AES Warsaw 2015
Spatial Audio Demo Details
Thursday, May 7, 14:30 — 15:15 (Room: Saski)
SD1 - Headphone Entertainment, How the Future Can Sound Using Virtual Spatial Audio Production Approaches
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Headphones are commonly used when listening to music. Games and mobile film entertainment are a growing headphone application too. Furthermore virtual reality is evolving where headphones certainly will have a basic role. Simple stereo on headphones shouldn't be the end but the beginning of involving audio applications with the flexibility of headphone applications. The tutorial will show different applications and tools and will provide a lot of listening examples.
Thursday, May 7, 15:15 — 16:00 (Room: Saski)
SD2 - Headphone Entertainment, How the Future Can Sound Using Virtual Spatial Audio Production Approaches
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Headphones are commonly used when listening to music. Games and mobile film entertainment are a growing headphone application too. Furthermore virtual reality is evolving where headphones certainly will have a basic role. Simple stereo on headphones shouldn’t be the end but the beginning of involving audio applications with the flexibility of headphone applications. The tutorial will show different applications and tools and will provide a lot of listening examples.
Thursday, May 7, 17:00 — 17:30 (Room: Saski)
SD3 - 3D Audio for Games
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Today 3D audio is a well known task for film as well for music production. Approaches and technologies have been discussed and presented at AES conventions for some years. But involving 3D audio for games is just beginning. A first tool, approaches, and a game demo will be shown and visions and possibilities for the future will be discussed.
Thursday, May 7, 17:30 — 18:00 (Room: Saski)
SD4 - 3D Audio for Games
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
Today 3D audio is a well known task for film as well for music production. Approaches and technologies have been discussed and presented at AES conventions for some years. But involving 3D audio for games is just beginning. A first tool, approaches, and a game demo will be shown and visions and possibilities for the future will be discussed.
Friday, May 8, 10:15 — 10:45 (Room: Saski)
SD5 - ISO/MPEG-H Audio—The New Standard for Universal Spatial / 3D Audio Coding
Presenter:Ulli Scuda, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Abstract:
Recently, the ISO/MPEG standardization group created the MPEG-H 3D Audio specification to go along with Ultra High Definition Television (UHDT) video. The specification features several unique elements, such as handling of channel-based content, object-based content, and higher order ambisonics (HOA) content or the capability of rendering encoded high-quality content on a wide range of loudspeaker setups (22.2 ... 5.1 ... stereo / headphones). This demonstration showcases some of the features and sonic performance of the MPEG-H 3D Audio standard.
This demonstration supports the workshop of the same name given on Thursday.
Friday, May 8, 10:45 — 11:15 (Room: Saski)
SD6 - ISO/MPEG-H Audio—The New Standard for Universal Spatial / 3D Audio Coding
Presenter:Ulli Scuda, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Abstract:
Recently, the ISO/MPEG standardization group created the MPEG-H 3D Audio specification to go along with Ultra High Definition Television (UHDT) video. The specification features several unique elements, such as handling of channel-based content, object-based content, and higher order ambisonics (HOA) content or the capability of rendering encoded high-quality content on a wide range of loudspeaker setups (22.2 ... 5.1 ... stereo / headphones). This demonstration showcases some of the features and sonic performance of the MPEG-H 3D Audio standard.
This demonstration supports the workshop of the same name given on Thursday.
Friday, May 8, 12:00 — 13:00 (Room: Saski)
SD7 - The Production of Involving 3D Audio Experiences for Music Applications
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
It's one thing to move audio objects around the listener like a spaceship in a movie application. It's a totally different approach to create musical landscapes that involve the listener emotionally in 3D audio. Strategies, tools, and visions will be shown and a lot of listening examples will be provided.
Friday, May 8, 13:00 — 14:00 (Room: Saski)
SD8 - The Production of Involving 3D Audio Experiences for Music Applications
Presenter:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Abstract:
It's one thing to move audio objects around the listener like a spaceship in a movie application. It's a totally different approach to create musical landscapes that involve the listener emotionally in 3D audio. Strategies, tools, and visions will be shown and a lot of listening examples will be provided.
Friday, May 8, 14:45 — 16:15 (Room: Saski)
SD9 - Recording Music in Immersive Audio
Presenters:Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway; Westerdals - Oslo School of Arts, Communication and Technology
Daniel Shores, Sono Luminus - Boyce, VA, USA; Shenandoah Conservatory Music Production and Recording Technology - Winchester, VA, USA
Abstract:
In this Demo, we will be playing music recorded in 9.1 immersive audio and discussing microphone techniques and production workflow.
Friday, May 8, 17:00 — 17:30 (Room: Saski)
SD10 - 3D 9.1 for Creating an Impressive Movie Sound
Presenter:Lasse Nipkow, Silent Work LLC - Zurich, Switzerland
Abstract:
A 3D 9.1 reproducing system provides much more possibilities to create an impressive sound of a movie in comparison to stereo and Surround. The most important improvements are more loudspeakers for creating real sound sources, an incredible envelopment, and realistic sounding soundscapes. The sound of movies contains several sound layers. Each sound of those layers can be extended from mono or stereo to 3D by using psychoacoustical rules. Those psychoacoustical rules are divided into different groups according to the above-described improvements. During the presentation, a couple of rules will be described and demonstrated with example recordings (synchronized audio and video). This 9.1 demonstration accompanies the workshop "3D 9.1 for Creating an Impressive Movie Sound."
Friday, May 8, 17:30 — 18:00 (Room: Saski)
SD11 - 3D 9.1 for Creating an Impressive Movie Sound
Presenter:Lasse Nipkow, Silent Work LLC - Zurich, Switzerland
Abstract:
A 3D 9.1 reproducing system provides much more possibilities to create an impressive sound of a movie in comparison to stereo and Surround. The most important improvements are more loudspeakers for creating real sound sources, an incredible envelopment, and realistic sounding soundscapes. The sound of movies contains several sound layers. Each sound of those layers can be extended from mono or stereo to 3D by using psychoacoustical rules. Those psychoacoustical rules are divided into different groups according to the above-described improvements. During the presentation, a couple of rules will be described and demonstrated with example recordings (synchronized audio and video). This 9.1 demonstration accompanies the workshop "3D 9.1 for Creating an Impressive Movie Sound."
Saturday, May 9, 09:30 — 10:30 (Room: Saski)
SD12 - Psychoacoustics of 3D Sound Recording
Presenter:Hyunkook Lee, University of Huddersfield - Huddersfield, UK
Abstract:
This tutorial will explain psychoacoustic principles that need to be considered when making 3D sound recordings and demonstrate a number of practical 3D recordings made using various microphone configurations to show how the principles are applied into practice. The topics to be addressed include: vertical interchannel time and level relationship, the effect of decorrelation/mic spacing in vertical stereo perception, the role of spectral cue for vertical localization and image spread, and effective microphone configurations for the capturing of height channel ambience. 3D recordings to be demonstrated will be of various types of music: orchestra, chamber choir, string ensemble, organ, piano, jazz funk, etc.
Saturday, May 9, 10:30 — 11:30 (Room: Saski)
SD13 - Psychoacoustics of 3D Sound Recording
Presenter:Hyunkook Lee, University of Huddersfield - Huddersfield, UK
Abstract:
This tutorial will explain psychoacoustic principles that need to be considered when making 3D sound recordings and demonstrate a number of practical 3D recordings made using various microphone configurations to show how the principles are applied into practice. The topics to be addressed include: vertical interchannel time and level relationship, the effect of decorrelation/mic spacing in vertical stereo perception, the role of spectral cue for vertical localization and image spread, and effective microphone configurations for the capturing of height channel ambience. 3D recordings to be demonstrated will be of various types of music: orchestra, chamber choir, string ensemble, organ, piano, jazz funk, etc.
Saturday, May 9, 13:30 — 15:00 (Room: Saski)
SD14 - Recording Music in Immersive Audio
Presenters:Morten Lindberg, 2L (Lindberg Lyd AS) - Oslo, Norway; Westerdals - Oslo School of Arts, Communication and Technology
Daniel Shores, Sono Luminus - Boyce, VA, USA; Shenandoah Conservatory Music Production and Recording Technology - Winchester, VA, USA
Abstract:
In this Demo, we will be playing music recorded in 9.1 immersive audio and discussing microphone techniques and production workflow.
Saturday, May 9, 15:30 — 17:00 (Room: Saski)
SD15 - Making 3D Recordings of Classical Music
Presenter:Malgorzata Albinska-Frank, Tonstudio arton, Das Tonstudio für klassische Musik - Basel, Switzerland
Abstract:
This session is dedicated to all who would like to start to record classical music using 3D technique: room acoustics, microphone technique, mixing tools, and playback systems for working with 3D. Is this technique also useful for surround and stereo? Based on listening of 3D recordings of classical music, the technical and aesthetical aspects of 3D recording production workflow will be presented and discussed.
Sunday, May 10, 09:30 — 11:00 (Room: Saski)
SD16 - Making 3D Recordings of Classical Music
Presenter:Malgorzata Albinska-Frank, Tonstudio arton, Das Tonstudio für klassische Musik - Basel, Switzerland
Abstract:
This session is dedicated to all who would like to start to record classical music using 3D technique: room acoustics, microphone technique, mixing tools, and playback systems for working with 3D. Is this technique also useful for surround and stereo? Based on listening of 3D recordings of classical music, the technical and aesthetical aspects of 3D recording production workflow will be presented and discussed.
