AAEESS113311 st CCoonnvveenn ttiioonn PPrroo ggrraamm October 20 – 23, 2011 Jacob K. Javits Convention Center, New York, NY, USA

The AES has launched a new opportunity to recognize room decay time for bass frequencies. We student members who author technical papers. The Stu - develop the theory for a point active absorber dent Paper Award Competition is based on the preprint immersed in the acoustic source field from a manuscripts accepted for the AES convention. point source. This would apply to normal loud - A number of student-authored papers were nominated. speakers used as either sources or absorbers at The excellent quality of the submissions has made the frequencies below about 300 Hz, where they act selection process both challenging and exhilarating. as points. The result extends the theory of Nel - The award-winning student paper will be honored dur - son and Elliott for a point absorber interacting ing the Convention, and the student-authored manuscript with a plane wave. An extra term occurs that has will be considered for publication in a timely manner for little net effect when averaged over frequency or the Journal of the Audio Engineering Society . distance. In rooms such cancellation occurs due Nominees for the Student Paper Award were required to the varying distances from all the source to meet the following qualifications: images to the absorber. Impulse responses in (a) The paper was accepted for presentation at the several small rooms were measured from a AES 131st Convention. source and an absorber to both a (b) The first author was a student when the work was few listening and a conducted and the manuscript prepared. mounted at the absorber. The efficacy of the (c) The student author’s affiliation listed in the manu - active absorber is assessed and the results are script is an accredited educational institution. enigmatic. (d) The student will deliver the lecture or poster pre - Convention Paper 8458 sentation at the Convention. 9:30 am * * * * * P1-2 Investigations of Room Acoustics with a The Winner of the 131th AES Convention Spherical Microphone Array— Samuel W. Student Paper Award is: Clapp ,1 Anne E. Guthrie ,1,2 Jonas Braasch ,1 Ning Xiang 1 1Rensselear Polytechnic Institute, Troy, NY, USA The Impact of Producers’ Comments and ’ 2 Self-Evaluation on Performance during Arup, New York, NY, USA Recording Sessions— Amandine Pras, Most room acoustic parameters are calculated Catherine Guastavino, McGill University, with data from omni-directional or figure-of-eight Montreal, Quebec, Canada microphones. Using a spherical microphone array Convention Paper 8579 to record room impulse responses can open up To be presented on Sunday, October 23, in Session 25 several new areas of inquiry. It can yield much —Auditory Perception more information about the spatial characteristics of the sound field, including the diffuseness of the sound field and the directions of individual reflec - * * * * * tions. A 16-channel microphone array was designed, built, and tested with both simulations Session P1 Thursday, Oct. 20 and simple, controlled sound events. Room 9:00 am – 11:00 am Room 1E09 impulse responses were then measured in rever - berant rooms used for music from stage and audi - ROOM ACOUSTICS ence positions, and the results were analyzed using beamforming techniques to determine spa - Chair: Peter Mapp , Peter Mapp Associates, tial information about the sound field. Colchester, UK Convention Paper 8459 9:00 am 10:00 am P1-1 New Thoughts on Active Acoustic Absorbers —John Vanderkooy , University of Waterloo, P1-3 Room Acoustics Using a 2.5 Dimensional Waterloo, Ontario, Canada Approach with Damping Included— Patrick Macey , PACSYS Limited, Nottingham, UK This paper continues an earlier exploration of us - ing full-range as both acoustic Cavity modes of a finite bounded region with sources and sinks, in an attempt to reduce the rigid boundaries can be used to compute the ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 1 Technical Progra m steady state harmonic response for point source the needs of each particular sound recording excitation. In cuboid domains this is straightfor - environment. This paper will outline the various ward. In general regions, determining a set of parameters that need to be taken into considera - orthonormal modes is more difficult. Previous tion and explain the basic approach to develop - work showed that for rooms of constant height, ing MATLAB-based software that gives a clear 3-D modes can be computed from the cross sec - and unambiguous display of all the salient char - tion modes, and this used for a fast solution. acteristics needed to achieve a stable and reli - This approach used modal damping. More real - able microphone array, no matter the number of istic damping associated with wall areas could channels involved, or the type of directivity pat - be included using a damped eigenvalue calcula - tern chosen for each microphone. tion of the cross section modes. This is restric - Convention Paper 8461 tive on damping formulations. An alternative non-modal approach, using a trigonometric 9:30 am expansion through the height is proposed. This P2-2 In Situ Measurements of the Concert Grand is still faster than 3-D FEM. Piano— Brett Leonard ,1,2 Grzegorz Sikora ,1 Convention Paper 8460 Martha de Francisco 1,2 1McGill University, Montreal, Quebec, Canada 10:30 am 2Centre for Interdisciplinary Research in Music, P1-4 Accurate Acoustic Modeling of Small Rooms Media and Technology, Montreal, Quebec, —Holger Schmalle ,1 Dirk Noy ,2 Stefan Feistel ,1 Canada Gabriel Hauser ,2 Wolfgang Ahnert ,1 An in situ approach to the acoustical study of the John Storyk 2 grand piano is presented in which the instrument 1AFMG Ahnert Feistel Media Group, Berlin, is coupled with a typical, reflective recording Germany space. By using accurate, tightly controlled auto - 2WSDG Walters-Storyk Design Group, Basal, mated playback of expertly performed material, Switzerland a small number of high-quality transducers are Modeling of sound reinforcement systems and employed to capture more than 1300 spatially room acoustics in large and medium-size distributed data points in the process known as venues has become a standard in the audio in - acoustic space sampling (AcSS). The AcSS dustry. However, acoustic modeling of small measurement task is performed on two pianos in rooms has not yet evolved into a widely accept - two unique recording environments. The data is ed concept, mainly because of the unavailable analyzed using accepted acoustic metrics and tool set. This work introduces a practical and psychoacoustic predictors. It is shown that cer - accurate software-based approach for simulating tain spatial areas containing salient physical and the acoustic properties of studio rooms based on psychoacoustic measures are highly correlated FEM. A detailed case study is presented and recording engineer preference. modeling results are compared with measure - Convention Paper 8462 ments. It is shown that results match within giv - en uncertainties. Also, it is indicated how the 10:00 am simulation software can be enhanced to optimize P2-3 Beyond Surround Sound—Creation, Coding loudspeaker locations and place absorbers and and Reproduction of 3-D Audio Soundtracks diffusers in order to improve the acoustic quality —Jean-Marc Jot ,1 Zoran Fejzo 2 of the space and thus the listening experience. 1DTS, Inc., Scotts Valley, CA, USA Convention Paper 8457 2DTS, Inc., Calabasas, CA, USA

Session P2 Thursday, Oct. 20 We propose a flexible and practical end-to-end 9:00 am – 11:00 am Room 1E07 solution for creating, encoding, transmitting, decoding, and reproducing spatial audio sound - RECORDING AND SOUND PRODUCTION tracks. The soundtrack encoding format is com - patible with legacy surround-sound decoders, Chair: Justin Paterson , University of West London, while enabling the representation of a three- London, UK dimensional audio scene, irrespective of the lis - tener’s playback system configuration. It allows for encoding one or more selected audio objects 9:00 am that can be rendered with optimal fidelity and P2-1 Computer Assisted Microphone Array Design interactively in any target spatial audio format (CAMAD)— Michael Williams , Freelance Sound (existing or future). The transmission or storage Recording Engineer and Lecturer, Sounds of data rate and the decoder complexity are scal - Scotland, Le Perreux sur Marne, France able at delivery time. A 3-D audio soundtrack may thus be produced once and transmitted or The basic aim of Microphone Array Design is to broadcast and reproduced as faithfully as possi - create microphone array recording systems with ble on the broadest range of target devices. smooth seamless or “Critically Linked” segment Convention Paper 8463 coverage of the surround sound field. Each con - figuration must take into account the interaction 10:30 am of the many design parameters, with the specific coverage of each segment that is required. The P2-4 The Effects of Multiple Arrivals on the difficulty in the manipulation of these many para - Intelligibility of Reinforced Speech— Timothy meters is one of the major obstacles in develop - J. Ryan ,1 Richard King ,1 Jonas Braasch ,2 ing a wide range of microphone arrays that meet William L. Martens 3

2 Audio Engineering Society 131st Convention Program, 2011 Fall 1McGill University, Montreal, Quebec, Canada It's not talked about often, but almost no two brands of 2Rensselaer Polytechnic University, Troy, NY, USA digital loudspeaker processors use the same filter defini- 3University of Sydney, Sydney, NSW, Australia tions. As a result, there is no such thing as a cross-plat- form, DSP agnostic, optimal crossover setting. This pan- The effects of multiple arrivals on the intelligibility el looks at how to create a precise set of crossover and of speech produced by live-sound reinforcement filters for the best loudspeaker performance systems are examined. The intent is to determine despite so much variability in DSP filter shapes. DSP if correlations exist between the manipulation of engineers and loudspeaker experts talk filter definitions, sound system optimization parameters and the tips on DSP settings conversion and the need for a loud- subjective attribute speech intelligibility. Investigat - speaker filter definition standard. ed variables are signal-to-noise ratio (SNR), delay time between signals arriving from multiple ele - Game Audio Session 1 Thursday, Oct. 20 ments of a loudspeaker array, and array type and 9:00 am – 10:30 am Room 1E13 geometry. Intelligibility scores were obtained through subjective evaluation of binaural record - ings, reproduced via headphone, using the Modi - EMERGING TRENDS IN AUDIO FOR GAMES fied Rhyme Test. Convention Paper 8464 Presenters: Michael Kelly, Principal Audio R&D Engineer, DTS Steve Martz, Sr. Design Engineer, THX Ltd. Workshop 1 Thursday, Oct. 20 9:00 am – 10:30 am Room 1E11 This workshop looks at the current state of technology requirements for audio in game applications and discuss- CANCELLED es emerging trends and the technical requirements imposed by those trends. The workshop is presented by the Co-chairs of the AES Technical Committee on Audio Broadcast/Media Streaming Session 1 for Games. The workshop also summarizes some of the Thursday, October 20 9:00 am – 10:30 am topics presented at the recent 41st International Confer- Room 1E10 ence on Audio for Games. FACILITY DESIGN—RENOVATION AND RETROFITTING Product Design Session 1 Thursday, Oct. 20 9:00 am – 11:00 am Room 1E08 Chair: John Storyk , Walters-Storyk Design Group, Highland, NY, USA THE QUIETEST LINK- BETTER NOISE AND CMRR AT LOW COST IN BALANCED CONNECTIONS Presenters: Judy Elliot-Brown , Rocket Science, NY John McGowan , WNET TV Presenter: Douglas Self Howie Schwartz , Howard Schwartz Recording Inc., New York NY, USA A balanced connection is usually considered a high-class connection compared with its unbalanced equivalent There continues to be an increasing need for facility because of its proven ability to reject noise on the con- upgrade and expansion in the broadcast production and nection ground and other forms of interference. It is post-production sectors. Numerous technical and social therefore rather unfortunate that the average balanced issues are fueling this, including changing delivery and connection is some 14 dB noisier in terms of its own production protocols (i.e., HDTV, surround audio, etc.); electronic noise. That difference is both clearly audible improved economic times with respect to media content and hard to explain away to potential customers. organization, etc. Typically, facilities have had to expand Another limitation of a balanced link is its finite Com- or improve their audio production rooms by retrofitting an mon-Mode-Rejection-Ratio, the figure that measures existing room or installing a new room within an how well ground noise is rejected. Achieving a good existing production complex. This panel will explore spe - CMRR is simple if you can use precision resistors but cific techniques as well as examples dealing with the these are uneconomic for most applications. construction and more specific acoustic and technology This session looks at ways to improve both the noise issues, associated with retrofitting and renovating audio performance and the CMRR of a balanced link without production facilities with an eye toward broadcasting pro - spending a lot of money. duction and post production standards. Tutorial 1 Thursday, Oct. 20 9:30 am – 11:00 am Room 1E12 Live Sound Seminar 1 Thursday, Oct. 20 9:00 am – 11:00 am Room 1E14 DELAY FX—WAIT FOR IT

DSP ALGORITHMS Presenter: Alex Case, University of Massachusetts, Lowell, Lowell, MA, USA Chair: Rich Frembes , Fulcrum Acoustics The humble delay is the basis for a broad range of Presenters: Bradford Benn , Crown effects: comb filtering, flanging, chorus, echo, reverb, Klas Dalbjörn , Lab Gruppen pitch shift, and more. One device, one plug-in, and Dave Gunness , Fulcrum Acoustics you’ve got a vast pallet of production possibilities. Join Langston Holland , Soundscapes us for this thorough discussion of the technical funda- Bennett Prescott , ADRaudio mentals and production strategies for one of the most Dana Troxel , Rane powerful signal processes in the audio toolbox: delay. ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 3 Technical Progra m Session P3 Thursday, Oct. 20 3Ingeniería de Sistemas y Teoria de la Señal, 10:00 am – 11:30 am 1E Foyer San Vicent del Raspeig, Spain This work analyses some of the issues related to POSTERS: TRANSDUCERS small size direct radiation loudspeakers design and aims to achieve high SPL using this kind of loudspeaker. In order to reach it, large diaphragm 10:00 am displacements are needed. Structural dynamic behavior of the moving assembly must be empha - P3-1 Inter- and Intra-Individual Variability in sized. With the aid of a numerical model imple - Blocked Auditory Canal Transfer Functions mented with finite elements, it is possible to quan - of Three Circum-Aural Headphones— Florian tify the influence of changing the number of folds Völk , AG Technische Akustik, MMK, Technische in the suspension (spider), the distance between Universität München, Munich, Germany spiders, and the effect of unbalanced forces inher - In headphone playback, different factors con - ent to the loudspeaker construction. Numerical tribute to a deviation of the presented from the model predictions are compared with experimental intended stimuli. Most important are the head - results having as reference a six-inch loudspeaker phone transfer functions, their inter-individual dif - development. ferences, and the intra-individual variability due Convention Paper 8467 to repeated positioning on the subjects’ heads. This paper gives a detailed inspection of the 10:00 am blocked auditory canal transfer characteristics for one specimen of each of three different cir - P3-4 High-Order Analog Control of a Clocked cum-aural headphone models frequently used in Class-D Audio with Global psychoacoustics, two operating on the electro- Feedback Using Z-Domain Methods— Pieter 1 1 2 dynamic, one on the electro-static converter Kemp , Toit Mouton , Bruno Putzeys 1 principle. It is shown that the variability can have University of Stellenbosch, Matieland, South considerable influence on the stimuli presented, Africa 2 especially in the frequency range above 6 kHz. Hypex Electronics B.V., Groningen, The The data indicate headphone specific variability, Netherlands suggesting the need for the variability to be con - The design of a clocked analog controlled pulse- sidered as headphone selection criterion. width modulated class-D audio amplifier with Convention Paper 8465 global negative feedback is presented. The ana - log control loop is designed in the z-domain by 10:00 am modeling the comparator as a sampling opera - tion. A method is presented to improve clip re - P3-2 Cable Matters: Instrument Cables Affect the covery and ensure stability during over-modula - Frequency Response of Electric Guitars— tion. Loop gain is shaped to provide a high gain Rafael Cauduro Dias de Paiva ,1,2 across the audio band, and ripple compensation Henri Penttinen 1 is implemented to minimize the negative effect of 1Aalto University School of Electrical ripple feedback. Experimental results are Engineering, Espoo, Finland presented. 2Nokia Technology Institute INdT, Brasilia, Brazil Convention Paper 8468 This paper presents analysis results of the effects an instrument cable has on the timbre of 10:00 am an electric guitar. In typical, well-designed audio equipment with proper impedance buffers, the P3-5 A Novel Sharp Beam-Forming Flat Panel effect of the cable can be considered insignifi - Loudspeaker Using Digitally Driven Speaker cant at audio frequencies. In contrast, magnetic System— Mitsuhiro Iwaide, Akira Yasuda, Daigo pickups used in electric guitars, act as resonat - Kuniyoshi, Kazuyuki Yokota, Moriyasu Yugo, ing low-pass filters. The cable is attached to a Kenji Sakuta, Fumiaki Nakashima, Masayuki, resonating electrical circuit and hence its imped - Yashiro, Michitaka Yoshino , Hosei University, ance characteristics can influence the system. Koganei, Tokyo, Japan The simulation and measurement results show In this paper we propose a beam-forming loud - that the capacitance of an instrument cable speaker based on a digitally direct driven speak - affects the frequency response of the system, er system (digital-SP); the proposed speaker whereas the effects of the inductance and series employs multi-bit delta-sigma modulation in or parallel resistance are negligible. The largest addition to a line speaker array with flat-panel- shift in the resonant frequency for the measured loudspeakers (FPLS) and a delay circuit. The cables was 1.4 kHz. proposed speaker can be realized only by D flip- Convention Paper 8466 flops and digital-SP. The sound direction can easily be controlled digitally. All processes can 10:00 am be performed digitally without the use of analog components such as power , and a P3-3 An Approach to Small Size Direct Radiation small, light, thin, high-quality beam-forming Transducers with High SPL— Jose Martinez ,1 speaker system can be realized. The prototype Enrique Segovia ,2 Jaime Ramis ,3 Alejandro is constructed using an FPGA, CMOS drivers, Espí ,1 Jesús Carbajo 3 and a line FPLS array. The 20 dB attenuation for 1Acústica Beyma, S.L., Valencia, Spain 20 degree direction is measured. 2Obras Públicas e Infraestructura Urbana, Convention Paper 8469 Alicante, Spain

4 Audio Engineering Society 131st Convention Program, 2011 Fall 10:00 am Shorty #3: Make it Even Smaller! — Presenter: Peter “pdx” Drescher, Twittering Machine P3-6 The Influence of the Directional Radiation When you need to make that data even smaller than Performance of the Individual Speaker any audio codec could ever assist with, you need to Modules, and Overall Array, on the Tonal develop techniques for creating awesome sounding con - Balance, Quality and Consistency of Sound tent in as little space as possible. Considered an authori - Reinforcement Systems —Akira Mochimaru, ty on audio for mobile platforms, the presenter will Paul Fidlin, Soichiro Hayashi, Kevin Manzolini , divulge some of his techniques for creating a compelling Bose Corporation, Framingham, MA, USA audio experience in as few bits as possible. Room acoustic characteristics, such as reflections and reverberation, often change the performance Tutorial 2 Thursday, Oct. 20 of speaker systems in a room. It has always been 10:45 am – 12:45 pm Room 1E11 challenging to maintain the tonal balance of a sin - gle speaker module when multiple modules are EAR TRAINING FOR MASTERING ENGINEERS used to form speaker arrays. Both phenomena are unique to sound reinforcement speakers and are Presenter: Andres Mayo , Andres Mayo Mastering, mainly determined by a combination of the radia - Buenos Aires, Argentina tion characteristics of an individual speaker mod - ule and the interactions between modules, known This tutorial includes a comprehensive set of tools to as arrayability. First, this study reviews the perfor - improve ear training, focused on what the Mastering mance of conventional speaker systems. Next, the Engineer needs to do his job. Dynamic EQ, De-essing, acoustic characteristics of speaker modules De-woofing, and many other techniques will be shown, desired for forming an ideal speaker array are dis - aiming to help audience to recognize different ranges of cussed. A new category of speaker system, the frequency. Mr. Mayo pioneered the art of mastering Progressive Directivity Array, is introduced to real - since 1992 and boasts credits in over 1,500 musical titles ize the theory as a practical solution. on vinyl, CD, DVD, and Blu-ray. Convention Paper 8470 Session EB1 Thursday, Oct. 20 11:00 am – 12:00 noon Room 1E09 Thursday, Oct. 20 10:00 am Room 1E05 Technical Committee Meeting on Human Factors RECORDING/PRODUCTION in Audio Systems

Game Audio Session 2 Thursday, Oct. 20 Chair: Richard King , McGill University & Centre for 10:30 am – 11:30 am Room 1E13 Interdisciplinary Research in Music, Media and Technology, Montreal, Quebec, Canada AUDIO SHORTS: TOOLS 11:00 am Presenters: Simon Ashby , VP Product Strategy, Co-founder Audiokinetic EB1-1 A New Golden Age of Recording— Thomas T. Peter “pdx” Drescher , Twittering Machine Chen , Stockton, CA, USA Michael Kelly , Principal Audio R&D The “Golden Age” of recording is said to be in Engineer, DTS the early 1960s and consists of recordings that were made that have great natural sound that This hour long session will be split into three twenty- are a treat to the ear. I believe that the room is minute segments. Each segment will go in depth into a one of the major contributors to the sound of the subject that is near and dear to the presenter. Audio “Golden Age” recordings. I have developed a Shorts is designed to pack in as much usable information technique for live recording producing good in as short a period of time as possible. It’s like the sound and also a means of adding quality room Reader’s Digest of game audio tutorials. You won't want to multitrack recordings. to miss this one. Engineering Brief 16 Shorty #1: Usage and Optimization of Run-Time Convo - lution Reverb for Games — Presenter: Simon Ashby, VP 11:15 am Product Strategy, Co-founder at Audiokinetic EB1-2 What Constitutes Innovation in Music Despite the fact that the current generation of gaming Production?— Justin Paterson , London College platforms are really powerful, the usage of convolution of Music, University of West London, London, UK reverb is just emerging and the perceptions that this technology is too expensive for games holds strong. This Innovation has often been at the core of record talk will demonstrate different techniques on how convo - production, yet as production has advanced from lution reverb can be optimized to fit most game resource Fred Gaisberg through the techniques of budgets while underlining the situations where using a Musique Concrète to the plethora of possibilities standard parametric reverb may be preferable. afforded by the present digital age, the opportu - nities for genuine innovation might now seem Shorty #2: Data Compression for Games — Presenter: limited. This notion is explored by considering Michael Kelly, Principal Audio R&D Engineer, DTS the ontology of production with reference to Game audio developers are always trying to squeeze audio examples, forming a chronological thread more data into the allotted RAM resources they are giv - that highlights pieces commonly perceived as en. The presenter will discuss current audio codec’s and landmark innovations, their technological back - their application for games as well as future trends. drops, and the recurrence/evolution of effect and ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 5 Technical Progra m aesthetic through successive generations of Panelists: Tom Ammermann technology, and ultimately a nexus. The percep - Gary Elko tion, attribution and value of “quality” is another Brett Leonard factor, and while this is a separate subject in its Jens Meyer own right, some discussion of this better contex - Wilfried Van Baelen tualizes the topic. Gregor Zielinsky Engineering Brief 17 While a great deal of development has gone into repro - ducing audio in the horizontal plane, the next step in 11:30 am immersive audio moves into the vertical dimension. New EB1-3 Achieving Great Sound in the Age of transmission formats, recording techniques, microphone Loudness Wars— Bryan Martin ,1 Adrian Carr 2 configurations, and processing methods are needed to 1Sonosphere Mastering, Montreal, Quebec, fill this demand. At this workshop new methods to cap - Canada ture and create height information for a true 3-D listening 2AC Mastering, Montreal, Quebec, Canada experience will be presented by a panel of music produc - ers, engineers, and researchers. Production techniques There has been much concern and discussion to capture Z axis information for later reproduction in sur - about the ever increasing demand for higher and round playback environments with height channels will higher mix and mastering levels. Veteran mas - be presented. Post-production methods to create 3-D tering engineers Adrian Carr and Bryan Martin ambiance including up-mix algorithms for 2.0 and 5.1 to will take a new perspective to discuss tech - Auro 3-D and mono to 5.1 and 8.1, up to 22.2. will be niques and processes to improve and maintain discussed as well. Recordings made using these tech - fidelity in the current “Maximum-Volume-Level” nologies will be demonstrated during an additional work - marketplace. Though this presentation is geared shop at NYU on Saturday. toward the working engineers of today, it is of particular importance to the up and coming gen - Master Class 1 Thursday, Oct. 20 eration. Since the level of CD’s is not decreas - 11:00 am – 1:00 pm Room 1E07 ing, the young engineer can still be aware of the advantages he has and the pitfalls he faces. Engineering Brief 18 THE FINE LINE BETWEEN VOICING AND DESIGN

11:45 am Presenters: Casey Dowdell Brian Zolner EB1-4 Phantom Powering the Modern Condenser Microphone Part II: The Effects of Load When the design brief of a digital to analog conversion Impedance on Microphone Performance— system calls for performance regardless of cost, a series Mark Zaim , Audio-Technica U.S. Inc., Stow, OH, of known concepts can be put in place. When perfor - USA mance is the highest priority, the execution and fine tun - ing of these concepts changes the design brief and pro - This paper builds on topics discussed in the pre - ject schedule. A list of the fundamental concepts is vious AES paper “Phantom Powering the Mod - presented along with the relevant discussion as to their ern Condenser Microphone: A Practical Look at necessity. Intriguingly, protracted listening during devel - Conditions for Optimized Performance.” It is not opment results in progressive design changes that must uncommon for microphone manufacturers to occur to reach an extraordinary outcome. measure performance specifications using open Casey Dowdell, formerly of and HP, and Brian load conditions. However, in application micro - Zolner, formerly of The Harman Specialty Group, are phones are connected to mixing consoles that co-founders of Bricasti Design. have much lower input impedances. These oper - ating conditions can affect microphone perfor - Broadcast/Media Streaming Session 2 mance and cause measurements to deviate Thursday, October 20 11:00 am –12:30 pm from published open load conditions. During the Room 1E10 previous investigation, changes were seen in several relevant microphone measurements as LISTENER FATIGUE AND RETENTION load impedance was changed. These observa - tions prompted a more in-depth investigation into the effects of load impedance on microphone Chair: David Wilson, CEA performance. The specific performance parame - Panalists: Todd Baker , SRS Labs ters investigated were: sensitivity, self-noise, Frank Foti , Omnia current consumption, dynamic range, maximum Greg Monti , Citadel Media sound pressure level (max SPL), signal to noise Greg Ogonowski , Orban ratio (SNR) and frequency response. Sean Olive , Harman Engineering Brief 19 Ellyn Sheffield , Towson University Engineering Brief 20 has been withdrawn This panel will discuss listener fatigue and its impact on listener retention. While listener fatigue is an issue of interest to broadcasters, it is also an issue of interest to Workshop 2 Thursday, Oct.20 telecommunications service providers, consumer elec - 11:00 am – 12:30 pm Room 1E08 tronics manufacturers, music producers, and others. Fatigued listeners to a broadcast program may tune out, CAPTURING HEIGHT IN SURROUND while fatigued listeners to a cell phone conversation may switch to another carrier, and fatigued listeners to a Chair: Paul Geluso portable media player may purchase another company’s

6 Audio Engineering Society 131st Convention Program, 2011 Fall product. The experts on this panel will discuss their Tutorial 3 Thursday, Oct. 20 research and experiences with listener fatigue and its 12:00 noon – 1:00 pm Room 1E13 impact on listener retention. AFTER MARKET POWER CORDS—“SNAKE OIL” Live Sound Seminar 2 Thursday, Oct. 20 OR LEGITIMATE AUDIO ACCESSORY? 11:00 am – 1:00 pm Room 1E14 Presenter: Michael D. Griffin , Essential Sound COORDINATION AND BAND PLANNING Products, Inc., Rochester, MI, USA OF LICENSE FREE RF SPECTRUM FOR EVENTS AND INSTALLATIONS Can after-market power cords afford performance bene - fits over typical “stock” cords or are they all just “snake Chair: Larry Estrin , Best Audio oil”? In this session, we’ll investigate the performance of audio component power supplies and the performance Presenters: Rod Barton , NFL Game Day effects of various “stock” power cords. We’ll consider the Coordinator question “is there an opportunity for improved perfor - Larry Dunn , City Theatrical mance” and discuss ways this might be accomplished. Craig Fredrickson Jackie Green , Audio-Technica Tom Turkington , CoachComm Thursday, Oct. 20 12:00 noon Room 1E05 Technical Committee Meeting on Automotive Audio The entertainment industry has a growing need for fre - quency coordination at every level of production from Special Event the Super Bowl to community theater and school events AWARDS PRESENTATION AND KEYNOTE ADDRESS etc. Today an ever increasing number of manufacturers Thursday, October 20, 1:00 pm – 2:15 pm are developing and marketing new license free devices Room 1E15/16 that transmit audio, video, communications, and data. Desired coverage areas range from the one room com - Opening Remarks: munity theater to the largest stadiums and arenas in the • Executive Director Roger Furness world. The panel will discuss a number of these situa - • President Jim Kaiser tions and the most popular types of devices and how • Convention Chair Jim Anderson they work. We will include a discussion of how, in most Program: cases, coordination and spectrum management tech - • AES Awards Presentation nologies can allow almost all devices to work without • Introduction of Keynote Speaker interfering with each other, in the same general atmos - • Keynote Address by Charles Limb phere. The discussions will include current and future spectrum usage. Frequency coordination protects Awards Presentation everyone. Please join us as the AES presents special awards to those who have made outstanding contributions to the Society in such areas of research, scholarship, and pub - Thursday, Oct. 20 10:00 am Room 1E05 lications, as well as other accomplishments that have Technical Committee Meeting on Semantic Audio contributed to the enhancement of our industry. The Analysis awardees are: BOARD OF GOVERNORS AWARD Student/Career Development Event • Karlheinz Brandenburg OPENING AND STUDENT DELEGATE ASSEMBLY • Peter Mapp MEETING – PART 1 • Richard Sandler Thursday, October 20, 11:15 am – 12:45 pm • Valerie Tyler Room 1E12 CITATION AWARD Chair: Philip Parenteau • Garry Gottlieb Vice Chair: Ezequiel Morfi • Andres Mayo • Sandra Requa The first Student Delegate Assembly (SDA) meeting is the official opening of the Convention’s student program FELLOWSHIP AWARD and a great opportunity to meet with fellow students from • Marc Aubort all corners of the world. This opening meeting of the Stu - • Peter Eastty dent Delegate Assembly will introduce new events and • Geoff Emerick election proceedings, announce candidates for the com - • Steve Green ing year’s election for the North & Latin American • Harry Hirsch Regions Vice Chair, announce the finalists in the four • Michael Lannie new recording competition categories, and announce • Aki V. Makivirta any upcoming events of the Convention. Students and • Glenn Meadows student sections will be given the opportunity to intro - • Eugene Patronis duce themselves and their activities, in order to stimulate • Ronald Prent international contacts. Daniel Deboy will address the first • Don Puluse meeting of the SDA about the Student Blog and other SILVER MEDAL education initiatives that we are working on. • Saul Walker All students and educators are invited to participate in this meeting. Election results and Recording Competition GOLD MEDAL Awards will be given at the Student Delegate Assembly • Rupert Neve Meeting–Part 2 on Sunday, October 23. • Phil Ramone ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 7 Technical Progra m HONORARY MEMBERSHIP 3:00 pm • Frank Laico [previously received this year] P4-2 A Systematic Approach to Measurement Keynote Speaker Limit Definitions in Loudspeaker Production —Gregor Schmidle , NTi Audio AG, Schaan, In 2010, Dr. Charles Limb infiltrated ’s Hip Hop Liechtenstein scene for a study on the parallels between that free form art and “traditional” jazz. An Associate Professor in the A typical end-of-line loudspeaker test comprises Department of Otolaryngology at the Johns Hopkins ten or more different parameters tested. Each School of Medicine, Limb is a hearing specialist and sax - parameter has its own pass/fail limits contributing ophonist. His groundbreaking work on how the brain to the overall test result of the loudspeaker and develops and assimilates musical creativity has been therefore to the yield of the production line. This featured by NPR, PBS, National Geographic, Scientific paper gives a comprehensive overview about American, the Smithsonian Institute, the New York commonly used limit calculation methods and pro - Times, Library of Congress, and the American Museum cedures in the industry. It also delivers a systemat - of Natural History. A Faculty Member at the Peabody ic guidance for choosing the right limit scheme for Conservatory of Music, Limb received his undergraduate maximizing yield, quality, and throughput. degree at Harvard, his medical degree at Yale, and com - Convention Paper 8472 pleted his surgical training at Johns Hopkins Hospital. His current research focuses on the neural basis of musi - 3:30 pm cal improvisation and the study of music perception in P4-3 Inverse Distance Weighting for Extrapolating deaf individuals with cochlear implants. Balloon-Directivity-Plots— Joerg Panzer ,1 The title of Limb’s keynote address is “Sound, Hearing, Daniele Ponteggia 2 and Music: A Journey from the Ears to the Brain” and will 1R&D Team, Salgen, Germany explore the physical and intellectual intricacies of musical 2Audiomatica Srl, Firenze, Italy creativity; its inception and perception. At first glance, the free-form art of musical improvisation and the meticulous This paper investigates an extrapolation for environment of the research lab seem to make strange missing directivity-data in connection with Bal - bedfellows, But through the application of rigorous scien - loon-Plots. Such plots display the spherical tific methods to the study of musicians, we have been directivity-pattern of radiators and receivers in able to get a glimpse of how this remarkable process of form of contoured sound pressure levels. Nor - artistic creativity takes place in the brain. mally the directivity-data are distributed evenly Limb’s innovative research into the parallel fields of so that at each point of the display-sphere there technology and musical creativity exemplifies the AES would be sufficient data-points. However, there mission. His study of brain function in improvising musi - are circumstances where we want to display cians is sure to provide valuable insights. data that are not evenly distributed. For exam - ple, there might be only available the horizontal and vertical scans. The proposed Inverse Dis - Thursday, Oct. 20 2:00 pm Room 1E02 tance Weighting method is a means to extrapo - Standards Committee Meeting on Digital Input/ late into these gaps. This paper explains this Output Interfacing, SC-02-02 method and demonstrates some examples. Convention Paper 8473 Session P4 Thursday, Oct. 20 2:30 pm – 4:30 pm Room 1E09 4:00 pm P4-4 Mechanical Fatigue and Load-Induced Aging LOUDSPEAKERS of Loudspeaker Suspension— Wolfgang Klippel , Klippel GmbH, Dresden Germany Chair: Alex Voishvillo , JBL Professional, Northridge, The mechanical suspension becomes more and CA, USA more compliant over time changing the loud - speaker properties (e.g., resonance frequency) 2:30 pm significantly. This aging process is reproducible P4-1 in Rooms: Equalization of and the decay of the stiffness can be modeled Multiple Subwoofers— Juha Backman , Nokia by accumulating the apparent power supplied to Corporation, Espoo, Finland, Aalto University, the suspension part and using an exponential Espoo, Finland relationship. The free parameters of this model are estimated from empirical data provided by The effectiveness of multiple subwoofers in con - on-line monitoring or intermittent measurements trolling low-frequency room modes can be during regular power tests or other kinds of long- improved through designing individual equaliza - term testing. The identified model can be used to tion for each of the subwoofers. The paper dis - predict the load-induced aging for music or test cusses two strategies toward equalizer design, signals having arbitrary spectral properties. New including individual equalization of multiple sub - characteristics are being introduced that simplify woofer responses, minimizing the total energy the quality assessment of suspension parts and radiated to the room, and optimization for mini - separate mechanical fatigue from the initial mizing sound field variation. The frequency break-in effect. Practical experiments are per - responses and sound field distributions obtained formed to verify the model and to demonstrate using these methods are compared to the the diagnostic value for selecting optimal sus - results of conventional equalization and modal pension parts providing sufficient long-term control only through loudspeaker placement. stability. Convention Paper 8471 Convention Paper 8474

8 Audio Engineering Society 131st Convention Program, 2011 Fall Session P5 Thursday, Oct. 20 gressive way of data processing. Sinusoidal par - 2:30 pm - 4:30 pm Room 1E07 tial parameters are estimated in the consecutive frames; however, the order of establishing indi - AUDIO PROCESSING—PART 1 vidual connections between partials is optimized within the whole signal or within a specific time Chair: Dana Massie , Audience, Inc., Mountain View, window. In this way, the strongest connections CA, USA may be determined early, and subsequent pre - dictions of each trajectory evolution are based on a more reliable partial evolution history, com - 2:30 pm pared to a traditional progressive scheme. As a P5-1 Automatic Detection of the Proximity Effect— consequence, the proposed non-progressive Alice Clifford, Josh Reiss , Queen Mary tracking algorithm offers a statistically significant University of London, London, UK improvement of obtained trajectories in terms of better classic pattern recognition measures. The proximity effect in directional microphones is Convention Paper 8477 characterized by an undesired boost in low frequency energy as source to microphone dis - 4:00 pm tance decreases. Traditional methods for reduc - ing the proximity effect use a high pass filter to P5-4 Perceptually Relevant Models for Articulation cut low frequencies that alter the tonal character - in Synthesized Drum Patterns— Ryan Stables, istics of the sound and are not dependent on the Jamie Bullock, Ian Williams , Birmingham City input source. This paper proposes an intelligent University, Birmingham, UK approach to detect the proximity effect in a sin - gle capsule directional microphone in real time. In this study we evaluate current techniques for The low frequency boost is detected by analyz - drum pattern humanization and suggest new ing the spectral flux of the signal over a number methods using a probabilistic model. Our statisti - of bands over time. A comparison is then made cal analysis shows that both deviations from a between the bands to indicate the existence of fixed grid and corresponding amplitude values of the proximity effect. The proposed method is drum patterns can have non-Gaussian distribu - shown to accurately detect the proximity effect in tions with underlying temporal structures. We test recordings of white noise and other musical plot distributions and probability matrices of inputs. This work has applications in the reduc - sequences played by humans in order to tion of the proximity effect. demonstrate this. A new method for humaniza - Convention Paper 8475 tion with structural preservation is proposed, us - ing a Markov Chain and an Empirical Cumulative Distribution Function (ECDF) in order to weight 3:00 pm pseudorandom variables. Finally we demon - P5-2 Vibrato Detection Using Cross Correlation strate the perceptual relevance of these meth - Between Temporal Energy and Fundamental ods using paired listening tests. Frequency— Henrik von Coler ,1 Axel Röbel 2 Convention Paper 8478 1Technical University of Berlin, Berlin, Germany 2IRCAM, Paris, France In this work we present an approach for detect - Workshop 3 Thursday, Oct.20 ing quasi periodic frequency modulations (vibra - 2:30 pm – 4:00 pm Room 1E10 to) in monophonic instrument recordings. Since a frequency modulation in physical instruments GOT METADATA? HISTORICAL, CULTURAL, usually causes an amplitude modulation, our AND FUTURE ISSUES OF INFORMATION method is based on a block wise cross correla - ASSOCIATION FOR ARCHIVING AUDIO MATERIALS tion between the extracted frequency- and amplitude-modulation trajectories. These trajec - Chair: Thomas Ross Miller , New York University, tories are obtained by removing the constant New York, NY, USA components. The resulting cross correlation curve shows significant positive peaks at vibrato Panelists: Holger Grossmann , Fraunhofer Institute for regions and local minima at note boundaries. Digital Media Techology IDMT, Ilmenau, Our approach has the advantage of working Germany without a previous note boundary detection and Chris Lacinak , AudioVisual Preservation needs only a small look ahead. Furthermore no Solutions, New York, NY, USA presumptions on vibrato parameters have to be made. Metadata is an integral component of preservation and Convention Paper 8476 an essential part of the audio object. Sound recordings without associated metadata are incomplete and might 3:30 pm not be properly interpreted, understood, or managed. Meaningful access depends on effective linkage to P5-3 A Non-Time-Progressive Partial Tracking information stored as metadata. This workshop Algorithm for Sinusoidal Modeling— Maciej explores the past, present, and future of metadata stan - Bartkowiak ,1 Tomasz Zernicki 2 dards in archives and preservation. Tom Miller discuss - 1Poznan University of Technology, Poznan, Poland es methods and problems involved with studying and 2Telcordia Poland, Poznan, Poland digitizing ethnographic wax cylinders and other cultural resources trapped in archaic media. Chris Lacinak ana - In this paper we propose a new sinusoidal model lyzes recent studies and advancements focusing on tracking algorithm that implements a non-pro - embedded metadata, or metadata stored in the file ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 9 Technical Progra m itself. Holger Grossman offers new ways of globally Live Sound Seminar 3 Thursday, Oct. 20 linking cross-cultural digital music catalogues for pur - 2:30 pm – 4:30 pm Room 1E14 poses of licensing, sales, and ethnomusicological research. The presentations touch on conceptual is - DATA NETWORKS AS A sues as well as technical approaches to extracting and TRANSPORT MECHANISM associating descriptions such as: delineating segment borders, categorizing annotations from a diverse array Presenter: Josh Evans , Lab Gruppen of sources, the use of personalized tags, and the evolu - tion of music similarity rankings. We will consider the An exploration of data networks as a digital audio distrib - possibilities for capturing and interrelating different ution model. How can we share audio and control data, semantics of cognitive music perception, sociomusical and how can we facilitate audio routing over a network? effects produced by the algorithmic analysis of style, Several of the current audio network protocols as well as hybrid techniques combining personal classifications with some proprietary topologies will be examined. automated systems, and the future of standardization . Games Audio Session 3 Thursday, Oct. 20 2:30 pm – 4:00 pm Room 1E08 Tutorial 4 Thursday, Oct. 20 2:30 pm – 4:00 pm Room 1E11 GAME AUDIO SECRETS: EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT GAME MP3 CAN SOUND GOOD AUDIO BUT WERE AFRAID TO ASK

Presenters: Schuyler Quackenbush , Audio Research Presenters: Peter "pdx" Drescher , Twittering Machine Labs, Scotch Plains, NJ, USA Stephen Harwood Jr. , Dynamic Systems Thomas Sporer , Fraunhofer IDMT, Ilmenau, Music Germany Damian Kastbauer , Bay Area Sound Scott Selfon , Senior Development Lead, Why does MP3 get such a bad rap? This tutorial will Microsoft briefly present the history of MP3 coding as a medium for portable music players and discuss the impact of these Game-curious? Interested in the video game industry, early experiences on how MP3 is regarded in the audio but unsure of what exactly it is that we do here? You are community. The main focus of the tutorial is to discuss not alone. Video game production values are improving how to develop a robust way to characterize audio quali - rapidly, creating increased demand for top-notch, experi - ty: a test method must be double-blind, have listeners enced audio professionals. But many , sound with thorough training, use a credible test methodology, designers, and producers looking to bring their expertise and turn the subjective results into a numeric measure of from the world of film and TV into the video game indus - quality using sound statistical principles. To close, exam - try are uncertain about what it is they’ll be getting them - ples of several subjective tests of audio codecs will be selves into. In this very special extended Q&A session, a presented, showing some that are done well and others panel of distinguished game audio insiders will take that are not done well. questions from the floor, and turn them into answers from behind the curtain. Discussion will be driven by Tutorial 5 Thursday, Oct. 20 audience participation—all topics are welcome, from 2:30 pm – 4:00 pm Room 1E12 interactive music to implementation. Come prepared to inquire, be inspired, and take notes. ACOUSTICS FOR SOUND REINFORCEMENT Historical Event LEOPOLD STOKOWSKI AND THE HISTORY Presenters: Peter Mapp , Peter Mapp Associates, OF ANALOG RECORDING Colchester, UK Friday, October 21, 2:30 pm – 4:00 pm Kurt Graffy , Arup Acoustics Room 1E13

Traditionally, acoustic design for performance spaces Presenter: Robert Auld focuses on optimum acoustics for non-reinforced perfor - mances. However, a fine concert hall for symphonic Leopold Stokowski was active as a recording artist from music can be very troublesome for reinforced sound. 1917 until 1977—virtually the entire period of the record - Even performance spaces designed with variable ing of music by analog technology. Further, due to his acoustics are mostly optimized for acoustic sources, little obsessive interest in the art and technology of recording, consideration is given to the needs for reinforced sound. he was frequently in contact with engineers and This tutorial addresses the different acoustic require - researchers who were working on technical advances. ments for reinforced sound as opposed to non-reinforced Therefore, it is possible to trace most of the major devel - sound. Topics to be discussed will include: opments in analog recording over nearly 60 years through examining the recordings of Leopold Stokowski. • Reverberation, support or interference? Auld's multimedia presentation will include rare audio • Source directivity, positioning and aiming recordings, still photos, and film clips, all drawn from the • Discrete reflections and how to avoid them extensive activities of Leopold Stokowski over the course • What to include in a new venue for optimum adapta - of his career. Special attention will be paid to his involve - tion for reinforced sound ment in the development of multichannel sound record - • Practical measures in existing situations ing, including his collaboration with Bell Labs starting in • Workarounds in acoustic harsh environments - Con - 1932, his work with Walt Disney for the film Fantasia, trol of bass reverberation and room acoustic effects at and his encouragement of recording in quadraphonic low frequencies sound in the 1970s.

10 Audio Engineering Society 131st Convention Program, 2011 Fall Robert Auld is an active in New York 1New York University School of Medicine, New City and the northeast region. His clients include Nation - York, NY, USA al Public Radio, the BBC, Riverside Symphony, Bean - 2Polytechnic Institute of New York University, town Swing Orchestra, and many others. He has written Brooklyn, NY, USA for Recording Magazine on technical audio issues and has made presentations on historical audio subjects at The ultimate objective of this study is to employ AES conventions and section meetings. He is a former a resonance-based decomposition method for chairman of the New York Section of the AES. the manipulation of acoustic cues in speech. Resonance-based decomposition (Selesnick, 2010) is a newly proposed nonlinear signal Special Event analysis method based not on frequency or PHIL RAMONE/TONY BENNETT scale but on resonance; the method is able to Thursday, October 20, 2:30 pm – 4:00 pm decompose a complex non-stationary signal into Room 1E15/16 a “high-resonance” component and a “low-reso - nance” component using a combination of low- Presenter: Phil Ramone and high-Q-factors. In this study we conducted a subjective listening experiment on five normal Tony Bennett: Duets II hearing listeners to assess the perceived quality Producer Phil Ramone, co-producer and engineer Dae of decomposed components, with the intention Bennett, and singer Tony Bennett will discuss the pro - of deriving the perceptually relevant combina - duction of their new album, Tony Bennett: Duets II . tions of low- and high-Q-factors. Our results Duets II features Mr. Bennett in duet with Norah Jones, show that normal hearing listeners generally Carrie Underwood, Andrea Bocelli, Amy Winehouse, rank high-resonance components of speech Mariah Carey, Natalie Cole, Sheryl Crow, Josh Groban, stimuli higher than low-resonance components. Faith Hill, John Mayer, Willie Nelson, Alejandro Sanz, This may be due to a greater salience of percep - Michael Bublé, K.D. Lang, and Lady Gaga. [ Note: Mr. tually significant formant cues in high-resonance Bennett was ill and did not attend this event.] stimuli. Convention Paper 8480 [Paper not presented but is available for purchase] Session P6 Thursday, Oct. 20 3:00 pm – 4:30 pm 1E Foyer 3:00 pm

POSTERS: SPEECH P6-3 Relationship between Subjective and Objective Evaluation of Distorted Speech 3:00 pm Signals— Mitsunori Mizumachi , Kyushu Institute of Technology, Fukuoka, Japan P6-1 A Systematic Study on Formant Transition in Speech Using Sinusoidal Glide— Wen-Jie It is important for designing a noise reduction Wang ,1 Benjamin Guo ,2 Chin-Tuan Tan 2 algorithm to evaluate the quality of noise- 1New York University, School of Medicine, New reduced speech signals accurately and efficient - York, NY, USA ly. Subjective evaluation gives accurate evalua - 2City University of New York, New York, NY, USA tion, but requires listening tests with a lot of subjects and time. Then, objective distortion The goal of this study was to use sinusoidal measures are employed as efficient evaluation. glide to investigate the perceivable acoustic However, almost all the distortion measures do cues in a consonant-vowel /CV/ syllable system - not consider the temporal variation of speech atically. The sinusoidal glide is designed to distortion. In this paper the temporal aspect of mimic the formant trajectory in a /CV/ syllable the segmental speech distortion is investigated with two parts: a frequency glide followed by a based on higher-order statistics, that is, vari - constant frequency. The experiment varied the ance, skewness, and kurtosis. It is interesting frequency step (with rising and falling glide) and that the skewness of the objective evaluation duration of the initial part, and the center gives a good explanation for the discrepancy frequency and duration of the final part of the between subjective and objective evaluation. sinusoidal glide. We asked six normal hearing Convention Paper 8481 subjects to discriminate sinusoidal glides from sinusoids of constant frequency, and found that subjects require a larger frequency step when 3:00 pm the duration of the glide is shortened but a small - P6-4 Multiple Microphones Speech Enhancement er frequency step when the center frequency of Using Minimum Redundant Array— Kwang- the final part is lowered, to discriminate the two Cheol Oh , Co., Ltd., stimuli. The outcome of this experiment is com - Suwon City, Gyeong-Gi Do, Korea pared to the outcomes of previous studies using synthesized formants and sinusoidal replicas. A non-uniformly-spaced multiple microphone ar - Convention Paper 8479 ray speech enhancement method with small [Paper not presented but is available for purchase] aperture size is proposed and analyzed. The technique utilizes a minimum redundant array structure used in antenna array in order to pre - 3:00 pm vent spatial aliasing for high frequencies and P6-2 Perceived Quality of Resonance-Based uses the phase difference-based dual micro - Decomposed Vowels and Consonants— phone speech enhancement techniques to Chin-Tuan Tan ,1 Benjamin Guo ,1 Ivan implement small-microphone array. It has highly Selesnick 2 directive features from the low-frequency to high ¯ Audio Engineering Society 131st Convention Program, 2011 Fall 11 Technical Progra m frequencies evenly, and its performance is mea - Sensing and Rendering— Paolo Annibale ,1 sured with directivity index. The directivity Fabio Antonacci ,2 Paolo Bestagini ,2 Alessio index(DI) for the proposed approach is about 3 Brutti ,3 Antonio Canclini ,2 Luca Cristoforetti ,3 dB higher than that of a multiple microphone Emanuël Habets ,1,4 J. Filos ,1 Walter Kellerman ,1 approach with the phase-based filter. Konrad Kowalczyk ,1 Anthony Lombard ,1 Edwin Convention Paper 8482 Mabande ,1 Dejan Markovic ,2 Patrick Naylor ,4 Maurizio Omologo ,3 Rudolf Rabenstein ,1 Thursday, Oct. 20 3:00 pm Room 1E05 Augusto Sarti ,2 Piergiorgio Svaizer ,3 Mark Technical Committee Meeting on Microphones Thomas 4 and Applications 1University of Erlangen, Erlangen, Germany 2Politecnico di Milano, Milan, Italy 3 Session P7 Thursday, Oct. 20 Fondazione Bruno Kessler – IRST, Trento, Italy 4 4:30 pm – 6:30 pm Room 1E09 Imperial College London, London, UK SCENIC is an EC-funded project aimed at devel - SOUND FIELD ANALYSIS AND REPRODUCTION— oping a harmonized corpus of methodologies for PART 1 environment-aware acoustic sensing and ren - dering. The project focuses on space-time Chair: Sascha Spors , Deutsche Telekom Laboratories, acoustic processing solutions that do not just Berlin, Germany accommodate the environment in the modeling process but that make the environment help to - 4:30 pm ward achieving the goal at hand. The solutions developed within this project cover a wide range P7-1 Two Physical Models for Spatially Extended of applications, including acoustic self-calibra - Virtual Sound Sources— Jens Ahrens, Sascha tion, aimed at estimating the parameters of the Spors , Deutsche Telekom Laboratories, acoustic system; environment inference, aimed Technische Universität Berlin, Berlin, Germany at identifying and characterizing all the relevant We present physical models for the sound field acoustic reflectors in the environment. The infor - radiated by plates of finite size and spheres mation gathered through such steps is then used vibrating in higher modes. The intention is obtain - to boost the performance of wavefield rendering ing a model that allows for controlling the per - methods as well as source localization/charac - ceived size of a virtual sound source in model- terization/extraction in reverberant environments. based sound field synthesis. Analytical Convention Paper 8485 expressions for radiated sound fields are derived and simulations of the latter are presented. An 6:00 pm analysis of interaural coherence in a virtual listen - er, which has been shown to serve as an indicator P7-4 Object-Based Sound Re-Mix for Spatially for perceived spatial extent, provides an initial Coherent Audio Rendering of an Existing Stereoscopic-3-D Animation Movie— Marc proof of concept. 1 1,2 1 Convention Paper 8483 Evrard , Cédric R. André , Jacques G. Verly , Jean-Jacques Embrechts ,1 Brian F. G. Katz 2 1University of Liege, Liege, Belgium 5:00 pm 2LIMSI-CNRS, Orsay, France P7-2 Auditory Depth Control: A New Approach While 3-D cinema is becoming more mainstream, Utilizing a Plane Wave Loudspeaker little effort has focused on the general problem of Radiating from above a Listener— Sungyoung producing a 3-D sound scene spatially coherent Kim, Hiraku Okumura, Hideki Sakanashi, with the visual content of a stereoscopic-3-D Takurou Sone , Yamaha Corporation, (s-3D) movie. The perceptual relevance of such Hamamatsu, Japan spatial audiovisual coherence is of significant inter - One of the distinct features of a 3-D image is that est. In order to carry out such experiments, it is the depth perceived by viewer is controlled so that necessary to have an appropriate s-3D movie and objects appear to project toward the viewers. How - its corresponding 3-D audio track. This paper pre - ever, it has been hard to move auditory imagery sents the procedure followed to obtain this joint near to listeners using conventional loudspeakers 3-D video and audio content from an exiting ani - and panning algorithms. In this study we proposed mated s-3D film, problems encountered, and a new system for controlling auditory depth, which some of the solutions employed. incorporates two loudspeakers: one that radiates Convention Paper 8486 sound from the front of a listener and another that radiates plane waves from above a listener. With Session P8 Thursday, Oct. 20 additional equalization that removes spectral cues 4:30 pm – 6:30 pm Room 1E07 corresponding to elevation, the proposed system generates an auditory image “near a listener” and LOUDNESS MEASUREMENT AND PERCEPTION controls the depth perceived by the listener, there - by enhancing the listener’s perception of 3-D Chair: Dan Harris , Sennheiser Technology sound. and Innovation Convention Paper 8484 4:30 pm 5:30 pm P8-1 Effect of Horizontal Diffusivity on Loudness P7-3 The SCENIC Project: Space-Time Audio —Densil Cabrera , Luis Miranda, University of Processing for Environment-Aware Acoustic Sydney, Sydney, NSW, Australia

12 Audio Engineering Society 131st Convention Program, 2011 Fall This paper examines how the spatial character - results show that the normalization yields both istics of a sound field affect its loudness. In an equal as well as different perceived loudness be - experiment, listeners adjusted the gain of stimuli tween program types. The maximum difference so as to match the loudness of a reference stim - was ±2.82 dB. ulus. The experiment was conducted using bin - Convention Paper 8489 aural stimuli presented over headphones—using stimuli that simulated the sound from eight 6:00 pm sound sources evenly distributed in a circle around the listener. Four degrees of diffusivity P8-4 A Novel Multi-Stage Loudness Control were tested, ranging from a single active sound Algorithm for Audio Processing— Balaji source, to all eight sources producing decorrelat - Vodapally ,1 Brijesh Singh Tiwari ,1 Deepen ed sound with identical power spectra. Four Sinha 2 power spectra were tested: broadband pink 1ATC Labs, Noida, India noise, and low-, mid-, and high-frequency band - 2ATC Labs, NJ, USA pass-filtered pink noise. The paper finds that in Modern audio broadcast processors are modeling the binaural loudness summation of designed to provide an audio with consistent the diffuse stimuli, a binaural gain constant loudness within a specified dynamic range. In about 1 or 2 dB greater than that of the non-dif - general a tight control over the processed au - fuse stimuli provides the least error. dio level is provided by the Automatic Gain Convention Paper 8487 Control (AGC) mechanism. Most of the other processing functions are tuned for a pre-de - 5:00 pm fined signal level; this arises the need for multi- P8-2 Locating the Missing 6 dB by Loudness stage loudness control. This paper presents Calibration of Binaural Synthesis— Florian the gain control mechanism employed in vari - Völk, Hugo Fastl , AG Technische Akustik, MMK, ous stages of the proposed multi-stage Audio Technische Universität München, Munich, Loudness Control (MALC) and the interaction Germany between various stages. We also present re - sults which explain how the proposed scheme Binaural synthesis is a sound reproduction tech - provides better control over loudness against nology based on the convolution of sound sig - the signal level. The paper also emphasizes nals with impulse responses defined between a the importance of frequency weighing based source and a listener’s eardrums. The convolu - loudness measure. tion products are typically presented by head - Convention Paper 8490 phones. For perceptual verification, subjects traditionally remove the headphones to listen to the corresponding real scenario, which is cum - bersome and requires a pause between the stimuli. In this paper loudness adjustments are Workshop 4 Thursday, Oct. 20 presented using a method that allows for direct 4:30 pm – 6:30 pm Room 1E08 comparison by defining the reference scene for a listener wearing headphones. Influences of dif - SOUND QUALITY EVALUATION ferent headphones and equalization procedures are discussed and an explanation for the differ - Chair: Frederik Nagel , Fraunhofer IIS/International ence in auditory canal pressure between head - Audio Laboratories, Erlangen, Germany phone and loudspeaker reproduction at the same loudness commonly referred to as the Panelists: Søren Bech , Bang & Olufsen, Denmark missing 6 dB is deduced. Poppy Crum , Dolby Laboratories, San Convention Paper 8488 Francisco, CA, USA Schuyler Quackenbush , Audio Research 5:30 pm Labs, Scotch Plains, NJ, USA Nick Zacharov , Genelec OY, Finland P8-3 Difference between the EBU R-128 Meter Recommendation and Human Subjective Loudness Perception— Fabian Begnert, The workshop aims at discussing current practices of Håkan Ekman, Jan Berg , Luleå University listening test preparation, execution, and evaluation. It of Technology, Piteå, Sweden will cover the choice of test items, the selection of par - ticipants, and, last, the means of test design and statis - The vast loudness span of broadcast sound can tical evaluation. Questions such as “What are naive or be reduced by the use of loudness meters. In an expert listeners?” “What is a convenience sample and ideal case, the measured and the perceived what can we learn from the results?” “What is the differ - loudness would be equal. A loudness meter ful - ence between small and intermediate artifacts?” “What filling the EBU R-128 recommendation was kind of statistics can be applied when the sample is investigated for its correspondence with per - small? Might other test methods be more adequate?” ceived loudness. Several sound stimuli with “Which characteristics should the items under test large loudness differences representing five dif - have?” exist but are hardly topics of publication in audio ferent types of broadcast program material were research. These issues are expected to be discussed normalized to have equal meter measured loud - among the participants and resulting in proposals to ness level. Subjects listened to pair-wise presen - solve the existing problems. Eventually, this workshop tations of the normalized stimuli, which they sub - aims at providing researchers with a better understand - sequently set to have equal perceived loudness. ing what happens during listening tests and giving The settings were recorded and analyzed. The guidelines for a better listening test practice. ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 13 Technical Progra m Workshop 5 Thursday, Oct. 20 apply the reverb parameters for different areas of a 4:30 pm – 6:30 pm Room 1E15/16 game scene. This manual process requires a lot of expe - rience, expertise, and labor. Dynamic effects, such as PRODUCING ACROSS GENERATIONS: NEW the effect of source / listener positions, or changes in CHALLENGES, NEW SOLUTIONS—MAKING room geometry are almost always neglected. RECORDS FOR NEXT TO NOTHING IN THE 21ST Due to these reasons, a degree of automation and CENTURY improvement in acoustic detail has long been needed for games. In the area of room acoustics, automatic calcula - Chair: Nicholas Sansano , New York University, tion methods, as well as perceptual aspects of room New York, NY, USA responses have been (and continue to be) extensively studied. By utilizing reverb computation based on such techniques, along with artistic input from the audio Panelists: Jason Goldstein designer, the quality of game reverb could be vastly Dan Knobler , Mason Jar Music improved. In this panel three approaches for interactive Jesse Lauter reverb computation will be discussed: wave, geometrical, Bob Power and statistical acoustics. Panelists will discuss the tech - Dan Romer nical aspects, relative strengths and weaknesses, perfor - Jonathan Seale , Mason Jar Music mance requirements/tradeoffs, and also show video Tony Visconti demonstrations of the techniques in action. These Budgets are small, retail is dying, studios are closing, fed approaches have been integrated with game engines up audiences are taking music at will … yet devoted and also map well to commodity multi-core processors. music professionals continue to make records for a liv - (1) Wave acoustics: Real-time wave acoustics for ing. How are they doing it? How are they getting paid? games — Presenter: Nikunj Raghuvanshi. A novel tech - What type of contracts are they commanding? In a world nique for wave-based sound propagation in games. where the “record” has become an artists’ business card, (2) Geometrical acoustics: GSound + Acoustic Trans - how will the producer and mixer derive participatory fer Operator — Presenter: Dinesh Manocha. Two recent income? Are studio professionals being left out of the geometric techniques for interactive sound propagation. so-called 360 deals? Let’s get a quality bunch of young (3) Statistical acoustics: Advanced Statistical 3D rising producers and a handful of seasoned vets in a reverb — Presenter: Masataka Nakahara. Statistically room and finally open the discussion about empower - calculated reverb using new statistical acoustics theory. ment and controlling our own destiny. Product Design Session 2 Thursday, Oct. 20 Broadcast/Media Streaming Session 3 4:30 pm – 6:30 pm Room 1E12 Thursday, October 20 4:30 pm – 6:00 pm Room 1E10 IS YOUR EQUIPMENT DESIGN A NOISE PROBLEM WAITING TO HAPPEN? STREAMING WITH HTML5 Presenter: Bill Whitlock , Jensen Transformers Chair: Valerie Tyler , College of San Mateo Panelists: Ian Bennett, Microsoft A design goal for all audio equipment is freedom from Greg Ogonowski, Orban hum and buzz. But AC power normally creates a system environment of ground voltage differences. While a bal - HTML5 is a language for structuring and presenting con - anced interface is the first line of defense against this tent for the World Wide Web, a core technology of the noise source, the balanced interface itself is very poorly Internet. It is the fifth revision of the HTML standard. understood by most engineers. This leads them to design HTML5 will have many features built into the code. One balanced input circuits that perform impressively in the feature is the media player or how it will handle media lab but have very poor noise rejection in real-world sys - being downloaded or streamed. This session will look tems. To make matters worse, internal equipment into the technical considerations for media to be played grounding schemes are often thoughtlessly designed. back as well as the user interfaces. Two common results are noise coupled via cable shield connections (the “Pin 1” problem) and the AC power cord Game Audio Session 4 Thursday, Oct. 20 (so-called “sensitive” equipment). These and other design 4:30 pm – 6:30 pmRoom 1E11 pitfalls, and how to avoid them, are the focus of this class.

REALISTIC INTERACTIVE REVERB PROCESSING Session EB2 Thursday, Oct. 20 FOR GAMES 5:00 pm – 6:30 pm 1E Foyer

Moderator: Steve Martz , THX Ltd. POSTERS Panelists: Dinesh Manocha, University of North 5:00 pm Carolina at Chapel Hill, Chapel Hill, NC, USA EB2-1 Engineering Brief 21 has been withdrawn Masataka Nakahara, Onfuture Ltd. Nikunj Raghuvanshi, Microsoft Research 5:00 pm EB2-2 Digital Control of an Analog Parametric Realistic acoustics is essential for a realistic, immersive Equalizer — Blair Ryan Conner , Purdue game experience. Computing and applying realistic University, West Lafayette, IN, USA acoustic responses for game scenes, called “interactive reverb,” is thus a very important problem. Most games This project focuses on creating a digitally con - today rely heavily on the audio designer to assess and trollable analog band-pass filter with an

14 Audio Engineering Society 131st Convention Program, 2011 Fall adjustable resonant frequency for a middle fre - (ADC/DACs) in isolation from computer system quency adjuster in an audio equalization stage. processing overheads by using a high-speed The design of the band-pass filter is a standard data acquisition device. The report discusses the series resistor, inductor, and capacitor filter net - testing methods and pitfalls. It confirms that the work. An adjustable gyrator circuit simulates an latency is almost exclusively accounted for by inductor to change the resonant frequency of the the expected group delay of the digital decima - filter. Inside the gyrator circuit, a voltage-con - tion filters and interpolation filters used in the trolled amplifier is configured to simulate a resis - Sigma-Delta convertor. tor to change the gyrators simulated inductance. Engineering Brief 25 A digital to analog converter controls the gain of the voltage-controlled amplifier to make the ana - 5:00 pm log filter digitally controlled. This circuit success - fully acts as a bandpass filter with a digitally con - EB2-6 The Effect of Reverberation on Music trollable resonant frequency. Performance— Elisa Sato, Toru Kamekawa, Engineering Brief 22 Atsushi Marui , Tokyo University of the Arts, Tokyo, Japan 5:00 pm The structure of playing musical instruments EB2-3 Mash-Up— Stephen Partridge , Buckinghamshire consists of 3 basic steps: performing on the New University, High Wycombe, instrument to make musical sounds, recognizing Buckinghamshire, UK spatial information and music in the space through listening to the sounds themselves, and The project will constitute an exploration of the finally returning the information to the perfor - choices made by users of audio post-produc - mance to adapt their musical experience and tion/editing applications in the selection and re- consciousness. These steps go on as a loop use of digital media files. The intended outcome during the performance of musical instruments, would be to inform a better understanding of the and it is widely known that reverberation effects ways in which contemporary users engage with recognition of the space, i.e. the second step. digital media artifacts. The production context Adjusting the whole acoustic environment inside upon which this study will be based concerns an the room with sampling reverberation should ongoing enterprise project. help musicians to play just as they want to. In Engineering Brief 23 this paper the relation between multiple parame - ters of reverberation and the features of solo vio - 5:00 pm lin performance is investigated. Engineering Brief 26 EB2-4 Statistical Analysis of Electro-Acoustic Measurements Sets Using Scilab— Daniele Ponteggia , Audiomatica Srl, Firenze, Italy 5:00 pm The production management of electro-acoustic EB2-7 Analysis-Synthesis Techniques for Additive systems require the statistical analysis of mea - Granular Synthesis— James O’Neill , University surements data. The analysis process should be of Miami, Coral Gables, FL, USA sufficiently flexible to match the needs of the This project explores granular synthesis tech - production process and the number of measured niques that utilize various basis functions samples should be large enough to ensure the inspired by existing matching pursuit algorithms. accuracy in statistical terms. Using an open The first algorithm performs a STFT on an input source numerical computation software (Scilab) signal and synthesizes a new, granular signal is possible to create statistical analysis proce - using one-dimensional Gabor atoms. These dures in a simple and cost effective way. Scilab atoms can be made to virtually reproduce the syntax is simple enough to be acquired within a input signal, but a wide variety of granular fairly short time, while data analysis capabilities effects can be achieved by altering the distribu - are very advanced. In this work some sample tion of the atoms in the time and frequency applications are shown, with minimal code edit domains, such as granular time stretching and the provided examples can be adapted to sever - pitch shifting, along with statistical distribution al real world cases. techniques introduced by the author. The sec - Engineering Brief 24 ond algorithm utilizes a basis set of generated noise bursts, which can be over-complete or an 5:00 pm orthonormal basis for the Hilbert space that cor - EB2-5 Latency Measurements of Audio Sigma Delta responds to the analysis window by applying the Analog to Digital and Digital to Analog Gram-Schmidt process to the burst library. The Converts— Yonghao Wang , Queen Mary noise functions are then used as grain contents University of London, London, UK, Birmingham in the synthesis stage, where a variety of effects City University, Birmingham, UK are created with redistribution methods. Audio examples are provided over headphones. Latency is a well recognized issue when using Engineering Brief 27 digital audio workstations for live music process - ing. Previous research has reported measure - 5:00 pm ments of the latency of the whole audio processing chain based on a “blackbox” EB2-8 Harmonic Distortion Analysis in a Class-AB approach. This report presents the results of Tube Amplifier: The McIntosh MC-240— Phillip latency measurement of typical compact analog Minnick , University of Miami, Coral Gables, FL, to digital and digital to analog converters USA ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 15 Technical Progra m Some Class-AB tube amplifiers remain in Advanced audio processing for interactive media demand for audiophiles due to their linear gain is in demand for a wide range of applications stages, low feedback, and minimal high-order and devices. The requirements for interactive harmonic distortion. The McIntosh MC240 media contexts tend to impose both device-spe - Class-AB tube amplifier is a benchmark, high- cific and style-specific constraints. The goal of quality stereo amplifier from the 1960s. This pre - the present research is to develop a robust sentation gives an overview of the restoration of approach to interactive audio that may be persis - the amplifier to achieve a satisfactory level of tent across diverse media contexts. This project performance, examination of the electrical topol - adopts a structural approach to the relationship ogy in relation to the output signal’s distortion of interactive sounds to interactive graphical characteristics, and detailed analysis of the dis - media. We refer to this as a model-to-model tortions produced by the amplifier using psy - architecture. Sound production is decoupled choacoustic-based listening tests as well as from specific media styles, enabling abstractions standard benchmark tests. using feature analysis of simulation output that Engineering Brief 28 can be adapted to a variety of media devices. The identifying metaphor for this approach is 5:00 pm playing with sounds through graphical represen - tations and interactive scenarios. EB2-9 The “Williams Star” Microphone Array Convention Paper 8491 Support System— Michael Williams , Freelance Sound Recording Engineer and Lecturer, 9:30 am Sounds of Scotland, Le Perreux sur Marne, France P9-2 Advances in ENF Database Configuration for Forensic Authentication of Digital Media— With the ever increasing interest in 5-channel Catalin Grigoras, Jeffrey M. Smith, Christopher recording for home cinema, television, and pure W. Jenkins , University of Colorado Denver, 5-channel audio, the search for an operationally Denver, CO, USA simple, reliable, and high quality surround sound recording system is becoming ever more impor - When building an Electric Network Frequency tant. The equal segment 4-channel and 5-chan - (ENF) database for forensic purposes, ensuring nel arrays described in two AES papers by that the recorded signal satisfies standards for Michael Williams (AES Convention Papers 3157 forensic analysis is crucial. The ENF signal shall and 7480) are attracting more and more interest be free of clipping and lossy compression distor - within the audio industry. However the research tions, the signal to noise ratio shall be as high as for a satisfactory operational microphone config - possible, and the acquisition system clock shall uration cannot be dissociated from the purely be synchronized with an atomic clock. Using an mechanical problem of finding a suitable micro - ENF database to compare reference and ques - phone array support system. The “Williams Star” tioned ENF involves precise measurements of Microphone Support System can provide a sim - amplitude, spectrum, and zero-crossings in order ple, flexible, and reliable microphone array sup - to accurately time-stamp, discover potential edits, port system for any equal segment array design. and authenticate digital audio/video recordings. The visual impact of this system has also been Due to the inherent differences in electronic com - reduced to an absolute minimum. Currently only ponents, building multiple ENF probes to create the 4-channel and 5-channel seem to meet oper - multiple databases with matching waveforms can ational broadcasting requirements, but a 7-chan - be challenging. This paper addresses that chal - nel format is also provided for future develop - lenge and offers a solution by using MathWorks ments with respect to the new Blu-ray format. MATLAB to calculate the best combination of Engineering Brief 29 components and produce graphical displays to help give a visual aid to the outcome in order to Thursday, Oct. 20 5:00 pm Room 1E02 build a high quality ENF probe. This paper also Standards Committee Meeting on Audio-File Transfer addresses the challenge of establishing a fail-safe and Exchange, SC-02-08 database to safely store the accurately acquired ENF information. This paper concludes that a reli - Thursday, Oct. 20 5:00 pm Room 1E05 able ENF database is mandatory for both scientif - Technical Committee Meeting on Archiving, ic research and for forensic examination. Restoration, and Digital Libraries Convention Paper 8492

Session P9 Friday, Oct. 21 10:00 am 9:00 am – 12:30 pm Room 1E07 P9-3 Virtual Systems Engineering in Automotive APPLICATIONS IN AUDIO Audio— Alfred J. Svobodnik , , Vienna, Austria Chair: Jonas Braasch , Rensselaer Polytechnic Institute, Troy, NY, USA The present paper focuses on virtual product development for automotive audio systems. In the core a multidisciplinary simulation environment is 9:00 am used to perform all system engineering tasks in a P9-1 Simulation-Based Interface for Playing with fully virtual environment. First the theory of a multi - Sounds in Media Applications— Insook Choi ,1 physical simulation model of electrodynamic loud - Robin Bargar 2 speakers is described. Subsequently, this model is 1City University of New York, Brooklyn, NY, USA extended to account for enclosures used as a reso - 2Columbia College Chicago, Chicago, IL, USA nance volume for loudspeakers (especially for

16 Audio Engineering Society 131st Convention Program, 2011 Fall reproduction of low frequency musical content). 11:30 am Furthermore, it is shown how the multiphysical model of loudspeakers and enclosures can be P9-6 Musical Movements—Gesture Based Audio extended to simulate the radiation of sound waves Interfaces— Anthony Churnside, Chris Pike, into the car interior. Finally the virtual audio system, Max Leonard , BBC R&D, Media City, Salford, described by a multiphysical simulation model, is UK virtually tuned and auralized long before any piece Recent developments have led to the availability of hardware exists. Tuning and auralization require of consumer devices capable of recognizing cer - that the simulation model is extended toward a tain human movements and gestures. This multidisciplinary simulation environment as, addi - paper is a study of novel gesture-based audio tionally to engineering analysis methods, para - interfaces. The authors present two prototypes digms of the following disciplines are added: digital for interacting with audio/visual experiences. The signal processing, psychoacoustics, binaural audio first allows a user to “conduct” a recording of an and subjective evaluation. The integration of the orchestral performance, controlling the tempo human factor (i.e., how audio events are perceived and dynamic. The paper describes the audio by humans with respect to spectral and spatial and visual capture of the orchestra and the effects) is added in the tuning process and it is design and construction of the audio-visual play - demonstrated how we can ultimately listen to a vir - back system. An analysis of this prototype, tual audio system by means of advanced auraliza - based on testing and feedback from a number of tion techniques based on a binaural playback sys - users, is also provided. The second prototype tem. Additionally some remarks on the business uses the gesture tracking algorithm to control a benefits of these methods are given and uncertain - three-dimensional audio panner. This audio pan - ties in our simulation models, which are inherent to ner is tested and feedback from a number of every modeling approach, are addressed as well. professional engineers is analyzed. Convention Paper 8493 Convention Paper 8496 [Paper not presented but is available for purchase] 12:00 noon 10:30 am P9-7 A Nimble Video Editor that Puts Audio First— P9-4 Acoustical Modeling of Gunshots including Jörn Loviscach , Fachhochschule Bielefeld Directional Information and Reflections— (University of Applied Sciences), Bielefeld, Robert Maher , Montana State University, Germany Bozeman, MT, USA Video editing software tends to be feature-laden, Audio recordings of gunshots exhibit acoustical to respond sluggishly to user input—and to be properties that depend upon the geometry and focused on visuals rather than on auditory acoustical characteristics of nearby reflecting aspects. All of this is a burden when the task is surfaces and the relative orientation of the to edit material in which audio plays the leading firearm with respect to the recording micro - role, such as a talk show, a video podcast, or a phone. Prior empirical studies have demonstrat - lecture recording. This paper presents a highly ed the basic principles of gunshot recordings visual no-frills video editor that is tailored to near the firearm and near the target. This paper these tasks. It combines a range of techniques describes an experiment to model the directional that speed up the process of searching and characteristics and reflections of several firearm reviewing. They range from an overview-and-de - types for a set of test configurations. The results tail display to speech recognition to constant- show that reflections and reverberation can be a pitch variable-speed playback. The implementa - significant portion of the total acoustic energy tion is heavily multithreaded and fully leverages received at the microphone. the computer’s main memory to ensure a highly Convention Paper 8494 fluid interaction. Convention Paper 8497 11:00 am P9-5 Influence of Recording Distance and Direction on the Analysis of Voice Formants Session P10 Friday, Oct. 21 —Initial Considerations— Eddy B. Brixen , EBB 9:00 am – 12:00 noon Room 1E09 Consult, Smørum, Denmark; Siham Christensen TRANSDUCERS AND AUDIO EQUIPMENT Based on recordings carried out in an anechoic chamber it is investigated to which degree the voice formants are affected by recording dis - Chair: Juha Backman , Nokia Corporation, Espoo, tance and direction in the near field (10, 20, 40, Finland 80, and 100 cm) and different directions (on-axis, horizontally 45 and 90 degrees, verti - 9:00 am cally +/–45 degrees). This paper presents the P10-1 A Parametric Study of Magnet System analysis applied and discusses to what extent Topologies for Miniature Loudspeakers— the results obtained must be taken into consider - Holger Hiebel , Knowles Electronics Austria ation when assessing voice samples for general GmbH, Vienna, Austria, Graz University of Tech - phonetic research and for automatic voice nology, Graz, Austria ID/voice comparisons. It is concluded from the results of the analysis that especially weaker for - This paper presents an overview of the results of mants are displaced to a not negligible degree. a parametric study on miniature loudspeaker Convention Paper 8495 (microspeaker) designs. It compares a specific ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 17 Technical Progra m microspeaker design with fixed outer dimensions A closed feedback loop transducer system ded - in three different electrodynamic magnet system icated to very low frequency reproduction can topologies, namely the centermagnet, ringmag - be used in several different applications. The net, and doublemagnet configurations. The use of a feedback control loop can be very study results are derived from simulations of the helpful to overcome some of the well known Bl-factor, moving mass, and effective radiating transducer limitations and to improve some of area with the voice coil inner diameter being the the acoustical performances of most of sub - independent variable. Sound pressure level, woofer systems. The feedback control of this electrical quality factor, and resonance frequen - system is based on a differential pressure con - cy in a closed box were calculated and used to trol sensor. The entire system control is per - create easily understandable charts comparing formed by a “Zero Latency DSP” application, the three topologies. specifically designed for this purpose in order to Convention Paper 8498 be able to process the system with real time performances. Practical applications to real 9:30 am world examples are being shown with design details and some test results. P10-2 A Computational Model of Vented Band-Pass Convention Paper 8501 Enclosure Using Transmission Line Enclosure Modeling— Jongbae Kim, Gyung- Tae Lee, Yongje Kim , Samsung Electronics Co., 11:00 am Ltd., Suwon City, Gyeong-Gi Do, Korea P10-5 Dual Diaphragm Compression Drivers— Alex In order to predict low frequency performance of Voishvillo , JBL Professional, Northridge, CA, loudspeaker systems, the lumped parameter USA model is very useful. However, it doesn’t consid - A new type of compression driver consists of two er the enclosure geometry. Therefore, in some motors, two diaphragm assemblies, and two special cases, it makes a serious deviation phasing plugs connected to the same acoustical between simulation and experimental results. load (horn or waveguide). The annular flexural According to the recent slim trend in IT devices, diaphragms are made of light and strong poly - the majority of flat panel TVs and mobile devices mer film providing low moving mass. Unique adopt not only thin, long enclosures but also configuration of the phasing plugs provides sum - front radiating structure with waveguide. This mation of both acoustical signals and direction of loudspeaker system could be simplified as a the resulting signal into a mutual acoustical load. vented band-pass enclosure. However due to Principles of operation of the dual driver are the negligence of geometry, the effects of vent explained using a combination of matrix analy - and driver location can’t be considered. This sis, finite elements analysis, and data obtained paper discusses a computational model of the from a scanning vibrometer. Comparison of per - complicated vented band-pass enclosure using formance of this driver and conventional driver Backman’s low-frequency method for slim type based on titanium dome diaphragm is per - band-pass enclosure models. Simulation results formed. New transducer provides increase of were compared with experimental results to veri - power handling, lower thermal compression, fy the validity of the computational model. smoother frequency response, and decrease of Convention Paper 8499 nonlinear distortion and sub-harmonics. Convention Paper 8502 10:00 am

P10-3 Nonlinear Viscoelastic Models— Finn T. 11:30 am Agerkvist , Technical University of Denmark, Lyngby, Denmark P10-6 Distortions in Audio Op-Amps and Their Effect on Listener Perception of Character Viscoelastic effects are often present in loud - and Quality— Robert-Eric Gaskell, Peter E. speaker suspensions. This can be seen in the Gaskell, George Massenburg , McGill University, displacement transfer function that often shows Montreal, Quebec, Canada a frequency dependent value below the reso - nance frequency. In this paper nonlinear ver - Different operational amplifier topologies are fre - sions of the standard linear solid model (SLS) quently thought to play a significant role in the are investigated. The simulations show that the sonic character of analog audio equipment. nonlinear version of the Maxwell SLS model can This paper explores whether common audio result in a time dependent small signal stiffness operational amplifiers are capable of producing while the Kelvin Voight version does not. distortion characteristics within their normal Convention Paper 8500 operational range that can be detected by listen - ers and alter listener perception of character and 10:30 am quality. Differences in frequency response and noise are carefully controlled while the distortion P10-4 Practical Applications of a Closed Feedback characteristics of the op-amps are amplified. Lis - Loop Transducer System Equipped with tening tests are performed in order to determine Differential Pressure Control— Fabio what differences listeners perceive. Listening Blasizzo ,1 Paolo Desii ,2 Mario Di Cola ,3 tests also examine listener preference for differ - Claudio Lastrucci 2 ent op-amps for the purpose of exploring what 1Fabio Blasizzo, Trieste, Italy physical measurements best predict differences 2Powersoft S.r.l., Firenze, Italy in perceived audio character and quality. 3Audio Labs Systems, Chieti, Italy Convention Paper 8503

18 Audio Engineering Society 122nd Convention Program, 2007 Spring Tutorial 6 Friday, Oct. 21 There is much misinformation about what is needed for 9:00 am – 10:30 am Room 1E11 AC power at production events, much of it having to do with life-threatening advice. This panel will discuss how EAR TRAINING FOR THE ASPIRING AUDIO to properly and safely provide AC power for all con - PROFESSIONAL cerned, without noise, hum or buzz. The discussion will start at the outlet working backwards to the source of Presenter: Mark Erickson , Texas State University, power, while covering systems from a couple of speak - San Marcos, TX, USA ers on sticks up to multiple stages in ballrooms, road houses, and event centers. This discussion will include large scale installed systems, including multiple trans - There are no short-cuts. Improving your listening skills formers and company switches, service types, generator takes effort. Without direction, a budding audio professional sets, 1ph, 3ph, 240/120 208/120 and explain what all the is more likely to waste time and effort in search of better lingo means. Get the latest information on grounding and “ears.” This tutorial will enable you to be more productive typical configurations by this panel of industry veterans. and reach your goals sooner, with less effort, resulting in a more positive growth experience. Techniques discussed can be integrated into a life-long quest to keep your aural Game Audio Session 5 Friday, Oct. 21 skills sharp or continue your aural development. 9:00 am – 10:30 am Room 1E13

Tutorial 7 Friday, Oct. 21 TECHNIQUES IN FIELD RECORDING 9:00 am – 10:30 am Room 1E08 Presenters: Colin Hart , hartFX FUNDAMENTALS OF AUDIO AND DATA NETWORKS Ric Viers , The Detroit Chop Shop OVER FIBER OPTICS AND CAT5 CABLING This tutorial discusses techniques in field recording with an Presenter: Marc Brunke , Optocore emphasis on game-specific source recording including ex - amples in several areas of location or field recording. Top - ics include basic gear and concepts in field recording, ses - It is a pre-requisite to be familiar with audio and data net - sion documentation, how to get a good sound, gaining working fundamentals when working with modern audio, access to locations, and field recording on a budget. video, and data transmission systems. This presentation clarifies the theory behind networking, starting with the basics of fiber and Cat5 cabling through to conceptual Product Design Session 3 Friday, Oct. 21 data transmission theories including network design and 9:00 am – 11:00 am Room 1E12 implementation. Different approaches and different ways of dealing with synchronization and jitter problems will be HIGH RESOLUTION AUDIO— described, each point will be supported with an example A NETWORKED FUTURE? from real life applications taking into consideration all present known available technologies. Chair: Vicki Melchior , Technical Consultant, MA, USA Broadcast/Media Streaming Session 4 Panelists: John Dawson, Arcam, Cambridge, UK Friday, October 21 9:00 am – 10:30 am Aaron Gelter, Harman International, UT, USA Room 1E10 Steven Harris, BridgeCo (SMSC), UK

AUDIO PROCESSING FOR RADIO Though traditionally built on point-to-point connections, high res home audio and video systems are evolving Chair: Steve Fluker , Cox Radio toward full or partial networking. The tantalizing promise Panalists: Frank Foti , Omnia Audio of internet access and server sourcing, disc as well as James J. Johnston , Consultant streamed A/V, and easy interconnection are driving more Robert Orban , Orban and more audio design in this direction. That includes Randy Woods , WPOZ multichannel audio, home theater, and even stereo. Nev - ertheless, networks in this market must integrate with tra - There is much discussion as to why radio stations are ditional A/V and at the same time promote low jitter, high “over-processed”—a term that is true or not depending stability DAC clocks, together with appropriately low data on your point of view. This panel will be discussing delay, tight clock synch between devices, and excellent audio processing in the radio environment. There will be grounding and shielding. a brief discussion of audio processing history, up to and The panel in this workshop discuss a number of including the advantages of using digital processors. promising standards and protocols (e.g., AVB, HDMI 1.4, And radio today is not just an analog medium—we will Thunderbolt, plus standard uPNP/DLNA Ethernet, wi-fi), discuss do’s and don’ts for processing radio in the digital and consider their potential and promise relative to cur - realm—and try taking a look into the future. rent forms of interfacing.

Live Sound Seminar 4 Friday, Oct. 21 Special Event 9:00 am – 11:00 am Room 1E14 YESTERDAY, TODAY, AND FOREVER: THE ART AND SCIENCE BEHIND THE MOTOWN AC POWER AND GROUNDING AND VERVE CATALOG REISSUES Friday, October 21, 9:00 am – 10:30 am Moderator: Bruce Olson , Olson Sound Design Room 1E15/16

Panelists: Bill Whitlock, Jensen Transformers Presenters: Kevin Reeves Jim VanBergen, NYC ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 19 Technical Progra m Andy Skurow namely common collector circuits for input and Harry Weinger output buffering, the distortion stage as an op-amp circuit with diodes in the feed-back, and The panel will discuss: What is catalog, and how are a tone-control block as a parametric linear circuit reissues conceptualized? The vault system: What is the around an op-amp. In this paper we analyze the process of finding the assets? And talk about how the circuit to derive a digital model where carefully technical engineering brings all the elements together for applied simplifications strike a good balance the final package. between faithful emulation and computational efficiency. Due to the generality of the analyzed Session P11 Friday, Oct. 21 sub-circuits, the results should also be easily 9:30 am – 11:00 am 1E Foyer transferable to the many similar sub-circuits found in other effect units. POSTERS: PRODUCTION AND ANALYSIS Convention Paper 8506 OF MUSICAL SOUNDS 9:30 am 9:30 am P11-4 A Triode Model for Guitar Amplifier P11-1 Filling the Gaps between the Grains of Down- Simulation with Individual Parameter Fitting Pitching PSOLA or Getting the Frog Out of —Kristjan Dempwolf, Martin Holters, Udo Zölzer , PSOLA— Adrian von dem Knesebeck, Udo Helmut Schmidt University, Hamburg, Germany Zölzer , Helmut-Schmidt-University Hamburg, Hamburg, Germany A new approach for the modeling of triodes is presented, featuring simple and physically-moti - An improvement regarding the down-pitching vated equations. The mathematical description quality of the Pitch Synchronous Overlap Add includes the replication of the grid current, which (PSOLA) technique is presented. The behavior of is a relevant parameter for the simulation of the common PSOLA algorithm when decreasing overdriven guitar amplifiers. If reference data the input signal's pitch by one octave or even less from measurements of practical triodes is avail - is analyzed. A new grain processing algorithm is able, an individual fitting to the reference can be proposed, which modifies the synthesis grains performed, adapting some free parameters. depending on the synthesis period. The time Parameter sets for individual models are given. domain and frequency domain properties of the To study the suitability for circuit simulations, a proposed algorithm are discussed. The presented SPICE model is created and tested under vari - algorithm improves the perceived quality of the ous conditions. Results of the model itself and PSOLA algorithm when down-pitching while pre - when embedded in SPICE simulations are pre - serving the low complexity. sented and compared with measurements. It is Convention Paper 8504 shown that the equations characterize the prop - erties of real tubes in good accordance. 9:30 am Convention Paper 8507 P11-2 Content-Based Approach to Automatic Recommendation of Music— Bozena Kostek , 9:30 am Gdansk University of Technology, Gdansk, P11-5 Dereverberation of Musical Instrument Poland Recordings for Improved Note Onset This paper presents a content-based approach to Detection and Instrument Recognition— music recommendation. For this purpose a data - Thomas Wilmering, Mathieu Barthet, Mark B. base that contains more than 50000 music Sandler , Queen Mary University of London, excerpts acquired from public repositories was London, UK built. Datasets contain tracks of distinct perform - In previous experiments it has been shown that ers within several music genres. All music pieces reverberation affects the accuracy of onset were converted to mp3 format and then parame - detection and instrument recognition. Pre-pro - terized based on MPEG-7, mel-cepstral, and cessing a reverberated speech signal with dere - time-related dedicated parameters. All feature verberation for automatic speech recognition vectors are stored as csv files and will be avail - (ASR), where reverberation also decreases effi - able on-line. A study of the database statistical ciency, has been proven effective for mitigating characteristics was performed. Different splits into this performance decrease. In this paper we pre - train and test sets were investigated to provide sent the results of an experimental study the most accurate evaluation of the decision- addressing the problem of onset detection and based solutions. Classification time and memory instrument recognition from musical signals in complexity were also evaluated. reverberant condition by pre-processing the Convention Paper 8505 audio material with a dereverberation algorithm. The experiments include four different onset 9:30 am detection techniques based on energy, spec - P11-3 A Digital Emulation of the Boss SD-1 Super trum, and phase. The instrument recognition Overdrive Pedal Based on Physical Modeling algorithm is based on line spectral frequencies —Martin Holters, Kristjan Dempwolf, Udo Zölzer , (LSF) and k-means clustering. Results show Helmut Schmidt University, Hamburg, Germany improvement in onset detection performance, particularly of the spectral-based techniques. In The Boss SD-1 Super Overdrive effect pedal is a certain conditions we also observed improve - classical overdrive circuit for electric guitars. It ment in instrument recognition. consists of commonly found building blocks, Convention Paper 8508

20 Audio Engineering Society 131st Convention Program, 2011 Fall 9:30 am Davis Institute of Recorded Music, about her life, career, and the making of the new album. Clips will be played P11-6 Dimensional Reduction in Digital from the as yet unreleased new CD. Synthesizers GUI Using Parameter Analysis —Daniel Gómez ,1 Juan Sebastián Botero 2 1Universidad ICESI, Cali, Colombia Exhibitor Seminar Friday, Oct. 21 2Ypisilon Tech, Medellín, Colombia 10:45 am – 11:45 am Room 1E06

Digital synthesizers have cognitive overload PMC: MASTERS OF AUDIO SERIES issues for interaction, specially for novice or intermediate users. A system is developed to From A (Abba) to Z (Led Zeppelin) generate a custom GUI based on timbre cluster - ing and parameter data analysis of preset pro - grams present in VST synthesizers. The result is Presenter: Leif Mases , Maselec a new interface with dynamic control of the amount of variables maintaining full functionality The immensely successful producer/engineer Leif Mases of synthesizer performance. This system is de - will be giving us the inside story of engineering and pro - signed to adapt to the degree of knowledge and ducing albums from Led Zeppelin, Jeff Beck, and Black cognitive control of synthesizer parameters of Sabbath. In latter years Leif has turned his experience the user. The results of using diverse clustering and skills to designing and manufacturing a critically ac - techniques for synthesizers sound analysis and claimed line of high end audio tools (compressors, eqs, an original statistical analysis of preset programs de-essers, peak limiters, etc.) for the most discerning en - parameter data are exposed. Implications of the gineers, whether it is for mastering, recording, or mixing. use of our system in real world scenarios are reviewed. Workshop 6 Friday, Oct. 21 Convention Paper 8509 11:00 am – 12:30 pm Room 1E10

POUND OF CURE OR OUNCE OF PREVENTION? Student/Career Development Event AUDIO ASSET RESTORATION, MIGRATION, AND STUDENT RECORDING CRITIQUES PRESERVATION Friday, October 21, 9:30 am – 10:30 am Room 1E06 Chair: Ed Outwater , EO3 Consulting, Ketchum, ID, USA Moderator: Ian Corbett , Kansas City Kansas Community College, KS, USA Panelists: Chuck Ainlay , Engineer/Producer Students are encouraged to bring in their stereo or sur - Jeff Anthony , Iron Mountain Entertainment round projects to this non-competitive listening session Services for feedback and comments from a panel and audience. Rob Jaczko , Berklee College of Music Students will be able to sign-up for time slots at the first Patrick Kraus , Warner Music Group SDA meeting on a first come, first served basis. Students Bob Ludwig , Mastering Engineer who are finalists in the Recording Competition are exclud - The task of properly archiving entertainment assets ed from participating in this event to allow the many non- today goes well beyond safely storing film cans, tape finalists an opportunity for feedback on their hard work. boxes, hard drives, data tapes, or whatever physical for - Bring your stereo or surround work on CD, DVD, or hard mat houses the content to be preserved. This is espe - disc as clearly-labeled .wav files. The Student Recording cially true in the case of music assets, where audio asset Critiques are generously sponsored by PMC. restoration, migration, and preservation are becoming more and more important as the recording industry Friday, Oct. 21 10:00 am Room 1E05 undergoes a basic transformation in the way it operates. Technical Committee Meeting on Coding of Audio In today’s up-loadable, down-loadable, cloud-based, Signals e-delivery- centric music marketplace, the ability to pre - serve and prepare music assets for secure and immedi - Special Event ate delivery directly from the Archive is a key capability, BOHEMIAN: A CONVERSATION WITH JUDY COLLINS transforming it not only into an ultra- secure repository Friday, October 21, 10:30 am – 11:30 am for valuable music assets, but also quite often the first Room 1E15/16 link in today’s digital supply chain. The desired end- product in either case, so important in a market increas - Presenters : Judy Collins ingly focused re-packaging and re-releasing content, is Jason King an asset that can be successfully utilized for commercial or, perhaps ultimately, for cultural purposes. To keep It was once said that “if amethysts could sing, they would pace with this rapidly changing marketplace, it has sound like Judy Collins.” Indeed, Judy Collins has been a become necessary to utilize not only secure physical stor - folk and pop music icon and a powerful influence on sev - age, but also digital migration, restoration, electronic deliv - eral generations of musicians and listeners. Her ethereal ery, and other studio operations to archive effectively. performances and top-selling recordings of songs like This workshop/panel discussion will be a review and “Both Sides Now” and “Send in the Clowns” ultimately discussion of a basic set of principles and procedures helped make songwriters like Joni Mitchell, Leonard Co - involved in “rescuing” valuable assets that have not been hen, and Stephen Sondheim become household names. properly archived, and, following that, a corollary set Now in the fifth decade of her career, Judy is about to detailing “how to” properly archive audio assets from the release Bohemian , her new album on the heels of her outset. It will be presented by a panel of industry experts critically acclaimed 2009 release Paradise . Judy chats with differing perspectives and experiences related to with Jason King, the Artistic Director of NYU's Clive archiving. ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 21 Technical Progra m Master Class 2 Friday, Oct. 21 Presenters: Chris Jahnkow , Sony Computer 11:00 am – 1:00 pm Room 1E08 Entertainment America Scott Selfon , Microsoft HUMAN HEARING 101—HOW IT WORKS (THE SHORT VERSION) A panel of game console platform developers discusses the technologies and techniques allowing audio to Presenter: Jim (JJ) Johnston become an input for games, as well as using it as an out - In this Master Class we will discuss a variety of subjects put/user feedback mechanism. Topics will include using at a conceptual level, from Head Related Transfer Func - sound to replace haptic feedback when no tactile system tions to the actual filters implemented in the human is used, echo cancellation and noise suppression, real- Cochlea. Along the way, loudness vs. intensity, the law time audio analysis, and gameplay implementations dri - of the first wavefront, localization, auditory masking, the ven by these dynamic and fully player-driven natural user effects of attention, and inter-sensory interaction will be input systems. discussed. When you are done with this class, you will have an understanding of how the ear does frequency analysis, and the way that that affects everything else Special Event that relates to the human auditory system, from localiza - PLATINUM PRODUCERS tion, through masking, to the absolute threshold of hear - Friday, October 21, 11:00 am – 1:00 pm ing. In addition to the above, issues of envelopment, Room 1E15/16 direct vs. diffuse sensation, and spatial perception will be discussed as time allows. Moderator: David Weiss , co-founder SonicScoop

Broadcast/Media Streaming Session 5 Panelists: Steve Jorda n (The Verbs, Keith Richards, Friday, October 21 11:00 am – 1:00 pm John Mayer, Rod Stewart, Beyoncé, Buddy Room 1E10 Guy) David Kahne (Sublime, Regina Spektor, STREAMING AND ENCODING Paul McCartney) Gabe Roth , Founder, Daptone Records (Amy Chair: David Bialik Winehouse, Sharon Jones and the Dap- Panalists: Todd Baker, SRS Lab Kings) Kirk Harnack, Telos Alliance The Producer’s Portfolio James Johnston, Consultant Steve Lyman, Dolby Everyone agrees the artist hires the producer to serve Jan Nordmann, Fraunhofer USA the band or singer/songwriter and their music. This Greg Ogonowski, Orban panel, however, will address the producer’s personal Geir Skaaden, DTS artistic visions, and the growing bodies of work their William Waters, NewTek creative philosophies pilot into reality. Considered a creative artistic force in their own right, each of these This session will discuss various methods of streaming producers collaborates fully with their clients both in and encoding media and how it can best be delivered to pre-production and the studio. Participants will explore the end user over various platforms. the artistic sensibilities they’ve nurtured, how they’ve expressed themselves in their work, and how that self- Live Sound Seminar 5 Friday, Oct. 21 assurance and unique perspective has enabled their 11:00 am – 1:00 pm Room 1E14 careers to flourish.

10 THINGS TO GET RIGHT Student/Career Development Event Moderator: Karl Winkler , Lectrosonics CAREER/EDUCATION FAIR Friday, October 21, 11:00 am – 12:30 pm Panelists: Mark Frink 1E Foyer Lloyd Kinkade Bruce Olson Bennett Prescott The Career/Job Fair will feature several companies from Dave Shadoan the exhibit floor. All attendees of the convention, stu - dents and professionals alike, are welcome to come visit with representatives from the companies and find out Sound reinforcement systems, whether temporary for tour - more about job and internship opportunities in the audio ing purposes or fixed for installations, exhibit many of the industry. Bring your resume! same elements of success and failure. In order to avoid Institutions offering studies in audio (from short cours - some of the common pitfalls, this panel aims to cover the es to graduate degrees) will be represented in a “table 10 most important things about these systems that must top” Education Fair . Information on each school’s be designed and installed correctly. Top practitioners from respective programs will be made available through dis - across the US will discuss these top issues, their philoso - plays and academic guidance. There is no charge for phies, and pet peeves in audio system design. schools/institutions to participate. Admission is free and open to all convention attendees. Game Audio Session 6 Friday, Oct. 21 11:00 am – 12:30 pm Room 1E13 Friday, Oct. 21 11:00 am Room 1E05 AUDIO AS A REAL-TIME INPUT AND FEEDBACK Technical Committee Meeting on Audio Recording MECHANISM FOR FULL BODY GAMING and Mastering Systems

22 Audio Engineering Society 131st Convention Program, 2011 Fall Product Design Session 4 Friday, Oct. 21 12:15 pm 11:30 am – 1:00 pm Room 1E12 EB3-2 Application of Wave Field Synthesis and Analysis on Automotive Audio— Michael J. REAL-TIME AUDIO PROCESSING CAPABILITIES Strauß ,1 Peter Gleim 2 OF MICROCONTROLLERS AND APPLICATION 1Fraunhofer IDMT, Ilmenau, Germany PROCESSORS 2Audi AG, Ingolstadt, Germany

Presenter: Paul Beckmann High-quality audio equipment in cars enjoys ris - ing popularity. For a remarkable number of peo - Microcontrollers and application processors have been ple the car compartment represents the primary steadily improving in performance to the point where listening environment for enjoying music play - they are being seriously considered by many audio back. Besides excellent sound quality spatial product developers. Although they don't have all of the audio capabilities can also be expected from features found in traditional DSP processors, their today’s top systems. In this talk we will give in - performance has been boosted via DSP specific in - sight into the implementation of a spatial audio structions and ever increasing clock speeds. This system based on Wave Field Synthesis that was workshop carefully compares the architectures of mi - realized inside an SUV. Audi AG and Fraunhofer crocontrollers and application processors with tradi - IDMT together present the outcome of their tional DSPs with an eye toward their suitability for research collaboration named "Audi Sound Con - real-time audio processing. Measurements of the per - cept." The Audi Q7 prototype has, on the one formance of individual low-level functions and com - hand, remained a series production vehicle on plete signal chains on actual hardware are presented the exterior, while on the other hand been rebuilt and we show what types of products can be realisti - into a HiFi-Studio in the interior. The talk will cally supported by each processor type. include a systematic overview, a description of the playback-system, and some remarks about sound field analysis based on array measurements. Session EB3 Friday, Oct. 21 Engineering Brief 31 12:00 noon – 1:00 pm Room 1E09 12:30 pm APPLICATIONS OF AUDIO ENGINEERING EB3-3 Spooky Sounds: Interactive Audio Systems and Design for a Themed Attraction in an 1 Chair: John Vanderkooy , University of Waterloo, Academic Environment— Bruce Ellman , John 2 Waterloo, Ontario, Canada Huntington 1NYC College of Technology/CUNY, Sunnyside, 12:00 noon NY, USA 2NYC College of Technology/CUNY, Brooklyn, EB3-1 Foreign-Language Dubbing Practices— NY, USA Theodor Stojanov, Independent Writer and Post Production Sound Editor, Montreal, Quebec, The high-tech, interactive Gravesend Inn haunt - Canada ed hotel attraction features a large, distributed, audience-triggered sound system to implement a The interdisciplinary nature of foreign language design both startling and evocative. Sound dubbing involves the collaboration of actors, Designer Bruce Ellman and Systems Engineer directors, producers, translators, sound and John Huntington will discuss the challenges video departments, and often develops into an faced in developing this system and using it to elaborate production project in its own right. teach Entertainment Technology Students. Increasingly, particularly with motion pictures, Engineering Brief 32 the dubbing industry faces new challenges as studios are required to work at the pace of the 12:45 pm original production and follow any and all modifi - cations, leading ultimately to the global release EB3-4 High Performance Architectural and Electro of a film everywhere simultaneously, an eco - Acoustic Isolation Solutions— Dave Kotch, nomic model that has been gathering momen - John Storyk , Walters-Storyk Design Group tum in recent years. The technology for foreign dialogue dubbing has undergone a great opti - Increasing demands for community noise abate - mization of the production work-flow to accom - ment, most specifically for architectural spaces modate such new requirements, and this such as night clubs and performance venue, presentation will show various practices current - have resulted in a variety of interesting design ly in use throughout Europe and North America. solutions to insure high performance sound I will discuss the idealized work-flow versus attenuation, with FSTC results in excess of technology-specific solutions, cost optimization, 80dB. This has often been accomplished with a media security, and the advantages of certain combination of architectural construction design types of technologies on foreign-language syn - as well as electro-acoustic systems design such chronization. Areas of development in foreign- as directional subs, low frequency harmonic pro - language dubbing and internationalization will be cessing, and other systems integration devices. discussed. This paper will explore these designs and recent Engineering Brief 30 field results. Engineering Brief 33

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Audio Engineering Society 131st Convention Program, 2011 Fall 23 Technical Progra m Exhibitor Seminar Friday, Oct. 21 SPARS in cooperation with AES, G.A.N.G., Post NY 12:00 noon – 1:00 pm Room 1E06 Alliance, and other audio organizations, career related Q&A sessions will be offered to participants in a speed PMC: MASTERS OF AUDIO SERIES group counseling format. A dozen students will interact with 2 –3 working professionals in specific audio engi - Intelligent Dance Music in 5.1 neering fields or categories every 15 minutes. Audio engineering fields/categories include record production, Presenter: David Miles Huber mastering, audio post, film music, gaming, and live sound. DMH is a 2 x Grammy-nominated (albums Colabs and Paralax Eden ) producer and in the electronic Exhibitor Seminar Friday, Oct. 21 IDM, dance, and surround-sound genres, whose music 1:00 pm – 2:00 pm Room 1E06 has sold over one million copies. David will take the audi - ence on a musical journey and present his latest Gram - PMC: MASTERS OF AUDIO SERIES my nominated project Chamberland . For further info on David and his work check out www.davidmileshuber.com How Low Can You Go……..?

Friday, Oct. 21 12:00 noon Room 1E02 Presenter: Darius “Deezle” Harrison Standards Committee Meeting on Audio Connectors, SC-05-02 Deezle will present on the importance of “true” low end, either from an 808, acoustic bass, or kick drum and how Friday, Oct. 21 12:00 noon Room 1E05 it determines the sound of the music. Deezle is a 4-time Technical Committee Meeting on Transmission ASCAP Rhythm and Soul Award and a B.E.T Award win - and Broadcasting ner. He is best known for his work with , which ultimately garnered him 2 Grammy Awards for Best Rap Lunchtime Keynote Album and Best Rap Song for “Lollipop.” Deezle has KARLHEINZ BRANDENBURG worked with Outkast, , Mary J Blige, , Friday, October 21, 1:00 pm – 2:00 pm Donald Harrison, Jay-Z, and Kerry Hilson. While finishing Room 1E10 tracks for the new DMX album, Deezle also found time to produce an album for the immensely talented singer/ The MP3 Story actress Keke Palmer. In the not-too-distant past we were faced with the chal - lenge of transmitting high-quality audio over phone lines. Friday, Oct. 21 1:00 pm Room 1E05 While this seemed impossible at the time, ideas from Technical Committee Meeting on Audio for Games psychoacoustics and signal processing and work by many researchers helped the seemingly impossible to Hot Lunch become reality: mp3 and other audio codecs enabled the MICROPHONE CONTROLLER FOR VOCAL FX seamless transport of audio over legacy copper phone Friday, October 21, 1:30 pm – 2:15 pm lines. However, the mp3 story did not end there. The Room 1E12 internet was being transformed from a text-based medium into a major carrier for sound of all kinds, including music. Presenter: Daniel Schlessinger This meant changes not only for the payload (from text to audio), but also new dangers for the audio quality deliv - A prototype vocal microphone has been developed that ered to music lovers. And it changed business models for offers intimate and expressive control over vocal effects. music sales dramatically, shaking the foundations of the For instance, vocalists can control looping or reverb music industry. This is the story of MP3 . effects from push buttons on the mic or even pan his/her voice between a pair of outputs simply by moving the mic. With this prototype, our idea is to put controls where Student/Career Development Event the vocalist can easily reach them, letting them map the SPARS SPEED COUNSELING WITH EXPERTS— buttons and fader and motion sensors via MIDI to any MENTORING ANSWERS FOR YOUR CAREER outboard effects unit of their choice. Without being tied to Friday, October 21, 1:00 pm – 2:15 pm a foot pedal or having to reach down to the front panel of Room 1E13 an effects box, the artists are provided with additional Counselors: Niko Bolas creative possibilities with a complete freedom on stage to Flash Ferruccio control their sound. David Glasser Friday, Oct. 21 1:30 pm Room 1E02 Neil Goldberg Standards Committee Meeting on Grounding Roy Hendrickson and EMC Practices, SC-05-05 Eric Johnson Fred Kevorkian Lawrence Manchester Session P12 Friday, Oct. 21 Randy Merrill 2:00 pm – 4:00 pm Room 1E09 Leslie Mona-Mathus LOUDSPEAKER REPRODUCTION Tom Paul Mark Rubel Chair: John Vanderkooy , University of Waterloo, Tom Salta Waterloo, Ontario, Canada Rick Senechal Shaun Wall 2:00 pm This seminar is specially suited for students, recent grad - P12-1 Size and Shape of Listening Area uates, and those interested in career advice. Hosted by Reproduced by Three-Dimensional

24 Audio Engineering Society 131st Convention Program, 2011 Fall Multichannel Sound System with Various vals that were less than 45° were found to repro - Numbers of Loudspeakers— Ikuko Sawaya, duce spatially uniform sound for all of the Satoshi Oode, Akio Ando, Kimio Hamasaki , NHK azimuthal angles tested. Science and Technology Research Laboratories, Convention Paper 8512 Setagaya, Tokyo, Japan A wide listening area is necessary so that several 3:30 pm people can listen to a multichannel sound program P12-4 Multichannel Sound Reproduction in the together. It is considered that the size of the listen - Environment for Auditory Research— Mark A. ing area depends on the number of loudspeakers. Ericson , Army Research Laboratory, Aberdeen To examine the relationship between the number Proving Ground, MD, USA of loudspeakers and the size of listening area that maintains spatial impression at the center of a The Environment for Auditory Research (EAR) is three-dimensional multichannel sound, two subjec - a new U.S. Army Research Laboratory facility at tive evaluation experiments were carried out. The Aberdeen Proving Ground, Maryland, dedicated first experiment showed that the size of the listen - to spatial sound perception and speech communi - ing area increases by increasing the number of cation research. The EAR is comprised of four loudspeakers. The second experiment showed indoor research spaces (Sphere Room, Dome that the shape of the listening area is dependent Room, Distance Hall, and Listening Laboratory), on the locations of loudspeakers. On the basis of one outdoor research space (Open EAR), and the experimental results, a new parameter for esti - one common control center (Control Room). Digi - mating the shape of listening area is proposed. tal audio signals are routed through state-of-the- Convention Paper 8510 art RME Hammerfall DSP and Peavey MediaMa - trix ® hardware to over 600 loudspeakers and 2:30 pm microphone channels throughout the facility. The facility’s acoustic environments range from ane - P12-2 Numerically Optimized Touring Loudspeaker choic, through various soundscapes, to real field Arrays —Practical Applications— Ambrose environments. The EAR facility layout, the audio Thompson, Jason Baird, Bill Webb , Martin Audio, signal processing capabilities, and some current High Wycombe, UK research activities are described. Convention Paper 8513 We describe the implementation of a user guid - ed automated process that improves the quality and consistency of loudspeaker array deploy - ment. After determining basic venue geometry a Session P13 Friday, Oct. 21 few easily understood goals for regions sur - 2:00 pm – 4:30 pm Room 1E07 rounding the array are specified. The relative importance of the goals is then communicated to LOW BIT-RATE CODING—PART 1 the optimization algorithm in an intuitive manner. Some representative examples are presented, Chair: Stephan Preihs , Leibniz Universität initially optimized with default coverage goals. Hannover, Hannover, Germany We then impose extra requirements such as changing the coverage at the last moment, 2:00 pm avoiding noise sensitive regions and demanding a particularly quiet stage. P13-1 Performance of MPEG Unified Speech Convention Paper 8511 and Audio Coding— Schuyler Quackenbush ,1 Roch Lefebvre 2 3:00 pm 1Audio Research Labs, Scotch Plains, NJ, USA 2Université de Sherbrooke, Sherbrooke, P12-3 Vertical Loudspeaker for Quebec, Canada Reproducing Spatially Uniform Sound— Satoshi Oode ,1 Ikuko Sawaya ,1 Akio Ando ,1 The MPEG Unified Speech and Audio Coding Kimio Hamasaki ,1 Kenji Ozawa 2 (USAC) standard completed technical develop - 1Japan Broadcasting Corporation, Setagaya, ment in July, 2011 and is expected to issue as Tokyo, Japan international standard ISO/IEC 23003-3, Unified 2University of Yamanashi, Kofu, Yamanashi, Speech and Audio Coding in late 2011. Verifica - Japan tion tests were conducted to assess the subjective quality of this new specification. Test material con - It was recently recognized that the loudspeaker sisted of 24 items of mixed speech and music con - arrangement of multichannel sound systems can tent and performance was assessed via subjective be vertically expanded to improve the spatial im - listening tests at coding rates ranging from 8 kb/s pression. This paper discusses the relationship for mono material to 96 kb/s for stereo material. between the vertical interval between loudspeak - The mean performance of USAC was found to be ers placed in a semicircle above ear height and better than that of MPEG High Efficiency AAC V2 the impression of spatially uniform sound, as (HE-AAC V2) and Adaptive Multi-Rate Wide Band part of a study of three-dimensional multichannel Plus (AMR-WB+) at all tested operating points. For sound systems. In total, 24 listeners evaluated most bit rates tested this performance advantage the spatial uniformity of white noise reproduced is large. Furthermore, USAC provides a much by loudspeakers arranged in vertical semicircles more consistent quality across all signal content at equal intervals of 15°, 30°, 45°, 60°, 90° or types than the other systems tested. This paper 180°, and with azimuthal angles of 0°, 45°, or summarizes the results of the verification tests. 90°. Loudspeakers arranged with vertical inter Convention Paper 8514 ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 25 Technical Progra m 2:30 pm Group (MPEG). USAC provides consistent quali - ty for music, speech and mixed material, by P13-2 Improved Error Robustness for Predictive extending the strength of an audio codec by Ultra Low Delay Audio Coding— Michael speech codec functions. Two novel flavors of Schnabel ,1 Michael Werner ,2 Gerald Schuller 1 Spectral Band Replication (SBR) were intro - 1Ilmenau University of Technology, Ilmenau, duced to enhance the perceptual quality of SBR: Germany the Discrete Fourier Transform (DFT) based and 2Fraunhofer Institute for Integrated Circuits IIS, the Quadrature Mirror Filterbank (QMF) harmon - Erlangen, Germany ic SBR. The DFT-based SBR has higher fre - quency resolution for the harmonic transposition This paper proposes a new method for improv - process, resulting in good sound quality. The ing the audio quality of predictive perceptual QMF-based SBR has significantly lower compu - audio coding in the context of the Ultra Low tational complexity. This paper describes the Delay (ULD) coding scheme for real time appli - detailed technical aspects of the low complexity cations. The commonly used auto-regressive QMF-based harmonic SBR tool within USAC. A (AR) signal model is leading to an IIR predictor complexity comparison and the listening test in the decoder. For random access of the trans - results are also presented in the paper. mission as well as for transmission errors, a Convention Paper 8517 reset of the predictor states, in both encoder and decoder is used. The resets reduce the predic - tion performance and thus the SNR, especially 4:00 pm during stationary signal parts, since the resulting P13-5 Perceptually Optimized Cascaded Long noise peaks could become audible. This paper Term Prediction of Polyphonic Signals for shows that using adaptive reset intervals, that Enhanced MPEG-AAC— Tejaswi are chosen according to psychoacoustic rules, Nanjundaswamy, Kenneth Rose , University of improves the audio quality. California Santa Barbara, Santa Barbara, CA, Convention Paper 8515 USA

3:00 pm MPEG-4 Advanced Audio Coding uses the long term prediction (LTP) tool to exploit inter-frame P13-3 AAC-ELD v2—The New State of the Art in correlations by providing a segment of previous - High Quality Communication Audio Coding— ly reconstructed samples as prediction for the Manfred Lutzky, María Luis Valero, Markus current frame, which is naturally useful for Schnell, Johannes Hilpert , Fraunhofer Institute encoding signals with a single periodic compo - for Integrated Circuits IIS, Erlangen, Germany nent. However, most audio signals are poly - phonic in nature containing a mixture of several Recently MPEG finished the standardization of a periodic components. While such polyphonic sig - Low Delay MPEG Surround tool that is tailored for nals are themselves periodic with overall period enhancing the widely adopted AAC-ELD low delay equaling the least common multiple of the indi - codec for high-quality audio communication into vidual component periods, the signal rarely AAC-ELD v2. In combination with the Low Delay remains sufficiently stationary over the extended MPEG Surround tool, the coding efficiency for period, rendering the LTP tool ineffective. Fur - stereo content outperforms competing low delay ther hindering the LTP tool is the typically audio codecs at least by a factor of 2. This paper employed parameter selection based on mini - describes the technical challenges and solutions mizing the mean squared error as opposed to for designing a low delay codec that delivers a per - the perceptual distortion criteria defined for formance that is comparable to that of existing audio coding. We thus propose a technique to state of the art compression schemes featuring exploit the correlation of each periodic compo - much higher delay, such as HE AAC v2. It pro - nent with its immediate past, while taking into vides a comparison to competing proprietary and account the perceptual distortion criteria. Specifi - ITU-T codecs, as well as a guideline for how to cally, we propose cascading LTP filters corre - select the best possible points of operation. Appli - sponding to individual periodic components, cations facilitated by AAC-ELD v2 in the area of designed appropriately in a two stage method, broadcasting and mobile video conferencing are wherein an initial set of parameters is estimated discussed. backward adaptively to minimize the mean Convention Paper 8516 squared prediction error, followed by a refine - ment stage where parameters are adjusted to 3:30 pm minimize the perceptual distortion. Objective and subjective results validate the effectiveness of P13-4 QMF-Based Harmonic Spectral Band the proposal on a variety of polyphonic signals. Replication— Haishan Zhong ,1 Lars Villemoes ,2 Convention Paper 8518 Per Ekstrand ,2 Sascha Disch ,3 Frederik Nagel ,3 Stephan Wilde ,3 Kok Seng Chong ,1 Takeshi Norimatsu 1 Workshop 7 Friday, Oct. 21 1Panasonic Corporation 2:00 pm – 3:30 pm Room 1E08 2Dolby Sweden AB 3Fraunhofer Institute for Integrated Circuits IIS, Erlangen, Germany HIGHLY-DIRECTIONAL MICROPHONES FOR SOUND RECORDING Unified speech and audio coding (USAC) is the next step in the evolution of audio codecs that Chair: Helmut Wittek , SCHOEPS Mikrofone GmbH, are standardized by the Moving Picture Experts Karlsruhe, Germany

26 Audio Engineering Society 131st Convention Program, 2011 Fall Panelists: Gary Elko , mh acoustics speakers,” the multi award-winning surround sound engi - Christof Faller , Illusonic LLC neer Ronald Prent shows how music in surround can be Michael Militzer , Microtech Gefell a source of great emotion. Building a mix from scratch, Klas Strandberg , Telinga Ronald will deliver insight into the creative skill set required to make a great surround mix. Using multiple Times are changing quickly with regard to highly direc - examples from his ongoing career in creative mixing he tional microphones both in theory and in practice. Most will provide an entertaining hour of music! systems aim at optimal speech transmission and intelligi - bility in communication applications. However, there are also new approaches that sound engineers can consider Friday, Oct. 21 2:00 pm Room 1E05 using for certain recording purposes as well (e.g. the Technical Committee Meeting on Spatial Audio Eigenmike® array, the KEM 970, and the SuperCMIT). Along with improved communication microphone solu - Session P14 Friday, Oct. 21 tions, they will compete with conventional methods such 2:30 pm – 4:00 pm 1E Foyer as short and long interference tubes as well as parabolic mirrors. POSTERS: AUDIO PROCESSING So which method fits which application best? Can these new microphone types be used for applications 2:30 pm such as music recording, location sound, nature record - ing? Each has different advantages with regard to fre - P14-1 Acoustic Channel Decorrelation with Phase quency response, directivity, flexibility, price, robustness, Modification for Stereo Acoustic Echo predictability of results, and practicability. The workshop Cancellation— Jae-Hoon Jeong, So-Young will compare them on the basis of technical data, practi - Jeong, Woo-Jeong Lee, Jung-Eun Park, Jeong- cal experiences and sample recordings. Su Kim, Yongje Kim , Samsung Electronics Co., Ltd., Suwon, Korea Live Sound Seminar 6 Friday, Oct. 21 In this paper we propose a novel acoustic chan - 2:00 pm – 4:00 pm Room 1E14 nel decorrelation method, which prevents poor convergence in stereophonic echo cancellation. THEATRICAL MICROPHONE DRESSING In order to minimize audio quality degradation while maximizing channel decorrelation, the pro - Presenter: Mary McGregor posed method provides a subband phase modifi - cation of each channel, which depends on the Fitting actors with wireless microphone elements and amount of inter-channel phase difference so that wireless transmitters has become a detailed art form. redundant phase alteration is avoided. In addi - From ensuring the actor is comfortable and the electron - tion, we introduce a phase control parameter for ics is safe and secure, to getting the proper sound with each subband to preserve perceptual stereo minimal detrimental audio effects, all while maintaining image of each channel. The performances of the the visual illusion, one of the most widely recognized arti - proposed method are verified with MUSHRA sans in this field provides hands-on demonstrations of subjective audio quality test, impulse response basic technique along with some time tested “tricks of misalignment, and echo return loss enhance - the trade.” ment. The results show that the proposed method has a good decorrelation performance Exhibitor Seminar Friday, Oct. 21 while minimizing signal distortion and stereo 2:00 pm – 3:00 pm Room 1A01 image change. Convention Paper 8519 COMMUNITY PROFESSIONAL LOUDSPEAKERS 2:30 pm dSPEC – More Than Just DSP. System Design in Zero Time P14-2 Least-Squares Local Tuning Frequency Estimation for Choir Music— Volker Gnann, Presenters: Chris Barrow and Ron Neely Markus Kitza, Julian Becker, Martin Spiertz , RWTH Aachen University, Aachen, Germany Community introduces its first ever Networked Loudspeak - Choir conductors often have to deal with the er Processor, dSPEC226, and its companion software problem that the tuning pitch of a choir tends to Resyn. Learn about a faster, easier way to design and decrease gradually over time. For that reason, commission a DSP-based Community Loudspeaker Sys - we present an algorithm that measures and tem. Learn about advanced loudspeaker protection fea - displays the tuning frequency evolution for poly - tures, CONEQ-enhanced audio with FIR filters, and the phonic choir music over time. Basically, it ana - Resyn Engineered Workflow featuring Effortless Ethernet. lyzes the short-time Fourier spectrogram, picks out the most important peaks, and determines Exhibitor Seminar Friday, Oct. 21 their frequencies. From these frequencies, the 2:00 pm – 3:00 pm Room 1E06 algorithm calculates the concert A pitch that leads to the smallest least-squares-error when PMC: MASTERS OF AUDIO SERIES the measured frequencies are sorted into a semitone grid. Convention Paper 8520 If You Have Them, Use Them…..Properly! 2:30 pm Presenter: Ronald Prent P14-3 A Low Latency Implementation of a Non With the aid of what he calls “a choreography for six Uniform Partitioned Overlap and Save ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 27 Technical Progra m Algorithm for Real Time Applications— signal in terms of source positioning, envelop - Andrea Primavera, Stefania Cecchi, Laura ment, and overall sound quality. Romoli, Paolo Peretti, Francesco Piazza , Convention Paper 8523 Universita Politecnica delle Marche, Ancona, Italy [Paper presented by Sunmin Kim] FIR convolution is a widely used operation in the digital signal processing field, especially for filter - 2:30 pm ing operations in real time scenarios. In this con - P14-6 Non Linear Convolution and its Application text low computationally demanding techniques to Audio Effects— Lamberto Tronchin , for calculating convolutions with low input/output University of Bologna, Bologna, Italy latency become essential, considering that the real time requirements are strictly related to the The non linear convolution could be applied to impulse response length. In this paper a multi - enhance the linear convolution on acoustic musi - threaded real time implementation of a Non Uni - cal instruments and audio devices. In this paper form Partitioned Overlap and Save algorithm is a novel technology, based on exponential sine proposed with the aim of lowering the workload sweeps measurements, is presented. The non required in applications like reverberation, also linear convolution is based on the Volterra series exploiting the human ear sensitivity. Several approach and enables real time non linear emu - results are reported in order to show the effec - lation of acoustic devices (as valve amplifiers tiveness of the proposed approach in terms of and musical instruments). The new developed computational cost, taking into consideration dif - tool (a VST plugin developed in C++ in JUCE ferent impulse responses and also introducing framework) will be presented. The emulation of comparisons with existing techniques of the musical instruments will be compared with real state of the art. recordings. The results will be finally analyzed Convention Paper 8521 and commented. Convention Paper 8524 2:30 pm

P14-4 3-D Audio Depth Rendering Method for 3-DTV Tutorial 8 Friday, Oct. 21 —Sunmin Kim, Young Woo Lee, Yongje Kim , 2:45 pm – 4:15 pm Room 1E12 Samsung Electronics Co., Ltd., Suwon, Korea This paper proposes a novel 3-D audio depth DEMYSTIFYING AUDIO SOUND CONTROL rendering method with stereo loudspeakers in PROTOCOLS order to enhance an immersion of 3-D video contents. The 3-D audio depth rendering system Presenter: Richard Foss , Rhodes University, for 3-DTV consists of an audio depth index that Grahamstown, South Africa estimates the distance of an audio object between TV and a listener, and a distance con - Starting from an introduction to the concepts of network trol algorithm based on the audio depth index. discovery, control, and connection management and an Two kinds of audio depth index estimation algo - examination of existing approaches including MIDI, rithms are presented. One utilizes a disparity AES24, OSC, IEC 62379, and XFN among others, this map of stereo image, and the other tracks loud - tutorial on the XFN connection management and control ness of stereo audio signal. Listening tests show protocol presents core features concepts and functionali - that the proposed audio depth rendering system ty. There will be a discussion of options for achieving allows the listener to feel the depth of the sound interoperability between devices using XFN as well as corresponding to a pop-up effect of the 3-D image. other protocols. A demonstration will show how XFN is Convention Paper 8522 used in conjunction with a graphical interface to perform discovery, connection management and control of net - 2:30 pm work audio devices. A protocol essentially similar to the XFN protocol has been proposed for standardization in P14-5 Virtual Height Speaker Rendering for the AES under project AES-X170. Attendees will be Samsung 10.2-Channel Vertical Surround updated on the status and progress of this project. System— Young Woo Lee ,1 Sunmin Kim ,1 Hyun Jo ,2 Youngjin Park ,2 Yongje Kim 1 Broadcast/Media Streaming Session 6 1Samsung Electronics Co., Ltd., Suwon, Korea Friday, October 21 2:30 pm – 4:00 pm 2KAIST, Daejeon, Korea Room 1E10 This paper proposes the virtual sound elevation rendering algorithm that can give a listener an TELEVISION LOUDNESS AND METADATA impression of virtual 10.2 channel loudspeakers. The proposed algorithm requires 10.2 channel Chair: Skip Pizzi , NAB input signals and the conventional 7.1 channel loudspeaker system (ITU-R BS.775-2). The pro - Panelists: Richard Cabot , Qualis Audio posed virtual height speaker rendering consists Paul Keller , Harris Corp. of generic head-related transfer function (HRTF), Steve Lyman , Dolby which is calculated using 45 individualized Andrew Mason , BBC R&D HRTFs of CIPIC datasets, and a mixing Stephan Schreiner , Fraunhofer IIS algorithm using four loudspeakers among 7.1 Robert Seidel , CBS channels. For subject evaluation, three kinds of playbacks are compared with various materials: Digital television is now well established in the US mar - original 10.2 channel signal, down-mixed 7.1 ket, where most analog TV broadcasting was eliminated channel signal, and the proposed 7.1 channel in 2009. The ATSC DTV audio system includes numer -

28 Audio Engineering Society 131st Convention Program, 2011 Fall ous features not previously available, including the ability For many years, IC suppliers—including THAT—have to normalize audio loudness at the receiver (via the AC-3 offered several highly integrated analog microphone pre - dialnorm metadata feature). This process has not been amplifiers. These ICs are convenient and easy to use, uniformly applied, however, causing numerous listener and generally include the input-stage feedback resistors complaints that ultimately resulted in federal legislation plus an output differential amplifier. While convenient, mandating the matching of TV commercial and program these included elements reduce the preamps’ flexibility audio loudness. This new law—the Commercial Audio and restrict performance in some areas compared with Loudness Mitigation (CALM) Act—is expected to that obtainable from discrete designs. In this seminar, we become effective in January 2013, and FCC rules are present a new-generation of analog IC microphone pre - currently being crafted toward its implementation, with amplifiers that offer more flexibility and higher perfor - significant input from ATSC and the industry on how to mance through selective omission of internal items. We best comply with the Act’s requirements. Learn the latest will review the benefits and detriments of this approach, about controlling TV audio loudness and complying with and offer many practical tips on how to get the most out the new mandates, from broadcasters, manufacturers, of these new ICs. and vendors in this timely and important session. Exhibitor Seminar Friday, Oct. 21 Game Audio Session 7 Friday, Oct. 21 3:30 pm – 4:30 pm Room 1E06 2:30 pm – 4:00 pm Room 1E11 PMC: MASTERS OF AUDIO SERIES EMERGING MARKET: PROCESSING PLUG-IN’S FOR GAMES Breaking the Rules—Surround Sound Recording Part 1 Presenters: Mike Caviezel , Microsoft Alex Westner , iZotope Presenter: Morten Lindberg Surround Sound is a sculpture, where stereo can be Game Audio Systems are rapidly approaching the pro - described as a flat canvas. cessing capabilities of DAW’s. Real-time processing in games has become more than just reverb and a bit of Learn how to record in surround from a true master. low-pass. There are many uses for real-time DSP and as Morten Lindberg is a 9-time Grammy nominated / win - in the DAW, there are many flavors of plug-ins that can ning balance engineer and producer with vocals, choirs accomplish similar tasks. In the past developers have and strings as his core area of expertise. been happy, pleased, even surprised to get a filter, or a reverb, or a limiter. Now we are starting to see options in Workshop 8 Friday, Oct. 21 the types of plug-ins integrated into today’s game audio 3:45 pm – 4:45 pm Room 1E08 pipelines. Plug-in developers are starting to see a poten - tial new market for their technology and some of them THE MOBILE GENERATION OF MUSIC CREATION have already been working with game developers to AND PRODUCTION incorporate these technologies. This session looks at some of these Plug-in/Game developer relationships and how they can benefit both parties. Chair: Jay LeBoeuf , Imagine Research Panelists: Mark Ethier , iZotope Special Event Michael Gitig , Gobbler BEN FOLDS—THE BEST IMITATION OF MYSELF Henrik Lenberg , SoundCloud Friday, October 21, 2:30 pm – 4:15 pm Room 1E15/16 Thanks to mobile devices, cloud computing, and innova - tive software algorithms, we are seeing a further democ - ratization of the music creation and production process. Presenters: Ben Folds Users of innovative iPad/iPhone applications, cloud- Errol Kolosine based audio sharing, and collaboration sites are turning International recording star Ben Folds discusses his virtually everyone into a content producer. This panel career, influences, and the music business, as well as explores the products, technology, and external factors his new retrospective, Best Imitation of Myself, with Errol that are enabling this revolution. Kolosine, followed by a Q & A with attendees. We’ll examine his time with The Ben Folds Five, as a solo Session P15 Friday, Oct. 21 artist, and also as a collaborator. 4:00 pm – 6:30 pm Room 1E09

Friday, Oct. 21 3:00 pm Room 1E02 SOUND FIELD ANALYSIS AND REPRODUCTION— Standards Committee Meeting on Digital Library and PART 2 Archive Systems and Audio Metadata (joint meeting), SC-03-06 and SC-03-07 Chair: Juha Merimaa , Sennheiser Research Laboratory, Palo Alto, CA, USA Exhibitor Seminar Friday, Oct. 21 3:30 pm – 4:30 pm Room 1A01 4:00 pm THAT CORPORATION P15-1 Broadband Analysis and Synthesis for Directional Audio Coding Using A-Format De-Integrating Integrated Circuit Preamps Input Signals— Archontis Politis, Ville Pulkki , Aalto University, Espoo, Finland Presenter: Les Tyler Directional Audio Coding (DirAC) is a parametric ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 29 Technical Progra m non-linear technique for spatial sound recording based on an inverse problem formulation com - and reproduction, with flexibility in terms of loud - bined with a recently proposed regularization speaker reproduction setups. In the general 3- approach: a beamforming matrix in the discrete dimensional case, DirAC utilizes as input B-for - smoothing norm of the cost function. In a second mat signals, traditionally derived from the signals instance, the results obtained from the SFE of a regular tetrahedral first-order microphone method are applied to SFC as presented in Part array, termed A-format. For high-quality render - I. The SFC classification method is verified in ing, the B-format signals are also exploited in the two environments that recreate ideal or complex synthesis stage. In this paper we propose an sound fields. At the light of the presented results alternative formulation of the analysis and and discussion, it is argued that SFE and SFC synthesis, which avoids the effect of non-ideal proposed methods are effective. B-format signals on both stages, and achieves Convention Paper 8527 improved broadband estimation of the DirAC parameters. Furthermore, a scheme for the syn - thesis stage is presented that utilizes directly the 5:30 pm A-format signals without conversion to B-format. P15-4 Mixed-Order Ambisonics Recording Convention Paper 8525 and Playback for Improving Horizontal Directionality— Sylvain Favrot ,1 Marton 4:30 pm Marschall ,1 Johannes Käsbach ,1 Jörg Buchholz ,2 Tobias Weller 1 P15-2 Beamforming Regularization, Scaling 1 Matrices, and Inverse Problems for Sound Technical University of Denmark, Lyngby, Denmark Field Extrapolation and Characterization: 2 Part I—Theory— Philippe-Aubert Gauthier, Éric Macquarie University, Sydney, NSW, Australia Chambatte, Cédric Camier, Yann Pasco, Alain Planar (2-D) and periphonic (3-D) higher-order Berry , Université de Sherbrooke, Sherbrooke, Ambisonics (HOA) systems are widely used to Québec, Canada, and McGill University, reproduce spatial properties of acoustic scenar - Montreal, Québec, Canada ios. Mixed-order Ambisonics (MOA) systems Sound field extrapolation (SFE) is aimed at the combine the benefit of higher order 2-D systems, prediction of a sound field in an extrapolation i.e., a high spatial resolution over a larger usable region using a microphone array in a measure - frequency bandwidth, with a lower order 3-D ment region. For sound environment reproduc - system to reproduce elevated sound sources. In tion purposes, sound field characterization order to record MOA signals, the location and (SFC) aims at a more generic or parametric weighting of the microphones on a hard sphere description of a measured or extrapolated sound were optimized to provide a robust MOA encod - field using different physical or subjective met - ing. A detailed analysis of the encoding and rics. In this paper an SFE method recently intro - decoding process showed that MOA can duced is presented and further developed. The improve both the spatial resolution in the hori - method is based on an inverse problem formula - zontal plane and the useable frequency band - tion combined with a beamforming matrix in the width for playback as well as recording. Hence discrete smoothing norm of the cost function. the described MOA scheme provides a promis - The results obtained from the SFE method are ing method for improving the performance of applied to SFC for subsequent sound environ - current 3-D sound reproduction systems. ment reproduction. A set of classification criteria Convention Paper 8528 is proposed to distinguish simple types of sound fields on the basis of two simple scalar metrics. 6:00 pm A companion paper presents the experimental verifications of the theory presented in this paper. P15-5 Local Sound Field Synthesis by Virtual Convention Paper 8526 Acoustic Scattering and Time-Reversal— Sascha Spors, Karim Helwani, Jens Ahrens , 5:00 pm Deutsche Telekom Laboratories, Technische Universität Berlin, Berlin, Germany P15-3 Beamforming Regularization, Scaling Matrices and Inverse Problems for Sound Sound field synthesis techniques like Wave Field Field Extrapolation and Characterization: Synthesis and near-field compensated higher Part II—Experiments— Philippe-Aubert order Ambisonics aim at synthesizing a desired Gauthier, Éric Chambatte, Cédric Camier, Yann sound field within an extended area using an Pasco, Alain Berry , Université de Sherbrooke, ensemble of individually driven loudspeakers. Sherbrooke, Québec, Canada, and McGill Local sound field synthesis techniques achieve University, Montreal, Québec, Canada an increased accuracy within a restricted local listening area at the cost of stronger artifacts Sound field extrapolation (SFE) is aimed at the outside. This paper proposes a novel approach prediction of a sound field in an extrapolation to local sound field synthesis that is based upon region using microphone array. For sound envi - the scattering from a virtual object bounding the ronment reproduction purposes, sound field local listening area and the time-reversal princi - characterization (SFC) aims at a more generic or ple of acoustics. The physical foundations of the parametric description of a measured or extrapo - approach are introduced and discussed. Numeri - lated sound field using different physical or sub - cal simulations of synthesized sound fields are jective metrics. In this paper experiments with a presented as well as a comparison to other pub - recently-developed SFE method (Part I—Theo - lished methods. ry) are reported in a first instance. The method is Convention Paper 8529

30 Audio Engineering Society 131st Convention Program, 2011 Fall Broadcast/Media Streaming Session 7 5:00 pm Friday, October 21 4:00 pm – 5:30 pm Room 1E10 P16-2 Characterizing the Perceptual Effects Introduced by Low Bit Rate Spatial Audio Codecs— Paulo Marins , Universidade de AUDIO ENGINEERING SUPPORTING PEOPLE Brasília, Brasília, Brazil WITH DISABILITIES: A WORKSHOP This paper describes a series of experiments that Chair: Eric Small , Modulation Sciences was carried out aiming to characterize the percep - tual effects introduced by low bit rate spatial audio Panelists: Alison Greenwald Neplokh , Chief Engineer, codecs. An initial study was conducted with the FCC Media Bureau intention of investigating the contribution of select - Steve Lyman , Dolby ed attributes to the basic audio quality of low bit Joel Snyder , Audio Description Project, rate spatial codecs. Furthermore, another two American Council of the Blind experiments were performed in order to identify On October 8, 2010, President Obama signed the Twen - the perceptually salient dimensions or the inde - ty-First Century Communications and Video Accessibility pendent perceptual attributes related to the arti - Act (CVAA) into law. The CVAA updates federal commu - facts introduced by low bit rate spatial audio cod - nications law to increase the access of persons with dis - ing systems. abilities to modern communications and entertainment Convention Paper 8531 technology, including new digital, broadband, and mobile innovations. Since much of this law applies to the visual - 5:30 pm ly and hearing handicapped, it will create many chal - P16-3 Error Robust Low Delay Audio Coding Based lenges and opportunities for the audio engineering on Subband-ADPCM— Stephan Preihs, Jörn community. Graphic user interfaces must be made audi - Ostermann , Institute for Information Processing, ble while audible interfaces must be made visual- and Leibniz Universität Hannover, Hannover, hearing aid-friendly. This workshop will explore CVAA Germany from the viewpoint of an engineer and regulator who helped write the law and a creator of the content that In this paper we present an approach for error implements one aspect of the law. robust audio coding at a medium data rate of about 176 kbps (mono, 44.1 kHz sampling rate). By combining a delay-free Adaptive Differential Friday, Oct. 21 4:00 pm Room 1E05 Pulse Code Modulation (ADPCM) coding-scheme Technical Committee Meeting on High Resolution and a numerically optimized low delay filter bank Audio we achieve a very low algorithmic coding delay of only about 0.5 ms. The structure of the codec also allows for a high robustness against random sin - gle bit errors and even supports error resilience. Session P16 Friday, Oct. 21 Implementation structure, results of a listening 4:30 pm – 6:30 pm Room 1E07 test, and PEAQ (Perceptual Evaluation of Audio Quality) based objective audio quality evaluation LOW BIT-RATE CODING—PART 2 as well as tests of random single bit error perfor - mance are given. The presented coding-scheme provides a very good audio quality for vocals and Chair: Christof Faller , Illusonic, Switzerland speech. For most of the critical signals the audio quality can still be denoted as acceptable. Tests 4:30 pm of random single bit error performance show good results for error rates up to 10-4. P16-1 A Subband Analysis and Coding Method for Convention Paper 8532 Downmixing Based Multichannel Audio Codec— Shi Dong, Ruimin Hu, Weiping Tu, Xiang Zheng , Wuhan University, Wuhan, Hubei, 6:00 pm China P16-4 The Transient Steering Decorrelator Tool In the present downmixing based multichannel in the Upcoming MPEG Unified Speech and coding standard, the downmixing process causes Audio Coding Standard— Achim Kuntz, the “tone leakage” problem by mixing different Sascha Disch, Tom Bäckström, Julien Robillard , channels into one channel. In this paper a novel Fraunhofer Institute for Integrated Circuits IIS, multichannel analysis method is proposed to Erlangen, Germany reduce “tone leakage” phenomenon with additive Applause signals are still challenging to code side information, the basic idea is to find subbands with good perceptual quality using parametric with the largest spectrum difference and coding multichannel audio coding techniques. To their spectrum envelope information. By analyzing improve the codec performance for these partic - the decoded signals, leakage tones are identified ular items, the Transient Steering Decorrelator and attenuated, then the original ones are recon - (TSD) tool has been adopted into the upcoming structed, which meantime retain the original inter - Moving Picture Experts Group (MPEG) standard channel level difference (ICLD) of subbands on Unified Speech and Audio Coding (USAC) as unchanged. Results show our method can an amendment to the MPEG Surround 2-1-2 improve subjective quality compared with HE-AAC module (MPS). TSD improves the perceptual (v2) codec with bit rate increasing slightly. quality of signals which contain rather dense Convention Paper 8530 spatially distributed transient auditory events like [Paper not presented but is available for purchase] in applause type of signals. Within TSD, tran - ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 31 Technical Progra m sient events are separated from the core 2:30 pm decoder output and a dedicated decorrelator algorithm distributes the transients in the spatial P17-3 Why Do Tube Amplifiers Have Fat Sound image according to parametric guiding informa - while Solid State Amplifiers Don’t?— tion transmitted in the bitstream. Listening tests Shengchao Li , Wintersweet Electronics, LLC, show a substantial improvement in subjective Potomac, MD, USA quality. I propose an explanation to why tube amplifiers Convention Paper 8533 sound better than solid state amplifiers in certain circumstances. The explanation is, the interac - tion of (1) the nonlinearity of the output tube, (2) Session P17 Friday, Oct. 21 output impedance of the amplifier, and (3) the 4:30 pm – 6:00 pm 1E Foyer nonlinearity of the output transformer inductance caused by core material B-H curve, results in a POSTERS: AUDIO EQUIPMENT frequency selective nonlinear feedback system AND MEASUREMENT that softly limits the speaker cone excursion for low frequency music signals with excessive am - plitude, while has little effect on high frequency 2:30 pm music signals or low frequency music signals with low to moderate amplitude. Better yet, when P17-1 Swept Sine Grains Applied to Acoustical low frequency music signals with excessive am - Measurements Using Perceptual Masking plitude is superposed with high frequency music Effects— Joel Preto Paulo ,1,2 J. L. Bento Coelho 2 signals, this system selectively limits low fre - 1ISEL- Instituto Superior de Engenharia de quency music signals and has little effect on the Lisboa, Lisbon, Portugal superposed high frequency music signals. Com - 2IST-CAPS—Instituto Superior Tecnico, paring to that of a typical solid state amplifier, TU Lisbon, Lisbon, Portugal this mechanism trades some amplifier nonlinear - The swept sine technique has proven to lead to ity for less speaker nonlinearity, resulting in less accurate estimations of the room impulse overall nonlinearity of the music sound waves response, even in situations of low SNR, non-lin - people's ears perceive. earity, and time-variance of the system under Convention Paper 8536 test. Regarding the distributive property of the convolution, the swept sine signal can be split into several segments, namely grains, and sent Workshop 9 Friday, Oct. 21 separately to the room. At the reception, the full 4:30 pm – 6:30 pm Room 1E13 frame is assembled from the grains by applying the overlap-add based procedure. Choosing NEODYMIUM; COPING WITH THE CONSEQUENCES appropriate windows, values to the truncation OF SUPPLY AND DEMAND ELASTICITY and the overlap of the captured grains, the degree of degradation on the final results, mea - Chair: Spiro Iraclianos sured by the amount of produced noise, can be controlled. Therefore, each grain can be matched according to the tempered musical Panelists: John Ebert , Yungsheng scale, which can be applied on musical composi - Alexander King , Ames Laboratory tions, or used in perceptual models, taking into Stan Trout , Molycorp. account the human auditory masking effects, to The use of Neodymium Iron Boron magnets has been compose a test signal frame for acoustical mea - increasing over the last few decades to address the surements. The possibility of polyphony musical demands of compact high energy motor applications. compositions for use on acoustical measure - Loudspeakers have been adapting the “super magnets” ments is assessed and discussed. to delicately balance the size/performance ratio Convention Paper 8534 demands in today’s marketplace. In recent months, the availability of Neodymium has been shrinking while the 2:30 pm cost of the magnets, which use the rare earth element, has skyrocketed. The workshop will serve as a forum for P17-2 Multichannel Impulse Response Measurement industry professionals, from all aspects of the value in Matlab— Braxton Boren, Agnieszka Roginska , chain, to gather and collectively discuss and begin to ad - New York University, New York, NY, USA dress the facts and myths surrounding the global issue This paper describes ScanIR, an application for that has caused significant paradigm shifts in the way we flexible multichannel impulse response mea - think about the future of the industry. surement in Matlab intended for public distribu - tion. The application interfaces with the PortAu - Live Sound Seminar 7 Friday, Oct. 21 dio API using Psychtoolbox-3, a toolkit in 4:30 pm – 6:30 pm Room 1E14 Matlab allowing high-precision control of a mul - tichannel audio interface. ScanIR contains sin - ARRAYS AND BEAM STEERING gle-channel, binaural, and multichannel input modes, and it also allows the use of multiple Moderator: Jim Risgin , On Stage Audio output test signals. It is hoped that this applica - tion will prove useful to researchers using Mat - Panelists: Paul Bauman , JBL lab for physical or psychological acoustic mea - Doug Fowler , Fowler Audio Services LLC surements. Charlie Hughes , Excelsior Audio Convention Paper 8535 Martyn Rowe , Martin Audio

32 Audio Engineering Society 131st Convention Program, 2011 Fall Nothing seems more topical than the topic of control of • Traditional Acoustic Recording – 5:30 pm to 6:30 pm low frequency energy via array design. The problem of Judges: David Bowles, Martha de Francisco, Ulrike excess low frequency energy will be addressed with sub - Schwarz woofer and array design, placement, and DSP control. The methods of achieving good coverage for the audi - The top three finalists in each category, as identified ence and eliminating bass build up on stage or other by our judges, present a short summary of their produc - areas will be discussed. tion intentions and the key recording and mix techniques used to realize their goals. They then play their projects for all who attend. Meritorious awards are determined Product Design Session 5 Friday, Oct. 21 here and will be presented at the closing Student Dele - 4:30 pm – 6:00 pm Room 1E12 gate Assembly Meeting (SDA-2) on Sunday afternoon. The competition is a great chance to hear the work of ALTERNATIVE MEASUREMENT TECHNIQUES your fellow students at other educational institutions. Everyone learns from the judges’ comments even if your Presenter: Tom Kite , Audio Precision project isn’t one of the finalists, and it's a great chance to meet other students and faculty. Modern audio analyzers offer many approaches to taking measurements. Some approaches provide great speed Tutorial 9 Friday, Oct. 21 and others high accuracy. Which is best for your circuit? 5:00 pm – 6:30 pm Room 1E08 Are steady tones appropriate for codecs? Are chirps appropriate for compressors? This session will compare NOISE ON THE BRAIN— and contrast alternative approaches such as multitones, HEARING DAMAGE ON THE OTHER SIDE chirps, and bursts to traditional techniques. Learn the benefits and pitfalls of various approaches. Get the Presenter: Poppy Crum , Dolby Laboratories, San answers and the understanding behind them. Francisco, CA, USA

Special Event Did you know that drinking a glass of orange juice every PLATINUM MASTERING day may actually protect your hearing? Friday, October 21, 4:30 pm – 6:30 pm Most discussions of hearing damage focus on what Room 1E15/16 happens to the cochlea and inner ear. While this under - standing is crucial to predicting and avoiding trauma that Moderator: Bob Ludwig , Gateway Mastering Studios, can lead to hearing loss, both acoustic and chemical Portland, ME, USA stimuli can also have significant effects on higher brain areas. In some cases, thresholds and audiograms can Panelists: Adam Ayan , Gateway Mastering Studios, look completely normal but listeners may have great diffi - Portland, ME, USA culty hearing a conversation in a noisy environment. This Eric Boulanger , The Mastering Lab session will explore the latest research regarding the Chris Gehringer , Sterling Sound, New York, effects of acoustic and chemical trauma, and how this NY, USA damage manifests throughout the auditory pathway as Scott Hull , Masterdisk Studios, New York, changes in hearing sensitivity, cognition, and the experi - NY, USA ence of tinnitus. We will also consider recent research in Barak Moffitt , EVP EMI Label Group chemically preserving hearing and combating these con - (Capitol Studios), Hollywood, CA, USA ditions with supplements as common as Vitamin C! Darcy Proper , Wisseloord Studios, Hilversum, The Netherlands Exhibitor Seminar Friday, Oct. 21 You Have Questions, We Have Answers 5:00 pm – 6:00 pm Room 1E06

The art of music mastering continues to evolve. Master - PMC: MASTERS OF AUDIO SERIES ing has always been one of the more secretive parts of the record making chain, there are still only a few good Intelligent Dance Music Live Performance in 5.1 books written about it and most good mastering engi - neers learn by apprenticeship which is difficult to find. Presenter: David Miles Huber We have assembled a platinum-quality group of master - ing engineers and a record label executive, who will dis - DMH (2 x Grammy-nominated producer and musician) cuss the latest trends and techniques in mastering, dis - will perform his latest dance-oriented project “Chamber - cuss the state of the record industry and most land” live in surround. Come prepared to have fun! importantly take a lot of questions from the audience. Friday, Oct. 21 5:00 pm Room 1E05 Student/Career Development Event Technical Committee Meeting on Signal Processing RECORDING COMPETITION—1 Friday, October 21, 4:30 pm – 6:30 pm Tutorial 10 Friday, Oct. 21 Room 1E11 5:30 pm – 6:30 pm Room 1E10 The Student Recording Competition is a highlight at each convention. A distinguished panel of judges participates LIBRARY OF CONGRESS COLLECTIONS in critiquing finalists of each category in an interactive & NATIONAL JUKEBOX presentation and discussion. This event presents stereo and surround recordings in these categories: Presenter: Brad McCoy , Library of Congress, Culpeper, • Sound for Visual Media – 4:30 pm to 5:30 pm VA, USA Judges: Richard King, Stephen Harwood, Geoff Mitchell This tutorial will highlight several of the Library of Con - ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 33 Technical Progra m gress collections, especially ones with New York interest merit further examination. This lecture will cover both au - (Tony Schwartz, some very early Frank Sinatra, others) dio recording and playback technologies; while it might to use as examples of audio preservation, workflow, and not offer definitive answers, perhaps it will raise some metadata issues at the Library of Congress. The tutorial interesting questions. will also include a quick look at the National Jukebox. Atkinson’s presentation will be followed by a reception hosted by the AES Technical Council. Special Event OPEN HOUSE OF THE TECHNICAL COUNCIL Broadcast/Media Streaming Session 8 AND THE RICHARD C. HEYSER MEMORIAL LECTURE Friday, October 21 7:30 pm – 9:00 pm Friday, October 21, 7:00 pm – 9:00 pm PC Richards Theater Room 1E15/16 Lecturer: John Atkinson A HALF CENTURY OF FM STEREO The Heyser Series is an endowment for lectures by emi - Co-chairs: David Bialik nent individuals with outstanding reputations in audio Scott Fybush , Fybush.com/Inside Radio engineering and its related fields. The series is featured twice annually at both the and European Panelists: Richard Burden AES conventions. Established in May 1999, The Richard Frank Foti , Omnia Audio C. Heyser Memorial Lecture honors the memory of Richard Mertz, Cavell and Mertz Richard Heyser, a scientist at the Jet Propulsion Labora - Arno Meyer , Belar tory, who was awarded nine patents in audio and com - Robert Orban , Orban munication techniques and was widely known for his Skip Pizzi , NAB ability to clearly present new and complex technical Bill Sacks , Orban ideas. Heyser was also an AES governor and AES Silver Eric Small , Modulation Sciences Medal recipient. Jeff Smith , Clear Channel The Richard C. Heyser distinguished lecturer for the Herb Squire , Former Chief Engineer of WQXR 129th AES Convention is John Atkinson. Atkinson’s for - mal education was in the sciences—he graduated from the University of London in 1972 with an honors degree Radio's first four decades were strictly monophonic. in physics and chemistry, and from the University of Lon - Despite some early experimentation by FM inventor don’s School of Education in 1974 with a postgraduate Edwin Howard Armstrong, even “high-fidelity” FM re - qualification in the teaching of high-school science—but mained mono until 1961, when the FCC chose among his passion was always for music. A musician (primarily competing systems to declare a standard for FM stereo on bass guitar, but also on recorder, clarinet, violin, and broadcasting. viola da gamba), a sound recordist, and an audiophile, To celebrate the fiftieth anniversary of the first commer - Atkinson pursued all three areas simultaneously in the cial FM stereo broadcasts in the United States, this panel 1960s and ’70s, before finally settling down in magazine discussion will bring together some of the industry’s top publishing in 1976, when he joined the UK’s Hi-Fi News broadcast engineers and equipment designers. Topics will & Record Review as an editorial assistant. He became include FM stereo’s birth, the merits of the competing sys - HFN/RR’s editor in 1982, and had almost doubled its cir - tems that sought FCC approval, the initial technical chal - culation by 1986, when he moved to the US to become lenges faced by the new medium, the development of editor of Stereophile, the position he still occupies. Atkin - high-density FM audio processing, and the future of ana - son expanded Stereophile’s publishing schedule to log FM stereo in an increasingly digital world . monthly, and by 1998, when he and his business partner This event is being organized by the NY Section of the sold the magazine to Petersen Publications, had tripled AES and will be held in the PC Richard & Sons Theater its circulation. Starting in 1989, Atkinson introduced a at the Clear Channel Studios, 32 Avenue of the Americ - program of measuring the components reviewed in as. Seating is limited and tickets are required. Stereophile, and since then has measured 750 loud - speakers, 500 amplifiers of all kinds, and almost 300 dig - The Audio Engineering Society thanks Clear Channel ital products, all under standardized conditions. He has Communications for providing the theater for this event. also continued his recording activities, and to date has produced, engineered, edited, mastered, and/or per - Session P18 Saturday, Oct. 22 formed on more than 40 commercially released record - 9:00 am – 12:00 noon Room 1E09 ings. Atkinson has been a member of the AES since 1981; a committed generalist, he is very likely the only HEADPHONE PLAYBACK audio magazine editor who has also panned for gold and made his own transistors. The title of his lecture is, Chair: Jean-Marc Jot , DTS, Inc., Scotts Valley, CA, “Where Did the Negative Frequencies Go?” USA Even a cursory reading of the academic literature sug - gests that all that matters in audio has already been investigated and ranked in importance. But John Atkin - 9:00 am son’s 40-year career of performing music, engineering, P18-1 The Effects of Headphones on Listener HRTF and producing recordings, reviewing audio components, Preference— Braxton Boren, Agnieszka Rogins - and editing audio magazines has led him to believe that ka, New York University, New York, NY, USA some things might be taken too much for granted, while other things have been ignored or misunderstood. The Listener-selected HRTFs have the potential to pro - title of his lecture is a metaphor: All real numbers have vide the accuracy of an individualized HRTF with - two roots, yet we routinely discard the negative root on out the time and resources required for HRTF the grounds that it has no significance in reality. When it measurements. This study tests listeners’ HRTF comes to understanding the perception of music, per - preference for three different sets of headphones. haps some of the things we discard as audio engineers HRTF datasets heard over the noise-cancelling

34 Audio Engineering Society 131st Convention Program, 2011 Fall Bose Aviation headset were selected as having perceived location of a sound source. In this good externalization more often than those heard paper the perception of such asymmetry is stud - over Sennheiser HD650 open headphones or ied by determining the interaural level differ - Sony MDR-7506 closed headphones. It is thought ences required to center a set of narrow-band that the Bose headset’s frequency response is stimuli with different center frequencies. It is responsible for its superior externalization. This shown that the asymmetry varies from one lis - suggests that in systems where high quality head - tener to another. Some of the asymmetry can be phones are not available, post-processing equal - explained with asymmetry in transmission of ization should be applied to account for the effect sound from the headphones to the entrances of of the headphones on HRTF reproduction. a listener’s ear canals. However, the perceived Convention Paper 8537 asymmetry for individual listeners is also corre - lated between different headphone types includ - 9:30 am ing in-ear headphones that couple directly to the ear canals. The asymmetry is relatively stable P18-2 Head Orientation Tracking Using Binaural over different times of wearing the headphones. Headset Microphones— Hannes Gamper, The effect of correcting for the asymmetry Sakari Tervo, Tapio Lokki , Aalto University ranges from imperceptible to substantial School of Science, Aalto, Finland depending on the individual subject. A head orientation tracking system using binaur - Convention Paper 8540 al headset microphones is proposed. Unlike pre - vious approaches, the proposed method does 11:00 am not require anchor sources, but relies on speech signals from the wearers of the binaural head - P18-5 Binaural Reproduction of Stereo Signals Using Upmixing and Diffuse Rendering— sets. From the binaural microphone signals, time 1 2 difference of arrival (TDOA) estimates are Christof Faller , Jeroen Breebaart 1Illusonic LLC, St-Sulpice, Swtizerland obtained. The tracking is performed using a par - 2 ticle filter integrated with a maximum likelihood ToneBoosters, Eindhoven, The Netherlands estimation function. In a case study the pro - In this paper benefits and challenges related to posed method is used to track the head orienta - binaural rendering for conventional stereo con - tions of three conferees in a meeting scenario. tent are explained in terms of width of the sound With an accuracy of about 10 degrees the pro - stage, timbral changes, the perceived distance, posed method is shown to outperform a refer - and the naturalness of phantom sources. To ence method, which achieves an accuracy of resolve some of the identified issues, a two- about 35 degrees. stage process consisting of a spatial decomposi - Convention Paper 8538 tion followed by dedicated post processing meth - ods is proposed. In the first stage, several direct 10:00 am sound source signals and additional ambience components are extracted from the stereo con - P18-3 Observing the Clustering Tendencies of Head tent. These signals are subsequently processed Related Transfer Function Databases— Areti with dedicated algorithms to render virtual sound Andreopoulou, Agnieszka Roginska, Juan Bello , sources by means of HRTF or BRIR convolution New York University, New York, NY, USA and to render an additional diffuse sound field This study offers a detailed description of the with the correct inter-aural coherence properties clustering tendencies of a large, standardized based on the extracted ambience signals. It is HRTF repository, and compares the quality of argued that this approach results in a wider the results to those of a CIPIC database subset. sound stage, more natural and accurate spatial The statistical analysis was implemented by imaging of sound sources, and resolves the applying k-means clustering on the log magni - “here and now” versus the “there and then” dual - tude of HRTFs on the horizontal plane, for a ity for room acoustic simulation in binaural ren - varying number of clusters. A thorough report on dering methods. the grouping behavior of the filters as the num - Convention Paper 8541 ber of clusters increases revealed a superiority of the HRTF repository in describing common 11:30 am behaviors across equivalent azimuth positions, over the CIPIC subset, for the majority of the P18-6 Sound Quality Evaluation Based on Attributes HRTF datasets. —Application to Binaural Contents— Sarah Convention Paper 8539 Le Bagousse ,1 Mathieu Paquier ,2 Catherine Colomes ,1 Samuel Moulin 1 1 10:30 am Orange Labs, Cesson Sévigné, France 2Laboratoire d’Informatique des Systemes P18-4 Individual Perception of Headphone Compexes, Brest, France Reproduction Asymmetry— Juha Merimaa ,1 V. Ralph Algazi ,2 Richard O. Duda 3 The audio quality assessment is based on stan - 1Sennheiser Research Laboratory, Palo Alto, dards that mainly evaluate the overall quality to CA, USA the detriment of more accurate sound criteria. 2University of California Davis, Davis, CA, USA On the other hand, a major problem of an 3Menlo Park, CA, USA assessment based on sound criteria is their meaning and their understanding that have to be With headphone listening, the naturally occurring the same for each listener. A previous study left/right asymmetry in head and ear shapes can clustered a list of sound attributes in three main produce frequency-dependent variations in the categories called “timbre,” “space,” “defaults.” ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 35 Technical Progra m The work presented here is based on those pre - inside and outside of Ableton Live. A panel of creative vious results and aims at tuning a subjective test professionals, ranging from artists to producers, will dis - methodology of spatial audio quality. So the cuss the creative potential of the community-driven Max three families were included in a test dedicated for Live platform in developing hardware and software to the assessment of spatial audio quality with solutions to enable projects large and small. The panel binaural contents. The test was based on the will present an in-depth look at a series of Max for Live MUSHRA method but using three anchors devices that reflect the Max for Live’s diverse spectrum specifically to each attribute and without explicit of uses, ranging from new creative avenues of sound reference. The original version was added as the manipulation to enabling easy cross-media performance hidden reference. The aim of the listening test applications. described in this paper was to verify the rele - vance of those three attributes and their influ - Tutorial 11 Saturday, Oct. 22 ence on the overall quality. 9:00 am – 12:00 noon Room 1E07 Convention Paper 8542 TECHNOLOGY AND PRACTICE OF DISK Workshop 10 Saturday, Oct. 22 MASTERING FOR VINYL PRODUCTS 9:00 am – 11:00 am Room 1E08 Presenters: Paul Gold WHAT EVERY SOUND ENGINEER SHOULD KNOW Albert Grundy ABOUT THE VOICE

Chair: Eddy B. Brixen , EBB Consult This tutorial on the technology and practice of disk mas - tering will cover topics including: technology of the 33 1/3 Panelists: Henrik Kjelin , Complete Vocal Institute, 12-inch LP record; the blank disk and cutting stylus; Denmark available space and lines per inch; mechanics of the Cathrine Sadolin , Complete Vocal Institute, groove: lateral, vertical and orthogonal motions; the Denmark dynamic cutter head stylus amplitude, velocity and accel - The purpose of this workshop is to teach sound engineers eration; evolution of the recording characteristic; time how to listen to the voice before they even think of micro - constants and corner frequencies; limitations imposed by phone picking and knob-turning. The presentation and 10 octave bandwidth. The second part of the tutorial will demonstrations are based on the "Complete Vocal Tech - look at applying this information to cutting parameters nique" (CVT) where the fundamental is the classification after auditioning the program. of all human voice sounds into one of four vocal modes named Neutral, Curbing, Overdrive, and Edge. The clas - Broadcast/Media Streaming Session 9 sification is used by professional singers within all musical Saturday, October 22 9:00 am – 10:30 am styles, and has in a period of 20 years proved easy to Room 1E10 grasp in both real life situations and also in auditive and visual tests (sound examples and laryngeal images/laryn - SOUND EFFECTS OF THE WITCHES OF LUBLIN gograph waveforms). These vocal modes are found in the speaking voice as well. Cathrine Sadolin, the developer of Presenters: Butch D'Ambrosio , SFX Artist CVT, will involve the audience in this workshop, while Sylvaana Pinto , SFX Artist explaining and demonstrating how to work with the David Shinn , Master Engineer modes in practice to achieve any sound and solve many Mark Wiener , SFX Artist different voice problems like unintentional vocal breaks, Sue Zizza , Director/Producer too much or too little volume, hoarseness, and much more. The physical aspects of the voice will be explained This session will be presented in 3 parts: and laryngograph waveforms and analyses will be demonstrated. Eddy Brixen will explain essential parame - (a) Recording live effects—how we used our home and ters in the recording chain, especially the microphone, to recorded late at night—see photos on the website in ensure reliable and natural recordings. NEWS. (b) Recording a large cast all together and still maintain - Workshop 11 Saturday, Oct. 22 ing isolation for intercuts and post editing 9:00 am – 10:30 am Room 1E10 (c) Recording live music—not as a studio production—all MAX FOR LIVE: A DISCUSSION OF COMMUNITY- isolated—but as is. DRIVEN SOFTWARE DEVELOPMENT AND ITS RELEVANCE IN TODAY'S CREATIVE LANDSCAPE Live Sound Seminar 8 Saturday, Oct. 22 9:00 am – 11:00 am Room 1E14 Chair: Stefan Brunner , Max for Live Product Manager, Ableton AG THINGS I LEARNED ON THE BROADWAY LADDER: LESSONS FOR EVERY AUDIO CAREER Panelists: Michael Carter , Preshish Moments Bruce Odland , Sound Artist// Presenter: Jim Van Bergen Wooster Group Rob Sussman , Cycling '74 Panelists: Megan Henniger Abe Jacob Two years after the release of Max for Live by Ableton Jessica Paz and Cycling ‘74, an ever-growing community of develop - Joshua Reid ers are deciding to leverage this platform, paving the way for new software and hardware interoperability Learn what the pros learned the hard way. What they

36 Audio Engineering Society 131st Convention Program, 2011 Fall don't teach you in school and what applies to theatrical Practice Model— John Holt Merchant, III , Middle audio at all levels: high school, college, community, Tennessee State University, Murfreesboro, TN, regional, and commercially. Industry secrets, practices to USA keep, and ways of working that will keep you working. A session to help educate and guide the next generation. An overview of the Mixing Techniques course cur - rently offered at Middle Tennessee State Univer - sity, which was designed to help students develop Product Design Session 6 Saturday, Oct. 22 substantive foundational knowledge and techno - 9:00 am – 10:30 am Room 1E12 logical competencies regarding the aesthetic and technological aspects of audio mixing techniques DESIGN OF A DYNAMIC RANGE COMPRESSOR by applying the tenets of the Deliberate Practice model. Relevant studies in human performance, Presenter: Josh Reiss characteristics of Millennial students, and peda - gogy for developing mental models of audio engi - Dynamic range compression, despite being one of the neering systems are considered as they apply to most widely used audio effects, is still poorly understood, recording arts course and curricular design. The and there is little formal knowledge and analysis of com - results of this study suggest that implementing pressor design techniques. In this tutorial we describe rigorous, formal practice of foundational skills in several different approaches to digital dynamic range audio mixing courses significantly improves stu - compressor design. Digital implementations of several dents’ capabilities. classic analog approaches are given, as well as designs Convention Paper 8543 from recent literature and new approaches that address possible issues. Several design techniques are analyzed 9:30 am and compared, including RMS and peak-based approaches, feedforward and feedback designs, and lin - P19-2 Sound Field Recording and Reproduction ear and log domain level detection. We explain what Using Transform Filter Designed in Spatio- makes the designs sound different, and provide distor - Temporal Frequency Domain— Shoichi tion-based metrics to analyze their quality. Finally, we Koyama, Ken'ichi Furuya, Yusuke Hiwasaki, provide recommendations for high performance com - Yoichi Haneda , NTT Cyber Space Laboratories, pressor design. NTT Corporation, Tokyo, Japan A method of transform from the received signals Special Event of a microphone array to the driving signals of a GRATEFUL DEAD EUROPE 72 loudspeaker array for sound field reproduction is Saturday, October 22, 9:00 am – 10:45 am investigated. Our objective is to obtain the driving Room 1E15/16 signal of a planar or linear loudspeaker array only from the sound pressure distribution acquired by Moderator: Sam Berkow a planar or linear microphone array. We derive a formulation of the transform from the received sig - Panelists: David Glasser , Mastering Engineer nals of the microphone array to the driving signals Jamie Howarth , Tape Transfers and Plangent of the loudspeaker array. The transform is Processes Speed Correction achieved as the mean of a filter in a spatio-tempo - Gary Lambert ral frequency domain. Results of measurement Jeffrey Norman , Mixer experiments in an anechoic room are presented to compare the proposed method with the method In the spring of 1972, the Grateful Dead toured Europe based on the conventional least mean square al - with a new (and modified) Ampex MM1100 gorithm. The reproduction accuracies were found in tow. The tour, and subsequent LP release, find the to be almost the same, but the filter size and Dead at one of their creative peaks. In September 2011 amount of calculation required for the proposed Rhino Records will release a massive CD box set con - method were much smaller than those for the taining every note recorded on this 22-show tour—over least mean square algorithm based one. 70 hours of music on 73 discs, surely one of the most Convention Paper 8544 ambitious rock and roll box sets to date. This Event will bring together the production and engineering team who 9:30 am have been working on restoring, mixing, and mastering this historic music. Musical excerpts from the project will P19-3 Practical Digital Playback of Gramophone be presented, and the project workflow and creative Records Using Flat-Bed Scanner Images— challenges will be discussed. Baozhong Tian ,1 Samuel Sambasivam ,2 John L. Barron 3 1 Saturday, Oct. 22 9:00 am Room 1E02 West Virginia University Institute of Technology, Montgomery, WV, USA Standards Committee Meeting on Audio Applications 2 of Networks, SC-02-12 Azusa Pacific University, Azusa, CA, USA 3The University of Western Ontario, London, Ontario, Canada Session P19 Saturday, Oct. 22 9:30 am – 11:00 am 1E Foyer We present an Optical Audio Reconstruction (OAR) system to play the audio from gramo - POSTERS: RECORDING AND REPRODUCTION phone records based on image processing. OAR uses an off-the-shelf scanner to achieve an 9:30 am affordable and practical method of reconstruct - ing audio. Converting the analog records to a P19-1 A Revised Approach to Teaching Audio digital format is important for preserving many Mixing Techniques: Applying the Deliberate historical recordings. We scan the records using ¯ Audio Engineering Society 131st Convention Program, 2011 Fall 37 Technical Progra m a high resolution large format flat-bed scanner. employed for Wave Field Synthesis (WFS) The images were then segmented and the applications. In this paper a special type of semi - grooves were tracked to simulate the movement clamped boundary condition that exhibited prop - of the stylus. The sound signal was converted er results in recent convention papers by the from the groove track positions. Our OAR algo - authors, is used for setting a MAP ready for use. rithm was able to reconstruct the audio success - For that purpose, the surface velocity over spe - fully from scanned records. We demonstrated cific points has been measured with a Laser that a fast OAR system producing good quality Doppler Vibrometer, paying special attention to sound can be built economically. representative exciter locations: central area, Convention Paper 8545 edge, and corners. For an understanding of the sound-generating behavior of the panel, mea - 9:30 am sures were taken both for exciters accommodat - ed in a roughly centered line, as in the rest of P19-4 CAIRA—A Creative Artificially-Intuitive and MAP prototypes and for an identical array of Reasoning Agent as Conductor of Telematic exciters positioned at the upper side of the pan - Music Improvisations— Jonas Braasch, Doug el, in which the behavior was still acceptable for Van Nort, Selmer Bringsjord, Pauline Oliveros, WFS purposes. Experiments were also conduct - Anthony Parks, Colin Kuebler , Rensselear ed to analyze the role that the exciter coupling Polytechnic Institute, Troy, NY, USA ring, used to physically attach transducer to pan - This paper reports on the architecture and per - el, has on the vibrational behavior and radiated formance of the Creative Artificially-Intuitive and sound. Reasoning Agent CAIRA as a conductor for Convention Paper 8548 improvised avant-garde music. CAIRA listening skills are based on a music recognition system 9:30 am that simulates the human auditory periphery to perform an Auditory Scene Analysis (ASA). Its P19-7 Challenges in 2.4 GHz Wireless Audio simulation of cognitive processes includes a Streaming— Robin Hoel, Tomas Motos , Texas comprehensive cognitive calculus for reasoning Instruments Inc., Oslo, Norway and decision-making using logic-based reason - Based on the experiences accumulated during ing. In a specific application, CAIRA is used as the development of a family of 2.4 GHz wireless conductor for live music performances with dis - audio streaming ICs, the paper presents chal - tributed ensembles, where the musicians are lenges in providing high-quality, uninterrupted connected via the internet. CAIRA uses a visual audio streaming in the 2.4 GHz ISM band. It dis - score and directs the ensemble members based cusses the impairments to expect in a dense on tension arc estimations for the individual indoor radio environment, gives an overview of music performers. the main interfering radio standards in the 2.4 Convention Paper 8546 GHz band that any such system must coexist with, and outlines methods and techniques that 9:30 am are essential in order to overcome these difficul - ties. To exemplify, some of the critical design P19-5 Discrimination between Phonograph choices that were made for the first device in the Playback Systems— Jason A. Hockman, David family are presented along with thoughts on pos - M. Weigl, Catherine Guastavino, Ichiro Fujinaga , sible future improvements. McGill University, Montreal, Quebec, Canada Convention Paper 8549 Digitization of phonograph records is an impor - tant step toward the preservation of our cultural 9:30 am history and heritage. The phonograph playback systems (PPS) required for this digitization P19-8 Ray-Traced Graphical User Interfaces process are comprised of several components in for Audio Effect Plug-ins— Benjamin a variety of price ranges. We report on the Doursout ,1 Jörn Loviscach 2 results of two listening tests intended to ascer - 1ESIEA—École supérieure d’informatique, tain the extent to which expert listeners can dis - électronique, automatique, Laval, France criminate between PPS of different price ranges. 2Fachhochschule Bielefeld (University of These results are intended to determine the Applied Sciences), Bielefeld, Germany extent to which component selection affects the On the computer, effects and software-based discrimination between PPS and to provide a set music synthesizers are often represented using of guidelines for the purchase of PPS compo - graphical interfaces that mimic analog equipment nents for the digitization of phonograph record almost photorealistically. These representations collections. are, however, limited to a fixed perspective and Convention Paper 8547 do not include more advanced visual effects such as polished chrome. Leveraging the flexibility of 9:30 am the audio plug-in programming interface, we have P19-6 Vibration Analysis of Edge and Middle created software that equips a broad class of syn - Exciters in Multiactuator Panels— Basilio thesis and effect plug-ins with interactive, ray- Pueo ,1 José Vicente Rico ,1 José Javier López 2 traced 3-D replicas of their user interface. These 1University of Alicante, Alicante, Spain 3-D models are built automatically through an 2Technical University of Valencia, Valencia, Spain automated analysis of each plug-ins’ standard 2- D interface. Our experiments show that interactive Multiactuator panels (MAPs) are an extension of frame rates can be achieved even with low-end the distribute mode technology in order to be graphics cards. The methods presented may also

38 Audio Engineering Society 131st Convention Program, 2011 Fall be used for an automatic analysis of settings and Student/Career Development Event for realistic interactive simulations in the design STUDENT RECORDING CRITIQUES phase of hardware controls. Saturday, October 22, 10:00 am – 11:00 am Convention Paper 8550 Room 1E06 Moderator: Ian Corbett , Kansas City Kansas Community College, KS, USA Special Event SPARS: LESSONS FROM SAVVY OWNERS Students are encouraged to bring in their stereo or sur - Saturday, October 22, 9:30 am – 10:30 am round projects to this non-competitive listening session Room 1E13 for feedback and comments from a panel and audience. Students will be able to sign-up for time slots at the first Moderator: Kirk Imamura SDA meeting on a first come, first served basis. Students who are finalists in the Recording Competition are exclud - ed from participating in this event to allow the many non- Panelists: Stephen Joseph Antonelli , PopMark Media finalists an opportunity for feedback on their hard work. Kevin Hill , PopMark Media Bring your stereo or surround work on CD, DVD, or hard Lisa Horan , PopMark Media disc as clearly-labeled .wav files. The Student Recording Chris Mara , Welcome to 1979 Critiques are generously sponsored by PMC. Dan Workman , SugarHill Studios Hosted by SPARS, examples of recording studios that Saturday, Oct. 22 10:00 am Room 1E03 are e xpanding their business beyond traditional recording Regions and Sections Forum will be presented in a panel discussion format. There will be panelists representing three recording businesses, Saturday, Oct. 22 10:00 am Room 1E05 each with a unique business angle/strategy. The panel Technical Committee Meeting on Electro Magnetic discussion is intended for audio engineers who are cur - Compatibility rently running a recording business looking for ideas to expand their business, people who are considering start - Game Audio Session 8 Saturday, Oct. 22 ing a recording business, or those who are interested in 10:45 am – 11:45 am Room 1E13 what new services recording businesses are offering now. HISTORY OF AUDIO IMPLEMENTATION TOOLSETS Workshop 12 Saturday, Oct. 22 10:00 am – 1:00 pm Presenter: Damian Kastbauer , Bay Area Sound NYU Steinhardt 35 West 4th St., NY Through the use of audio/visual examples and a pictorial James L. Dolan Recording Studio overview this session will chronicle the history of publicly available and proprietary audio middleware toolsets cov - CREATING, ENHANCING, AND REPRODUCING ering: features, functionality, trends, and techniques in SURROUND WITH HEIGHT INFORMATION an attempt to understand the current state of audio implementation tools being used in today’s game devel - Presenters: Tom Ammermann opment environments. An understanding of the funda - Paul Geluso mentals that have developed over the past 15 years of Brett Leonard audio toolset creation will be explored; in addition to the Lasse Nipkow benefits of middleware and the continued need for spe - Wilfried Van Baelen cialized proprietary tools. Gregor Zielinsky Listening demos that support Workshop 2 “Capturing Workshop 13 Saturday, Oct. 22 Height In Surround” will be presented at the NYU Stein - 11:00 am – 1:00 pm Room 1E08 hardt James L. Dolan Recording Studios. Classical, jazz, electronic, and rock recordings that incorporate height AUTHENTICATION OF FORENSIC AUDIO information for a true 3-D listening experience will be —THEN AND NOW presented. New technologies including Auro 3D, Illuson - ic’s 3-D room signal generator, Space Builder, and new Chair: Jeff Smith , National Center for Media height capturing microphone techniques developed at Forensics NYU will be demonstrated. Several recordings originally produced in Auro 3D will Panelists: Eddy B. Brixen , EBB Consult be presented. All microphone set ups will be shown and Jonathan Broyles , Image and Sound discussed including photo and video documentation of Forensics the recording sessions. Spatial impression through Catalin Grigoras , National Center for Media decorrelated room signals and additional room signals Forensics generated by Illusonic’s 3-D room signal generator will be demonstrated as well. The authentication of recorded events is a common Space Builder is the culmination of a research collabo - request of forensic audio examiners during the course of ration between McGill University and NHK Broadcasting formal litigation. With the transition of recorded media for the design and implementation of a flexible, realistic moving away from analog cassette tapes, forensic scien - ambiance designer for the 22.2 audio standard that tists working in this field have had to work creatively to accompanies NKH’s Ultra High Definition 4320p broad - address new challenges. This workshop will not only pre - cast standard. Works mixed by Richard King and George sent a historical overview of forensic tape authentication Massenburg using Space Builder will be presented in as it has been employed since the Watergate scandal, NYU’s multichannel sound research lab. new and emerging techniques and methods will be pre - ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 39 Technical Progra m sented for addressing challenges in the digital domain. Mark Gubser , GSC Attendees of this workshop will expect to learn a general Tim Vear , Shure, Inc. overview of audio authentication, the nowadays chal - Karl Winkler , Lectrosonics lenges facing forensic audio specialists, and the scientific developments in this field. From houses of worship and wedding bands to regional theaters and corporate audio, there are small to medium- Workshop 14 Saturday, Oct. 22 sized wireless microphone systems and IEMs in use by 11:00 am – 1:00 pm Room 1E11 the hundreds of thousands. Unlike the Super Bowl or the Grammys, these smaller systems often do not have dedi - LOUDNESS WARS: THE TIDES HAVE CHANGED cated technicians, sophisticated frequency coordination, or in many cases even the proper basic attention to sys - Chair: Thomas Lund , TC Electronic, Denmark tem setup. This panel will begin with a basic discussion of the elements of properly choosing components, Panelists: John Atkinson , Stereophile Magazine, designing systems, and setting them up in order to mini - New York, NY, USA mize the potential for interference while maximizing per - Bob Katz , Digital Domain, Orlando, FL, USA formance. Topics covered will include antenna selection Bob Ludwig , Gateway Mastering Studios, and placement, coax, spectrum scanning, frequency Portland, ME, USA coordination, gain structure, system monitoring, and sim - Susan Rogers , Berklee College of Music, ple testing/troubleshooting procedures. Boston, MA, USA 2011 will go down in history as the year when ITU-R Product Design Session 7 Saturday, Oct. 21 BS.1770-2 was introduced, and the sample peak mea - 11:00 am – 12:30 pm Room 1E12 surement got retired. The old measurement is responsi - ble for the ruining of 15 years of music heritage at the BUILDING ANALOG IN THE 2010S source, while the new one takes away the loudness advantage squashed productions had over dynamic con - Presenter: Bruce Hofer , Audio Precision, Inc. tent. Picking up where the panel left last year, you can expect an updated tour de force in listening examples, The design of high performance analog circuits does not theory, and discussions. Find out how the changing tide happen by accident. It requires very careful attention to will influence you when heard from a perceptual, a mix - detail, choice of components, topology, and physical lay - ing, a mastering, and a consumer perspective. From out. This session will explore a number of different fac - Bach to Beyoncé, Monty to Matrix, headphone to HD tors that can limit analog performance along with some playback. recommended solutions. Numerous examples will be presented including measurements and test results. Broadcast/Media Streaming Session 10 Saturday, October 22 11:00 am – 12:30 pm Special Event Room 1E10 PLATINUM ENGINEERS Saturday, October 22, 11:00 am – 1:00 pm BACKHAUL IN THE TWENTY-FIRST CENTURY Room 1E15/16

Chair: Frank Bolognino , Modular Monolith Moderators: Janice Brown , SonicScoop Co-founder Systems Justin Colletti , Engineer/Producer/Journalist Panelists: Bruce Berensen , Sirius/XM Kirk Harnack , Telos Alliance Panelists: Dave Fridmann (The Flaming Lips, MGMT, Chris Tobin , Musicam USA Neon Indian) Peter Katis (The National, Jónsi, Interpol) Chris Shaw (Bob Dylan, Public Enemy, Backhaul, or “the Clean Feed,” is transmitting point-to- Weezer) point to an individual television / radio station or broad - Damian Taylor (Bjork, The Prodigy) cast network. In the IP world of the 21st Century, new digital codecs and cellular technology have changed the Creative Engineering—The Studio as an Instrument way broadcasters get their feeds back to Master Control. Some of the items we will discuss include new hard - Engineers of a particularly creative breed, these multi- ware and software technologies; reliability; cost-effective - faceted audio gurus reflect a singular studio fluency that ness; compatibility; and latency, bandwidth, and network has inspired and produced some of today’s most sonical - restriction issues. ly expressive, adventurous, and influential recordings. The panel will also tell of some of their experiences in Typically recording, mixing and co-producing entire planning remotes, interfacing with I.T., and some of the albums, these craftsmen often collaborate with artists live events they have done using these new technologies. whose distinct POVs come across not only in the song - writing and playing, but also in the sound of their records. Though they may program, play and/or produce on their Live Sound Seminar 9 Saturday, Oct. 22 projects, these panelists are engineers first, with the skill 11:00 am – 1:00 pm Room 1E14 set to truly play the studio as an instrument. Participants will discuss the creative recording and mixing techniques PRODUCTION WIRELESS SYSTEMS PRACTICAL they’ve developed, playing samples of their work to illus - APPLICATIONS AND PRACTICES trate some of the most successful collaborations.

Moderator: James Stoffo , Independent Saturday, Oct. 22 11:00 am Room 1E02 Entertainment Production RF Coordinator Standards Committee Meeting on Sigital Audio Panelists: Joe Ciaudelli , Sennheiser USA Measurement Techniques, SC-02-01

40 Audio Engineering Society 131st Convention Program, 2011 Fall Saturday, Oct. 22 11:00 am Room 1E05 12:30 pm Technical Committee Meeting on Acoustics and Sound Reinforcement EB4-3 Playback Disappointment in Linear PCM Recording Systems— John “Beetle” Bailey , The Drive Shed - Recording Studios, Toronto, Exhibitor Seminar Saturday, Oct. 22 Ontario, Canada 11:30 am – 12:30 am Room 1E06 As an “in-the-trenches” music recording engi - PMC: MASTERS OF AUDIO SERIES neer, my workflow has evolved to essentially an all in-the-box approach, with the exception of Mastering Come on Over by Shania Twain, “The some external DSP. After spending many hours World’s Best Selling Country Music Album.” on a mix, I always get a strong feeling that when I finally print my mix to a stereo track in my work - Presenter: Glenn Meadows station, or to a hardware-based digital recorder and play back the resulting 24-Bit-96-kHz WAV Come On Over was the third studio album recorded by file, that it’s just not the same. A sense of disap - Canadian singer Shania Twain, released on November pointment. It seems to lack depth, reverb tails 4, 1997. It became the world’s best-selling country music fall off, the transient response seems dulled, and album and the best-selling studio album ever released by an overall “graininess” to the mix. This paper a female artist in any genre. Glenn Meadows presents and presentation will demonstrate the differ - the story behind this album and the influence mastering ences by way of 5.6-MHz DSD null tests and had during the process. Glenn will also be giving tips on explore the difference between a live digital what makes a good mix for mastering. stream, and the disappointing playback of that digital stream that has been captured by a recorder in WAV file format. Upon demonstrating Session EB4 Saturday, Oct. 22 the problem, I will discuss possible solutions and 12:00 noon – 12:45 pm Room 1E09 workarounds I have used. Engineering Brief 36 SIGNAL PROCESSING

Chair: Robert Maher , Montana State University, Game Audio Session 9 Saturday, Oct. 22 Bozeman, MT, USA 12:00 noon – 1:00 pm Room 1E13 12:00 noon GAME AUDIO PROGRAMMING FOR ANDROID: EB4-1 A New Method for Evaluating Loudspeaker FMOD VS JAVA Efficiency in the Frequency Domain— Joe Jensen , Technical University of Denmark, Presenter: Peter “pdx” Drescher , Twittering Machine Lyngby, Denmark The Constant Input Power (CIP) frequency Using FMOD audio middleware to produce soundtracks response is proposed as a new method to evalu - for Android games has certain advantages over using ate loudspeaker efficiency in the frequency Java methods built into the operating system . . . and domain. Through a simulation study it is demon - vice versa. The author implemented the sound for a pin - strated how the CIP response can be a valuable ball app both ways and compares the techniques. tool when designing loudspeakers for which high efficiency is a priority. Saturday, Oct. 22 12:00 noon Room 1E05 Engineering Brief 34 Technical Committee Meeting on Loudspeakers and Headphones 12:15 pm Workshop 15 Saturday, Oct. 22 EB4-2 Wave Field Synthesis by Multiple Line Arrays 2:00 pm – 4:00 pm Room 1E08 —Matthew Montag, Colby Leider , University of Miami, Coral Gables, FL, USA MASTERING IN AN EVER EXPANDING Wave field synthesis (WFS) is a spatial audio UNIVERSE 2011 rendering technique that produces a physical approximation of wavefronts for virtual sources. Chair: Joe Palmaccio , The Place . . . for Mastering, Large loudspeaker arrays can simulate a virtual Nashville, TN, USA source that exists outside of the listening room. The technique is traditionally limited to the hori - Panelists: Vic Anesini , Battery Studios, New York, NY, zontal plane due to the prohibitive cost of planar USA loudspeaker arrays. Multiple-line-array wave Adam Ayan , Gateway Mastering, Portland, field synthesis is proposed as an extension to ME, USA linear WFS. This method extends the virtual Dave Kutch , The Mastering Palace, New source space in the vertical direction using a York, NY, USA fraction of the number of loudspeakers required Gavin Lurssen , Lurssen Mastering, Los for plane arrays. This paper describes a listening Angeles, CA, USA test and software environment capable of driving Andrew Mendelson , Georgetown Masters, a loudspeaker array according to the proposed Nashville, TN, USA extension, as well as the construction of a modu - Michael Romanowski , Romanowski lar loudspeaker array that can be adapted to Mastering, San Francisco, CA, USA multiple-line configurations. Mark Wilder , Battery Studios, New York, Engineering Brief 35 NY, USA ¯ Audio Engineering Society 131st Convention Program, 2011 Fall 41 Technical Progra m Mastering continues to evolve in both form and function. Presenter: Dave Schiffman The panel, made up of today's top-tier mastering engi - neers will discuss this evolution. Technique, technology, The Red Hot Chili Peppers, LimpBizkit, Nine Inch Nails, best business practices, and aesthetics will be dis - Alanis Morrisette, System of a Down, Rage against the cussed. Panelists will present their own point of view on Machine, Audioslave, Weezer, and Johnny Cash have all specific topics. Audio samples and visual aids will be benefited from the production and engineering skills of used to demonstrate the thoughts and techniques of the Dave Schiffman. Dave will share some secrets of mixing various panelists. At the conclusion of the panel presen - rock and alternative music and he will play examples tations, attendees will be invited to join the discussion from some of the varied projects he has worked on and interact with the panelists. including LimpBizkit ( Golden Cobra ), Active Child ( You Topics to be discussed include: Preparing a Mix—Best Are All I See ), Cass McCombs ( Wit’s End ), and Thrice practices for how to deliver mixes to mastering. The (Major/Minor ). DAW—Far beyond a digital editor, computers, storage, and cloud-based tools have radically changed the tool- Saturday, Oct. 22 1:00 pm Room 1E02 set of ME’s and mix engineers. An examination of how to Standards Committee Meeting on Loudspeaker optimize the workstation to achieve the best sonics will Modeling and Measurement, SC-04-03 be presented. Loudness—A demonstration of why loud mixes are not the same as high quality mastering. The Saturday, Oct. 22 1:00 pm Room 1E05 Client—With continued decentralization of the music Technical Committee Meeting on Audio business, “the client” is no longer represented by a small for Telecommunications list of major record label roles. As “who is the client?” expands, education becomes a critical component of running a successful business. A discussion of servicing Lunchtime Keynote and maintaining the client will be presented. The Art - JANE IRA BLOOM form—Beyond the technical creation of production mas - Saturday, October 22, 1:15 pm – 2:15 pm ters, aesthetics play a lead role as ME’s consider their in - Room 1E11 dividual approach to mastering. Get inside the head of a Wingwalker : Jane Ira Bloom in Conversation mastering engineer to learn what drives his creative deci - with Ashley Kahn sion making process. The State of Processing Audio— Have computer software and processing finally given the Jane Ira Bloom is a soprano saxophonist, a composer, mastering engineer a technical, subjective, and creative and a pioneer in the use of live electronics and movement equivalent to purpose built analog tools. Formats—CD, in jazz. She is the winner of the 2007 Guggenheim Fel - DVD, Downloads, and Vinyl are only the beginning of for - lowship in music composition, the 2007 Mary Lou mat options today. As the number of deliverable formats Williams Women in Jazz Award for lifetime service to expands, so does mastering studio workflow. What rep - jazz, the Jazz Journalists Association Award, the Down - resents a master and how is it best delivered. beat International Critics Poll for soprano saxophone, and the Charlie Parker Fellowship for jazz innovation. Bloom Hot Lunch was the first musician commissioned by the NASA Art DEMYSTIFYING FIBER OPTICS FOR AUDIO Program and has an asteroid named in her honor by the Saturday, October 22, 1:00 pm – 1:45 pm International Astronomical Union. She has recorded and Room 1E07 produced 14 albums of her music and has composed for the American Composers Orchestra, the St. Luke's Presenter: Ronald Ajemian Chamber Ensemble, and the Pilobolus Dance Theater, integrating jazz performers in new settings. Bloom is on This presentation will cover fiber optic fundamentals for the faculty of the New School for Jazz & Contemporary pro-audio and explain the principles behind fiber optic Music in NYC. She will be in conversation with journalist technology so that an audience with no prior knowledge and author, Ashley Kahn, and will discuss her latest will benefit. Mathematics will also be kept to a minimum. release, the critically acclaimed CD, Wingwalker . You will come away knowing fiber optic jargon and will also be able to answer these (5) main questions: Exhibitor Seminar Saturday, Oct. 22 What is fiber optics? 1:30 pm – 2:30 pm Room 1A01 What are the advantages of fiber optics? Where is fiber optics being used in audio/video? How can you apply fiber optics to audio/video? TC ELECTRONIC What types of cables and connectors can be used for TC Electronic Presents: When Is it Too Loud? audio/video? The presentation will wrap up with two short video clips. The first clip is on a new fiber optic cable break - Presenters: Thomas Lund and Steve Strassberg through called the ClearCurve courtesy of Corning. The TC Electronic’s Thomas Lund and Steve Strassberg will second clip will show how easy it is to put a fiber optic present a focused a seminar covering the new loudness connector together using new state of the art tools. standards and real time solutions for broadcast, pod - Q & A to follow after tutorial. Bring your notebooks, casts, music creation, mobile audio, and beyond. pens, and pencils. A hard copy of a glossary of terms will be given out. Broadcast/Media Streaming Session 11 Saturday, October 22 2:00 pm – 3:30 pm Exhibitor Seminar Saturday, Oct. 22 Room 1E10 1:00 pm – 2:00 pm Room 1E06 LIP SYNC ISSUE PMC: MASTERS OF AUDIO SERIES

The “Red Hot” Engineer/Producer Chair: Jonathan S. Abrams , Nutmeg Post

42 Audio Engineering Society 122nd Convention Program, 2007 Spring Panelists: Aldo Cugnini wisdom there; we wrestle with challenges and unknowns Adam Goldberg , AGP, LLC elsewhere. Join this discussion as we seek to define and Steve Lyman , Dolby Laboratories prioritize the key issues facing educators and create a Jackson Wiegman , Evertz vision for the most effective way to address them in fu - ture AES activities—through conventions, conferences, Lip sync remains a complex problem, with several caus - online interactions, and more. Share your ideas for the es and few solutions. From production through transmis - most essential forms of research and the best ways to sion and reception, there are many points where lip sync present the results: publications, tutorials, workshops, can either be properly corrected or made even worse. and other collaborations. What are the topics educators This session’s panel will discuss several key issues. need to discuss, and what is the best format for sharing Where do the latency issues exist? How can the latency our advancements? AES provides the essential commu - be measured? What correction techniques exist for con - nity for sharing and learning among audio educators. trolled environments? How does video display design Help us design the next steps for increasing our produc - affect lip sync? Who is responsible for implementing the tivity, accelerating our innovation, enriching our cama - mechanisms that ensure lip sync is maintained when the raderie, and enhancing our quality as educators. signal reaches your television? Join us as our panel addresses these questions and Exhibitor Seminar Saturday, Oct. 22 possible solutions. 2:00 pm – 3:00 pm Room 1E06

Product Design Session 8 Saturday, Oct. 22 PMC: MASTERS OF AUDIO SERIES 2:00 pm – 4:30 pm Room 1E12 Patricia Barber’s Café Blue Remixed - 2011 HOT AND NONLINEAR—LOUDSPEAKERS AT HIGH AMPLITUDES Presenters: Jim Anderson and Bob Ludwig

Presenter: Wolfgang Klippel , Klippel GmbH, Patricia Barber’s classic audiophile album was released Dresden Germany in 1994 to great acclaim and has been re-released in many different formats over the years. In 2011, producer Michael Friedman and original engineer Jim Anderson Nonlinearities inherent in electro-dynamical transducer went to Capitol Studios and reworked the project for a and the heating of the voice coil and magnetic system new vinyl release. Jim Anderson and Mastering Engineer limit the acoustical output, generate distortion and other Bob Ludwig will play tracks from the new version and symptoms at high amplitudes. The large signal perfor - discuss the process of renewing a classic. mance is the result of a deterministic process and predictable by lumped parameter models comprising nonlinear and thermal elements. The tutorial gives an Saturday, Oct. 22 2:00 pm Room 1E05 introduction into the fundamentals, shows alternative Technical Committee Meeting on Audio Forensics measurement techniques and discusses the relationship between the physical causes and symptoms depending Session P20 Saturday, Oct. 22 on the properties of the particular stimulus (test signal, 2:30 pm – 4:30 pm Room 1E09 music). Selection of meaningful measurements, the interpretation of the results and practical loudspeaker AUDIO PROCESSING—PART 2 diagnostic is the main objective of the tutorial which is important for designing small and light transducers Chair: James (JJ) Johnston , Consultant producing the desired output at high efficiency and reasonable cost. 2:30 pm Student/Career Development Event P20-1 Digital Low-Pass Filter Design with Analog- EDUCATION FORUM PANEL Matched Magnitude Response— Michael Saturday, October 22, 2:00 pm – 3:30 pm Massberg , Brainworx Music & Media GmbH, Room 1E13 Leichlingen, Germany Moderator: Alex U. Case , University of Massachusetts Using the bilinear transform to derive digital low- Lowell, Lowell, MA, USA pass filters from their analog prototypes intro - Presenters: Bill Crabtree duces severe warping of the response once the Michael Fleming cutoff frequency approaches the Nyquist limit. We show how to design pre-warped first and Teaching the Teachers—A Round Table Discussion second order low-pass prototypes that, after Among Audio Educators application of the bilinear transform, provide a better match with the magnitude response of the While audio itself—in all her disciplines—advances at analog original than applying the bilinear transform breakneck speed, the educators supporting it must make directly. Result plots are given and compared for equivalent progress. AES conventions are reliable cata - different cutoff frequencies and Q factors. lysts for earnest discussions among audio educators. Convention Paper 8551 However the convention, rich with so many activities, always seems to end too soon. Curriculum, personnel, and facilities must offer both time-proven fundamentals 3:00 pm and cutting edge innovations. It happens in multiple P20-2 Performance Evaluation of Algorithms modes: the classroom, the studio, the lab, online, cam - for Arbitrary Sample Rate Conversion— pus committee meetings, and through industry relation - Andreas Franck , Fraunhofer Institute for Digital ships. We've all found solutions here, and nuggets of Media Technology IDMT, Ilmenau, Germany ¯

Audio Engineering Society 122nd Convention Program, 2007 Spring 43 Technical Progra m Arbitrary sample rate conversion (ASRC) stereophonic spatial feeling. Up to the author’s enables changes of the sampling frequency by knowledge this is new to the literature, and the flexible, time-varying ratios. It can be utilized achieved experimental results seem to confirm advantageously in many applications of audio the effectiveness of the approach. It must be signal processing. Consequently, numerous underlined, on purpose, that preliminary subjec - algorithms for ASRC have been proposed. How - tive listening tests have been carried out to eval - ever, it is often difficult to choose a minimal-cost uate the attainable audio stereo-recording quali - algorithm that meets the requirements of a spe - ty. Moreover, the proposed solution allows to cific application. In this paper several approach - significantly reduce the overall computational es to ASRC are reviewed. Special emphasis is cost required by the SAEC framework: indeed, placed on algorithms that enable optimal de - BF implementation asks for few extra filtering signs, which minimize the resampling error with operations with respect to the baseline approach respect to a selectable norm. Evaluations are from one hand but make the usage of the decor - performed to assess the computational efficien - relation module unessential. cy of different algorithms as a function of the Convention Paper 8554 achievable quality. These analyses demonstrate that structures based on oversampling and resampling filters specifically adapted to this Session P21 Saturday, Oct. 22 structure yield significant performance improve - 2:30 pm – 4:00 pm 1E Foyer ments over established algorithms. Convention Paper 8552 POSTERS: PERCEPTION 3:30 pm 2:30 pm P20-3 Acoustic Echo Cancellation for Surround Sound Using Spatial Decorrelation— P21-1 Influence of Different Test Room Namgook Cho, Jaeyoun Cho, Jaewon Lee, Environments on IACC as an Objective Yongje Kim , Samsung Electronics Co., Ltd., Measure of Spatial Impression or Korea Spaciousness— Marco Conceição ,1,2 Dermot Furlong 1 One of the main challenges for a stereophonic 1Trinity College Dublin, Dublin, Ireland acoustic echo canceller is that it suffers from 2Escola Superior de Musica, Artes e poor convergence, which is caused by strong Espectáculo–IPP, Porto, Portugal correlation between input signals. We have pro - posed a new decorrelation technique that adopts To investigate the perceptual impression of spa - spatial decorrelation to address the problem ciousness, a physical measure, which relates to without altering the input signals. Here, we listener spaciousness experience, was used. A extend the results to a more generic setting, i.e., variable setup was introduced that made possible a 5.1-channel surround system. In the scheme, the control of spaciousness in different rooms. the input signals are decomposed and projected IACC measurements were made using a frontal into the signal subspace and the noise sub - loudspeaker for the direct sound, with a second space. When the decorrelated signals are fed to loudspeaker for an angled single early reflection the adaptive filters, the interchannel coherence positioned in the horizontal plane. Measurements between the input signals decreases significant - were performed under controlled conditions in ly, which provides performance improvement in which a dummy-head measured Inter Aural Cross echo reduction. Experiments in a real-world Correlation was captured for variable sound environment and performance comparison with fields. It was possible to conclude that there is a state-of-the-art techniques are conducted to similar trend in IACC results from the repetition of demonstrate the effectiveness of the proposed the experiments in different rooms. That is, mea - technique. surement room acoustic details are not crucial to Convention Paper 8553 observed trends in IACC variation. Convention Paper 8555 4:00 pm 2:30 pm P20-4 A Fixed Beamforming Based Approach for Stereophonic Audio-Conference Systems— P21-2 The Relationship between Interchannel Time Matteo Pirro, Stefano Squartini, Francesco and Level Differences in Vertical Sound Piazza , Università Politecnia delle Marche, Localization and Masking— Hyunkook Lee , Ancona, Italy University of Huddersfield, Huddersfield, UK Hands-free communications systems require to Listening experiments were conducted with a primarily reduce the impact of the inevitably pair of vertically arranged loudspeakers. A group occurring acoustic echo. Moreover, in the recent of subjects measured the level of delayed height past, a certain attention has been devoted to channel signal at which any subjective effects of algorithmic frameworks able to provide stereo - the signal became completely inaudible (masked phonic acoustic rendering and so augmenting threshold) as well as that at which the perceived the pleasantness of the audio-conference expe - sound image was localized fully at the lower rience. In this paper the authors propose an opti - loudspeaker (localized threshold), at nine differ - mally designed fixed Beamformer (BF) based ent delay times ranging from 0 to 50 ms. The solution for Stereophonic Acoustic Echo Cancel - sound sources were anechoic recordings of bon - lation (SAEC), with a twofold objective in mind: go and cello performance excerpts. At the delay reducing the echo power and maximizing the times up to 5 ms, source type did not have a sig -

44 Audio Engineering Society 131st Convention Program, 2011 Fall nificant effect for both threshold results and nei - effect, based on the synthesis of two virtual ther threshold varied significantly as the delay sources moving together, has been proposed in time increased. In this time range the average a previous work by the same authors. In this pa - level reduction required for a full image shift was per a practical implementation of the algorithm is 6~7 dB while that for masking was 9~10dB. At presented and evaluated in terms of workload the higher delay times, on the other hand, both and subjective sound source localization. The thresholds decreased as the delay time in - influence of some processing parameters on the creased and the difference between the two computational cost has been studied. The sound sources in both threshold results was significant. quality concerning true spatial reproduction is as - Furthermore, the relationship between the two sessed through listening tests and a comparison thresholds varied depending on the source type. with previous approaches is reported. Convention Paper 8556 Convention Paper 8559

2:30 pm P21-3 Observations on Human Sound Source Tutorial 12 Saturday, Oct. 22 Localization in the Mid-Sagittal Plane and in 2:30 pm – 4:00 pm Room 1E07 Anechoic Space— Daniela Toledo , COWI AS, Oslo, Norway THE BASICS OF ARCHIVAL PRESERVATION

A group of 5 subjects who showed consistently Presenter: James Sam , Hoover Institution, Stanford, biased sound source localization in the mid-sagit - University, Stanford, CA, USA tal plane with real sound sources and under ane - choic conditions is presented. Three of these The audio preservation program at the Hoover Institution subjects were also tested with virtual sound Archives of Stanford University is a real-world implemen - sources synthesized with their own individual tation of archival best practices. Two large collections of head-related transfer functions. Localization the Archives are the Radio Free Europe / Radio Liberty under both conditions showed similar trends, and Commonwealth Club of California collections. They even though they could not be considered as are eerily similar in their recording formats and time equivalent. This suggests that binaural technology spans despite being generated on two different conti - was close to emulating the aural experience that nents, yet the archival approach remains the same. Mr. the subjects had with real sound sources. These Sam will discuss this approach using these examples cases are presented to discuss different issues in - and its implications for both legacy and new recordings. herent to binaural synthesis, like the way in which He will describe preservation methods used, employing the technology is validated and the assumptions fascinating examples from the collections. that serve as a basis for the technology. Convention Paper 8557 Live Sound Seminar 10 Saturday, Oct. 22 2:30 pm – 4:30 pm Room 1E14 2:30 pm P21-4 Reducing the Cost of Audiovisual Content AN INTERVIEW WITH ROBERT SCOVIL Classification by Experiment— Ulrich Reiter , AND DAVE NATALE Norwegian University of Science and Technolo - gy – NTNU, Trondheim, Norway Moderator: Keith Clark Panelists: Robert Scovil A set of subjective attributes of audiovisual Dave Natale media content, originally suggested by Woszczyk et al. in a 1995 AES Convention Two FOH giants discuss technique, philosophy, and over paper was examined for suitability for AV con - sixty years combined experience mixing premier musical tent classification tasks. Subjective experiments acts on a wide range of sound systems. With Keith Clark indicate that the 4x4 matrix of dimensions and of Pro Sound Web. attributes as suggested in the original paper can be reduced to a more compact 3x2 design for classification purposes without loss of informa - Special Event tion about the perceptual properties of the con - GRAMMY SOUNDTABLE tent. This can significantly reduce the cost of Saturday, October 22, 2:30 pm – 4:00 pm content classification by experiment. Room 1E15/16 Convention Paper 8558 Moderator: Chris Lord-Alge 2:30 pm P21-5 Quality and Performance Assessment of Panelists: Ken “Duro” Ifill Wave Field Synthesis Reproducing Moving Steve Lillywhite Sound Sources— Michele Gasparini, Paolo Ann Mincieli Peretti, Laura Romoli, Stefania Cecchi, Phil Ramone Francesco Piazza , Universita Politecnica delle Al Schmitt Marche, Ancona, Italy Some songs are hits, some we just love, and some have Reproduction of moving sound sources by Wave changed our lives. Our panelists break down the DNA of Field Synthesis (WFS) arises some specific their favorite tracks and explain what moved them, what problems that make static source approach inef - grabbed them, and why these songs left a life-long fective. An algorithm for the reduction of artifacts impression. Back by popular demand, this reprise is a and natural representation of the movement New York-centric version of the GRAMMY SoundTable ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 45 Technical Progra m presented in San Francisco during the 129th Convention, shop presents latest research results on the require - and is guaranteed to make you feel good about being in ments for these applications from the European research the recording business. project TA2. The underlying key technology is discussed, i.e., new low delay codecs—standardized by MPEG and Workshop 16 Saturday, Oct. 22 ITU-T—providing high quality with full audio bandwidth 2:45 pm – 4:45 pm Room 1E11 and stereo transmission even at low data rates. Finally, one of the most promising ongoing standardization activi - RECORDING SURROUND SOUND MUSIC ties, the 3GPP Enhanced Voice Service (EVS) is presented as an outlook from a technology and service perspective. Presenter: Morten Lindberg , Lindberg Ltd., Oslo, Norway Games Audio Session 10 Saturday, Oct. 22 Balance Engineer and Recording producer Morten Lind - 4:00 pm – 5:30 pm Room 1E13 berg presents 2L’s approach to music in extreme sur - round sound. Playing original 5.1 masters in 352.8 MAKING MUSIC FOR GAMES: kHz/24 bit, showing photos and stage layout from record - THE STATE OF THE ART ing sessions and discussing the resources behind “the Nordic Sound.” Morten Lindberg has produced nine Presenters: Simon Ashby , VP Product Strategy, GRAMMY-nominations since 2006. Six of these in cate - Co-founder at Audiokinetic gories “Best Engineered Album” and “Best Surround Jason Graves , Composer, Jason Graves Sound Album.” Music Tom Salta , Composer, Persist Music Saturday, Oct. 22 3:00 pm Room 1E02 Standards Committee Meeting on Acoustics This renowned panel of experts pulls the curtain back on and Sound Source Modeling, SC-04-01 the process of making music for blockbuster games. Get the inside perspective on the latest trends in the compo - Saturday, Oct. 22 3:00 pm Room 1E05 sition, production, and integration of music for interactive Technical Committee Meeting on Fiber Optics entertainment. for Audio Saturday, Oct. 22 4:00 pm Room 1E05 Broadcast/Media Streaming Session 12 Technical Committee Meeting on Perception Saturday, October 22 3:30 pm – 5:00 pm and Subjective Evaluation of Audio Room 1E10 Saturday, Oct. 22 4:15 pm Room 1E03 CANCELLED Historical Committee Meeting

Exhibitor Seminar Saturday, Oct. 22 Tutorial 13 Saturday, Oct. 22 3:30 pm – 4:30 pm Room 1E06 4:30 pm – 6:30 pm Room 1E09

PMC: MASTERS OF AUDIO SERIES TELEPHONOMETRY: THE PRACTICAL ACOUSTICS OF HANDSETS, HEADSETS, AND MOBILE DEVICES From Bedroom to Dubbing Stage Presenter: Christopher J. Struck , CJS Labs, San Presenter: Daniel Porter Francisco, CA, USA Daniel Porter from Auralex Acoustics will demonstrate This tutorial introduces the basic concepts of Tele - the importance of the right acoustics in any space where phonometry with respect to electroacoustic measure - critical decisions are made during the creation of music. ments on analog and digital telephones. Both subjective and objective methods are discussed and the historical Workshop 17 Saturday, Oct. 22 concept of loudness rating and standardized methods for 4:00 pm – 6:30 pm Room 1E08 its calculation are reviewed. Standard objective mea - surements of send, receive, sidetone, and echo response are explained. The selection and use of appro - LOW-DELAY AUDIO CODING FOR HIGH-QUALITY priate instrumentation, including ear and mouth simula - COMMUNICATION tors, is also described. Techniques for the evaluation of handsets, headsets, speakerphones, and other hands- Chair: Manfred Lutzky , Fraunhofer Institute free devices are presented. Applications of these mea - for Integrated Circuits IIS surements to analog, digital, cellular, and VOIP devices Panelists: Bernhard Grill , Fraunhofer IIS are shown. Various methods specified in the ITU-T, Milan Jelinek , VoiceAge Corporation IEEE, TIA, ETSI, and 3GPP standards are explained. Sascha Spors , Deutsche Telekom Laboratories Master Class 3 Saturday, Oct. 22 4:30 pm – 6:30 pm Room 1E07 After many years of narrow-band (300 Hz–3.4 kHz) voice communication history, a strong trend toward higher THE HYBRID EDIT/MIX APPROACH TO FEATURE speech and audio quality for communication has FILM SOUND emerged. Driven by the industry, enhanced services and products become available, such as wide band audio for Presenter: Skip Lievsay mobile phones, room telepresence systems, and Apple's iPhone/FaceTime mobile videoconferencing. This work - Skip Lievsay has worked on the sound-design and mix -

46 Audio Engineering Society 131st Convention Program, 2011 Fall ing of such blockbuster films as True Grit, No Country choices. They have no patience for glitchy players or For Old Men, I Am Legend, It Might Get Loud, and Men phasey sounding tin horn unprocessed audio that is In Black. Skip will illustrate his “Hybrid Edit/Mix” overly dynamic for the medium. Marshall McLuhan said approach to post-production sound that erases the tradi - this best when he said, “The medium is the message.” tional lines between sound design, editing, ADR, and Our audiences are now experiencing high quality audio the final mix, as all these actions are performed concur - on seamless players and if your stream is not one of rently with the picture edit. The process provides the these better quality streams, those fickle users will be director with a thorough appreciation of the sound during lost forever with one bad experience. the crucial early stages of post-production. Most of the mixing happens during this period rather than at the final Live Sound Seminar 11 Saturday, Oct. 22 dubbing stage. Live demonstrations will be given using a 5:00 pm – 7:30 pm Room 1E14 ProTools workstation. TVBDS AND THE GEO-LOCATION DATABASE: Special Event HOW THEY WORK AND THE NEW PROTOCOLS LEGENDS OF NASHVILLE SOUND FOR OPERATING WIRELESS MICROPHONES Saturday, October 22, 4:30 pm – 6:30 pm Room 1E15/16 Chair: Henry Cohen , Production Radio Panelists: Jesse Caulfield , Key Bridge Global Moderator: Cosette Collier Joe Ciaudelli , Sennheiser Ira Keltz , Federal Communications Panelists: Wes Bulla , Belmont University Commission Jim Kaiser Michael Marcus , Marcus Spectrum Solutions Mike Poston , Audio Services Group Steve Mendelsohn , ABC, NY Jets Bil VornDik , Producer/Engineer David Pawlik , Skadden Arps The Nashville section of AES present a continuation of Edgar Reihl , Shure, Inc. their previous presentation, “Legends of Nashville James Stoffo , independent entertainment Sound/History of Nashville’s Recording Studios.” This production RF coordinator latest installment features the engineers, producers, and studio musicians responsible for the “Nashville Sound.” Television band devices (TVBD) are a reality and the first The Nashville studio eras that will be featured are “The of the geo-location databases directing TVBD operations RCA Years” (beginning early 50s), “The Monument Stu - are in the testing phase. Operating wireless micro - dio Years” (beginning early 60s), “The Woodland Years” phones, IEMs, intercoms, and cueing in this new envi - (beginning mid to late 60s), and “The Jack ‘Cowboy’ ronment requires understanding how the databases work Clement Years” (beginning early 70s). and the rules governing both licensed and unlicensed wireless production equipment. This panel brings togeth - er a diverse group of individuals intimately involved from Exhibitor Seminar Saturday, Oct. 22 the beginning with TVBDs, databases, and the new FCC 4:30 pm – 5:30 pm Room 1A01 rules as well as seasoned veterans of medium to large scale wireless microphone deployments to discuss how PELONIS SOUND AND ACOUSTICS, INC. the databases operate, how to use the database for reg - istering TV channel usage, and best procedures and Don’t Believe Everything You Hear practices to insure minimal problems.

Presenter: Chris Pelonis Product Design Session 9 Saturday, Oct. 22 5:00 pm – 6:30 pm Room 1E12 An in-depth look at what can go wrong if you are not hearing the truth in studio monitoring systems. SPECIFYING CLASS D SOLUTIONS Saturday, Oct. 22 4:30 pm Room 1E02 Presenter: Brian Oppegaard , SpeakerPower Standards Committee Meeting on Microphone Measurement and Characterization, SC-04-04 Class D offers high-efficiency and light weight. Turnkey solutions and reference designs abound but how does one Broadcast/Media Streaming Session 13 choose the most appropriate one? There is a lot more to it Saturday, October 22 5:00 pm – 6:30 pm than price, power, size and weight. This panel of experts Room 1E10 will discuss the considerations one needs to make. IMPROVING THE STREAMING AUDIENCE Student/Career Development Event EXPERIENCE RECORDING COMPETITION—2 Saturday, October 22, 5:00 pm – 7:00 pm Room 1E11 Chair: Bill Sacks , Orban The Student Recording Competition is a highlight at each Panelists: Carl Edwards , Pandora convention. A distinguished panel of judges participates Steven Harris , BridgeCo in critiquing finalists of each category in an interactive Rusty Hodge , SomaFM presentation and discussion. This event presents stereo Greg Ogonowski , Orban and surround recordings in these categories: Skip Pizzi , NAB • Traditional Multitrack Studio Recording 4:30 pm to 5:30 pm In today’s highly competitive digital media environment Judges: Jim Anderson, Brandie Lane, Mark Rubel ¯ the listener/viewer is being presented with millions of

Audio Engineering Society 131st Convention Program, 2011 Fall 47 Technical Progra m • Modern Multitrack Studio Recording 5:30 pm to 6:30 St. Hyacinthe, Canada and completed in 2002, the Gabe pm M. Wiener Memorial Organ consists of two distinct, inter - Judges: John Merchant, Ronald Prent, Darcy Proper connected instruments: a Bimah Organ (Casavant Opus 3812) located on both sides of the bimah and used primari - The top three finalists in each category, as identified ly during services to accompany the cantor, choir, and con - by our judges, present a short summary of their produc - gregation; and a larger Gallery Organ (Casavant Opus tion intentions and the key recording and mix techniques 3813) located in the elevated rear gallery and used both for used to realize their goals. They then play their projects services and concerts. It contains two consoles and 4,345 for all who attend. Meritorious awards are determined pipes, 55 stops, and 74 ranks, located in the front and back here and will be presented at the closing Student Dele - of the sanctuary. The Bimah Organ, with Choeur, Echo, gate Assembly Meeting (SDA-2) on Sunday afternoon. and Pédale divisions (groups of pipes) was installed and The competition is a great chance to hear the work of voiced in July 2001, in time for the rededication of the sanc - your fellow students at other educational institutions. tuary on September 9, 2001. The Gallery Organ, with Everyone learns from the judges’ comments even if your Grand Orgue, Récit, Positif, Solo, and Pédale divisions, project isn’t one of the finalists, and it's a great chance to was installed and voiced in March 2002. Both coordinate in meet other students and faculty. style and materials with the design of the restored sanctu - ary. The entire instrument was dedicated at a concert on Saturday, Oct. 22 5:00 pm Room 1E05 April 10, 2002, by concert organist David Higgs and the Technical Committee Meeting on Hearing Orpheus Chamber Orchestra. Both organs can be played and Hearing Loss Prevention from separate movable consoles: the Bimah console, which has three keyboards, and a Gallery console that has Games Audio Session 11 Saturday, Oct. 22 four. Either can control the entire organ. The Bimah con - 5:30 pm – 6:30 pm Room 1E13 sole is equipped with 40 pistons, 31 couplers, and 30 toe studs. The Gallery console is equipped with 80 pistons, 24 USING SPEECH RECOGNITION FOR GAMES couplers, and 34 toe studs. Both consoles have solid-state combination systems with 128 levels of memory, MIDI con - Presenter: Scott Selfon , Microsoft nections, transposers, and many other amenities. The organ contains two very special stops created specifically for Central Synagogue: a Trompette Shofar, that replicates Voice offers a powerful natural user input mechanism, the sound of the traditional shofar, used for services on with the possibility of completely intuitive and seemingly Rosh Hashanah and Yom Kippur; and a Klezmer Clar - omnipotent control for the player. How should speech be inette, that reproduces the sound of a klezmer clarinet with designed to best take advantage of this capability, to set great brilliance and clarity, believed to be the first such up the player for maximum success, and to create magi - organ stop in the world. Both are used to enrich the accom - cal experiences even when the player’s spoken word paniment of contemporary anthems and liturgical music. isn’t always perfectly understood? This lecture will focus The instrument also contains a rich array of other reed reg - on best practices for designing, testing, and tuning gram - isters, including a Trompette-de-Fête that can sound out mars and overall player engagement for intuitive and over the entire organ, and a 32-foot Contre-Bombarde in successful speech recognition experiences. the pedal division that provides floor-shaking bass to the full ensemble. The organ was designed by Pierre Dionne, Student/Career Development Event President of Casavant Frères, and Jacquelin Rochette, STUDENT PARTY Associate Tonal Director, in conjunction with George B. Saturday, October 22, 7:30 pm – 10:00 pm Stauffer and Shelly Palmer, who served as organ consul - NYU’s James L. Dolan Music Recording Studio tants for Central Synagogue. It is the product of three years 35 West 4th St., 6th Floor of planning and a cumulative total of 21,000 work-hours by Audio Students! Join us for a fun and exciting evening at Casavant's artisans and musicians. the AES Student Party to be held at NYU’s James L. was born in 1948, began playing the Dolan Music Recording Studio, a 7,500 square foot mul - piano aged 4 and received his early musical training as a tifunctional teaching, recording, and research space. Junior Exhibitioner at Trinity College of Music in London, This is one of the most technologically advanced audio England. Subsequently, at Bristol University, he took up teaching facilities in the United States and a great place conducting, performing Bach’s St. Matthew Passion for pizza and music. The studio is located on the sixth before he was 21. He holds diplomas in Organ Perfor - floor of 35 West 4th Street but tickets must be purchased mance from the Royal College of Organists, The Royal in advance, either at the first meeting of the Student Del - College of Music and Trinity College of Music. In the late egate Assembly or at the AES Student Chapters Booth 1980s he renewed his studies with Sulemita Aronowsky outside of the Exhibit Hall. for piano and Robert Munns for organ. He gives numer - ous concerts each year, principally as organist and pianist, but also as a conductor and harpsichord player. Special Event He made his international debut with an organ recital at ORGAN CONCERT St. Thomas Church, New York in 1993 and since then Saturday, October 22, 8:00 pm – 9:30 pm has played in San Francisco (Grace Cathedral), Los Central Synagogue Angeles (Cathedral of Our Lady of Los Angeles), Ams - 652 Lexington Avenue at 55th Street, New York terdam, Copenhagen, Munich (Liebfrauen Dom), Paris Organist Graham Blyth’s concerts are a highlight of every (Madeleine and St. Etienne du Mont) and Berlin. He has AES convention at which he performs. This year’s recital lived in Wantage, Oxfordshire, since 1984 where he is will be held at Central Synagogue. He will play Fantasia & currently Artistic Director of Wantage Chamber Concerts Fugue in G minor by J.S. Bach; “Come, Sweet Death” by J. and Director of the Wantage Festival of Arts. S. Bach arr. Virgil Fox; Tuba Tune by Norman Cocker; Pre - He divides his time between being a designer of pro - lude, Fugue & Variation by Cesar Franck; and Sonata No. fessional audio equipment (he is a co-founder and Tech - 1 in D minor by Alexandre Guilmant. nical Director of ) and organ related activities. Constructed by the renowned firm of Casavant Frères of In 2006 he was elected a Fellow of the Royal Society of

48 Audio Engineering Society 131st Convention Program, 2011 Fall Arts in recognition of his work in product design relating World Signals from Custom Listening Tests to the performing arts. —Max Neuendorf ,1 Frederik Nagel ,1,2 1Fraunhofer Institute for Integrated Circuits IIS, Session P22 Sunday, Oct. 23 Erlangen, Germany 9:00 am – 12:30 pm Room 1E09 2International Audio Laboratories, Erlangen, Germany LISTENING TESTS Many recent publications related to audio coding use the recommendation “MUltiple Stimuli with Chair: Duncan Williams , University of Oxford, UK Hidden Reference and Anchor” (MUSHRA; ITU- R BS.1534-1) for the evaluation of subjective audio quality. Judging the quality of multiple con - 9:00 am ditions can be inconclusive if the employed test P22-1 Comparison of Subjective Assessments excerpts exhibit more than one prevalent artifact. Obtained from Listening Tests through Two papers investigate the impact of time vary - Headphones and Loudspeaker Setups— ing artifacts in both, synthetic and real world sig - Vincent Koehl ,1 Mathieu Paquier ,1 Simeon nals and claim "perceptual stationarity" as a Delikaris-Manias 2 requirement for test sequences used in 1University of Brest (UEB), Plouzané, France MUSHRA tests. This first part deals with com - 2National Engineering School of Brest (UEB), monly used test signals. These often have a Plouzané, France length of 10 to 20 seconds and frequently con - tain time varying perceptual artifacts. Ratings of Sound reproduction over headphones is, those items are compared to ratings of cutouts because of its convenience, indifferently used to that are predominantly perceptually stationary reproduce and assess a large variety of audio over time. contents. Nevertheless, it is not yet proven that Convention Paper 8562 differences between sound sequences are equally perceived when played back through 10:30 am headphones as using dedicated loudspeaker systems. This study aims at evaluating whether P22-4 Exploratory Studies on Perceptual Stationarity differences and preferences between excerpts in Listening Tests—Part II: Synthetic Signals are equally perceived using these two reproduc - with Time Varying Artifacts— Frederik tion methods. Various types of audio contents, Nagel ,1,2 Max Neuendorf 1 issued by two different recording systems, were 1Fraunhofer Institute for Integrated Circuits IIS, then to be compared on both headphones and Erlangen, Germany loudspeaker setups. The results indicate that the 2International Audio Laboratories, Erlangen, two reproduction methods provided consistent Germany similarity and preference judgments. This sug - Many recent publications related to audio coding gests that the features involved in similarity and use the recommendation “MUltiple Stimuli with preference assessments were preserved when Hidden Reference and Anchor” (MUSHRA; ITU- reproducing these excerpts over headphones. R BS.1534-1) for the evaluation of subjective Convention Paper 8560 audio quality. Judging the quality of multiple con - ditions can be inconclusive if the employed test 9:30 am excerpts exhibit more than one prevalent artifact. P22-2 A Subjective Validation Method for Musical Two papers investigate the impact of time vary - Instrument Emulation— Leonardo Gabrielli ,1 ing artifacts in both, synthetic and real world sig - Stefano Squartini ,1 Vesa Välimäki 2 nals and claim "perceptual stationarity" as a 1Università Politecnica delle Marche, Ancona, Italy requirement for test sequences used in 2Aalto University, Espoo, Finland MUSHRA tests. This second part focuses on the alternation of multiple types of artifacts in one This paper deals with the problem of assessing item and the differences in the ratings compared the distinguishability between the sound gener - to items which only contain one of the respective ated by an acoustical or electric instrument and types. It furthermore discusses the meaning of an algorithm designed to emulate its behavior. the temporal position of artifacts in an item. To accomplish this, several previous works Convention Paper 8563 employed subjective listening tests. These are briefly reviewed in the paper. Different metrics to Convention Paper 8564 has been withdrawn evaluate test results are discussed as well. Results are reported for listening tests per - 11:00 am formed on the sound of the Clavinet and a com - putational model aimed at its emulation. After P22-5 The Practical Effects of Lateral Energy in discussing these results a guideline for subjec - Critical Listening Environments— Richard tive listening tests in the field of sound synthesis King ,1,2 Brett Leonard ,1,2 Grzegorz Sikora 1 is proposed to the research community for fur - 1McGill University, Montreal, Quebec, Canada ther discussion and improvement. 2Centre for Interdisciplinary Research in Music, Convention Paper 8561 Media and Technology, Montreal, Quebec, Canada 10:00 am Limited information exists on the practical effects P22-3 Exploratory Studies on Perceptual of lateral reflections in small rooms design for Stationarity in Listening Tests—Part I: Real high-quality sound reproduction and critical listen - ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 49 Technical Progra m ing. A study is undertaken to determine what Panelists: Jan-Mark Batke , Technicolor, Hannover, affect specular and diffuse lateral reflections have Germany on a trained listener. A task-based methodology is Craig Jin , University of Sydney, Sydney, employed in which a highly trained subject is NSW, Australia asked to perform a task commonly seen in their Sascha Spors , Deutsche Telekom daily work. The physical conditions of the listening Laboratories, Technische Universität Berlin, environment are altered to minimize, maximize, Berlin, Germany and diffuse side-wall reflections. Results correlate the presence of strong lateral energy with an ini - Amplitude panning is the most used method to position tial reduction of subjects’ ability to complete the virtual sources over layouts where the number of loud - task within normal tolerances, but adaptation speakers is between two and about forty. The method is soon occurs, restoring the subjects to practically really simple, it provides a nice spatial effect, and does normal pace and accuracy. not color the sound prominently. This workshop reviews Convention Paper 8565 the working principle and psychoacoustic facts of ampli - tude panning for stereophony and for multichannel lay - 11:30 am outs. The panelists will describe some recent improve - ment suggestions to amplitude panning, which target P22-6 The Effects of Monitoring Systems on some shortcomings of amplitude panning in spatial accu - Balance Preference: A Comparative Study of racy. A lively discussion is assumed on pros and cons of Mixing on Headphones versus Loudspeakers such processing. —Richard King ,1,2 Brett Leonard ,1,2 Grzegorz 1 Sikora Broadcast/Media Streaming Session 14 1McGill University, Montreal, Quebec, Canada 2 Sunday, October 23 9:00 am – 10:30 am Centre for Interdisciplinary Research in Music, Room 1E10 Media and Technology, Montreal, Quebec, Canada CONSIDERATIONS FOR FACILITY DESIGN The typical work-flow of the modern recording engineer often necessitates the use of a number of different monitoring systems over the course of Chair: John Storyk , Walters Storyk Design Group a single project, including both loudspeaker- Panelist: Dirk Noy , Walters Storyk Design Group based systems and headphones. Anecdotal evi - dence exists that suggests different outcomes when using headphones, but there is little quanti - Examples of what we will discuss include: fied, perceptually-based data to guide engineers 1. Pre-design: Translating your business plan into in the differences to expect when working be - spaces and places. The right shapes for the creative tween monitoring systems. By conducting con - workplace leasehold / building. Important Criteria for trolled, in situ measurements with recording engi - comparing potential leaseholds/ buildings—Can you get neers performing mixing tasks on both there? Circulation and pathways for People, Stuff & Con - headphones and loudspeakers, the practical tent; Is the structure and infrastructure ready for your effects of both monitoring systems are shown. business? Can your workflow work there? An Essential Convention Paper 8566 Design Methodology: Due Diligence, Analysis, Concepts, Policy, Design, Manage, Realize. The Project Team: 12:00 noon Who you need, how to hire and manage them. Budget P22-7 The Effect of Head Movement on Perceived and Schedule, every step of the way. Listener Envelopment and Apparent Source 2. Design: Trends in the changing multi-media work - Width— Anthony Parks, Jonas Braasch , place. Simple techniques to manage acoustical and Rensselear Polytechnic Institute, Troy, NY, USA technical performance with minimum expense. The importance of Coordination. This study investigates the effect of head move - 3. Purchasing: No need to re-invent any wheels—stan - ment in the evaluation of LEV and ASW under 15 dard processes, contracts, and business structures. different concert hall conditions simulated over 4. Construction Administration: Roles of Project Team eight loudspeakers using Virtual Microphone Con - members. Managing changes in scope and schedule. trol. The conditions consist of varying ratios of One place, seven contractors, one on-air date. front-to-back energy and varying levels of cross- 5. Future Proofing: How to plan for upgrades, new correlated reverberant energy. Head movements developments in fiber optics and changes in production/ are monitored in terms of angular rotation using a post production formats and procedures. How evaluate head tracker while listeners are prompted to as - new technology introductions, how to separate meaning - sign subjective ratings of LEV and ASW. The ful innovations from “smoke and mirror” trends. 5.1 yes. tests are repeated while listeners are asked to 3-D? Odorama? The jury may still be out. keep their heads fixed. Head movements are ana - Attendees will leave with a good overview of best prac - lyzed and results of the tests are compared. tices, opportunities and pitfalls related to capital project Convention Paper 8567 development for the industries represented at AES.

Workshop 18 Sunday, Oct. 23 Games Audio Session 12 Sunday, Oct. 23 9:00 am – 11:00 am Room 1E11 9:00 am – 11:00 am Room 1E13 PANNING FOR MULTICHANNEL LOUDSPEAKER SYSTEMS EDUCATION: PREREQUISITES FOR A CAREER IN GAME AUDIO Chair: Ville Pulkki , Aalto University, Helsinki, Finland Presenters: Karen Collins , University of Waterloo

50 Audio Engineering Society 131st Convention Program, 2011 Fall Stephen Harwood Jr. , IASIG; Dynamic In this paper we study the mechanism exists of Systems Music perceptual redundancy in spatial parameters David Javelosa , Santa Monica College and remove redundancy from energy domain to Michael Sweet , Berklee College of Music parameter domain. We establish a binaural per - ceptual model based on frequency dependent of The video game industry has grown and evolved tremen - Interaural Level Difference (ILD) and use this dously in recent years, and the opportunities for further model to direct quantization of ILD. It solves the expansion are limitless. Much of this great potential is problem that the perceptual redundancy of spa - the result of an ever-increasing demand for technological tial parameter is difficult to remove. The new innovation. Corollary to this, students wishing to enter quantization strategy merely quantizes the per - the games industry must have a solid education in relat - ceived variable quantity of ILD to reduce the ed technologies and production techniques. To address coding bit rate. Experimental results showed that this need, the IASIG has recently published a Game this method can bring down the parametric bit Audio Curriculum Guideline. In this session, a panel of rate by about 15% compared with parametric IASIG Education Working Group members—accom - stereo, while maintaining the subjective sound plished industry veterans and professional educators— quality. will share their experience and perspectives on a broad Convention Paper 8569 range of professional topics, with a focus on how stu - [Paper not presented but is available for purchase] dents can prepare for, begin, and develop a successful career in game audio. The discussion will also include an 9:30 am outline of the curriculum guidelines and suggestions for educators and institutions. P23-3 Estimation of Head-Related Impulse Responses from Impulse Responses Acquired for Multiple Source Positions in Sunday, Oct. 23 9:00 am Room 1E02 Ordinary Sound Field— Shouichi Takane, Koji Standards Committee Meeting, AESSC Plenary Abe, Kanji Watanabe, Sojun Sato , Akita Prefectural University, Akita, Japan Sunday, Oct. 23 9:00 am Room 1E05 Technical Committee Meeting on Studio Practices In this paper a new method for estimation of and Production Head-Related Impulse Responses (HRIRs) from the impulse responses acquired in ordinary Session P23 Sunday, Oct. 23 sound field is proposed. Estimation of a single 9:30 am – 11:00 am 1E Foyer HRIR from the impulse response in the same direction acquired in the ordinary sound field was proposed, and the estimation performance POSTERS: SPATIAL AUDIO PROCESSING—PART 1 was shown to be not enough in some directions [S. Takane, 127th AES Convention, Paper No. 7885 (2009)]. In order to improve the estimation 9:30 am accuracy, the impulse responses acquired at P23-1 System Theory of Binaural Synthesis— multiple source positions are used, and the Auto Florian Völk , AG Technische Akustik, MMK, Regressive (AR) coefficients of the HRIRs are Technische Universität München, Munich, assumed common for all source positions in the Germany proposed method. The results of the example estimation of the HATS’ HRIRs showed that the Binaural synthesis is widely used as an efficient estimation accuracy was significantly improved tool for the simulation of acoustical environ - comparing with our previously proposed method. ments. Different headphones together with artifi - Convention Paper 8570 cial as well as human heads are employed for the transfer function measurements involved, having considerable influence on the synthesis 9:30 am quality. Within this paper, a detailed system the - P23-4 Toward the Creation of a Standardized HRTF oretical analysis of the signal paths and systems Repository— Areti Andreopoulou, Agnieszka involved in a typical data based binaural synthe - Roginska , New York University, New York, NY, sis scenario is given. The components to be USA equalized are identified, and equalization meth - ods for every scenario are discussed. Further, One of the main spatial audio topics, nowadays, restrictions and necessities when using artificial involves working toward an efficient individual - or human recording heads and for headphone ization method of Head Related Transfer Func - selection are given. Most important results are tions. A major limitation in this area of research the necessity of blocked auditory canal mea - is the lack of a large and uniform database that surements and the selection of proper head - will incorporate as many individualized proper - phones for completely correct individual binaural ties as possible. This paper presents the MARL- synthesis. NYU file format for storing HRTF datasets, and Convention Paper 8568 investigates the necessary normalization steps that assure a uniform and standardized HRTF 9:30 am repository, by compiling selected datasets from four HRTF databases. P23-2 A Quantization Method Based on Binaural Convention Paper 8571 Perceptual Characteristic for Interaural Level Difference— Heng Wang, Ruimin Hu, Weiping 9:30 am Tu, Xiaochen Wang , Wuhan University, Wuhan, Hubei, China P23-5 On the Synthetic Binaural Signals of Moving ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 51 Technical Progra m Sources— Nara Hahn, Doo-Young Sung, Panelists: Steven Durr , Acoustical Engineer Koeng-Mo Sung , Seoul National University, Roberta Findley , Walter's partner at Seoul, Korea the studio and filmmaker Brian Kehew , Historian for Bob Moog Binaural signals of moving sources are synthe - Foundation sized using head-related impulse responses. Sean Lennon The ear signals are synthesized such that the Ray Noguerra physical properties are correctly contained. The source signal at each time instance is filtered by Since his untimely passing in April 2010, Walter Sear’s the instantaneous head-related impulse world-famous Sear Sound recording studio has contin - response, and this wavelet is superimposed at ued to thrive as a champion of analog fidelity. With its the external ear. A number of properties of syn - reputation for meticulously selected and maintained thetic binaural signals are investigated. The equipment and a superbly trained staff, Sear Sound has spectral shift and head shadowing effect are attracted such clients as Paul McCartney, Wilco, and analyzed in the time domain and in the time-fre - Norah Jones. Walter Sear’s encyclopedic knowledge of quency domain. The interpolation/extrapolation and unbridled passion for audio quality set a Platinum methods are employed to compute unmeasured standard for studios around the world. This panel will head-related impulse responses. Artifacts address Sear’s incomparable life and legendary accom - caused by these processes are briefly reviewed. plishments from audio engineering and music composi - Convention Paper 8572 tion, to his experimentation with theremins and synthe - sizers. Noah Simon is a Brooklyn-based engineer/ 9:30 am producer/arranger and long-time AES member. He has worked with artists such as Eric Anderson, Scout, Bill P23-6 The Role of Head Related Transfer Functions' Frisell, Susan Tedeschi, and Shawn Colvin. Spectral Features in Sound Source Localization in the Mid-Sagittal Plane— Student/Career Development Event Daniela Toledo , COWI AS, Oslo, Norway STUDENT RECORDING CRITIQUES The individual nature of HRTFs is responsible Sunday, October 23, 10:00 am – 11:00 am for localization errors when non-individual Room 1E06 HRTFs are used in binaural synthesis: localiza - Moderator: Ian Corbett , Kansas City Kansas Community tion performance is degraded if the spectral College, KS, USA characteristics of the directional filters used do not match the individual characteristic of the lis - Students are encouraged to bring in their stereo or sur - tener's HRTFs. How similar the HRTFs should round projects to this non-competitive listening session be to avoid degradation in the performance is for feedback and comments from a panel and audience. still unknown. This investigation focuses on iden - Students will be able to sign-up for time slots at the first tifying and parameterizing spectral characteris - SDA meeting on a first come, first served basis. Students tics of HRTFs that are relevant as localization who are finalists in the Recording Competition are exclud - cues in the mid-sagittal plane. Results suggest ed from participating in this event to allow the many non- that parameters computed from three spectral finalists an opportunity for feedback on their hard work. features of simplified versions of HRTFs help Bring your stereo or surround work on CD, DVD, or hard explaining sound source localization in that disc as clearly-labeled .wav files. The Student Recording plane. Those parameters could be used for indi - Critiques are generously sponsored by PMC. vidualizing non-individual HRTFs. Convention Paper 8573 Workshop 19 Sunday, Oct. 23 11:00 am – 1:00 pm Room 1E08 Tutorial 14 Sunday, Oct. 23 9:30 am – 11:00 am Room 1E12 LISTEN PROFESSIONALLY OR TRAIN YOUR EAR! UNTANGLING THE COMB FILTER Chair: Sungyoung Kim , Yamaha Corp., Presenter: Alex Case , University of Massachusetts, Hamamatsu, Japan Lowell, Lowell, MA, USA Panelists: Jason Corey , University of Michigan, Ann All audio experts are familiar with the comb filter. This Arbor, MI, USA tutorial gets precise—describing, defining, visualizing, Kazuhiko Kawahara , University of Kyusyu, and quantifying this ever-present, always-important prop - Fukuoka, Japan erty of audio. The radical alteration to frequency content Atsushi Marui , Tokyo National Institute of caused by comb filtering is shown to be a problem that Fine Art and Music, Tokyo, Japan can be avoided or minimized in some instances, a negli - Sean Olive , Harman International, gible factor in others, and a positive production technique Northridge, CA, USA worthy of emphasis in yet other situations. Through a It has been generally accepted that critical listening abili - more complete understanding of this effect, we can track ty is essential for audio engineers. Compared to tradi - and mix with confidence, employing comb filtering for tional training methods, recent training programs provide practical, technical, and creative sonic benefits. multiple trainees with fast acquisition of such listening ability through a systematic curriculum optimized for the Historical Event required task. Moreover, due to the fast processing pow - A TRIBUTE TO WALTER SEAR er of personal computers, an individual can access and Sunday, October 23, 9:30 am – 11:00 am experience these programs without hardware limitations. Room 1E08 Considering the interests and growth of ear training in Moderator: Noah Simon the audio and music communities, it is timely and impor -

52 Audio Engineering Society 131st Convention Program, 2011 Fall tant to have a chance to share and discuss the opinions Sam Howard-Spink , New York University from the experts about necessary features and methods Duncan Watt , 38 Studios that assist trainees in acquiring the critical listening ability Mike Worth , Play Eternal with efficiency, both for personal and group training. For this purpose, the workshop invites panelists from all around the world, who will share their in-depth experi - Game audio excellence demands a coordinated team ence, know-hows, and insights in ear training. While the effort. In addition to sound design, composition, and workshop locally aims to guide the attendees of the production supervision, game audio requires skill sets workshop to better understanding the concept of ear that are rarely encountered elsewhere, including inter - training and practical tips, it also globally aims to consid - active audio programming and implementation. This er the importance of “listening” in the current video- broad array of work types provides for an equally broad oriented society. range of career opportunities. Whatever your back - ground and area of specialized expertise might be, Broadcast/Media Streaming Session 15 there is room for you in this rapidly growing industry. In Sunday, October 23 11:00 am – 12:30 pm this session, a panel of accomplished industry veterans Room 1E10 will share their experience and perspectives, with a focus on how to begin and develop a successful career in game audio. Audience members will take away a NEW INITIATIVES IN DIGITAL AUDIO PLAYBACK comprehensive understanding of the many opportuni - AND AUTOMATION FOR RADIO ties available to audio professionals in the video game industry, as well as valuable suggestions and insights Chair: Paul McLane , Radio World into how to land that first gig.

Panelists: Don Backus , Enco Product Design Session 10 Sunday, Oct. 23 Hari Samrat , Broadcast Electronics 11:00 am – 1:00 pm Room 1E12 Brad Young , Wide Orbit Jeff Zigler , RCS AN OVERVIEW OF AUDIO SYSTEM GROUNDING AND INTERFACING As the line blurs between traditional radio and internet streaming, automation providers are exploring new tech - Presenter: Bill Whitlock , Jensen Transformers nologies to serve broadcasters. From enhanced and simplified user interfaces to the ability to control a num - ber of streams from a single workstation automatically, Equipment makers like to pretend the problems don’t many initiatives are focused on the operator. Others, like exist, but this tutorial replaces hype and myth with insight running automation on virtualized hardware and and knowledge, revealing the true causes of system increased utilization of cloud computing are focused on noise and ground loops. Unbalanced interfaces are the engineering side. Learn how leading providers are exquisitely vulnerable to noise due to an intrinsic prob - addressing these and other issues to assist broadcast - lem. Although balanced interfaces are theoretically ers in serving a rapidly changing market. noise-free, they’re widely misunderstood by equipment designers, which often results in inadequate noise rejec - tion in real-world systems. Because of a widespread Live Sound Seminar 12 Sunday, Oct. 23 design error, some equipment has a built-in noise prob - 11:00 am – 1:00 pm Room 1E14 lem. Simple, no-test-equipment, troubleshooting meth - ods can pinpoint the location and cause of system noise. CONTINUING ADVANCEMENTS IN GREEN Ground isolators in the signal path solve the fundamental TECHNOLOGY FOR PRO AUDIO AND CONCERT noise coupling problems. Also discussed are unbalanced SOUND TOURING to balanced connections, RF interference, and power line treatments. Some widely used “cures” are both illegal Moderator: Tom Bensen , RF Productions, NY, USA and deadly. and Outline, NA Presenters: Klas Dalbjorn , Lab.Gruppen Sunday, Oct. 23 11:00 am Room 1E05 Claudio Lastrucci , Powersoft Technical Committee Meeting on Networked Audio Jim Meyer , Clair Global Systems David W. Robb , Acoustic Dimensions Felix Robinson , AVI-SPL Tutorial 15 Sunday, Oct. 23 11:30 am – 1:00 pm Room 1E11 This workshop will feature industry experts from both equipment manufacturing and professional users/ REALITY IS NOT A RECORDING / A RECORDING installers addressing and discussing the challenges that IS NOT REALITY face our industry to conserve energy, reduce the carbon footprint, and contain or reduce the hidden costs of pro - Presenter: Jim Anderson , New York University, New ductions and installations. York, NY, USA

Games Audio Session 13 Sunday, Oct. 23 The former New York Times film critic, Vincent Canby, 11:00 am – 1:00 pm Room 1E13 wrote “all of us have different thresholds at which we suspend disbelief, and then gladly follow fictions to con - CAREERS IN GAME AUDIO clusions that we find logical.” Any recording is a “fiction,” a falsity, even in its most pure form. It is the responsibili - ty, if not the duty, of the recording engineer, and produc - Presenters: Stephen Harwood Jr. , IASIG; Dynamic er, to create a universe so compelling and transparent Systems Music ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 53 Technical Progra m that the listener isn’t aware of any manipulation. Using quency response and phase measurements to be made basic recording techniques, and standard manipulation or the system impulse response to be derived—which of audio, a recording is made, giving the listener an opens up a whole further raft of acoustic measurements experience that is not merely logical but better than reali - to be made. Other apps make making full use of the host ty. How does this occur? What techniques can be device’s computing power enable a wide range of test applied? How does an engineer create a convincing signals to be generated or even highly sophisticated loudspeaker illusion that a listener will perceive as a measures such as STI and STIPA speech intelligibility to plausible reality? Recordings will be played. be performed. But are these apps valid tools for the au - dio pro or merely gimmicks for the geeks and nerds ? Exhibitor Seminar Sunday, Oct. 23 Come to the hot lunch session and find out. 11:30 am – 1:00 pm Room 1E06 Exhibitor Seminar Sunday, Oct. 23 PMC: MASTERS OF AUDIO SERIES 1:30 pm – 2:30 pm Room 1E06

Breaking the Rules—Surround Sound Recording PMC: MASTERS OF AUDIO SERIES Part 2 No Ordinary Audio Test Instrument Presenter: Morten Lindberg Presenters: Richard Cabot, Doug Ordon, Simon Surround Sound is a sculpture, where stereo can be Woollard described as a flat canvas. As the BS.1770 standard for measurement attains Morten will continue to share his experience in creating widespread use, so does the need to test loudness the best possible surround recording while “breaking the meters for conformance to the latest standard. traditional rules.” Morten Lindberg is a 9-time Grammy Prism Sound’s Simon Woollard and Doug Ordon, togeth - nominated / winning balance engineer and recording pro - er with Qualis Audio founder Dr. Richard Cabot will be ducer with vocals, choirs, and strings as his core area of demonstrating and discussing the need for loudness expertise. measurement in both stereo and surround environments using the Prism Sound dScope and the Qualis Audio Lunchtime Keynote Sentinel surround sound audio monitor. SKIP PIZZI Sunday, October 23, 1:00 pm – 2:00 pm Room 1E10 Broadcast/Media Streaming Session 17 Sunday, October 23 2:00 pm – 5:00 pm The Future of Broadcasting in a Connected World Room 1E03 Much industry news nowadays cites the impending death of broadcast and the rise of online as the preferred distrib - SOCIETY OF BROADCAST ENGINEERS EXAMS ution method for audio and video content. Is this truly the case, or have rumors of broadcasting's demise been SBE exams will take place on October 23 at 2:00 pm greatly exaggerated? during the annual AES convention. Applicants are encouraged to apply before the exams by going to Student/Career Development Event www.sbe.org and accessing the certification applica - STUDENT DELEGATE ASSEMBLY MEETING tions. You may apply on-site for the Certified Broadcast —PART 2 Technologist or the Certified Broadcast Networking Sunday, October 23, 1:00 pm – 2:30 pm Technologist exams. If you wish to apply for the broad - Room 1E13 cast engineer, senior engineer or specialist certifications At this meeting the SDA will elect a new vice chair. One then you would need to pre- register by October 17. If vote will be cast by the designated representative from each you have any questions contact Megan Clappe, certifica - recognized AES student section in the North & Latin Ameri - tion director at [email protected] can Regions. Judges’ comments and awards will be pre - sented for the Recording Competitions. Plans for future Session EB5 Sunday, Oct. 23 student activities at local, regional, and international levels 2:15 pm – 3:00 pm Room 1E09 will be summarized. PERCEPTION Hot Lunch ACOUSTIC & AUDIO APPS Chair: Brett Leonard , McGill University, Montreal, Sunday, October 23, 1:30 pm – 2:15 pm Quebec, Canada Room 1E14 2:15 pm Moderator: Peter Mapp , Peter Mapp Associates, Colchester, UK EB5-1 Consumer Attitudes Toward Digital Audio Quality — Ainslie Harris , Robert Gordon The introduction of the iPhone, iPod, and iPad has led to University, Aberdeen, Scotland, UK the generation of several acoustic and audio measure - ment apps for these highly portable and popular devices. This paper builds upon an engineering brief Applications range from simple sound level (SPL) mea - submitted to the 130th AES Convention (Har - surement to slightly more sophisticated 1/3 octave real ris 2011). Where the May 2011 brief outlined time analysis to advanced FFT (Fast Fourier Transform) initial findings from focus groups that were programs with full complex transfer function computation. conducted, considering questions about pre - This latter category of app can enable high resolution fre - ferred audio quality from the point of view of

54 Audio Engineering Society 131st Convention Program, 2011 Fall attitudes and consumer behavior, this brief the selection model. Experimental results focuses on an outline for future research, dis - showed that this method can bring down the cussing important questions for consideration, parametric bit rate by about 15% compared with and proposed methodology. parametric stereo, while maintaining the subjec - Engineering Brief 37 tive sound quality. Convention Paper 8574 2:30 pm [Paper not presented but is available for purchase]

EB5-2 The Effect of Downmixing on Measured 2:30 pm Loudness — Scott G. Norcross, Michel C. Lavoie , Communications Research Center, P24-2 Perceptual Evaluation of a Spatial Audio Ottawa, Ontario, Canada Algorithm Based on Wave Field Synthesis Using a Reduced Number of Loudspeakers— ITU-R BS.1770 has become the standard for Frank Melchior ,1 Udo Heusinger ,1 Judith loudness measurement in broadcasting. The Liebetrau 2 measurement algorithm is equally adapted to 5.1 1IOSONO GmbH, Erfurt, Germany channel audio signals as to a 2-channel down - 2Technical University Ilmenau, Ilmenau, Germany mix. Due to the manner by which the channels are summed, loudness differences can occur With 3-D picture being the driving force of between the 5.1 channel signal and that of the today’s motion picture production, there is a stereo downmix. These differences are depen - growing need for adequate audio solutions, e.g., dent on the inter-channel characteristics of the spatial audio algorithms for reproduction with 5-channel mix. This engineering brief will outline flexible loudspeaker setups. While these repro - the differences that can occur with different sig - duction systems will have to fulfill high quality nals and provide data using real-world broadcast demands, the amount of loudspeakers needed signals. should be kept as low as possible to optimize Engineering Brief 38 commercial aspects. One suitable algorithm from a quality point of view is wave field synthe - 2:45 pm sis (WFS), which, however, requires a huge amount of speakers if implemented as stated in EB5-3 Prediction of Valence and Arousal from literature. This paper presents the results of a Music— Albertus den Brinker ,1 Ralph van perceptual evaluation of a new algorithm based Dinther ,1 J. Skowronek 2 on WFS. A listening experiment compared state- 1Philips Research Laboratories Eindhoven, of-the-art WFS, the new algorithm, and Vector Eindhoven, The Netherlands Base Amplitude Panning regarding their per - 2Technical University Berlin, Berlin, Germany ceived localization and coloration. Mood is an important attribute of music, and Convention Paper 8575 knowledge on mood can be used as a basic ingredient in music recommender and retrieval 2:30 pm systems. Moods are assumed to be dominantly P24-3 Design and Evaluation of an Interactive determined by two dimensions: valence and Simulated Reverberant Environment— Alan C. arousal. An experiment was conducted to attain Johnson, Kevin Salchert, Andreas Sprotte- data for song-based ratings of valence and Hansen , New York University, New York, NY, USA arousal. It is shown that subject-averaged valence and arousal can be predicted from mu - There are many existing approaches to the chal - sic features by a linear model. lenge of simulating a reverberant field. Most of Engineering Brief 39 these methods are designed to operate on a signal that has been recorded in a relatively ane - choic environment and seek to add in the simulat - Session P24 Sunday, Oct. 23 ed reverberation of a chosen space. This paper 2:30 pm – 4:00 pm 1E Foyer describes a low-cost, scalable approach for directly converting an acoustically dry space into a reverberant space of a larger size, with a number POSTERS: SPATIAL AUDIO PROCESSING—PART 2 of configurable parameters. This is accomplished by harnessing the mutual feedback among micro - 2:30 pm phones and loudspeakers arranged in the space. The result is a simple, tunable, and interactive P24-1 A Selection Model Based on Perceptual and system for creating a convincing reverberant envi - Statistics Characteristic for Interaural Level ronment. Several novel applications of such a Difference— Heng Wang, Ruimin Hu, Weiping system are also discussed. Tu, Ge Gao , Wuhan University, Wuhan, Hubei, Convention Paper 8576 China In present mobile communication systems, a low 2:30 pm bit rate audio signal is supposed to be provided with high quality. This paper researches the P24-4 Multi-Touch Room Expansion Controller mechanism that exists of perceptual and statis - for Real-Time Acoustic Gestures— Andrew tics redundancy in binaural cues and establishes Madden, Pia Blumental, Areti Andreopoulou, a selection model by joint perceptual and statis - Braxton Boren, Shengfeng Hu, Zhengshan Shi, tics characteristic of ILD. It does not quantize the Agnieszka Roginska , New York University, New values of ILD where the frequency bands can’t York, NY, USA easily be perceived by human ears according to This paper describes an application that pro - ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 55 Technical Progra m vides real-time high accuracy room acoustics from the pseudo-realism of jazz and funk, to the exploita - simulation. Using a multi-touch interface, the tion of synthetic textures in “intelligent dance music.” user can easily manipulate the dimensions of a virtual space while hearing the room’s acoustics Master Class 4 Sunday, Oct. 23 change in real-time. Such an interface enables a 2:30 pm – 4:30 pm Room 1E15/16 more fluid and intuitive control of our application, which better lends itself to expressive artistic SUPERSTAR SESSIONS gestures for use in such activities as sound design, performance, and education. The sys - tem relies on high accuracy room impulse re - Presenter: Tony Visconti sponses from CATT-Acoustic and real-time au - Tony Visconti rose from the streets of Brooklyn to dio processing through Max/MSP and provides become a key architect of the sound of British Rock via holistic control of a spatial environment rather studio work with such legends as David Bowie, T-Rex, than applying generic reverberation via individ - Thin Lizzy, The Moody Blues, Badfinger, and Morrissey. ual acoustic parameters (i.e., early reflections, Beyond his production and mixing skills, Visconti is an RT60, etc.). Such an interface has the capability accomplished composer, musician, and arranger. This to create a more realistic effect without compro - Master Class will present techniques and experiences mising flexibility of use. culled from a lifetime of collaboration with some of the Convention Paper 8577 world’s most celebrated artists, as well as his on-going work on new releases such as Future Is Medieval from 2:30 pm The Kaiser Chiefs. P24-5 Adaptive Crosstalk Cancellation Using Common Acoustical Pole and Zero (CAPZ) Broadcast/Media Streaming Session 16 Model—Common Pole Estimation— Hanwook Sunday, October 23 2:30 pm – 4:00 pm Chung ,1 Sang Bae Chon ,2 Nara Hahn ,1 Room 1E10 Koeng-Mo Sung 1 1Seoul National University, Seoul, Korea MEDIA FILE MANAGEMENT: STORAGE, BACKUP, 2Samsung Electronics Co. Ltd., Suwon, AND RETRIEVAL OF YOUR ASSETS Gyeonggido, Korea In this paper we introduce adaptive crosstalk Chair: David Prentice , Dale Pro Audio cancellation using a common acoustical pole and zero (CAPZ) model for a head-related trans - Panelists: Jim Boas , RorkeData –An Avnet Company fer function (HRTF). As the CAPZ model for Tim Claman , Avid HRTF provides an interpretation of the HRTF Michael Gitig , Gobbler wherein zeros describe the spatial difference caused by the acoustical propagation path and How’s your media? Is it safe? Is it accessible? common poles describe the characteristics of Recording and production are rapidly moving into a file- the human auditory system, we designed the based workflow with all the project materials—audio files, proposed model to follow the zero components edits, plug-ins, automation, and video files—existing on of the CAPZ model. By estimating common spinning disks. During the project it’s necessary to keep poles and simulations, we verified that the pro - track of the elements and after completion it’s vital to pre - posed model exhibits enhanced performance serve all the work. But a project rarely remains untouched compared with a conventional finite impulse after submission so there is an increased need for media response model of HRTF. access and identification after the back-up to grab and Convention Paper 8578 re-purpose elements for a new job or revision. Our panel will discuss technologies including fiber, Ethernet, and cloud-based storage and retrieval for addressing the need Tutorial 16 Sunday, Oct. 23 to manage the exploding volume of media assets generat - 2:30 pm – 4:30 pm Room 1E08 ed every day.

DRUM AND PERCUSSION PROGRAMMING Live Sound Seminar 13 Sunday, Oct. 23 2:30 pm – 4:30 pm Room 1E14 Presenter: Justin Paterson , University of West London, London, UK MULTITRACK RECORDING FOR THE LIVE SOUND ENGINEER Drum programming has been evolving at the heart of many studio productions for some 30 years. Over this period, technological opportunities for enhanced creativi - Chair: Sam Berkow , SIA Acoutics ty have multiplied in numerous directions, from Panelists: Ted Leamy , ProMedia/UltraSound sequenced MIDI one-shots to sample loops, and from Robert Scovil , Avid DAW cut and stretch techniques to deterministic beat- Adam Shulman slicer plug-ins, etc. The palette of sounds available today ranges from ever more realistic to ever more Multitrack recording of performances is now common - synthetic/exotic. This tutorial will embrace all of these place for many artists, whether for internal reference and techniques and more and include numerous live demon - archiving or for potential release. This poses a new set of strations. Although introducing all key concepts from parameters on both the FOH and monitor mix engineers scratch, its range and hybridization should provide inspi - which at times are diametrically opposed. The best house ration even for experienced practitioners, leading up to sound does not not necessarily produce the best record - the state-of-the-art. A number of genres will be covered ings and sometimes results in the FOH engineer to mix

56 Audio Engineering Society 131st Convention Program, 2011 Fall two shows simultaneously; one for live, a second for the engage others in audio. Because of their widespread recording. This panel will discuss the issues confronted use, loudspeakers are a familiar system combining many by mix engineers and the best techniques and practices of the fundamental physical principles of audio: electrici - to insure both an optimal live show and recording. ty, magnetism, mechanics, and acoustics. This workshop presents a loudspeaker-enclosure system that can be Product Design Session 11 Sunday, Oct. 23 easily built from scratch. The system is mostly construct - 2:30 pm – 4:00 pm Room 1E12 ed from common household supplies, making it low-cost and accessible to a wide audience. NETWORKED AUDIO GIZMOS—ETHERNET AUDIO TODAY AND TOMORROW Session P25 Sunday, Oct. 23 Chair: Steve Macatee , Rane Corporation 3:00 pm – 5:30 pm Room 1E09

Panelists: Bradford Benn , Crown International AUDITORY PERCEPTION Hardy Martin , Innovative Electronic Designs, Inc. Chris Pane , Lab X Technologies (The Chair: Richard King , McGill University & Centre for Ethernet AVB Camp) Interdisciplinary Research in Music, Media and Technology, Montreal, Quebec, Canada What problems are integrators faced with when setting up many different Ethernet devices on the same net - work? Is your design approach causing the problem or a 3:00 pm victim of someone else’s? What obstacles deter configu - P25-1 The Impact of Producers’ Comments and ration software and devices from establishing and main - Musicians’ Self-Evaluation on Performance taining communications on simple and complex Ethernet during Recording Sessions— Amandine Pras, networks? The pros and cons of UDP vs TCP protocols Catherine Guastavino , McGill University, for control and metering messages. How to get through Montreal, Quebec, Canada routers, VPNs, and blocked ports. Is your design approach making the IT department your friend or foe? When recording in the studio, musicians repeat Can you make it easier for customers to get through the same musical composition over and over their firewall(s)? What challenges do older products en - again without the presence of an audience. Fur - counter on ever-changing, modern networks? Can one thermore, recording technologies transform the product’s communications method interfere with already musical performance that musicians hear in the established device communications? Will Ethernet AVB studio. We conducted a field experiment to finally solve all problems known to man? investigate whether record producers’ comments and musicians’ self-evaluation helped musicians improve from one take to another during record - Historical Event ing sessions. Twenty-five jazz players, grouped AMERICAN CLASSICAL RECORDING— into five ensembles, participated in recording FROM 1 MICROPHONE TO 24 TRACKS sessions with four record producers. Two types Sunday, October 23, 2:30 pm – 4:00 pm of feedback between takes were varied indepen - Room 1E11 dently: with or without comments from a and with or without musicians’ self-eval - Presenter: Tom Fine uation after listening to the takes in the control This Historical Event is an exploration of the history of room. Our results show that both external com - recording techniques and equipment from the 1954 hey - ments and self-evaluation give the ensemble a day of monophonic full-range high fidelity. Beginning with common ground but also make musicians too self- a single microphone, evolving to early stereo’s “golden conscious. age of recording,” and continues with the increasing Convention Paper 8579 complexity of the late 1960s and early ‘70s, when Columbia and EMI won Grammys for classical recordings 3:30 pm made with as many as 32 mics and 24 tracks. This event P25-5 Some New Evidence that Teenagers May is highlighted by a rare, comparative listening session fea - Prefer Accurate Sound Reproduction— Sean turing Grammy-winning recordings of Ravel's Daphnis et Olive , Harman International Industries, Inc., Chloe recorded over three decades. Thomas Fine is a Northridge, CA, USA member of ARSC and owner of an analog-to-digital audio transfer studio. With a primary base of archival and educa - A group of 18 high school students with no prior tion/ institutional clients, Fine specializes in transferring listening experience participated in two separate magnetic and grooved-disc media to high resolution digital controlled listening tests that measured their formats. He is an avid collector of music recordings and preferences between music reproduced in (1) student of recording-industry history. MP3 and lossless CD-quality file formats, and (2) music reproduced through four different Student/Career Development Event consumer loudspeakers. Overall, the teenagers THE $5.1 LOUDSPEAKER— preferred the sound quality of the CD-quality file SOUND FROM A SHOEBOX format, and the most accurate, neutral loud - Sunday, October 23, 2:30 pm – 3:30 pm speaker. Together, these tests provide some Room 1E13 new evidence that teenagers can discern and appreciate a better quality of reproduced sound Moderator: Dan Domme , Penn State, Graduate Program when given the opportunity to directly compare it in Acoustics, PA, USA against lower quality options. Convention Paper 8583 Moving-coil loudspeakers are an exciting means to ¯

Audio Engineering Society 131st Convention Program, 2011 Fall 57 Technical Progra m 4:00 pm 5:00 pm P25-2 The Influence of Camera Focal Length in the P25-4 Effect of Whole-Body Vibration on Speech. Direct-to-Reverb Ratio Suitability and Its Part II: Effect on Intelligibility— Durand Effect in the Perception of Distance for a Begault , NASA Ames Research Center, Mofett Motion Picture— Luiz Fernando Kruszielski, Field, CA, USA Toru Kamekawa, Atsushi Marui , Tokyo University of the Arts, Tokyo, Japan The effect on speech intelligibility was measured for speech where talkers reading Diagnostic In order to study the possible influence of a cam - Rhyme Test material were exposed to 0.7 g era focal length in the auditory distance percep - whole body vibration to simulate space vehicle tion, two experiments were conducted. In the launch. Across all talkers, the effect of vibration first experiment, participants were asked to was to degrade the percentage of correctly tran - adjust the amount of reverb according to the pre - scribed words from 83% to 74%. The magnitude sented visual image, which had different focal of the effect of vibration on speech communica - lenses distances, and therefore different back - tion varies between individuals, for both talkers grounds. In the second experiment, participants and listeners. A “worst case” scenario for intelli - were asked to rate the egocentric sense of dis - gibility would be the most “sensitive” listener tance to the sound source and the suitability of hearing the most “sensitive” talker; one subject’s the sound for the visual image in a pairwise intelligibility was reduced by 26% (97% to 71%) comparison. The results have shown that the for one of the talkers. overall sense of distance is mainly dependent on Convention Paper 8582 the focal length; however, if the image fore - [Paper presented by Richard King] ground object has the same size, the focal length can alter the perception of sound distance. Tutorial 17 Sunday, Oct. 23 Convention Paper 8580 4:00 pm – 5:30 pm Room 1E11

4:30 pm MASTERING FOR VINYL P25-3 Automatic Soundscape Classification via Comparative Psychometrics and Machine Presenter: Scott Hull , Masterdisk, New York, NY, USA Learning— Krithika Rajagopal ,1,2 Phil Minnick ,1 Colby Leider 1 Scott Hull has been mastering for vinyl and digital for 28 1University of Miami, Coral Gables, FL, USA years, seeing formats come and go, and come back 2Audio Precision, Beaverton, OR, USA again. In the last few years there has been a renewed in - terest in producing vinyl among modern artists. What has Computational acoustical ecology is a relatively to be considered when you mix/master your music for new field in which long-term environmental vinyl? Scott will dig deep into the quality control issues recordings are mined for meaningful data. and discuss several sure ways to sound great on your Humans quite naturally and automatically asso - first pressing. ciate environmental sounds with emotions and Topics will include: Why contemporary CD mastering can easily identify the components of a sound - techniques do not produce the best sounding vinyl scape. However, equipping a computer to accu - records. Long Sides—the relationship between volume, rately and automatically rate unknown duration, and quality. The Turntable—what does yours environmental recordings along subjective psy - sound like? The quality control process: mixing— mas - choacoustic dimensions, let alone report the tering—plating—pressing. The realities of the current environment (e.g., beach, barnyard, home vinyl market. Modern trends in record making. kitchen, research lab, etc.) in which the environ - mental recordings were made with a high degree of accuracy is quite difficult. We present here a robust algorithm for automatic soundscape clas - Tutorial 18 Sunday, Oct. 23 sification in which both psychometric data and 4:00 pm – 5:30 pm Room 1E10 computed audio features are compared and used to train a Naive Bayesian classifier. An AUDIO METADATA: UNDERSTANDING AES57 algorithm for classifying the type of soundscape AND AES60 across different categories was developed. In a pilot test, automatic classification accuracy of Presenter: David Ackerman 88% was achieved on 20 soundscapes, and the classifier was able to outperform human ratings AES will publish in the next couple of days AES57 and in some tests. In a second test classification AES60, two metadata standards pertinent to the archiv - accuracy of 95% was achieved on 30 sound - ing community. This tutorial will explain the proper use of scapes. these documents in the archiving of audio collections. Convention Paper 8581

58 Audio Engineering Society 131st Convention Program, 2011 Fall