AES Paris 2016
Workshop Details
Saturday, June 4, 10:30 — 11:45 (Havane Amphitheatre)
W1 - Microphones: What Can We Measure and What Do We Hear?
Chair:Eddy B. Brixen, EBB-consult - Smørum, Denmark; DPA Microphones
Panelists:
Jürgen Breitlow, Georg Neumann Berlin - Berlin, Germany; Sennheiser Electronic - Wedemark, Germany
David Josephson, Josephson Engineering, Inc. - Santa Cruz, CA, USA
Martin Schneider, Georg Neumann GmbH - Berlin, Germany
Helmut Wittek, SCHOEPS GmbH - Karlsruhe, Germany
Abstract:
Comparison of microphones can be carried out by performing measurements and by listening. Both actions are equally important. The measured data make it easy to select the kind of microphones that suit your job. Measurements can take the microphone to its limits in all directions. Measurements help you to define the category of microphone you need for a job. However, listening can help you to define exactly the unit that you find sounds the best. In this workshop, the most important data are explained, and good practice regarding how to listen is presented.
 | This session is presented in association with the AES Technical Committee on Microphones and Applications |
Saturday, June 4, 10:30 — 12:00 (Room 352A)
W2 - Immersive Audio for Virtual Reality
Chair:Gavin Kearney, University of York - York, UK
Panelists:
Jamieson Brettle, Google - Mountain View, California
Pedro Corvo, Sony Computer Entertainment - London, UK
Marcin Gorzel, Google - Dublin, Ireland
Jelle van Mourik, Sony Computer Entertainment - London, UK; University of York - York, UK
Abstract:
In recent years, major advances in gaming technologies, such as cost-effective head-tracking and immersive visual headsets have paved the way for commercially viable virtual reality to be delivered to the individual. Now the consumer finally has the opportunity to experience new gaming, cinematic and social media experiences with truly immersive and interactive 3-D audio and video content.
For many sound designers, rendering a truly dynamic and spatially coherent mix for VR presents a new learning curve in soundtrack production. What spatial audio techniques should we be using to create engaging and interactive 3-D mixes? What audio workflows should we employ for similar immersive experiences on headphones, 5.1 loudspeakers and beyond? Are new VR production methods backwards compatible with existing game audio pipelines? Can binaural reproduction work for everyone?
In this workshop our panel of experts will present practical workflows for mixing and rendering 3-D sound for VR. The workshop will explore different production techniques for creating immersive mixes such as Ambisonics processing and Head-Related Transfer Function rendering. It will also explore the importance of environmental rendering for VR as well as outlining workflow challenges and pipelines for dynamic spatial audio over a variety of VR technologies and applications.
Saturday, June 4, 13:30 — 15:00 (Room 351)
W3 - Perceptual Evaluation of High Resolution Audio
Chair:Joshua D. Reiss, Queen Mary University of London - London, 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
Bob Schulein, RBS Consultants / ImmersAV Technology - Schaumburg, IL, USA
Thomas Sporer, Fraunhofer Institute for Digital Media Technology IDMT - Ilmenau, Germany
J. Robert Stuart, MQA Ltd. - Huntingdon, UK; Meridian Audio Ltd
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 choice of test methodology, and the training of participants. We intend to engage the audience with lively discussion.
| This session is presented in association with the AES Technical Committee on High Resolution Audio |
Sunday, June 5, 09:00 — 10:00 (Room 351)
W4 - Expert Transfer Techniques: A Special Focus on Mechanical Discs
Chair:Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Science - Vienna, Austria; NOA GmbH - Vienna, Austria
Panelists:
Klaus Blasquiz, Muselec - Paris, France
Stefano S. Cavaglieri, Fonoteca Nazionale Svizzera - Lugano, Switzerland
Jean-Hugues Chenot, Institut National de l'Audiovisuel - Bry-sur-Marne, France
Abstract:
The workshop leads through the problems of transfer, digitization, and restoration of historical obsolete disc formats. Starting with the possibilities, advantages, and limitations of a conventional mechanical transfer, the discussion will outline some of the most proven and tested optical transfer methods and technologies and their special usability with broken/ delaminated/ damaged discs. The different approaches will be presented, including various audio examples.
| This session is presented in association with the AES Technical Committee on Archiving Restoration and Digital Libraries |
Sunday, June 5, 10:15 — 11:15 (Room 352A)
W5 - Practical Physics of Handling and Wind Noise
Chair:Chris Woolf, Broadcast Engineering Systems - Cornwall, UK
Panelists:
David Josephson, Josephson Engineering, Inc. - Santa Cruz, CA, USA
Michael Williams, Sounds of Scotland - Le Perreux sur Marne, France
Abstract:
To be of any practical use a microphone needs to be supported in some fashion and must be protected from all air movements and pressure changes that do NOT constitute useful audio. Myth, anecdote, and old habits are often relied upon as solutions to these problems, but an understanding of the down-to-earth, kitchen-table physics involved is considerably more useful.
| This session is presented in association with the AES Technical Committee on Microphones and Applications |
Sunday, June 5, 10:15 — 11:15 (Room 351)
W6 - Screaming Streaming—Loudness Peace Talks Are Mandatory
Chair:Florian Camerer, ORF - Austrian TV - Vienna, Austria; EBU - European Broadcasting Union
Panelists:
Eelco Grimm, HKU University of the Arts - Utrecht, Netherlands; Grimm Audio - Eindhoven, The Netherlands
Thomas Lund, Genelec Oy - Iisalmi, Finland
Abstract:
Streaming is rapidly becoming the preferred way to consume not only music but any content relying on a timed presentation (like broadcasting). So it seems only natural to apply the successful loudness levelling and normalization paradigm developed in broadcasting to streaming. Unfortunately, the loudness war in popular music as well as the limited level playback capabilities of European mobile devices have led to de-facto levels for streaming that are way above the Target Level in broadcasting. Most of the levels used in streaming also enforce severe compromises regarding the technical quality of the content. The panel will introduce this topic, reflect on the AES recommendation for streaming and report on recent findings regarding the loudness levels of streaming services as well as developments in European legislative bodies trying to improve the situation.
Sunday, June 5, 11:30 — 12:30 (Room 352A)
W7 - Audio Recording and Productions for Virtual Reality/360-Degree Applications
Chair:Matthieu Parmentier, francetélévisions - Paris, France
Panelists:
Frank Melchior, BBC Research and Development - Salford, UK
Nils Peters, Qualcomm, Advanced Tech R&D - San Diego, CA, USA
Jan Plogsties, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Ville Pulkki, Aalto University - Espoo, Finland
Frederick Umminger, Sony Computer Entertainment America - San Mateo, CA, USA
Abstract:
At IBC, AES 139th, CES, and other events Virtual Reality has been a huge topic. VR producers more and more realize the potential and need for spatial audio processing for VR applications. This workshop will discuss the following topics:
• How to record audio for 360° video? —Mics: Can we use the same techniques as for Movie/TV productions? Or does a B-format mic do the trick?
• How to mix audio for 360/VR?—Formats: What are the formats to store and deliver, Channels, object or ambisonics, a combination or binaural?; Processing: How do we combine the different tracks? What Plugins and production tools are there?; Monitoring: How can we monitor what the user will hear?
• How to deliver audio for different VR applications?—Creating a VR app with spatial audio (SDKs, tools); User cases: mobile, VR glass, streaming, browser-based; Codec and limitations
• How to render audio for 360/VR?—Headphone rendering for VR glasses; Speaker playback for TV; What are resolution and latency requirements
• What quality aspects are important?—Accuracy and plausibility - What is the interaction with video?
| This session is presented in association with the AES Technical Committee on Spatial Audio and AES Technical Committee on Broadcast and Online Delivery |
Sunday, June 5, 11:30 — 12:30 (Room 351)
W8 - Low Frequency Behavior in Small High Accuracy Listening Environments
Chair:Dirk Noy, WSDG - Basel, Switzerland
Panelists:
Ben Kok, BEN KOK - acoustic consulting - Uden, The Netherlands
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 tool set. The workshop will explore currently available software-based approaches and real world applications to low frequency prediction as well as present various means of low frequency treatments. 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, one of them being ray tracing, which is only valid in frequency ranges where lengths are small compared to the characteristic dimensions of the room, another one being FEM/BEM (Finite Element / Boundary Element Methods) that can be employed to study static pressure distribution in three dimensional spaces. 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, design and remediation techniques.
| This session is presented in association with the AES Technical Committee on Acoustics and Sound Reinforcement |
Sunday, June 5, 12:45 — 14:30 (Havane Amphitheatre)
W9 - Mixing Music: Part 2
Chair:Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Panelists:
Jonathan Allen, Abbey Road Studios - London, UK; Jonathan Allen Recording
Erdo Groot, Polyhymnia International - Hoogland, Netherlands
George Massenburg, Schulich School of Music, McGill University - Montreal, Quebec, Canada; Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) - Montreal, Quebec, Canada
Rob Toulson, Anglia Ruskin University - Cambridge, UK
Abstract:
Proposed as a continuation of the very successful "Mixing Music" workshop at AES 139 (New York Oct. 2015). A panel of award-winning expert practitioners from varying backgrounds within the industry will spark interesting discussion and debate. Topics will include the process of mixing, techniques used, and proven methodologies that have yielded successful results over many years. Focus will remain on real information 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 the client. Balancing, use of processing, and listening levels will be addressed. Ample time will be reserved for questions, so that the audience will have a chance to solicit specific and meaningful information from the panel members.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Sunday, June 5, 12:45 — 13:45 (Room 352A)
W10 - Binaural Sound in the Age of Radio and Television Broadcast: Why and How?
Chair:Marc Emerit, Orange Labs - France
Panelists:
Hervé Dejardin, Radio France - Paris, France
Frank Melchior, BBC Research and Development - Salford, UK
Markus Noisternig, UMR STMS IRCAM-CNRS-UPMC - Paris, France
Matthieu Parmentier, francetélévisions - Paris, France
Jan Plogsties, Fraunhofer Institute for Integrated Circuits IIS - Erlangen, Germany
Abstract:
This workshop proposes an overview of broadcasters’ strategies and developments to bring spatial audio contents to their audience. Thanks to the digital era, several functions can be added in multimedia players to completely renew the listeners’ experience, such as personalized binaural processing within the end-user device. Radio France, Orange, BBC, and France Televisions, together with the IRCAM research center will explain and demonstrate their works incorporating standards such as AES69 (SOFA) and MPEGH-3D.
| This session is presented in association with the AES Technical Committee on Spatial Audio |
Sunday, June 5, 14:00 — 15:15 (Room 351)
W11 - "Coaching" the Mix to Obtain a Great Mastering Result
Presenters:Andres A. Mayo, Andres Mayo Mastering & Audio Post - Buenos Aires, Argentina
Rob Toulson, Anglia Ruskin University - Cambridge, UK
Abstract:
If you are mixing for CD, DVD, Blu-Ray, Vinyl or digital download, you will need to use different approaches in order to get the most out of these formats. Also, depending on the type of music you are producing, certain parameters (i.e., dynamics) will be dramatically different. And of course the mastering job will be different. This presentation/discussion is about the best way to finish your mix, and how the process of Mix Coaching (mix supervision prior to mastering) makes it possible to take full advantage of the mastering job. Real examples will be shown and attendees are encouraged to bring their own mix (one per person) for a critical listening session, depending on the time available.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Monday, June 6, 10:00 — 11:15 (Room 352A)
W12 - Perceptual Evaluation Interface Design
Chair:Brecht De Man, Queen Mary University of London - London, UK
Panelists:
Jan Berg, Luleå University of Technology - Piteå, Sweden
Sean Olive, Harman International - Northridge, CA, USA
Abstract:
Listening tests are a key component in a wide range of audio research and development, from loudspeaker construction over audio codecs to emotion in music. In this workshop we zoom in on the interface design of listening test software, covering important but often controversial design considerations including whether to enforce a particular use of scale; the need for anchor and reference; when to assess “preference” instead of “quality”; under which circumstances an uncontrolled, online test is acceptable. Even authorities in the domain of perceptual evaluation often disagree on these key issues that could significantly alter results of perceptual studies—or whether there are any results to speak of. The tradeoffs will be discussed for different applications, stimuli, and subjects.
| This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals |
Monday, June 6, 11:30 — 12:45 (Room 352A)
W13 - Trends and Developments for Automotive Audio
Chair:Alfred Svobodnik, Konzept-X GmbH - Karlsruhe, Germany
Panelists:
Timo Esser, Alpine Electronics R&D Europe GmbH - Stuttgart, Germany
Ulrich Fox, Bose Automotive GmbH - Esslingen, Germany
Wolfram Jähn, Audi - Germany
Martin Kreißig, Daimler AG - Germany
Armin Prommersberger, Harman International - Karlsbad, Germany
Abstract:
This workshop will focus on recent changes in requirements for automotive sound systems. Due to the ever increasing importance of ride comfort, topics like NVH (Noise Vibration and Harshness) seem to drive the trends and developments in that specific area of the audio industry. Top experts from industry will discuss these new challenges and what impact it might have on the whole industry.
| This session is presented in association with the AES Technical Committee on Automotive Audio |
Monday, June 6, 13:00 — 14:30 (Havane Amphitheatre)
W14 - This Is a Mix! This Is a Master!
Chair:Ian Corbett, Kansas City Kansas Community College - Kansas City, KS, USA; off-beat-open-hats recording & sound reinforcement
Panelists:
Mandy Parnell, Black Saloon Studios - London, UK
Darcy Proper, Darcy Proper Mastering - Eemnes, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Sander Van der Heide, The Saint of Sound - Soest, The Netherlands; Wisseloord Studios - Hilversum, The Netherlands
Abstract:
Whether you are a student, home studio or project studio user, or someone entering the professional industry, most of the music mixes you hear and try to emulate have been professionally mastered. Too many novices try to recreate a “mastered” sound in their mix. This is undesirable and limits what the mastering engineer can do. Join our panel of mastering engineers as they present some “off-the-console” mixes, discuss what they did to the mix, play the resulting master, and discuss some other common issues they see in some of the material sent to them to master.
| This session is presented in association with the AES Technical Committee on Recording Technology and Practices |
Monday, June 6, 13:00 — 14:30 (Room 352A)
W15 - Perceptual Assessment of Spatial Sound: The Case of Binaural Reproduction
Chair:Rozenn Nicol, Orange Labs - Lannion, France
Panelists:
Areti Andreopoulou, LIMSI-CNRS - Orsay, France
Emmanuel Ponsot, STMS Lab (Ircam, CNRS, UPMC) - Paris, France; Radio France - Paris, France
Hagen Wierstorf, Technische Universität Ilmenau - Ilmenau, Germany
James Woodcock, University of Salford - Salford, Greater Manchester, UK
Abstract:
3D audio is now available both in professional and mass market products. Our listening experience is thus enhanced by the spatial dimension, which calls for revisiting the methods and tools used to assess the perception of sound reproduction. The workshop will discuss this issue in the particular case of binaural rendering which raises some specific questions: interaction between timbre and spatial information, HRTF customization, headphone reproduction., etc. This will be the opportunity to cross methods used for binaural listening with conventional methods of perceptual assessment.
| This session is presented in association with the AES Technical Committee on Spatial Audio and AES Technical Committee on Perception and Subjective Evaluation of Audio Signals |
Tuesday, June 7, 08:45 — 09:45 (Room 352A)
W16 - Codec for Enhanced Voice Services (EVS)—The New 3GPP Codec for Communication
Chair:Markus Multrus, Fraunhofer IIS - Nuernberg, Germany
Panelists:
Stefan Bruhn, Ericsson - Stockholm, Sweden
Vaclav Eksler, VoiceAge Corporation - Montreal, Quebec, Canada; University of Sherbrooke - Sherbrooke, Quebec, Canada
Guillaume Fuchs, Fraunhofer IIS - Erlangen, Germany
Jon Gibbs, Huawei Technologies Co Ltd - Windermere, Cumbria, UK
Abstract:
Recently, 3GPP has finalized the standardization of its new communication codec for Enhanced Voice Services (EVS). This codec offers significant improvements over existing low-delay communication codecs. For a broad range of bit rates it supports coding of not only of narrowband and wideband audio, but also of super-wideband and fullband content up to 20 kHz audio bandwidth. The codec is based on a switched speech/audio coding scheme and features various tools for better compression efficiency and higher quality for speech, music, and mixed material. It provides all necessary features for (mobile-) communication and aims at providing a new level of user experience for all transmission-channel conditions. The workshop provides an overview over the codec, its performance, and applications together with a number of sound demonstrations.
| This session is presented in association with the AES Technical Committee on Coding of Audio Signals |
Tuesday, June 7, 10:15 — 11:15 (Room 352A)
W17 - Human Perception and Listening by Machines
Chair:Cleopatra Pike, University of St Andrews - Scotland, Fife, UK; University of Surrey - Guildford, Surrey, UK
Panelist:
Amy Beeston, University of Sheffield - Sheffield, UK
Abstract:
Automatic audio recognition is used in a wide range of technology applications (e.g., smartphone voice activated commands, speech to text applications, automatic alarm systems). This workshop will give an overview of automatic speech recognition and recognition of other audio by machines, as well a conceptual introduction to machine listening principles for the lay person. It will focus on examining how research into human perception can inform the development of machine listeners (e.g., how human methods for listening in reverberant environments and of reducing channel coloration can be incorporated into machines). We will aim to answer the question: what things can machines do better than, and worse than, a human? Suggestions for future perceptual work to incorporate knowledge of human perception into machine listening will be made.
| This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals |
Tuesday, June 7, 11:30 — 12:15 (Havane Amphitheatre)
W18 - French Recording Studios: Present and Future
Chair:Franck Ernould, Freelance - Paris, France
Abstract:
Recording studios are an endangered species. What happened in France since 2006? Some facilities disappeared, but most survived—with additional activities (audio training, event hosting, video shooting...). Some new studios appeared, and the Honky Chateau is back. How do they work? How do they see their future?
Tuesday, June 7, 15:15 — 15:45 (Room 352A)
W19 - True Phantom Power
Presenter:Joost Kist, Phantom Sound B.V. - Amsterdam, Netherlands
Abstract:
The standard for phantom power has existed for 50 years. Still there is room for improvement within the boundaries of the standard P48. The 6K8 ohm resistor acts as a load for the emitter-follower in the microphone. This causes distortion. Replacement of this resistor with an electronic circuit that acts not as a load improves the performance of the microphone considerably. The output is 0.3 dB louder, the THD is reduced, especially the odd harmonics. The noisefloor is lower. Subjective: less Sss sounds, more ambient sound.
