after all these years? How hard is it to find media/supplies/parts for lathes still in use today? How has the approach to cuting vinyl masters changed (if at all) with the changes to delivered mixes (e.g., shrinking dynamic range, demands for longer side lengths, etc.)? This workshop will discuss the current state of the vinyl mastering industry, how it's adapting to the changing mix landscape, and thoughts on the future of vinyl.


Sunday, October 12, 10:15 am — 11:45 am (Room 403 AB)

Recording & Production: RP7 - Raw Tracks: Red Hot Chili Peppers—A Master Class

Mark Rubel, The Blackbird Academy - Nashville, TN, USA; Pogo Studio - Nashville, TN, USA
Andrew Scheps, Tonequake Records - Van Nuys, CA, USA

Renowned engineer/producer Andrew Scheps will discuss, analyze, and deconstruct a classic Red Hot Chili Peppers song "Pink Like Floyd" in the inaugural "Raw Tracks" series at the AES 137th International Conference in Los Angeles.


Sunday, October 12, 10:15 am — 11:45 am (Room 408 B)

Game Audio: G14 - New DAW Rising: Scoring and Mixing Your Game, In The Game

Guy Whitmore, PopCap Games

A common practice for game composers and sound designers today is to compose and arrange fully mixed music and sound cues in Pro Tools or Logic, then have an implementation specialist drop those files into the game. Sound integration, in this case, is seen as a basic technical task. But in order to score and mix a game with greater nuance, the composer would want to see the game in action while composing; the sound designer would want to watch the interactivity of the visuals, working in a DAW that includes robust adaptive features. This new DAW exists; it is your game audio engine and its authoring tools. In this scenario, sound integration is a highly creative endeavor, where music arranging, mixing, mastering, and even composing takes place.


Sunday, October 12, 10:30 am — 12:30 pm (Off-Site 1)

Technical Tour: TT11 - The Dub Stage

The Dub Stage specializes in sound for cinema and television. Marti D. Humphrey CAS, a 33-year veteran of Hollywood post-production with multiple primetime Emmy awards, will lead this tour with a brief presentation, Q & A, and demonstration of their Meyer Acheron Cinema Sound System, with 37 speakers and Barco Auro-3D 11.1 system for immersive 3D sound, built around an Avid Pro Tools HDX.

This tour is limited to 40 people.


Sunday, October 12, 11:15 am — 12:45 pm (Room 306 AB)

Workshop: W8 - Analog Tape in a Digital World

Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA
Charlie Bolois, Vertigo Recording Services - Los Angeles, CA, USA
Larry Crane, Tape Op Magazine - Portland, OR, USA; Jackpot! Recording Studio
Dan Labrie, ATR Services/ATR Magnetics - York, PA, USA

Despite 20+ years of digital recording advancements, recording to analog tape remains a hot topic in the world of audio engineering. Software modeling companies work hard to create the best emulations while hardware manufacturers pour over designs to also emulate the "magic" of the tape process, and yet "the real thing" remains a no-option for many artists and engineers still today. This workshop will discuss the current state of analog tape manufacturing, availability, and its usage in the recording, mixing, and mastering stages of the music production cycle.

AES Members can watch a video of this session for free.


Sunday, October 12, 1:00 pm — 3:00 pm (Room 408 B)

Sound for Picture: SP6 - Superstars of Production Sound Recording

Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Peter Kurland
Jim Tanenbaum, Sound Recording Services - Los Angeles, CA, USA
Mark Ulano

The recording of Production Sound dialog for films is a unique area of sound recording, and done to a high standard by the Hollywood production sound community. This type of recording requires an understanding of the film-making process, a strong relationship with the various crafts, and a wide variety of "tricks" not usually employed in other areas of sound recording. This workshop features several of the top Production Sound Mixers prepared to discuss their craft and recording philosophies.

AES Technical Council This session is presented in association with the AES Technical Committee on Audio for Cinema


Sunday, October 12, 1:00 pm — 2:30 pm (Room 306 AB)

Workshop: W10 - DSD and DXD: Extreme Resolution Productions Discussed

Dominique Brulhart, Merging Technologies - Puidoux, Switzerland
Robert Friedrich
Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway
John Newton, Soundmirror, Inc. - Jamaica Plain, MA, USA
Jared Sachs

With the growing interest in high resolution by the audiophile and general audience and the rapidly growing availability of high resolution content for download on the market, and in relation with the 137th AES convention HRA special event organized with the DEG, we thought mandatory to reiterate our DSD/DXD panel.

As the reality of most extreme resolution productions today is not anymore to ideologically focus on either DSD or PCM, but to choose the most appropriate format based on the production and post-production requirements, as it is been established during the three former workshops, we found more interesting to open this time the discussion to a wider number of panelists to share their experience in this domain, and base the comparison between DSD and DXD on production prerogatives instead of purely sound quality considerations.

Morten Lindberg from 2L, John Newton from Soundmirror, Michael Bishop from Five Four Productions, and Jared Sachs from Channel Classics will be presenting some of their productions and answer to questions about their technical and artistic decisions.


Sunday, October 12, 1:30 pm — 3:00 pm (Room 404 AB)

Special Event: Sound Is the Conduit to the Artist Heart

Jack Joseph Puig, Recording Engineer
Dean Bolte, Managing Director, Americas at Omnifone
Joel Clarke, Motorola Mobile Devices
Chris Dorian, Sr. Area Director/Business Sales at T-Mobile USA
Aja Schmit, Bullitt Group Ltd.
Devon Worrell, Mobile Audio Architect, Intel

Ever since the consumer-branded Yamaha NS-10 speaker became ubiquitous in almost every professional recording studio, the music industry has seen the worlds of professional and consumer audio collide with the goal of creating an ecosystem that allows the professional to make the right creative choices, in order for the translation of the artists’ intent to be fully realized and understood by the consumer. Now that “mobile” is how most consumers are listening to music, what is the future, and how do manufacturers in the consumer space view the future of mobile audio and pro audio intersecting? This provocative panel will address and discuss this paradigm shift while exploring the ramifications that will affect everyone in the industry, from audio manufacturer to end user.


Sunday, October 12, 2:00 pm — 3:00 pm (Room 405)

TC Meeting: Audio for Games

Technical Committee Meeting on Audio for Games


Sunday, October 12, 2:30 pm — 4:00 pm (Room 409 AB)

Recording & Production: RP8 - Mastering for Engineers

Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Ronald Prent, Wisseloord Studios - Eemnes, Netherlands
Darcy Proper, Wisseloord Studios - Hilversum, The Netherlands

The presenters will "role-play" the real situation with a client in a mastering session. All the issues that may come up in real life will be addressed in order to demonstrate how important it is as Engineers (and/or facility managers) to make clients feel confident and at ease but still keeping control of the session. In other words, how to develop interpersonal skills that become crucial to the music production business.


Sunday, October 12, 3:00 pm — 5:00 pm (Room 408 B)

Sound for Picture: SP7 - Recording Production Sound—A Master Class

Brian McCarty, Coral Sea Studios Pty. Ltd - Clifton Beach, QLD, Australia
Peggy Names, Silent Solutions, LLC - Pasadena, CA, USA
Jay Patterson, Engineering For Production - Venice

The craft of recording live dialog on the set is one of the most unique areas of sound recording. In many cases the other technicians on the set, including the director, conspire to make the process of getting quality recordings very difficult. And with this work often done outdoors, day and night, sunshine, pouring rain, or drifting snow, the production sound team need to be clever and find solutions in real time. This workshop with a leading Production Sound mixer and top boom operator will shed some light on this diverse recording craft.

AES Technical Council This session is presented in association with the AES Technical Committee on Audio for Cinema


Return to Recording & Production Track Events

EXHIBITION HOURS October 10th   10am ��� 6pm October 11th   10am ��� 6pm October 12th   10am ��� 4pm
REGISTRATION DESK October 8th   3pm ��� 7pm October 9th   8am ��� 6pm October 10th   8am ��� 6pm October 11th   8am ��� 6pm October 12th   8am ��� 4pm
TECHNICAL PROGRAM October 9th   9am ��� 7pm October 10th   9am ��� 7pm October 11th   9am ��� 7pm October 12th   9am ��� 6pm
AES - Audio Engineering Society