143rd AES CONVENTION Tutorial & Workshop Details

AES New York 2017
Tutorial & Workshop Details

Wednesday, October 18, 9:00 am — 10:30 am (Rm 1E10)

TW01 - Audio Engineering with Hearing Loss—A Practical Symposium

Jon Boley, GN Advanced Science - Chicago, IL, USA
Richard Einhorn, Einhorn Consulting, LLC - New York, NY, USA; Richard Einhorn Productions, Inc.
Larry Revit, Revitronix - Braintree, VT, USA
Michael Santucci, Sensaphonics, Inc. - Chicago, IL USA

We are assembling a panel of experts - one to present an audiological perspective of hearing loss and others to focus on the more practical issues of working in the field of audio engineering with hearing loss and/or tinnitus (e.g., listening strategies, supplemental technologies, etc.).

AES Technical Council This session is presented in association with the AES Technical Committee on Hearing and Hearing Loss Prevention


Wednesday, October 18, 11:15 am — 12:30 pm (Rm 1E14)

TW02 - Creating Sounds from Scratch

Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA; Baltimore, MD, USA
Andrea Pejrolo, Berklee College of Music - Boston, MA, USA

A live demonstration using synthesis to create unique sounds. Topics included a brief overview of how we arrived at the methods of synthesis commonly used today, why you should avoid using presets, and examples of working with techniques like physical modeling and wavetable synthesis to create novel sounds. Presented by co-authors of Creating Sounds from Scratch (Oxford University Press) Andrea Pejrolo, Chair, Contemporary Writing & Production, Berklee College of Music, and Scott B. Metcalfe, Director of Recording Arts and Sciences and Chair of Computer Music and Music for New Media at the Peabody Conservatory of Johns Hopkins University.

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


Wednesday, October 18, 2:00 pm — 3:30 pm (Rm 1E10)

TW03 - Disruption: MIDI—Machine Learning looking Back and Looking Ahead

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Jonathan Bailey, iZotope
Joshua D. Reiss, Queen Mary University of London - London, UK
Dave Smith, Dave Smith Instruments - San Francisco, CA, USA

AI, machine learning and deep learning are beginning to change audio products and audio production workflows. When new technologies threaten to disrupt existing practices and market, there’s inevitable uncertainty and concern that accompanies these developments. By looking at historic examples of disruptive technology (eg MIDI) we might understand a little about the adaptation that audio production could undergo moving forward. By looking ahead we'll discuss what the new technological 'features' are that are coming out of machine learning development, describe how users are interacting with the new breed of tools and think about what's coming down the road.


Thursday, October 19, 9:00 am — 10:15 am (Rm 1E08)

TW04 - Podcasts: Telling Stories with Sound

Mary Nichols, FuseBox Radio - Waldorf, MD USA
Jim Anderson, Anderson Audio NY - New York, NY, USA; Clive Davis Institute of Recorded Music, New York University - New York, NY, USA
Jeanne Montalvo Lucar, Audio Engineer, Producer

Podcasting is now the latest and greatest frontier for freedom of expression and the press with distribution networks that most of the average creator can gain equal access to with a (mostly) low cost of entry. This event is a jump off point about the many ways one can create, record, host, and distribute a podcast with high audio quality with the latest technologies out in the world today.


Thursday, October 19, 10:45 am — 12:15 pm (Rm 1E14)

TW05 - New Developments in Listening Test Design

Brecht De Man, Queen Mary University of London - London, UK
Jan Berg, Luleå University of Technology - Piteå, Sweden
Jürgen Herre, International Audio Laboratories Erlangen - Erlangen, Germany; Fraunhofer IIS - Erlangen, Germany
Todd Welti, Harman International Inc. - Northridge, CA, USA

Listening tests are a key component in a wide range of audio research and development, from loudspeaker construction over source separation algorithms to emotion in music. New graphical user interfaces, transducer virtualization, and online tests have helped make the once tedious and expensive practice of perceptual evaluation of audio more accessible and efficient. However, these developments each bring their own challenges. Furthermore, while topics like audio codec design have an established set of practices, other types of evaluation are only slowly being standardized, if at all, or borrow from neigboring fields. In this workshop, some of the field's most prominent experts contribute different perspectives on advancements in the area of perceptual evaluation of audio, and offer their view on its future.

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

AES Technical Council This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals


Thursday, October 19, 1:30 pm — 3:00 pm (Rm 1E10)

TW06 - Levels, Loudness, Perception, and the Aesthetics of Music Production and Distribution

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Eelco Grimm, HKU University of the Arts - Utrecht, Netherlands; Grimm Audio - Eindhoven, The Netherlands
Paul Tapper, Nugen Audio - UK
Rob Taylor, University of Newcastle - Callaghan, NSW, Australia

This collection of presentations addresses the changing paradigms of music delivery. It will offer observations about market driven forces, the influence of technological changes over the years on the aesthetics of music production and delivery to the consumer. Included is some definitive research regarding perception and loudness. Suggestions and advice about levels for music delivery will be covered.

AES Technical Council This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals


Friday, October 20, 9:00 am — 10:30 am (Rm 1E12)

TW07 - Tech Behind the Tools: Production to Playback

Lisa Ferrante-Walsh, Director of Engineering, iZotope - Cambridge, MA, USA
Marina Bosi, Consulting Professor at Stanford University and a Founding Director of the Digital Media Project - Stanford, CA, USA
Veronique Larcher, Director AMBEO Immersive Audio, Sennheiser - Switzerland
Vanessa Li, Software Engineer, Pandora
Hannah Robertson, iZotope, Inc. - Cambridge, MA, USA

Ever wondered what's under the hood behind that favorite product in your audio tool belt? This 90 minute panel of engineers and technologists, experts in their fields, will educate us about the technology behind a different product, tool or service on the journey from audio production through playback.

•Where do audio plugins come from? - Hannah Robertson, DSP Engineer at iZotope
This talk will walk through several new features from recently released iZotope products to demystify the development cycle of a plugin: from the ideation stage to research, implementation, sound design, audio quality testing, and user feedback.

•Perceptual Audio Coding - Marina Bosi, Ph.D., Consulting Professor at Stanford University and a Founding Director of the Digital Media Project
Perceptual audio coders (e.g., MP3/AAC) have become part of our daily lives, living in mobile devices, DVDs, webcasting, etc. How did we get here and where are we going? This talk, presented by one of the early developers who helped advance the field of perceptual audio coding, will provide a brief overview, new developments and sound demonstrations to illustrate the impact of this technology.

•The VR Production Workflow - Veronique Larcher, Ph.D., Director AMBEO Immersive Audio at Sennheiser
This talk will review the constraints and tools for on-location VR audio capture, VR audio mixing and monitoring, and finally VR audio experience by the greater numbers on VR platforms or apps.

•Content Delivery and Management at Pandora - Vanessa Li, Software Engineer at Pandora
As demand for music consumption has shifted from physical albums to downloads to online streaming, new standards and protocols have emerged as the music industry business practices have adapted. This talk will address some of the technical challenges that Pandora and other on-demand streaming platforms face around content delivery, storage, metadata rights business logic and audio streaming.

The panel will be chaired by Lisa Ferrante-Walsh, Director of Engineering at iZotope.


Friday, October 20, 1:30 pm — 3:00 pm (Rm 1E07 (5.1))

TW08 - Machine Learning and Music Recomposition: A Glimpse at the Future

Jay LeBoeuf, Executive Director at Real Industry, Lecturer at Stanford University
Jonathan Bailey, iZotope
Tony Elfers, Sonixphere - Chicago, IL, USA
Patrick Stobbs, Jukedeck
Alex Tsilfidis, Accusonus
Charles Van Winkle, Adobe Systems Incorporated - Minneapolis, MN, USA

Machine learning, artificial intelligence… buzzwords or reality? In this session, learn how machine learning algorithms are impacting music composition, editing, and mixing. You’ll hear from experts from Adobe, iZotope, Accusonus and Jukedeck as they share what’s real now – and what’s to come.


Saturday, October 21, 9:00 am — 10:30 am (Rm 1E07 (5.1))

TW09 - Paths to Being/Becoming a Pro

Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering
Peter Auslan, Manhattan Center Studios - New York, NY, USA
Lisa Ferrante-Walsh, Director of Engineering, iZotope - Cambridge, MA, USA
John Krivit, Audio Engineering Society - Marblehead, MA, USA; Emerson College - Boston, MA, USA
Ann Mincieli, Jungle City Studios - New York, NY, USA
Mike Wells, Mike Wells Mastering - Los Angeles, CA, USA

The Audio Professional focused on music production is looking more and more like a unicorn, particularly with regard to specialization. The panel will describe paths taken to becoming professionals who derive their income from music production, the skills they feel are most important that allowed them to succeed, and their current approaches to maintaining their status. Designed for students and the young engineers


Saturday, October 21, 1:30 pm — 3:00 pm (Rm 1E10)

TW10 - Towards the New Horizon of Technical Ear Training

Sungyoung Kim, Rochester Institute of Technology - Rochester, NY, USA
Jason Corey, University of Michigan - Ann Arbor, MI, USA
Kazuhiko Kawahara, Kyushu University - Fukuoka, Japan
Doyuen Ko, Belmont University - Nashville, TN, USA
Sean Olive, Harman International - Northridge, CA, USA
Timothy Ryan, Webster University

Recently, various technical ear-training programs have been introduced to audio and acoustic engineering communities. In the previous workshops, the panels have discussed necessary features and methods for efficient and effective training (AES131, 132, and 141). The current workshop aims to (1) let workshop attendees experience and compare the characteristic functions of various ear-training programs through hands-on demonstrations by the panelists, and (2) discuss the latest development trends and future applications. While the workshop locally aims to provide the attendees with chance to experience theoretical and empirical matters of ear training programs around the world, it also globally aims to consider the importance of “listening” in the current video-oriented society.

AES Technical Council This session is presented in association with the AES Technical Committee on Perception and Subjective Evaluation of Audio Signals


Saturday, October 21, 3:15 pm — 5:00 pm (Rm 1E10)

TW11 - What Audio Students Are Learning, What Could They Be Learning, What SHOULD They Be Learning

Richard King, McGill University - Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Music Media and Technology - Montreal, Quebec, Canada
Enrique Gonzalez Müller, Berklee College of Music - Boston, MA, USA
Owen Curtin, Audio Builders Workshop - Lexington, MA, USA; Bridge Sound and Stage - Cambridge, MA, USA
Scott B. Metcalfe, Peabody Conservatory, Johns Hopkins - Severna Park, MD, USA; Baltimore, MD, USA

Through a survey the world’s audio education programs, one would observe a great variance in approaches to subjects, course content, and expected outcomes.

The workshop panelists representing technical colleges, undergraduate, graduate, and online programs will describe their respective program structures, highlighting the strengths of each and where the greatest challenges lie. Discussion (and friendly debate) of what comprises the skill set that students need to acquire as part of their academic track, and how best to “package” learning modalities into a selection of courses that provide the required knowledge across programs of different lengths and intensities. Educators and students are invited to attend, and questions/comments will be welcomed from the audience as we open up the discussion to the room.

This workshop is intended to complement TW11 which seeks to identify desirable skill set and competencies for those entering the world of professional audio from the prospective of the working professional.


Saturday, October 21, 3:15 pm — 4:45 pm (Rm 1E08)


TW12 - Practical 3D Acoustic Measurements

Malcolm Dunn, Marshall Day Acoustics - Auckland, New Zealand

This tutorial will illustrate how 3D impulse response measurements can be utilized in practical applications. An introduction will be provided to 3D acoustic measurement technology with a focus on b-format signal and compact microphone arrays. The types of signals gathered will be described and methods of “visualizing” the results will be presented. Limitations of the information gathered will also be discussed. Examples would be provided for a range of applications where the use of directional information has provided worthwhile insight into the acoustic performance of a space.


Saturday, October 21, 3:15 pm — 4:45 pm (Rm 1E07 (5.1))

TW13 - Insights on Collaboration in Commercial Music Production

Rob Toulson, University of Westminster - London, UK
Steve Baughman, Next Level Mastering - Los Angeles, CA, USA
Trevor Gibson, Circle Studios - Birmingham, UK
Adam Gonsalves, Telegraph Mastering - Portland, OR, USA
Mandy Parnell, Black Saloon Studios - London, UK

Collaboration takes many forms in contemporary music production. Building effective professional relationships can be the secret to success in modern music production, even in a world where autonomous working is more possible than ever. For example, we see engineers collaborate and co-produce with artists, electronic producers working remotely with session musicians, and self-producing artists nurturing their product alone through the recording mixing and mastering chain. In this workshop we explore the contemporary practices of collaboration in music production, particularly reflecting on technologies and tools that have enabled new frameworks for communication and co-working. We will look at methods of the past that have perhaps been lost, and evaluate the education needs to enable new artists and producers to be successful in their careers.


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