AES Dublin Special Event Details

AES Dublin 2019

Wednesday, March 20, 12:45 — 14:15 (Liffey A)

SE01 - Opening Ceremonies

Enda Bates, Trinity College Dublin - Dublin, Ireland
Ben Kok, BEN KOK - acoustic consulting - Uden, The Netherlands
Mariana Lopez, University of York - York, UK
Stefania Serafin, Aalborg University - Copenhagen, Denmark
Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Science - Vienna, Austria; NOA GmbH - Vienna, Austria

Opening Remarks:

• AES Executive Director Colleen Harper
• President Nadja Wallaszkovits
• Convention Co-chairs Enda Bates, Ben Kok, Mariana Lopez

• AES Awards Presentation
• Introduction of Keynote Speaker by Convention Chair
• Keynote Address

Paul Gallo
Toru Kamekawa
John Krivit
Valerie Tyler
Christian Uhle
Yuko Watanabe

Joel Brito
John Dawson

Jamie A. S. Angus-Whiteoak

This year’s Keynote Speaker is Stefania Serafin. She is a professor in sonic interaction design at Aalborg University Copenhagen. She received a PhD from CCRMA, Stanford University in 2004 and has been working at Aalborg University since. Serafin is the president of the Sound and Music Computing Association. The title of her Keynote Address is, "Inclusive Sonic Interactions."

Sonic interaction design is a fertile field of investigation at the intersection of sound and music computing and interaction design. At Aalborg University I have been designing, together with several collaborators, sonic interactions for different applications, ranging from physics-based simulations of musical instruments and everyday objects, new interfaces for musical expression, cultural heritage, walking and rehabilitation, learning and training, as well as virtual and augmented reality. In this talk I will present an overview of these activities, with a focus on those who contribute to engage a wider and younger audience in sound, music and technology.


Thursday, March 21, 14:30 — 16:00 (Liffey A)

SE02 - AES Diversity and Inclusion Committee Town Hall: Focus on Gender Equality

Mariana Lopez, University of York - York, UK
Leslie Gaston-Bird, Mix Messiah Productions - Brighton, UK; Institute of Contemporary Music Performance - London, UK
Cesar Lamschtein, Kaps Audio Production Services - Montevideo, Uruguay; Mixymaster - Montevideo, Uruguay
Agnieszka Roginska, New York University - New York, NY, USA
Nadja Wallaszkovits, Phonogrammarchiv, Austrian Academy of Science - Vienna, Austria; NOA GmbH - Vienna, Austria
Jonathan Wyner, M Works Studios/iZotope/Berklee College of Music - Boston, MA, USA; M Works Mastering

The AES Diversity and Inclusion Committee recently received approval from the Board of Governors to support the United Nations HeForShe campaign for gender equality. Panel moderator Mariana Lopez will bring members up to date on what this means for the AES and along with invited panelists discuss this and other matters related to diversity and inclusion in the AES and audio industry.


Thursday, March 21, 18:00 — 19:00 (Liffey B)

SE03 - Mixer Party

Join us for the AES Dublin Networking Mixer, sponsored by Tyrell, taking place this Thursday at 6pm in the Liffey B Hall, within the Product Showcase.


Thursday, March 21, 19:15 — 20:15 (Liffey A)


SE04 - Heyser Lecture

David Griesinger, David Griesinger Acoustics - Cambridge, MA, USA

The Richard C. Heyser distinguished lecturer for the 146th AES Convention is David Griesinger.

Learning to Listen

This talk describes a few of the experiences I have had working with artists and musicians that taught me to hear what makes their art work. These experiences changed my life, and I hope that describing them will help others understand some of the amazing abilities of our ears and brains to detect, separate, and ultimately decode sonic information. Just as important, insight into these listening experiences can illuminate the possible physical processes by which the ear and brain achieve these feats. Such analysis often contradicts current dogma. For example, the phases of sounds higher than 1500 Hz are often considered unimportant but are actually critical to our ability to remember information. Working with these musicians and with acoustic enhancement taught me that many popular acoustic design goals can be counterproductive, and popular practices in sound reinforcement often reduce the ability to remember what was said. Accurate acoustic memory is short. Finding new models and methods for improving sound and acoustics requires reproducing live sound in a laboratory with high accuracy. We will describe an inexpensive technique that uses non-individual binaural recording and non-individual crosstalk cancellation for reproduction. The reproductions are startlingly real, and allow for instant comparisons between spaces. When used with measurement data the effects of individual reflections can be determined. Contrary to widespread practice early lateral reflections are often harmful, not helpful. We find that a reduction in the direct to reverberant ratio of only one dB, or the presence of a single reflection, can change sound from clear to muddy. These findings are being put into practice in old and new venues with exceptional results. We can reproduce live recordings made this way from all over the world. I will demonstrate this system to interested listeners during this conference as time and space allows.


Friday, March 22, 20:00 — 23:00 (Off-Site 1)

SE06 - Diversity and Inclusion Party

The Brew Dock
1, Amiens Street
8:00 PM – 11:00 PM

Go to RSVP

This event is sponsored by iZotope.


Friday, March 22, 18:30 — 19:30 (Liffey Hall 2)

SE05 - Spatial Electroacoustic Music Concert

This concert will feature a number of works of spatial electroacoustic music for an octophonic loudspeaker array. The program will include works by panelists on the workshop on Spatial Audio for Contemporary Music Performances and Theatre such as Fergal Dowling, Gráinne Mulvey, & Ji Youn Kang, and the composers of the Spatial Music Collective.


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