AES New York 2015
Workshop Details
Thursday, October 29, 9:00 am — 10:00 am (Room 1A14)
W1 - Hearing Smart
Chair:Kathy Peck, ED and Co-founder H.E.A.R. - San Francisco, CA, USA; co presenter-Center for the Artist at NY-Presbyterian Weill Cornell Medical Center - New York, NY, USA
Moderator:
Dan Beck, Trustee of The Music Performance Trust Fund - New York, NY, USA
Panelists:
Richard Einhorn, Einhorn Consulting, LLC - New York, NY, USA; Richard Einhorn Productions, Inc.
Marty Garcia, Future Sonics - Bristol, PA, USA
S. Benjamin Kanters, Columbia College - Chicago, IL, USA; Hear Tomorrow
Joseph Montano, Chief of Audiology and Speech Language Pathology at New York Presbyterian Hospital-Weill Cornell Medical Center - New York, NY, USA
Abstract:
(2015) WHO—World Health Organization—sites 1.1 billion people at risk of hearing loss a serious threat posed by exposure to recreational noise due to the unsafe use of personal audio devices and exposure to damaging levels of sound at noisy entertainment venues such as nightclubs, bars, and sporting events. (1989) Nonprofit H.E.A.R, Hearing Education and Awareness for Rockers an early proponent with founding support of Pete Townshend of the Who launched worldwide grassroots initiatives. In efforts to unite the music industry and the hearing health/medical community, raise awareness and improve hearing conservation for performers, personnel, and consumers of music to insure its continued creation, performance, and enjoyment a panel of music and medical industry hearing conservation experts were brought together to discuss hearing education and prevention.
Thursday, October 29, 10:45 am — 12:45 pm (Room 1A21)
W2 - Mixing Music
Chair:Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Panelists:
Buford Jones, Meyer Sound - Berekley, CA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Shawn Murphy, Recording and Live Sound Engineer - Berkeley, CA, USA
Abstract:
Panel discussion and presentations from award-winning expert practitioners in the industry, describing the process of mixing, actual techniques used, and proven methodologies that have yielded successful results over the years. Focus will remain on real information as opposed to anecdotes, such as different ways to approach a mix, how to improve an existing mix, how to best interpret and address mix comments from an artist or a client, or the record label (it happens). A large portion of time will be left open for questions, so that the audience will have the chance to solicit specific and meaningful information from the panelists.
Thursday, October 29, 2:15 pm — 4:15 pm (Room 1A22)
W3 - Low Frequency Behavior in Small High Accuracy Listening Environments
Chair:John Storyk, Architect, Studio Designer and Principal, Walters-Storyk Design Group - Highland, NY, USA
Panelists:
Renato Cipriano, Walters Storyk Design Group - Belo Horizonte, Brazil
Eddie Kramer, Audio and Technical Consultant for KPFK 90.7FM Studio Upgrade - Los Angeles, CA, USA
Richard Lenz, RealAcoustix LLC - Ogdon, Utah
Art Noxon, AcousticSciences Corp. - Eugene, OR, USA; Tube Trap
Dirk Noy, WSDG - Basel, Switzerland
Roger Roschnik, PSI Audio - Yverdon-les-Bains, Switzerland
Abstract:
Low frequency prediction in large and medium-size venues has become a standard in the audio industry. However, acoustic modeling of small rooms has not yet evolved into a widely accepted concept mainly because of the unavailability of one accurate too set. The workshop will explore currently available software-based approaches and real world applications to low frequency prediction.
Specific studio examples will illustrate comparisons of these approaches and their success in the field. The workshop will also explore the limitations of current LF design modeling, and in specific the underlying mathematical and numerical algorithms, such as ray tracing, which are only valid in frequency ranges where lengths are small compared to the characteristic dimensions of the room. The common dividing line is often identified with the so-called Schroeder frequency.
The workshop will review these theoretical prediction limits as well as hope to create a dialogue concerning future prediction and design techniques.
Thursday, October 29, 4:00 pm — 5:30 pm (Room 1A21)
W4 - Interaction and Evolution of Recording Classical Music thru the Eyes of Grammy Award Winning Producers
Chair:David Merrill, DMMUSIUC, Inc - Brooklyn, NY, USA
Panelists:
Steve Epstein
David Frost
Tom Shepard
Judy Sherman
Abstract:
Grammy Award winning classical music producers discussing the interaction and observations they have had with technology through the decades.
Friday, October 30, 9:00 am — 10:30 am (Room 1A12)
W5 - Immersive Audio with Height Channels: Theory and Practice
Chair:David Bowles, Swineshead Productions LLC - Berkeley, CA, USA
Panelists:
Paul Geluso, New York University - New York, NY, USA
Juergen Peissig, Sennheiser Electronics - Wedemark, Germany
Agnieszka Roginska, New York University - New York, NY, USA
Abstract:
The next step in immersive audio is to move into the vertical dimension through height channel recording and reproduction. Vital to this dialogue is a clearer understanding via psychoacoustics of our hearing perception outside the horizontal planes: how this perception influences engineers’ choices in microphone technique and speaker placement. Members of this panel will discuss different recording techniques to capture height channels and whether this audio information can be integrated into conventional stereo and surround-sound recordings. The growing number of 3D mix engines and Blu-ray encoding formats will also be discussed. This workshop will be divided into two parts: a technical panel discussion at Javits Center, followed by playback sessions at the James Dolan Studios at New York University.
Friday, October 30, 9:00 am — 10:15 am (Room 1A14)
W6 - Help, I Have a Tape Machine! (Redux)
Chair:Noah Simon, New York University - New York, NY, USA
Panelists:
John French, JRF Magnetic Sciences Inc - Greendell, NJ, USA
Chris Mara, Welcome To 1979 - Nashville, TN, USA
Bob Shuster, Shuster Sound - Smithtown, NY USA
Daniel Zellman, Zeltec Service Labs - New York, NY, USA; Zeltec Research & Development
Abstract:
Although analog tape continues to be a viable format for recording and mixing audio, there is no denying the decline in the manufacture of machines, media and tools for this beloved technology. In order to use analog tape reliably, machines must be maintained and repaired by users armed with technical know-how. This panel will cover topics related to the evaluation, maintenance, repair, and every-day practices to keep this technology functioning to its fullest potential.
Friday, October 30, 10:45 am — 12:45 pm (Room 1A06)
W7 - The X-Factor in Audio
Chair:Darcy Proper, Darcy Proper Mastering - Eemnes, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Panelists:
Cynthia Daniels, Recording Engineer/Producer, Monk Music Studios - East Hampton, NY USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
Piper Payne, Coast Mastering - San Francisco Bay Area, CA
Michelle Sabolchick Pettinato, Independant Live Sound Engineer - Scranton, PA, USA; FOH Engineer STYX
Ulrike Schwarz, Tonmeister/MBA Anderson Audio (formerly at Bayerischer Rundfunk, Germany) - München, Germany
Leanne Ungar, Berklee College of Music - West Newton, MA, USA
Abstract:
“The X-Factor in Audio”: What does it take for an engineer to rise to the top of his/her profession? What is the “magic” that makes a session special (and productive) for all involved? What elements combine to elevate a live concert from “a nice night out” to “a show we’ll never forget”?
No, Simon Cowell will not be making an appearance here. Instead, this workshop will feature a remarkable group of audio engineers, outstanding in their respective fields—live sound, recording, mixing, and mastering—for a wide variety of musical genres including classical, pop/rock/r&b, film, Broadway, and television.
These engineers have worked with an impressive list of artists, including: Herbie Hancock, Michel Feinstein, Nile Rodgers, Leonard Cohen, Laurie Anderson, “The Producers” cast, Mumford & Sons, Florence & The Machine, Sir Simon Rattle, Yo Yo Ma, Donald Fagen, Marcus Miller, Gwen Stefani, The Goo Goo Dolls, and dozens more.
Join these award-winning panelists as they share their life-long adventures in audio and share their tips and tricks for surviving in this challenging industry, told from their unique perspective as women in a male-dominated profession.
Friday, October 30, 10:45 am — 12:15 pm (Room 1A12)
W8 - ISO/MPEG-H Audio - The New Standard for Universal Spatial / 3D Audio Coding
Chair:Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Panelists:
Alexander Krüger, Technicolor
Nils Peters, Qualcomm - San Diego, CA, USA
Jan Plogsties, 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 workshop provides an overview of the MPEG-H 3D Audio standard regarding its underlying architecture, technology, performance and how to produce immersive content for it.
Friday, October 30, 11:00 am — 1:00 pm (Room 1A21)
W9 - Give Peaks a Chance
Chair:Thomas Lund, Genelec Oy - Iisalmi, Finland
Panelists:
Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Bob Katz, Digital Domain Mastering - Orlando, FL, USA
Bob Ludwig, Gateway Mastering Studios, Inc. - Portland, ME, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Susan Rogers, Berklee College of Music - Boston, MA, USA
Abstract:
The Tribunal is ready to present an update on the Loudness Wars. Important 2015 developments include Apple Music and WHO’s sudden attention to sound exposure from Personal Media Players (PMPs). Both will have an impact on our industry at large, good or bad.
The panel will cover production, mastering, and distribution of quality audio, and we will discuss how the prevention of hearing loss fits in as a key element. While our most social sense must be preserved, cultural aspects should not be forgotten. We need something worth listening to also :-).
Friday, October 30, 11:45 am — 12:45 pm (Room 1A14)
W10 - Educating Your Clients on the Vinyl Process
Chair:Cameron Henry, Welcome To 1979 - Nashville, TN, USA
Panelists:
Bruce Dickinson, Legacy Recordings - New York, NY, USA; Imagineerist Enterprises
Jeffrey James, Director of A&R Sony Music Entertainment
Abstract:
The purpose of this workshop is to educate people in the recording industry of the unique requirements of the vinyl process. Everyone is aware that vinyl sales are increasing dramatically, this workshop will help educate on ways to better deal with vinyl and help find ways to potentially increase revenue by offering vinyl-centric services.
Friday, October 30, 2:00 pm — 3:00 pm (Room 1A06)
W11 - The Changing Audio Deliverables for Broadcast and Media
Moderator:Jay Yeary, Transient Audio Labs - San Antonio, TX, USA
Panelists:
Jeff Brugger, Turner Studios - Atlanta, GA, USA
Michael Cardillo, Creative Waves Inc - Atlanta, GA, USA
Ed Greene
Sean Richardson, Starz Entertainment - Parker, CO, USA
Abstract:
Television content can now be viewed almost anywhere, on screens of all sizes, and on a seemingly limitless number of devices. This multitude of viewing choices means that it is often necessary to finish content differently for each delivery platform, requiring multiple mix passes or automated processing in order to meet an expanding range of delivery specifications. This session will look at how different networks, content providers, and engineers are dealing with the hodgepodge of loudness, channel configuration, codec, and delivery requirements to provide high-quality audio for streaming, video on demand, mobile, cable, and broadcast outlets.
This event is part of the Sound for Pictures Track.
Friday, October 30, 3:00 pm — 5:00 pm (Room 1A21)
W12 - Mixing Meets Mastering: Where the Line becomes Blurred
Chair:Rob Toulson, Anglia Ruskin University - Cambridge, UK
Panelists:
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Mandy Parnell, Black Saloon Studios - London, UK
Ronald Prent, Wisseloord Studios - Eemnes, Netherlands
Darcy Proper, Darcy Proper Mastering - Eemnes, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Michael Romanowski, Coast Mastering - Berkely, CA, USA; The Tape Project
Abstract:
This workshop will discuss the evolution of mixing and mastering, particularly with reference to scenarios when the two practices become merged into one. There are a number of arguments for and against the use of mastering techniques at the mixing stage. For example, it can be argued that mix engineers need to take a greater responsibility towards dynamics and noise cancellation. Whereas, in contrast, the use of mix bus limiting when generating draft listening copies can confuse and falsify the sign-off process. Furthermore, mastering engineers might be tempted to work from mix stems, but does that mean they are effectively mixing as well as mastering the songs? We will also explore professional and home studio practices, innovative tools and educational approaches.
Friday, October 30, 5:30 pm — 7:00 pm (Room 1A14)
W13 - Automotive Audio—The Making of the Sound System in a Car
Chair:Grzegorz Sikora, Harman - Pullach, Germany
Panelists:
Thomas Bachmann, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Peter John Chapman, Harman - Denmark; Bang & Olufsen Automotive
Abstract:
In this workshop we look behind the scenes of developing an OEM sound system, "the making of." It’s a unique opportunity to understand the key fundamentals of the Automotive Audio perspective, from the project team behind many successful OEM sound systems. This workshop will cover a range of topics from the initial idea to the finished product. The experts from the respective fields will discuss car cabin acoustics, loudspeaker selection and placement, signal flow and amplifier characteristics, sound tuning, audio design philosophy, and creation of the 3D sound algorithm. Each topic will be discussed in general and in the context of actual projects.
Friday, October 30, 5:30 pm — 7:00 pm (Room 1A13)
W14 - Intellectual Property Basics for Audio Professionals
Chair:Andrea Yankovsky, Kilpatrick, Townsend & Stockton LLP - New York, NY, USA
Abstract:
Workshop on copyright, trademark, patent, trade secrets, and other IP topics.
Friday, October 30, 6:00 pm — 7:00 pm (Room 1A22)
W15 - Audio Enhancement: How to Improve the Effectiveness of Cross-Channel Filters by Using Time Compression/Expansion to Maintain Signal Alignment
Chair:Daniel Rappaport, CACI - Annandale, VA, USA
Panelists:
Eddy B. Brixen, EBB-consult - Smørum, Denmark; DPA Microphones
Gordon Reid, CEDAR Audio Ltd - Cambridge, UK
Abstract:
A common forensic audio enhancement request is to attenuate music or a television/radio broadcast from a recording to unmask underlying speech. Traditional equalization and expansion techniques affect the desired target signal as well as the unwanted noise. When a clean reference recording is available, cross-channel adaptive and lattice filters or dynamic spectral subtraction may be used to cancel out the offending signal. Various tools and filters are available for this type of processing, but they all rely on precise alignment of the reference signal to the recording being enhanced. Even with the aid of auto-alignment tools, word clock drift negatively impacts the effectiveness of the filter. This workshop will present a technique to calculate the linear offset and apply time compression/expansion to the reference track, which increases the effectiveness of the filter.
Saturday, October 31, 9:00 am — 10:30 am (Room 1A21)
W16 - Recording the Modern Big Band
Chair:Bradford Swanson, iZotope, Inc. - Cambridge, MA; University of Massachusetts - Lowell
Moderator:
Ryan Hewitt, Nice Rack Audio Services - Venice, CA, USA
Panelists:
Jim Anderson, New York University - New York, NY, USA
Bob Dawson, Bias Studios - Springfield, VA, USA
James Farber, Steelhead Enterprizes - New York, NY, USA
Leslie Ann Jones, Recording Engineer and Producer, Director of Music Recording and Scoring, Skywalker Sound - San Rafael, CA, USA
Al Schmitt, Los Angeles, CA, USA
Abstract:
The Jazz Orchestra and it's repertoire has evolved significantly over the past 75 years. How are modern engineers recording the next great masters of the genre?
Saturday, October 31, 10:00 am — 11:30 am (Room 1A14)
W17 - Immersive Audio Signal Processing and Effects
Chair:Christof Faller, Illusonic GmbH - Zurich, Switzerland; EPFL - Lausanne, Switzerland
Panelists:
Jean-Marc Jot, DTS, Inc. - Los Gatos, CA, USA
Itai Neoran, Waves Audio Ltd. - Tel Aviv, Israel
Sebastian J. Schlecht, International Audio Laboratories - Erlangen, Germany
Andreas Silzle, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Nicolas Tsingos, Dolby Labs - San Francisco, CA, USA
Abstract:
Multichannel surround in 3D and immersive audio open new possibilities for rendering of sound objects and acoustic environments. Experienced experts in the field discuss about audio signal processing and effects for immersive audio, such as rendering of objects in 3D, generation of height channels, reverberators for immersive audio, etc.
Saturday, October 31, 10:45 am — 12:15 pm (Room 1A06)
W18 - What Happened to My Master? Hidden Side Effects of Common Signal Processing that Can Ruin Your Awesome Sound
Chair:Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Panelists:
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Aaron Wishnick, iZotope - Cambridge, MA, USA
Abstract:
Some common types of signal processing carry with them significant artifacts and if we don't know to look for them we might miss the problems they create. Signal processing tools addressed will be: brickwall limiters, multiband compressors, linear phase filters, compressor time constants, pass band filters.
Saturday, October 31, 11:00 am — 12:30 pm (Room 1A21)
W19 - "The Americans”—Meet the Mixers
Presenters:Ken Hahn, Owner of Sync Sound Inc. Re-recording Mixer and Sound Supervisor - New York, NY, USA
James David Redding, III, Freelance Re-recording Mixer/Sound Editor/Sound Designer - New York City, NY, USA
Abstract:
The Fx series, “The Americans” follows embedded Russian spies (Matthew Rhys and Keri Russell) during in the 1980s. Set in the Washington DC suburbs, but shot in the boroughs of New York, their double lives expose them to both domestic and worldly conflicts. Join Lead Re-recording Mixer (Dial and Music) Ken Hahn and (Sfx) Mixer James David Redding as they look back at some of the challenges they encounter during the sound design and mix of the critically acclaimed “Cold War” drama.
This event is part of the Sound for Pictures Track.
Saturday, October 31, 3:30 pm — 5:30 pm (Room 1A21)
W20 - Perceptual Evaluation of High Resolution Audio
Chair:Joshua D. Reiss, Queen Mary University of London - London, UK
Panelists:
Bob Katz, Digital Domain Mastering - Orlando, FL, USA
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Bob Schulein, RBS Consultants - Schaumburg, IL, USA
Abstract:
This workshop focuses on past measurements and future potential in perceptual evaluation of high resolution audio. Past attempts to assess the audibility of higher resolutions (beyond 44.1 kHz, 16-bit) will be summarized with an overview of results, but the focus of the workshop is on testing and methodology itself. Discussion will include the problems and pitfalls of listening tests and demos and how they might be overcome. We shed some light on the psychoacoustic justifications behind the results of previous experiments, including what is known and what is not. We discuss issues in evaluating quality and perception, the structuring of tests, configuration of the testing environment, and analysis of results. Attention will be paid to the choice of test material. The talks will be supplemented with a demonstration, and we intend to engage the audience with lively discussion.
Saturday, October 31, 4:30 pm — 6:00 pm (Room 1A06)
W21 - Fiber Optic Connector Choices for Audio
Chair:Ronald Ajemian, Owl Fiber Optics - Flushing, NY, USA; Institute of Audio Research - New York, NY, USA
Panelists:
Marc Brunke, Optocore GmbH - Grafelfing, Germany
Fred Morgenstern, Neutrik USA
Harry (Buddy) Oliver, FiberPlex Technologies, LLC - Elkridge, MD, USA
Warren Osse, Applications/Senior Design Engineer, Vistacom, Inc. - Allentown, PA, USA
Abstract:
This AES workshop is designed to educate the user, engineer, technician, and student on the most popular Fiber Optic Connector types that are currently available in the audio/video market place. A brief review will be presented about these connectors. The panel will then discuss user preferences for various audio/video applications. A demo will also be shown on how to terminate (put together) a typical LC fiber optic connector to a glass optical fiber.
Saturday, October 31, 5:15 pm — 7:00 pm (Room 1A10)
W22 - Composing Music for Short-Form, Interstitial, and Episodic Television
Moderator:Jay Yeary, Transient Audio Labs - San Antonio, TX, USA
Panelists:
Timo Elliston, Composer, BANG - New York, NY, USA
Eric Hachikian, Composer, Soundcat Productions - New York, NY / Los Angeles, CA
Reid Hall, Turner Studios - Atlanta, GA, USA
Roy Hendrickson
Scott Hull, Masterdisk - New York, NY, USA; Peekskill, NY, USA
Jeff McSpadden, Composer, Jeff McSpadden - New York, NY, USA
Peter Nashel, Composer, Duotone Music Group
Andrea Yankovsky, Kilpatrick, Townsend & Stockton LLP - New York, NY, USA
Abstract:
Composing music for commercials, advertising, interstitial content, and short-form television is an often demanding way to practice the craft because there is never enough time or enough music to meet client demand. This workshop will look at what it takes to be a successful composer in this high-stress, high-demand environment by examining the workflow, tools, rights management, and client management skills of composers who thrive in this world.
This event is part of the Sound for Pictures Track.
Saturday, October 31, 5:30 pm — 7:00 pm (Room 1A22)
W23 - Immersive Audio Coding
Chair:Christof Faller, Illusonic GmbH - Zurich, Switzerland; EPFL - Lausanne, Switzerland
Panelists:
Sascha Disch, Fraunhofer IIS, Erlangen - Erlangen, Germany
Toni Hirvonen, Dolby Laboratories - Stockholm, Sweden
Ton Kalker, DTS - Mountain View, CA, USA
Abstract:
Immersive and object based audio has had a lot of traction recently, by the launches of different formats in cinema and consumer domain. This workshop will focus on the audio coding techniques used for immersive audio. Panelists from the major players in the field will explain their different approaches.
Saturday, October 31, 5:30 pm — 7:00 pm (Room 1A08)
W24 - Hot Topics in Intellectual Property: See W22
Abstract:
This workshop will explore current issues in Intellectual Property law affecting audio professionals.
Sunday, November 1, 9:00 am — 10:30 am (Room 1A21)
W25 - Loudness Regulation: New Tools to Keep the Spirit of Dynamics
Chair:Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Panelists:
Antoine Hurtado, Isostem - Paris, France
Thomas Lund, Genelec Oy - Iisalmi, Finland
Michael Kashnitz, RTW
Matthieu Parmentier, francetélévisions - Paris, France
Abstract:
Thanks to various laws and recommendations, the loudness regulation is now well spread among TV broadcasters. Now sound mixers and broadcast engineers need for new tools to raise the quality while keeping the dynamics of good programs and gently process others. This workshop will offer an overview of the latest developments concerning loudness measures and process, such as modifying the loudness range, compensating the loudness shift of upmix/downmix, measuring the loudness through an IP network and integrating a smart loudness fader within a web player.
Sunday, November 1, 10:30 am — 12:30 pm (Room 1A10)
W26 - Application of Semantic Audio Analysis to the Music Production Workflow
Co-chairs:György Fazekas, Queen Mary University of London - London, UK
Ryan Stables, Birmingham City University - Birmingham, UK
Panelists:
Jay LeBoeuf, Real Industry - San Francisco, CA, USA; Stanford University - San Francisco, CA, USA
Bryan Pardo, Northwestern University - Evanston, IL, USA
Abstract:
Semantic audio technologies are becoming increasingly more common at various stages in the production chain, with commercial music systems benefiting from the added value imposed by features such as music recommendation and archiving. These technologies generally involve the inference of high-level attributes from an audio signal, based on either statistical features or user-defined labels, with the aim of providing interactions with data. In the field of music production, semantic audio analysis is able to provide abstractions for complex decisions and processes, leading to more intuitive and immersive platforms for audio processing. This paves the way for a wide range of novel systems such automated mixing tools, adaptive audio effects and reduced dimensionality interfaces. In this workshop we review cutting edge semantic audio technologies, in the context of intelligent music production. We aim to provide guidance for deploying semantic audio techniques throughout the music production workflow, while discussing current limitations and future directions.
Sunday, November 1, 12:30 pm — 2:30 pm (Room 1A14)
W27 - Analyzing and Recording Soundscapes: Theory and Applications
Co-chairs:Durand R. Begault, Audio Forensic Center, Charles M. Salter Associates - San Francisco, CA, USA
Agnieszka Roginska, New York University - New York, NY, USA
Panelists:
Alex Case, University of Massachusetts Lowell - Lowell, MA, USA
Charlie Mydlarz, New York University, CUSP - New York, NY, USA
Tae Hong Park, New York University - New York, NY, USA
Jessica Schwartz, UCLA - Los Angeles, CA, USA
Abstract:
The total palette of sounds of the environment at a particular location that bring meaning and identity is known as its soundscape. The particular immersive quality of soundscapes results from humans, animals, and nature and is of great interest from musical, naturalistic, community, legal, and political perspectives. This event will bring together experts in the field to address their particular work and its implications for the audio engineering world and the world community at large.
Sunday, November 1, 2:30 pm — 4:00 pm (Room 1A13)
W28 - Creating Spatial Audio Content for Headphone Listening
Presenters:Tom Ammermann, New Audio Technology GmbH - Hamburg, Germany
Bob Schulein, RBS Consultants - Schaumburg, IL, USA
Abstract:
A large amount of music program material is being produced with two-channel loudspeaker listening in mind, which by its nature does not create the same tonal balance and spatial perspective as headphone listening. Conversely program material produced for headphone listening does not produce the same tonal and spatial perspective as for loudspeaker listening. Dealing with this conflict of purpose represents a production challenge for those who appreciate spatial audio fidelity. Sounds reproduced by means of headphones have the unique capability of replicating the wide variability of sounds heard by humans in real-word situations. This fact allows the possibility of creating the auditory portion of any immersive experience with just two audio channels. This is not the case for sound fields created by traditional loudspeakers where left ear/right ear cross talk inhibits independent control of the sound field for each ear. In addition experience has shown that sound fields with too many competing spatial elements can reduce the spatial impact of a production. This is due to the fact that humans have difficulty separating the positions of simultaneous sounds coming from different locations. This has motivated production techniques that separate differing spatial sound elements in time, so as to increases the richness of the experience. This workshop will focus on creating spatial audio musical experiences by both acoustic capture and synthesis techniques for headphone listening. A group wireless headphone system will be used for a variety of demonstrations supporting the workshop.
