Loading…
Schedule as of Oct 11, 2022 - subject to change

Default Time Zone is EDT - Eastern Daylight Time


Sign up or log in to bookmark your favorites and sync them to your phone or calendar.

Tuesday, October 18
 

12:00pm EDT

iZotope - Audio repair master class with Alex Lukin and Jonathan Wyner
This workshop will focus on the technique and strategies for audio repair and noise reduction using various technologies implemented in iZotope RX.  Topics will include spectral editing, problem assessment and strategies to address them using examples drawn from music and post production.  Case studies will be presented.  

Participants will be required to bring their laptops and headphones to learn and practice as the workshop proceeds.

RX10 standard should be downloaded and installed prior to arrival at the session. THere is a free 10 day fully functional trial, the link will be sent to session registrants shortly. Example audio will also be provided and should be downloaded to the laptop (link to follow).

While no prior experience is required this session is intended for the advanced beginner through the advanced intermediate user.

An additional fee is required to attend this session.
The number of spaces in each session is limited and will be available on a first come, first serve basis.
Register here


Speakers
avatar for Jonathan Wyner

Jonathan Wyner

Educator/Engineer, M Works/Berklee College
Chair 153rd AES Convention NYC October 2022, AES Past President (2021), Mastering Engineer, Producer, Product Consultant, Professor at Berklee College of Music
avatar for Alexey Lukin

Alexey Lukin

Prinicipal DSP Engineer, iZotope Inc
Alexey specializes in audio signal processing, with particular interest in similarities with image processing in spectral analysis, noise reduction, and multiresolution filter banks. He earned his M.S. (2003) and Ph.D. (2006) in computer science from Lomonosov Moscow State University... Read More →


Tuesday October 18, 2022 12:00pm - 2:00pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate Registration, see link above

2:30pm EDT

Post masterclass: Delivering soundtracks for online streaming and broadcast with Glenn Lorbecki
An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here

Speakers
GL

Glenn Lorbecki

Glenn Sound Inc.
Yay!


Tuesday October 18, 2022 2:30pm - 4:00pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate registration required - see link above
 
Wednesday, October 19
 

9:00am EDT

"Take a walk on the wild side" - a review on audio processing side-chain techniques
This tutorial introduces at a basic level the use of processed signals or foreign signals to control dynamic and other non linear effects processors aka sidechaining.

From simple to complex signal routing and processing, different applications will be reviewed, both from the perspective of problem solving and the stimulation of creativity.

Advice on advanced production workflows for controlling b us compression through Side-chain signal will also be included.

Speakers
avatar for Cesar Lamschtein

Cesar Lamschtein

KAPS Audio


Wednesday October 19, 2022 9:00am - 10:00am EDT
3D03

9:00am EDT

Immersive Music Mastering - Approaches and Aesthetics
This session will be followed by a listening session from 11:30- 12:00  in room 3D07

As the popularity of object-based immersive audio production continue to grow, the art of mastering has had to adjust to accommodate this rapidly expanding ecosystem. Currently, Dolby Atmos and Sony 360 Reality Audio are the two leading object-based audio technologies in the world of music production. In the early days of these formats, the role of mastering was in question. As the demand for, and access to, these audio formats continues to increase, so does the need for a better understanding of the immersive audio mastering process.

Although the art of immersive audio mastering has been discussed among the AES mastering community, it would be highly beneficial for this discussion to be held with the broader engineering community.

The goal of this presentation will be to engage with the AES community at large in discussions on the aesthetics and approaches to mastering object-based immersive audio.

The presentation can include musical examples and visual references, as well as encourage audience questions, and interactive panel discussions.

At this moment in history, immersive audio music production is at a major crossroads. This presentation is an opportunity to explore and establish the role of mastering in object-based immersive audio music production for the community at large.



Speakers
avatar for Justin Gray

Justin Gray

Chief Engineer, Synthesis Sound
Justin Gray is an award-winning producer, mixing engineer and mastering engineer based in Toronto. Justin is a leader in the field of immersive audio mixing & mastering, where he works with artists, producers and labels worldwide to bring their music to life in the Dolby Atmos and... Read More →


Wednesday October 19, 2022 9:00am - 10:00am EDT
3D05/08

9:00am EDT

Spatial Resolution in Immersive Productions
In recent years, various loudspeaker setups have been established for Immersive Music playback, such as Auro 3D 9.1, 11.1 and 13.1 as well as Dolby Atmos 5.1.2, 7.1.4 and 9.1.6. The number of loudspeakers has a major influence on the spatial resolution during playback. It is comparable to the resolution of a display: the higher the resolution, the more details can be displayed with it.

In addition to the spatial resolution of the loudspeakers, a comparably high resolution is also required for the content to be reproduced. If the resolution of the content is lower than that of the loudspeaker playback, there is a discrepancy. This is also easy to understand in the optical world: If the resolution of a graphic is significantly lower than that of the display, the graphic looks pixelated.

The resolution of the content essentially depends on two factors. On the one hand, the number of tracks in a music production plays an important role: The higher the number, the finer the sound patterns for certain directions can be worked out. On the other hand, there should be plenty of stereo signals to create impressive-sounding auditory connections between the loudspeakers.

During his workshop, Lasse Nipkow explains how spatial resolution can be used for music production and what this means for different loudspeaker setups. He does this using psychoacoustic phenomena and impressive sound samples.

Speakers
avatar for Lasse Nipkow

Lasse Nipkow

CEO, Silent Work GmbH
Lasse Nipkow (Dipl. El. Ing. HTL) is regularly holding lectures and giving workshops on multi-channel recordings since 2008 at international conferences like AES, Tonmeistertagung and ICSA. Since 2010 he has improved his empirical research in the field of applied psychoacoustics for... Read More →


Wednesday October 19, 2022 9:00am - 10:00am EDT
3D07

9:00am EDT

Becoming Immersive in Music
From 'intro' to 'advanced' relating to the control room setup and practices for Immersive/Atmos music mixing. Providing guidance to those who wwant to get involved and answering questions that emerge once they do. 'Designers' along with 'end-users' will be involved in the conversation.

Speakers
avatar for Jim Kaiser

Jim Kaiser

Belmont University
Jim Kaiser is an Instructor of Audio Engineering Technology at Belmont University in Nashville, TN.  He serves on the AES Technical Council, the Recording Academy Producers & Engineers Wing, and the Nashville Engineer Relief Fund Board.  Jim is a Past President of the International... Read More →
TD

Tom Davis

Seismic Sound
avatar for Scott Pederson

Scott Pederson

President, RemotePro
scott@remoteproductiongroup.com (865) 300-4452 mobile Consulting, custom process and systems design specializing in Dolby Atmos, broadcast, installed and live production services and manufacturer authorized sales.  RemotePro offers best-in-class broadcast and technical production... Read More →


Wednesday October 19, 2022 9:00am - 10:00am EDT
3D11

9:00am EDT

White Paper: In-car Acoustic Measurements
MOTIVATION: the AES Technical Committee on Automotive Audio [TC-AA] has recognized that currently there is no consensus when it comes to measuring essential audio attributes in a car.

There is a need for alignment between OEMs and Tier1 suppliers for robust and repeatable acoustic measurement methods, data, and analysis formats.

Hence, a working group has undertaken the task of creating a White Paper focused on in-car acoustic measurements, where the measurement stimuli, conditions, and computations for results would be established.

The White Paper will be a living document that will evolve; and, it is hoped, will lead to standards down the road.

The group will report three measurements: Frequency Response, Max SPL, and Impulsive Distortion (squeak and rattle).

FORMAT: this will be in the form of a panel discussion with five parts to it (listed below) – the purpose is to inform the AES community about this effort, provide an update (analysis of real acquisitions from vehicles using the recommended stimuli and measurement methods), and solicit feedback from the audience.

• Overview
• Frequency Response specifics
• Max SPL specifics
• Impulsive Distortion specifics
• Solicit feedback via Q&A

Speakers
avatar for Jayant Datta

Jayant Datta

Consultant
Passionate about all things audio, causing me to get involved in a number of different aspects of this exciting field.DSP, algorithm development, R&D, systems level engineering, management of engineers, as well as strategic direction for organizations.Developed solutions for broadcast... Read More →
avatar for Steve Temme

Steve Temme

Listen
Steve Temme is founder and President of Listen, Inc., manufacturer of the SoundCheck audio test system. Steve founded the company in 1995, and for the past 26 years the company has remained on the cutting edge of research into audio measurement, regularly introducing new measurement... Read More →
avatar for Hans Lahti

Hans Lahti

Distinguished Engineer, Acoustic Systems, Harman
Hans Lahti is a Distinguished Engineer, Acoustic Systems for HARMAN`s Global Acoustic Team. In his role he oversees and approves the design, integration and execution of branded audio systems in customer vehicles. Hans holds a master degree in electrical engineering from the Chalmers... Read More →


Wednesday October 19, 2022 9:00am - 10:30am EDT
3D09

9:00am EDT

Immersive Audio Hands On with Dolby Atmos and Wwise
Dolby Atmos immerses players into the game world by surrounding them with sound. Most AAA game developers create these audio worlds through the use of Audiokinetic’s Wwise, an interactive audio engine and authoring tools. This workshop will cover the what, why and how of Dolby Atmos for Games and will provide hands on training of how to implement Dolby Atmos in games using Wwise.

_______________________________________________________________
An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here

Wednesday October 19, 2022 9:00am - 12:00pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate registration required - see link above

9:30am EDT

Comparisons between VBAP and WFS using Spatial Sound Synthesis
This paper presents analysis methods that make use of synthesis concepts by means of movements of sounds in virtual 3D auditory space at audio rate. The main focuses lies on the modulating effect caused by moving a sound around a listener, commonly referred to as \emph{panning}. Here, we will demonstrate a comparison between two common panning approaches: Vector-Base Amplitude Panning (VBAP) and Wavefield Synthesis (WFS). Both apply some type of secondary source selection process, reducing the number of active loudspeakers at any moment in time. Under specific conditions it therefore becomes possible to compare VBAP and WFS directly. Using a technique originally developed for 3D sound synthesis over multichannel loudspeaker arrays at audio rate, both VBAP and WFS are adapted to be emulated by this technique. By using this sonification process, the differences between panning with VBAP or WFS can then not only be visualised but also heard. This makes spatial sound synthesis not just a creative tool for sound creation, but also an analytic tool that can help illustrate characteristics of spatialisation approaches.

Speakers
TS

Timothy Schmele

Researcher, Eurecat
Researcher in audio, audio technology, immersive audio, sonification and composition practices. Composer of electroacoustic music.
JJ

Jose J. Lopez

Universitat Politècnica de València


Wednesday October 19, 2022 9:30am - 10:00am EDT
2D04/05

10:00am EDT

AES Business Meeting – Wednesday, October 19, 10-10:15 am
Wednesday October 19, 2022 10:00am - 10:15am EDT
2D02/03

10:00am EDT

On the use of integral input devices and relative mappings for an immersive audio mixing task. Part II.
Current systems capable of 3D sound reproduction and panning of multi-channel sound sources require the user to employ standard, low-level interaction tools such as knobs and sliders to handle audio sources and reproduction setups with higher complexity. Innovative tools and control methods designed to meet the requirements of immersive audio environments are essential to enable efficient implementation of these technologies and software. This work investigated three types of input devices as controllers for an immersive audio mixing task in a spatial audio system. This second part of the research focuses on the objective data registered by the apparatus of the experiment. Results suggest devices with a high degree of integrality had the fastest learning curve and produced comparable results to the traditional method in response time.

Speakers
DM

Denis Martin

McGill University


Wednesday October 19, 2022 10:00am - 10:30am EDT
2D04/05

10:00am EDT

The Art Of Immersive Audio Productions - artistic opportunities
There is a true artistic element in immersive music productions which is sometimes overlooked in the creation of 3D audio. How do we create true Art in Immersive Audio? Does creative expression need to take a back seat to the technology? Grammy® winning producer and studio owner Herbert Waltl shares his approach to producing innovative immersive soundtracks in Pop, Rock, Jazz, and Classical music.

Speakers
avatar for Herbert Waltl

Herbert Waltl

CEO & senior producer, media HYPERIUM
Herbert began his musical education at the age of five and subsequently studied with the renowned pianist and composer Franz Hummel. Recognized as being one of the most promising young pianists in Germany, he initially specialized in Beethoven and made several records, numerous concerts... Read More →


Wednesday October 19, 2022 10:00am - 11:00am EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

10:00am EDT

SDA Welcome Event
Speakers

Wednesday October 19, 2022 10:00am - 11:00am EDT
  Education and Students
  • badge type: ALL ACCESS

10:00am EDT

Mix with the Masters presents Andrew Scheps
Mix with the Masters workshop with Andrew Scheps

Speakers
avatar for Andrew Scheps

Andrew Scheps

Tonequake
Andrew is a record producer/mixer, label owner, and software developer who has been in the industry for over 30 years.  He hasn't cut his hair or beard for at least 15 of those years.



Wednesday October 19, 2022 10:00am - 11:00am EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

10:00am EDT

Dante Certification Training at AES 2022 - New York, New York - Separate Registration
Audinate will be hosting Dante Certification training courses for beginner, intermediate and advanced Dante users at AES Expo, NY on October 19, 2022.  This does require a badge for attendance, though we have a registration code for a free badge with access to our training and the expo floor.
The Dante Certification Training at AES will be an abridged version of our on-demand learning at https://audinate.com/certify, focusing on the same content. The live and on-demand classes complement each other, and we know many students enjoy taking the class in both forms.
Live classes offer an opportunity to ask questions of the instructors and see some real Dante equipment in action. To meet the abbreviated schedule, the live class may streamline or skip some chapters that are more straight-forward in on-demand viewing. For the best personal education and best scores on the Dante Certification tests, it is recommended that students also watch the on-demand version of the class. However, experienced Dante users may pass by merely attending the abridged version.
The Dante Certification tests are taken online in the on-demand class. Time is not allotted in the class to do this, however, the schedule shows time between classes as break and test taking. This time slot does not cover the maximum allowable length of the test, but most students finish in this time frame. Attendees can also log-in and take the tests at home at any time.
AVIXA CTS renewal units: The abridged classes are worth two units per level. The on-demand class (which is where the tests are taken) are worth three units. The two can be combined for a total of 5 CTS RUs per level.

REGISTER HERE


Wednesday October 19, 2022 10:00am - 6:00pm EDT
E106
  Dante Certification
  • about Register Via Audinate
  • badge type: Separate Registration

10:15am EDT

Mix Critiques in the JBL Critical Listening Room
Speakers
avatar for Ian Corbett

Ian Corbett

Educator, Kansas City Kansas Community College
Dr. Ian Corbett is the Coordinator and Professor of Audio Engineering and Music Technology at Kansas City Kansas Community College. He also owns and operates “off-beat-open-hats LLC,” providing live sound, audio production, recording, and consulting services to clients in the... Read More →


Wednesday October 19, 2022 10:15am - 11:15am EDT
3D07
  Education and Students
  • badge type: ALL ACCESS

10:15am EDT

Is Remote Collaboration the Future of Music Production?
The concept of remote collaboration is not new to the music industry. From the Abbey Road Remote Recording Unit traveling to then-communist controlled Warsaw to record an orchestra, to Dee Dee from the Ramones recording his bridge for Born to Die from Berlin (¡Adios amigos!, 1995) via a telephone call, the concept of remote recording predates even the very first recording studios.

Adoption of new technology tends to leap forward in times of crisis, and the pandemic has brought about a lasting move to remote working across the world and across all industries. In response to the enforced separation brought about by the pandemic, we have seen writers, producers and engineers around the world adapt their workflow and embrace new tools, finding new ways to work despite the physical distance between collaborators.

Now, with the pandemic thankfully appearing to be on a downward trend, we can begin to see the potential lasting benefits of remote connection have made a permanent imprint on our creative habits and working style, with studios such as Abbey Road running 100% of their sessions with a number of remote participants and world known mixers fully adopting remote approvals.

But what does this new remote way of working mean for our human relationships? How can you create a ‘vibe in a room’ if the participants are never in the same physical space? Can you build an intimate connection between an artist and a songwriter if they never meet? Ultimately, is creativity affected or enabled through remote technology?

During the talk we will explore the historical context and innovations and going through a portfolio of case studies from song writing camps to Grammy nominated albums recorded 100% remotely. We will present a balanced view of benefits and barriers and share practical advice for artists and mixers when undertaking remote projects. Talking to our panelist we will imagine how the future of music production would look like, and could it be and should it ever be fully remote.

Moderators
avatar for Mirek Stiles

Mirek Stiles

Head of Audio Products, Abbey Road Studios
MIREK STILES, Head of Audio Products, Abbey Road StudiosMirek Stiles started working at Abbey Road Studios as a recording engineer in 1998, working on a diverse range of projects including The Lord of the Rings trilogy, The Beatles Anthology, Muse, Kanye West, Nick Cave and the Bad... Read More →

Speakers
avatar for Susan Rogers

Susan Rogers

Berklee College of Music
Susan Rogers holds a doctoral degree in experimental psychology from McGill University (2010). Prior to her science career, Susan was a multiplatinum-earning record producer, engineer, mixer and audio technician. She is best known for her work with Prince during his peak creative... Read More →
avatar for Igor Maxymenko

Igor Maxymenko

Head of Product, Audiomovers
Igor, an audio industry veteran, is the co-founder of Audiomovers and Head of Product.He is a product designer, sound engineer, and producer, whose career takes in multiple software and hardware audio innovations, designing award-winning products for Waves and Blue Microphones, such... Read More →
avatar for Ariel Borujow

Ariel Borujow

Since 1998, Ariel Borujow has pretty much been sitting behind an audio console. The passion he had for sound the day he walked into his first session has grown naturally throughout his career. He credits his early studio experiences with many lessons. Creating the right dynamic between... Read More →
avatar for Elli Moore

Elli Moore

Lyre Music
Elli Moore is an LA-based singer, songwriter, and recording artist. Responsible for founding LYRE Music Group, a female songwriting/production duo alongside Alina Smith, Elli has been working professionally for over a decade. Her songwriting style spans many genres of music, but her... Read More →


Wednesday October 19, 2022 10:15am - 11:45am EDT
3D05/08

10:30am EDT

Piezoelectric Actuators for Flat-Panel Loudspeakers
Piezoelectric actuators offer advantages in terms of weight and form-factor when compared with traditional inertial exciters used to drive flat-panel loudspeakers. Unlike inertial exciters, piezoelectric actuators induce vibrations in the panel by generating bending moments at the actuator edges. Models for piezoelectric excitation are developed, and it is shown that piezoelectric actuators are most effective at driving resonant modes whose bending half-wavelength is the same size as the actuator dimensions, giving a natural boost to the high-frequency response. Flat-panel loudspeaker design techniques such as the modal crossover method, and the corresponding array layout optimization are adapted using the model for the response of piezo-driven panels. The adapted design techniques are shown to eliminate the isolated, low-frequency bending modes responsible for reduced sound quality on a prototype panel speaker.

Speakers
MH

Michael Heilemann

Assistant Professor, University of Rochester
TD

Tre DiPassio

University of Rochester


Wednesday October 19, 2022 10:30am - 11:00am EDT
2D02/03

10:30am EDT

Binaural rendering of audio signals using waveform-based acoustic panning
This study proposes computationally efficient binaural rendering for three-dimensional audio spaces. Instead of directly and individually convoluting each head-related impulse response (HRIR) within each sound object’s direction, only HRIRs of pre-defined representative directions are convoluted to the signals which are panned and summed up at representative positions. The panning is conducted adopting appropriate time shifts and gain adjustments to the original source signals, which approximately maintains waveforms of the source signals in synthesized sound images. We compared the obtained subjective and objective reproduction qualities with various representative HRIR direction arrangements using audio objects on a horizontal plane. Investigations indicated that the azimuth differences between representative HRIRs could be around 60 [deg], and we then expect a reduction in computational complexity by approximately 50%–70% when 20–200 audio objects are rendered.

Speakers
avatar for Masayuki Nishiguchi

Masayuki Nishiguchi

Professor, Akita Prefectural University
Masayuki Nishiguchi received his B.E., M.S., and Ph.D. degrees from Tokyo Institute of Technology, University of California Santa Barbara, and Tokyo Institute of Technology, in 1981, 1989, and 2006 respectively.  He was with Sony corporation from 1981 to 2015, where he was involved... Read More →


Wednesday October 19, 2022 10:30am - 11:00am EDT
2D04/05

10:45am EDT

Moving beyond traditional measurements
Certain audio measurements (e.g., level, frequency response, THD, signal-to-noise ratio, etc.) have been around for a long time, they are very established, well understood, and have served a very, very useful purpose.

Many of these metrics were conceived around the concept of linear time-invariant systems. For the purpose of this discussion, we will refer to these metrics as "traditional engineering metrics".

We find that there are audible artefacts that don't show up appropriately in "traditional engineering metrics" -- as an example, a clearly audible rub and buzz in a speaker may measure very low on THD ... on the other hand, we may find a speaker that exhibits no audible distortion measuring high on THD -- this clearly demonstrates limitations of "traditional engineering metrics" in terms of correlating the objective metric to the subjective perception.

Measurements are, thus, evolving to accommodate psychoacoustic phenomena such as masking, etc.

The panel of experts are well-respected leaders in their field (this will NOT be a sales pitch). They will share their views on how this field is evolving and the direction we are heading towards.

The panel will solicit input from the audience -- since engineers are now designing products that are inherently designed to be non-linear and time-varying -- a departure from the tenets underlying the "traditional engineering metrics".

Speakers
avatar for Jayant Datta

Jayant Datta

Consultant
Passionate about all things audio, causing me to get involved in a number of different aspects of this exciting field.DSP, algorithm development, R&D, systems level engineering, management of engineers, as well as strategic direction for organizations.Developed solutions for broadcast... Read More →
avatar for Steve Temme

Steve Temme

Listen
Steve Temme is founder and President of Listen, Inc., manufacturer of the SoundCheck audio test system. Steve founded the company in 1995, and for the past 26 years the company has remained on the cutting edge of research into audio measurement, regularly introducing new measurement... Read More →


Wednesday October 19, 2022 10:45am - 11:45am EDT
3D03

10:45am EDT

Milan in the Wild: An exploration of the real-world application of Milan in live audio
This presentation will explore the use of Milan audio in live entertainment from a live sound person's perspective. We will explore the use of Milan via the Ed Sheeran: Mathematics Stadium World Tour as a case study where 212 Milan-Certified loudspeakers support the first large-scale certified Milan network directly into the loudspeaker cabinet.

Speakers
avatar for Josh Dorn-Fehrmann

Josh Dorn-Fehrmann

Senior Technical Support Specialist, Meyer Sound Laboratories
Josh Dorn-Fehrmann is Senior Technical Support Specialist for Meyer Sound with a background in touring, music, and sound design for theatre. At Meyer Sound, Josh serves a multipurpose role where every day is different. Some of his responsibilities include customer support, sound system... Read More →


Wednesday October 19, 2022 10:45am - 11:45am EDT
3D09

11:00am EDT

A Wideband Target Response Curve for Insert Earphones
The frequency response of a headphone is very important for listener satisfaction. Listener preferences have been studied for frequencies below 10 kHz, but preferences above that frequency are less well known. Recent improvements in the high frequency performance of ear simulators makes it more practical to study this frequency region now. In this study, the high frequency portion of the target response for insert headphone designs is investigated, focusing on the range from 10 kHz to 20 kHz. A new target response is proposed, based on listener preference ratings in a blind listening test. The results show a clear preference for significantly more high frequency energy than was proposed in a previous popular earphone target curve. The preferred response is also affected by the listener’s hearing thresholds, with additional high frequency boost being preferred for listeners with age-related hearing loss.

Speakers
avatar for Thomas Miller

Thomas Miller

R&D Fellow, Knowles Electronics, LLC
Tom has been working at Knowles Electronics for over a quarter century. For many years he developed balanced armature devices for hearing aid and music earphone use. More recently he has been researching and working with headphone designers on issues such as preferred tonal balance... Read More →
CD

Cristina Downey

Electroacoustic Engineer, Knowles


Wednesday October 19, 2022 11:00am - 11:30am EDT
2D02/03

11:00am EDT

The AIMS Roadmap for Media over IP Interoperability
The Alliance for IP Media Solutions (AIMS) has established a roadmap for open standards and specifications that enable interoperability in Media over IP networks. This presentation will provide an overview of the AIMS Roadmap and will also look at some of the latest developments from the alliance, including IPMX and the AIMS Education Initiative.

Moderators
avatar for Terry Holton

Terry Holton

Chairman, AIMS Audio Group
Terry is the Chairman of the AIMS Audio Working Group. He is also a member of the AIMS Board of Directors and represents Yamaha in the alliance as well as in AES Standards Committee activities.

Wednesday October 19, 2022 11:00am - 11:30am EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

11:00am EDT

Real-time spatialization via Eigen decomposition of head-related transfer functions
A binaural spatialization method based on a lossy compression of Head-Related Transfer function (HRTF) databases via Eigen decomposition is introduced. The high compression ratio achieved with this method allows for the inclusion of interpolated HRTFs (about a million) while reducing the resulting database 20% from the original size. Compressed HRTFs have a spectral distortion ≤ 1 dB between 0.1 and 16 kHz. This distortion seems to have no significant effect on subjective accuracy, which is similar to the accuracy achieved with currently used audio spatializers. Compared to one of these methods, the proposed method shows an improvement in terms of processing time and memory requirements.

Speakers
avatar for Juan Camilo Arevalo Arboleda

Juan Camilo Arevalo Arboleda

Student, University of Aizu
Camilo Arevalo received an Sc.B. in Computer Science (cum laude) from the Pontifical JaverianaUniversity Cali (Colombia) and an M.Sc. in Computer Science from the University of Aizu (Japan), he currently is a Ph.D. student at the same institution. His research topics are spatial sound... Read More →


Wednesday October 19, 2022 11:00am - 11:30am EDT
2D04/05
  Spatial Audio, Papers Oct 19 & 20
  • badge type: ALL ACCESS

11:00am EDT

The METAlliance Pro Recording Techniques Panel: Rhythm & Groove as the Lifeblood of Modern Music Production. How do we get into the groove? How do we create that indelible performance that instinctively moves you?
The METAlliance (Music Engineering and Technology Alliance) is composed of top award-winning audio engineers/producers Chuck Ainlay, Frank Filipetti, George Massenburg, Elliot Scheiner and Niko Bolas, who, based on their new book titled “Recording & Mixing Drums, Contrasting Techniques from Seven Lifetimes of Recording Experience,” bring their combined knowledge and experience to AES New York 2022 with a specialist panel on recorded music production, starting with recording and mixing drums.

The METAlliance (Music Engineering and Technology Alliance) is composed of top award-winning audio engineers/producers Chuck Ainlay, Frank Filipetti, George Massenburg, Elliot Scheiner and Niko Bolas, who, based on their new book titled “Recording & Mixing Drums, Contrasting Techniques from Seven Lifetimes of Recording Experience,” bring their combined knowledge and experience to AES New York 2022 with a specialist panel on recorded music production, starting with recording and mixing drums.

Speakers
avatar for Elliot Scheiner

Elliot Scheiner

Freelance Engineer/Producer
Elliot Ray Scheiner (born 18 March 1947) is a music producer, mixer and engineer.[1][2] Scheiner has received 27 Grammy Awardnominations, eight of which he won, and he has been awarded four Emmy nominations, two Emmy Awards for his work with the Eagles on their farewell tour broa... Read More →
avatar for Frank Filipetti

Frank Filipetti

Freelance Engineer/Producer
Frank Filipetti is an American record producer, audio engineer and mixer, who was born in Bristol, Connecticut, United States. Filipetti won five Grammy Awards for his work on The Color Purple,  The Book of Mormon, Wicked, Monty Python's Spamalot and Elton John and Tim Rice's Ai... Read More →
avatar for Niko Bolas

Niko Bolas

Freelance Engineer/Producer
Niko Bolas is an American music producer, sound engineer, and consultant and business developer in the fields of virtual reality and Internet radio. In 1989, Bolas founded Fakespace Music with Mark Bolas, Ian McDowall and Christian Greuel, which, in 1995, developed the Soundsculp... Read More →
avatar for George Massenburg

George Massenburg

McGill University
George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →
avatar for Chuck Ainlay

Chuck Ainlay

Internationally Acclaimed Audio Recording Producer and Engineer.
Chuck Ainlay is an American record producer and audio engineer. He has worked with Mark Knopfler on much of Knopfler's solo work, in addition to some Dire Straits material.Along with Knopfler and Bob Ludwig, in 2006 he collected the Grammy Award for Best Surround Sound Album for... Read More →



Wednesday October 19, 2022 11:00am - 12:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

11:30am EDT

Immersive Music Mastering - Approaches and Aesthetics: Listening Session
This is a companion listening session to the presentation "Immersive Music Mastering - Approaches and Aesthetics", held earlier in the day.

As the popularity of object-based immersive audio production continue to grow, the art of mastering has had to adjust to accommodate this rapidly expanding ecosystem. Currently, Dolby Atmos and Sony 360 Reality Audio are the two leading object-based audio technologies in the world of music production. In the early days of these formats, the role of mastering was in question. As the demand for, and access to, these audio formats continues to increase, so does the need for a better understanding of the immersive audio mastering process.

Although the art of immersive audio mastering has been discussed among the AES mastering community, it would be highly beneficial for this discussion to be held with the broader engineering community.

The goal of this presentation will be to engage with the AES community at large in discussions on the aesthetics and approaches to mastering object-based immersive audio.

The presentation can include musical examples and visual references, as well as encourage audience questions, and interactive panel discussions.

At this moment in history, immersive audio music production is at a major crossroads. This presentation is an opportunity to explore and establish the role of mastering in object-based immersive audio music production for the community at large.



Speakers
avatar for Justin Gray

Justin Gray

Chief Engineer, Synthesis Sound
Justin Gray is an award-winning producer, mixing engineer and mastering engineer based in Toronto. Justin is a leader in the field of immersive audio mixing & mastering, where he works with artists, producers and labels worldwide to bring their music to life in the Dolby Atmos and... Read More →


Wednesday October 19, 2022 11:30am - 12:00pm EDT
3D07

11:30am EDT

Timing & Synchronization in AES67 & ST2110: Why PTP is at the Heart of your MoIP System
AES67 & SMPTE ST 2110 are based on a precise system-wide synchronization of all devices on a network. This presentation explains why PTP time has been chosen as a reference and how the necessary media clocks are generated / derived from PTP.

Speakers
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Wednesday October 19, 2022 11:30am - 12:00pm EDT
Media over IP Pavilion Exhibit Floor

11:30am EDT

A Closer Look on Bitrate Requirements for Opus with First Order Ambisonics and AllRAD rendering to 5.1 and 7.1.4
In a previous study, transparency bitrates were found for Opus compression of Ambisonics content for the second and third order cases, but results were inconclusive for the first order. In this paper, we take a closer look on Basic Audio Quality of first order native Ambisonic content compressed with the Opus audio codec at 24, 32 and 48 kbps bitrates per channel. We present the results of a MUSHRA subjective test for Ambisonics in Opus decoded to ITU-R BS.2051-2 speaker layouts (viz., 5.1 and 7.1.4) using IEM AllRAD decoder. Results revealed that for music content, transparency can be achieve between 32 and 48 kbps per channel. However, 64 kbps per channel seems to be more suited for ambient content.

Speakers
ES

Ema Souza Blanes

Samsung Research America
CT

Carlos Tejeda-Ocampo

Samsung Research Tijuana
avatar for Sunil Bharitkar

Sunil Bharitkar

Samsung Research America


Wednesday October 19, 2022 11:30am - 12:00pm EDT
2D04/05

12:00pm EDT

Opening Ceremony and Awards
Wednesday October 19, 2022 12:00pm - 12:15pm EDT
3D05/08
  Special Event
  • badge type: EXHIBITS+ or ALL ACCESS

12:00pm EDT

AES67 WAN Transport Utilizing the Cloud
This presentation highlights the challenges with transporting AES67 through a public cloud infrastructure and how these can be solved along with topics for further study. This will be viewed through the lens of results from recent live demonstrations that prove it is feasible including one where audio was transported between North America and several locations in Europe. Along the way, the learnings, as well as future considerations, to enable the practical use of AES67 cloud transport in real-world applications, will be reviewed.

Speakers
avatar for Bill Rounopoulos

Bill Rounopoulos

Bill Rounopoulos, Business Development Manager for OEM and Partnerships at Ross Video, is leading the company's effort to provide open solutions technology based on AES67, RAVENNA, and SMPTE ST 2110 to OEMs serving the broadcast and professional audio industry. Prior to Ross, Bill's... Read More →


Wednesday October 19, 2022 12:00pm - 12:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

12:00pm EDT

Mix with the Masters presents Susan Rogers
Mix with the Masters workshop with Susan Rogers

Speakers
avatar for Susan Rogers

Susan Rogers

Berklee College of Music
Susan Rogers holds a doctoral degree in experimental psychology from McGill University (2010). Prior to her science career, Susan was a multiplatinum-earning record producer, engineer, mixer and audio technician. She is best known for her work with Prince during his peak creative... Read More →



Wednesday October 19, 2022 12:00pm - 1:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

12:15pm EDT

Keynote: Jack Antonoff
Multi-Award Winning Producer/Songwriter/Instrumentalist/Singer Jack Antonoff to Give Opening Day Keynote at AES New York 2022 Convention

On Wednesday October 19th, Jack Antonoff will offer insights into his GRAMMY®-winning career from both sides of the glass and his workflow on projects with some of today’s top artists. As a songwriter and producer, Antonoff, who, in 2021, was credited by the BBC for having “redefined pop music,” has collaborated with the likes of Diana Ross, Taylor Swift, Lorde, St. Vincent, Florence + The Machine, Lana Del Rey and Kevin Abstract, as well as his celebrated work with his current band, Bleachers. He curated and produced the 2022 Minions: The Rise of Gru soundtrack, featuring single Turn Up the Sunshine by Diana Ross and Tame Impala. Over the years Antonoff has collected numerous accolades, including six GRAMMY Awards®, most recently winning the 2022 GRAMMY® Award for Producer of the Year.

Speakers
avatar for Jack Antonoff

Jack Antonoff

Multi-Award Winning Producer/Songwriter/Instrumentalist
Jack Antonoff is a globally celebrated singer, songwriter and record producer and is the lead vocalist of rock band Bleachers. Kicking off 2022, Bleachers made their debut performance on NBC’s Saturday Night Live, marking the seminal show’s first episode of the year. As a songwriter... Read More →



Wednesday October 19, 2022 12:15pm - 1:00pm EDT
3D05/08
  Special Event
  • badge type: EXHIBITS+ or ALL ACCESS

12:30pm EDT

Telos Infinity VIP - Introducing Virtualized IP Intercom for Cloud, On Prem and Hybrid Workflows
Martin Dyster from Telos Alliance describes how the Telos Infinity matrix-less AoIP native Intercom system evolved during the pandemic from a hardware-centric traditional communications platform, into a fully virtualized software solution that maintains the same AES67 / SMPTE ST2110-30 network backbone. The presentation describes how Infinity VIP can be deployed in the Cloud or On Premise and put a fully-featured Comms Panel in front of any member of the production team using their phone, tablet or computer, anywhere in the world.

Speakers
avatar for Martin Dyster

Martin Dyster

Vice President Business Development, Telos Alliance
Martin Dyster | Telos Alliance has led the audio industry’s innovation in Broadcast Audio, Digital Mixing & Mastering, Audio Processors & Compression, Broadcast Mixing Consoles, Audio Interfaces, AoIP & VoIP for over three decades. The Telos Alliance family of products include Telos... Read More →


Wednesday October 19, 2022 12:30pm - 1:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

1:00pm EDT

The Art of Remixing in Abidjan (Ivory Coast)
In the cosmopolitan city of Abidjan (Ivory Coast), various music traditions from Western Africa and beyond meet and hybridize with globalized genres such as reggae and hip hop. The music reputation of the city is partly attributed to JBZ Studio directed by French-Ivorian producer Jacques Bizollon from 1981 to 2018. There, internationally renowned reggae artist Alpha Blondy developed his career, and world music stars such as Ghanean Pat Thomas and Malian Les Ambassadeurs with Salif Keita recorded albums that received a lot of success.

Olivier started conducting fieldwork on local music production in March 2020 during the Abidjan Market for Performing Arts (MASA) that curates more than 200 shows of African contemporary creation [1]. Thanks to the network of Éliézer Oubda who directed the sound booth of the Mande stage at the MASA, she could interview a few local studio professionals. She came back in July 2021 to interview and film more professionals. In July 2022, Pras joined her to analyze the creative process of local pop music production as they did together in Bamako (Mali) [2].

In this paper, we describe the profile of 5 studio professionals, namely arrangers/engineers Patché, Charlie Kamikaz, and Lyle Nak; mixing engineer Gabriel; and beatmaker Tupaï. Moreover, we describe 4 production processes filmed in 4 different studios with 2 cameras, one focusing on human interactions, and one on the computer screen. The video data synchronized on the stereo recording of the cabin sound with a ribbon Royer SF12 placed behind the head of the engineer is indexed by McKinnon following the same methods as for the Bamako study [2].

Our collaborative fieldwork shows that the creative process of Ivorian studio professionals is commonly centered on remixing instrumentals that they select from the web or retrieve from their own past productions. For instance, they are likely to record vocals on an old beat and then re-create one that conveys a similar vibe. This process differs from what we observed in Bamako. While Malian arrangers/engineers primarily create versions of national songs from their folklore that they declinate into various genres, Ivorians may as well use samples of famous songs from Ivory Coast, French variétés, and international pop classics. This makes Ivorian productions less foreign to Western ears. Tupaï also explained that he could distinct himself from Western beatmakers with his understanding of complex Ivorian rhythms that are popular among African American rappers.

Our primarily analyses suggest that similarly to Malian arrangers/engineers, Ivorians dedicate most of their studio time to layering and editing MIDI programming and vocal recordings. Also, they keep retouching the arrangement until the very end of the session to emphasize the spirituality of the lyrics and vocal performances, or to overcome mixing challenges. We found that Ivorian studio professionals have access to more equipment and technical knowledge than Malians, so engineers like Gabriel who regularly works for Universal productions is at the control with his mixing tools. Nevertheless, local studio professionals from various generations denounce the lack of theoretical knowledge in acoustics and the need to learn more methods to achieve the sound that they have in mind.

[1] E. Olivier, “Individual Career Paths and Multiple Connections. Portraits of Three Arrangers and Sound Engineers in Abidjan (Ivory Coast)”, 哲學與文化 [Universitas. Philosophy and Culture], vol. 49, no. 3, pp. 41—66 (2022).

[2] A. Pras, K. Turner, T. Bol, and E. Olivier, “Production processes of pop music arrangers in Bamako, Mali”, presented at the 147th Convention of the Audio Engineering Society (2019 Oct.), paper 10296.

Speakers
avatar for Amandine Pras

Amandine Pras

Lecturer in Sound Recording and Music Production, University of York
Amandine Pras is leading the Master of Art in Music Production and Audio Cultures at the School of Art and Creative Technologies of the University of York, UK. With a background as a sound engineer and music producer in alternative jazz and contemporary musics, she develops funded... Read More →
avatar for Max McKinnon

Max McKinnon

Research Assistant, University of Lethbridge
Max McKinnon is a 5th year Bachelor of the Digital Audio Arts program in the Music Department at The University of Lethbridge. Since Fall 2020, he has indexed and edited video data collected in West African recording studios as a research assistant for Dr. Amandine Pras’ SSHRC-funded... Read More →
avatar for Emmanuelle Olivier

Emmanuelle Olivier

Senior Research Fellow in ethnomusicology, CNRS
Dr. Emmanuelle Olivier is an Ethnomusicologist, Senior Research Fellow at the National Centre for Scientific Research, and Lecturer at the School of Advanced Studies in the Social Sciences in Paris. Emmanuelle has worked in Mali since 2001 on the creative process of popular music... Read More →


Wednesday October 19, 2022 1:00pm - 1:20pm EDT
2D04/05

1:00pm EDT

Combining Deep Learning and Web Audio for Automated Real-time Audio Speech Production
With the advent of Web Audio the compliant browser offers a toolbox of audio production components right out of the box. This could prove valuable for any content producer in the audio field, either professional or amateur. In this paper we will add deep learning to this scenario with the ultimate goal of obtaining machine assisted real- time audio production in-browser. As a proof of concept we will implement a basic yet complete one-channel design that uses deep learning to assist an automatic filtering algorithm producing parameters to adjust an audio signal in the Web Audio context of a browser. To achieve this we will evaluate five-class audio prediction models and compare their accuracy at the model building stage with their accuracy when exported to the real-time context. We will present two ways to measure this accuracy in real-time. We will also present a method to reduce jumpiness in real-time predictions when classification scores are ambiguous. We will highlight some important limitations and we will also present a refined model – designed for our domain specific audio set – based on some architectures from previous research and find that that our model outperforms these architectures.

Speakers
avatar for Tor Sigvardson

Tor Sigvardson

Audio Engineer, Sveriges Radio
I've been active as an audio engineer, music mixer and broadcast technician for over 25 years. Mainly at Swedish Radio, the national public service broadcaster in Sweden, but also as freelance in television and in music recording. Apart from audio engineering and longtime musician... Read More →


Wednesday October 19, 2022 1:00pm - 1:30pm EDT
2D02/03

1:00pm EDT

The road to Broadway Sound: Career stories and advice from veteran and emerging Broadway sound designer
Speakers
avatar for Bob McCarthy

Bob McCarthy

Meyer Sound Laboratories
Bob McCarthy’s involvement in the field of sound system optimization began in 1984 with the development of Source Independent Measurement™ (SIM™) with John Meyer at Meyer Sound Laboratories. Since that time he has been an active force in developing the tools and techniques of... Read More →
avatar for Tony Meola

Tony Meola

Associate Producer, Tony Meola Sound
avatar for Daniel Lundberg

Daniel Lundberg

Lundberg Sound



Wednesday October 19, 2022 1:00pm - 2:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

1:00pm EDT

Mix with the Masters presents Chris Gehringer
Mix with the Masters workshop with Chris Gehringer

Speakers
avatar for Chris Gehringer

Chris Gehringer

Mix with the Masters
Chris Gehringer is an American mastering engineer born in Teaneck, New Jersey and raised in Bergen County.He attended the Institute of Audio Research after high school, then landed his first music industry job at Greene Street Recording. From there, he went on to work as a cutting... Read More →



Wednesday October 19, 2022 1:00pm - 2:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

1:00pm EDT

METAlliance Book Signing Event
The METAlliance (Music Engineering and Technology Alliance) is composed of top award-winning audio engineers/producers Chuck Ainlay, Frank Filipetti, George Massenburg, Elliot Scheiner and Niko Bolas, who, based on their new book titled “Recording & Mixing Drums, Contrasting Techniques from Seven Lifetimes of Recording Experience,” bring their combined knowledge and experience to AES New York 2022 with a specialist panel on recorded music production, starting with recording and mixing drums.
– Chuck Ainlay, Elliot Scheiner, Frank Filipetti, George Massenburg, Niko Bolas

Speakers
avatar for Elliot Scheiner

Elliot Scheiner

Freelance Engineer/Producer
Elliot Ray Scheiner (born 18 March 1947) is a music producer, mixer and engineer.[1][2] Scheiner has received 27 Grammy Awardnominations, eight of which he won, and he has been awarded four Emmy nominations, two Emmy Awards for his work with the Eagles on their farewell tour broa... Read More →
avatar for Frank Filipetti

Frank Filipetti

Freelance Engineer/Producer
Frank Filipetti is an American record producer, audio engineer and mixer, who was born in Bristol, Connecticut, United States. Filipetti won five Grammy Awards for his work on The Color Purple,  The Book of Mormon, Wicked, Monty Python's Spamalot and Elton John and Tim Rice's Ai... Read More →
avatar for Niko Bolas

Niko Bolas

Freelance Engineer/Producer
Niko Bolas is an American music producer, sound engineer, and consultant and business developer in the fields of virtual reality and Internet radio. In 1989, Bolas founded Fakespace Music with Mark Bolas, Ian McDowall and Christian Greuel, which, in 1995, developed the Soundsculp... Read More →
avatar for George Massenburg

George Massenburg

McGill University
George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →
avatar for Chuck Ainlay

Chuck Ainlay

Internationally Acclaimed Audio Recording Producer and Engineer.
Chuck Ainlay is an American record producer and audio engineer. He has worked with Mark Knopfler on much of Knopfler's solo work, in addition to some Dire Straits material.Along with Knopfler and Bob Ludwig, in 2006 he collected the Grammy Award for Best Surround Sound Album for... Read More →



Wednesday October 19, 2022 1:00pm - 3:00pm EDT
Education Center
  Special Event
  • badge type: EXHIBITS+ or ALL ACCESS

1:20pm EDT

Cultural Considerations of audio manufacturers
Design and manufacturing of all kinds should in some way be informed by creators whose voices and environments reflect a rich tapestry of diverse cultures. Whilst the current design and manufacture of microphones and their corresponding end user satisfaction is good, important innovation can take shape through constantly examining and advancing the relationship between culture, technology and music. These are the most consistent factors, which despite their ever-changing state influence the world around them. Creating audio as a Black, Female, Soundwoman from North-West London, naturally allows for a completely different process and manufacture of product which too has a place in the market and customer design. In other words, the role that one’s culture, gender, and age play can, in fact, inform the design of a microphone. A socio-economic perspective is paramount to product placement; however, the socio-cultural aspect of use and application is just as essential. Being able to include not only the social standing but too the cultural factors that so distinctively allow us to interact, buy and use products in different ways. Current social justice movements demonstrate that not only do the voices of justice, diversity, and equality need to be heard, microphones play an important role in that process.
Therefore, the CAYA (Come As You Are) X3E microphone aims to educate, entertain, and empower and fill the gaps of the current microphones market by adding design from different perspectives which helps to expand the industry offerings. Its design has been informed by and will inform those of a different audience and space and is needed just as significantly by the people it aims to serve. Reason being that, with all examples of innovations, products, music, beauty, fashion health and fitness people need to be able to relate and see themselves in the narrative, or the journey, or the ethics of a brand, relating to why they have created and with whom in mind.
Microphones have not changed massively since their design and production in the early part of the 20th Century, but culture has. Microphones and their specifics from their placement, to size, to weight to pick up range have undergone much scrutiny and research to best meet and fulfill customer requirements. However, in terms of cultural considerations this has not been given as much importance, despite it having a direct impact on technology development
With a plethora of different voices, no one type of product can meet the requirements of all. To culturally consider, is to holistically consider, creating with all in mind. Therefore, making a way for and to include creators, designers, manufacturers, engineers who add in a diverse way to what already exists can only contribute more so the ever-growing audio electronic world. Looking at our environments, technology, and humanity currently in comparison to 100 years ago, is exactly why expansion has been necessary and should continue to be so.

Speakers

Wednesday October 19, 2022 1:20pm - 1:40pm EDT
2D04/05

1:30pm EDT

JT-NM Tested August 2022 Updated ST 2110 and NMOS Testing Methodologies and Results
The presentation will provide detailed explanations of the August 2022 JT-NM Tested event network and testing architectures and methodologies, as well as give an introduction to the testing results.

Speakers
avatar for Ievgen Kostiukevych

Ievgen Kostiukevych

Team Leader, Media over IP and Cloud Technologies, European Broadcasting Union
Ievgen Kostiukevych is the team leader for media over IP and cloud technologies at the European Broadcasting Union and the media over IP trainer at EBU Academy.He gathered more than a decade of experience with media over IP integrations and solutions architectures before joining the... Read More →


Wednesday October 19, 2022 1:30pm - 2:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

1:30pm EDT

Validation Results of Deconvolution of Room Impulse Responses from Simultaneous Excitation of Loudspeakers
Traditional room-equalization involves exciting one loudspeaker at a time and deconvolving the loudspeaker-room response from the recording. As the number of loudspeakers and positions increase, the time required to measure loudspeaker-room responses will increase. We presented a technique to deconvolve impulse responses after exciting all loudspeakers simultaneously . This paper presents the results of our de-convolution method compared with the traditional approach in real listening environments. We will compare the results of three different stimuli we used for testing and validating our approach: 11-channel, 7-channel, and 4-channel time-shifted log-sweeps. We measured the loudspeakers in 3 different room settings: ITU standard-based listening room, reference room, and home environment. The performance results are depicted in plots comparing the true (single-channel-at-a-time) responses with the responses obtained from the proposed approach. We also present objective metrics using log spectral distortion.

Speakers
avatar for Sunil Bharitkar

Sunil Bharitkar

Samsung Research America


Wednesday October 19, 2022 1:30pm - 2:00pm EDT
2D02/03

1:30pm EDT

Audio Archiving
The current music-business trend of artists selling their catalogs has focused attention on the highly skilled audio archivists who must restore and preserve the physical assets of these collections. Investments in the collections of Sun Records, James Brown, Whitney Houston, Def Leppard and Stevie Nicks, to name a few, require the preservation of at risk master recordings which are subject to degradation. AES Past President John Krivit moderates this discussion and explores case studies with Iron Mountain Entertainment Services Director of Media Recovery Technology Kelly Pribble and Primary Wave’s Rob Dippold and Donna Grecco

Speakers
JK

John Krivit

Emerson College
avatar for Kelly Pribble

Kelly Pribble

Director of Media Recovery Technology, Iron Mountain Entertainment Services (IMES)
Kelly Pribble, Director of Media Recovery Technology at Iron Mountain Entertainment Services (IMES), is a veteran studio engineer, studio builder, archivist and inventor. In March 2022, Kelly was issued a Patent for Media Recovery Technology. Before joining Iron Mountain, Kelly... Read More →
avatar for Robert Dippold

Robert Dippold

Chief Digital Strategy Officer, Primary Wave Music
Rob began his music career in marketing and rose to General Manager at Ruffhouse Records, a pioneering Sony Music record label which has sold over 100 million albums worldwide with artists Lauryn Hill, The Fugees, Cypress Hill, Wyclef Jean, Kris Kross, DMX and others. He has extensive... Read More →
DG

Donna Grecco

V.P. Creative and Asset Management, Primary Wave Music
Donna’s path to the music industry was a bit indirect. At 26, she launched a design, large-scale event and retail design company earning a client list heavy in the music influenced fashion space. After ten successful years in production, she took the role of Vice-President of Marketing... Read More →


Wednesday October 19, 2022 1:30pm - 2:30pm EDT
3D11

1:30pm EDT

The Making of Pulitzer Prize Winning Podcast: Suave
Making podcast series is a team effort, but imagine a podcast about a subject that spans over 30 years. Suave is a podcast about the system that sentences juveniles to life in prison, a story of incarceration, redemption, and the unusual relationship between a journalist and a source.

In 1988, David Luis “Suave” Gonzalez was found guilty of first-degree homicide. A Philadelphia judge sentenced him to life in prison without parole for a crime committed when he was 17 years old. Acclaimed journalist Maria Hinojosa met Suave 27 years ago when she was invited to speak at a graduation ceremony at Graterford prison in Pennsylvania. They kept in touch over the decades by phone, letter, and occasional visits. Eventually, she began to record those conversations. Originally, she maintained contact in order to have a source inside the prison system. But over the years, they became close. Suave thought he would die in prison, but three decades later a Supreme Court decision granted him another shot at freedom. But Suave soon realizes there are limits to how much freedom he can ever truly have, and Maria realizes there are limits to how much she can help him. And the more Maria learns about Suave’s crime, the more she comes to question the events that put Suave in prison — and the system that puts away children to life in the first place. This podcast tells that story spanning several decades through those recorded conversations. 

In this workshop, we will discuss the project with Director of engineering, Stephanie Lebow on the mix and master of this podcast - working with tape spanning decades and producer Julieta Martinelli on how to manage and organize that much tape as well as how to identify the most important pieces to tell a compelling story.

Speakers
avatar for Jeanne Montalvo

Jeanne Montalvo

Engineer/Producer, The Futuro Media Group
Jeanne Montalvo is a Grammy-nominated audio engineer and radio producer. In 2017, she was nominated for a Grammy as Mastering Engineer for Vladimir Horowitz: The Unreleased Live Recordings, and her recording of Multiverse by Bobby Sanabria's Latin Jazz Big Band was nominated for Best... Read More →
avatar for Stephanie Lebow

Stephanie Lebow

Director of Engineering & Sound Designer
Stephanie Lebow is a Pulitzer and Peabody award-winning Sound Designer & Engineer based in New York City. As the Director of Engineering at Futuro Media & Futuro Studios, she leads the engineering department across varied styles of narrative audio. During her time at Futuro, she has... Read More →
avatar for Julia Caruso

Julia Caruso

Senior Audio Engineer, Futuro Media Group
Julia Caruso is the Senior Audio Engineer at Futuro Media. She got her start in radio as a broadcast engineer for CBS Radio and spent many years as an audio engineer in recording studios. Prior to working at Futuro Media, she was the Studio Manager for the Music Technology program... Read More →
avatar for Julieta Martinelli

Julieta Martinelli

Senior Producer, Futuro Media Group
Julieta Martinelli is a Pulitzer Prize-winning investigative reporter and Senior Producer at Futuro Media where she reports on justice, immigration, and the criminal legal system for Latino USA, Futuro Studios and Futuro’s investigative unit. She reported and co-produced Suave... Read More →


Wednesday October 19, 2022 1:30pm - 2:30pm EDT
3D09

1:30pm EDT

Democratizing Music Creation
This panel discussion is focused on how new audio technology can make music creation more accessible to all of us. In particular, we will talk about the use of AI and assistive technology, more playful and interactive software and hardware interfaces, and new capabilities in music creation platforms. We will provide perspective on the barriers that music creators at all levels are currently facing and how to keep them in the creative flow. Panelists will also share their best thinking on the trends that they see in music creation / tooling for musicians.

Speakers
avatar for Caroline Lacoste

Caroline Lacoste

Associate Director - Software Engineering, iZotope
Dr. Caroline Lacoste is Associate Director of Engineering at Soundwide, whose mission is to make music and audio creation more joyful and inspiring for creators. Caroline is leading teams who design and build AI powered iZotope plug-ins and applications for mixing and mastering. Caroline... Read More →
avatar for Nadine Raihani

Nadine Raihani

Associate Director - Product Design, Native Instruments
As Associate Director of UX & Market Research in the Product Design Department at Native Instruments and as the Lead Designer for NI’s new Kontakt Instrument Playbox, Nadine Raihani focusses on the implementation of new technology around assistive creative tools in the field of... Read More →
avatar for Jessica Powell

Jessica Powell

CEO & Co-founder, AudioShake
AudioShake uses AI to separate music, film, speech, and other audio recordings into their components parts and stems. Our customers include major and indie labels, music publishers, libraries, marketplaces, distributors, production companies, audio engineers, and third party applications... Read More →
avatar for Mike Butera

Mike Butera

CEO, Artiphon
Dr. Mike Butera is the founder and CEO of Artiphon, a company reimagining musical instruments as smart devices and social apps. Mike holds a Ph.D. in Sound Studies, and his research focuses on the phenomenology of music technologies and possible futures of augmented creativity... Read More →
avatar for Todd Schefflin

Todd Schefflin

Sr. Manager of Music Partnerships, ByteDance
Todd Schefflin is the Sr. Manager of Music Partnerships at ByteDance, a global internet technology company operating several machine learning-enabled content platforms. Schefflin leads ByteDance’s Global Business Development discussions with major labels, global indies and global... Read More →


Wednesday October 19, 2022 1:30pm - 2:30pm EDT
3D03

1:30pm EDT

A research-enriched pedagogy to democratize audio knowledge
We have recently carried out four audio workshops whose program and pedagogy were built upon best practices with regards to equity, diversity, and inclusion to enhance access to professional audio training and engage the new generation of sound engineers in a critical dialog on music production cultures and digital audio technologies. These include two events in Western Africa, one at the University Gaston-Berger in Saint-Louis (Senegal) in June 2021, and one at Association Tadiazt in Bamako (Mali) in March 2022; and two events in Canada, namely the 2nd edition of the Audio+ research forum at the University of Victoria (BC) in November 2021, and one within the Women in the Studio Program hosted by Music Publishers Canada (MPC) in Toronto (ON) in September 2022. Funded by the Social Sciences and Humanities Research Council of Canada (SSHRC), French National Research Agency (ANR), and MPC, these events primarily aim to teach scientific knowledge to sound engineers and music producers who are systemically excluded from or do not have access to formal audio training. Our purpose is also to bridge culture gaps between academia and the industry.

We will introduce the panel with our teaching philosophy. McNally and Pras who both teach in university programs aim to increase the diversity of their student population through the relevance of their curriculum to the current context of music production. They draw upon feminist computer sciences and music education literature to deconstruct audio education’s patriarchal tradition and privileged lineage, and to develop integrated learning methods to democratize the technical knowledge of Tonmeisters, i.e. a title of that both presenters hold in addition to Clemens-Seely, and that designates sound professionals who are trained in elitist music and sound recording programs that require a high level of scientific fluency and conservatory training. Moreover, Oubda and Clemens-Seely who both teach in non-formal audio programs focus on enabling applied, practical learning opportunities, and non-academic apprenticeship. Finally, Olivier and Pras have mentored students as research assistants to examine pop music production practices in Western African recording studios. Their partnership led them to identify a music industry patronage from North to Western Africa for the mixing and mastering stages of renowned Western African musicians’ productions, primarily due to technical knowledge gaps and the near absence of professional audio programs locally.

We will highlight key moments of the workshops illustrated by photos and video excerpts, to inspire the AES audio education community to de-gender and de-colonize their curriculum and pedagogy, in particular when it comes to teaching tacit and experiential knowledge. To show evidence of the teaching effectiveness of our audio education approach, Olivier and our research assistants will report on feedback from workshop attendees who participated in post-event surveys and semi-directed interviews. Furthermore, Olivier will share her perspective on our critical audio education approach as an anthropologist who has conducted fieldwork in Africa for thirty years, and our research assistants will share their perspective on the future of audio education as young professionals in the field who represent a range of social identities.

We will conclude with a Q&A, and a call for joining our team to extend the Audio+ concept to curate research and education events in different countries and audio communities, and to implement solutions to overcome political and social inequalities in access to higher audio education.

Speakers
avatar for Amandine Pras

Amandine Pras

Lecturer in Sound Recording and Music Production, University of York
Amandine Pras is leading the Master of Art in Music Production and Audio Cultures at the School of Art and Creative Technologies of the University of York, UK. With a background as a sound engineer and music producer in alternative jazz and contemporary musics, she develops funded... Read More →
avatar for Kirk McNally

Kirk McNally

Associate Professor, Music Technology, University of Victoria
Kirk McNally is a recording engineer, music producer and sound artist living in Victoria, British Columbia, Canada. He received his Master’s of Music in Sound Recording from McGill University. As a recording engineer he has held positions at the Tanglewood Music Centre (Lenox, MA... Read More →
avatar for Emmanuelle Olivier

Emmanuelle Olivier

Senior Research Fellow in ethnomusicology, CNRS
Dr. Emmanuelle Olivier is an Ethnomusicologist, Senior Research Fellow at the National Centre for Scientific Research, and Lecturer at the School of Advanced Studies in the Social Sciences in Paris. Emmanuelle has worked in Mali since 2001 on the creative process of popular music... Read More →
avatar for Max McKinnon

Max McKinnon

Research Assistant, University of Lethbridge
Max McKinnon is a 5th year Bachelor of the Digital Audio Arts program in the Music Department at The University of Lethbridge. Since Fall 2020, he has indexed and edited video data collected in West African recording studios as a research assistant for Dr. Amandine Pras’ SSHRC-funded... Read More →
avatar for Leonard Menon

Leonard Menon

Student
Leonard Menon is currently a grad student enrolled in McGill's Masters of Sound Recording program. A second generation Canadian, Menon began his musical journey as a guitar player and performer based in Edmonton, Alberta. He had a fascination with all things music-related and guided... Read More →


Wednesday October 19, 2022 1:30pm - 3:00pm EDT
3D05/08

1:30pm EDT

Intro to AI assisted content creation with Audio Design Desk
In this session attendees will develop familiarity with software that includes semantically driven search and AI informed UX.  Audio Design Desk is an AI-assisted software suite that reinvents the process of creating audio for video. It comes with over 50,000 royalty-free sounds, loops, and music cues and works seamlessly with Final Cut Pro, Adobe Premiere and Resolve. ADD gives creatives the ability to perform sound design, sound effects, and music in real-time, turning hours of tedious work into minutes of inspired fun.

Pre-registration for the session is required. Attendees will need to bring their own laptops and headphones.

Please be sure to download and install the software linked below in advance of your arrival at the Javits center. The download link will be sent to all registrants. 

The sounds that will be used during the session will be included in the download. NB This is a MAC ONLY program.

_____________________________
An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here



Wednesday October 19, 2022 1:30pm - 3:00pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate registration required - see link above

2:00pm EDT

Everything Plus the Kitchen Sink: An Introduction to Noise in Contemporary Art and Music
Disruptive, disturbing, and dangerous are all adjectives associated with the word noise. This is a logical response because noise will likely trigger our auditory startle response to propel us out of harm’s way. Considering this, it is reasonable to deem the experience of noise unfavorably and something to be avoided. However, several artists and composers have chosen to think about noise differently. Using unconventional instruments and techniques, artists such as Luigi Russolo, John Cage, Pauline Oliveros, and others use noise as an art material to challenge power structures, make political statements, collaborate, and provide contemplative atmospheres. They transduce noise into creative possibilities, thus amplifying its power beyond the auditory realm. I intend to recognize some of these artists and unearth their meaningful work. However, noise-based art can be difficult to classify, so I will use some established and some self-created categories to clarify. They include collage/montage, performance, material, noise-music, and new applications.

Speakers
avatar for Mary Mazurek

Mary Mazurek

Audio Educator/ Recording Engineer, University of Lethbridge
Audio Educator at the University of Lethbridge. GRAMMY-nominated recording engineer based in Lethbridge, AB and Chicago, IL. Research & professional work: classical and acoustic music recording, live radio broadcast, podcasting, the aesthetic usage of noise, noise art, sound art... Read More →


Wednesday October 19, 2022 2:00pm - 2:20pm EDT
2D04/05
  Psychoacoustics and Perception
  • badge type: ALL ACCESS or ONLINE

2:00pm EDT

Virtualized deployments and why this flexibility is key to future media workflows
Virtualized deployments and why this flexibility is key to future media workflows

Speakers
avatar for Greg Shay

Greg Shay

CTO, Telos Alliance
Greg Shay has a deep background in audio systems design with work dating to as early as 1980. Not long afterward, Shay was a co-founder of Spectral Synthesis, where he designed the industry’s first PC-based 16track DAW (Digital Audio Workstation) — the basis for the Euphonix R-1... Read More →


Wednesday October 19, 2022 2:00pm - 2:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

2:00pm EDT

Additive Synthesis via Recurrent Cartesian Genetic Programming in FAUST
We introduce a novel method for generating arbitrary additive synthesizers for audio replication: given a target audio signal, digital signal processes, expressed as cyclic graph structures, are evolved via Recurrent Cartesian Genetic Programming (RCGP) to generate an approximation of the target audio with arbitrary accuracy. The Log-Spectral Distance (LSD) between the target and actual output signals is used to measure the fitness of each solution candidate. The candidate with the smallest LSD is returned as the solution. A working implementation of RCGP in C that generates Functional AUdio STream (FAUST) code is provided, then evaluated via re-synthesis of steady state tones as provided in the SHARC timbre database. Early results show promise as a mean LSD value of 5.873 dB was achieved after 1000 generations, with 1.077 dB being the minimum LSD found.

Speakers
avatar for Edward Ly

Edward Ly

Ph.D. Student, University of Aizu
Edward Ly is a software engineer, AI researcher, and occasional EDM producer. Born and raised in Portland, Oregon, he holds a B.A. in mathematics and computer science at Earlham College and an M.Sc. in computer science and engineering at the University of Aizu. In 2019, he was selected... Read More →


Wednesday October 19, 2022 2:00pm - 2:30pm EDT
2D02/03

2:00pm EDT

Immersive mixing using large-format consoles, with Solid State Logic
In this 45 minute session, SSL will give an overview of immersive mixing techniques using their next-gen digital mixing console, System T. We’ll be diving into the latest workflows, deliverables and considerations around mixing for immersive, Atmos, and more

Speakers
avatar for Phill Scholes

Phill Scholes

Vice President of Technical Operations, Solid State Logic
avatar for Phil Wagner

Phil Wagner

Senior Vice President, Solid State Logic



Wednesday October 19, 2022 2:00pm - 3:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

2:00pm EDT

The Immersive Disaster
The Immersive Disaster ... and its opportunities. Well, these days a lot of immersive formats are available, and will this be the end, or is something else on the horizon? Big questions and considerations are around like how to create, which tools are needed, where to mix, how to deliver, and do somebody pays for all this? The workshop will do a tour through all these tasks with short stops to elaborate on some issues.

Speakers
avatar for Tom Ammerman

Tom Ammerman

New Audio Technology
Grammy-nominated music producer, Tom Ammermann, began his journey as a musician and music producer in the 1980s.At the turn of the 21st Century, Tom produced unique surround audio productions for music and film projects as well as pioneering the very first surround mixes for headphones... Read More →


Wednesday October 19, 2022 2:00pm - 3:00pm EDT
3D07

2:00pm EDT

Mix with the Masters presents Jack Antonoff
Mix with the Masters workshop with Jack Antonoff

Speakers
avatar for Jack Antonoff

Jack Antonoff

Multi-Award Winning Producer/Songwriter/Instrumentalist
Jack Antonoff is a globally celebrated singer, songwriter and record producer and is the lead vocalist of rock band Bleachers. Kicking off 2022, Bleachers made their debut performance on NBC’s Saturday Night Live, marking the seminal show’s first episode of the year. As a songwriter... Read More →



Wednesday October 19, 2022 2:00pm - 3:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

2:20pm EDT

A Pedagogical System for Live Sound Reinforcement Mixing
A wide array of skills are required to thrive in the fast-paced world of live sound reinforcement. Presently, the primary method for sharpening these skills is to employ them with live performers within a venue complete with a substantial compliment of audio equipment. While this approach has proven successful, the current need for trained professionals has outpaced the supply of practitioners. Academic institutions often provide hands-on experience to student by gaining experience during internal events, or by hiring performers to provide a material for student to practice with. Both of these options provide advantages, but can be costly, provide limited training time, and can be stressful for students. The Virtual Sound Reinforcement Practice (VSRP) system proposes a solution to these problems, allowing participants to practice this skillset without the expense, pressure, and logistics currently required.
The VSRP system combines multitrack audio and video playback and binaural rendering to recreate a realistic concert experience, while also offering users the ability to experiment, learn from mistakes, and provide real-time feedback. Most importantly, the system can be deployed in a small environment for a single user, without the need for extensive equipment or live performers, making the ability to practice more accessible. The current iteration of the system is built in Max MSP for multitrack audio playback and a basic mixer for manipulation by users via a control surface, as well as playing back synchronized HD video. Audio and video materials are taken from real sound checks and performances, with video showing the entire stage, often recorded from directly behind the mix position. This presentation is critical to system realism, as audio-only practice robs the user of the multimodal input provided in a real performance environment which can often cue critical events. Audio is presented binaurally using IRCAM’s SPAT5. In addition to the individual sources provided for users to mix, a stereo capture of the acoustic energy coming from stage is included, recreating both a realistic soundstage and the challenges of balancing acoustic and amplified elements, rather than simply presenting close, dry sources. Finally, the system operates in real time; the urgency in live mixing is reinforced through the lack of a pause button or ability to rewind.
The final component of the VSRP system provides users with a framework for scaffolded practice. “Practice mode” provides users with reminders about critical events if not addressed within sufficient time. Expert mixers have provided example mixes, allowing the developers to estimate acceptable source levels and approximate expected reaction times for addressing changes within the mix. This informs an acceptable range of levels, with a surrounding buffer to account for varied tastes. Similarly, the average of experts’ response times provide a baseline for the system. Both of these targets are widened for novice or beginning users, and can be tightened to maintain a challenge for more advanced system users. In practice mode, a text display will alert a user if a significant event (e.g. a solo or entrance of a new audio element) has not yet been addressed or moved towards a suitable level. Text is displayed atop the video, near the location of the event, in order to reinforce the link between watching and listening. Following practice sessions, users may engage in an evaluation, where feedback is provided only after the mix has been completed. As a user advances in difficulty level, sound checks will provide the familiarization process with longer performance segments as evaluations.

Speakers
avatar for Brett Leonard

Brett Leonard

Director of Music Technology Programs, University of Indianapolis


Wednesday October 19, 2022 2:20pm - 2:40pm EDT
2D04/05

2:30pm EDT

A cloud-ready AES67 audio processing solution for radio and internet streaming
Broadcasters are encountering a rapidly shifting media landscape, bringing new challenges but also providing new business opportunities through cloud-based and Internet workflows.   The necessary requirements and key technical elements for a flexible, scalable audio processing solution for on-premise or cloud deployment will be reviewed.   This will be done in context of examining a centralized, muti-channel audio processor for radio broadcast and streaming services- based on a scalable technology from Ross and leveraging audio conditioning from Orban- along with a review of a real-world deployment.  Fully AES67/ Livewire+ compatible, the platform provides a complete end-to-end broadcast solution for processing.

Speakers
avatar for Bill Rounopoulos

Bill Rounopoulos

Bill Rounopoulos, Business Development Manager for OEM and Partnerships at Ross Video, is leading the company's effort to provide open solutions technology based on AES67, RAVENNA, and SMPTE ST 2110 to OEMs serving the broadcast and professional audio industry. Prior to Ross, Bill's... Read More →


Wednesday October 19, 2022 2:30pm - 3:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

2:30pm EDT

Reverse Engineering Memoryless Distortion Effects with Differentiable Waveshapers
We present a lightweight method of reverse engineering distortion effects using Wiener-Hammerstein models implemented in a differentiable framework. The Wiener-Hammerstein models are formulated using graphic equalizer pre-emphasis and de-emphasis filters and a parameterized waveshaping function. Several parameterized waveshaping functions are proposed and evaluated. The performance of each method is measured both objectively and subjectively on a dataset of guitar distortion emulation software plugins and guitar audio samples.

Speakers
avatar for Joseph Colonel

Joseph Colonel

Centre for Digital Music , Queen Mary University of London
Joseph T Colonel is a final year PhD student in the Centre for Digital Music at Queen Mary University of London. His work focuses on applying machine learning and neural networks to music production behavior modelling. JT held an internship at Soundwide working on differentiable digital... Read More →
avatar for Marco Comunità

Marco Comunità

PhD Researcher, Centre for Digital Music, Queen Mary University of London
I am a PhD student in the Centre for Digital Music at Queen Mary University of London where - as a member of the UKRI Centre for Doctoral Training in AI and Music - I am working on Neural Synthesis of Sound Effects under the supervision of Joshua Reiss.I am also collaborating wit... Read More →
avatar for Joshua Reiss

Joshua Reiss

AES President, Queen Mary University of London
Josh Reiss is Professor of Audio Engineering with the Centre for Digital Music at Queen Mary University of London. He has published more than 200 scientific papers (including over 50 in premier journals and 6 best paper awards) and co-authored two books. His research has been featured... Read More →


Wednesday October 19, 2022 2:30pm - 3:00pm EDT
2D02/03

2:40pm EDT

Addressing Elephants in Your Classroom: Navigating Diversity, Equity, Inclusion, and Mental Health While Trying to Teach Tech: A Case study Using my Live Audio Classes
This paper describes preliminary research into pedagogical examples that incorporate topics that address diversity, equity, inclusion, and mental health. By specifically looking at participant feedback from self-assessment assignments in the framework of live audio classes, needs were identified, and pedagogical approaches were taken to incorporate and address these usually neglected elements within a classroom focused on teaching technical applications. This paper is written for educators that teach technology who would like to explore a case study where the author consciously attempts to address topics that are currently front and center in the face of educators. This work responds to calls within the field to strive to improve accessibility, welcoming diverse genres, radiating inclusiveness to all races, gender, and gender identities.

Speakers
avatar for Jennifer Jester

Jennifer Jester

Millersville University
Dr. Jennifer Jester is a musician, educator, songwriter, entrepreneur, and board-certified music therapist. Dr. Jester has a background performing around the world in low brass (trombone, euphonium, tuba), and as a vocalist and percussionist. Musical performance includes work with... Read More →


Wednesday October 19, 2022 2:40pm - 3:00pm EDT
2D04/05

2:45pm EDT

Convergent IP networks for AV
With audio and video using network to transport signal for live production, the use of VLANS to isolate subnets has been a standard for many years. However, with new layer 3 (IP) based standard and switch multicast routing capabilities, one can contemplate the future of AV networks by being one converged IP network, allowing flexible cross media processing as well as more robust architecture. This panel will feature devices and switch manufacturers, standard members and user to discuss the current limitation and how to enable L3 converged network for live and broadcast use.

Speakers
avatar for Frank Padikkala

Frank Padikkala

Technical Sales Engineer, Audinate
Frank Padikkala is a Technology Architect & Evangelist, Speaker and Social Media Influencer in the AV/IT space. With a background in IT and Cybersecurity he advocates for the utilization of converged technologies and networks to end user solutions.  Padikkala also serves as the Chair... Read More →
avatar for Nicolas Sturmel

Nicolas Sturmel

Merging Technologies, Senior Technologist and Product Manager
Nicolas is Senior Technologist and Product Manager at Merging Technologies, interested in audio signal processing, music production and interoperability of Media Networks. Nicolas has been involved in many AES67 and SMPTE2110 interoperability events, with a leading role in the most... Read More →
avatar for Ievgen Kostiukevych

Ievgen Kostiukevych

Team Leader, Media over IP and Cloud Technologies, European Broadcasting Union
Ievgen Kostiukevych is the team leader for media over IP and cloud technologies at the European Broadcasting Union and the media over IP trainer at EBU Academy.He gathered more than a decade of experience with media over IP integrations and solutions architectures before joining the... Read More →
avatar for Genio Kronauer

Genio Kronauer

Executive Director of Electronics & Networks Technologies, L-Acoustics
avatar for Bart Swinnen

Bart Swinnen

CEO, Luminex Network Intelligence
Bart Swinnen, founder and CEO of Luminex Network Intelligence.Bart is for more than 20 years closely involved in making AV Networking easy in the professional lighting, audio and video industry.With Luminex he provides a range of network switch products optimized for converged AV... Read More →


Wednesday October 19, 2022 2:45pm - 3:45pm EDT
3D03

2:45pm EDT

Remote Location Recording – From Here to Anywhere
John Harris and Jody Elff have been integral in engineering location recording of high-level music performance events for multiple decades and have experienced most of it 'on-site' and 'in person'. Several years ago, while noticing the industry shift toward more live events on emerging streaming platforms, they started imagining a new, more nimble, cost-effective approach to their workflow. With the R&D time afforded them by the onset of COVID, together, as Harris-Elff Audio Resources, John and Jody have developed a reliable system to enable remote recording using proper tools at a distant site. Live demonstration and user experience of their system will be included during their explanation.

Speakers
avatar for Jim Kaiser

Jim Kaiser

Belmont University
Jim Kaiser is an Instructor of Audio Engineering Technology at Belmont University in Nashville, TN.  He serves on the AES Technical Council, the Recording Academy Producers & Engineers Wing, and the Nashville Engineer Relief Fund Board.  Jim is a Past President of the International... Read More →
JH

John Harris

Harris-Elff Audio Resources
JE

Jody Elff

Harris-Elff Audio Resources


Wednesday October 19, 2022 2:45pm - 3:45pm EDT
3D09

3:00pm EDT

RAVENNA's [10]12 Year Anniversary: How RAVENNA came to life
An entertaining view on things you probably didn't (want to) know about RAVENNA

Speakers
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Wednesday October 19, 2022 3:00pm - 3:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

3:00pm EDT

Fast Algorithms for Black Box Modelling of Static Hammerstein Nonlinearities
Emulation of Hammerstein nonlinearities using Volterra series is a popular approach for black box modelling of digital and analog nonlinearities. A simplified nonlinear Volterra model (SNVM) is a method of capturing the behaviour of a static nonlinear system. Emulation of the nonlinearity using SNVM on band–limited signals introduces aliasing. Antiderivative antialiasing (ADAA) when applied to band–limited signals is a novel approach of achieving antialiasing for SNVM. In this paper, we use different optimization strategies to reduce the complexity of the algorithm and achieve faster than real-time black box modelling of static Hammerstein nonlinearities.

Speakers
SA

Satyarth Arora

Graduate Teaching Assistant, University of Miami
My name is Satyarth Arora, I am a Graduate Student, Music Engineering Technology and Teaching Assistant at the University of Miami. I am passionate about Digital Audio, Beatboxing, Software Development and Electronic Music Production. I am curious about how research in audio is conducted... Read More →
avatar for Christopher Bennett

Christopher Bennett

Professor, University of Miami


Wednesday October 19, 2022 3:00pm - 3:30pm EDT
2D02/03

3:00pm EDT

Managing Media Archives from Metadata to Monetization, with IMES
Moderators
avatar for Marc-Dieter Einstmann

Marc-Dieter Einstmann

Nashville Studio Manager, IMES
Marc-Dieter Einstmann - is the current IMES Nashville Studio Manager and has worked in the music industry for more than thirty years as an accomplished engineer, author, including co-authoring Audio Mastering Techniques Berklee Online course, and professor of Music Production and... Read More →

Speakers
avatar for Murat Aktar

Murat Aktar

President/Partner, Sterling Sound
Murat Aktar is currently President/Partner of Sterling Sound where he oversees the strategy, financial oversight and development of three studio complexes and their management systems. He’s also Co-Founder of Studium 33, a software development and services company, focused on Studio... Read More →
avatar for Jimmy Douglass

Jimmy Douglass

four-time Grammy winning recording engineer and record producer
Jimmy Douglass, also known as The Senator, is an American four-time Grammy winning recording engineer and record producer, whose prolific career has spanned more than four decades.
avatar for Rory Kaplan

Rory Kaplan

Senior Business Development Executive, IMES
Rory Kaplan - works with IMES helping artists secure their assets for future use and monetization. He has worked in the music industry for almost 50 years, including playing on 18-world tours and programming or playing more than 100 albums and producing over 180 sound projects.



Wednesday October 19, 2022 3:00pm - 4:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

3:00pm EDT

Mix with the Masters presents JAYCEN JOSHUA+ DAVE PENSADO ALEX TUMAY + DEXTER SIMMONS YOUNG GURU+ JEAN-MARIE HORVAT
Mix with the Masters Panel with the Masters:
JAYCEN JOSHUA+ DAVE PENSADO
ALEX TUMAY + DEXTER SIMMONS
YOUNG GURU+ JEAN-MARIE HORVAT

Speakers
avatar for Jaycen Joshua

Jaycen Joshua

Mixing Engineer
Jaycen got his start at a young age working at MCA and Motown under the mentorship of his godfather and Motown Records President, Jheryl Busby. That was followed by brief solo stints at Sony and Red Ant. He ultimately landed a Marketing/A&R position at Dreamworks reuniting with his... Read More →
avatar for Dave Pensado

Dave Pensado

Mixing Engineer
Dave Pensado is counted among the recording industry’s most distinguished mix engineers.His career began in Atlanta in the 1970s, where he engineered sound for live shows and studios; He relocated to Los Angeles in 1990, and has since mixed countless hit records by Christina Aguilera... Read More →
avatar for Alex Tumay

Alex Tumay

Mix with the Masters
Alex Tumay is a New York based engineer and producer. He began his career in 2010 when he moved to Atlanta, Georgia to intern at Soapbox Studios and Maze & Solitaire Studio owned by Ben Allen and CeeLo Green. Under the tutelage of Ben Allen and Jason Kingsland, Alex progressed from... Read More →
avatar for Dexter Simmons

Dexter Simmons

Dexter Simmons is a highly experienced mix engineer in the American music business. He is a renowned mix engineer based in Los Angeles. Dexter learned his music mixing skills in England, where he studied audio engineering. He later joined the industry and has been actively mixing music for the... Read More →
avatar for Young Guru

Young Guru

Revered as “The Sound of New York”, Gimel Keaton, better known as Young Guru, possesses over a decade of experience in sound engineering, production, and A&R for the acclaimed Roc-A-Fella Records and Def Jam Records. Young Guru has mixed 10 of Jay-Z’s 12 albums, and has earned... Read More →
avatar for Jean-Marie Horvat

Jean-Marie Horvat

Jean-Marie Horvat is a 5x Grammy nominated multi-platinum mixer, writer, producer who has worked with some of the biggest artists and producers in music. Starting out as in-house engineer for Teddy Riley, Jean Marie’s mixing credits while working with Teddy included Wreckx-N-Effect... Read More →



Wednesday October 19, 2022 3:00pm - 4:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

3:00pm EDT

New Developments in Small Room Acoustics Analysis (NIRO) with John Storyk
Speakers
avatar for John Storyk

John Storyk

Founding Partner, WSDG
Since graduating from Princeton as an architect in 1968, and co-founding WSDG (Walters-Storyk Design Group) with his wife, Beth Walters in 1986, John Storyk has been involved with the design of over 3500 recording studios, corporate conference rooms, performance venues, broadcast... Read More →
avatar for Peter D'Antonio

Peter D'Antonio

REDIAcoustics
Dr. Peter D’Antonio is a pioneering sound diffusion expert. He received his B.S. from St. John’s University in 1963 and his Ph.D. from the Polytechnic Institute of Brooklyn, in 1967.  During his scientific career as a diffraction physicist, Dr. D’Antonio was a member of the... Read More →


Wednesday October 19, 2022 3:00pm - 4:00pm EDT
3D11

3:00pm EDT

Saul Walker Student Design Competition Roundtable

Enjoy a panel of audio-design icons and experts to address a range of topics around audio-design. This session, hosted by the Audio Education Committee of the AES is aimed at everyone interested and involved in audio design, but especially students and their educators. We will examine pathways into audio design, understanding the importance of getting involved in a supportive community, and the great opportunities that the AES offers to audio designers.

The panel will feature Tony Agnello of Eventide, Dave Derr of Empirical Labs, Marek Wallaszek of Bettermaker, George Massenburg of GML, and Brecht DeMan of PXL Music. The panel will be moderated by Christoph Thompson, chair of the AES Design Competition.

Speakers
avatar for Christoph Thompson

Christoph Thompson

Director of Music Media Production, Ball State University
Christoph Thompson is vice-chair of the AES audio education committee. He is the chair of the AES Student Design Competition and the Matlab Plugin Design Competition. He is the director of the music media production program at Ball State University. His research topics include audio... Read More →
avatar for George Massenburg

George Massenburg

McGill University
George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →
MW

Marek Walaszek

General, Addicted To Music
avatar for Brecht De Man

Brecht De Man

Head of Research, PXL University of Applied Sciences and Arts
Brecht is an audio engineer with a broad background comprising research, software development, management and creative practice. He holds a PhD from the Centre for Digital Music at Queen Mary University of London on the topic of intelligent software tools for music production, and... Read More →


Wednesday October 19, 2022 3:00pm - 4:15pm EDT
Education Stage
  Education and Students
  • badge type: EXHIBITS + or ALL ACCESS

3:15pm EDT

Moving Picture, Audio, and Data Coding by Artificial Intelligence (MPAI) – New Audio Standards Exploiting Artificial Intelligence
Standards for AI-based data coding – intended to be the transformation of data from one format into another more convenient to an application – has driven the international, not-for-profit, and unaffiliated organization called Moving Picture, Audio, and Data Coding by Artificial Intelligence (MPAI). MPAI develops standards based on a rigorous process that combines open participation in the early phases of standard development, at the time technologies are called for, and at the end of the process, and restricted participation at the time the standard is developed. The MPAI standards work ranges from Server-based Predictive Multiplayer Gaming (MPAI-SPG) to AI-based End-to-End Video Coding (MPAI-EEV), from Connected Autonomous Vehicle (CAV) to injecting watermarking in neural networks (Neural Network Watermarking, MPAI-NNW), and to defining Conformance Testing and IPR framework guidelines.

The proposed workshop intends to present an overview of the MPAI work and, more in detail, the audio-associated standards currently approved: the MPAI AI Framework (AIF) standard which defines the environment, the metadata and the APIs that are called by AI Workflows (AIW) composed of interchangeable AI Modules (AIMs); the MPAI Context-based Audio Enhancement (CAE) standard which focuses on audio applications; and the MPAI Multimodal Conversation (MMC) standard which enables human-machine conversation emultating human-human conversation in completeness and intensity using AI.

Speakers
avatar for Marina Bosi

Marina Bosi

Marina Bosi is a founding Director of the Moving Picture, Audio, and Data Coding by Artificial Intelligence (MPAI) and the Chair of the Context-based Audio Enhancement (MPAI-CAE) Development Group.  Dr. Bosi, currently AES Treasurer, has served the Society as President, VP of the... Read More →
MS

Mark Seligman

Speechmorphing, Inc.
Dr. Mark Seligman is Chief Linguist at Speech Morphing, Inc., a vendor of text-to-speech and speech translation services. Mark is also Founder, President, and CEO of Spoken Translation, Inc. In 1998, he organized the first speech translation system demonstrating broad coverage with... Read More →


Wednesday October 19, 2022 3:15pm - 4:45pm EDT
3D05/08
  Special Event, Workshops Oct 19 & 20

3:15pm EDT

AES Student Recording Competition in the JBL Critical Listening Room
Speakers

Wednesday October 19, 2022 3:15pm - 5:15pm EDT
3D07
  Education and Students
  • badge type: ALL ACCESS

3:30pm EDT

AES70 Control for IP Media Devices
This presentation will summarize the AES70 control architecture for media devices and describe new features in its upcoming release.  As well, it will introduce available AES70 developer tools and information resources for implementers, most of which are free.
AES70 is a full-featured control and monitoring architecture for both real and virtual (i.e. cloud-based) media devices. Currently focused on audio device control and monitoring, AES70 is not itself an audio transport scheme but is designed to cooperate with and complement modern audio transport schemes such as AES67, SMPTE ST 2110-30, Dante™, and MILAN.
AES70 is a fully-engineered design intended for professional media systems. It is lightweight to implement, yet suitable for critical applications of all scales from tiny to huge. AES70 and its toolset are a ready-to-use solution for industrial-strength control and monitoring of network-based media processing hardware and software.



Speakers
avatar for Jeff Berryman

Jeff Berryman

OCA Alliance
Jeff Berryman is Senior Scientist at Bosch Communications Systems. Over the last 40 years, he has had a dual career in audio and information technology. His audio experience is in professional loudspeaker and sound reinforcement systems design, focusing on concert touring and theatre... Read More →


Wednesday October 19, 2022 3:30pm - 4:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

4:00pm EDT

IPMX: Internet Protocol Media Experience
IPMX: Internet Protocol Media Experience

Speakers
avatar for Sam Recine

Sam Recine

Vice President, Sales (Americas and Asia Pacific), Matrox
Samuel is Vice President of Sales, Americas and Asia Pacific for the AV/IT Group of Matrox Video. Since joining Matrox in 1997 he has held Sales and Product Management roles. Having collected experience from CAD and GIS, simulation and training, emergency dispatching in PSAPs, trading... Read More →


Wednesday October 19, 2022 4:00pm - 4:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

4:00pm EDT

Warren Huart talks to David Hewitt (new!!)
Speakers
DH

David Hewitt

David Hewitt has been a legendary name in the recording industry and pro audio business since 1970, having recorded and engineered an incredible array of talented artists in both live and studio settings across the world. Originally from Montana, his family moved constantly with each... Read More →
avatar for Warren Huart

Warren Huart

producer, musician, composer and recording engineer, Produce Like A Pro & Spitfire Studio
Warren Huart is an English record producer, musician, composer and recording engineer based in Los AngelesCalifornia who is most associated as a music producer and/or engineer in the recording industry as a multi-platinum producer for The FrayDaniel PowterMarc Brouss... Read More →


Wednesday October 19, 2022 4:00pm - 5:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

4:00pm EDT

Grammy-winning producer Ian Brennan Meets Masters of Western African Sound
Burkinabe sound engineer Éliézer Oubda is a legend in Western Africa. Recently FAMA-awarded (Burkina Faso Music Award), he has produced number of albums and toured as FOH engineer with all music stars of the sub-region from Toumani Diabaté and Oumou Sangaré through to Vieux Farka Touré and Salif Keïta. Nevertheless, you have probably never heard about him. While it is common to hear an AES member praising the talent of African musicians, the contribution of African studio professionals to these musicians’ career has received scant attention in our community. To challenge this status quo, French-Canadian sound engineer Amandine Pras will facilitate a panel with American producer Ian Brennan who won the Grammy Award for Best Global Music Album in 2011 (and has been nominated three other times, including for the Zomba Prison Project), Oubda, and Ivorian-French beatmaker Patrick Arnaud Koffi, also known as Tupaï N’Gouin Claih.

During the workshop, you will have the opportunity to appreciate the talent and expertise of these three masters of sound through listening to their work and hearing them talk about their studio practice, artistic vision, and political perspective. In his book Silenced by Sound: The Music Meritocracy Myth (2019), Brennan stated, “There are millions upon millions of talented people around the world. And you will never hear any of them. Many are far more gifted than the superstars that billions of dollars are depleted promoting the delusion that these lone wolfs have been blessed with genius far exceeding the common man”. This quote will bring us to reflect upon the positive and negative roles that the global music industry has played in the South. We will also discuss how more South-North exchanges could enrich audio education and reduce inequalities in our field.

When Oubda opened his first studio in Bamako (Mali) after producing music at home while studying for a combined science degree, he recorded cantatrice Babani Koné for an album to be mixed by French sound engineer Yves Werner at Bogolan, a renowned studio where established international and local artists have recorded, including Bjork. Oubda became resident engineer of Bogolan in 2006 up to 2011, which gave him the opportunity to learn from observing the practice of foreign studio professionals such as French Jean Lamoot and American Jerry Boys. Also, producing Cheick Tidiane Seck’s Sory Bamba for Universal brought Oubda to start touring as FOH engineer outside of the continent.

N’Gouin Claih started in the music industry as a rapper. With the band Main Frame that he founded in 1992, he recorded a few tracks that quickly received the attention of renowned Ivorian producer François Konian, who proposed taking the young band to the USA to record an album with Stevie Wonder. However, his parents prevented him from pursuing a music career, they sent him to Dakar to finish high school, and then to France to study law and insurance. There, he learnt from peers, magazines, forums, and a workshop how to produce music in his home studio with emerging artists of his generation including musicians from the Ivorian diaspora and rapper Booba.

Brennan was born in Oakland, CA. Since 1987, he has pursued a multidisciplinary career as a music producer and engineer, live-show promoter, charity founder, and author of seven books and has had articles published by NPR, Tape Op, Sound on Sound, Chicago Tribune, and The Guardian. Since 2010, he has produced over forty records by international artists across five continents which have resulted in the first widely-released original music, regional language albums from many nations, among them Rwanda, Malawi, Kosovo, Tanzania, South Sudan, Romania, Comoros, and Vietnam. Also, his projects have resulted in over twenty international artists travelling outside of their respective nations for the first time in their lifetime, many of them as elders.

Pras has used her music production degree from the Paris Conservatoire as a passport. After attending the recording engineer practicum at the Banff Centre, she freelanced in Montreal and then New York. During a visit in Kolkata, India in 2013, a musician friend took her to a mastering session where the engineer did not challenge her technical expertise. He even took for granted that she knew more than him what she was doing. This experience made her understand what her studio career could have been in the West if she were a white man. It inspired her to deeply engage in research and education activities that contribute to overcome the social biases of audio meritocracy.

Moderators
avatar for Amandine Pras

Amandine Pras

Lecturer in Sound Recording and Music Production, University of York
Amandine Pras is leading the Master of Art in Music Production and Audio Cultures at the School of Art and Creative Technologies of the University of York, UK. With a background as a sound engineer and music producer in alternative jazz and contemporary musics, she develops funded... Read More →

Speakers
avatar for Ian Brennan

Ian Brennan

Ian Brennan is Grammy-winning producer (Tinariwen) who has produced three other Grammy-nominated albums (Zomba Prison Project, Peter Case, Ramblin’ Jack Elliott) and published seven books while also teaching violence prevention around the world since 1993 for such prestigious organizations... Read More →
avatar for Tupaï N'Gouin-Claigh

Tupaï N'Gouin-Claigh

Victory B Studio
Patrick Arnaud Koffi N’Gouin Claih, also known as Tupaï, grew up in Abidjan (Ivory Coast). He started in the music industry in the early 1990s as a rapper. A few years later in France, he opened his first home studio to record musicians from the Ivorian diaspora, as well as French... Read More →


Wednesday October 19, 2022 4:00pm - 5:00pm EDT
3D09

4:00pm EDT

The Comeback of the Regional Music Scene
NYC was the birthplace of popular recorded music, but in recent decades songwriters and producers have decamped to Los Angeles for space and cheaper rent. Hollywood has become the center of pop music. However, recent advances in music technology have made it possible for people to invest their art in their local communities enabling more geo-agnostic music creation, collaboration and production. This panel will explore specifically how NYC-based music industry professionals are leveraging these advances to bring music making back to NYC. The Anti Social Producers club, based in NYC, is carving out space for up-in-coming industry professionals in the five boroughs. In conversation with the groups founder, organizers and representatives from the city, we will explore why people left, why NYC is more appealing now for musicians than it was ten years ago, and what this might mean for regional music everywhere.

Moderators
avatar for Charlie Harding

Charlie Harding

Executive Producer, Switched On Pop
Switched On Pop is a podcast about how popular music is made on Slate's Panoply network.

Speakers
DR

Danny Ross

Founder, Anti Social Producers Club
WM

Warner Meadows

Artist, Producer, Composer
SG

Shira Gans

Senior Executive Director, Policy & Programs, Mayor's Office of Media and Entertainment


Wednesday October 19, 2022 4:00pm - 5:00pm EDT
3D03

4:00pm EDT

Mixing Spatial Audio in the Game Engine
In this presentation we will walk through the recording, DAW mixing and Unity mixing process for creating a 6 Degrees of Freedom Virtual Reality music experience in the recording studio. Film and Game composer Stephen Barton produced and arranged a rendition by a string quartet in Studio 2 at Abbey Road. We recorded the quartet “in the round” using mixture of close, spatial array and ambisonic microphone techniques with the aim of creating a proof on concept on how music fans could experience their favourite artists in VR. Approaching the creation of a “gamified” music experience from a traditional audio engineering and mixing background gave us a unique perspective on how music could be recording and processed with game engines, and looking ahead the metaverse, in mind. Once the stems had been processed and consolidated in the DAW they were imported in the Unity game engine for the final mix. We will explore the various game engine mix techniques used for this project, including; how to blend mono/stereo objects and ambisonic fields together, audio ducking, audio spread, audio directionality, distance modelling, occlusion, close, mid and nearfield zones (including how to create a control room vs live room juxtaposition) and mixing “on screen” vs. mixing in VR, with tips on how to make the process as seamless as possible.

Speakers
avatar for Mirek Stiles

Mirek Stiles

Head of Audio Products, Abbey Road Studios
MIREK STILES, Head of Audio Products, Abbey Road StudiosMirek Stiles started working at Abbey Road Studios as a recording engineer in 1998, working on a diverse range of projects including The Lord of the Rings trilogy, The Beatles Anthology, Muse, Kanye West, Nick Cave and the Bad... Read More →


Wednesday October 19, 2022 4:00pm - 5:00pm EDT
3D11

4:00pm EDT

Mix with the Masters presents Leslie Brathwaite
Mix with the Masters workshop with Leslie Brathwaite

Speakers
avatar for Leslie Brathwaite

Leslie Brathwaite

Mix with the Masters
Leslie Brathwaite is a Grammy award-winning mix engineer from the U.S. Virgin Islands.The vibrant Caribbean music scene made a strong impression on him as a young teen, and he set up a studio in his bedroom with a small multitrack recorder. To expand his horizons and learn more about... Read More →



Wednesday October 19, 2022 4:00pm - 5:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

5:00pm EDT

MPEG-H vs. Dolby Atmos vs. Sony 360 RA vs. Google v. ???

Once upon a time, there was Werner Dabringhaus, a German Tonmeister, who thought, why not use four height channels. He did it and it was good. Then Wilfried van Baelen came a long and took over this idea from Werner, created Auro 3D, mixed Red Tails in Auro 3D in 2011 and it was good. Then 2012 Dolby comes up with Atmos...

...to be continued in this workshop.

Speakers
avatar for Tom Ammerman

Tom Ammerman

New Audio Technology
Grammy-nominated music producer, Tom Ammermann, began his journey as a musician and music producer in the 1980s.At the turn of the 21st Century, Tom produced unique surround audio productions for music and film projects as well as pioneering the very first surround mixes for headphones... Read More →


Wednesday October 19, 2022 5:00pm - 5:30pm EDT
3D11

5:00pm EDT

Software Modeling of Historical Analog Instrument Circuits
Software modeling technology has driven a renewed interest in vintage circuit design for all types of classic music production and synthesis devices. Based on work done modeling the filter design of historic Columbia Music Center RCA Mark II synthesizer, this session will explore some of the design considerations in these original circuits, and based on the resulting models, ways of extending these with current technologies.

Speakers
avatar for Michael Bierylo

Michael Bierylo

Chair, Electronic Production and Design, Berklee College of Music
Michael Bierylo is an electronic musician, guitarist, composer, and sound designer. He has been a faculty member at Berklee College of Music since 1995 and is currently Chair of the Electronic Production and Design Department where he led the development of Berklee’s Electronic... Read More →


Wednesday October 19, 2022 5:00pm - 6:00pm EDT
3D03

5:00pm EDT

APEI: It’s Always the Loudspeaker Designer’s Fault!
This Audio Product Education Institute Workshop is targeted at product Development Organizations who develop and sell loudspeaker systems and transducers.

Every product that reproduces speech and/or music will have sound eventually be played out of a loudspeaker transducer. As this is the final stage before the sound reaches the listener’s ear, a poor audio experience is often blamed on the loudspeaker itself. However, there are many reasons why sound quality can be poor but yet the loudspeaker itself is an exceptional design. Bluetooth devices can have bugs with their Bluetooth stack, amplifiers may be underpowered, equalization, especially when using DSP, can be too excessive thereby exacerbating a loudspeaker transducer’s non-linearities.

This presentation will focus on the audio signal chain prior to the voice coil where audio degradation can occur thereby making the loudspeaker itself sound marginal-to-poor. Several examples will be presented where one or more portions of the audio signal chain degraded audio quality but yet the transducer designer had no awareness, let alone any control, of how there signal blocks were designed. Attendees will learn what questions to ask of those engineers (or vendors) responsible for these audio signal blocks that can ultimately make or break the success of a loudspeaker-based product.

Speakers
SL

Scott Leslie

Chief Arhictect, PD Squared


Wednesday October 19, 2022 5:00pm - 6:00pm EDT
3D09

5:00pm EDT

Mix with the Masters presents Bob Clearmountain & Tchad Blake
Mix with the Masters workshop with Tchad Blake

Speakers
avatar for Bob Clearmountain

Bob Clearmountain

Founder, Apogee
Bob Clearmountain is an American recording engineer, mixer, and producer. He began playing bass guitar as a teen and became fascinated by recording technology. Upon the splitting up of his band, he secured a job as assistant engineer at Media Sound studios in NYC. Throughout the '70s... Read More →
avatar for Tchad Blake

Tchad Blake

Mix with the Masters
Chad Blake has an impressive discography, having worked with numerous artists and musicians, including Arctic Monkeys, State Radio, Apartment 26, Elvis Costello, Peter Gabriel, Pearl Jam, Tom Waits, Sheryl Crow, Crowded House, Tracy Chapman, The Dandy Warhols, The Black Keys, U2... Read More →



Wednesday October 19, 2022 5:00pm - 6:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

5:00pm EDT

Modern Mixing Masterclass with Jaycen Joshua & Dave Pensado
Mix with the Masters brings mixers Jaycen Joshua and Dave Pensado for a special Mixing Masterclass at AES New York!

On October 19, the two engineers will take a short break from conquering the charts to share the invaluable knowledge they have gained over the course of their star-studded careers.

The session will begin with a highly-anticipated live demonstration of their mix process where they will reveal the secrets behind their signature sounds and the methods they employ to work at the highest level. During the session, Jaycen and Dave will be open to questions from the audience about their techniques, philosophies and career paths.

This particular event will take place in the AES NY Special Events room, independent from the open-air MWTM stage on the exhibition floor. By hosting the engineers in this unique space, we aim to offer you a rare glimpse into what it is like to work with two of the greatest engineers in the game.

Access to this exclusive session is free with your AES Exhibits+ badge, however capacity is extremely limited. Seats will be offered to guests on a first-come-first-served basis, so we encourage attendees to arrive early to secure a seat.

Speakers
avatar for Jaycen Joshua

Jaycen Joshua

Mixing Engineer
Jaycen got his start at a young age working at MCA and Motown under the mentorship of his godfather and Motown Records President, Jheryl Busby. That was followed by brief solo stints at Sony and Red Ant. He ultimately landed a Marketing/A&R position at Dreamworks reuniting with his... Read More →
avatar for Dave Pensado

Dave Pensado

Mixing Engineer
Dave Pensado is counted among the recording industry’s most distinguished mix engineers.His career began in Atlanta in the 1970s, where he engineered sound for live shows and studios; He relocated to Los Angeles in 1990, and has since mixed countless hit records by Christina Aguilera... Read More →



Wednesday October 19, 2022 5:00pm - 6:00pm EDT
3D05/08
  Special Event
  • badge type: EXHIBITS+ or ALL ACCESS

5:30pm EDT

An Algorithm for Statistical Audibility Prediction (SAP) of an Arbitrary Signal in the Presence of Noise

A method for predicting the audibility of an arbitrary time-varying noise (signal) in the presence of masking noise has been developed. The statistical audibility prediction (SAP) method relies on the specific loudness, or loudness perceived through the individual auditory filters, for accurate statistical estimation of audibility vs. time.  More recent development has focused on derivation and inclusion of frequency-dependent correction factors in SAP’s model to account for the ability to hear signals below the level of the masking noise.   Audibility prediction vs. time is intuitive since it captures changes in audibility with time as it occurs, which is critical for the study of human response to noise. Concurrently, time-frequency prediction of audibility may also provide valuable information about the root cause(s) for audibility useful for the design and operation of sources of noise. Empirical data, gathered under a three-alternative forced-choice (3AFC) test paradigm for low-frequency sound, has been used to examine the accuracy of SAP.

Speakers
MR

Menachem Rafaelof

Principal Engineer Associate, National Institute of Aerospace (NIA) at NASA Langley Research
Researcher in area of psychoacoustics.
MB

Matthew Boucher

2NASA Langley Research Center


Wednesday October 19, 2022 5:30pm - 6:00pm EDT
3D11

6:30pm EDT

Richard Heyser Memorial Lecture
A Funny Thing Happened on the Way to the Heyser Lecture - The Twists and Turns of a Career in Audio

Audio engineering is truly a multi-disciplinary field that combines aspects of room acoustics, psychoacoustics, spatial perception, analog and digital signal processing, mathematics, electromagnetics, computer modeling, psychology, musicality and artistry. Working in audio allows you to try your hand in completely different areas while still moving toward the same goal. For me, the AES has always served as the primary crossroads between these various fields, and is the unique place where diverse viewpoints from all disciplines can come together. In this talk, I will discuss some of the research and product development work that I have done over the years, including a look at subjective listening test methods, spatial perception and immersion, loudness perception and metering, and sound source separation. During the unexpected winding path that my career has taken, I have had the great privilege of meeting and working with some of the "big names" in the world of audio and acoustics.  I will share anecdotes about some of these encounters and how they influenced my path forward, including a notable encounter with Richard Heyser early on in my career.

Speakers
avatar for Dr Gilbert Soulodre

Dr Gilbert Soulodre

Camden Labs
Dr. Gilbert Soulodre has many years of experience in the field of audio as a research scientist, a product developer, and a mixing engineer. He has written numerous scientific papers in the areas of concert hall acoustics, psychoacoustics and spatial perception, subjective testing... Read More →


Wednesday October 19, 2022 6:30pm - 7:30pm EDT
3D05/08
  Special Event
  • badge type: EXHIBITS + or ALL ACCESS

6:30pm EDT

Summer of Soul screening
Summer of Soul screening at the Dolby Theatre.

Tickets will be available at the registration desk.

Wednesday October 19, 2022 6:30pm - 8:30pm EDT
Off-site
  Special Event
  • badge type: separate ticket available from registration desk onsite
 
Thursday, October 20
 

9:00am EDT

A Perceptual Evaluation of Spatial Room Impulse Responses Captured Using Spaced HOA Microphone Arrays
Ambisonic spatial room impulse responses (SRIRs) can be used in digital reverberators to create three-dimensional artificial reverberation.  Previous research has shown that mixing the spatially-filtered outputs from two spaced higher-order ambisonic (HOA) microphone arrays can improve the listeners perception of ambience sound compared to a single HOA array in music recording applications. Perceptual attributes used to describe SRIRs may be similarly influenced by this technique. In the present study, a method for deriving a composite HOA SRIR from two spaced HOA microphone arrays is described. Several microphone spacing distances commonly used in stereophonic recording were measured (17cm, 34cm, and 68cm) and compared to a single-array control. Subjective evaluations were conducted over a 7.0.4 loudspeaker array and headphones (binaural decoding). The stimuli were rated based on perceived clarity of background and early spatial impressions, environment / room width, sensation of physical presence, and overall listening experience. Results show the technique may improve the clarity of early spatial impressions and perceived environment width under certain conditions. Generally, participants had a difficulty discriminating between array spacings. The study suggests that there are potential perceptual benefits to this approach, but further studies involving additional room and source types is needed.

Speakers
avatar for Jack Kelly

Jack Kelly

McGill University
Jack Kelly is. Ph.D. candidate at the Schulich School of Music, McGill University. His thesis research centers on the influence of spatial room impulse response convolution technologies (channel-based and HOA arrays) on the sensation of physical presence in immersive music production. He... Read More →
avatar for Richard King

Richard King

McGill University
Richard King is an Educator, Researcher, and a Grammy Award winning recording engineer. Richard has garnered Grammy Awards in various fields including Best Engineered Album in both the Classical and Non-Classical categories. Richard is an Associate Professor at the Schulich School... Read More →


Thursday October 20, 2022 9:00am - 9:20am EDT
2D04/05

9:00am EDT

Improved condenser microphone impedance converter using an operational amplifier
Condenser microphones were invented in 1916 then commercialized by Neumann in the 1920’s Today's studio condenser microphones are all improvements from the original design. The impedance converter is necessary as the voltage must be sensed with minimal current drain. Typically a 1 Gigohm resistor is used to develop the voltage. Historically the first active electronic element was a vacuum tube. In 1965 Schoeps released a microphone with a Field Effect Transistor (FET)

The output drive electronics are needed to provide a low impedance balanced to the microphone preamp or recorder input. Tube circuits used a transformer. The original Schoeps circuit used two PNP transistors as emitter followers after the FET to add current drive capability. To this day, most condenser microphones use a variant of the Schoeps circuit or something with a single FET and a different output topology. The author has identified a low noise, low distortion FET input operational amplifier (opamp), the OPA1642 which adds the benefit of low quiescent current allowing for a dual opamp to be supplied by existing P48 phantom power. The resulting design features significantly lower total harmonic distortion than existing circuitry. This paper will explore the history of microphone electronics culminating with this design.

Speakers
avatar for Jules Ryckebusch

Jules Ryckebusch

Chief Listening Officer, Sound Sleuth
Jules started his adventure in audio and electronics at age 16, in the heyday of what is now Classic 70s rock, when all his friends’ wanted guitars. Being the science geek that he was, he instead bought a kit, built his first analog synthesizer, and learned analog electronics as... Read More →


Thursday October 20, 2022 9:00am - 9:20am EDT
2D02/03
  Transducers, Papers Oct 19 & 20

9:00am EDT

Staying Small or Expanding through Partnerships, Mergers & Acquisitions
The perennial questions for audio developers: should they stay small, grow a company or join forces with another company. If the decision is to expand, what's the right vehicle to move the company forward: licensing, fundraising strategic partnership, merger or acquisition? If the decision is to go bigger, how big? Should you join forces with an industry giant? If so, what's that experience like? How do you go about making the right choice for you?

Join this panel and hear from a lawyer, iBanker, an audio entrepreneur that sold his company and an industry giant which has been front and center in buying companies. We'll discuss the state of the industry, valuations and various paths to help you and your company evolve and succeed.

Speakers
avatar for Heather Rafter

Heather Rafter

Principal, RafterMarsh
Heather Dembert Rafter has been providing legal and business development services to the audio, music technology, and digital media industries for over twenty-five years. As principal counsel at RafterMarsh US, she leads the RM team in providing sophisticated corporate and IP advice... Read More →
EJ

Ethan Jacks

MediaBridge Capital Advisors
avatar for Rebekah Wilson

Rebekah Wilson

CEO, Source Elements LLC
Rebekah is the technical co-founder and CEO who co-created the entire suite of Source Elements software. With a degree in music composition and a lifetime of love for technology, Rebekah has focused her career as a composer, electronic music researcher, and software developer - with... Read More →
GC

Gabe Cowan

Audio Design Desk
avatar for Henry Harrod

Henry Harrod

Co-Founder & CEO, Fourier Audio
Henry is the Co-Founder and CEO of Fourier Audio - a London-based audio start-up, developing a hardware-enabled software platform unlocking the power of reliable plugins and software DSP for live productions. Since graduating from Imperial College London as a Mechanical Engineer... Read More →
JG

James Gordon

Audiotonix
avatar for Phil Dudderidge

Phil Dudderidge

Executive Chairman, Focusrite plc
Phil founded Focusrite Audio Engineering Ltd in 1989 to purchase the business assets of Focusrite Ltd, a company founded by Rupert Neve in 1985. He led the acquisition by Focusrite of Novation (synths and keyboards) in 2004. Currently the group has c.$100m. revenue per annum and continues... Read More →


Thursday October 20, 2022 9:00am - 10:00am EDT
3D11

9:00am EDT

Career Paths in Podcasting
The expanding world of podcasting and audio storytelling can present many opportunities for audio professionals. For current or matriculating students looking at this part of the industry, or existing professionals, here are some case studies from professional engineers working in podcasting on the skills they rely upon and look for in new hires.

Moderators
avatar for Sarah Bruguiere

Sarah Bruguiere

Audio Systems Engineer, Pushkin Industries
Audio Systems Engineer at Pushkin Industries. My experiences have lent itself from working in music, public radio, audio management, and now back to being an engineer. Here to learn from all of you!

Speakers
avatar for Sophia Lanman

Sophia Lanman

Associate Audio Engineer, The New York Times
Sophia Lanman an audio engineer and composer based out of Brooklyn, New York, specializing in podcast production and audio advertising.Currently, she is an associate audio engineer at The New York Times where she mixes an array of podcast episodes and records in studio.Before joining... Read More →
RM

Raj Makhija

Pineapple Street
avatar for Josh Wilcox

Josh Wilcox

Owner, Brooklyn Podcasting Studio
I'm the owner and lead engineer of Brooklyn Podcasting Studio where we provide, audio, video, livestream, and photography services. I'm also a content coach/podcast consultant and I've worked on over 150 different podcasts and have recorded over 1500 podcast episodes and counting... Read More →
avatar for Sandra Lopez-Monsalve

Sandra Lopez-Monsalve

Audio Engineer and Producer, PRX
Sandra Lopez-Monsalve is an audio engineer and multimedia producer. She fell in love with radio while cutting actual tape for a local station in her native Bogota (Colombia) in the late 90s. Since then, Sandra has produced and engineered stories for news programs, magazine shows... Read More →


Thursday October 20, 2022 9:00am - 10:00am EDT
3D09

9:00am EDT

Network Evolution for Real Time Audio
The past decade has seen various real time networking protocols rise to maturity in live sound use cases. These protocols have been proven effective in diverse applications that benefit from their respective strengths, but they are difficult to implement together. For networked audio applications to evolve and reach their full potential, that must change.
Traditionally, real time networked audio applications have been quarantined on dedicated networks to simplify switch configuration and prevent conflicts. This sacrifices interoperability and efficiency to gain reliability—but what if audio pros could have it all? In this session, representatives from leading audio manufacturers will present a path to network convergence, openness, and interoperability. Panelists from Adamson, L-Acoustics, and Meyer Sound will explore the benefits of network convergence; present specific use cases demonstrating what’s currently possible; and discuss how they plan to tackle the challenges ahead.


Speakers
avatar for Genio Kronauer

Genio Kronauer

Executive Director of Electronics & Networks Technologies, L-Acoustics
avatar for Bart Swinnen

Bart Swinnen

CEO, Luminex Network Intelligence
Bart Swinnen, founder and CEO of Luminex Network Intelligence.Bart is for more than 20 years closely involved in making AV Networking easy in the professional lighting, audio and video industry.With Luminex he provides a range of network switch products optimized for converged AV... Read More →
avatar for Richard Bugg

Richard Bugg

Digital Products Solutions Architect, Meyer Sound Labs
Richard Bugg is the Digital Products Solutions Architect for Meyer Sound. He is responsible for developing solutions to meet demanding artistic requirements for Meyer Sound customers. For the past two decades Richard has been working with Digital Audio Show Control and immersive sound... Read More →
avatar for Henning Kaltheuner

Henning Kaltheuner

Independent consultant, d&b audiotechnik
Henning's main expertise is market research based on his master degree in Psychology at University of Cologne with a specialization on media psychology and qualitative research. His work has concentrated on gaining insights into market trends, brand perceptions and customer expectations... Read More →


Thursday October 20, 2022 9:00am - 10:00am EDT
3D03

9:00am EDT

Immersive masterclass with Tom Ammermann
This presentation will be in a hands-on format using an advanced virtual bus system allowing for the mixing and monitoring of any immersive format in all digital audio workstations

(DAWs) and many video workstations. Formats like 5.1, 7.1, Dolby Atmos 7.1.2 to 9.1.6, AURO-3D, MPEG-H, IMAX 3D and 22.2 are just a mouse-click away with this process. Real- time demonstration will include how to allow for Immersive DAW mixes to be monitored in the absence of a real immersive monitoring environment. Also, virtual dub stages allow for the pre- and post-production of film projects as well as presenting work to clients online.

An additional fee is required to attend this session.
The number of spaces in each session is limited and will be available on a first come, first serve basis.
Register here


Speakers
avatar for Tom Ammerman

Tom Ammerman

New Audio Technology
Grammy-nominated music producer, Tom Ammermann, began his journey as a musician and music producer in the 1980s.At the turn of the 21st Century, Tom produced unique surround audio productions for music and film projects as well as pioneering the very first surround mixes for headphones... Read More →


Thursday October 20, 2022 9:00am - 10:15am EDT
3D12
  Skill Building Sessions
  • badge type: Separate Registration, see link above

9:20am EDT

A Perceptual Evaluation of Spatial Room Impulse Responses Convolved with Multichannel Direct Sound
Sound sources have complex three-dimensional radiation characteristics that vary over time. In real-world listening, these dynamic fluctuations in directivity map to the reflective environment to which the source is coupled. Artificial reverberation tools for audio post-production do not currently account for this in their designs. A listening test was conducted to compare two artificial reverberation treatments for spatial room impulse response-based convolution over headphones. In the first treatment, all SRIR channels were convolved with a single monophonic direct sound file, recorded with a microphone placed in front of the performer. In the second, each of the 24 SRIR channels were convolved with a corresponding hemi-anechoic microphone position. To quantify the perceptual differences between the two treatments, participants’ sense of physical presence, sensory immersion, environment / room width, and naturalness of the sound source were evaluated. Results of three-way within-subject ANOVAs show that the multichannel direct sound convolution treatment significantly improved participants ratings of all attributes under test, and was preferred over the monophonic direct sound treatment. A significant interaction between reverberation treatment and instrument type was observed for environment / room width. The study suggests that this technique can be effective, and more broadly supports the notion that representing a sound-sources’ time-variant directivity in artificial reverberation could be a beneficial feature in the design of 3D audio production tools.

Speakers
avatar for Jack Kelly

Jack Kelly

McGill University
Jack Kelly is. Ph.D. candidate at the Schulich School of Music, McGill University. His thesis research centers on the influence of spatial room impulse response convolution technologies (channel-based and HOA arrays) on the sensation of physical presence in immersive music production. He... Read More →
avatar for Richard King

Richard King

McGill University
Richard King is an Educator, Researcher, and a Grammy Award winning recording engineer. Richard has garnered Grammy Awards in various fields including Best Engineered Album in both the Classical and Non-Classical categories. Richard is an Associate Professor at the Schulich School... Read More →


Thursday October 20, 2022 9:20am - 9:40am EDT
2D04/05

9:20am EDT

Reducing Condenser Microphone Distortion Using a Single Chip Phantom Power Circuit

A phantom power supply increases the load on the output circuit of a condenser microphone and produces harmonic distortion. This effect can be cancelled by substituting two voltage-controlled current sources for the phantom power supply that reduce the load on the microphone output.
This article presents measurements obtained with a single chip. The circuit is produced in an 80 V bipolar process. Distortion artefacts are reduced by up to 4 dB.
A theoretical derivation for predicting the distortion of a phantom power circuit is given. Calculations based on the nonlinearity of transistors used in microphone output stages are compared with measurements and simulations.

Speakers
AG

Axel Germann

Analog Design Engineer, Prema Semiconductor GmbH
Axel Germann began to study electrical engineering because he became interested in the sound equipment the band he played with was using.As a student, he was involved in the design of a mixing console and a sensor interface that measured small signals in the presence of large voltages.Since... Read More →
avatar for Joost Kist

Joost Kist

Joost Kist is a recording technicien for classical music. Building his own gear, he strives for the best solutions. He invented the True Phantom power because he felt the need to reduce the distortion inherent in recording with phantom power. So he decided to make an addition to standard... Read More →


Thursday October 20, 2022 9:20am - 9:40am EDT
2D02/03
  Transducers, Papers Oct 19 & 20
  • badge type: ALL ACCESS

9:40am EDT

The computational complexity of Object-based audio (OBA) and Volumetric Scene-based audio (VSBA)
This paper focuses on computational complexity measurements between object-based audio (OBA) and volumetric scene-based audio (VSBA) techniques for 3D audio renderings. The primary purpose of this research is to investigate how each of the 3D audio representations influences rendering time and target bitrates with respect to their potential to represent multiple sources with realistic room acoustics. As a result of this research, it is possible to recommend VSBA rendering techniques and their overall performance advantages for specific use cases and applications. We conclude by discussing implementations of possible workflows that help to leverage VSBA advantages for various categories of sounds in VR and video games, static background atmospheres, sounds emanating from user interaction, and moving sound sources.

Speakers
avatar for Tomasz Zernicki

Tomasz Zernicki

CEO, Zylia
Tomasz Zernicki, co-founder, and CTO of Zylia (www.zylia.co) innovative company which provides tools for 3D audio recording and music production. Tomasz holds Ph.D. degrees in Electronics and Telecommunications. His professional interests concentrate on: 360/VR music production, spatial... Read More →


Thursday October 20, 2022 9:40am - 10:00am EDT
2D04/05

9:40am EDT

Analog and Digital Gain in Microphone Preamplifier Design
This paper examines the overall system noise performance of a microphone preamplifier system and the impact of providing some of the gain in both the analog and digital domains. Whereas some applications require up to 70 dB of system gain to bring microphone levels up to drive an A/D converter, the designer can elect to provide part of the gain in an analog stage and the remaining necessary gain in the DSP following the converter. As newer high-performance A/D converters realize dynamic range and THD specs greater than 100 dB, the use of digital gain post conversion becomes feasible. The noise impact of this approach is investigated and compared to others. Models are presented for the various noise sources in the system including source resistance, amplifier equivalent input noise, converter noise, and how they contribute to the total output noise of the system.

Speakers
avatar for Dennis Fink

Dennis Fink

IC Engineering Manager, THAT Corporation
Interest and experience in Digital Signal Processing, Analog Signal Processing, acoustics, and algorithms.Audio product designer of compressors, equalizers, crossovers, and mixers in the digital and analog domains, as well as studio monitors and power amplifiers.Currently managing... Read More →


Thursday October 20, 2022 9:40am - 10:00am EDT
2D02/03
  Transducers, Papers Oct 19 & 20

10:00am EDT

Personalized HRTF Estimation Based on One-to-Many Neural Network Architecture
In this paper, we propose a one-to-many neural network (NN)-based model to estimate  personalized head-related transfer function (HRTF). The proposed model comprises a feature representation module and an estimation module. The feature representation module provides a deep feature associated with anthropometric measurement data for a given sound direction. The estimation module is mainly constructed using a bi-directional long short-term memory layer with feature vectors from multiple directions, which results in estimated HRTFs simultaneously for all the multiple directions. The performance of the proposed personalized HRTF estimation method is evaluated using the Center for Image Processing and Integrated Computing (CIPIC) database. Experiments show that the proposed personalized HRTF estimation method reduces root mean square error and log spectral distance by 0.89 and 0.45 dB, respectively, compared to the conventional NN-based method.


Thursday October 20, 2022 10:00am - 10:20am EDT
2D04/05

10:00am EDT

Novel highly miniaturized MEMS speaker technology for in-ear applications
Driven by new wireless audio applications and the constant trend towards miniaturization, micro loudspeakers based on microelectromechanical systems (MEMS) are recently gaining a lot of interest. Like MEMS microphones, which have become the state of the art for mobile devices, semiconductor technology is used for manufacturing, enabling extraordinarily high miniaturization as well as cost-efficient production in high volumes. In recent years, various MEMS speaker technologies have been developed, primarily addressing in-ear applications, especially hearables. Despite great efforts, the miniaturization potential has not yet been fully exploited. Accordingly, the main challenge remains to increase the sound pressure level per device area.
To address this issue, in this paper a novel MEMS speaker technology is presented for the first time. The new concept builds on a previous development, where four triangular shaped piezoelectric bending actuators with a total area of 4 x 4 mm² were used to generate sound pressure levels of about 110 dB over the entire reproduction range in an IEC 60318-4 ear simulator. This concept is now extended by an additional acoustic shield and a modified actuator geometry, both increasing the sound pressure level and miniaturization at the same time.
The presented MEMS in-ear speaker features a silicon chip with a rectangular shaped actuator that consists of a 2 µm thin piezoelectric layer, two electrodes and a 20 µm thick silicon layer. Except from the clamped edge, the actuator is surrounded by a narrow 3 µm gap, providing good mechanical decoupling and thus enabling high actuator deflections. Along the gap a vertical acoustic shield is arranged, inhibiting significant gap widening when the actuator is deflected. Thus, the air flow through the gap is permanently suppressed by boundary layer effects, meaning that the actuator acoustically behaves like a closed membrane, while being mechanically decoupled at the same time. Compared to previous works, this yields a significantly higher average displacement and SPL at a given footprint.
The technology is demonstrated using a new in-ear demonstrator, featuring two MEMS loudspeakers with an emitting area of as small as 2.4 x 2.4 mm². Besides, measurements and simulations are presented which show that SPL values exceeding 90 dB/mm³ can be achieved for in-ear applications. Finally, an outlook on ongoing and future work is given.

Speakers
avatar for Fabian Stoppel

Fabian Stoppel

Head Acoustic Systems and Microactuators, Fraunhofer Institute for Silicon Technology
Fabian Stoppel is an expert in the field of micro-electro-mechanical systems (MEMS) and holds a PhD degree in electrical engineering. Since 2010 he is with the Fraunhofer Institute for Silicon Technology (ISIT), Germany, where he is heading the group for acoustic micro systems. Dr... Read More →


Thursday October 20, 2022 10:00am - 10:20am EDT
2D02/03
  Transducers, Papers Oct 19 & 20

10:00am EDT

SMART Audio Production is Coming
What if we can deploy a new set of tools which are intrinsically digital?
Currently, companies are creating software products that model vintage products. Surprisingly, these companies even add the limitations that came with such vintage products. Have you ever thought why are we still using only a fraction of what a computer software is capable of? Have we not exhausted the modelling old hardware paradigm? Digital products do not need to function like cables, potentiometers, VU meters, knobs, tape, and other familiar hallmarks of the past. Let's imagine what we can do and where we can take music production if we remove the cloak and comfort of the past.

Hosted by the International Music Software Trade Association

Speakers
avatar for Ray Williams

Ray Williams

President, Music Marketing, XCHANGE & IMSTA
Ray Williams is the President of Music Marketing, which is a Toronto-based music software and hardware distribution business. Founded in 1991, the company has since expanded to include offices in Inglewood, California, Europe, and Asia. In addition to his role as President, Williams... Read More →



Thursday October 20, 2022 10:00am - 11:00am EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

10:00am EDT

Mix with the Masters presents Tchad Blake
Mix with the Masters workshop with Tchad Blake

Speakers
avatar for Tchad Blake

Tchad Blake

Mix with the Masters
Chad Blake has an impressive discography, having worked with numerous artists and musicians, including Arctic Monkeys, State Radio, Apartment 26, Elvis Costello, Peter Gabriel, Pearl Jam, Tom Waits, Sheryl Crow, Crowded House, Tracy Chapman, The Dandy Warhols, The Black Keys, U2... Read More →



Thursday October 20, 2022 10:00am - 11:00am EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

10:00am EDT

Keynote - Susan Rogers, This Is What It Sounds Like: A New Model of Music Cognition
Record making involves an implicit understanding of what generates a response in music listeners. How are these assumptions supported by science? Models of music perception and preference have recently expanded to include the unique, subjective ways in which listeners respond to stimuli.

Professor of cognitive neuroscience Susan Rogers presents a new model of music cognition that describes the “listener profile”—a constellation of individualized preferences mapped to an array of musical and aesthetic dimensions. Four musical dimensions of melody, lyrics, rhythm, and timbre are each analyzed in a distinct brain network specialized for music processing. Three aesthetic dimensions—authenticity, realism, and novelty—are each processed by several interconnected higher-order brain regions that receive inputs from the four music-specific networks. Neural circuits responsible for internally-generated thoughts, such as fantasizing and mind-wandering, are shown to increase their connectivity when listeners are enjoying music they prefer, and decrease connectivity while listening to disliked music. Thus, the music we respond to the most powerfully can reveal those parts of ourselves that are robustly linked to our sense of self identity.

The brain structures underlying music preferences are formed over a lifetime of musical experiences, resulting in a profile that is unique for every music lover. The ways in which music preferences form and how they differ will be discussed.

Speakers
avatar for Susan Rogers

Susan Rogers

Berklee College of Music
Susan Rogers holds a doctoral degree in experimental psychology from McGill University (2010). Prior to her science career, Susan was a multiplatinum-earning record producer, engineer, mixer and audio technician. She is best known for her work with Prince during his peak creative... Read More →


Thursday October 20, 2022 10:00am - 11:00am EDT
3D05/08
  Special Event
  • badge type: EXHIBITS+ or ALL ACCESS

10:15am EDT

The Greening of Audio: Recycling and Sustainability Best Practices & Industry Goals
How can we in audio contribute to protecting our planet, as well as bring joy musically! This panel will focus on the greening of audio, namely a deep dive into where the industry currently stands, what best practices are today and how we can improve.

Speakers
avatar for Heather Rafter

Heather Rafter

Principal, RafterMarsh
Heather Dembert Rafter has been providing legal and business development services to the audio, music technology, and digital media industries for over twenty-five years. As principal counsel at RafterMarsh US, she leads the RM team in providing sophisticated corporate and IP advice... Read More →
avatar for Tanner Watt

Tanner Watt

Director of Partnerships & Development, REVERB
Tanner Watt is the Director of Partnership and Development at the environmental non-profit REVERB. Leading the green music movement since 2004, REVERB (REVERB.org) partners with artists, tours, festivals, and venues to reduce their environmental footprint while empowering millions... Read More →
avatar for Phil Dudderidge

Phil Dudderidge

Executive Chairman, Focusrite plc
Phil founded Focusrite Audio Engineering Ltd in 1989 to purchase the business assets of Focusrite Ltd, a company founded by Rupert Neve in 1985. He led the acquisition by Focusrite of Novation (synths and keyboards) in 2004. Currently the group has c.$100m. revenue per annum and continues... Read More →
avatar for Fisher Thompson

Fisher Thompson

Sustainability Coalition Student Chair, Berklee College of Music
Hi! I'm Fisher (he/him), and I'm a BMI-affiliated producer and engineer residing in Boston on Massachusett and Pawtucket land. I'm a junior at Berklee College of Music, where I dual-major in Music Production & Engineering and Contemporary Writing & Production. I am a Studio Operations... Read More →
TW

Tony Williams

Group Operations Director, Audiotonix
KT

Kai Turnbull

Berklee College of Music
avatar for Rebekah Wilson

Rebekah Wilson

CEO, Source Elements LLC
Rebekah is the technical co-founder and CEO who co-created the entire suite of Source Elements software. With a degree in music composition and a lifetime of love for technology, Rebekah has focused her career as a composer, electronic music researcher, and software developer - with... Read More →
avatar for Andy Land

Andy Land

Head of Sustainability, Focusrite plc
Andy Land is Head of Sustainability for the Focusrite Group, and is a life-long advocate for protecting our planet’s climate, and our ability to create music on it. He began his career 10 years ago with Focusrite as a graduate from the University of Surrey. More recently Andy has... Read More →


Thursday October 20, 2022 10:15am - 11:00am EDT
3D03

10:15am EDT

Real-Time Parallel DSP Processing on GPUs: An Introduction
GPUs have long been considered something of a unicorn in the pro audio industry. The power of their parallel architecture, especially in recent years, is simultaneously exciting and incredibly frustrating; to many it would seem that the ease of which they handle massive amounts of tasks is rivaled only by the difficulty of understanding their architecture, in particular the average dsp developer. Until now, the state of research has always concluded that because of heavy latency and a myriad of computer science issues, DSP on GPUs was just not possible nor preferable. This is no longer the case.

the implications and use-cases are great: from ultra fast plugins and software performance (10x-100x), to cloud rendering infrastructure, GPUs offer a bright future for DSP.

In this talk, we will
Give a basic intro to GPU based audio processing, how it is fundamentally different from CPU, how we made parallelization work in real-time
Unpack our “Scheduler” the “magic” behind enabling low latency performance of DSP algorithms
Break down the parallelization of our Early Access FIR Convolver
Introduce the GPU Audio SDK (pre-release possible)
offer a vision for why this is a viable standard, to power the audio industry of today, and bridge it with the computing platforms of tomorrow.

The State of Research: Why GPU AUDIO ‘Doesn’t Work’
The CPU vs the GPU: architectural differences between SIM and MIM devices, sequential processing versus parallel, and specific problems related to DSP
Graphic depictions of the differences
Mathematics


The Attempts, using old APIs and existing CUDA libraries
Reverb projects
Largely offline rendering projects
Very few instances loaded
Heavy compatibility issues
The original UAD hardware
Previous Conclusion: Fab Filter guy quote “a cow pregnant with triplets still only has x months to give birth” or whatever….

Disruption (Solution):
“we solved it - and we learned some things along the way. The results blew us away and gave us a real sense of what is possible”
A brief overview of “scheduler” the brains behind the GPU Audio engine
Graphic Visualization and Description of how the Scheduler works

A Practical Application: Parallelizing the FIR Convolution Reverb
In May of 2022, we decided to release an “ugly” Early Access plugin in order to test driver and hardware compatibility in order to ensure that our Open Beta will run smoothly. For this test, we chose an algorithm that is particularly friendly to parallelism, partially a nod to earlier attempts at reverb: the FIR Convolver Reverb. With it we demonstrate the power and scalability of GPU Audio processing, both with and without VST3 formats. Early Access also gives us the ability to test upcoming features, such as AMD GPU support, Apple Silicon, Intel GPU support, networked and cloud based DSP, etc.

First, a few bullet points about performance:

- The plugin runs consistently within 1ms latency, regardless of instance count
- No latency increase with live tracking
- Stress test nearly 256 stereo instances of the FIRC plugin in Reaper, with audio playback at 1ms latency.
- Standalone, runs as low as 150 microseconds.

Tear-Down of the FIRC (Alexander Prokopchuk and Markus Steingberger)
[code/component visuals of the DSP algorithm parallelization and data flow]
3-5 point breakdown and comparison of a sequential FIRC versus the parallelized FIRC
A diagram and description of the data flow from CPU<>GPU
A diagram and description of the Scheduler in thread management and instance cascading, handling chains, and multiple tracks

Overview of the SDK and Invitation to the “Workshop”

Value Proposition: From Music to Metaverse.

Finally to conclude our presentation, we wanted to share a vision for what a world of Pro Audio that shares interconnected highways with High Performance Computing (HPC) can look like now, or in the very near future.

The Industry Nexus:

Slide showing NVIDIA’s performance increase over the last decade

HPC existing IT infrastructure is ripe for the picking
GPUs are ubiquitous, and are appearing on most major PC laptops companies
Despite hype over M1/M2 cpus, Apple does indeed have GPUs and we intend to support them

The Potential:

Real-Time DSP is already a hot topic, but with the way content and its delivery is scaling, GPUs offer the perfect low level solution for building the future of Pro Audio infrastructure upon - from Music to Metaverse.
Plugin and DAW software
Local and Remote DSP
AI and Machine Learning Acceleration (run-time!)
Cloud based Processing
Cloud based Collaboration
Interoperability in other industries
Bespoke hardware
Live Audio and FOH redesigns

Speakers
avatar for Andres Ezequiel Viso

Andres Ezequiel Viso

Product Manager, Braingines SA / GPU Audio Inc
I studied Computer Science at the University of Buenos Aires and received my PhD on semantics for functional programming languages. I did a posdoc at Inria, France, in the context of the Software Heritage project, developing the provenance index for the SWH Archive. My interest vary... Read More →


Thursday October 20, 2022 10:15am - 11:15am EDT
3D09

10:15am EDT

Mix Critiques in the JBL Listening Room
Speakers
avatar for Ian Corbett

Ian Corbett

Educator, Kansas City Kansas Community College
Dr. Ian Corbett is the Coordinator and Professor of Audio Engineering and Music Technology at Kansas City Kansas Community College. He also owns and operates “off-beat-open-hats LLC,” providing live sound, audio production, recording, and consulting services to clients in the... Read More →


Thursday October 20, 2022 10:15am - 11:15am EDT
3D07
  Education and Students
  • badge type: ALL ACCESS

10:15am EDT

Recording and mixing Born in the USA
This is a presentation regarding the recording of the song: Born in the USA by Bruce Springsteen. A background of the songs origin along with the engineers association with the project. An introduction to the Power Station and session set up and recording procedure along with playback of the final master tape (in a Protools session). Auditioning various instrument tracks and review of the process. Then Bob Clearmountain, the mixer of the song, will describe his process in mixing and the resulting master.

Speakers
TS

Toby Scott

Engineer/Producer, Cabin 6 Recording LLC
avatar for Bob Clearmountain

Bob Clearmountain

Founder, Apogee
Bob Clearmountain is an American recording engineer, mixer, and producer. He began playing bass guitar as a teen and became fascinated by recording technology. Upon the splitting up of his band, he secured a job as assistant engineer at Media Sound studios in NYC. Throughout the '70s... Read More →


Thursday October 20, 2022 10:15am - 11:15am EDT
3D11

10:15am EDT

Gibbs Sony 360RA with Mike Piacentini
This session will review the process to enable musicians and creators to produce music easily
and creatively in an immersive spherical sound field using the 360 Reality Audio Music Format.
Demonstration will include how to dynamically place and control audio files in a 360 degree
spherical sound field with 360 Reality Audio’s new immersive spatial sound technologies.
Production techniques will use unique audio paths for musicians and creators to produce
music easily and creatively in an immersive spherical sound field by using their familiar platform
and workflows. Implementation can be used within a studio environment or on the go utilizing
only a laptop and headphones.
__________________________________________
An additional fee is required to attend this session.
The number of spaces in each session is limited and will be available on a first come, first serve basis.
Register here 

Speakers
MP

Mike Piacentini

Battery Studios NYC
avatar for Brian (Bt) Gibbs

Brian (Bt) Gibbs

Skyline Entertainment &amp; Publishing
AES member passionate about every and all things immersive! Brian (Bt) "Gibbs" is co-owner & principal at Skyline Entertainment & Publishing in Silicon Valley. With 30+ record credits in 2020, Gibbs uses his B.M. from Berklee College of Music (Jazz Composition) as a record producer... Read More →


Thursday October 20, 2022 10:15am - 11:15am EDT
3D12
  Skill Building Sessions
  • badge type: Separate Registration, see link above

10:20am EDT

Capsule Calibration Approaches for Low-Cost Higher Order Ambisonic Microphone Arrays
Low-cost electret microphone capsules, such as those accessible to the audio hobbyist or DIY audio electronics community are typically available ‘unmatched’. Ideally one would like to ensure these capsules all reside within a very small production / performance tolerance. In a cost-focused, mass production environment it is not feasible to measure and match large batches of capsules hence the acoustic performance will differ from capsule to capsule. This paper summarises work around approaches to capsule calibration in an effort to mitigate/overcome the problems caused by capsule mismatch, with a specific focus on its applications ambisonics and multi-microphone arrays.

Speakers
avatar for Charles Middlicott

Charles Middlicott

Senior Acoustic Engineer (R&D), University of Derby / Sky UK Ltd
avatar for Bruce Wiggins

Bruce Wiggins

Associate Professor, University of Derby
Bruce graduated with 1st class honours in Music Technology and Audio System Design from the University of Derby in 1999. His interest in audio signal processing spurred him to continue at Derby completing his PhD entitled "An Investigation into the Real-time Manipulation and Control... Read More →


Thursday October 20, 2022 10:20am - 10:40am EDT
2D04/05

10:20am EDT

Boundary Conditions of the Dome Compression Chamber of Horn Drivers
Previous publications on the acoustics of the dome-shaped compression chamber assumed the Neumann boundary conditions (zero velocity) at the periphery of the chamber. In this work, three configurations of the compression chamber having different boundary conditions are analyzed. In one of them, the chamber has a Neumann boundary condition. In the second configuration, the compression chamber is loaded by the voice coil gap. In the third configuration, the compression chamber is positioned on the convex side of the dome, and the air cavity above the surround is an extension of the compression chamber. For the dome-shaped chamber, the solution was searched in spherical coordinates as an analytical presentation of the Legendre function by the Mehler-Dirichlet integral form. In the second and third configurations, the impedance of the voice coil gap and the air cavity adjacent to the diaphragm’s surround was approximated analytically.

Speakers
avatar for Alexander Voishvillo

Alexander Voishvillo

Harman Fellow, Acoustics Engineering, Harman Professional
Alexander Voishvillo was born and grew up in Saint Petersburg, Russia where he graduated from the State University of Telecommunications. He worked at Popov Institute for Radio and Acoustics. He designed loudspeakers and studio monitors and did research on loudspeakers and transducers... Read More →


Thursday October 20, 2022 10:20am - 10:40am EDT
2D02/03
  Transducers, Papers Oct 19 & 20

10:40am EDT

The new digital cinema at Fraunhofer IIS as a versatile immersive reference listening room
This paper presents the new cinema room at Fraunhofer IIS which has been designed as a laboratory for state of the art and future audio and video research. It provides vast flexibility in regard to playback options to support the researchers’ and engineers’ work in the field of Next Generation Audio production, delivery, transmission and reproduction. At the same time it fulfills all relevant requirements for theatrical playback. To achieve this, the Digital Cinema of Fraunhofer IIS underwent a major upgrade, providing up-to-date audio and video playback to serve as a reference reproduction facility for quality assessment. In order to reproduce all substantial speaker layout formats or channel configurations, a powerful and highly flexible audio matrix has been implemented as a core element. It allows for processing, altering and monitoring of all audio signals before they are fed to 67 speakers.
Measurements have been conducted to confirm that the acoustic characteristics satisfy the relevant standards. This paper focuses on audio features and only briefly mentions video projector capabilities, the screen, media control, and biosignal acquisition.

Speakers
avatar for Ulli Scuda

Ulli Scuda

Fraunhofer Institute for Integrated Circuits IIS
PE

Philipp Eibl

Fraunhofer Institute for Integrated Circuits IIS


Thursday October 20, 2022 10:40am - 11:00am EDT
2D04/05

10:40am EDT

Application of multitone stimulus for detection of non-harmonic distortion in horn drivers
Some compression drivers have a nonlinear mechanism that may negatively affect their performance and sound quality. This mechanism is related to the complex nonlinear mechanical behavior of the diaphragm at high frequencies, and it is explained by the loss of dynamic stability of the diaphragm. This effect occurs in a frequency range where the diaphragm’s vibration is characterized by breakups. In all works which study the generation of subharmonics, only a single tone or a sweeping single tone is used. Application of a single high-frequency tone results in the generation of subharmonics and non-harmonic spectral components. This work attempts to use the multitone stimulus to reveal a complex nonlinear reaction caused by the diaphragm’s loss of dynamic stability. The complex output spectrum was distinguished from the regular difference intermodulation products. Two different compression drivers were tested, and they exhibited a radically different generation of subharmonic products.

Speakers
avatar for Balazs Kakonyi

Balazs Kakonyi

Principal Engineer, Transducers, JBL Professional
Balazs Kakonyi is a Principal Transducer Engineer at JBL Professional. Balazs grew up in Hungary and studied Electrical Engineering in Budapest. He has a Masters degree in Electro-Acoustics from Le Mans University in France. He started his professional career interning for Klippel... Read More →
avatar for Alexander Voishvillo

Alexander Voishvillo

Harman Fellow, Acoustics Engineering, Harman Professional
Alexander Voishvillo was born and grew up in Saint Petersburg, Russia where he graduated from the State University of Telecommunications. He worked at Popov Institute for Radio and Acoustics. He designed loudspeakers and studio monitors and did research on loudspeakers and transducers... Read More →


Thursday October 20, 2022 10:40am - 11:00am EDT
2D02/03
  Transducers, Papers Oct 19 & 20

11:00am EDT

Immersive Room Extension Environment for Networked Music Performance
This paper presents an Extended Reality Environment (XRE) for Immersive Networked Music Perfor-mances (INMP) called Immersive Room ExtensioN Environment (IRENE). The design of the IRENE-system includes a position-dependent visual and auditory representation of the users within a Virtual Room Exten-sion (VRE). Early reflections and diffuse reverberation of a shared virtual space are rendered to provide participants a sense of co-presence. A continuous transition between the real and the virtual space is achieved by the visual representation using projection screens, enabling a multi-user experience. Several audio-visual environments have been implemented and are presented. The IRENE-system enables a wide range of future investigations in the field of INMP regarding the objective and subjective benefits of musical Extended Reality (XR) with focus on immersive audio.

Speakers
RH

Robert Hupke

Leibniz University Hannover
SP

Stephan Preihs

Leibniz Universität Hannover, Institut für Kommunikationstechnik
JP

Juergen Peissig

Leibniz Universität Hannover


Thursday October 20, 2022 11:00am - 11:20am EDT
2D04/05

11:00am EDT

"Your flight will be delayed by 20 ms" - Understanding Latency in MoIP Networks
What is latency and where does it come from? Why is latency varying? What minimum and maximum latencies can be expected? This presentation will provide answers to all these questions and explains buzz words and abbreviations such as packet time, PDV, software jitter and more...

Speakers
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Thursday October 20, 2022 11:00am - 11:30am EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

11:00am EDT

Is there an ultimate target sound for a headphone? A big data perspective, with Sonarworks
After measuring over 7000 headphones spanning over 800 different models, we have made an overview of the current state of headphone sound. The data reveals that there is no common ground when it comes to headphone sound. Why is there such a huge difference? Is it for the benefit of the consumer, the recording industry, manufacturers or is everyone just lost in the circle of confusion? What do the end users want from headphone sound?
In his presentation, Helmuts Bems CEO of Sonarworks will look into lessons learned from big data collected on headphone sound and consumer preference targets. He will present a perspective on optimal headphone sound targets based on preference data collected from over 150 000 consumers.

Speakers
avatar for Helmuts Bems

Helmuts Bems

Co-founder and CEO, Sonarworks
A serial entrepreneur with experience of taking companies from 0 to hero. Gifted with exceptional strategic planning, team building, and visionary skills. Previous experience in Venture Capital. Driven by big challenges in life, passionate about yoga and extreme sports like mountaineering... Read More →



Thursday October 20, 2022 11:00am - 12:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

11:00am EDT

Mix with the Masters presents Marcella Araica
Mix with the Masters workshop with Marcella Araica

Speakers
avatar for Marcella Araica

Marcella Araica

Marcella Araica is an American recording and mixing engineer from Miami, Florida.Her foray into music production began in high school, where she began to spend time with aspiring hip-hop artists and taught herself how to make beats using Cakewalk software. After school, she completed... Read More →



Thursday October 20, 2022 11:00am - 12:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

11:15am EDT

Better Timbre Through Smarter Distortion
The innate sonic appeal of distortion effects might lure us into a ‘more is better’ trap. Too much distortion, however, can rob the tone of musicality, fatigue listeners, and cast a broad masking shadow across your production. Evaluating distortion through the lens of timbre is a way to better choose the type and amount of distortion suitable for any element of your multitrack arrangement. This tutorial derives insight for the recording and mix engineer through listening, visualization, and analysis of distortion and its impact on timbre.

Speakers
avatar for Alex Case

Alex Case

Sound Recording Technology, University of Massachusetts Lowell
Alex U. Case, Past President of the Audio Engineering Society, is a total audio junkie who has dedicated his professional life to the study of the history, aesthetics, perception, signal processing, electro-acoustics and room acoustics for creating and enjoying sound recordings. Alex... Read More →


Thursday October 20, 2022 11:15am - 12:15pm EDT
3D03

11:15am EDT

Immersive Audio In Education Panel
Speakers
MF

Miles Fulwider

Co-Vice Chair, AES Education Committee
Producer, Engineer, and Educator, Miles has produced and engineered for many GRAMMY® and Emmy Award winning artists and produced/engineered several chart-topping and award-winning albums. His credits include: Wynton Marsalis, Willie Nelson, Norah Jones, Chick Corea, Joe Locke, Grinder... Read More →


Thursday October 20, 2022 11:15am - 12:15pm EDT
Education Stage
  Education and Students
  • badge type: EXHIBITS+ or ALL ACCESS

11:15am EDT

The History of Innovation at Power Station
A history of the innovation taking place at Power Station back in the day, moving into the current state of innovation at the studio. Come join Stephen Webber, Bob Clearmountain, Ian Kagey, and Glenn Forsythe as they discuss how innovation has propelled Power Station through its existence.

Speakers
avatar for Stephen Webber

Stephen Webber

Executive Director, Power Station Station at BerkleeNYC, Dean of Strategic Initiatives, Berklee College, Berklee College
Stephen Webber is Executive Director of BerkleeNYC, overseeing the iconic Power Station studios. Webber has hosted sessions for Janelle Monáe, Lin-Manuel Miranda, Kate McKinnon, Trey Anastasio, DJ Khaled, Chris Martin, John Legend, Bette Midler, Paul Simon, Mick Jagger, Wynton Marsalis... Read More →
avatar for Bob Clearmountain

Bob Clearmountain

Founder, Apogee
Bob Clearmountain is an American recording engineer, mixer, and producer. He began playing bass guitar as a teen and became fascinated by recording technology. Upon the splitting up of his band, he secured a job as assistant engineer at Media Sound studios in NYC. Throughout the '70s... Read More →


Thursday October 20, 2022 11:15am - 12:15pm EDT
3D05/08

11:30am EDT

Designing with Dante and AES67/SMPTE ST 2110
Audinate will share its vision on how Dante and AES67/SMPTE ST 2110 can be used together in a modern broadcast workflow. Beginning with explanation of Dante integrations with open standards (both with and without Dante Domain Manager) will lead through audio needs such as rapid patching through the network, network security, Layer 3 traversal, and real-time fault monitoring. The presentation continues with practical structural network examples to optimize workgroup performance.

Speakers
avatar for Patrick Killianey

Patrick Killianey

Senior Technical Training Manager, Audinate
Patrick’s career has spanned live production, recording, broadcast, installed sound and automation industries, especially in the adoption of new technological innovations. He excels at explaining not only the theoretical aspects of new tools, but also in bringing practical advice... Read More →


Thursday October 20, 2022 11:30am - 12:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

11:30am EDT

Teaching AI to hear like we do: psychoacoustics in machine learning
The AES Technical Committee on Machine Learning and Artifical Intelligence [TC-MLAI] has recognized that there is a lack of understanding and use of perceptually motivated audio loss functions.

In audio and speech coding, perceptually weighted error functions are commonly used. In audio coding it is a perceptual model which controls the quantization step size of subband signals, in speech coding it is a perceptual error weighting filter. In deep learning for audio signals a similar principle can be used of the loss function in training a network. This workshop shall give an overview of existing approaches, and outlooks of possible future directions.

A three part panel discussion to inform the AES community about this topic and where and how to use these loss functions, giving audio examples of the results and effects, an outlook for future developments, and soliciting feedback from the audience.
• Time domain vs. frequency domain metrics and loss functions
• Psychoacoustic pre- and post-filters as loss functions
• Perceptually weighted loss functions

Speakers
avatar for Gerard Schuller

Gerard Schuller

Professor, Ilmenau University of Technology, Germany
Deep Learning for Audio Processing
avatar for Renato Profeta

Renato Profeta

Institut für Medientechnik, TU Ilmenau
Renato Profeta is a Ph.D. Candidate in Audio Signal Processing at the Ilmenau University of Technology.He received a Master of Engineering degree in Electrical Engineering from Kempten University of Applied Sciences and a Bachelor of Engineering in Electrical Engineering from Riga... Read More →
BE

Bernd Edler

Audiolabs Erlangen
MS

Martin Strauss

Audiolabs Erlangen
avatar for Stefan Goetze

Stefan Goetze

University of Sheffield
avatar for Gordon Wichern

Gordon Wichern

Principal Research Scientist - Speech and Audio Team, MERL
Audio signal processing and machine learning resarcher
avatar for George Close

George Close

PhD Student, University of Sheffield


Thursday October 20, 2022 11:30am - 12:30pm EDT
3D09

11:30am EDT

Make your room sound right – basics, tips & tricks
When you want to establish a room for recording or trustworthy listening, it is common sense to optimize acoustics. This tutorial presents some basics, guidelines, and tips and tricks. It addresses DIY people and others that do not want to spend more money than necessary.
Sometimes you start searching for a decent room, and then you should know what to look for. Sometimes you already have a room available for the purpose. Then you want to know what to do to make it sound right for the purpose. Sometimes you already have a room installed but are not entirely satisfied with what you hear. What to do then?
Here are some of the topics:
First, we discuss rules for good acoustics: Proper reverberation time, proper sound distribution, (no echoes/-flutter echoes), low background noise, and some kind of symmetry (listening rooms).
When looking for a room, what to look for then? This topic concerns room size, shape, optimum dimensions (concern: standing waves), room surroundings (any neighbors? noisy devices?), and estimated requirements for sound insulation.
What would be a suitable reverberation time? Can we get any help from standards or common practice? (Yes, we can).
We ensure that we understand the difference between sound insulation and control of reverberation.
Shortly we look into some sound insulation basics, like room-in-a-room for max insulation.
Acoustic treatment, what is the plan? How do we reach the goal?
We’ll walk through the three main groups of absorbers, their applications, and their frequency characteristics: The porous absorber, the resonance absorber, and the membrane absorber. How do they work (physically and frequency-wise), and do they work together on top of each other? It is essential to know that there are more absorbers than those named as acoustic treatment in catalogs. All building materials will influence acoustics. Sometimes a simple material has the same effect as an extraordinary-super-fantastic and expensive material designed solely for acoustic treatment. If money is an issue, don’t spend more than necessary! (If not: go ahead)
The next issue is the sound field(s): Is there only one position available, or do we have an area?
Where is the best listening position, and where do we place the speakers (and most important: where do we not place the speakers!).
What is a proper physical position for recording (sometimes microphone-dependant)? Do we have room for far-field recording? What kind of nearfield do we talk about: Musician-perceived sound or microphones extremely close to the instruments? Why do musicians not always find the wanted sound in the studio??
Can we improve the listening- or recording areas? Controlling particular reflections is usually a good idea. Applying diffusion is always good. Schroeder or not.

Speakers
avatar for Eddy B. Brixen

Eddy B. Brixen

consultant, EBB-consult
Eddy B. Brixenreceived his education in electronic engineering from the Danish Broadcasting Corporation, the Copenhagen Engineering College, and the Technical University of Denmark. Major activities include room acoustics, electro-acoustic design, and audio forensics. He is a consultant... Read More →


Thursday October 20, 2022 11:30am - 12:30pm EDT
3D11

12:00pm EDT

Applying NMOS to non-2110 Environments
NMOS offers some great capabilities within the 2110 world. What of this can be used across other IP and non-IP Transports? We'll explore.

Speakers
avatar for John Naylor

John Naylor

Marketing Product Manager and Business Development Manager, DashBoard, Ross Video
John is an industry veteran who has held a variety of senior engineering, product management, business development and executive positions with organizations including Grass Valley, Snell and NewTek.


Thursday October 20, 2022 12:00pm - 12:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

12:00pm EDT

Studio Design, Acoustics and Monitoring for Todays Music Production
Using predictive acoustic modeling, auralization and Rendering, we can see analyze and hear the studio before we build it. 
Hear from experts in studio design, producers, engineers and studio owners to discuss what’s important today when planning your studio.
The panelist will review the plans for the studios we designed for Jaycen Joshua including isolation, renderings, predictive acoustics and auralization of his room.

Moderators
avatar for David Malekpour

David Malekpour

President, Professional Audio Design, Inc
Studio and loudspeaker designer Dave Malekpour has had a tremendous impact on the sound coming out of each of the recording studios in New York’s historic Quad Building. Malekpour, who transcends past and present ownership groups of the original Quad, is a critical player in defining... Read More →

Speakers
avatar for Michael Bashkhangy

Michael Bashkhangy

Architect / Senior Project Designer, Professional Audio Design / Malekpour Design Partners
avatar for Luis Valdez

Luis Valdez

General Manager/Head of Technology, Jocavi Acoustics
avatar for Rafa Sardina

Rafa Sardina

Multi-Grammy Award winning Engineer/Producer/Studio owner
Los Angeles based  18-Time Grammy® & Latin Grammy® Winner  Producer/Mixer/Engineer  Rafa Sardina has built an eclectic and impressive client list over the years: Stevie Wonder, Camila Cabello, D’Angelo, Rosalía, John Legend, Elvis Costello & The Roots, Lady Gaga, Michael Jackson... Read More →
avatar for Anthony ‘CRUZ’

Anthony ‘CRUZ’

A&R DreamChasers Records / CEO of Break It Down Entertainment and Break It Down Foundation Inc
Cruz is one of the games most talented engineers. In the past few years he has been building his catalog working with artists like Ne-Yo, Jessie J, Santigold, J. Cole, Ricky Martin, DJ Khaled and many more. Most importantly he has been responsible for crafting Meek Mill’s signature... Read More →


Thursday October 20, 2022 12:00pm - 1:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

12:00pm EDT

Mix with the Masters presents Michael Brauer
Mix with the Masters workshop with Michael Brauer

Speakers
avatar for Michael Brauer

Michael Brauer

Michael Brauer has an impressive back catalogue, having worked with Luther Vandross, Aretha Franklin, The Rolling Stones, Bob Dylan, Paul McCartney, Coldplay, John Mayer, Ash, My Morning Jacket, Ben Folds, Eric Clapton, Prefab Sprout, Leonard Cohen, Pet Shop Boys, Dream Theater, Elle... Read More →



Thursday October 20, 2022 12:00pm - 1:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

12:30pm EDT

AES70 Control for IP Media Devices
This presentation will summarize the AES70 control architecture for media devices and describe new features in its upcoming release.  As well, it will introduce available AES70 developer tools and information resources for implementers, most of which are free.
AES70 is a full-featured control and monitoring architecture for both real and virtual (i.e. cloud-based) media devices. Currently focused on audio device control and monitoring, AES70 is not itself an audio transport scheme but is designed to cooperate with and complement modern audio transport schemes such as AES67, SMPTE ST 2110-30, Dante™, and MILAN.
AES70 is a fully-engineered design intended for professional media systems. It is lightweight to implement, yet suitable for critical applications of all scales from tiny to huge. AES70 and its toolset are a ready-to-use solution for industrial-strength control and monitoring of network-based media processing hardware and software.



Speakers
avatar for Jeff Berryman

Jeff Berryman

OCA Alliance
Jeff Berryman is Senior Scientist at Bosch Communications Systems. Over the last 40 years, he has had a dual career in audio and information technology. His audio experience is in professional loudspeaker and sound reinforcement systems design, focusing on concert touring and theatre... Read More →


Thursday October 20, 2022 12:30pm - 1:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

1:00pm EDT

AES67 WAN Transport Utilizing the Cloud
This paper highlights the challenges with transporting AES67 through a public cloud infrastructure and how they can be solved along with topics for further study. This will be done through the lens of results from recent live demonstrations that prove it is feasible including one where audio was transported between North America and several locations in Europe. Along the way, the learnings as well as future considerations to enable the practical use of AES67 cloud transport in real-world applications will be reviewed.

Summary

Remote production is clearly a HOT topic today as companies around the world race to maintain their existing workflows with their talent dispersed in many off-site locations. Remote production is the new normal and - now that we have experienced its potential – is likely to continue to be a focus in the future. While many solutions have been hastily cobbled together, there is a need for higher quality productions with lower latency that integrate easily with existing equipment.

We started with a basic question: can we send RAVENNA/AES67 traffic over the public infrastructure and over long distances? Then we wondered would we be able to listen to something resembling audio? Would it be good quality? It is one thing for a single company with their own equipment to do it, but could we also interoperate with equipment from other companies? After all, this is the whole point behind AES67. Finally, we also wondered how we would do it and what challenges would we face.

Before digging into the setup and challenges that needed to be overcome, it is important to understand that AES67 and RAVENNA, even though they use IP, are designed to be used in local area networks (LANs). Despite this, AES67 and RAVENNA have been proven and are being used commercially in wide area network (WAN) applications across private networks, even though their use in WANs was never contemplated by the standards. It is important to note that private dedicated networks, whether ‘owned or leased’ are well-architected, have predictable behaviour, and come with performance guarantees. Public networks, on the other hand, are the equivalent of the ‘wild west’. Public networks suffer from packet loss due to link failures and have large, sometimes dramatic, latency due to packet re-transmissions. This makes the public environment very hostile for AES67!

There are three main challenges: latency and packet jitter; packet loss; timing and synchronization that will be reviewed along with the strategies used to overcome these. Along the way, the AES Standard Committee working group SC-02-12-M guidelines for AES67 over WAN applications will be highlighted.

A very ambitious proof-of-concept demo was undertaken which involved equipment from 3 companies (Ross, Merging and DirectOut) across 4 sites over two continents (North America and Europe) that leveraged the public cloud infrastructure from Amazon Web Services.

The paper will provide a detailed summary of the proof-of-concept architecture. The learnings and future considerations to enable the practical use of AES67 cloud transport in real-world applications will also be reviewed.

Speakers
avatar for Bill Rounopoulos

Bill Rounopoulos

Bill Rounopoulos, Business Development Manager for OEM and Partnerships at Ross Video, is leading the company's effort to provide open solutions technology based on AES67, RAVENNA, and SMPTE ST 2110 to OEMs serving the broadcast and professional audio industry. Prior to Ross, Bill's... Read More →
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Thursday October 20, 2022 1:00pm - 1:20pm EDT
2D02/03

1:00pm EDT

Method for matching room impulse responses with feedback delay networks
Algorithmic reverberation aims to synthesize natural-sounding reverberation. Many signal processing architectures have been established to provide parametric control to generate custom and good-sounding reverberation.

A recorded room impulse response offers an exhaustive representation of the sound characteristics of a reverberant space at a given point. Convolution between the room impulse response and an audio signal renders a reverberated signal with the characteristics of the room. However, impulse response convolution provides only very limited parametric control over the reverberation characteristics. Also, the number of computing operations required to convolve an impulse response can be very large, making it less suitable for embedded systems. To counter those limitations, one solution is to use algorithmic reverberation to simulate the general effects of a reverberant environment. Ideally, such an approach should match the effects of a room impulse response.

This paper presents an approach to match a target impulse response using feedback delay network (FDN). FDN is a commonly used algorithmic reverberation design. Our method provides a fully parametric reverberation, with precise control over energy decay based on a target impulse response We begin by providing a review of existing approaches. Most of the approaches use genetic algorithms. More recently, deep learning approaches have been applied, but these are challenging since FDN are hardly differentiable which makes gradient backpropagation difficult.

We then describe our methodology, providing the dataset and procedure developed to generate matched impulse responses. We use an analysis-synthesis approach coupled with genetic algorithms to find the vector of parameters of the FDN that provides the best match between the two impulse responses.

First, we analyze an impulse response and get its characteristics such as reverberation time, energy decay curve, clarity, and echo density. Next, we convert those measurements into coefficient values for the FDN reverberation. Delay lengths and input and output gains of the FDN cannot be directly calculated from the impulse response analysis. We run a genetic algorithm to find the best values for those coefficients.

We established a cost function to emphasize the psychoacoustical differences between impulse responses by giving more weight to low frequencies of the error spectrum and error in the early reflections.

We are currently conducting a subjective test to assess if participants perceive differences between our synthesized impulse responses and the targets using the MUSHRA test method. We compare our best full impulse response, our best hybrid impulse response (which is generated with the direct convolution of the early reflections and then goes into an FDN for late reverberation synthesis), the target (as control), and a low-pass filtered version of the target impulse response as an anchor.

Differences are perceptible if we try to match the entire impulse response only with an FDN, Hybrid impulse responses give better results and lower error overall.

Our methodology gives good results for late impulse response synthesis, but most of the error resides in the early reflections and has a significant impact on the perceived difference by a listener. We discuss how to improve our reverberation design to match early reflections in future works. We also discuss how to develop a method to match any room impulse response with any algorithmic reverberation design using machine learning.

Speakers
avatar for Ilias Ibnyahya

Ilias Ibnyahya

PhD Student, Queen Mary University of London
Ilias is a Senior FPGA and DSP Engineer at DiGiCo U.K. in charge of audio designs for digital mixing consoles. He's also a Ph.D. student at Queen Mary University of London where he focuses on audio effects modeling and machine learning. His academic works are mostly about linear audio... Read More →
avatar for Joshua Reiss

Joshua Reiss

AES President, Queen Mary University of London
Josh Reiss is Professor of Audio Engineering with the Centre for Digital Music at Queen Mary University of London. He has published more than 200 scientific papers (including over 50 in premier journals and 6 best paper awards) and co-authored two books. His research has been featured... Read More →


Thursday October 20, 2022 1:00pm - 1:20pm EDT
2D04/05

1:00pm EDT

Mix with the Masters presents Chris Lord-Alge
Mix with the Masters workshop with Chris Lord-Alge

Speakers
avatar for Chris Lord-Alge

Chris Lord-Alge

Chris Lord-Alge’s talent is exemplified by his AllMusic credit list containing an astonishing 1100 entries, with huge names such as Bruce Springsteen, Tina Turner, Avril Lavigne, Cher, Muse, Celine Dion, Michael Bublé, Aerosmith, Madonna, Green Day, Meat Loaf, U2, Snow Patrol... Read More →



Thursday October 20, 2022 1:00pm - 2:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

1:00pm EDT

Multi format Immersive Delivery: Masterclass with Eric Shilling
Immersive Mixing Workflows - Creating deliverables for Dolby Atmos and Sony 360

Dolby and Sony have created audio content delivery systems which are simultaneously exciting for consumers… and confounding for content creators. Eric Schilling is a masterful mixer in immersive formats and has won numerous Grammy® and Emmy® awards for his work. He mixed last year’s Grammy Immersive Award-winning Alicia Keys album, and is expert in the ways of delivering content for competing formats. This is a must-attend session for anyone who aspires to deliver in either (or both) formats.

_______________________________________________________________________
An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here


Speakers
avatar for Eric Schilling

Eric Schilling

Norfolk Music
Eric started his audio career at the age of 16 in community radio doing radio production. At 19 years of age, he became an assistant recording engineer at the Record Plant Studios in Sausalito Ca. Over the course of his career, he has worked with Sly Stone, Fleetwood Mac, Natalie... Read More →


Thursday October 20, 2022 1:00pm - 2:00pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate registration required - see link above

1:00pm EDT

Celebrating Al Schmitt
Speakers
avatar for Gary Gottlieb

Gary Gottlieb

AES Co-Chair, Events Coordination Committee and Historical Committee
avatar for George Massenburg

George Massenburg

McGill University
George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →
avatar for Chuck Ainlay

Chuck Ainlay

Internationally Acclaimed Audio Recording Producer and Engineer.
Chuck Ainlay is an American record producer and audio engineer. He has worked with Mark Knopfler on much of Knopfler's solo work, in addition to some Dire Straits material.Along with Knopfler and Bob Ludwig, in 2006 he collected the Grammy Award for Best Surround Sound Album for... Read More →
avatar for Paula Salvatore

Paula Salvatore

VP Client Relations and Studio Marketing, Universal Music Group
VP Capitol Studios - 1990-2021Sound City - Featured in Dave Grohl Documentary
avatar for Niko Bolas

Niko Bolas

Freelance Engineer/Producer
Niko Bolas is an American music producer, sound engineer, and consultant and business developer in the fields of virtual reality and Internet radio. In 1989, Bolas founded Fakespace Music with Mark Bolas, Ian McDowall and Christian Greuel, which, in 1995, developed the Soundsculp... Read More →
avatar for Frank Filipetti

Frank Filipetti

Freelance Engineer/Producer
Frank Filipetti is an American record producer, audio engineer and mixer, who was born in Bristol, Connecticut, United States. Filipetti won five Grammy Awards for his work on The Color Purple,  The Book of Mormon, Wicked, Monty Python's Spamalot and Elton John and Tim Rice's Ai... Read More →
DD

Dana Dowd

Historian, Archivist, and Advocate
avatar for Elliot Scheiner

Elliot Scheiner

Freelance Engineer/Producer
Elliot Ray Scheiner (born 18 March 1947) is a music producer, mixer and engineer.[1][2] Scheiner has received 27 Grammy Awardnominations, eight of which he won, and he has been awarded four Emmy nominations, two Emmy Awards for his work with the Eagles on their farewell tour broa... Read More →


Thursday October 20, 2022 1:00pm - 2:30pm EDT
3D05/08

1:00pm EDT

SDA Closing Meeting & Recording Competition Awards
Thursday October 20, 2022 1:00pm - 3:00pm EDT
Education Stage
  Education and Students
  • badge type: ALL ACCESS

1:20pm EDT

The effect of user's hands on mobile device frequency response, Part 2
Earlier work has shown that the user’s hands have a significant effect on the frequency responses and polar patterns of portable devices such as smartphones and tablets, relevant for both sound playback and sound capture. Measurements using actual users, which led to these results, are valuable for basic research, but practical device design requires both a measurement device that resembles acoustically the user’s hand and a simulation model that can be used for numerical design. This paper discusses the development of a prototype measurement system and related simulation models for design and device testing. Also the effects of user’s hand on conventional telephony usage, especially the effect on handset uplink response, are discussed. 

Speakers
JB

Juha Backman

AAC Technologies Solutions Finland OY
LV

Lauri Veko

AAC Technologies Solutions Finland Oy


Thursday October 20, 2022 1:20pm - 1:40pm EDT
2D02/03

1:20pm EDT

Room mode distribution criteria for non-rectangular rooms
This paper looks at how the principles used in the development of the Walker criterion[1] for room mode distribution can be expanded to provide a new criterion for both rectangular and non-rectangular spaces. Walker[1] utilized a Quality Index (QI) based on mean squared mode spacing. The Quality Index can be applied to both rectangular and non-rectangular rooms. However, larger rooms naturally have a larger number of modes and therefore a naturally higher QI. For the QI to be useful in assessing the suitability of non-rectangular room shapes of a given, fixed volume, a relationship between QI and room volume needs to be established to remove the dependence of QI on the room volume.
This paper shows how this relationship can be established by calculating the Quality Index of a number of rectangular rooms, and observing how the QI changes as the room is scaled in size. A criterion that can be used to separate rooms with acceptable’ modal distribution rooms from ‘non-acceptable’ rooms is proposed. The proposed performance criterion is applicable to both rectangular and non-rectangular rooms.

Speakers
avatar for Malcolm Dunn

Malcolm Dunn

Associate/Principal, Marshall Day Acoustics
Malcolm Dunn is an Associate with the Auckland office of Marshall Day Acoustics with over 20 years experience in building acoustics design.His experience includes the design of many prominent civic and cultural buildings as well as film and music studios.Malcolm has a special interest... Read More →


Thursday October 20, 2022 1:20pm - 1:40pm EDT
2D04/05

1:30pm EDT

Design patterns: Architecting large-scale hybrid AoIP networks for modern media applications
Large-scale sophisticated AoIP installations often have requirements that may not be relevant for smaller local, isolated, or temporary installations. More sophisticated facilities may include hurdles like multi-vendor environments in the endpoints and the network, requirements for traffic isolation, stricter IAM and general security, and careful timing and synchronization planning. The architects are also frequently tasked with including visual aspects into their radio productions, thus needing to juggle video, audio, control, timing, and often file-based workflows in the same network. Proper network design and segmentation have become the key to predictable troubleshooting and smooth daily operations. The panel will discuss the challenges and design patterns that can help with such installations.

Speakers
avatar for Ievgen Kostiukevych

Ievgen Kostiukevych

Team Leader, Media over IP and Cloud Technologies, European Broadcasting Union
Ievgen Kostiukevych is the team leader for media over IP and cloud technologies at the European Broadcasting Union and the media over IP trainer at EBU Academy.He gathered more than a decade of experience with media over IP integrations and solutions architectures before joining the... Read More →
SU

Steve Uckerman

New York Public Radio
CT

Chris Tassone

Senior Systems Engineer, Arista Networks
GS

Greg Shay

Telos Alliance
avatar for Nicolas Sturmel

Nicolas Sturmel

Merging Technologies, Senior Technologist and Product Manager
Nicolas is Senior Technologist and Product Manager at Merging Technologies, interested in audio signal processing, music production and interoperability of Media Networks. Nicolas has been involved in many AES67 and SMPTE2110 interoperability events, with a leading role in the most... Read More →


Thursday October 20, 2022 1:30pm - 2:30pm EDT
3D03

1:30pm EDT

Dolby Atmos Music Creation
Andrew Scheps, Buddy Judge (Apple) discuss Dolby Atmos Music. The intention is to take a pragmatic look at Atmos Music: from basic overview to specific mixing tactics taking into account deliverables and the state of consumer playback.

Speakers
avatar for Buddy Judge

Buddy Judge

Advanced Media Design, Apple
Buddy Judge likes music. He has been on both sides of the microphone during his career — as a recording artist and as a producer/engineer. He currently works at Apple Inc. where he developed the Apple Digital Masters program and recently launched Lossless and Spatial audio on Apple... Read More →
avatar for Andrew Scheps

Andrew Scheps

Tonequake
Andrew is a record producer/mixer, label owner, and software developer who has been in the industry for over 30 years.  He hasn't cut his hair or beard for at least 15 of those years.
avatar for Jonathan Wyner

Jonathan Wyner

Educator/Engineer, M Works/Berklee College
Chair 153rd AES Convention NYC October 2022, AES Past President (2021), Mastering Engineer, Producer, Product Consultant, Professor at Berklee College of Music


Thursday October 20, 2022 1:30pm - 2:30pm EDT
3D09

1:40pm EDT

In-Situ Measurements of Normal Impedance and Sound Absorption Coefficient on Hard Materials by using Laser Doppler Vibrometer
Standard techniques to measure the sound absorption coefficient or the acoustic impedance of materials are the Kundt’s tube and the reverberant room, albeit they are not practicable in-situ. In addition, these measurement methodologies involve extracting small or large samples of the material under test, which is not permitted for materials of historical importance. In this paper, the possibility of determining the normal acoustic impedance and the normal sound absorption coefficient based on direct in-situ measurements using a Laser Doppler Vibrometer (LDV) has been analyzed. Specifically, measurements have been conducted avoiding any contact on historical sandstones, bricks, and wood planks of the Greek-Roman Theater of Tyndaris located in Sicily (Italy).

Speakers
avatar for Leonardo Saccenti

Leonardo Saccenti

PhD Student, University of Parma
AF

Adriano Farina

University of Parma
AB

Antonella Bevilacqua

University of Parma


Thursday October 20, 2022 1:40pm - 2:00pm EDT
2D04/05

1:40pm EDT

Wideband sound zone system for automotive applications
This paper presents and evaluates a personal sound zone system dedicated to the automotive industry. The goal is to provide a broadband system (between 100 Hz and 10 kHz) that provides a sound level contrast between different programs of at least 30 dB and a rather low reproduction error. To do this, two different speaker arrays are used: an array of eight speakers distributed on the two front headrests for the low-frequency part and arrays of 16 micro speakers for the high-frequency part (each one being located close to an ear of the two front passengers). The classical pressure matching algorithm and its weighted version are used to calculate the  filters to be applied to each source. An optimisation procedure is applied to find the best set of Lagrange multipliers. Simulation results computed with point sources in a shoe-box shaped room are first used to study, analyze and optimize the array
geometries. Then, measurements are performed in a semi-anechoic chamber with added wooden panels to evaluate the actual performance of the system. Finally, the results are summarized before concluding with future work directions.

Speakers
MM

Manuel Melon

Professor, LAUM / LE MANS Université
BG

Bruno Gazengel

Professor, Laboratoire d'Acoustique de l'Université du Mans
SD

Samuel Dupont

Mister, Laboratoire d'Acoustique de l'Université du Mans


Thursday October 20, 2022 1:40pm - 2:00pm EDT
2D02/03

1:45pm EDT

Inspiring Creativity through Music AI on TikTok and beyond
What does a Fish n Chips shop going viral on the internet and state-of-the-art voice synthesis have in common? Hungry to find out? This talk will focus on how audio and music technologies deployed at scale on a platform like TikTok, can inspire creativity and connect people from across all walks of life. From the sensational "#BinleyMegaChippy" song with 450B views, to fun audio-visual music effects and VST plugins empowering tuning systems from Southeast Asia, members of the Speech, Audio and Music Intelligence team (SAMI) from TikTok R&D will dive into ways they have used audio AI technologies to empower and democratize music making.

Speakers
avatar for Lamtharn (Hanoi) Hantrakul

Lamtharn (Hanoi) Hantrakul

Research Scientist, TikTok
Hanoi is an experienced AI Research Scientist, Composer and Cultural Technologist from Bangkok, Thailand. He leads and develops ML-powered creative audio tools as part of the Speech, Audio and Music Intelligence team (SAMI) within TikTok R&D. As an AI Research Scientist, Hanoi has... Read More →
avatar for Jitong Chen

Jitong Chen

Research Manager, TikTok


Thursday October 20, 2022 1:45pm - 2:45pm EDT
3D11

2:00pm EDT

Approximating Ballistics in a Differentiable Dynamic Range Compressor
We present a dynamic range compressor with ballistics implemented in a differentiable framework that can be
used for differentiable digital signal processing tasks. This compressor can update the values of its threshold,
compression ratio, knee width, makeup gain, attack time, and release time using stochastic gradient descent and backpropagation techniques. The performance of this technique is evaluated on a reverse engineering of audio effects task, in which the parameter settings of a dynamic range compressor are inferred from a dry and wet pair of audio samples. Techniques for initializing the parameter estimates in this reverse engineering task are outlined and discussed.

Speakers
avatar for Joseph Colonel

Joseph Colonel

Centre for Digital Music , Queen Mary University of London
Joseph T Colonel is a final year PhD student in the Centre for Digital Music at Queen Mary University of London. His work focuses on applying machine learning and neural networks to music production behavior modelling. JT held an internship at Soundwide working on differentiable digital... Read More →
avatar for Joshua Reiss

Joshua Reiss

AES President, Queen Mary University of London
Josh Reiss is Professor of Audio Engineering with the Centre for Digital Music at Queen Mary University of London. He has published more than 200 scientific papers (including over 50 in premier journals and 6 best paper awards) and co-authored two books. His research has been featured... Read More →


Thursday October 20, 2022 2:00pm - 2:20pm EDT
2D02/03

2:00pm EDT

Algorithmic Methods for Calibrating Material Absorption Within Geometric Acoustic Modeling
In room acoustic modeling, geometric acoustic (GA) room models are commonly created to aid acousticians. It is critically important to have the parameters of the room and simulation match in order to assure physical realism within the model. Traditionally, acousticians manually adjust absorption coefficients of planes in the model to align simulated parameters, such as reverberation time (T30) or speech clarity (C50), with values measured from the real room. One of the largest setbacks to this method of manual calibration is the time consuming process of adjusting the acoustic coefficients of planes in the model. The acoustician has to ensure absorption coefficients stay within a reasonable range while simultaneously deciding which planes to adjust depending on their size and proximity to relevant source and receiver positions. Previously, genetic algorithms have been implemented to calibrate GA models based on acoustical measurements. The largest drawback of the genetic algorithm method is that it does not allow acousticians to have as much control over the calibration procedure. One solution to this problem is to implement a traditional auto-calibration algorithm where acoustic coefficients are adjusted linearly until a JND threshold is reached. In order to prevent it from generating unrealistic results, natural ranges for material acoustic coefficients must also be implemented. Instead of the acoustician having to determine the bounds for the algorithm, this express paper proposes that a dataset with measured variance should be used as algorithm bounds. The database illustrated in the express paper can be further developed to be used as a calibration reference for other heuristic and meta-heuristic algorithms. This would allow absorption coefficient deviation to be empirically derived as opposed to being estimated by the acoustician.

Speakers
avatar for Noah Deetz

Noah Deetz

American University
Noah Deetz is currently a Junior attending American University's B.S. in Audio Technology program in Washington, DC. Most recently, Noah completed a research fellowship in acoustics under the NASA DC Space Grant Consortium. 
avatar for Braxton Boren

Braxton Boren

American University


Thursday October 20, 2022 2:00pm - 2:20pm EDT
2D04/05

2:00pm EDT

Do we really need PTP? A Comparison of Clocking & Synchronization in other MoIP Technologies
AES67 and SMPTE ST 2110 require PTP for proper synchronization. Sometimes, folks feel that proper PTP operation is quite difficult to achieve. Can't we use something easier? This presentation looks at how clocking & synchronization is achieved in other MoIP technologies and compares plain RTP, RAVENNA/AES67 & ST2110, AVB and IPMX.

Speakers
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Thursday October 20, 2022 2:00pm - 2:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

2:00pm EDT

Inspiring Next Gen’ Pros for Great Audio Careers
The professional audio landscape is changing rapidly. From the proliferation of immersive audio to large-scale audio-over-IP deployments, young and experienced pros alike need to be nimble, learn and adapt.
Join Focusrite Group in Education’s Dr. Lee Whitmore as he moderates a thought-leaders panel to talk about what succeeding in audio career today takes. Panelists include:


Moderators
avatar for Lee Whitmore

Lee Whitmore

Vice President Education, Americas, Focusrite Audio Engineering Limited
As an education executive with deep experience in creative digital media industry, music, audio and video, specializing in marketing, strategy and education technology, I'm deeply committed to the active role the arts and technology play in developing positive life experiences for... Read More →

Speakers
avatar for Rafa Sardina

Rafa Sardina

Multi-Grammy Award winning Engineer/Producer/Studio owner
Los Angeles based  18-Time Grammy® & Latin Grammy® Winner  Producer/Mixer/Engineer  Rafa Sardina has built an eclectic and impressive client list over the years: Stevie Wonder, Camila Cabello, D’Angelo, Rosalía, John Legend, Elvis Costello & The Roots, Lady Gaga, Michael Jackson... Read More →
avatar for Robert Harari

Robert Harari

Emmy-winning musician, engineer, producer, and program director and music technology chair, Stevens Institute of Technology in Hoboken, NJ
After graduating from NYU in 1983 with a dual degree in Musicology and International Relations, Rob Harari dove straight into the music business as a recording studio intern.  Harari has logged a lifelong career as musician, music producer and audio engineer, studio owner, production... Read More →
avatar for Dave Rieley

Dave Rieley

Director, Focusrite Group Professional, Focusrite Group
Dave Rieley is the director for Focusrite Group Professional. In that role he is responsible for pro customer relationships and business development across company’s brands in North America. This includes working with recording studios, post-production and broadcast customers, distributors, and dealers.  He also... Read More →


Thursday October 20, 2022 2:00pm - 3:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

2:00pm EDT

Mix with the Masters presents Tony Maserati
Mix with the Masters workshop with Tony Maserati

Speakers
avatar for Tony Maserati

Tony Maserati

Producer/ Engineer
Tony Maserati is one of the world’s leading mix engineers. Over the course of his working career he has amassed a list of credits that runs into the hundreds, with worldwide sales of over 100 million units including names such as Beyoncé, Robin Thicke, Jason Mraz, k.d. Lang, Mary... Read More →


Thursday October 20, 2022 2:00pm - 3:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

2:30pm EDT

Telos Infinity VIP - Introducing Virtualized IP Intercom for Cloud, On Prem and Hybrid Workflows
Martin Dyster from Telos Alliance describes how the Telos Infinity matrix-less AoIP native Intercom system evolved during the pandemic from a hardware-centric traditional communications platform, into a fully virtualized software solution that maintains the same AES67 / SMPTE ST2110-30 network backbone. The presentation describes how Infinity VIP can be deployed in the Cloud or On Premise and put a fully-featured Comms Panel in front of any member of the production team using their phone, tablet or computer, anywhere in the world.

Speakers
avatar for Martin Dyster

Martin Dyster

Vice President Business Development, Telos Alliance
Martin Dyster | Telos Alliance has led the audio industry’s innovation in Broadcast Audio, Digital Mixing & Mastering, Audio Processors & Compression, Broadcast Mixing Consoles, Audio Interfaces, AoIP & VoIP for over three decades. The Telos Alliance family of products include Telos... Read More →


Thursday October 20, 2022 2:30pm - 3:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

2:30pm EDT

Masterclass: Make Your Stock Plugins Rock with Paul Womack
Digital signal processing has advanced to the point where the plugins included with your DAW are high enough quality to get a good mix without breaking the bank on third party software. Paul “Willie Green” Womack will demonstrate techniques to help users get the most out of plugins already at their disposal.

No specific DAW or software will be needed, the concept is no matter what DAW you’re using, the included plugins are plenty to get a good mix. Stems for this session will be available for download in advance.
___________________________________________

An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here


Speakers
avatar for Paul Womack

Paul Womack

Owner/Chief Engineer, Willie Green Music
A producer, engineer and sonic artist, Paul "Willie Green" Womack has built a discography boasting names such as Wiz Khalifa, The Alchemist, The Roots, Billy Woods, ELUCID and many more, and established himself as one of the top names in independent Hip-Hop & R&B. Currently residing... Read More →


Thursday October 20, 2022 2:30pm - 3:30pm EDT
3D12
  Skill Building Sessions
  • badge type: Separate registration required - see link above

2:30pm EDT

50 Years of Parametric EQ
For the past 50 years, parametric equalization has been widely used in many applications of audio engineering. In those 50 years, there have been multiple attempts to bring parametric EQ to the wider consumer market, with none meeting genuine success. We consider the issues facing the audio engineer and how parametric and subband (graphic or crossover-based) EQs each define an application archetype, and where in the audio production process the archetype provides a closer fit to the engineer's focus. We propose that, while both EQ paradigms are capable of solving the same problems, the graphic/crossover EQ is a better fit from an objective viewpoint (that of the intended audience), and parametric EQ is a better fit from a subjective viewpoint (that of the sources recorded and further rendered in the studio).

Speakers
avatar for Duane Wise

Duane Wise

President, Wholegrain Digital Systems LLC
Developer of DynPEQ algorithm, for dynamic parametric equalization.  The DynPEQ design allows for detailed and robust control of the audio spectrum, earning it the designation 2021 Best In Market from Mix Magazine / Pro Sound News.
avatar for George Massenburg

George Massenburg

McGill University
George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →
avatar for Udo Zoelzer

Udo Zoelzer

Professor, Helmut Schmidt University
New 3rd edition - "Digital Audio Signal Processing", J. Wiley, 3rd Ed, 2022


Thursday October 20, 2022 2:30pm - 4:00pm EDT
3D05/08

2:45pm EDT

Producing Electronic Music Without a Computer
While the computer has been a nearly ubiquitous part of all electronic music production, manufacturers have been evolving products that push the boundaries of what we consider to be a beat box, performance sampler or workstation synthesizer. In this session we’ll look at some of the design considerations behind these instruments, and how they might integrate with a DAW workflow.

Moderators
avatar for Jennifer Hruska

Jennifer Hruska

Berklee College of Music
Jennifer Hruska is a composer, sound designer, electronic instrument designer, entrepreneur, and educator. She is currently on the faculty at Berklee College of Music in the Electronic Production and Design department.  Early in her career, Jennifer was a sound designer for Kurzweil... Read More →

Speakers
avatar for Dustin Good

Dustin Good

Product Manager, Roland
Electronic Music Technology, Product Marketing, Development, and Culture.
avatar for Evan Weiss

Evan Weiss

Product Specialist, Focusrite Group US
avatar for Gösta Wellmer

Gösta Wellmer

CEO, elektron
Gösta joined Elektron in 2020, his first machine released with Elektron is the Syntakt groovebox. Before he worked 12 years at Native Instruments, being involved into the design of over 150 software instruments and 25 hardware products.


Thursday October 20, 2022 2:45pm - 3:45pm EDT
3D11

2:45pm EDT

Trends in Audio Hardware
This panel discussion gathers journalists and technologists experts from across consumer technology and pro audio to share their input on trends from across both industries that could affect the way we build and use products in the future.

Speakers
avatar for Bradford Swanson

Bradford Swanson

VP Partnerships, Nomono
Bradford is the VP of Partnerships at Nomono. Previously, he worked as a product manager at iZotope, and toured for 12 years as a musician, production manager, and FOH engineer. He has also served on the faculty at Tufts University, UMass Lowell, and Episcopal High School. He holds... Read More →
avatar for Lauren Dragan

Lauren Dragan

Senior Staff Writer, New York Times - Wirecutter
As part of Wirecutter's early team, I worked to develop the site's headphone testing protocols and parameters. Since joining Wirecutter, I've personally tested over 1500 headphones– a number the New York Times says is “the highest number of anyone on earth.” You've seen me and my work on Good Morning America, NBC Nightly News, New York Times, Forbes, Los Angeles Times, The Daily Beast, Le Monde, Engadget, Sound + Vision, and more. But I'm not solely passionate about gear– I also have training in music performance, audio production, and physics of sound. My focus is placing the enjoyment of music and sound above chasi... Read More →
avatar for Fela Davis

Fela Davis

Co-owner, One of One Productions
I'm a graduate of Full Sail University with 20 years of experience in audio engineering and inducted into the University’s Hall of Fame in 2019. My mixing experience includes Ron Carter, Brian Blade, Jose Feliciano, Meshell Ndegeocello, and Bilal. I mix front-of-house engineer for... Read More →
avatar for Mike Butera

Mike Butera

CEO, Artiphon
Dr. Mike Butera is the founder and CEO of Artiphon, a company reimagining musical instruments as smart devices and social apps. Mike holds a Ph.D. in Sound Studies, and his research focuses on the phenomenology of music technologies and possible futures of augmented creativity... Read More →


Thursday October 20, 2022 2:45pm - 3:45pm EDT
3D03

3:00pm EDT

State of the ‘Equal-Loudness Curves’: a literature review
A rudimentary internet search for “equal loudness curve” results in page after page of articles and posts on Fletcher-Munson (FM) curves. While some articles mention that the 1933 findings have been replaced a couple of times over, most do not. How can 90-year-old findings based on a small set of participant data that has been challenged and replaced still dominate the majority of conversations on equal loudness? What further improvements to the current standard is being called for by the published literature?

This literature review first outlines the historical timeline and published debate around equal-loudness-level research and standards in an effort to understand why FM curves still dominate popular discussion. Despite early contradictory findings, there was a decently long stretch between Fletcher & Munson’s findings and the next determination. With the new contours of the 1950’s paving the way toward ISO 226, there is a corresponding increase in articles critical of the newer findings.

Researchers begin to question the adequacy of equal-loudness-level contours as a representation of perceived loudness among the general population. Articles point at shortcomings in representative age , gender and listener location in several of the contours/standards. Additional published works also layout errors in ISO 226 methodology and conclusions . Challenges to sample size and make up, method and mathematical discrepancies are all found in published critiques.

It may remain undetermined whether the length of time FM curves dominated as the default data set or the increasing controversy over every new method and standard is the cause of the continued popular use of “Fletcher-Munson curves” instead of more current phraseology. What is clear is researchers are calling for and exploring more nuanced and inclusive understanding of how we perceive loudness.


Thursday October 20, 2022 3:00pm - 3:20pm EDT
2D04/05
  Perception, Papers Oct 19 & 20

3:00pm EDT

Network Design - IP addressing
Media over IP has been around for almost 20 years now, and during this time a number of habits have settled within the community in setting IP networks, focusing on fast setup and Plug’n’Play instead of taking the opportunity of good network design for better serviceability, stability, and security. This talk goes over the basics of IP and Layer 3 networking such as multicast and then presents the pros and cons of IP addressing techniques such as zeroconf, DHCP, and static addressing. The speaker will share personal experiences of failures that could have been avoided by a careful network design.

Speakers
avatar for Nicolas Sturmel

Nicolas Sturmel

Merging Technologies, Senior Technologist and Product Manager
Nicolas is Senior Technologist and Product Manager at Merging Technologies, interested in audio signal processing, music production and interoperability of Media Networks. Nicolas has been involved in many AES67 and SMPTE2110 interoperability events, with a leading role in the most... Read More →


Thursday October 20, 2022 3:00pm - 3:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • about Nicolas is Senior Technologist and Product Manager at Merging Technologies, interested in audio signal processing, music production and interoperability of Media Networks. Nicolas has been involved in many AES67 and SMPTE2110 interoperability events, with a leading role in the most recent onces. Passionate about IT and Audio, he is leading the ANEMAN project at Merging Technologies, proposing a protocol agnostic, open framework for Media Network Configuration, Monitoring and Management. <br><br>Other area of interest include source separation, music production techniques and speech processing.&nbsp;<br><br>He was formerly Head of Research at Digigram where he led two&nbsp;<br>innovative project on ManyCore processing and virtual radios.&nbsp;<br>He got a PhD in Signal Processing in 2011 from University Paris XI - Orsay and a Master Degree from University Paris VI - UPMC and IRCAM in 2006.&nbsp;<br><br>He worked 2 years in a Professional studio as a Recording Assistant. He also was a Postdoctoral fellow at Institut Langevin ESPCI and Gipsa'lab GRENOBLE from 2011 to 2012.
  • badge type: Exhibits+

3:00pm EDT

"Staying creative in modern audio production through workflow automation - with Andrew Scheps and Christian Scheuer of SoundFlow. (Sponsored by Avid)"
Workshop and workflow demonstration of Soundflow and BounceFactory Application, with Andrew Scheps from BounceFactory (music producer, mixing engineer and record label owner) and Christian Scheuer, CEO of SoundFlow

Speakers
avatar for Andrew Scheps

Andrew Scheps

Tonequake
Andrew is a record producer/mixer, label owner, and software developer who has been in the industry for over 30 years.  He hasn't cut his hair or beard for at least 15 of those years.
avatar for Christian Scheuer

Christian Scheuer

Founder & CEO, SoundFlow
Developer, Sound Designer & Film Composer


Thursday October 20, 2022 3:00pm - 4:00pm EDT
Academy Stage (Exhibit Floor)
  Academy Stage
  • badge type: Exhibits+

3:00pm EDT

Mix with the Masters presents Peter Katis & Jon Low
Mix with the Masters workshop with Peter Katis & Jon Low

Speakers
avatar for Peter Katis

Peter Katis

Producer/ Engineer
Peter Katis is a Grammy Award-winning producer, engineer, mixer, and musician who works primarily out of his residential studio in Bridgeport, Connecticut. Associated primarily with the “indie rock” genre, Katis has worked with many bands over the last twenty-five years including... Read More →
avatar for Jonathan Low

Jonathan Low

Producer/ Engineer
Jonathan Low is a Grammy award-winning engineer, mixer and producer based out of Long Pond in Hudson Valley, NY.


Thursday October 20, 2022 3:00pm - 4:00pm EDT
Mix with the Masters (Exhibits Floor)
  Mix with the Masters workshops
  • badge type: Exhibits+

3:00pm EDT

Education and Careers Fair
The only audio centered college fair of its kind in the world!

This event is open to any institution with audio-related curriculum. (Certificates, Undergraduate, Graduate, Associates are all welcome!) There is no fee to participate in this event, but you will need to be registered for the Convention to attend. Once you are RSVP’d you will be contacted with details about your table assignment and location.

If you are a high school educator, you’ll meet fellow educators from institutions across the world. I hope you will make it a point to visit this exhibition to gain a better understanding about the breadth of our community and the various opportunities for your students many audio related interests.

If you are a high school teacher who teaches in or around the NYC area, you are invited to bring your students to this event. 


Sign Up Your School Now

Thursday October 20, 2022 3:00pm - 5:00pm EDT
Education Center
  Education and Students
  • badge type: EXHIBITS+ or ALL ACCESS

3:15pm EDT

How To Be a Great Peer Reviewer for the AES Journal
The Journal of the Audio Engineering Society (JAES) utilizes peer review, which means that manuscripts submitted for publication consideration are read and commented upon anonymously by several experts who know the subject area of the article: the reviewers are professional "peers" of the mansucript author(s). The peer review process works best when both the manuscript authors and the anonymous reviewers understand what constitutes a superior review, and make the best use of the opportunity to improve the author's placement of the new work in the context of previously published results, thereby improving the effectiveness of the communication for the Journal's readership. This tutorial is intended for current and prospective Journal article authors and reviewers (including students), and is especially intended for individuals from traditionally underrepresented backgrounds. The presentation summarizes the JAES review process and provides guidelines and key best practices for creating and utilizing superior peer reviews.

Speakers
avatar for Rob Maher

Rob Maher

Professor, Montana State University
Audio digital signal processing, audio forensics, music analysis and synthesis.


Thursday October 20, 2022 3:15pm - 3:45pm EDT
3D09

3:20pm EDT

How good is too good? Audience evaluation of mixes composed of edited audio versus unedited audio.
The fundamental questions addressed here are whether the average listener has the perception to notice the subtle nuances altered in the editing stage of a commercial music product, whether this gives arise to a preference of perfection over performance, and indeed who, in this day and age, the average listener actually is.
The field has come to accept the omnipresent use of tools for pitch correction and synchronicity in modern music production. It is arguably the case that such perfection, and often over perfection, has gained a preference among younger audiences who have grown up accustomed to such production values and that anything less could be considered sub-par.

Speakers
avatar for Andy Brook

Andy Brook

Andy has produced, engineered and toured with the likes of Status Quo, Bonnie Tyler, Ginger Wildheart, Uriah Heep, Francis Rossi, Mel Gaynor, Greg Jackman, Del-Amitri, Travis, Tiger Lillie's, Towers of London, Hayseed Dixie, Million Dead, Breed 77 as well as Universal, Sony & WMG... Read More →


Thursday October 20, 2022 3:20pm - 3:40pm EDT
2D04/05
  Perception, Papers Oct 19 & 20

3:20pm EDT

Determining the Source Location of Gunshots From Digital Recordings
Digital recordings, in the form of photographs, audio or video play an increasingly important evidentiary role in the criminal justice system. One type of audio recording that experts in acoustic forensics may encounter are those produced by the ShotSpotter Respond gunshot location system. This technical note introduces open-source software for extracting the location and timing metadata stored in these recordings, and for performing acoustic multilateration on a set of time differences of arrival determined from ShotSpotter files or any other digital audio file for which sufficiently accurate timing and location metadata are available. The process of determining the source location of a gunshot from three or more digital recordings is futher explained via a set of worked examples, including a simple single-shot incident and an incident in which seven shots were fired from a moving vehicle.

Speakers
avatar for Rob Calhoun

Rob Calhoun

Co-Founder, ShotSpotter, Inc
A founder of ShotSpotter, Rob Calhoun has over 20 years of experience in the field of acoustic gunshot location. He holds S.B and Ph.D. degrees from the M.I.T. Department of Materials Science and Engineering as well as twelve U.S. patents. His favorite algorithm is the Fast Fourier... Read More →


Thursday October 20, 2022 3:20pm - 3:40pm EDT
2D02/03

3:30pm EDT

AIMS Education Initiative
Find out about how AIMS is working to make education in IP media technology to professionals in the media industry more accessible. Here is an update from the Education Working Group on how it is addressing this need, progress to date and plans for the future.

Speakers
avatar for Alun Fryer

Alun Fryer

Technical Marketing, Ross Video
A loyal and passionate professional with over 20 years’ experience in the conception, design and implementation of professional/broadcast solutions. Specializes in understanding customer’s big-picture problems, designing superior solutions and leading technical teams in their... Read More →


Thursday October 20, 2022 3:30pm - 4:00pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

3:40pm EDT

A Machine Learning Approach to Automatic Sound Quality Assessment in Violin Learning
The automatic assessment of music performance has become an area of increasing interest due to the growing number of technology-enhanced music learning systems. In most of these systems, the assessment of musical performance is based on pitch and onset accuracy, but very few pay attention to other important aspects of performance, such as sound quality or timbre. This is particularly true in violin (and other string and wind instruments) education, where the quality of timbre plays a significant role in the assessment of musical performances. However, obtaining quantifiable criteria for the assessment of timbre quality is challenging, as it relies on consensus among the subjective interpretations of experts. We present an approach to assess the quality of timbre in violin performances using machine learning techniques. We collected audio recordings of several tone qualities. We processed the audio recordings to extract acoustic features for training tone-quality models. Feature information for discriminating different timbre qualities were investigated. Initial computational models were trained using machine learning techniques with selected audio features to provide feedback on tone quality. A real-time feedback system designed for pedagogical use was implemented in which users can train their own timbre models to assess and receive feedback on their performances.

Speakers
RR

Rafael Ramirez

Machine Learning, Data Mining, Data Science, Computer Science, Predictive Analytics


Thursday October 20, 2022 3:40pm - 4:00pm EDT
2D02/03

3:45pm EDT

VCV Rack tutorial with Michael Bierylo
Modular synthesizers have enjoyed a resurgence in recent years as manufacturers embrace the Eurorack format. Although these custom built systems offer an astonishing range of creative possibilities, the learning curve can be quite steep. This workshop will focus on the fundamentals of modular synthesis using VCV Rack, a virtual modular synthesis system.   Participants will learn the fundamentals of all modular systems in a series of tutorials that start with a basic synthesizer patch and develop into a more complex system. 

Participants will be required to bring their laptops and headphones to learn and practice as the workshop proceeds.

VCV Rack 2.0 should be downloaded and installed prior to arrival to the session. https://vcvrack.com/Rack#get. For this session we will be using the free version, so there is no need to purchase a license. 

No prior experience is required for this session. Anyone is welcome, as the session is intended for beginner to intermediate users with no prior experience with modular synthesizers. 




________________________________
An additional fee is required to attend this session.

The number of spaces in each session is limited and will be available on a first come, first serve basis.

Register here


Speakers
avatar for Michael Bierylo

Michael Bierylo

Chair, Electronic Production and Design, Berklee College of Music
Michael Bierylo is an electronic musician, guitarist, composer, and sound designer. He has been a faculty member at Berklee College of Music since 1995 and is currently Chair of the Electronic Production and Design Department where he led the development of Berklee’s Electronic... Read More →


Thursday October 20, 2022 3:45pm - 4:45pm EDT
3D12
  Skill Building Sessions
  • badge type: separate registration required - see link above

4:00pm EDT

Improving Domain Generalization Via Event-Based Acoustic Scene Classification
Acoustic Scene Classification (ASC) has been typically addressed by feeding raw audio features to deep neural networks. However, such an audio-based approach has consistently proved to result in poor model generalization across different recording devices. In fact, device-specific transfer functions and nonlinear dynamic range compression highly affect spectro-temporal features, resulting in a deviation from the learned data distribution known as domain shift. In this paper, we present an alternative ASC paradigm that involves ditching the classic end-to-end audio-based training in favor of gathering an intermediate event-based representation of the acoustic scenes using large-scale pretrained models. Performance evaluation on the TAU Urban Acoustic Scenes 2020 Mobile Development dataset shows that the proposed event-based approach is up to 160% more robust than corresponding audio-based methods in the face of mismatched recording devices.

Speakers

Thursday October 20, 2022 4:00pm - 4:20pm EDT
2D02/03

4:00pm EDT

RAVENNA's [10]12 Year Anniversary: How RAVENNA came to life
An entertaining view on things you probably didn't (want to) know about RAVENNA

Speakers
avatar for Andreas Hildebrand

Andreas Hildebrand

RAVENNA Evangelist, ALC NetworX
Andreas Hildebrand is an Evangelist for the RAVENNA technology developed by ALC NetworX, Germany. His experience is based on more than 30 years of occupation within the Professional Audio / Broadcasting industry.He received a graduate diploma in computer science and worked as a software... Read More →


Thursday October 20, 2022 4:00pm - 4:30pm EDT
Media over IP Pavilion Exhibit Floor
  Media over IP
  • badge type: Exhibits+

4:00pm EDT

Summer of Soul: Cultural phenomenon and Technical Tour De Force
Unpacking the making of the Academy Award winning feature from music direction to music mixing and audio restoration. A contemporary of the Woodstock concert this festival took place in Harlem the very same year. The recordings and story of the event were nearly lost.

Speakers
avatar for Carl Beatty

Carl Beatty

My work as a recording industry professional, professor of music production and engineering, and as an academic executive leader spans over forty years. From my beginnings at Mediasound through long and storied second and third careers at Berklee College of Music, I have subtly yet... Read More →
avatar for Jonathan Wyner

Jonathan Wyner

Educator/Engineer, M Works/Berklee College
Chair 153rd AES Convention NYC October 2022, AES Past President (2021), Mastering Engineer, Producer, Product Consultant, Professor at Berklee College of Music


Thursday October 20, 2022 4:00pm - 5:00pm EDT
3D05/08

4:00pm EDT

Large Scale System Optimization and Design
The session will discuss the design and tuning of large-scale festival, stadium and arena sound reinforcement systems. Emphasis will be on practical methods of design and optimization carried out on short time lines. Field examples of several 2022 festivals and stadium shows will be discussed as well as a recently completed arena tour. Presenters will include Bob McCarthy (Director of System Optimization at Meyer Sound) and Michael Lawrence (Rational Acoustics).

Speakers
avatar for Michael Lawrence

Michael Lawrence

Hyphen Wrangler, Rational Acoustics
Michael is a freelance system engineer (artist credits include Ghost, Volbeat, Miguel and Danny Elfman) and the author of the book Between the Lines: Concepts in Sound System Design and Alignment. He is also a Smaart instructor for Rational Acoustics, where he acts as Product Manager... Read More →
avatar for Bob McCarthy

Bob McCarthy

Meyer Sound Laboratories
Bob McCarthy’s involvement in the field of sound system optimization began in 1984 with the development of Source Independent Measurement™ (SIM™) with John Meyer at Meyer Sound Laboratories. Since that time he has been an active force in developing the tools and techniques of... Read More →


Thursday October 20, 2022 4:00pm - 5:00pm EDT
3D03

4:15pm EDT

DEI Roundtable with Eleanor T. Loiacono
This is the first in-person AES DEI roundtable since COVID-19. We will discuss exciting DEI advocacies that are currently in progress, such as our two DEI funding initiatives, one DEI mentorship program, one DEI publication initiative, and one data research initiative. Meanwhile, a DEI expert from the Association for Information Systems, Professor Eleanor T. Loiacono, Ph.D., will share her knowledge and experience in bringing NSF grants for promoting DEI in STEM societies. She is the Principal Investigator on a three-year, $1 million National Science Foundation ADVANCE grant.

Speakers
avatar for Eleanor T. Loiacono

Eleanor T. Loiacono

Professor of Business Analytics, Raymond A. Mason School of Business at William and Mary
I'm a Professor of Business Analytics at the Raymond A. Mason School of Business at William and Mary. My expertise centers on the intersection of technology and people. Over the past 20 years, I have focused on how people feel about the technology they use and how technologies, such... Read More →
avatar for Jiayue Cecilia Wu

Jiayue Cecilia Wu

Assistant Professor, University of Colorado Denver
Originally from Beijing, Jiayue Cecilia Wu (AKA: 武小慈) is a scholar, composer, vocalist, multimedia technologist, and audio engineer. Cecilia earned her Bachelor of Science degree in Design and Engineering in 2000. She then worked as a professional musician at EMI Records and... Read More →
avatar for Mary Mazurek

Mary Mazurek

Audio Educator/ Recording Engineer, University of Lethbridge
Audio Educator at the University of Lethbridge. GRAMMY-nominated recording engineer based in Lethbridge, AB and Chicago, IL. Research & professional work: classical and acoustic music recording, live radio broadcast, podcasting, the aesthetic usage of noise, noise art, sound art... Read More →


Thursday October 20, 2022 4:15pm - 5:00pm EDT
3D11

4:20pm EDT

Interpretation of audio forensic information from the shooting of journalist Shireen Abu Akleh
User generated recordings (UGRs) are increasingly presented as evidence in forensic investigations due to the
widespread use of handheld cameras, smartphones, and other portable field recording devices. A case study comes from the shooting death of well-known Al Jazeera television correspondent Shireen Abu Akleh on May 11, 2022. Ms. Abu Akleh was killed by a gunshot while reporting from the West Bank city of Jenin during a clash between Israeli Defense Forces and armed Palestinian militants. The fatal gunshot was not captured on video, but the microphones of at least two cameras at the scene recorded the sound of multiple gunshots. In this paper, we describe the acoustic evidence from the incident, including the estimates of the various geometric and physical parameters and the likely range of uncertainty of those measurements, and present a forensic estimate of the distance between the firearm and the recording microphones.

Speakers
avatar for Rob Maher

Rob Maher

Professor, Montana State University
Audio digital signal processing, audio forensics, music analysis and synthesis.


Thursday October 20, 2022 4:20pm - 4:40pm EDT
2D02/03

6:00pm EDT

DEI Mixer
Thursday October 20, 2022 6:00pm - 7:00pm EDT
  Diversity Equity and Inclusion
  • badge type: EXHIBITS+ or ALL ACCESS
 
Friday, October 21
 

11:00am EDT

Power Station performance and tour
Attend a live recording session and 360 cinematic VR capture in historic Studio A of Power Station at BerkleeNYC.

Meet at Power Station at 11:00 AM
441 W 53rd street, in Hell's Kitchen, between 9th and 10th Avenue.
Covid policy: proof of vaccination or wear a mask

11:00 AM-1:00 PM 360 Capture & Recording Session
1:30 PM - 2:30 PM - Optional Concert in the Blackbox theater at Power Station

PRE-REGISTRATION REQUIRED
Tickets will be available at the AES registration desk in the Javits Center.
Priority will be given to All Access Badge holders.



Friday October 21, 2022 11:00am - 1:00pm EDT
Off-site
  Tech Tour
  • badge type: Tickets will be available at the registration desk

11:00am EDT

Ex Machina Soundworks - Designing & Manufacturing High End Speakers in Brooklyn
Ex Machina Soundworks - Designing & Manufacturing High End Speakers in Brooklyn, NY
 
Creating a Flawless Listening Environment with WSDG and NIRO Analysis & Prediction - an AES 153rd Convention Technical Tour

Ex Machina Soundworks is a pioneering designer/producer/ manufacturer of ultra-high performance studio monitors.  The firm’s entire range of products are created, built, and calibrated in their East Williamsburg facility located at 96 Ingraham Street, Brooklyn New York.  Formed in 2016 by Dev Avidon, an accomplished tracking, mixing and mastering engineer with partners William Tse, Dimitri Wolfwood and Dan Physics, Ex Machina has developed a full range of phase linear, constant directivity loudspeakers for nearfield to mains monitoring applications including Arcturus, a brand-new soffit model developed in conjunction with the facility’s recently completed NIRO/WSDG-optimized demo room.  
The studios’ superlative Listening Room was custom designed by WSDG with the assistance of NIRO™, (Non-Cuboid Iterative Room Optimizer.) developed by REDIAcousticsan R&D firm dedicated to high performance audio and acoustic analysis, formed by Dr. Peter D’Antonio, founder of RPG Diffusor Systems Inc., WSDG co-founder, John Storyk and PK Pandey founder of Guitar Center’s GCPRO B2B Division. NIRO was envisioned as a “wave-based,” computer-modeling tool capable of facilitating the predictive, iterative analysis required to optimize small room design.  A development long considered the acousticians’  “Holy Grail.” 
Scheduled for 11AM on Friday, October 21, the AES Ex Machina Soundworks tour will feature a demonstration of the facility’s mixing/mastering /production suite, the hub of the speaker design firm’s test, measurement, and individual SN calibration process, and their hemi-anechoic chamber.

Ex Machina Soundworks Studio
96 Ingraham Street
Brooklyn, NY 11937


Tickets will be available at the registration desk.

Friday October 21, 2022 11:00am - 2:30pm EDT
Off-site
  Tech Tour
  • badge type: Tickets will be available at the registration desk

6:30pm EDT

Harbor Grand Atmos Stage
Join Harbor for an evening of Dolby Atmos discussion with Chief Engineer Avi Laniado and Sound Supervisor Ian Cymore.

The team will discuss what goes into building an Atmos stage and what it means to work in Dolby Atmos.

DATE: FRIDAY, 10.21
TIME: 6:30PM – 8PM
LOCATION: Harbor Grand Atmos Stage 101 Ave of the Americas NY NY 10014

COVID PROTOCOLS
Masks and negative Covid test encouraged

PRIOR REGISTRATION IS REQUIRED

Tickets are available from the AES Registration services desk. No transportation is provided, ticketed attendees should meet at the above address and will be required to show their tickets.


Friday October 21, 2022 6:30pm - 8:00pm EDT
Off-site
  Tech Tour
  • badge type: EXHIBITS+ or ALL ACCESS
 
Wednesday, October 26
 

11:00am EDT

Opening Remarks
Speakers
avatar for Jonathan Wyner

Jonathan Wyner

Educator/Engineer, M Works/Berklee College
Chair 153rd AES Convention NYC October 2022, AES Past President (2021), Mastering Engineer, Producer, Product Consultant, Professor at Berklee College of Music
avatar for Marcela Rada

Marcela Rada

Professor, University of Lethbridge
Marcela is a talented and accomplished audio engineer that has experience both in the studio and in the classroom teaching university level students the skills of becoming professional audio engineers and music producers. She has worked across music genres recording, editing, mixing... Read More →


Wednesday October 26, 2022 11:00am - 11:10am EDT
Online Workshops
  Special Event
  • badge type: ALL ACCESS or ONLINE

11:10am EDT

La Evolucion Del Workflow En La Producción De Musica Latina Urbana
Este panel reune al conocido productor de música urbana, Nesty, al ingeniero de sonido Marioso y a la artista Nohemy en un panel que discutirá como ha cambiado el proceso de producción musical en el género latino urbano y que será moderado por la ingeniera de sonido, Marcela Rada.

Speakers
avatar for Marioso DeJesus

Marioso DeJesus

Mixer/Producer
MarioSo De Jesus, aka MarioSo, is recognized throughout the music industry as one of the premier mixers/producers in the Latin urban genre. He has been called "the revolutionary sound of Latin urban music", "the ear responsible for your favorite hits", and "the man that will transform... Read More →
avatar for Nesty La Mente Maestra

Nesty La Mente Maestra

Producer, Mente Maestra Music
Ganador de un Grammy y un Latin Grammy
avatar for Nohemy

Nohemy

Artist, Actress, Song Writer
avatar for Marcela Rada

Marcela Rada

Professor, University of Lethbridge
Marcela is a talented and accomplished audio engineer that has experience both in the studio and in the classroom teaching university level students the skills of becoming professional audio engineers and music producers. She has worked across music genres recording, editing, mixing... Read More →


Wednesday October 26, 2022 11:10am - 12:00pm EDT
Online Workshops
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

11:15am EDT

Why do Transients Sound Different on Different Microphones? Descriptions of the Initial 50 ms across 14 microphones
Since the early days of recorded music, producers and engineers have been aware that different microphones can produce strikingly different results when capturing transient sounds. This has led to the widespread use of specific microphones for capturing particular types of sounds, such as drums or vocals. While this approach may seem logical, a comprehensive review of 14 microphones revealed a surprising amount of variation between devices. Current wisdom dictates that frequency response graph determines the response of the microphones to most signals throughout the duration of the signal. The underlying misunderstanding is that microphones respond the same throughout this duration. In reality, each microphone will have a different response across the initial 50 ms of a transient. As such, it is critical to capture the beginning portion of the transient with a microphone that has the appropriate behavior.

When empirically tested, we notice that 14 microphones responded differently to the same signal in terms of their time domain response during the first 50 ms. We write this paper as a detailed question to the larger community, to explain phenomena that might explain this behaviour. In doing so we hope to encourage more research in this area so that further advances in objective measurement of microphone performance are possible.

To set up this question, a single transient is measured across 14 microphones. Each microphone has been set up with its capsule equidistant to the source. The transients are analysed with numerous feature extraction methods, and in doing so, we compare the results and discuss the reasoning and rationale of each feature extraction method. We present our findings in the context of a question, to stimulate discussion and further research. The discussion is extended with possible explanations for the differences between microphones with our counterarguements therein. We conclude the paper by suggesting several hypotheses which posits the characteristics of the microphones that seem to deviate from other more typical responses.

Our findings might help producers and engineers to better understand the behaviour of specific microphones when considering which microphone is suitable for the transient necessary.

Speakers
CJ

Christopher Johann Clarke

PhD Candidate, Christopher Clarke
Christopher Clarke is a PhD candidate studying at SUTD (Multiphysics, A.I/Machine Learning) with a background in music specialising in generative algorithms(MMus) and psychophysics in music(BA, recipient of Phillip Holt Award). 


Wednesday October 26, 2022 11:15am - 11:30am EDT
Online Papers
  Transducers
  • badge type: ALL ACCESS or ONLINE

11:30am EDT

Design Optimization of Acoustic Structures Using Geometry Parameterization and Particle Swam Optimization Algorithm
Geometry design of acoustic components, such as horns and surrounds, is time-consuming and complicated. A design process is introduced in this paper to shorten the design-test-optimize cycle. There are three parts in this design process. First part is geometry parameterization. Formulas to build the shape of geometry are given, from 2D profile to 3D geometry. In the second part, acoustic property of the acoustic components is simulated, for example the sound pressure level (SPL) is advised to study in most acoustic components design. Optimization is carried out in the third part. With the help of particle swarm optimization (PSO) algorithm, the geometry parameters are modified to improve acoustic property. We take horn as an example in this paper. But the parametric geometry and optimization method above is highly flexible and can be performed in diverse structures, such as acoustic diffuser and port, etc. The whole process is assembled in one software, which makes the design program easy to handle and high-efficiency.


Wednesday October 26, 2022 11:30am - 11:45am EDT
Online Papers
  Transducers
  • badge type: ALL ACCESS or ONLINE

11:45am EDT

Wave-Shaping using novel single-Parameter waveguides
PA systems looking to cover a wide audience area with coherent sound are limited by current horn technology. With conventional single-surface horns, one can achieve either high input impedance or wide directivity but not both. Existing wave-shaping devices try to overcome these issues, but most are unable to transmit a wave coherently (without reflection, diffraction or resonance).
In this paper, we present a new type of wave-shaping waveguide based on maintaining single-parameter wave behaviour throughout the waveguide over a wide frequency range. Various examples are included illustrating the performance benefits of this type of waveguide compared to conventional solutions.

Speakers
MD

Mark Dodd

head of group research, GP Acoustics
Having graduated with a BSc in Physics from Southampton University in the UK Mark started his career in audio at Vitavox in 1981 where he had his first experience in compression driver design and gained a masters degree in applied-acoustics at Chelsea College London University in... Read More →


Wednesday October 26, 2022 11:45am - 12:00pm EDT
Online Papers
  Transducers
  • badge type: ALL ACCESS or ONLINE

12:00pm EDT

Modeling Force-Deflection Curves of Loudspeaker Spiders Beyond Their Buckling Point
Size and design constraints in products such as soundbars and TVs require loudspeaker spiders of small diameter to allow for large voice-coil excursion. Spider designs that undergo exceedingly large displacements can exhibit buckling of the spider rolls, resulting in very audible distortion. Such buckling events are non-trivial to simulate with finite element methods and often lead to solver non-convergence. When wrapping numerical optimization algorithms around the finite-element simulations to achieve optimal spider designs, it is important to ensure that all simulated designs can be solved without errors or convergence issues. The optimal spider design might be right within the buckling limits and an automated numerical optimization algorithm will need to be able to resolve some designs that exhibit buckling. This work shows how an augmented FEM method can be used to circumvent issues when employing numerical optimization for a spider design near its buckling limits.

Speakers

Wednesday October 26, 2022 12:00pm - 12:30pm EDT
Online Papers
  Transducers
  • badge type: ALL ACCESS or ONLINE

12:00pm EDT

Implications of latency in digital audio environments
The discussion will outline the challenges of interfacing with digital audio technology and the added latency. Latency affects our response time, and affects our musical performance and experience, such as when we build instruments with digital interfaces, design live sound installations with various digital equipment, and collaborate and perform remotely online and over increasingly greater distances.

The panel experts will address technical, cultural, social, musical and neurological implications and present their research and solutions relating to their field expertise as practitioners in sound reinforcement, low latency hardware design, instrument building, remote collaboration tooling, distance-based music performance & improvisation, cultural sciences and the effects of latency on social rhythms, and neurology.

The outcome of the panel will be a wider understanding of how latency, when it related to human interaction, is a recent phenomenon created by digital technology and there are many creative solutions and approaches to what is perceived largely as an inconvenience, not an opportunity.

Speakers
avatar for Stefano Zambon

Stefano Zambon

CTO, Elk
Wearing several hats in a music tech startup building Elk Audio OS. Loves all aspects of music DSP from math-intense algorithms to low-level kernel hacking for squeezing latency and performance.
avatar for Ruurd Adema

Ruurd Adema

Software developer, Owllab
CN

Caroline Nevejan

University of Amsterdam
MH

Micha Heilbron

Donders Institute for Brain, Cognition and Behaviour
KD

Karst der Jong

Yong Siew Toh Conservatory of Music
avatar for Rebekah Wilson

Rebekah Wilson

CEO, Source Elements LLC
Rebekah is the technical co-founder and CEO who co-created the entire suite of Source Elements software. With a degree in music composition and a lifetime of love for technology, Rebekah has focused her career as a composer, electronic music researcher, and software developer - with... Read More →


Wednesday October 26, 2022 12:00pm - 12:45pm EDT
Online Workshops
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

12:45pm EDT

In room acoustic simulation of television type reproduction environments
The quality of sound reproduction in living spaces are determined by the attributes of the loudspeaker, and the acoustic qualities of the reproduction space. This is also true for the special case of television set reproduction. In order to improve reproduction quality, the ability to predict the acoustic response of a television set in specific room environments is advantageous. In this work, a combined finite element/geometric acoustic simulation regime is prepared and specialised for television set installations. A television set is characterised as an acoustic source based on a set of anechoic measurements. Typical television set installation conditions can be problematic for conventional transparent source models, and so a counter strategy is proposed to improve a classic image source model by additionally utilising semi-anechoic measurements. The simulation techniques are evaluated by comparing simulated with measured in-room responses for a characterised television set source in wall-mount and table-top installation conditions with a conventional loudspeaker source reference case.

Speakers
LK

Liam Kelly

Principle Engineer, Samsung Electronics
Liam Kelly (Ph.D.) is a Principal Engineer at Samsung Electronics.   Liam received a first-class bachelor’s degree in audio technology in 2003 from University of Salford, and completed his doctoral degree in acoustical engineering from the same university in 2010.  In his professional... Read More →



Wednesday October 26, 2022 12:45pm - 1:00pm EDT
Online Papers
  Room Acoustics
  • badge type: ALL ACCESS or ONLINE

1:00pm EDT

A case study investigating the interaction between tuba acoustic radiation patterns and performance spaces
Previous work suggests that instrument directivity patterns can interact in interesting ways with their acoustic environments. This paper describes a case study of the tuba, an instrument that possesses a particularly directional radiation pattern, in the context of a small recital hall. We perform our acoustic simulations using ODEON room acoustics software [1], a CAD model of the recital hall [2], a recorded impulse response function [3], and an empirical tuba directivity pattern from a recently published database [4]. We conduct simulations at listener locations spread throughout the hall for two different performer configurations: one where the tuba player faces directly towards the audience, and one where the tuba bell points directly towards the audience. We show that several objective acoustic parameters – C80 (clarity index), LF80 (lateral fraction) and BR(SPL; bass ratioSPL(dB)) – are substantially affected both by performer orientation and by listener position. Our results show how tuba players need to be particularly sensitive to decisions about performance configurations, as they are likely to influence the listening experience substantially.

Speakers
avatar for Silas Sanders

Silas Sanders

University of Cambridge
avatar for Peter Harrison

Peter Harrison

Director of the Centre for Music and Science, University of Cambridge


Wednesday October 26, 2022 1:00pm - 1:15pm EDT
Online Papers
  Room Acoustics
  • badge type: All Access or OnLine

1:15pm EDT

On the spherical directivity of the singing voice; a case study of professional singers in Greek Classical and Byzantine music
This work presents the initial results of a study examining the spherical directivity and formant analysis of the Greek singing voice. The study aims to contribute to vocal production research and to the design of simulation, auralization, and virtual reality systems with applications involving speech and music. Unlike previous works focusing mainly on the horizontal plane, this study reports results on three elevation angles (+30◦, 0◦, and -30◦). Six professional singers in Greek Classical and Byzantine music were recorded signing in a sound-treated space using a 29-microphone array mounted on a semi-spherical thin-shell structure. The collected dataset consists of short song excerpts and vowel sounds at different pitches. Directivity results across all elevation angles are reported based on overall and per third-octave band RMS levels. Formant analysis of the five Greek vowel sounds is also introduced

Speakers
AA

Areti Andreopoulou

Assistant Professor, National and Kapodistrian University of Athens


Wednesday October 26, 2022 1:15pm - 1:45pm EDT
Online Papers
  Room Acoustics
  • badge type: ALL ACCESS or ONLINE

1:30pm EDT

A Deep Dive into DAW Digits Part 2: How do you Dither and Noise Shaping Floating Point Processing?
Digital Audio Workstations (DAWs) are now using floating-point arithmetic for their signal processing. This allows for a far wider dynamic range within the DAW, and file storage. However, the way this processing might affect the audio signal is not so well known. The older fixed-point methods of processing are much better understood and applying remedies such as “dither” when the signal is rounded, is well known.

However, floating-point numbers are dynamic entities that depend on the instantaneous value of the audio signal. This means that the step size of the underlying digital word is continually changing dependent on the sample value. How does this affect the audio signal? What is the effect of adding such signals together? Importantly, how might we effectively apply “dither” to such signals?

The purpose of this tutorial is to look at floating point numbers and arithmetic in some detail with a view to gaining some insight into their effect on the audio signal and to see how we might apply dither and noise shaping to them.
We will look at both floating-point and fixed-point number formats to understand how they differ. We will also examine the performance of both formats to understand what penalties floating-point numbers impose for their greater dynamic range when compared to the equivalent sized fixed-point number.

We then look at how to add/subtract and multiply floating-point numbers with a view to understanding how add/subtract operations in particular can be an issue because, if they are not carefully implemented, they can cause significant damage to the audio signal.

Finally, we will look at techniques applying both “dither” and noise-shaping in a floating point environment and will look at some specific examples. In particular, the conversion from floating point to fixed point numbers for output to digital to analogue converters or mastering.

This Tutorial is an extension of the one presented at last year's Fall Convention and will focus on how to actually implement dithering and noise shaping on floating point numbers.

The tutorial will be at a level that should allow it to be understandable to; students, users of DAWs, and signal processing, and plug-in developers, and will allow them to use and program DAWs more effectively, mindful of audio quality.

Speakers
avatar for Jamie Angus-Whiteoak

Jamie Angus-Whiteoak

Emeritus Professor/Consultant, University of Salford/JASA Consultancy
Jamie Angus-Whiteoak Is Emeritus Professor of Audio Technology at Salford University. Her interest in audio was crystallized at age 11 when she visited the WOR studios in NYC on a school trip in 1967. After this she was hooked, and spent much of her free time studying audio, radio... Read More →


Wednesday October 26, 2022 1:30pm - 2:15pm EDT
Online Workshops
  Product Development
  • badge type: ALL ACCESS or ONLINE

2:00pm EDT

Multiband time-domain crosstalk cancellation
Pioneered in the sixties, Crosstalk Cancellation (CTC) allows for immersive sound reproduction from a limited number of loudspeakers. Upcoming virtual reality and augmented reality applications, as well as widespread availability of 3D audio content, have boosted interest in CTC technologies over the recent years. In this paper, we present a novel multiband approach to CTC, evolving and superseding our original work based on modeling of the system’s geometrical acoustics. This new solution, whilst keeping a simple processing model, offers improved CTC effectiveness, reduced residual coloration and wider bandwidth. The enhanced performance of our new approach has been confirmed by laboratory experiments.

Speakers
TH

Thierry Heeb

Senior Researcher, SUPSI
Very much interested in real-time digital signal processing


Wednesday October 26, 2022 2:00pm - 2:30pm EDT
Online Papers
  Spatial Audio
  • badge type: ALL ACCESS or ONLINE

2:30pm EDT

Immersive Personal Sound Using a Surface Nearfield Source
This paper discusses sound reproduction using a surface nearfield source, which is categorized between headphones and loudspeakers providing also a natural audio-tactile augmentation to the listening experience. The surface nearfield source can be embedded for example in the headrest as a personal sound system. In this sense it has similarities to headphones, but there is no need to wear a device. The surface nearfield source has also several other advantages, such as suppressed room effect and haptic effects, which enhance the bass perception. Differences and similarities of the surface nearfield source with open and closed headphones, mobile device speakers, and regular loudspeakers are itemized. The surface nearfield source is applicable to e.g. movie theater couches and car seats.

Speakers
avatar for Jukka Linjama

Jukka Linjama

Technologist, Flexound Systems
Developing multisensory audio at FLEXOUND the Augmented Audio Company


Wednesday October 26, 2022 2:30pm - 2:45pm EDT
Online Papers
  Spatial Audio
  • badge type: ALL ACCESS or ONLINE

2:45pm EDT

Perceptual evaluation of immersion in stereo and binaural recording techniques
Long before the rise in popularity of height channels, binaural formats have incorporated spatial information in the vertical dimension with varying success. The two main approaches are the artificial mixing and rendering of processed multitrack audio, and the live recording with a binaural microphone such as a dummy head. This creates a significant threshold and restriction of what is possible in binaural recording.  
In this work, we compare the spatial perceptions associated with a specific selection of stereo and binaural setups, including an industry standard dummy head, a conventional AB stereo pair, and several versions of a novel binaural technique based on a foam ellipsoid. Perceptual evaluation of recordings made with these setups provide insight into the general sense of immersion and ability to localize specific sources. The results demonstrate the merit of the novel technique and indicate promising directions for further research into technically and artistically viable binaural recording methods.

Speakers
avatar for Tom Van Achte

Tom Van Achte

Researcher Immersive Audio, Mastering Engineer, PXL Music


Wednesday October 26, 2022 2:45pm - 3:00pm EDT
Online Papers
  Spatial Audio
  • badge type: All Access or Online

3:00pm EDT

Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music

Multi-capsule microphone techniques are used in recording the multi-dimensionality of musical performances. This paper evaluates two such techniques: one developed with the 6-capsule Double Mid-Side-Z (DMS-Z) array, and the other with the 32-capsule spherical array. The recordings underwent a similar process of decoding using the 3DCC method, in which each set of arrays was mapped onto 8 directional signals on the horizontal plane. From the performance aspect, the music ensemble consisted of four speakers, a subwoofer and two singers moving within the recording space. Two mixes were produced: Mix A with a combination of the 3DCC-decoded DMS-Z array, spot microphones and Hamasaki Square microphones; and Mix B with the 3DCC-decoded spherical array, spot microphones and Hamasaki Square microphones. These immersive mixes were then evaluated for various perceptual characteristics. Detailed subjective testing is yet to be conducted, but the results so far suggest some perceptual differences in the acoustics and perceived movement of the singers. This is ongoing research that aims to understand whether using a similar audio decoding process on two different multi-array microphone configurations can sufficiently eliminate the perceptual differences between them.

Speakers
DH

Diana Hernandez Martinez

Grad student, NYU
Programmer, sound designer, mixing engineer
avatar for Agnieszka Roginska

Agnieszka Roginska

Former AES President, New York University
Agnieszka Roginska is a Professor of Music Technology at New York University. She conducts research in the simulation and applications of immersive and 3D audio including the capture, analysis and synthesis of auditory environments, auditory displays and applications in augmented... Read More →
avatar for Maham Riaz

Maham Riaz

Doctoral Research Fellow, University of Oslo
I am a classically trained musician with a flair for studio life. Studios are where all the magic happens - there is always much to learn from recording, mixing and hardware design. As a composer and performer, I always look for ways to put my research ambitions in context of my compositions... Read More →


Wednesday October 26, 2022 3:00pm - 3:15pm EDT
Online Papers
  Spatial Audio
  • badge type: All Access or Online

3:00pm EDT

Education Research for Audio/Musical Interface Design
What skills do you need from the next generation of audio engineers? How can we educate students in mastering the evolving tools, technics and technologies that will help them strive in audio industry and research? Finally, how can we best help diverse students from various backgrounds produce innovative musical results as compelling as the musical interfaces they create? With the plethora of possible technological tools to create and produce compositions, sonic design, and instruments, it can be difficult for educators to guide students in discovering the right tool or technological language to support their emerging practice. This challenge requires finding ways to navigate the problem space's different dimensions, including the use of open/closed-ended tools, affordances, learned skills, off-the-shelf vs. custom-made tools, individual skill sets, and acoustics/digital approaches. In this context, we will also discuss the value of a platform and database consistently documenting community-driven audio interface design to inform and inspire students' projects and learning experiences. Such a platform could also serve as a repository to allow researchers and educators to better understand the trends, limitations, and strengths of the field and better engage the next generation of audio engineering/production students.

Speakers
avatar for Rébecca Kleinberger

Rébecca Kleinberger

Researcher / Assistant Professor, Northeastern University & MIT
VZ

Victor Zappi

Northeastern University


Wednesday October 26, 2022 3:00pm - 4:00pm EDT
Online Workshops
  Education and Students
  • badge type: ALL ACCESS or ONLINE

3:30pm EDT

Prediction of timbral, spatial, and overall audio quality with independent auditory feature mapping
Listening tests are regarded as the “gold standard” in evaluating the perceptual quality of audio systems. With the surge of applications in virtual and augmented reality, the demand for audio quality evaluations that are more efficient than listening tests has greatly increased. Auditory models are an attractive tool for this purpose, and can greatly complement listening tests. A machine-learning-based model for predicting timbral, spatial, and overall audio quality is presented. When both timbral and spatial attributes are considered, existing models (e.g., MoBi-Q [1]) often assume minimum interaction between the two attributes, and combine their respective quality predictions into a single overall quality judgement. To validate such an assumption, a listening test with various timbral and spatial distortions was conducted. Results revealed a strong correlation between the two quality attributes when moderate distortion is present. Based on this observation, the proposed model preserves the original front-end of MoBi-Q for feature extraction and uses a simple neural network as the decision module that independently maps auditory features to timbral, spatial, and overall quality scores with no explicit assumptions. Using available third-party datasets, our proposed model showed a significantly higher correlation with subjective scores than MoBi-Q for timbral and overall quality. The assessment of spatial audio quality is still ongoing.

Speakers
avatar for Yue Qiao

Yue Qiao

PhD candidate, Princeton University
Yue Qiao is a fourth-year Ph.D. candidate in the 3D Audio and Applied Acoustics (3D3A) Laboratory at Princeton University. His research interests include personal sound zone reproduction, binaural audio reproduction with loudspeakers and/or headphones, and general spatial audio processing... Read More →


Wednesday October 26, 2022 3:30pm - 3:45pm EDT
Online Papers
  Spatial Audio
  • badge type: All Access or Online

4:00pm EDT

Predicting Personalized Head Related Transfer Functions using Acoustic Scattering Neural Networks
recent past. Binaural audio is one of the most convenient formats to deliver accurate spatial audio over headphones. Personalized Head-related Transfer Functions (HRTFs) are an integral component of binaural audio that determines the quality of the spatial audio experience. In this paper, we describe a novel technique to predict personalized HRTFs based on 2D images or a video capture. The state-of-the-art 3D reconstruction techniques were developed for generic objects and thus do not perform well with complex structures such as an ear. We propose a novel 3D reconstruction algorithm that is modeled taking into account the geometry of the ear. The 3D output is then fed to a Acoustic Scattering Neural Network (ASNN) designed on the principles of Boundary Element Method (BEM) that outputs personalized HRTFs. The personalized HRTFs predicted are then compared both objectively with the measured HRTFs. We discuss the results, limitations, and the caveats necessary for an accurate modeling of personalized HRTFs.

Speakers
avatar for Nikhil Javeri

Nikhil Javeri

Manager - Machine Learning R&D, EmbodyVR Inc
As a Manager for Machine Learning R&D at Embody, I am tasked with overseeing projects that combine psychoacoustics with machine learning. I am currently working on projects that help characterize acoustic scattering around structural human topology using multi-modal machine learning... Read More →


Wednesday October 26, 2022 4:00pm - 4:15pm EDT
Online Papers
  Spatial Audio
  • badge type: All Access or Online

4:00pm EDT

Moving Forward: AES DE&I Data Collection Task Force initiative
AES is seeking, as a STEM society, to better understand who we are through our Data Collection Task Force Initiative. This initiative was formed in 2019 and currently gaines funding support from ACCESS+ through NFS. The task force will help us in providing programs and presentations that best serve our diverse members. We would seek to further our efforts by contracting DE&I expert Dr. Lucas Hill to aid us in defining our goals, crafting relevant survey questions, and guiding us in collecting and analyzing the data. After developing and implementing this initial plan, we foresee the launch of a survey with data collection and analysis as proof of our continuing commitment and dedication to this DEI initiative. We will also invite another 1-3 experts in the field to contribute to this topic.

Speakers
avatar for Jiayue Cecilia Wu

Jiayue Cecilia Wu

Assistant Professor, University of Colorado Denver
Originally from Beijing, Jiayue Cecilia Wu (AKA: 武小慈) is a scholar, composer, vocalist, multimedia technologist, and audio engineer. Cecilia earned her Bachelor of Science degree in Design and Engineering in 2000. She then worked as a professional musician at EMI Records and... Read More →
avatar for Mary Mazurek

Mary Mazurek

Audio Educator/ Recording Engineer, University of Lethbridge
Audio Educator at the University of Lethbridge. GRAMMY-nominated recording engineer based in Lethbridge, AB and Chicago, IL. Research & professional work: classical and acoustic music recording, live radio broadcast, podcasting, the aesthetic usage of noise, noise art, sound art... Read More →
avatar for Jonathan Wyner

Jonathan Wyner

Educator/Engineer, M Works/Berklee College
Chair 153rd AES Convention NYC October 2022, AES Past President (2021), Mastering Engineer, Producer, Product Consultant, Professor at Berklee College of Music
avatar for Eleanor T. Loiacono

Eleanor T. Loiacono

Professor of Business Analytics, Raymond A. Mason School of Business at William and Mary
I'm a Professor of Business Analytics at the Raymond A. Mason School of Business at William and Mary. My expertise centers on the intersection of technology and people. Over the past 20 years, I have focused on how people feel about the technology they use and how technologies, such... Read More →
avatar for Richa Namballa

Richa Namballa

Graduate Student, New York University
Richa Namballa is a Master’s student in NYU’s Music Technology program. She currently works at the Music and Audio Research Laboratory (MARL) the direction of Dr. Pablo Ripollés researching the physiological responses of the human body to music in the form of goosebumps. Currently... Read More →


Wednesday October 26, 2022 4:00pm - 5:00pm EDT
Online Workshops
  Diversity Equity and Inclusion
  • badge type: ALL ACCESS or ONLINE

4:15pm EDT

Binaural Externalization Processing - from Stereo to Object-Based Audio
In both entertainment and professional applications, conventionally produced stereo or multi-channel audio is increasingly delivered over headphones or earbuds. Use cases involving object-based binaural audio rendering include recently developed immersive multi-channel audio distribution formats, along with the accelerating deployment of virtual or augmented reality applications and head-mounted displays. The appreciation of these listening experiences by end-users may be compromised by an unnatural perception of the localization of frontal audio objects: commonly heard near or inside the listener's head even when their specified position is distant. This artifact may persist despite the provision of perceptual cues that have been known to partially mitigate it, including artificial acoustic reflections or reverberation, head-tracking, personalized HRTF processing, or reinforcing visual information. In this paper, we review previously reported methods for binaural audio externalization processing, and extend a recently proposed approach to address object-based audio rendering.

Speakers
avatar for Jean-Marc Jot

Jean-Marc Jot

Principal / CSO, Jean-Marc Jot
Virtuel Works provides spatial audio technology IP creation, strategy and licensing services.  SonicCloud is a comprehensive audio personalization software solution for hearing enhancement.  (For more information, please see LinkedIn profile.)
avatar for Alexey Lukin

Alexey Lukin

Prinicipal DSP Engineer, iZotope Inc
Alexey specializes in audio signal processing, with particular interest in similarities with image processing in spectral analysis, noise reduction, and multiresolution filter banks. He earned his M.S. (2003) and Ph.D. (2006) in computer science from Lomonosov Moscow State University... Read More →
avatar for Christopher Landschoot

Christopher Landschoot

Virtuel Works
Chris' work bridges the gap between music, audio, acoustics, and technology. Chris is an avid musician who writes and produces his own music, and works as an acoustics consultant designing the acoustics of the built environment. He also has a passion for audio and technology which... Read More →


Wednesday October 26, 2022 4:15pm - 4:30pm EDT
Online Papers
  Spatial Audio
  • badge type: ALL ACCESS or ONLINE

4:30pm EDT

The Psychoacoustic Perception of Distance in Monophonic and Binaural Music
Music plays an important role in immersive environments. With the rise in immersive technology, scientists in the field have been researching how music is perceived in extended reality (XR), in an attempt to improve the authenticity of audiovisual experiences. The auditory perception of distance is an important issue in 3D virtual environments but has been considered an obscure area. The study aims to compare monophonic and binaural signals for better localization, over different types of music audio sources.

A listening test was conducted with five different types of music sources in Near, Medium, and Far locations. The results indicate that some localization cues gain more relevance than others, depending on the distance that an audio signal originates from. The direct-to-reverberant energy ratio, in conjunction with binaural processing, contributes significantly to conveying the distance perception of a sound. It is also concluded that distant signals are better perceived as being distant if the sound signal is mono rather than binaural. The findings of this study contribute to the development of psychoacoustic research in XR environments.

Speakers
avatar for Maham Riaz

Maham Riaz

Doctoral Research Fellow, University of Oslo
I am a classically trained musician with a flair for studio life. Studios are where all the magic happens - there is always much to learn from recording, mixing and hardware design. As a composer and performer, I always look for ways to put my research ambitions in context of my compositions... Read More →
avatar for Agnieszka Roginska

Agnieszka Roginska

Former AES President, New York University
Agnieszka Roginska is a Professor of Music Technology at New York University. She conducts research in the simulation and applications of immersive and 3D audio including the capture, analysis and synthesis of auditory environments, auditory displays and applications in augmented... Read More →


Wednesday October 26, 2022 4:30pm - 4:45pm EDT
Online Papers
  Spatial Audio
  • badge type: ALL ACCESS or ONLINE

4:45pm EDT

Volumetric Amplitude Panning and Diffusion for Spatial Audio Production
Spatial audio production, especially multichannel, and dolby atmos formats are becoming increasingly common for both music, cinematic, and gaming applications. With several spatial audio formats on the rise, it is important to rethink the tools that are required to represent sound objects in 3D that are highly intuitive, accurate, and effectively translates ideas into perceptual reality. A 3D panner is one such tool that is fundamental to any spatial audio production workflow, which accurately places a sound source or an object to any point in the 3D space. Traditional techniques such as Vector Based Amplitude Panning (VBAP) require the listener to be positioned at a “sweet spot” surrounded by loudspeakers either on a 2D ring or a 3D sphere. In this paper, we describe a novel algorithm for volumetric amplitude panning that does not assume any sweet spot and works for any loudspeaker layout, both asymmetric and symmetric. We also present geometric and distance based diffusion techniques that ensure smooth spread across all directions, distances, and diffusion amounts.


Wednesday October 26, 2022 4:45pm - 5:00pm EDT
Online Papers
  Spatial Audio
  • badge type: ALL ACCESS or ONLINE

5:00pm EDT

The future of music in the age of generative AI
With the rise of GPT-3 and Dall-E, it is clear that how we create is undergoing a paradigm shift. Machines are no longer just about speed and accuracy. AI has entered the creative arena, engaging across a wide range of domains from visual art to poetry and music. How will this transformation impact musicians? Does generative technology represent a threat, or can it really make humanity more creative?

This panel will address these questions from a variety of perspectives - those who are serving the music industry through generative AI, as well as musicians who are impacted by it.

Speakers
avatar for Maya Ackerman

Maya Ackerman

CEO, WaveAI
Dr. Ackerman is a leading expert on Artificial Intelligence and Computational Creativity, named “Woman of Influence” by the Silicon Valley Business Journal. She is the CEO/Co-Founder of WaveAI, a leading musical AI startup. Under Ackerman’s leadership, WaveAI is defining h... Read More →
JM

James Morgan

San José State University
avatar for Daniel Rowland

Daniel Rowland

Head of Strategy and Partnerships, LANDR Audio Inc.
Daniel Rowland is an audio engineer, producer, educator, and tech executive. He holds both a B.S and M.F.A in Music Technology, and is currently Head of Strategy and Partnerships at Montreal’s LANDR Audio, co-founder of Audiotool and Immersive Mixers, and longtime professor at MTSU... Read More →
avatar for Curtiss King

Curtiss King

Artist/ Producer/ Entrepreneur, Curtiss King
D’wan “Curtiss King” Howard is an award-winning rapper and producer who has captured the hearts and ears of hundreds of thousands of music listeners and creators. He has produced for hip hop artists such as Kendrick Lamar, Ab-soul, E-40, and Murs. His music has been featured... Read More →


Wednesday October 26, 2022 5:00pm - 6:00pm EDT
Online Workshops
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

6:00pm EDT

Keynote interview with Josh Harmon
Josh Harmon is a musician and comedian from Short Hills, New Jersey. He combined his two interests to create the internationally renowned viral video series “Rhythms of Comedy,” in which he plays drums alongside standup comedy and sitcom scenes to highlight moments of good comedic timing. In this session moderated by Marcela Rada, we'll learn about Josh's journey to become the well-known sound designer he is today. Josh will share insights on how he developed his skills and what inspires him to create innovative content.

Moderators
avatar for Marcela Rada

Marcela Rada

Professor, University of Lethbridge
Marcela is a talented and accomplished audio engineer that has experience both in the studio and in the classroom teaching university level students the skills of becoming professional audio engineers and music producers. She has worked across music genres recording, editing, mixing... Read More →

Speakers

Wednesday October 26, 2022 6:00pm - 7:00pm EDT
Online Workshops
  Special Event
  • badge type: All Access or Online
 
Thursday, October 27
 

11:00am EDT

Higher order ambisonics compression method based on autoencoder
The compression of three-dimensional sound field signals has always been a very important issue. Recently, an Independent Component Analysis (ICA) based Higher Order Ambisonics (HOA) compression method introduces blind source separation to solve the shortcomings of discontinuity between frames in the existing Singular Value Decomposition (SVD) based methods. However, ICA is weak to model the reverberant environment, and its target is not to recover original signal. In this work, we replace ICA with autoencoder to further improve the above method’s ability to cope with reverberation conditions and ensure the unanimous optimization both in separation and recovery by reconstruction loss. We constructed a dataset with simulated and recorded signals, and verified the effectiveness of our method through objective and subjective experiments.

Speakers
TQ

Tianshu Qu

Peking University
avatar for Jiahao Xu

Jiahao Xu

Student, Peking University
ZY

Zeyu Yuan

Beijing, China, Peking University
XW

Xihong Wu

Peking University


Thursday October 27, 2022 11:00am - 11:15am EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

11:00am EDT

Engineering for The Charts in 2022
This panel gathers Grammy nominated/winning audio engineers who have worked in a wide range of music genres to discuss how rapidly the role of a go-to engineer for a top charting artist has changed in recent years.

Speakers
B

BAINZ

Crosby Recording Studios
MR

Matt Rad

Live with Matt Rad
LD

Lauren D'Elia

Vocal Producer and Engineer based in Los Angeles


Thursday October 27, 2022 11:00am - 12:00pm EDT
Online Workshops
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

11:15am EDT

An automatic audio mixing system for teleconferencing applications
This paper describes an automatic mixing system for improving audio quality in teleconferencing applications. The work was focused on applying audio effects such as multitrack level balancing, spatialization, and equalization in order to reduce speech masking, thus allowing simultaneous speakers to be heard in a teleconference. The system used the ITU-R BS.1770 loudness measurement method and cross-adaptive audio effects to achieve average level balancing. A novel Force-directed model was implemented to automatically set the virtual position of each source. The equalization method was based on spectral decomposition techniques and a target of equal average perceptual loudness in each frequency band. Subjective evaluation was performed in the form of a multi-stimulus listening test, which indicated that the proposed automatic mixing system could compete with a manual mix by an experienced sound engineer.

Speakers
XL

Xiaojing Liu

Xiaojing Liu is a sound engineer and PhD Student at Queen Mary University of London, where she studies automatic audio mixing for teleconferencing, a project supported by the CSC. Xiaojing's research focuses on the development of autonomous mixing methods for enhanced audio clarity... Read More →
AM

Angeliki Mourgela

Sound Engineer/ PhD Student, Queen Mary University of London
Angeliki Mourgela is a sound engineer and PhD Student at Queen Mary University of London, where she studies intelligent broadcast audio mixing for hearing loss, a project supported by the BBC's Research & Development department and the EPSRC. Angeliki's research focuses on the development... Read More →
avatar for Joshua Reiss

Joshua Reiss

AES President, Queen Mary University of London
Josh Reiss is Professor of Audio Engineering with the Centre for Digital Music at Queen Mary University of London. He has published more than 200 scientific papers (including over 50 in premier journals and 6 best paper awards) and co-authored two books. His research has been featured... Read More →


Thursday October 27, 2022 11:15am - 11:30am EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

11:30am EDT

Audio-Visual-Information-Based Speaker Matching Framework for Selective Hearing in a Recorded Video
When we capture a video using a smartphone, unwanted sound are often recorded together or desired sound are not heard clearly. Selective hearing technology enables users to select a visual object in a video and focus on the desired sound of the object. To make it possible, the sound source needs to be separated from each object. Also, it is necessary to find the mapping relationship between the separated sound source and the visual object. With the recent advancement of deep learning technology, the accuracy of sound source separation has tremendously improved even in the lightweight deep learning network model. However, with the conventional sound source separation methods, wherein they only use audio information, it is still difficult to know which visual object the separated sound source corresponds to in the video.

In this paper, to solve this problem from the perspective of applying the selective hearing technology to voice, we propose a deep neural network based speaker matching framework using both audio and visual information.
As a pre-processing step for the proposed framework, we first prepare all the voice sources heard in a recorded video by utilizing a conventional voice separation algorithm. We also segment mouth regions including lip for the main speakers seen in the video. Then, based on the assumption that changes in the lip movement and muscles around the mouth are highly correlated to changes in the voice signal, the proposed framework predicts the mapping relationship, by utilizing the prepared sets of voice sources and mouth regions.

The framework consists of three main parts, those are i) extraction of audio feature from audio information including voice, ii) extraction of visual feature from visual information such as movement of the lip and surrounding muscles for each speaker, and iii) analysis of similarities between those features in order to map the separated voice to the corresponding speaker. The framework was implemented based on end-to-end convolution neural network and the cross entropy loss is utilized for the training.
Meanwhile, we observed that comparing the similarities in the section where the speaker shows different mouth movements, the section where it stops for breathing, or the section where it speaks at different speeds, can further improve the matching accuracy and the robustness of the framework. To determine the time section well for the matching analysis, we also introduce the optimal time section selection scheme via the proposed intra- and inter-voice pattern analysis for separated voice signals.

We performed the accuracy tests on the three categories of datasets, those are, interview (100 speakers), script-reading (30 speakers), and singing-a-song (30 speakers) datasets. According to our analysis in a general user scenario for selective hearing, the number of meaningful multi-speakers present in the recorded video are likely to be about 2 to 5. The conventional sound source separation methods also typically target that number of speaker voices. Therefore, the matching accuracy of the framework was evaluated under the condition of randomly selecting 5 people from each dataset and simulating the real situations of speaking or singing at the same time.
The speaker matching accuracies on the three datasets are 99.2%, 98.2%, and 95.3%, respectively. The results of these experiments show that the proposed framework can provide high accuracy enough to be utilized for actual selective hearing applications. It is noted that it can provide high-accuracy speaker matching even on the singing-a-song dataset that sing lyrics of the same song with similar beats.

Speakers
JK

Jungkyu Kim

Samsung Research, Samsung Electronics
KK

Kyung-Rae Kim

Samsung Research, Samsung Electronics
avatar for Woo Hyun Nam

Woo Hyun Nam

Principal Engineer, Samsung Research, Samsung Electronics
Woo Hyun Nam received the Ph.D. degree in electrical engineering from the Korea Advanced Institute of Science and Technology (KAIST), Daejeon, Korea in 2013. Since 2013, he has been with the Samsung Research, Samsung Electronics, where he is a Principal Engineer and is currently leading... Read More →


Thursday October 27, 2022 11:30am - 11:45am EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

11:45am EDT

Stereo InSE-NET: Stereo Audio Quality Predictor Transfer Learned from Mono InSE-NET
Automatic coded audio quality predictors are typically designed for evaluating single channels without considering any spatial aspects. With InSE-NET [1], we demonstrated mimicking a state-of-the-art coded audio quality metric (ViSQOL-v3 [2]) with deep neural networks (DNN) and subsequently improving it – completely with programmatically generated data. In this study, we take steps towards building a DNN-based coded stereo audio quality predictor and we propose an extension of the InSE-NET for handling stereo signals. The design considers stereo/spatial aspects by conditioning the model with left, right, mid, and side channels; and we name our model Stereo InSE-NET. By transferring selected weights from the pre-trained mono InSE-NET and retraining with both real and synthetically augmented listening tests, we demonstrate a significant improvement of 12% and 6% of Pearson’s and Spearman’s Rank correlation coefficient, respectively, over the latest ViSQOL-v3 [3].

Speakers
avatar for Arijit Biswas

Arijit Biswas

Dolby Germany GmbH
GJ

Guanxin Jiang

Dolby Germany GmbH


Thursday October 27, 2022 11:45am - 12:00pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

12:00pm EDT

GPU-Accelerated Drum Kit Synthesis Plugin Design
We present a real-time, GPU-accelerated drum set model: the application itself, a description of the synthesis involved, and a discussion of GPGPU development strategies and challenges. Real-time controls enabled by these synthesis methods are a focus. The project is and will remain noncommercial.

Speakers

Thursday October 27, 2022 12:00pm - 12:15pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

12:00pm EDT

Dynamic Range Optimisation for Music
This workshop / masterclass will cover the fundamentals of dynamic range. its importance in musical expression, how to visually meter the same as well as learn to recognise micro and macro dynamics through listening and making the best processing decisions for normalisation codecs / distribution formats, and gain insight into how normalisation in turn encourages a retention of naturally occuring performative dynamics and audio signal peaks.

Speakers
avatar for Hozaifa Sayed

Hozaifa Sayed

Sole Founder, Engineer / Educator, Waves Krāft Mastering
Hello, my name is Hozaifa, I've been a music technology educator and practising mastering engineer since 2014. I spend each day listening to lots of music (new and old, timeless pieces), and I thoroughly enjoy teaching nuances of music production / technology and music mixing accredited... Read More →


Thursday October 27, 2022 12:00pm - 12:30pm EDT
Online Workshops
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

12:15pm EDT

1D Convolutional Layers to Create Frequency-Based Spectral Features for Audio Networks
Time-Frequency transformation and spectral representations of audio signals are commonly used in various machine learning applications. Training networks on frequency features such as the Mel-Spectrogram or Chromagram have been proven more effective and convenient than training on time samples. In practical realizations, these features are created on a different processor and/or pre-computed and stored on disk, requiring additional efforts and making it difficult to experiment with various combinations. In this paper, we provide a PyTorch framework for creating spectral features and time-frequency transformation using the built-in trainable conv1d() layer. This allows computing these on-the-fly as part of a larger network and enabling easier experimentation with various parameters. Our work extends the work in the literature developed for that end: First by adding more of these features; and also by allowing the possibility of either training from initialized kernels or training from random values and converging to the desired solution. The code is written as a template of classes and scripts that users may integrate into their own PyTorch classes for various applications.

Speakers
avatar for Elias Nemer

Elias Nemer

Audio Engineer
Elias Nemer is involved in various aspects of audio signal processing related to AR and VR.He is currently an audio engineer at Meta Platforms.He previously worked at Cirrus Logic in areas related to ML for audio classification. At Broadcom, he developed audio algorithms for mobile... Read More →


Thursday October 27, 2022 12:15pm - 12:30pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

12:30pm EDT

What is going on in MPEG Audio? About virtual worlds, quality evaluation and more
During the past three decades, many influential technology generations have come out of the ISO/MPEG standardization body for the Audio and consumer electronics world, including well-known and ubiquitous specifications for perceptual audio coding like mp3 the AAC family of low bitrate codecs. More recently, MPEG-H audio has been delivered as a universal and efficient format spatial audio / 3D audio has been delivered.
This workshop reports on the main stream of recent MPEG Audio activities to develop the MPEG-I 6DoF Audio specification as a comprehensive and efficient format for audio for Virtual and Augmented Reality (VR/AR). It outlines the technological challenges for development and quality evaluation of suitable candidate technologies that had to be overcome in the course of the standards development process. Also, the workshop provides a snapshot of the current state of the process and illustrates the achievements by A/V examples.

Speakers
avatar for Jürgen Herre

Jürgen Herre

Chief Executive Scientist, International Audio Laboratories Erlangen, Fraunhofer IIS
Prof. Dr.-Ing. Herre is a fellow member of the Audio Engineering Society (AES), co-chair of the AES Technical Committee on Coding of Audio Signals and chair of the AES Technical Council. In 1989 he joined the Fraunhofer Institute for Integrated Circuits (IIS) in Erlangen, Germany... Read More →


Thursday October 27, 2022 12:30pm - 1:30pm EDT
Online Workshops
  Immersive & Spatial Audio
  • badge type: ALL ACCESS or ONLINE

12:45pm EDT

In-Depth Latency and Reliability Analysis of a Networked Music Performance over Public 5G Infrastructure
Networked Music Performances (NMP) are of increasing importance for musical enthusiasts, amateurs and professionals exploring new solutions and opportunities to rehearse or perform together at geographically distant locations. The use of public cellular connectivity to access wide area networks for such purposes can provide unique flexibility in planning NMP setups. Generally, latency and reliability are two key parameters for the end-to-end transmission of audio information through networks in this context. The stringent requirements of NMPs with respect to those parameters pose a major challenge for the current fourth generation (4G) of cellular technology. It is expected that the new and upcoming fifth generation (5G) of cellular technology will deliver significant Key Performance Indicator (KPI) improvements, and thus could be a promising enabler for musical interaction over distant locations. Currently, first public deployments of cellular 5G are being rolled out. This work presents an in-depth latency and reliability analysis of a distributed performance conducted over public 5G infrastructure in Finland. Measurement results suggest that some NMP scenarios can benefit from cellular connectivity.

Speakers
avatar for Jan Dürre

Jan Dürre

Research, Sennheiser electronic GmbH & Co. KG
NW

Norbert Werner

Sennheiser electronic GmbH & Co. KG
RH

Robert Hupke

Leibniz University Hannover


Thursday October 27, 2022 12:45pm - 1:15pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

1:15pm EDT

Simulating low frequency noise pollution using the parabolic equations in sound reinforcement loudspeaker systems
Sound system designers are used to optimizing loudspeaker systems for the audience experience with free-field simulation software. However, noise pollution reduction must also be considered during the design phase and the propagation of sound may be affected by inhomogeneous atmospheric conditions, such as wind, temperature gradients, and ground impedance. This paper proposes a method to simulate the impact of the environment on sound pressure levels at large distances created by loudspeaker systems using parabolic equations, considering a reference left-right main system associated with either flown or ground-stacked subwoofers. Results show a higher variability of the sound pressure level with systems using ground-stacked subwoofers. The influence of the crossover frequency between main and subwoofers is discussed in this paper.

Speakers
avatar for Etienne Corteel

Etienne Corteel

Director of Scientific Outreach & Education, L-Acoustics
Governing the scientific outreach strategy, Etienne and his team are the interface between L-Acoustics and the scientific and education communities. Their mission is to develop and maintain an education program tailor-made for the professional sound industry. Etienne also contributes... Read More →
avatar for Thomas Mouterde

Thomas Mouterde

Field application research engineer, L-Acoustics
Thomas Mouterde is a field application research engineer at L-Acoustics, a French manufacturer of loudspeakers, amplifiers, and signal processing devices. He is a member of the “Education and Scientific Outreach” department that aims at developing the education program of the... Read More →
avatar for Joris Perrot

Joris Perrot

Application Design Engineer, Loudspeaker Systems, L-Acoustics


Thursday October 27, 2022 1:15pm - 1:45pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

1:30pm EDT

Music Production and the World of Music Licensing and Sync.
How Creating a Concept and Vision are Essential to Music Production and To Music Licensing/Sync.
Why Placing Your Music in Visual Media Can Be A Game-Changer For Today’s Artists.

Part A
Intro
Forming the Concept and Vision For A Song
Creating the Sound of Emotion
How To Arrange The Sound and Dimension of A Song
Part B
How is the World of Music Licensing/Sync Changing
How To Prepare and Be Ready To Place Your Songs
How Music Licensing/Sync Can Launch Your Artist Career
Artist Development in the Music Business Today

Speakers
avatar for Adam Moseley

Adam Moseley

Accidental Entertainment
Adam Moseley started his career in 1978 at the legendary Trident Studios in London. As a recording engineer, mixer and producer, his credits include, Kiss, Rush, Visage, Roxette, The Cure, The Sex Pistols, Richard Marx, John Cale (Velvet Underground), Wolfmother, Beck/Jack White... Read More →


Thursday October 27, 2022 1:30pm - 2:15pm EDT
Online Workshops
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

1:45pm EDT

Comparison of Audio Spectral Features in a Convolutional Neural Network
Time-Frequency transformation and spectral representations of audio signals are commonly used in various machine learning applications. Typically the Mel-Spectrogram is used to create the input features to the network justified by the mel scale’s human auditory system basis. In this paper, we compare several spectral features in a gender detection speech model comparing their performance and showing that the Mel-Spectrogram is not always the best choice for input features.

Speakers
avatar for Elias Nemer

Elias Nemer

Audio Engineer
Elias Nemer is involved in various aspects of audio signal processing related to AR and VR.He is currently an audio engineer at Meta Platforms.He previously worked at Cirrus Logic in areas related to ML for audio classification. At Broadcom, he developed audio algorithms for mobile... Read More →


Thursday October 27, 2022 1:45pm - 2:15pm EDT
Online Papers
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

2:15pm EDT

New trends in voice technology beyond words
Voices are ubiquitous and familiar, so much so that it is easy to forget how fundamentally important vocal signals really are. With every vocal interaction, we subconsciously reveal an abundance of personal information, from identity and upbringing to hormone levels, and physical and mental state. Could technology help leverage this meta-information to reduce biases and improve interpersonal interactions? Or will future conversational AI focus on using our own voices against us, detecting our emotions and becoming more manipulative through prosodic mimicry and timbral mirroring? In this talk, we present novel trends in voice technology that have the potential to change our relationship with technology, with ourselves and with society. From voice biometrics to voice assistive technology and modulated auditory feedback, new technologies of the voice can have surprising consequences from reducing disfluencies, affecting mental states, and even altering our perception of taste.

Speakers
avatar for Rébecca Kleinberger

Rébecca Kleinberger

Researcher / Assistant Professor, Northeastern University & MIT


Thursday October 27, 2022 2:15pm - 3:00pm EDT
Online Workshops
  Future Audio Trends
  • badge type: ALL ACCESS or ONLINE

2:30pm EDT

Validating Loudness Alignment via Subjective Preference: Towards Improving ITU-R BS.1770-4
Loudness measurement and control is important for many audio applications such as audio, television broadcasting and streaming. The recommendation ITU-R BS.1770-4 specifies means for measuring the loudness of audio signals. This paper presents experiments and results to investigate deviations between these measurements and loudness perception of human listeners. We conducted two loudness adjustment tests which quantify these deviations and one subsequent validation test to evaluate the effect of these deviations on the quality of loudness alignment. Adjustment gains obtained by ITU-R BS.1770-4 and human listeners differ on average by 2.2 dB. The listener agreement, however, is rather weak for some items, which brings up the question if the obtained data is useful for improving loudness measurements.
The results of the validation test show an improvement of perceived loudness alignment quality by 16 % (of the used Mean Opinion Score scale) for gains obtained in the adjustment tests compared to ITU-R BS.1770-4. Since different listener groups participated in each test we conclude that the results of the adjustment tests are representative and can be used in future work to make loudness measurements more robust across a wider range of audio content and for object-based next-generation audio.

Speakers
avatar for Christian Uhle

Christian Uhle

Chief Scientist, Fraunhofer IIS
Christian Uhle is chief scientist in the Audio and Media Technologies division of the Fraunhofer IIS, Erlangen, Germany, and in the International Audio Laboratories Erlangen.He received the Dipl.-Ing. and PhD degrees from the Technical University of Ilmenau, Germany, in 1997 and 2008... Read More →
HB

Hans-Ulrich Berendes

Student, Fraunhofer IIS
I'm a student in the Elite Master's program Advanced Signal Processing and Communications Engineering at Friedrich-Alexander Universität Erlangen-Nürnberg and a working student at the Fraunhofer Institute for Integrated Circuits (IIS), in Erlangen, Germany. My research interests... Read More →
avatar for Alessandro Travaglini

Alessandro Travaglini

Research Engineer, Fraunhofer IIS
With extensive background as a Senior Sound Designer, Audio Consultant and Product Manager going back over 25 years in broadcasting and audio technology, Alessandro works at the Fraunhofer Institute for Integrated Circuits in the Media Systems and Applications division where he contributes... Read More →


Thursday October 27, 2022 2:30pm - 2:45pm EDT
Online Papers
  Psychoacoustics and Perception
  • badge type: ALL ACCESS or ONLINE

2:45pm EDT

Hearing Patterns, Otoacoustic Emissions, and Music Preferences
Introduction: Why is the same sound or music perceived as soothing by some and irritating by others? Explaining variations in the perception of sound and the impact on music preferences would help design adapted acoustic experiences while limiting discomfort and audio fatigue. The objective of this research was to study the impact of hearing profiles on music preferences among adults.

Method:  The experimental group comprised 19 age-matched adults with no reported hearing issues. Otoacoustic Emissions (OAEs) were measured with Interacoustics OAE reader and subjects were grouped, based on their ability to amplify sound, into three hearing profiles (non-amplifiers, medium-amplifiers, and super-amplifiers). For a subgroup of each hearing profile, their favorite music tunes were analyzed using Audacity Plot Spectrum, tracing the intensity (in dB) for each frequency (in Hz) and highlighting the peaks of the tune. The spectrograms of the sets of tunes were then compared to the hearing patterns of the related hearing profiles.

Results: Some subjects heard the same sound 20 dB (four times) louder than others. Subjects tended to prefer music tunes having a peak in a frequency that they amplify less. If some subjects declared listening to various music genres, the spectrograms of the music tunes tended to have their peak in the same frequency range.

Discussion: The frequency rather than the music genre seems instrumental in predicting people's favorite tunes. Music preferences seem to present a negative correlation between the tune's peak and the listener's hearing pattern, as measured with OAEs. These findings might explain the variations in sound and music preferences and help adapt products and experiences in the field of consumer electronics, gaming, XR, and virtual worlds. Public transports and spaces might also improve citizens' well-being by designing more neutral, and better equalized, acoustic experiences in sensitive frequencies.

Speakers
avatar for Diana Derval, PhD

Diana Derval, PhD

Chair, Chief Investigator, and Author, DervalResearch
My passion is to decode behavior and preferences using biosciences. People are rational they just have a very different perception of the same signal so we help product teams develop the right sensory mix!#perception #sound #immersive #preferences #music #direction #eSports #Metaverse... Read More →



Thursday October 27, 2022 2:45pm - 3:00pm EDT
Online Papers
  Psychoacoustics and Perception
  • badge type: ALL ACCESS or ONLINE

3:00pm EDT

Approaches to Recording Live Opera and Theatrical Performances
Whether you are contracted to record a live opera or theatrical performance for release, broadcast, or archival purposes. It is crucial to make the technology as invisible as possible as not to distract the live audience or interrupt the flow of the performers without compromising the sound. This tutorial will cover what is required to achieve this balance. Topics such as technical walk troughs, working with other production staff, microphone selection, planning input lists, choosing gear, setting up your recording system in a remote location, redundancy, the usage boundary miking, hiding lavalier microphones, strategic miking in cramped orchestra pits, post-production, etc. Following this tutorial, the participant will gain a better understanding of the priorities and requirements for recording a staged operatic or theatrical production. This tutorial will be presented by a Grammy-nominated recording engineer with 30 years of experience who specializes in opera, classical recording, and remote live radio broadcast.

Speakers
avatar for Mary Mazurek

Mary Mazurek

Audio Educator/ Recording Engineer, University of Lethbridge
Audio Educator at the University of Lethbridge. GRAMMY-nominated recording engineer based in Lethbridge, AB and Chicago, IL. Research & professional work: classical and acoustic music recording, live radio broadcast, podcasting, the aesthetic usage of noise, noise art, sound art... Read More →


Thursday October 27, 2022 3:00pm - 3:45pm EDT
Online Workshops
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

3:15pm EDT

Measuring Audibility Threshold Levels for Attack and Release in a Dynamic Range Compressor
Dynamic range compressors are one of the most ubiquitous audio effects used in music production and mixing contexts. These effects manifest themselves in both analog and digital production workflows. The ballistic settings, of attack time and release time, of a dynamic range compressor (DRC) are considered highly important for influencing the perceived response of the compressor, and the manner in which they shape an audio signal. The timing controls have also been shown to greatly influence the perception of the sonic attributes and style of the program material. The ability to perceive the effect of compression ballistics is important to better understand how these tools can be best utilised in music production. We present an audibility threshold test, in a web-based format, using an ABX test methodology, where participants were asked to identify which of the presented audio examples they perceived as different to a reference file. DRC attack and release settings were varied and applied to a set of audio examples. The results demonstrate that large changes in the ballistics settings, particularly in the case of the release time, are more noticeable than small changes, and that individuals were unable to perceive a release change of less than 50ms. The test also demonstrated that the perception of changes in ballistics settings vary when compressor threshold settings were changed. Lighter levels of compression with a higher threshold generally yielded more noticeable results, especially where the effects of large changes in ballistics settings were measured. Finally, it was observed that participants with above average or expert levels of experience (4 years or more) were more likely to perceive small differences in attack and release times than those with less developed critical listening skills.

Speakers
avatar for Gary Bromham

Gary Bromham

Researcher & Independent Music Professional, Queen Mary University of London
DM

David Moffat

AI&ML Data Scientist, Plymouth Marine Laboratory
Dr. David Moffat is an AI and ML researcher at Plymouth Marine Laboratory. He has previously worked in audio signal processing, intelligent music production, audio analysis, psychoacoustics, perception, sound syntheisis audio fro games and ML applied to a range of different signal... Read More →


Thursday October 27, 2022 3:15pm - 3:45pm EDT
Online Papers

3:45pm EDT

Influence of Music on Perceived Emotions in Film
Film music plays a core role in film media production and reception as not only it contributes to a film’s aesthetics and creativity, but it also affects spectators’ experience and enjoyment. Film music composers often aim to serve the film narrative, immerse spectators into the setting and story, convey clues, and importantly, act on their emotions. Yet, how film music influences spectators is still misunderstood. We conducted a perceptual study to analyse the impact of music on the perception of emotions in film. We developed an online interface for time-based emotion annotation of audio/video media clips based on the Valence/Arousal (VA) two-dimensional model. Participants reported their perceived emotions over time in the VA space for three media conditions: film scene presented without sound (video only), film music presented without video (audio only), and film scene with accompanying music (both video and audio modalities). 16 film clips were selected constituting four clips for four genres (action & drama, romance, comedy, and horror). 38 participants completed the study (12 females and 26 males, average age: 28.9, from many different countries). Density scatterplots enable to visualise the spread of emotion ratings in the VA space and differences across media conditions and film clips. Results from linear mixed effect models show significant effects of the media condition and film genre on VA ratings. The valence and arousal ratings across the three media conditions tend to be linearly related and increase going from film alone to film and music, and music alone. We illustrate this effect by plotting changes in the VA rating centre of mass across conditions. VA ratings for the film alone condition are closer to the origin of the space than in the two other media conditions meaning that the addition of music conveys stronger emotions as characterised by higher VA ratings. Some individual factors (musical ability, familiarity, preference) also seem to impact the perception of arousal and valence. The online emotion annotation interface was well received on overall and improvement suggestions are discussed.

Speakers
CW

Chaoyang Wei

Queen Mary University of London
TK

Thomas Kronland-Martinet

PHD Student, Aix-Marseille University


Thursday October 27, 2022 3:45pm - 4:15pm EDT
Online Papers
  Psychoacoustics and Perception
  • badge type: ALL ACCESS or ONLINE

3:45pm EDT

New Frontiers in Stereo Recording: The Secret Menu
Discover the latest “secret menu” of stereo recording arrays and techniques. This workshop will focus on real world examples of modern stereo techniques that aren’t found in textbooks, such as: OCCO, OSSO, OVVO, SVVS, TT-Array, KC-Array, AB8, Boojum/JNorman Array, Floorcatcher, Aubort Four, O/MS Array, C/A, 08C, AA. This workshop will be led by Christian Amonson, professor from the USC Thornton School of Music in Los Angeles and former recording engineer for “The President’s Own” United States Marine Band in Washington DC. Bring headphones and get ready for some new tricks (and acronyms).

Speakers
avatar for Christian Amonson

Christian Amonson

Professor, Producer, USC Thornton School of Music
Christian Amonson is a recording engineer and producer specializing in acoustic music. Projects include John Williams and the Chicago Symphony Orchestra, Midori and the Kansas City Symphony, the Academy of St. Martin in the Fields at Abbey Road Studios in London and NPR’s JazzSet... Read More →


Thursday October 27, 2022 3:45pm - 4:15pm EDT
Online Workshops
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

4:15pm EDT

Getting Savvy on Usage of Fiber Optics for Audio - Cables, Connectors, Networks
This is a Webinar that will show students, technicians, and audio personnel the most current uses and applications of Fiber Optic Technology. While fiber optics has been around for decades, there are many people in our field of audio/video who are not aware of the real potential it offers. The main purpose of this Webinar is to disseminate this information and educate the audio community on what, how, and why they should use fiber optic technology for their audio systems. It will also bridge the gap to a clear understanding of the jargon used in fiber optic technology deployed in cables, connectors, and networks. This is also the mission of the AES Technical Committee on Fiber Optics for Audio (AES TC-FOA).

Speakers
avatar for Ronald Ajemian

Ronald Ajemian

Consultant, Owl Fiber Optics


Thursday October 27, 2022 4:15pm - 5:15pm EDT
Online Workshops
  Applications in Audio
  • badge type: ALL ACCESS or ONLINE

4:30pm EDT

The social climate of the East-Asian recording studios
Using the survey material of Brooks et al. [1] that drew upon Yang and Caroll’s microaggression study in STEM academia [2], we captured the experiences of discrimination and the working conditions of 41 sound engineers, music producers, and studio assistants from 3 Eastern Asian countries, i.e., 34 in China, 1 in Japan, and 6 in South Korea. Although it was reported that there are twice as many men as women in the Chinese music industry [3] and that women in the Korean music industry are less likely to have the agency of making decisions than men [4], there have been very few research studies conducted on gender inequalities in audio in East Asia.Our research hopes to fill up the void in this region.
So far, we have collected data from 20 cisgender men, 19 cisgender women, and 2 non-binary studio professionals. Twenty-two are current residents in China, 8 in South Korea, 10 in the UK, and 1 in the USA. Cisgender men make an average income of 142 USD/day (+64 USD/day compared to the global survey [1]), while cisgender women make an average of 88.56 USD/day (+ 31 USD/day) and non-binary people make an average of 43 USD/day (-26 USD/day). Thirty-four participants have never been a member of AES. Only 1 current AES member living in China is aware of the AES ED&I committee. Our statistical analyses showed gender to be the strongest predictor of specific experiences of discrimination in the recording studio. For instance, cisgender women are 2 times more likely to experience microaggressions for assumptions of beauty and sexual objectification (p<e-1, large effect size) and gendered workplace microaggressions (p<e-1, large effect size) than cisgender men. While comparing our findings with those obtained by Brooks et al.[1] and Yang and Carroll[2], we found that cisgender women are more likely to report having experience of being silenced and marginalized.
In terms of the qualitative section, we applied grounded theory[5] to conduct inductive coding of the responses of open questions. Our analyses showed that the public has insufficient knowledge of the role and contributions of production team members in the East-Asian music industry. Also, the informal and discriminative workplace that the recording studio represents prohibits contributors from getting credits. While music producers, sound engineers, and studio assistants in East-Asia are currently facing abusive working conditions regardless of social identity; our data demonstrates that gender is the most significant factor leading to the microaggressions, followed by age, seniority, and music genre, e.g., classical music professionals look down on electronic music professionals for not being scholarly trained.


Speakers
avatar for Ziqin Yang

Ziqin Yang

MA in Music Production, University of York
Artist music producer.Interested in indie, pop, R&B, folk, and film scoring.cynthiayzq@163.com


Thursday October 27, 2022 4:30pm - 4:45pm EDT
Online Papers
  Psychoacoustics and Perception
  • badge type: ALL ACCESS or ONLINE

4:45pm EDT

JUJU MUSIC PERFORMANCE AND PRODUCTION  Sound Mediation from the Cultural perspective of Yoruba Music Practice
Mediating live music with modern audio tools (such as the DAW, and Digital Music Sequencer) is a common manifestation in Western civilisation; the culture that has determined the pace of technological evolution of sound control and the leadership platform in the political economy of sound. Traditionally, Juju music performance requires up to twenty-one or more personnel on a large stage. Also, the cold and dry climates of the global north have been known to be bad for its acoustic instruments such as the membranophones. These cause the need to use technology to relieve personnel and organic percussions. In this paper, I investigate the roles that audio engineering can play to reduce the cost of performance and production of the genre. I focus on the affordances of music sequencing hardware (such as arranger keyboard, drum machine, vocal harmoniser, DAW, and Sampler) to suggest practical ways to use these tools for live Juju music performance which could influence the quest for modern music pedagogy in the Global South.

Speakers
avatar for Kolawole Ganikale

Kolawole Ganikale

Student, University of York
Author is a genre specific scholar-practitioner with keen interest in cultural music practice within the context of modern technology, economy, and pedagogy. After nine years of apprenticeship in street music, he moved on to obtain a Diploma in Music Education followed by B.A in Musicology... Read More →


Thursday October 27, 2022 4:45pm - 5:00pm EDT
Online Papers
  Audio Culture and Education
  • badge type: ALL ACCESS or ONLINE

5:00pm EDT

Reliable and Trustworthy Virtual Production Workflow for Surround and Atmos
n recent years, Spatial audio formats such as Dolby Atmos, Sony 360 Reality, Auro 3D are on the rise. As a result of this, there is also an increasing need for having multi channel speaker setups and associated gear in the studio to produce, mix, and master music in such formats. These systems are extremely expensive, occupy space, and time consuming to set up. There are several tools and virtual production workflows that let the studio engineers to audition, mix, and master multichannel/Atmos content in the box with a pair of audiophile headphones. In this paper, we explain all the necessary components that should be taken into account while developing a virtual studio production tool. The ultimate goal of such a tool is to perceptually sound as close as possible to the real world. Personalized head-related transfer functions (HRTFs) play a key role in ensuring that the spatial and tonal features of the original mix are maintained. The Acoustic fingerprints of the studio, including the frequency responses of the speakers and headphones need to be captured accurately for a true immersive experience. Finally, in order to make the workflow reliable and trustworthy, sound engineers and acoustic researchers can come together to fine-tune the sound experience to bridge the gap between the speaker playback and headphone playback. Such novel tools will bring the power of personalized spatial audio and Dolby Atmos production in the hands of millions of at-home mixing engineers and producers.

Speakers
avatar for Gavin Lurssen

Gavin Lurssen

Lurssen Mastering
Gavin Lurssen has been a mastering engineer since 1991 and has been in the forefront of and contributor to the many technical developments that have taken place in the industry over the past two decades. He is a twelve-time Grammy nominee and a four-time Grammy winner. Artists whose... Read More →
avatar for Reuben Cohen

Reuben Cohen

Lurssen Mastering
Reuben Cohen is an award-winning mastering engineer, winning a Latin Grammy for his work on Diego Torres' album "Distinto," and a TEC Award for his work on the single, "Happy," by Pharrell Williams. He has worked with many notable and award-winning artists including Metallica, Pharrell... Read More →


Thursday October 27, 2022 5:00pm - 5:15pm EDT
Online Papers
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

5:15pm EDT

Ambience/Room recording - The influence of the direct sound when combining close and ambience/room microphones
When combining close microphones with ambience/room microphones, the direct signal will be picked up slightly delayed by the ambient/room microphone(s) compared to the close microphone(s). This study examines the auditory significance of the delayed direct signal in the context of early reflections and reverberation emitted from the boundaries within an acoustic environment. The aim is to establish to which extent any auditory perception influenced by the delayed direct signal may impact the application of the ambient/room microphone setup itself. The findings in this study and its discussions suggest a set of user guidelines when combining close and ambience/room microphones.

Speakers
PE

Pål Erik Jensen

University College Teacher, Høyskolen Kristiania


Thursday October 27, 2022 5:15pm - 5:45pm EDT
Online Papers
  Recording Production Technology and Practices
  • badge type: ALL ACCESS or ONLINE

5:15pm EDT

Notation in the studio
Musicians & engineers share a goal, but often lack a common language.

A rudimentary understanding of music notation gives us a window into the musician's worldview. Despite its limitations, notation is a rich common language, a way to "see" sound, and a powerful tool, both live and in the studio.

Without getting bogged down in music theory, we'll look at what makes music notation uniquely valuable.

Speakers
JS

Josh Skaja

Owner, GuitarOS


Thursday October 27, 2022 5:15pm - 6:00pm EDT
Online Workshops
  Education and Students
  • badge type: ALL ACCESS or ONLINE

6:00pm EDT

Score Mixing Compendium
John Whynot & Jason Larocca examine and compare their current approach to mixing film scores

Specific topics covered will be:

• Mixing remotely in teams – sharing, mirroring, transmitting information between widely separated mix facilities

• Updated standards and practices regarding file format, stems, naming, compatibility

• Making mix stems for use in Dolby Atmos – issues and considerations of asset use, editability, compatibility with re-recording

• The complexity & urgency of asset capture, transfer and compilation

• Managing the insane turnaround

• Co-mixing feature film scores; working together separately

Speakers
JW

John Whynot

Berklee College of Music


Thursday October 27, 2022 6:00pm - 7:00pm EDT
Online Workshops
  Audio for Cinema
  • badge type: ALL ACCESS or ONLINE
 
  • Timezone