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AES 132Nd Convention Program

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AES 132Nd Convention Program AAEESS113322 nd CCoonnvveenn ttiioonn PPrroo ggrraamm April 26 – 29, 2012 Budapest Congress and World Trade Center At recent AES conventions, authors have had the option * * * * of submitting complete 4 - to 10- page manuscripts for peer-review by subject-matter experts. The following two The AES has launched a new opportunity to recognize papers have been recognized as co-winners of the AES student members who author technical papers. The Stu - 132nd Convention Peer-Reviewed Paper Award. dent Paper Award Competition is based on the preprint manuscripts accepted for the AES convention. A number of student-authored papers were nominated. Linear Mixing Models for Active Listening of Music The excellent quality of the submissions has made the Productions in Realistic Studio Conditions— selection process both challenging and exhilarating. Nicolas Sturmel ,1 Antoine Liutkus ,2 Jonathan 3 3 4 The award-winning student paper will be honored dur - Pinel, Laurent Girin , Sylvain Marchand , Gaël ing the Convention, and the student-authored manuscript Richard, 2 Roland Badeau ,2 Laurent Daudet 1 1 will be considered for publication in a timely manner for Université Paris Diderot, Paris, France the Journal of the Audio Engineering Society . 2Telecom ParisTech, Paris, France 3 Nominees for the Student Paper Award were required GIPSA-Lab, Grenoble INP, Grenoble, France to meet the following qualifications: 4Université de Bretagne Occidentale, Brest, France (a) The paper was accepted for presentation at the AES 132nd Convention. Convention Paper 8594 (b) The first author was a student when the work was conducted and the manuscript prepared. To be presented on Thursday, April 26 in Session P4 (c) The student author’s affiliation listed in the manu - —Sound Reinforcement and Studio Technologies script is an accredited educational institution. (d) The student will deliver the lecture or poster pre - and sentation at the Convention. MPEG Unified Speech and Audio Coding—The * * * * * ISO/MPEG Standard for High-Efficiency The Winner of the 132nd AES Convention Audio Coding of All Content Types— Max Student Paper Award is: Neuendorf, 1 Markus Multrus, 1 Nikolaus Rettelbach, 1 Guillaume Fuchs, 1 Julien Robil - liard, 1 Jérémie Lecomte, 1 Stephan Wilde, 1 Robustness of a Mixed-Order Ambisonics Stefan Bayer, 1 Sascha Disch, 1 Christian Microphone Array for Sound Field Helmrich ,1 Roch Lefebvre, 2 Philippe Gournay, 2 Reproduction — Marton Marschall, 1 Bruno Bessette, 2 Jimmy Lapierre ,2 Kristofer Sylvain Favrot ,1 Jörg Buchholz 2 Kjörling, 3 Heiko Purnhagen, 3 Lars Villemoes ,3 1Technical University of Denmark, Lyngby, Werner Oomen, 4 Erik Schuijers, 4 Kei Kikuiri ,5 Denmark Toru Chinen ,6 Takeshi Norimatsu, 7 Chong Kok 2National Acoustic Laboratories, Chatswood, Seng ,7 Eumi Oh, 8 Miyoung Kim ,8 Schuyler Australia Quackenbush ,9 Bernhard Grill 1 Convention Paper 8645 1Fraunhofer IIS, Erlangen, Germany 2Université de Sherbrooke, Sherbrooke, To be presented on Saturday, April 28 in Session P15 Quebec, Canada —Spatial Audio: Part 1 3Dolby Sweden AB, Stockholm, Sweden * * * * * 4Philips Research Laboratories, Eindhoven, The Netherlands Thurs., April 26 09:00 Bartók Meeting Room 5NTT DOCOMO, INC., Yokosuka, Kanagawa, Japan Technical Committee Meeting on Acoustics 6Sony Corporation, Shinagawa, Tokyo, Japan and Sound Reinforcement 7Panasonic Corporation 8Samsung Electronics, Suwon, Korea Student/Career Development Event 9Audio Research Labs, Scotch Plains, NJ, USA STUDENT DELEGATE ASSEMBLY MEETING PLACE Convention Paper 8654 Thursday – Sunday 9:00 – 18:30 Foyer To be presented on Saturday, April 28 in Session P16 —High Resolution and Low Bit Rate Come visit the SDA Booth to find out about AES student events at chapters around the world. This is also wher¯e Audio Engineering Society 132nd Convention Program, 2012 Spring 1 Technical Progra m you will see postings about finalists in the recording com - wireless transmission. The evaluation is carried petition and be able to purchase tickets to the Student out with 40 expert listeners and is divided into Social. several experimental stages. First, the audibility threshold for codec artifacts is determined for Session P1 Thursday, April 26 each frequency sub-band, separately. In the 09:30 – 11:00 Room Lehar next stage, different configurations are ranked on a scale of subjective sound quality ratings, APPLICATIONS IN AUDIO with the resolutions varied across all bands. Finally, selected configurations corresponding to Chair: Ville Pulkki , Aalto University, Espoo, Finland different quality ratings are compared to signals of analog wireless transmission in a multi-dimen - 09:30 sional test. This test reveals the characteristic artifacts for each transmission method. Overall, P1-1 Efficient Binaural Audio Rendering Using digital transmission can achieve a better sound Independent Early and Diffuse Paths— quality than analog transmission. Fritz Menzer , MN Signal Processing, Convention Paper 8586 Schwerzenbach, Switzerland A multi-source binaural audio rendering structure is proposed that efficiently implements plausible Session P2 Thursday, April 26 binaural reverberation including early reflections 09:30 – 11:00 Room Liszt and late reverberation. The structure contains delay lines and a feedback delay network that EMERGING AND INNOVATIVE AUDIO operate independently, modeling early reflec - tions and diffuse reverberation, respectively. Chair: Francis Rumsey Computationally efficient heuristics are present - ed for the implementation of an HRTF set and for the diffuse reverberation A real-time imple - 09:30 mentation on a mobile device is presented. P2-1 Virtual Microphones: Using Ultrasonic Sound Convention Paper 8584 to Receive Audio Waves— Tobias Merkel ,1 Hans-G. Lühmann ,2 Tom Ritter 1 10:00 1Beuth Hochschule für Technik, Berlin, Germany 2 P1-2 The Hand Clap as an Impulse Source Lütronik Elektroakustik GmbH, Berlin, Germany for Measuring Room Acoustics— Prem A highly focused ultrasound beam was sent Seetharaman, Stephen P. Tarzia , Northwestern through the room. At a distance of several University, Evanston, IL, USA meters the ultrasonic wave was received again We test the suitability of hand clap recordings for with an ultrasonic microphone. The wave field of measuring several acoustic features of musical a common audio source was overlaid with the performance and recording rooms. Our goal is to ultrasonic beam. It was found that the phase make acoustic measurement possible for ama - shift of the received ultrasonic signal obtains the teur musicians and hobbyists through the use of audio information of the overlaid field. Since the a smartphone or web app. Hand claps are an ultrasonic beam itself acts as sound receiver, attractive acoustic stimulus because they can be there is no technical device like membranes nec - produced easily and without special equipment. essary at direct vicinity of sound reception. Hand claps lack the high energy and consisten - Because this kind of sound receiver is not visible cy of other impulse sources, such as pistol or touchable we call it “Virtual Microphone.” shots, but we introduce some signal processing Convention Paper 8587 steps that mitigate these problems to produce reliable acoustical measurements. Our signal 10:00 processing tool chain is fully-automated, which P2-2 Implementation and Evaluation of allows both amateurs and technicians to perform Autonomous Multi-Track Fader Control— measurements in just a few seconds. Using our Stuart Mansbridge, Saoirse Finn, Joshua D. technique, measuring a room’s reverberation Reiss , Queen Mary, University of London, times and frequency response is as easy as London, UK starting a smartphone app and clapping several times. A new approach to the autonomous control of Convention Paper 8585 faders for multitrack audio mixing is presented. The algorithm is designed to generate an auto - 10:30 matic sound mix from an arbitrary number of P1-3 Subjective Sound Quality Evaluation of a monaural or stereo audio tracks of any sample Codec for Digital Wireless Transmission— rate and to be suitable for both live and postpro - Matthias Frank, 1 Alois Sontacchi ,1 Thomas duction use. Mixing levels are determined by the Lindenbauer, 2 Martin Opitz 2 use of the EBU R-128 loudness measure, with a 1University of Music and Performing Arts Graz, cross-adaptive process to bring each track to a Graz, Austria time-varying average. An hysteresis loudness 2AKG Acoustics GmbH, Vienna, Austria gate and selective smoothing prevents the adjustment of intentional dynamics in the music. This paper presents a subjective evaluation of a Real-time and off-line software implementations proprietary sub-band ADPCM (Adaptive Differ - have been created. Subjective evaluation is pro - ential Pulse Code Modulation) codec for digital vided in the form of listening tests, where the 2 Audio Engineering Society 132nd Convention Program, 2012 Spring method is compared against the results of a straint for the string vibration. Dynamics is sub- human mix and a previous automatic fader ject to friction, scraping, textured displacement, implementation. and collisions. The presented model is physically Convention Paper 8588 inspired and is based on a dynamic model of friction, together with a geometrical model of the 10:30 textured displacements and a model for colli- sions of the string with the bottleneck. These P2-3 A Voice Classification System for Younger models are suitable for implementation in a digi- Children with Applications to Content tal waveguide computational
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