AAEESS113737th CCoonnvvenenttiionon ProProggramram October 9 – 12, 2014 Los Angeles Convention Center, LA, CA, USA

At recent AES conventions, authors have had the option Session P1 Thursday, Oct. 9 of submitting complete 4 - to 10- page manuscripts for 9:00 am – 12:30 pm Room 308 AB peer-review by subject-matter experts. The following paper has been recognized as winner of the AES 137th SPATIAL AUDIO—PART 1 Convention Peer-Reviewed Paper Award. * * * * * Chair: Jason Corey, University of Michigan, Ann Arbor, MI, USA The Audibility of Typical Digital Audio Filters in a High-Fidelity Playback System— 9:00 am Helen M. Jackson, Michael D. Capp, J. Robert Stuart, P1-1 MPEG-H Audio—The New Standard for Meridian Audio Ltd., Huntingdon, UK Universal Spatial / 3D Audio Coding— Convention Paper 9174 Jürgen Herre,1Johannes Hilpert,2 Achim Kuntz,1 To be presented on Saturday, October 11, in Session 14 Jan Plogsties2 —Perception—Part 2 1International Audio Laboratories Erlangen, Erlangen, Germany * * * * 2Fraunhofer Institute for Integrated Circuits IIS, The AES has launched an opportunity to recognize stu- Erlangen, Germany dent members who author technical papers. The Student Recently, a new generation of spatial audio for- Paper Award Competition is based on the preprint manu- mats were introduced that include elevated loud- scripts accepted for the AES convention. speakers and surpass traditional surround sound A number of student-authored papers were nominated. formats, such as 5.1, in terms of spatial realism. The excellent quality of the submissions has made the To facilitate high-quality bitrate-efficient distribu- selection process both challenging and exhilarating. tion and flexible reproduction of 3D sound, the The award-winning student paper will be honored dur- MPEG standardization group recently started the ing the Convention, and the student-authored manuscript MPEG-H Audio Coding development for the uni- will be considered for publication in a timely manner for versal carriage of encoded 3D sound from chan- the Journal of the Audio Engineering Society. nel-based, object-based, and HOA-based input. Nominees for the Student Paper Award were required High quality reproduction is supported for many to meet the following qualifications: output formats from 22.2 and beyond down to (a) The paper was accepted for presentation at the 5.1, stereo, and binaural reproduction—indepen- AES 137th Convention. dently of the original encoding format, thus over- (b) The first author was a student when the work was coming incompatibility between various 3D for- conducted and the manuscript prepared. mats. The paper describes the current status of (c) The student author’s affiliation listed in the manu- the standardization project and provides an script is an accredited educational institution. overview of the system architecture, its capabili- (d) The student will deliver the lecture or poster pre- ties, and performance. sentation at the Convention. Convention Paper 9095

* * * * * 9:30 am The Winner of the 137th AES Convention P1-2 Bit Rate of 22.2 Multichannel Sound Signal Student Paper Award is: Meeting Broadcast Quality—Takehiro The Duplex Panner: Comparative Testing Sugimoto, Yasushige Nakayama, Satoshi Oode, and Applications of an Enhanced Stereo NHK Science & Technology Research Panning Technique for Headphone- Laboratories, Setagaya-ku, Tokyo, Japan Reproduced Commercial Music— The bit rate of a 22.2 multichannel sound (22.2 Samuel Nacach, New York University, ch) signal meeting broadcast quality was investi- New York, NY, USA gated by preforming several subjective Convention Paper 9134 evaluations. 22.2 ch is currently planned to be To be presented on Friday, Oct. 10, in Session P7 transmitted by MPEG-4 AAC (advanced audio —Cinema Sound, Recording and Production coding) in 8K Super Hi-Vision broadcast. A sub- jective evaluation of the basic audio quality of a * * * * * ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 1 Technical Program coded 22.2 ch signal was carried out using 49 The focal shift phenomenon in optics describes stimuli made from a combination of seven bit how the position of the focus point in a focusing rates and seven contents. Moreover, a subjective system is not simply defined by geometrical ray- evaluation at two different listening positions and based models but is affected by diffraction and is that of a downmixed 5.1 ch signal were also car- consequently a function of the size of the lens and ried out for comparison with that of a 22.2 ch sig- the frequency of the light. The same effect is also nal at the sweet spot. A bit rate meeting broad- observed in acoustics when looking at the focused cast quality was found from the obtained results. field using physical focusing reflectors. This paper Convention Paper 9096 describes the focal shift phenomenon applied to the reproduction of focused sources with sound 10:00 am field synthesis systems, and presents a formula for the prediction of the actual rendered focal point P1-3 Design, Coding and Processing of Metadata position and also a frequency dependent position- for Object-Based Interactive Audio—Simone al correction for the improved rendering of a Füg, Andreas Hölzer, Christian Borß, Christian focused source with a given loudspeaker setup. Ertel, Michael Kratschmer, Jan Plogsties, Convention Paper 9099 Fraunhofer Institute for Integrated Circuits IIS, Erlangen, Germany 11:30 am For object-based audio an appropriate definition P1-6 Impulse Response Upmixing Using Particle of metadata is needed to ensure flexible playback Systems—Nuno Fonseca, ESTG/CIIC, in any reproduction scenario and to allow for inter- Polytechnic Institute of Leiria, Leiria, Portugal activity. Important use-cases for object-based audio and audio interactivity are described and With the increase of the computational power of metadata requirements are derived. A metadata DSP’s and CPU’s, impulse responses (IR) and scheme is defined that allows for enhanced audio the convolution process are becoming a very rendering techniques such as content-dependent popular approach to recreate some audio effects processing, automatic scene scaling and like reverb. But although many IR repositories enhanced level control. Also, a metadata prepro- exist, most IR recordings consider only mono or cessing logic is proposed that prepares rendering stereo. This paper presents an approach for and playout and allows for user interaction with impulse response upmixing using particle sys- the audio content of an object-based scene. In tems. Using a reverse engineering process, a addition, the paper points out how the metadata particle system is created, capable of reproduc- can be transported efficiently in a bitstream. The ing the original impulse response. By re-render- proposed metadata scheme has been adopted ing the obtained particle system with virtual and integrated into the currently finalized MPEG- microphones, an upmixing result can be H 3D Audio standard. obtained. Depending on the type of virtual micro- Convention Paper 9097 phone, several different output formats can be supported, ranging from stereo to surround, and 10:30 am including binaural support, Ambisonics, or even custom speaker scenarios (VBAP). P1-4 On Spatial-Aliasing-Free Sound Field Convention Paper 9100 Reproduction Using Finite Length Line Source Arrays—Frank Schultz, Till Rettberg, 12:00 noon Sascha Spors, University of Rostock, Rostock, Germany P1-7 ECMA-407: New Approaches to 3D Audio Content Data Rate Reduction with RVC-CAL Concert sound reinforcement systems aim at the —Junaid Jameel Ahmad,1 Claudio Alberti,1 reproduction of homogeneous sound fields over Jung Wook (Jonathan) Hong,2 Brett Leonard,2 extended audiences for the whole audio band- Marco Mattavelli,1 Clemens Par,3 Schuyler width. For the last two decades this has been Quackenbush,4 Wieslaw Woszczyk1 mostly approached by using so called line 1Swiss Federal Institute of Technology (EPFL), source arrays for which Wavefront Sculpture Lausanne, Switzerland Technology (WST) was introduced in the litera- 2McGill University, Montreal, QC, Canada ture. The paper utilizes a signal processing mod- 3Swiss Audec, Morges, Switzerland el developed for sound field synthesis in order to 4Audio Research Labs, Scotch Plains, NJ, USA analyze and expand WST criteria for straight arrays. Starting with the driving function for an Inverse problems have only been known in spa- infinite and continuous linear array, spatial trun- tial audio for a very short time; their only solu- cation and discretization are subsequently taken tion, called “inverse coding” in literature, is into account. The role of the involved loudspeak- essentially based on time-level modeling. ers as a spatial lowpass filter is stressed, which Inverse problems, however, unlike parametric can reduce undesired spatial aliasing contribu- coding, require only an initial transmission of tions. The paper aims to give a better insight on spatial side information, and thus can achieve how to interpret the synthesized sound fields. much lower bitrates than could be achieved with Convention Paper 9098 parametric coding. For instance, inversely coded NHK 22.2 multichannel signals in combination 11:00 am with USAC may be delivered at bitrates as low as 48kb/s and optimum performance can be P1-5 The Focal Shift Phenomena for Focused achieved in combination with commercially avail- Source Reproduction Using Loudspeaker able HE-AAC v2 at 256kb/s—without any scaling Arrays—Robert Oldfield, Ian Drumm, University of output channel order, and with moderate com- of Salford, Salford, Greater Manchester, UK plexity in the decoder. A new way to perceptually 2 Audio Engineering Society 137th Convention Program, 2014 Fall eliminate redundant information makes use of 21st century skills across the United States. The invariant theory inside the encoder. Invariants term “partnering” has been used to refer to dif- with Gaussian processes were unknown until ferent types of collaborative learning; most 2010 and have represented one major problem recently being defined by Marc Prensky in his in non-applied mathematics for more than a cen- book, Teaching Digital Natives, Partnering for tury: David Hilbert’s proof that these coefficient Real Learning . This paper addresses the need functions form a field then insinuated that their for more established methods for teaching music existence in random processes was very likely. technology skills, concepts, and theories that uti- As will be shown, when applied to spatial audio lize a collaborative, partnering style of instruc- coding, invariants represent a numerically effi- tion. Specifically, these partnering methods are cient and perceptually powerful algebraic tool. intended for students in high school and higher We likewise present a 3D audio codec design for education. signals up to NHK 22.2 with two profiles: one Convention Paper 9102 profile, based on co-incidence, is able to code and synthesize a full Higher Order Ambisonics 10:00 am soundfield, up to order 6, at 48kb/s, 64kb/s, 96kb/s, 128kb/s, and above. The second profile, P2-3 Pathways through Recording Analysis— which optimizes de-correlation for phantom William Moylan, University of Massachusetts– source imaging, codes channel-based or object- Lowell, Lowell, MA, USA basedsignals at the same bitrates. The technolo- If you are in the audio industry, you ana lyze gy has been specified as the world’s first interna- recordings. What do you listen for? Wha t do you tional 3D audio standard ECMA-407 and may be hear? Why are you listening? There are man y further extended with static models in frequency relevant answers to these questions depending domain. A preliminary version of this technology, on one’s role in the industry or purpose for lis- based on a downmix in frequency domain, was tening. This paper will explore the process of submitted to MPEG’s “Phase 2“ selection of low- recording analysis and the idea of “pathways” bitrate 3D coding technologies and made use of through the many elements, dimensions, and an USAC binary, which unfortunately offered no functions that it might address; pathways that tuning options. can be modified to suit the material and purpose Convention Paper 9218 for the analysis. Music recording will then be used as an example to bring a focus to the Session P2 Thursday, Oct. 9 process. “Recording analysis” will then be the 9:00 am – 11:30 am Room 309 study of sound qualities of recordings and the interrelationships of those qualities and the EDUCATION music’s materials and structure and its text. Convention Paper 9103 Chair: Tim Ryan, Webster University, St. Louis, MO, [Paper was not presented but is available for USA purchase in the E-Library]

9:00 am 10:30 am P2-1 Apprenticeship Skills in Audio Education: P2-4 Case Study: University Recording Arts A Comparison of Classroom and Institutional Program Seeks to Educate, Engage, and Focus as Reported by Educators—Doug Recruit High School Students—Leslie Bielmeier, Middle Tennessee State University, Gaston-Bird, Lorne Bregitzer, Lynnae Rome, Murfreesboro, TN, USA University of Colorado Denver, Denver, CO, USA Recent research of audio industry employers indicated that their new hires lacked communica- A team of researchers from the University of tion skills, which the employers deemed valuable Colorado Denver Recording Arts program visited for their new hire’s success. In this research the Denver School of the Arts high school in an audio engineering technology (AET) educators effort to discover (1) whether students could were surveyed about the communication skills detect an audible difference between music focused on in their classrooms, focus of their encoded as AAC and MP3 when comparing departments/ institutions, and their internship them to the original WAV file, (2) whether a trend programs. The quantitative data suggested that in music career choices would appear based on both educators and their institutions lacked a gender, and (3) whether this visit could serve as focus on apprenticeship skills. Also, fewer than an ongoing recruitment activity. The results pre- half of the institutions required an internship. sented here could be useful for other universities Further research must be conducted to under- who want to engage in these activities. We will stand what these educators reported and how it also consider the time, cost, and impact of a affects AET education as a whole. day-long visit. Convention Paper 9101 Convention Paper 9104

9:30 am 11:00 am P2-2 Partnering Approaches for Teaching Music P2-5 Musical Chairs: From Spectator to Stage— Technology—Jeffrey Rodgers, University Mike Godwin, Leslie Linton, University of of Saint Francis, Fort Wayne, IN, USA Western Ontario, London, Ontario, Canada The use of collaborative learning techniques is This presentation demonstrates an interdiscipli- rapidly becoming a popular method for teaching nary and multidisciplinary project that involves ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 3 Technical Program the creation of an interactive computer application This session is presented in association with the AES involving the fields of music education, music per- Technical Committee on Loudspeakers and Headphones formance, acoustical engineering, and computer science. Typical music computer programs or Tutorial 2 Thursday, October 9 “apps” usually involve creative strategies to ex- 9:00 am – 10:30 am Room 306 AB plore various techniques for teaching the elements of music theory, history or composition and often 3D AUDIO use computer generated characters and music. This “app” is quite different in that it allows users to explore (tap, touch, pinch-to-zoom) actual perfor- Presenter: Schuyler Quackenbush, Audio Research mances through video; they can seamlessly “walk” Labs, Scotch Plains, USA through the orchestra, band or choir, and as they MPEG-H 3D Audio is the newest MPEG Audio standard. move around the audio changes according to With the move to Ultra-High-Definition video and large where they are situated. Imagine “Google street screens that provide an immersive visual experience, it is view” with seamless video and audio instead of compelling to have an equally immersive audio experi- connected still photos and no sound. ence. MPEG-H 3D Audio provides both compression and Convention Paper 9105 flexible rendering for such immersive audio programs. These can be, for example, 9.1 or 22.2 channel audio Workshop 0 Thursday, October 9 programs for presentation on loudspeakers or spatialized 9:00 am – 10:00 am Room 409 AB for headphones. In addition, programs can include dynamic audio objects or can be Higher Order Ambisonic MICROPHONE ARRAYS FOR MOBILE SPEECH recordings. The standard makes extensive use of meta- APPLICATIONS data to control the audio presentation and to support user interaction. A very important aspect of 3D Audio is Presenters: Eddy Brixen, EBB consult its rendering engine. It is not expected that all consumers J. Keith McElveen, Wave Sciences would have a 22.2 loudspeaker setup, so the rendering engine is able to adapt the audio program to the loud- Microphone arrays are employed to spatially filter an speaker configuration of the consumer’s setup. This can acoustic scene to emphasize desired source directions— include fewer loudspeakers, incorrectly place loudspeak- and, thereby, particular sources—and de-emphasize all ers or non-standard loudspeaker configurations. others. Microphone arrays are currently being widely The tutorial will review example scenarios in which deployed in stationary applications, such as meeting immersive audio can be enjoyed (home theatre, tablet TV, rooms, but are just beginning to be deployed in mobile smartphone TV); give an overview of the technology; and applications. An introduction to spatial filtering using give a look at compression and rendering performance. microphone arrays in terms particularly relevant to The session is presented in association with the AES mobile speech applications will be given. The theory of Technical Committee on Coding of Audio Signals operation of both fixed and electronically-steerable arrays will be reviewed to serve as a foundation. From Tutorial 3 Thursday, October 9 this foundation the practical design and user constraints 9:00 am – 11:00 am Room 408 B of microphone arrays in mobile applications will then be addressed. The workshop will also be complemented AN OVERVIEW OF AUDIO SYSTEM GROUNDING with a variety of practical demonstrations of mobile AND SIGNAL INTERFACING—A MASTER CLASS microphone array implementations. Presenter: Bill Whitlock, Whitlock Consulting, Oxnard, Tutorial 1 Thursday, October 9 CA, USA 9:00 am – 11:00 am Room 406 AB Equipment makers like to pretend noise problems don’t LOUDSPEAKER DESIGN, PART 1: ALMOST exist, but this tutorial replaces myth and hype with insight EVERYTHING YOU EVER WANTED TO KNOW ABOUT and knowledge, revealing their true causes. Unbalanced LOUDSPEAKER DESIGN—A MASTER CLASS interfaces are exquisitely vulnerable to noise due to an intrinsic problem. Although balanced interfaces are theo- Presenter: Christopher Struck, CJS Labs, San retically noise-free, they’re widely misunderstood by Francisco, CA, USA equipment designers, resulting in equipment with inade- quate noise rejection in real-world systems. Another widespread design error gives some equipment a built-in This tutorial will walk the audience through an entire noise problem. Simple, no-test-equipment troubleshoot- loudspeaker design as well as introducing the basic con- ing methods can not only identify this equipment but cepts of loudspeakers. Equivalent circuits, impedance, pinpoint the exact location and cause of hum and buzz. and Thiele-Small Parameters are shown. Inherent driver Signal-path ground isolators are generally the best solu- nonlinearities are explained. The effects of modal behav- tion. Optimum interfaces between unbalanced and ior and cone breakup are demonstrated. Closed Box and balanced connections, RF interference, and power-line Ported Box systems are analyzed and several design treatments are also discussed as well as why some examples are meticulously worked through, both with widely-used “cures” are both illegal and deadly. hand calculations and using CAD. Passive Radiator, Band Pass, and Transmission Line systems are also shown. Issues with multiple drivers and cabinet construc- Live Sound Seminar 1 Thursday, October 9 tion are discussed. Directivity and diffraction effects are 9:00 am – 11:00 am Room 402 AB illustrated. Crossover network design fundamentals are presented, with a specific design example for the previ- THEATER SOUND DESIGN IN LOS ANGELES ously shown ported enclosure design. A brief overview of room acoustic effects on loudspeakers is also presented. Presenters: John Ballinger, Independent Sound

4 Audio Engineering Society 137th Convention Program, 2014 Fall Designer and Composer Thursday, October 9 10:00 am Room 405 Martin Carrillo, Independent Sound Designer Technical Committee Meeting on Electro Magnetic Cory Carrillo, Resident Sound Designer Compatibility for The Laguna Playhouse Cricket Myers Network Audio Session 2 Thursday, October 9 Vincent Olivieri, UC Irvine, Irvine, CA, USA 10:15 am – 11:45 am Room 404 AB Veronika Vorel, Freelance, Los Angeles, CA, USA HISTORY OF DIGITAL AUDIO NETWORKING

Los Angeles has a vibrant theater community with hun- Presenter: Kevin Gross, AVA Networks, Boulder, CO, dreds of high quality productions each year. The sound USA design for many of these productions are created by LA sound designers who also often work nationally and inter- Digital audio networking was pioneered by the telephone nationally. This session will highlight some of these companies in the 1960s. Digital audio came into use in designers, their designs, and what makes the Los Angeles professional applications starting in the late 1970s. Stan- theater sound design work unique. The designers partici- dard digital interconnect for professional applications pating in this session will talk about their techniques for emerged in the 1980s. It wasn’t until the mid-1990s that creating, producing and executing their designs. real-time network distribution as we currently know it was born. This tutorial will follow the evolution of real-time digital audio networking, examining design decisions and Network Audio Session 1 Thursday, October 9 changes in the underlying network technology that has 9:00 am – 10:00 am Room 404 AB enabled advancement to the current state of the art. Some of the specific networking technologies to be cov- A PRIMER ON FUNDAMENTAL CONCEPTS ered include: VoIP, CobraNet, MaGIC, Ethersound, OF MEDIA NETWORKING A-Net, AES47, Livewire, AES50, ACIP, Dante, AVB, Q-LAN, RAVENNA and AES67. Historical perspective on Presenter: Landon Gentry, Audinate, Portland, OR, the topic should give attendees an indication of where USA; Sydney, Australia audio networking is headed. This session is presented in association with the AES This session will cover the OSI model and how data trav- Technical Committee on Network Audio Systems els through network layers (a “networking stack”): Layers 1, 2, 3 and 4; Cables, MAC Addresses, IP Addresses, and networking protocols. An overview of some network- Recording and Production Session 1 ing standards and standards organizations, including the Thursday, October 9 10:30 am – 12:00 noon IEEE and the IETF. An introduction to IP data networking Room 403 AB . . . it is how everything is already wired together. Identify some of the advantages and limitations of IP data net- RAW TRACKS: FLEETWOOD MAC— works with respect to real-time media. A brief discussion A MASTER CLASS of IP networking standards and protocols that can be leveraged for media networking. Moderator: Jonathan Pines Panelist: Ken Caillat Sound for Picture 1 Friday, October 10 9:00 am – 10:30 am Room 306 AB Renowned engineer/producer Ken Caillat will discuss, analyze, and deconstruct a classic Fleetwood Mac song CINEMA LOUDNESS SUBCOMMITTEE TEST “Second Hand News” in the inaugural “Raw Tracks” RESULTS AND PROPOSED SOLUTIONS series at the AES 137th International Convention in Los Angeles. Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., Clifton Beach, QLD, Australia Tutorial 4 Thursday, October 9 10:45 am – 12:45 pm Room 306 AB Panelists: Florian Camerer, ORF - Austrian TV, Vienna, Austria; EBU - European Broadcasting Union FLOYD TOOLE—MASTER CLASS Eelco Grimm, Grimm Audio, Utrecht, The Netherlands Presenter: Floyd Toole, Acoustical consultant to Harman, ex. Harman VP Acoustical Cinema audiences worldwide have heard movies get Engineering, Oak Park, CA, USA louder and louder since the introduction of Digital Cine- ma Distribution Masters. Government legislation in Sound Reproduction: The State of Our Science Europe (and proposed in Connecticut) suggest incor- rect technical solutions. A committee working under Most of the music we enjoy is generated by loudspeak- TC-SDCTV Chair Brian McCarty has documented the ers of differing pedigree, and propagated to our ears problem and come to this convention with solutions for through spaces that can mostly be described as acousti- Standards consideration. cally arbitrary. In spite of the obvious huge variations, This session is presented in association with the AES humans have managed to not only enjoy reproduced Technical Committee on Sound for Digital Cinema and music, but sometimes even to exhibit enthusiasm for it. Television Common acoustical measurements confirm the varia- tions. Are they wrong? Do they matter? In double-blind Thursday, October 9 9:00 am Room 405 subjective evaluations of loudspeakers in rooms, listen- Technical Committee Meeting on Transmission and ers exhibit strong and remarkably consistent opinions Broadcasting about the sound quality from loudspeakers. The chal- ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 5 Technical Program lenge has been to identify those technical measurements famous Seattle Center, in the shadow of the iconic that correlate with the subjective ratings. What is it that Space Needle, KEXP’s new home will feature cutting these listeners are responding to? This review will exam- edge broadcast/recording studios, and, a live perfor- ine the acoustical properties of loudspeakers (the sound mance venue designed to showcase visiting artists. source), rooms (the acoustical conveyance) and listeners Videotaped live performances will be posted on the sta- (the powerfully perceptive, and adaptable receptor). In tion’s website. some respects, our problems began when we started to Concurrent with this move, KPFK Public Radio in Hol- make certain kinds of simplistic measurements. Two lywood, a multi-award-winning, listener-sponsored part of ears and a brain do not respond to complex sound fields the Pacifica Network since 1959, is upgrading its long- the way an omnidirectional microphone and analyzer do. term home. The project will include a major acoustical Belief that “room equalization” is a universal cure-all has update of their live performance studio and a brand new added to the confusion. Much of the applied acoustical control room. With its 110,000-watt main transmitter atop science was developed for large, reverberant, venues, Mount Wilson, KPFK is one of the most powerful FM sta- not those most used for sound reproduction. We can do tions in the western U.S. The redesigned live room and better. At the present time the audio industry is signifi- new control room will enable the station to produce high cantly lacking in meaningful standards, material specifi- quality performance, political, public affairs, and cultural cations and loudspeaker performance descriptions. As a programming videos for posting on their Website. consequence, opinions often substitute for facts. Is it purely coincidental that both these stations have commissioned professional-level recording studio/perfor- Tutorial 5 Thursday, October 9 mance venues? Is this a new trend for 21st Century 10:45 am – 11:45 am Room 409 AB Internet Radio? This panel discussion will include station engineers (TBD) and, celebrated producer/engineer PROTOTYPING AUDIO ALGORITHMS Eddie Kramer who is consulting on the design of the AS VST PLUGINS KPFK studio.

Presenter: Edward Stein, DTS, Inc., Los Gatos, CA, Session EB1 Thursday, Oct. 9 USA 11:00 am – 12:30 pm S-Foyer 1 Professional algorithm designers, hobbyist programmers with a passion for audio, and experimentalist musicians POSTER SESSION 1 often have a common challenge–“How do I hear my idea 11:00 am come to life?” Forums are full of posts with subjects like “I want to…, where do I start?” Depending on your bud- EB1-1 Analysis of Sound Field Generated by Line get, very comprehensive tools are out there with various Arrays with Waveguides—Xuelei Feng, Yong trade-offs on ease and control. This tutorial looks at a Shen, Simiao Chen, Ye Zhao, Nanjing powerful open-source C++ framework, JUCE for rapidly University, Nanjing, Jiangsu Province, China prototyping your ideas as VSTs (and other plugin for- mats) with a real-time graphical user interface. The focus Considering that a loudspeaker line array results will be on kick-starting beginners with a limited but work- from assembly of separate loudspeaker enclo- ing knowledge of C++. Topics will include: good practice sures, it is important to take the gaps between for building a highly reusable C++ audio class library, enclosures into account and the line array is basics of real-time audio plugins, quickly setting up and considered as a collection of several line working with JUCE projects, real-time parameters (GUI, sources of certain height. Particularly at high fre- MIDI control, presets, etc.), and troubleshooting tips for quency, since the waveguides are used as the when things don’t go as you planned. By the end, you array element to achieve the line sources, the should be comfortable building your own VST plugins sound field generated by the arrays of wave- and be able to move forward focusing on what you care guides is analyzed. The results are compared about–how it sounds. with those described in previous works that as- sumed that the array elements were perfect line sources. Broadcast/Streaming Media Session 1 Engineering Brief 156 Thursday, October 9 10:45 am – 12:45 pm Room 408 A 11:00 am FACILITY DESIGN: TO MOVE, OR NOT TO MOVE? EB1-2 Active Noise, Acoustic Echo, and Audio CONTRASTING SOLUTIONS—TWO WEST COAST Ducking Using TMSC5535 eZdsp USB Stick FM STATIONS ADDRESS SHIFTING LISTENER NEEDS Development Kit—Prabhanjan Kadepurkar, California State University, Long Beach, Long Presenters: Eddie Kramer, Audio and Technical Beach, CA, USA Consultant for KPFK 90.7FM Studio Audio Ducking, Active Noise, and Acoustic Echo Upgrade, Los Angeles, CA, USA Cancellation using TMS320C5535 eZdsp USB John Storyk, Walters-Storyk Design Group, Stick Development Kit is an application system Highland, NY, USA designed for live audio broadcasting and record- Mark Torres, Pacifica Radio Archives/KPFK ing purposes. This application system initializes 90.7FM - Los Angeles, CA USA and executes adaptive audio and acoustic signal The meaningful (and growing) role that radio continues processing algorithms using a high performance to play in listener lives is clearly illustrated by the con- and low power DSP TMS320C5535. In this trasting upgrade decisions of two leading west coast FM study three sub-systems are discussed in brief stations. A staple of Seattle’s booming music scene for and finally system setup and implementation is over 40 years, KEXP 90.3 FM is preparing to move to a analyzed. 21st Century broadcast facility. Situated in the world- Engineering Brief 157

6 Audio Engineering Society 137th Convention Program, 2014 Fall 11:00 am anechoic chamber at 5 cm grid. Experimental setup consisted of a multitone generator, two EB1-3 Loudspeaker Electrical Impedance loudspeakers, human head model, intensimetric Measurements Methods: A Brief Review— probe, the Cartesian robot applied for precise Daniele Ponteggia, Audiomatica Srl, Firenze, Italy positioning of the acoustic sensor, and an ana- There are several possible methods to measure lyzer. Based on the collected data sound field the loudspeaker driver electrical impedance. visualization was created in the form of colored Those methods have followed the development of maps and arrows illustrating pressure and the in- measurement instruments starting from the era of tensity vector at a given point in the presence of the simple needle voltmeters to the PC-based the artificial head, without this obstacle and the instruments widely available today. This paper will difference resulted from the mentioned condi- go through the theory and practice of impedance tions. A thorough analysis of the results obtained measurements with a series of examples where and conclusions followed. the pros and cons of each method are highlighted Engineering Brief 160 using real measurements. Effect of current sensor choice, noise, vibrations, and test level will be 11:00 am discussed in detail. Engineering Brief 158 EB1-6 Stereo Aligned Saturation—Quintino Sardo, Angelo Mangano, SKnote - SK Cooperative, La Punta (CT), Italy 11:00 am All analog devices provide a finite dynamic EB1-4 Implementation of Segmented Circular-Arc range. Saturation occurs when available head- Loudspeaker Arrays—D.B. (Don) Keele, Jr., room ceiling is reached. Often, saturation is a DBK Associates and Labs, Bloomington, IN, USA desired effect to provide punch, brightness or Circular-arc loudspeaker line arrays composed changes in timbre, but stereo image is compro- of multiple loudspeaker sources are used very mised because stereo saturation cannot be frequently in loudspeaker applications to provide matched. Tests and methods for stereo aligned uniform vertical coverage [1, 2]. To simplify saturation are analyzed and described. these arrays, the arrays may be simplified by Engineering Brief 174 forming the array using multiple straight-line seg- [This EB was not presented.] ments or individual straight-line arrays. This approximation has errors because some of the speakers are now no longer located on the circu- Thursday, October 9 11:00 am Room 405 lar arc and exhibit a “bulge error.” This error Technical Committee Meeting on Archiving, decreases as the number of segments increase Restoration, and Digital Libraries or the splay angle of an individual straight seg- ment is decreased. The question is how small does the segment splay angle have to be so that Thursday, October 9 11:00 am Room 407 the overall performance is not compromised Standards Committee Meeting on Measurement compared to the non-segmented version of the of Sound Systems in Rooms array? Based on two simple spacing limitations that govern the upper operating frequency for each type of array this paper shows that the Product Design Sess ion 1 Thursday, October 9 bulge deviation should be no more than about 11:15 am – 12:45 pm Room 402 AB one-fourth the center-to-center spacing of the sources located on each straight segment and THE SECRETS OF ANALOG DESIGN that surprisingly, the maximum splay angle and array radius depends only on the number (N) of Presenters: Dave Derr, Empirical Labs, equally-spaced sources that are on a straight Parsippany, NJ, USA segment. As the number of sources on a seg- Dave Hill, Crane Song, Superior, WI, USA; ment increases, the maximum segment splay Dave Hill Designs, Superior, WI, USA angle decreases and the required minimum Hutch Hutchison, Freelancer array radius of curvature increases. Design guidelines are presented that allow the segment- Navigating the secrets of analog can be both frustrating ed array to have nearly the same performance and rewarding. In the design of an analog product there as the accurate circular arc array. are many different ways to create the design. The choic- Engineering Brief 159 es that are made determine the sound, manufacturability, [This EB will not be presented.] and cost of the device. With clever choices one can cre- ate a product with a unique and desirable sound while 11:00 am controlling the undesired factors such as cost, manufac- turability issues, and reliability. We will look at a number EB1-5 Sound Field Intensity Measurements of choices to create the same function and how the and Visualization around the Human Head choices will affect the sonics of the device. In the market Model—Bozena Kostek, Adam Kurowski, Piotr these choices can result in a product the fits the studio to Kryger, Andrzej Czyzewski, Gdansk University the Concert Tour. What we work to avoid is a product of Technology, Gdansk, Poland that has so-what characteristics. Unique circuits have unique sounds; in this workshop the panel will explore The main goal of this research study was to some of the mystery and help attendees better under- measure and visualize sound field in the pres- stand the choices the options they have in designing in ence and without presence of the human head the analog domain. model. Measurements were performed in the ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 7 Technical Program Tutorial 7 Thursday, October 9 Special Event 11:30 am – 12:30 pm Room 408 B AWARDS PRESENTATION AND KEYNOTE ADDRESS Thursday, October 9, 1:00 pm – 2:00 pm ALL ABOUT: THE DECIBEL Room 403 AB

Presenter: Alex Case, University of Massachusetts Opening Remarks: Lowell, Lowell, MA, USA • Executive Director Bob Moses The decibel is defined by an equation. “Yuck!” some • President Sean Olive might say. However that equation is rich with meaning • President-Elect Andres Mayo and need not be a source of confusion. Total mastery of • Convention Co-chairs Michael MacDonald, the decibel makes interfaces far more informative, specs Valerie Tyler sheets so much clearer, and every session easier. Program: • AES Awards Presentation Game Audio Session 1 Thursday, October 9 • Introduction of Keynote Speaker 11:30 am – 12:45 pm Room 406 AB • Keynote Address by Alan Parsons

SOUND BUSINESS: STRATEGIES Awards Presentation AND FUNDAMENTALS IN GAME AUDIO CONTRACTS 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- Presenter: Keith Arem, President, PCB Productions lications, as well as other accomplishments that have and PCB Entertainment contributed to the enhancement of our industry. The Understand how new technologies and delivery meth- awardees are: ods can affect ownership, residuals, and copyright. Ac- GOLD MEDAL AWARD tors, musicians, composers, sound engineers, and di- • Floyd Toole rectors can discover new opportunities in the expanding frontier of games. PCB President Keith BRONZE MEDAL AWARD Arem shares his experiences and insight into how • Mark Gander games are transforming the way the entertainment in- • Peter Mapp dustry works with sound. • Francis Rumsey BOARD OF GOVERNORS AWARD Tutorial 6 Thursday, October 9 • Jim Anderson 11:45 am – 12:15 pm Room 309 FELLOWSHIP AWARD • Alex Case PRODUCE 3D AUDIO FOR MUSIC, FILM, AND GAME • Mark F. Davis APPLICATIONS • Jim Kaiser • Bob Lee Presenter: Tom Ammermann, New Audio Technology • Bruce Swedien GmbH, Hamburg, Germany • Edmund Welly • James Yeary Beyond of formats and applications but having later distribution in mind, the session will show production CITATION strategies and tools in 3D audio. Complete sessions • Christopher Freitag from different genres will be opened and setups will be explained. Furthermore current and future end cus- Keynote Speaker tomer application and distribution possibilities will be Alan Parsons, the acclaimed engineer, musician, and shown. record producer, has been involved in the production of several legendary albums throughout his career. He was fortunate enough to work as assistant engineer on the final Thursday, October 9 12:00 noon Room 405 two albums by The Beatles, and after he qualified as a ful- Technical Committee Meeting on Audio ly-fledged recording engineer, he went on to work with Paul for Telecommunications McCartney and The Hollies, among many others. But it was his contribution as engineer on Pink Floyd’s classic Tutorial 8 Thursday, October 9 Dark Side of the Moon that really got him worldwide atten- 12:15 am – 12:45 pm Room 309 tion and earned him his first of many GRAMMY nomina- tions. That soon led to striking successes as a producer— PRODUCE 3D HEADPHONE ENTERTAINMENT notably with Pilot's “Magic,” John Miles’ “Highfly” and Steve Harley’s “Make Me Smile (Come Up And See Me).” He also produced the hugely successful Year of the Cat album Presenter: Tom Ammermann, New Audio Technology with Al Stewart and two albums with American progressive GmbH, Hamburg, Germany rock band Ambrosia. With Eric Woolfson, Parsons co- Over 80% of the people listen to their music with head- founded The Alan Parsons Project, famous for its revolving phones. The exploding mobile entertainment is close to a group of studio musicians and vocalists and its platinum 100% headphone application. Furthermore evolution albums and singles, including “Games People Play” and seems not to give humans a third ear. So headphones “Eye in the Sky.” are not a fashion but a huge application now and in the Additionally, he developed The Art and Science of future at all. How to conquer this marked and how to pro- Sound Recording, a definitive collection of training videos duce new virtual 3D audio productions is the task of this presented by Parsons, which gives viewers his exclusive session. insider access to legendary musicians, producers and engi-

8 Audio Engineering Society 137th Convention Program, 2014 Fall neers and their award-winning recording techniques. Noise Levels are presented, and leveling challenges in Alan has come full circle and is back in his role as pro- mobile and streaming are described. Finally, the panel ducer and engineer, both at his own Santa Barbara stu- will discuss if FM radio is a lost cause, or if a better audio dio and other studios internationally. In 2012, Alan pro- quality could be delivered to consumers, e.g., using the duced an album called Grand Ukulele with virtuoso same loudness metrics now employed in TV. ukulele player Jake Shimabukuro. A collaboration with Focus will be on technical and perceptual issues with- Steven Wilson as engineer and associate producer re- out the mentioning of commercial products. sulted in the album The Raven That Refused to Sing (And Other Stories) in 2013, hailed as a major success Game Audio Session 2 Thursday, October 9 and reaching Top 5 on the album charts in Germany. 2:15 pm – 3:15 pm Room 408 B In his Keynote address, Mr. Parsons will provide his unique insights on the current and future direction of the EFFECTIVE INTERACTIVE MUSIC SYSTEMS: music and recording industry from his singular perspec- THE NUTS AND BOLTS OF DYNAMIC MUSICAL tive of success and experience throughout the history of CONTENT popular music. Presenter: Winifred Phillips, Generations Productions Thursday, October 9 2:00 pm Room 405 LLC, New York City Metropolitan Area, USA Technical Committee Meeting on Acoustics and Sound Reinforcement Interactive methodologies have profoundly impacted the way that music is recorded, mixed and integrated in Thursday, October 9 2:00 pm Room 407 video games. From horizontal resequencing and vertical Standards Committee Meeting on Digital Input/ layering techniques for the interactive implementation of Output Interfacing music recordings, to MIDI and generative systems for the manipulation of music data, the structure of game music Tutorial 9 Thursday, October 9 poses serious challenges both for the composer and for 2:15 pm – 3:45 pm Room 409 AB the game audio engineer. This talk will examine the pro- cedures for designing interactive music models and implementing them effectively into video games. The talk DITHER AND NOISE SHAPING IN DIGITAL AUDIO: will include comparisons between additive and inter- HOWS AND WHYS change systems in vertical layering, the lessons that can be learned from conventional stem mixing, the use of Presenter: Duane Wise, Wholegrain Digital Systems markers for switching between segments, and how to LLC, Boulder, CO, USA disassemble a traditionally composed piece of music for This tutorial investigates finite-word-length in digital use within an interactive system. audio: how it differs from analog audio, the side-effects of signal quantization, and how the adverse effects of Product Design Session 2 Thursday, October 9 quantization can be diminished via dither and/or noise 2:15 pm – 2:45 pm Room 406 AB shaping. The tutorial presents the theory of quantization along with a live interactive audio demonstration that WELCOME TO TOP GUN FOR PRODUCT illustrates the motivation behind the theory. DESIGNERS The author invites attendees to download the presen- tation materials at http://www.wholegrain-ds.com/ Presenter: Scott Leslie, Product Design Track DigAud_Dither.pdf. Chairperson This session is presented in association with the AES Technical Committee on Signall Processing. Following on from the special workshop this morning on “The Secrets of Analog Design,” this session will intro- Broadcast/Streaming Media Session 2 duce the theme and sessions for the rest of the PD Track Thursday, October 9 2:15 pm – 4:15 pm for AES LA. The curriculum has two themes this year. Room 408 A Some sessions will focus on great audio design topics as AES has done in the past. The second and new theme is about how to develop LOUDNESS FOR STREAMING AND RADIO great products in a global sourcing and engineering envi- ronment. Today’s engineers and managers must devel- Presenters: Dave Casey, DTS Inc. op a skill set to deal with the complex world of global Frank Foti, Telos, New York, NY, USA availability of: John Kean, NPR Labs, Washington DC, USA; National Public Radio 1) Off-shore manufacturing and supply chain Thomas Lund, TC Electronic A/S, Risskov, 2) Design services Denmark 3) Engineering services Scott Norcross, Dolby Laboratories, 4) Off the shelf and semi-custom subassemblies San Francisco, CA, USA Topics in this theme will provide valuable insight for Robert Orban, Orban, San Leandro, CA, USA understanding how to find, specify, integrate and man- The average consumer today stands little chance of age these disciplines into successful end products. accessing audio of even just the quality of compact cas- This session is to provide an overview of the current sette. The loudness wars devour most new productions global sourcing phenomenon and direct you to the PD as well as remastered tracks, and current legislation to track sessions that can leverage your talents in new prevent early hearing loss from listening to mobile ways to get products to market that are huge successes devices promotes “music-sausaging” further. and meet your company’s business objectives. Results from CEA’s new study on Loudness Range for Welcome to Top Gun! Consumers in Various Listening Modes and Ambient ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 9 Technical Program Historical Event H1 Student Event/Career Development EVOLUTION OF STUDIO ACOUSTIC DESIGN OPENING AND STUDENT DELEGATE ASSEMBLY Thursday, October 9, 2:15 pm – 4:15 pm MEETING – PART 1 Room 404 AB Thursday, October 9, 2:15 pm – 3:45 pm Room 306 AB Moderator: Mark Gander, JBL/Harman Professional, The first Student Delegate Assembly (SDA) meeting is Northridge, CA, USA the official opening of the Convention’s student program Presenters: George Augspurger, Perception Inc., and a great opportunity to meet with fellow students from Los Angeles, CA, USA all corners of the world. This opening meeting of the Stu- Chips Davis, Chips Davis Designs, LLC, dent Delegate Assembly will introduce new events and San Francisco, CA, USA election proceedings, announce candidates for the com- Richard Schrag, Russ Berger Design Group ing year’s election for the North & Latin American Inc., Addison, TX, USA Regions Vice Chair, announce the finalists in the Student John Storyk, Walters-Storyk Design Group, Recording Competition categories and the Student Highland, NY, USA Design Competition, and announce all upcoming stu- dent/education related events of the convention. Stu- A panel of four distinguished studio designers, George dents and student sections will be given the opportunity Augspurger, Russ Berger, John Storyk, and Chips Davis, to introduce themselves and their activities, in order to each with career durations of over forty years, will give stimulate international contacts. The SDA leaders will individual perspectives on how methods have evolved in then lead a dialog to discuss important issues significant their work and the industry from the 1960s to the present to all college audio students. day. They will outline the development of modern studio All students and educators are invited to participate in design principles by presenting key examples of their this meeting. Election results and Recording Competition projects, to be followed by panel interaction and ques- and Design Competition Awards will be given at the Stu- tions from the audience. dent Delegate Assembly Meeting–Part 2 on Sunday, October 12. Special Event THE LATIN PANEL: Session P3 Thursday, Oct. 9 GREAT PRODUCERS FROM LATIN AMERICA 2:30 pm – 6:30 pm Room 308 AB Thursday, October 9, 2:15 pm – 4:15 pm Room 402 AB SPATIAL AUDIO—PART 2 Chair: Eric Benjamin Moderator: Andres A. Mayo, Andres Mayo Mastering & Audio Post, Buenos Aires, Argentina 2:30 pm Panelists: Daniel Anselmi, Música CaReta, Montevideo, P3-1 A Polygon-Based Panning Method for 3D Uruguay Loudspeaker Setups—Christian Borß, Rafa Arcaute, Rafa Arcaute, Buenos Aires, Fraunhofer Institute for Integrated Circuits IIS, Argentina Erlangen, Germany Armando Avila, Cosmos, Mexico Aureo Baqueiro, Brava! Music, Los Angeles, In this paper we introduce the “Edge Fading CA, USA; Nico Plus Music Group, Los Amplitude Panning” (EFAP) method for 3D loud- Angeles, CA, USA speaker setups. Similar to other panning meth- Humberto Gatica, Lionshare/Gatica Music, ods like Vector Base Amplitude Panning Los Angeles, CA, USA (VBAP), it can be used to create phantom Tweety González, Twitin Records, Buenos sources between the loudspeaker positions. The Aires, Argentina proposed method features symmetric panning Anibal Kerpel, SK Associates, Los Angeles, gains for symmetric loudspeaker setups, N-wise CA, USA panning by using polygons instead of triangles, Sebastian Krys and a better behavior for large opening angles Guido Nisenson between loudspeakers while involving a compu- Rafa Sardina, Fishbone Productions, Inc., tational complexity that is in the same order of Los Angeles, CA, USA magnitude as VBAP. Convention Paper 9106 Por primera vez en la historia, tendremos un panel oficialmente hablado en idioma Español en una Conven- ción Internacional de AES. El panel "Grandes Produc- 3:00 pm tores de América Latina! reunirá a algunos de los más P3-2 Utilizing Contralateral ICTDs to Stabilize grandes nombres de la región, todos ellos múltiples Lateral Imaging in 5.1 Surround Systems— ganadores de Premios Grammy, para presentar sus últi- Michael Tierney, Adrian Tregonning, New York mas producciones y hablar acerca del estado de la University, New York, NY, USA industria en América Latina. In 5.1 surround sound systems the problems of For the first time in AES history, there will be a panel lateral image instability and a non-linear lateral officially held in Spanish in an International AES Conven- panning path are well known. Alternative pan- tion. The panel “Grandes Productores de América Lati- ning techniques have been developed in an na” (“Great producers from Latin America”) will bring attempt to overcome these problems, but often together several of the biggest names in the region, all of improved spatial imaging compromises spectral them multiple Grammy Award winners, to present their integrity. This is an undesirable tradeoff in the most recent work and discuss the state of the musical context of music mixing and production. The cur- industry in Latin America. rent paper examines the effect of low-level inter-

10 Audio Engineering Society 137th Convention Program, 2014 Fall channel time differences (ICTDs) in contralateral Estimation—Guangji Shi, Martin Walsh, channels with respect to lateral imaging. Subjec- Edward Stein, DTS, Inc., Los Gatos, CA, USA tive experiments evaluated localization percep- tions with ICTDs of 1 ms in either the front or While most modern surround sound formats surround contralateral channel. This led to more specify ideal loudspeaker placement, it is often accurate and predictable lateral image position- impractical to comply with these specifications in ing with minimal spectral coloration. The results most homes. In this paper we propose a simpli- are used to propose a more effective 5.1 lateral fied approach to spatial calibration for incorrectly panning mechanism. set up surround sound systems. The proposed Convention Paper 9107 system utilizes a microphone array embedded into a component of the reproduction system whose location is predictable, such as a sound 3:30 pm bar or a front center speaker. In addition to esti- P3-3 Investigation into the Impact of 3D Surround mating loudspeaker positions, the proposed sys- Systems on Envelopment—Paul Power, Bill tem is able to estimate a listener’s position using Davies, Jonathan Hirst, University of Salford, voice input and calibrate the surround sound Salford, Greater Manchester, UK system utilizing the estimated listener position. Tests conducted in a typical living room setup This investigation assessed a number of 2D and show that the proposed system is able to 3D surround systems focusing on the attribute improve the listening experience on such com- “envelopment” to determine if surround systems promised systems with only simple user interac- with height significantly enhance the perception tions such as voice commands. of envelopment over current 2D systems. To Convention Paper 9110 assess each of the systems an objective and subjective method was used. The objective 5:00 pm method consisted of measuring the IACC (Inter- Aural Cross Correlation) of each reproduction P3-6 Comparison of Pressure-Matching and Mode- system by reproducing three different types of Matching Beamforming for Methods for sound scenes over each system. In addition, a Circular Loudspeaker Arrays—Filippo Maria subjective listening test was also carried out to Fazi,1 Mincheol Shin,1 Ferdinando Olivieri,1 evaluate the perceived envelopment. The objec- Simone Fontana,2 Lang Lang Yue2 tive measure showed that the introduction of 1University of Southampton, Southampton, height channels did lower the IACC. Further, Hampshire, UK; subjective listening test results showed that 2Huawei European Research Center, Munich, there were significant differences between the Germany height and horizontal surround systems in terms of envelopment, however this was dependent on Pressure-matching and mode-matching are two the audio stimulus used. Finally, a correlation well-known strategies used for the computation between the objective and subjective measures of beamforming digital filters for microphone and showed a strong negative correlation. loudspeaker arrays. A theoretical comparison is Convention Paper 9108 presented of these two methods when these are applied to a circular loudspeaker array mounted on a rigid cylinder. The pressure-matching 4:00 pm method is used to generate the desired acoustic P3-4 An Architecture for Reverberation in High pressure at a number of control points arranged Order Ambisonics—Fernando Lopez-Lezcano, in the far field of a circular loudspeaker array, Stanford University, Stanford, CA, USA while in the case of mode-matching an attempt is made to minimize the squared error between This paper describes a reverberation architec- the Fourier coefficients that represent the repro- ture implemented within the signal chain of a duced and tar-get radiation pattern of the array. periphonic HOA (High Order Ambisonics) audio It is shown that, in the case under consideration, stream. An HOA signal (3rd order in the example the two strategies are identical if the effect of implementation) representing the dry source sig- spatial aliasing is negligible. nal is decoded into an array of virtual sources Convention Paper 9111 uniformly distributed within the reverberant space being simulated. These virtual sources 5:30 pm are convolved with independent, decorrelated impulse responses, optionally tailored to model P3-7 MIAP: Manifold-Interface Amplitude Panning spatial variations of the simulated reverberation. in Max/MSP and Pure Data—Zachary Seldess, The output of each convolver is then encoded Sonic Arts R&D, UC San Diego, San Diego, CA, back into High Order Ambisonics and mixed with USA the original Ambisonics dry signal. The result is a convolution reverberation engine with a HOA This paper discusses MIAP (Manifold-Interface input that outputs HOA and maintains the spatial Amplitude Panning), a new freely available characteristics of the input signal. implementation of Meyer Sound’s SpaceMap Convention Paper 9109 abstract spatialization software via a collection of [Paper was not presented but is available for C externals for Max/MSP and Pure Data. purchase in the E-Library] SpaceMap’s technical and conceptual innova- tions are discussed and placed within the larger context of widely available codified spatialization 4:30 pm algorithms and approaches such as Vector-base P3-5 Spatial Calibration of Surround Sound amplitude panning. An examination of the new Systems including Listener Position implementation is made along with discussion of ¯ Audio Engineering Society 137th Convention Program, 2014 Fall 11 Technical Program added features resulting from the translation. Smart amplifiers are a new generation of ampli- Convention Paper 9112 fiers using a real-time feedback loop to ensure the speaker stays within its physical limits, and 6:00 pm they are capable of delivering significantly more output power than previously possible. This jump P3-8 Aurally Aided Visual Search Performance requires the definition of new performance Comparing Virtual Audio Systems—Camilla ratings for micro-speakers. The purpose of this H. Larsen, David S. Lauritsen, Jacob J. Larsen, paper is to recommend test procedures and Marc Pilgaard, Jacob B. Madsen, Rasmus methods for the specification of a maximal Stenholt, Aalborg University, Aalborg, Denmark speaker-membrane excursion (Xmax) suitable Due to increased computational power reproduc- for an application that uses a smart amplifier. ing binaural hearing in real-time applications, The proposed set of criteria to characterize this through usage of head-related transfer functions usable excursion should allow micro-speaker (HRTFs), is now possible. This paper addresses vendors to provide optimized and reliable solu- the differences in aurally-aided visual search per- tions to their customers. formance between an HRTF enhanced audio sys- Convention Paper 9114 tem (3D) and an amplitude panning audio system (panning) in a virtual environment. We present a 3:30 pm performance study involving 33 participants locat- P4-3 Comparative Study of Si and SiC MOSFET ing aurally-aided visual targets placed at fixed po- for High Voltage Class D Audio Amplifiers— sitions, under different audio conditions. A varying Dennis Nielsen, Arnold Knott, Michael A. E. amount of visual distractors were present, repre- Andersen, Technical University of Denmark, sented as black circles with white dots. The results Kgs. Lyngby, Denmark indicate that 3D audio yields faster search laten- cies than panning audio, especially with larger Silicon (Si) Metal–Oxide–Semiconductor Field- amounts of distractors. The applications of this Effect Transistors (MOSFETs) are traditionally research could fit virtual environments such as utilized in class D audio amplifiers. It has been video games or virtual simulations. proposed to replace the traditional inefficient Convention Paper 9150 electrodynamic transducer with the electrostatic transducer. This imposes new high voltage Session P4 Thursday, Oct. 9 requirements on the MOSFETs of class D ampli- 2:30 pm – 5:30 pm Room 309 fiers and significantly reduces the selection of suitable MOSFETs. As a consequence it is TRANSDUCERS—PART 1 investigated if Silicon-Carbide (SiC) MOSFETs could represent a valid alternative. The theory of pulse timing errors are revisited for the applica- Chair: Joerg Panzer, R&D Team Software tion of high voltage and capacitive loaded class Development, Germany D amplifiers. It is shown that SiC MOSFETs can compete with Si MOSFETs in terms of THD. Val- 2:30 pm idation is done using calculations and a ± 500 V P4-1 The Dynamics Detection and Processing amplifier driving a 100 nF load. THD+N below Method for Preventing Large Displacement 0.3% is reported. Transducer Damage Problem—Yu-Ting Tsai, Convention Paper 9115 Jin H. Huang, Feng Chia University, Taichung, [Paper will be presented by Thomas Birch] Taiwan 4:00 pm The method for avoiding the large displacement damage problem of the transducer diaphragm is P4-4 Adaptive Stabilization of Electro-Dynamical presented in this study. To account for the dis- Transducers—Wolfgang Klippel, Klippel GmbH, placement and supply current, a set of transduc- Dresden, Germany tion equations with parameters for the receiver is A new control technique for electro-dynamical established. The numerical solver is used to transducer is presented that stabilizes the voice obtain the displacement values from the trans- coil position, compensates for nonlinear distor- duction equations of the transducer and then tion, and generates a desired transfer response limit the peak of the current and coil velocity by by preprocessing the electrical input signal. The using the dynamics limiter. Once the peak limit- control law is derived from transducer modeling ed process is done, the safe input voltage can using lumped elements and identifies all free be obtained satisfactorily for preventing the im- parameters of the model by monitoring the elec- pulse damage of displacement. The numerical trical signals at the transducer terminals. The and experimental results indicate that the pro- control system stays operative for any stimulus posed method features high efficiency and ability including music and other audio signals. The applied in the wide application of transducers. active stabilization is important for small loud- Convention Paper 9113 speakers generating the acoustical output at maximum efficiency. 3:00 pm Convention Paper 9116 P4-2 Specifying Xmax for Micro-Speakers and Smart Amplifiers—Géraldine Vignon,1 4:30 pm 2 Shawn Scarlett P4-5 Retrofitting a Complex, Safety-Critical PA 1NXP, Leuven, Belgium 2 System for Periodic Testing—Gregor NXP, Nijmegen, The Netherlands Schmidle,1 Philipp Schwizer,1 Winfried Häns2 12 Audio Engineering Society 137th Convention Program, 2014 Fall 1NTi Audio AG, Schaan, Liechtenstein cussion at the overall system level. Each will also be 2Kernkraftwerk Gundremmingen GmbH, conducting tutorials on their subject in depth during the Gundremmingen, Germany Product Design Track.

This paper describes considerations and the Session P5 Thursday, Oct. 9 implementation of retrofitting a fully-automated 3:00 pm - 4:30 pm Foyer 1 procedure, for testing a public address system, into a safety-critical environment (a nuclear pow- POSTERS: AUDIO SIGNAL PROCESSING er plant). There are over 4000 loudspeakers, about 200 amplifiers as well as various alarm- signal generators that need to be tested every 3:00 pm day within a few minutes. Additionally, all com- mand room microphones are checked using a P5-1 An Evaluation of Chromagram Weightings semi-automated procedure. The procedures for Automatic Chord Estimation—Zhengshan were designed and configured to not only reli- Shi, Julius O. Smith, III, Stanford University, ably detect single defective components, but Stanford, CA, USA also to not produce any false alarms. Automatic Chord Estimation (ACE) is a central Convention Paper 9117 task in Music Information Retrieval. Generally, audio files are parsed into chroma-based features 5:00 pm for further processing in order to estimate the P4-6 The Correlation between Distortion Audibility chord being played. Much work has been done to and Listener Preference in Headphones— improve the estimation algorithm by means of sta- Steve Temme,1 Sean Olive,2 Steve Tatarunis,1 tistical models for chroma vector transitions, but Todd Welti,2 Elisabeth McMullin2 not as much attention has been given to the loud- 1Listen, Inc., Boston, MA, USA ness model during the feature extraction stage. In 2Harman International, Northridge, CA USA this paper we evaluate the effect on chord-recog- nition accuracy due to the use of various nonlin- It is well-known that the frequency response of ear transformations and loudness weightings loudspeakers and headphones has a dramatic applied to the power spectrum that is “folded" to impact on sound quality and listener preference, form the chromagram in which chords are detect- but what role does distortion have on perceived ed. Nonlinear spectral transformations included sound quality? To answer this question, five square-root magnitude, magnitude, magnitude- popular headphones with varying degrees of dis- squared (power spectrum), and dB magnitude. tortion were selected and equalized to the same Weightings included A-weighted dB and Gauss- frequency response. Trained listeners compared ian-weighted magnitude. them subjectively using music as the test signal, Convention Paper 9119 and the distortion of each headphone was mea- sured objectively using a well-known commercial 3:00 pm audio test system. The correlation between sub- jective listener preference and objective distor- P5-2 CUDA Accelerated Audio Digital Signal tion measurement is discussed. Processing for Real-Time Algorithms— Convention Paper 9118 Nicholas Jillings, Yonghao Wang, Birmingham City University, Birmingham, UK Product Design Session 3 Thursday, October 9 This paper investigates the use of idle graphics 2:45 pm – 4:45 pm Room 406 AB processors to accelerate audio DSP for real-time algorithms. Several common algorithms have BRINGING IT ALL TOGETHER—A PANEL SESSION been identified for acceleration and were execut- ed in multiple thread and block configurations to ascertain the desired configuration for the differ- Chair: Scott Leslie, PD Squared, Irvine, CA, USA ent algorithms. The GPU and CPU performing Panelistss: Stefan Feistel, AFMG Technologies GmbH, on the same data sizes and algorithm are com- Berlin, Germany pared against each other. From these results the Steve Hutt paper discusses the importance of optimizing Denis Labrecque, Analog Devices, the code for GPU operation including the allocat- San Jose, CA, USA ing shared resources, optimizing memory trans- Bill Whitlock, Whitlock Consulting, Oxnard, fers, and forced serialization of feedback loops. CA, USA It also introduces a new method for audio pro- cessing using GPU’s as the default processor Today’s engineers and managers must develop a skill instead of an accelerator. set to deal with the complex world of global availability Convention Paper 9120 of: (1) Off-shore manufacturing and supply chain; (2) Design services; (3) Engineering services; (4) Off the 3:00 pm shelf and semi-custom subassemblies. This panel ses- sion will kickoff the Track and open up the discussion on P5-3 A Modified Variable Step Size NLMS the key theme for this year's AES Product Design Track. Algorithm for Acoustic Echo Cancellation The panelists will represent the following subsystem Application—Youhong Lu, Syavosh Zadissa, areas in bringing together all technology and supply ar- Microsoft, Redmond, WA, USA eas required in bringing great products to market: (1) The Variable Step Size (VSS) Normalized Least Digital Processing, (2) Amplifiers, (3) Software, (4) Loud- Mean-Square (NLMS) algorithm has been stud- speaker Drivers, (5) EMI. This is a unique opportunity to ied in depth. Numerous publications have cov- engage these experts of each of their domains in a dis- ¯ Audio Engineering Society 137th Convention Program, 2014 Fall 13 Technical Program ered this technique from both theoretical and 3:00 pm practical point of views. This contribution builds on the past knowledge and proposes an P5-6 Triode Emulator: Part 2—Dimitri Danyuk, improvement. This is a single filter approach Consultant, Palmetto Bay, FL, USA without any double talk detection. We will show The paper describes method for accurate emu- that the proposed technique, in the context of lating of triode behavior at high input levels. acoustic echo cancellation, offers superior per- Under gross overload the grid current becomes formance in terms of convergence speed, mis- a main origin of distortion. The measurements of alignment error, while offering superior resilience grid current for popular 12AX7 triode are pre- to low Echo to Interference Ratio, and Echo Path sented. In the region of interest grid current Change. dependence on input signal is emulated with a Convention Paper 9121 simple circuit. The output harmonic weighting of [Paper was not presented but is available for the emulator is examined and compared with purchase in the E-Library] existing solution. The results can be applied to solid-state guitar amplifiers. 3:00 pm Convention Paper 9124 [Paper was not presented but is available for P5-4 Robust Artificial Bandwidth Extension purchase in the E-Library] Technique Using Enhanced Parameter Estimation—Jonggeun Jeon,1 Yaxing Li,1 3:00 pm Sangwon Kang,1 Kihyun Choo,2 Eunmi Oh,2 Hosang Sung2 P5-7 A SIMULINK Toolbox of Sigma-Delta 1Hanyang University, Korea Modulators for High Resolution Audio 2Samsung Electronics, Suwon, Korea Conversions—Isacco Arnaldi, Yonghao Wang, Birmingham City University, Birmingham, UK We propose a robust artificial bandwidth exten- sion (ABE) technique to improve the narrowband Sigma–Delta modulation is the only form of ana- speech signal quality using enhanced excitation log-to-digital conversion that allows achievement estimation and spectrum envelope. For excita- of high bit resolution at relatively low costs. tion estimation, we use a whitened narrowband There is a lack of tools in academic and in indus- excitation signal, generated by passing the exci- try that allow entry level engineers to familiarize tation signal through a whitening filter. An adap- with the concepts governing this conversion tive spectral double shifting method is introduced technique, especially for high orders, multi-bit, to obtain an enhanced wideband excitation sig- and different architectures of sigma-delta modu- nal. For envelope estimation, we propose an lators. The goal of this paper is to present a enhanced combined method using the codebook graphical toolbox, developed in Simulink and and linear mapping. The proposed ABE system based on the behavioral model previously pre- is applied to the decoded output of an adaptive sented in [2] and available in [3] that allows to multi-rate (AMR) codec at 12.2 kbps. We evalu- simulate and theoretically evaluate ten different ate its performance using spectral distortion, architectures, continuous and discrete time, as wideband perceptual evaluation of speech quali- well as single- and multi-bit implementations of ty, and a formal listening test. The objective and different orders of analog-to-digital sigma-delta subjective evaluation confirm that the proposed modulators. ABE system provides better speech quality than Convention Paper 9125 that of AMR at the same bit rate. [Paper was not presented but is available for Convention Paper 9122 purchase in the E-Library]

Thursday, October 9 3:00 pm Room 405 3:00 pm Technical Committee Meeting on Microphones P5-5 Audio Signal Recovery from Single-Frame and Applications Randomly Gated Fourier Magnitudes— Dominic Fannjiang,1 Albert Fannjiang2 Games Audio Session 3 Thursday, October 9 1Davis Senior High School, Davis, CA, USA 3:15 pm – 4:45 pm Room 408 B 2University of California, Davis, Davis, CA, USA Few-frame phase retrieval is motivated by the SOUND DESIGN & MIX: CHALLENGES AND SOLU- demand of real time audio signal processing TIONS—GAMES, FILM, ADVERTISEMENT which is severely ill-posed and fundamentally challenging. This paper is an exploratory study Presenters: Charles Deenen, Mixer / Sound of single-frame phase retrieval of audio signals Supervisor, Source Sound Inc., Los Angeles, with two additional ingredients: a random gating CA, USA function and symmetry-breaking DC component. John Fasal, Sound Designer Specializing In general, randomly phased gating and a suit- in Sound Effects Recording ably chosen DC component can bring the suc- Tim Gedemer, Owner / Sound Supervisor, cess rate of single-frame phase retrieval to unity Source Sound Inc., Los Angeles, CA, USA and yield accurate, stable, fast convergent Csaba Wagner, Freelance Sound Designer numerical reconstruction. The tradeoff between Bryan Watkins, Game Sound Supervisor, the diversity of the gate and the magnitude of Warner Brothers Game Audio DC component is investigated. Convention Paper 9123 Different media in today’s marketplace require different (immersive) sound. Each media format has it’s own level

14 Audio Engineering Society 137th Convention Program, 2014 Fall requirements, channel distinctions, hidden technical of measurement data. The tutorial will be given by Dr. challenges to overcome, and more. This panel will Peter Mapp, a leading authority on STI measurement and attempt to demonstrate, through example and discus- the current chairman of IEC 60268-16—the international sion, how audio production and post production tech- standard relating to STI. niques can (and should) be effectively tailored to their This session is presented in association with the respective visual release media formats, including AES Technical Committee on Acoustics and Sound Games, Mobile, Trailers, Commercials, and Film. Reinforcement

Thursday, October 9 4:00 pm Room 405 Broadcast/Streaming Media Session 3 Technical Committee Meeting on Hearing Thursday, October 9 4:30 pm – 6:00 pm and Hearing Loss Prevention Room 408 A

Workshop 1 Thursday, October 9 ROUTING AUDIO IN A BROADCAST FACILITY 4:30 pm – 6:30 pm Room 306 AB Chair: Mike DaSilva, CBS Radio, Sacramento, LOUDNESS WARS: GIVE PEAKS A CHANCE CA, USA Panelists: Steve Dove, Wheatstone Corporation, Presenters: Florian Camerer, ORF - Austrian TV, New Bern, NC, USA Vienna, Austria; EBU - European Andreas Hildebrand, ALC NetworX GmbH, Broadcasting Union Munich, Germany Bob Ludwig, Gateway Mastering Studios, Herbert Lemcke, Lawo North America, Inc., Portland, ME, USA Tornonto, Ontario, Canada Thomas Lund, TC Electronic A/S, Risskov, Al Salci, SAS Audio Denmark Greg Shay, The Telos Alliance, Cleveland, George Massenburg, Schulich School of OH, USA Music, McGill University, Montreal, Quebec, Canada Susan Rogers, Berklee College of Music, What new audio routing advancements are we likely to Boston, MA, USA see in a typical broadcast plant design? Over the past decade, more broadcasters have had to upgrade their Music production, distribution, and consumption has been facilities while having to utilize modern audio routing caught in a vicious spiral rendering two decades of our techniques. This panel will discuss such advancements music heritage irreversibly damaged. Today, new tracks including protocols such as Ravenna, AES67, AVB, and remastered ones typically sound worse than what Dante, Livewire, and other related techniques and the could even be expected from compact cassette. As a pro typical challenges broadcasters are likely to face. society, do we just sit by and let that happen on our watch? With us to discuss the most important pro audio topic Live Sound Seminar 2 Thursday, October 9 today are Susan, George and Bob—the finest from 4:30 pm – 6:30 pm Room 402 AB music auditory research, production, and mastering— while Florian and Thomas are at the helm of two Euro- THE CREATIVE TECHNOLOGIST: CAREER PATHS pean initiatives to also help reverse the vicious spiral: OF THE AUDIO PROFESSIONAL EBU 308 AB28 and EU legislation to prevent early hear- ing loss from listening to personal music players. Another glimpse of hope is iTunes Radio with loudness normal- Moderator: Paul Freudenberg, Rat Sound Systems, ization on by default. Inc., Thousand Oaks, CA, USA More reasonable distribution will not and should not Panelists: Kevin Becka, Blackbird Academy, prevent engineers from squashing music for artistic Nashville, TN reasons, but it will take away any “advantage” of being Mario DiCola, Audio Labs Systems, louder. Learn to live with it! Florence,Italy Claudio Lastrucci, Powersoft SpA Tutorial 10 Thursday, October 9 Shawn Murphy, Recording and Live 4:30 pm – 6:00 pm Room 409 AB Sound Engineer Dave Rat, Rat Sound Systems, Inc., SPEECH TRANSMISSION INDEX (STI) Thousand Oaks, CA, USA MEASUREMENTS IN PRACTICE Frederick Vogler, Sonitus Consulting, Los Angeles, CA, USA Presenter: Peter Mapp, Peter Mapp Associates, Brett Valasek, ATK Audiotek, Valencia, CA Colchester, Essex, UK The goal of this panel discussion is primarily to inspire The Speech Transmission Index is today the most widely those people who are thinking about or just starting a used international measure of potential speech intelligibili- career in audio but all are welcomed to hear this panel ty. In particular it is cited and performance requirements of audio expert discuss being part of an audio commu- are incorporated in many national and international sound nity. Those on the panel will address the action and atti- system and emergency sound system / voice alarm sys- tudes that are required to make a living in music record- tem standards and codes of practice. Few standards how- ing, live sound production, broadcast audio or other ever state how STI performance should be measured and fields. The panelist, all at the top of their respective the equipment required to carry out such measurements. fields, will also address the creative aspects, the sci- The workshop will discuss measurement techniques, data ence of sound; how sound is controlled and processed analysis, measurement equipment (including smart phone and how to develop and maintain professional stan- apps), equipment calibration, and the capture and logging dards and repeatability. ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 15 Technical Program Product Design Session 4 Thursday, October 9 Session P6 Friday, Oct. 10 4:45 pm – 6:45 pmRoom 406 AB 9:00 am – 12:00 noon Room 308 AB

D/A AND A/D DESIGN FOR TODAY’S HIGH SPATIAL AUDIO—PART 3 RESOLUTION AUDIO FORMATS Chair: Robert Schulein, RBS Consulting, Schaumburg, IL, USA Chair: Vicki Melchior, Technical Consultant, Audio DSP, Lynn, MA, USA 9:00 am Panelists: Andy McHarg, dCS Ltd, UK Bruno Putzeys, Hypex Electronics, P6-1 PHOnA: A Public Dataset of Measured Rotselaar, Belgium Headphone Transfer Functions—Braxton B. Boren,1 Michele Geronazzo,2 Piotr Majdak,3 Daniel Weiss, Weiss Engineering Ltd., 1 Uster, Switzerland Edgar Choueiri 1Princeton University, Princeton, NJ, USA With new interest in “ultra” DSD and DXD, A/D and D/A 2University of Padova, Padova, Italy converters, to be fully inclusive, now must support a wide 3Austrian Academy of Sciences, Vienna, Austria range of PCM formats (1Fs, 2Fs, 4Fs, 8Fs) as well as DSD (64 Fs, 128 Fs, and 256 Fs). Converter design and A dataset of measured headphone transfer func- signal processing influence the performance obtained tions (HpTFs), the Princeton Headphone Open from these various formats and can also affect how they Archive (PHOnA), is presented. Extensive stud- are perceived. A panel of AD/DA design engineers highly ies of HpTFs have been conducted for the past experienced in getting the best out of formats ranging twenty years, each requiring a separate set of from redbook to high resolution offer their take on these measurements, but this data has not yet been formats and on implementation for optimal quality. Along publicly shared. PHOnA aggregates HpTFs from the way, many of the issues, assertions, less understood different laboratories, including measurements areas influencing sonic quality, and perhaps some of the for multiple different headphones, subjects, and canards that have developed surrounding these formats repositionings of headphones for each subject. are discussed. The dataset uses the spatially oriented format for acoustics (SOFA), and SOFA conventions are proposed for efficiently storing HpTFs. Historical Event H2 PHOnA is intended to provide a foundation for AUDIO ARCHITECTS OF THE NASHVILLE SOUND: machine learning techniques applied to HpTF HIGHLIGHTS FROM THE AES NASHVILLE LIFETIME equalization. This shared data will allow opti- ACHIEVEMENT AWARDS mization of equalization algorithms to provide Thursday, October 9, 5:00 pm – 6:30 pm more universal solutions to perceptually trans- Room 408 B parent headphone reproduction. Convention Paper 9126 Presenter: Michael Janas, Belmont University, Nashville, TN, USA 9:30 am “Nashville would have never become a recording center P6-2 Converting Two-Channel Stereo Signals without the engineers.” - Country Music Hall of Fame and to B-Format for Directional Audio Coding Musicians Hall of Fame guitarist Harold Bradley. Reproduction—Mikko-Ville Laitinen, As often as people talk about how great records sound Aalto University, Espoo, Finland from many decades back, so little attention has been giv- A method for transforming two-channel stereo en to the engineers who captured the sound for all-time. audio signals to B-format is proposed, which If the sounds weren’t captured just right by the engineer, provides unaltered spatial qualities when the it would be a completely different story to all who hear B-format signals are reproduced with directional them.” - Eddie Stubbs, WSM 650 disc jockey and Grand audio coding (DirAC). The proposed method Ole Opry Announcer. Audio engineers played a crucial simulates anechoic B-format recordings of role in the evolution of the Nashville sound through the the stereo signals with two different virtual loud- combination of their technical prowess, their own musi- speaker configurations, and the simulated B-for- cianship and their ability to understand the needs of the mat signals are combined according to time-fre- artist, the music, and bring to fore the elements of a hit quency analysis of the stereo signals. The song. In 2012 the Nashville Chapter of the AES began to analysis is based on estimating the diffuseness honor these audio engineers with the AES Nashville Life- of the generated virtual sound field and the time Achievement Awards. Presented annually in the coherence between the loudspeaker channels. Ford Theater at the Country Music Hall of Fame and Convention Paper 9127 Museum, these awards honor the individuals with a sus- tained record of outstanding achievement in music and sound in the Nashville recording industry. Many of the 10:00 am twenty-one individuals honored as of 2014 have record- P6-3 Binaural Reproduction over Loudspeakers ed and mastered thousands of hit recordings from many Using Low-Order Modeled HRTFs— different genres while others developed technology audio Kentaro Matsui,1,2 Yasushige Nakayama,1 engineers and musicians rely upon today, such as inline Maho Sugaya,2 Shuichi Adachi2 console architecture and the distortion pedal. Highlights 1NHK Science & Technology Research from the past three AES Nashville Lifetime Achievement Laboratories, Setagaya, Tokyo, Japan Awards presentations will be featured in this program, 2Keio University, Yokohama-shi, Kanagawa, including audio recordings, still images, video interviews Japan and video footage from the presentations.

16 Audio Engineering Society 137th Convention Program, 2014 Fall A method for binaural reproduction over loud- speakers, using cross-talk cancellation tech- speakers using low-order modeled head-related niques, has been shown to provide significant transfer functions (HRTFs) is proposed. The low- spatial audio benefits when properly implement- order modeling consists of two steps: high-order ed. This paper presents a detailed look as to model estimation using a prediction error method how these technologies are being refined and and subsequent model reduction based on applied today to create entertainment content asymptotic theory. Binaural processing over loud- with significantly improved spatial qualities. speakers using the low-order modeled HRTFs is Convention Paper 9130 done in the time domain. In general, the directly derived controller for crosstalk cancellation is 11:30 am unstable, and so a method for approximating the unstable components in the controller as stable P6-6 Analytical Interaural Time Difference Model ones with processing delays is proposed. Results for the Individualization of Arbitrary Head- of computer simulation indicated that the designed Related Impulse Responses—Ramona controller worked well for producing equalization Bomhardt, Janina Fels, RWTH Aachen and crosstalk cancellation. University, Aachen, Germany Convention Paper 9128 If dummy head or individual Head-Related Impulse Responses (HRIR) are used for binaural 10:30 am reproduction, either it can result in an incorrect P6-4 Assessment of Ambisonic System perception of virtual sound sources or poses an Performance Using Binaural Measurements enormous measurement effort. Therefore, in this —Eric M. Benjamin,1 Aaron Helle2 paper a model is presented that helps to calcu- 1Surround Research, Pacifica, CA, USA late the Interaural Time Difference by anthropo- 2SRI International, Menlo Park, CA, USA metric head-data. By means of this Interaural Time Difference, the time of arrival of arbitrary The phenomenon described by Solvang as HRIRs can be individualized. This model is com- spectral impairment in Ambisonic reproduction pared with 13 individual measured HRIRs and is examined. The timbre of reproduced sounds the subjects' anthropometric head-data. The is arguably the most important aspect of an result of comparison leads to the conclusion that audio system. In multichannel systems audio is the model works well to individualize the Time of almost always reproduced through two or more Arrival of an arbitrary HRIR. loudspeakers simultaneously. The combination Convention Paper 9131 of those audio signals produces variable local- ization, but interference between them also causes comb filtering that then causes a Session P7 Friday, Oct. 10 reduction in output at high frequencies. The 9:00 am – 11:30 am Room 309 present work reports on measurements, includ- ing binaural measurements, of the spectral CINEMA SOUND, RECORDING AND PRODUCTION changes encountered in Ambisonic systems. In the case where a system has more loudspeak- Chair: Scott Levine, Skywalker Sound, San Francisco, ers than the minimum required the amount of CA, USA interference is increased. What is the best choice for the use of an array designed for 9:00 am higher-order reproduction when used to repro- duce lower-order program? P7-1 Particle Systems for Creating Highly Convention Paper 9129 Complex Sound Design Content— Nuno Fonseca, ESTG/CIIC, Polytechnic 11:00 am Institute of Leiria, Leiria, Portugal P6-5 The Design, Calibration, and Validation Even with current audio technology, many sound of a Binaural Recording and Playback design tasks present practical constraints in System for Headphone and Two-Speaker terms of layering sounds, creating sound varia- 3D-Audio Reproduction—Bob Schulein,1 tions, fragmenting sound, and ensuring space Dan Mapes-Riordan2 distribution especially when trying to handle 1RBS Consultants, Schaumburg, IL, USA highly complex scenarios with a significant num- 2DMR Consultants, Evanston, IL, USA ber of audio sources. This paper presents the use of particles systems and virtual micro- The evolution of iOS, Android, Windows Mobile, phones, as a new approach to sound design, and other operating systems has fueled a rapid allowing the mixing of thousands or even mil- growth in personal entertainment products and lions of sound sources, without requiring labori- has revolutionized the way consumers receive, ous work and providing a true coherence be- control, and listen to audio content. Headphones tween sound and space, with support for several or earphones and two-speaker stereo have surround formats, Ambisonics, Binaural, and become the dominant means of listening. Multi- even partial Dolby Atmos support. By controlling channel /speaker audio systems in contrast are a particle system, instead of individual sound primarily a part of the motion picture and home sources, a high number of sounds can be easily theater experience and can create audio content spread over a virtual space. By adding move- with richer spatial content. This 3D or immersive ment or random audio effects, even complex audio experience is desired by consumers but is scenarios can be created. not a part of the typical listening experience. Bin- Convention Paper 9132 aural sound, reproduced by headphones or two ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 17 Technical Program 9:30 am 4Bang & Olufsen Deutschland GmbH, Pullach, Germany P7-2 Stage Metaphor Mixing on a Multi-Touch Tablet Device—Steven Gelineck, Dannie Subjective preference for high frequency content Korsgaard, Aalborg University, Copenhagen, in music program has shown a wide variance in Denmark baseline testing involving expert listeners. The same well-trained subjects are retested for consis- This paper presents a tablet based interface (the tency in setting a high frequency shelf equalizer to Music Mixing Surface) for supporting a more nat- a preferred level under varying acoustic condi- ural user experience while mixing music. It tions. Double-blind testing indicates that lateral focuses on the so-called stage metaphor control energy significantly influences high frequency pref- scheme where audio channels are represented erence. Furthermore, subject polling indicates that by virtual widgets on a virtual stage. Through blind preference of acoustic condition is inversely previous research the interface has been devel- related to optimal consistency when performing oped iteratively with several evaluation sessions high frequency equalization tasks. with professional users on different platforms. Convention Paper 9135 The iteration presented here has been devel- oped especially for the mobile tablet platform and explores this format for music mixing both in 11:00 am a professional and casual setting. The paper first P7-5 Listener Preferences for Analog and Digital discusses various contexts in which the tablet Summing Based on Music Genre—Eric Tarr, platform might be optimal for music mixing. It Jane Howard, Benjamin Stager, Belmont then describes the overall design of the mixing University, Nashville, TN, USA interface (especially focused on the stage metaphor), after which the iOS implementation is The summation of multiple audio signals can be briefly described. Finally, the interface is evaluat- accomplished using digital or analog technolo- ed in a qualitative user study comparing it to two gies. Digital summing and analog summing are alternative existing tablet solutions. Results are not identical processes and, therefore, produce presented and discussed focusing on how the different results. In this study digital summing and evaluated interfaces invite four different forms of analog summing were performed separately on exploration of the mix and on what consequences the audio signals of three different recordings of this has in a mobile mixing context. music. These recordings represented three gen- Convention Paper 9133 res of music: classical, pop/country, and heavy rock. Twenty-one listeners participated in a prefer- 10:00 am ence test comparing digital summing to analog summing. Results indicated that listeners pre- P7-3 The Duplex Panner: Comparative Testing ferred one type of summing to the other; this pref- and Applications of an Enhanced Stereo erence was dependent on the genre of music. Panning Technique for Headphone- Convention Paper 9136 Reproduced Commercial Music—Samuel Nacach, New York University, New York, NY, USA Workshop 2 Friday, October 10 As a result of new technology advances con- 9:00 am – 10:30 am Room 409 AB sumers primarily interact with recorded music on-the-go through headphones. Yet, music is AUDIO LEGAL: INTELLECTUAL PROPERTY primarily mixed using stereo loudspeaker sys- AND AUDIO tems consisting of crosstalk signals, which are absent in headphone reproduction. Consequent- Chair: Andrea Yankovsky, Kilpatrick, Townsend & ly, the audio engineer's intended sound image Stockton LLP, New York, NY, USA collapses with headphones. To solve this, the work presented in this paper examines existing Panelists: Scott Hull, Masterdisk 3D audio techniques—primarily Binaural Audio Danny “Sage” McKinney, Requisite Audio and Ambiophonics—and enhances them to James Trigg, Kilpatrick, Townsend & develop a novel and improved mixing technique, Stockton LLP, New York, NY, USA the Duplex Panner, for headphone-reproduced Jason Vogel, Kilpatrick, Townsend & commercial music. Through subjective experi- Stockton LLP, New York, NY, USA ments designed for two groups, the Duplex Pan- Erik Zobler ner is compared to conventional Stereo panning Working in a creative industry, our livelihoods are contin- to determine what the advantages are, if any. ually influenced by IP law. Protecting our creative assets Convention Paper 9134 is important, and yet the issues we encounter are becoming increasingly difficult to navigate without a solid 10:30 am knowledge base and expert input. Focusing on current developments and practical applications, this panel of P7-4 The Role of Acoustic Condition on High legal and music industry experts will explore intellectual Frequency Preference—Richard King,1,2 property issues and other legal matters affecting audio Brett Leonard,1,2,3 Stuart Bremner,1,2 engineers, producers, studios, equipment makers. Grzegorz Sikora4 1McGill University, Montreal, Quebec, Canada 2The Centre for Interdisciplinary Research in Tutorial 11 Friday, October 10 Music Media and Technology, Montreal, 9:00 am – 10:00 am Room 404 AB Quebec, Canada 3University of Nebraska at Omaha, Omaha, ALL ABOUT: PHASE VS. POLARITY NE, USA

18 Audio Engineering Society 122nd Convention Program, 2007 Spring Presenter: Alex Case, University of Massachusetts harmonic distortion and noise as you want. In this work- Lowell, Lowell, MA, USA shop expert mixers will demonstrate which plugins they use in live situations and explain how a few of the plug- The word “phase” is misused almost as often as it is ins help them get a better sound, more control, easier properly applied. Meantime, its close cousin “polarity” is and faster set up time. consistently neglected. Worst of all, the two terms are frequently, mistakenly, interchanged. Phase and polarity Game Audio Session 4 Friday, October 10 are essential but distinct concepts that, when fully under- 9:00 am – 11:00 am Room 408 B stood, help the engineer get better sounds, quicker. NEXT GEN GAME AUDIO EDUCATION Broadcast/Streaming Media Session 4 Friday, October 10 9:00 am – 11:00 am Room 408 A Chair: Steve Horowitz, Game Audio Institute, San Francisco, CA, USA; Nickelodeon Digital AUDIO ISSUES FOR 4K AND 8K TELEVISION Panelists: Dale Everingham, Video Symphony Director Chair: Fred Willard, Univision, Washington, DC, of Audio Program, Burbank, CA, USA USA Scott Looney, Academy of Art University, San Francisco, CA, USA Panelists: Robert Bleidt, Fraunhoffer USA, San Jose, Leonard J. Paul, School of Video Game CA, USA Audio, Vancouver, Canada Tim Carroll, Telos Alliance, Lancaster, PA, Stephan Schütze, Sound Librarian, USA Melbourne, Australia Thomas Lund, TC Electronic A/S, Risskov, Michael Sweet, Berklee College of Music, Denmark Boston, MA, USA David McIntyre, DTS Inc., Calabasas, CA, USA Game Audio education programs are starting to take root Skip Pizzi, NAB, Washington DC, USA and sprout up all over the world. Game audio education Jeff Riedmiller, Dolby Laboratories, San is becoming a hot topic. What are some of the latest Francisco, CA USA training programs out here? What are the pros and cons The session will touch on the tools and practical experi- of a degree program versus just getting out there on my ence of realizing the promise of the ultra resolution own? I am already a teacher, how can I start a game visual-aural experience and the standardization consid- audio program at my current school? Good questions! erations of bonding the two in a single production-to-con- This panel brings together entrepreneurs from some of sumer format. 2014 has so far seen practical production, the top private instructional institutions to discuss the lat- encoding, and transmission of 4k and 8k and its equiva- est and greatest educational models in audio for interac- lent quality audio complement with the Sochi Olympics tive media. Attendees will get a fantastic overview of and the World Cup games in Brazil. Implementation of what is being offered inside and outside of the traditional compression formats, auto scalability, and backwards education system. This is a must for students and teach- compatibility are topics of discussion. Re-imagined pro- ers alike, who are trying to navigate the waters and steer duction techniques and workflows; transmission, inter- a path toward programs that are right for them in the face, and playback standards are still in development. shifting tides of audio for games and interactive media. The extended localization, multi-directivity, three dimen- sional acoustic space generation, and increased optimal Product Design Session 5 Friday, October 10 listening zones for audio for 4K and 8K will likely provoke 9:00 am – 10:30 am Room 402 AB end user acceptance with creation of a unified reproduc- tion of reality immersion experience in a single format. HOW TO CHOOSE AMPLIFIERS AND POWER SUPPLIES Live Sound Seminar 3 Friday, October 10 9:00 am – 11:00 am Room 406 AB Presenter: Gordon Wanlass, PowerPhysics How to select a power supply or amplifier for OEM speak- USING PLUG-INS FOR LIVE SOUND er design using basic measurements and simple calcula- tions. There is an ever increasing supply of off the shelf Chair: Mick Olesh, Waves audio electronics. The aim of this tutorial is to walk you Panelists: Dave Aron, FOH with Snoop Dogg through how to evaluate them and select the right power Fabrizio Piazzini, FOH with Amy MacDonald supply or amplifier for your powered speaker design. Ken “Pooch” Van Druten, FOH with Linkin Park Friday, October 10 9:00 am Room 405 Plug-in enabled digital consoles are now standard in Technical Committee Meeting on Network Audio many live sound applications. New loudspeaker designs Signals that are able to deliver higher fidelity than ever have raised the bar for listeners who expect album-quality Recording and Production Session 2 sound experiences at a concert. Whether this is the Friday, October 10 10:00 am – 11:30 am artists on stage with in-ear monitors or the audience, Room 403 AB they all expect an exceptional mix every day. Using plug- ins vs. outboard gear means lower transit costs, mainte- RAW TRACKS: DAVID BOWIE—A MASTER CLASS nance, and less physical space at venue or in storage. Today’s analog emulations also bring back some of the Moderator: Mark Rubel, The Blackbird Academy, qualities lost in the purely digital age providing as much ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 19 Technical Program Nashville, TN, USA; Pogo Studio, Nashville, Session EB2 Friday, Oct. 10 TN, USA 10:30 am – 12:00 noon S-Foyer 1

Panelist: Ken Scott POSTER SESSION 2 Legendary recording engineer and producer Ken Scott will discuss, analyze, and deconstruct a classic David 10:30 am Bowie recording track by track, in the inaugural Raw Tracks series at the AES 137th International Convention EB2-1 Android Framework Implementation of 3D in Los Angeles. Ken Scott has had a hand in many of the Audio with Range Control—Phyo Ko Ko, most important recordings of the 20th Century: The Beat- Kaushik Sunder, Woon-Seng Gan, Nanyang les, Supertramp, Elton John, Pink Floyd, The Mahavish- Technological University, Singapore, Singapore nu Orchestra, Lou Reed, America, Procol Harum, The Due to the rapid improvement in processing Jeff Beck Group, Devo, and many others. power of mobile devices, real-time 3D audio ren- dering is becoming a reality on these devices. Using 3D audio rendering, many interesting Special Event applications, such as teleconferencing and DIGITAL ENTERTAINMENT GROUP PRESENTS immersive gaming can be developed. In this HIGH RESOLUTION AUDIO SESSIONS paper an Android framework is developed for Friday, October 10, 10:00 am – 4:00 pm rendering 3D audio in real-time with additional Room 304 AB range control. Range-dependent head related 10:00 am – 10:50 am transfer functions (HRTFs) are used in order to render the spatial audio. Distance dependent Hi-Res Audio Devices for Every Lifestyle: Learn more HRTFs are extremely tedious to be measured details about the growing number of hi-res compatible since these measurements have to be carried devices available today from some of the biggest names out for several distances in the near-field. In this in hi-res devices, including Astell & Kern, dCS, DTS, work, the range-dependent HRTFs used by the Kimber Kable, Meridian, Mytek, and Sony. Subjects will Android framework are experimentally measured include how to demonstrate hi-res audio at retail; the lat- in the horizontal plane and made available est options for enjoying hi-res music on-the-go; and how online for the researchers to use. This 3D audio to educate and engage young music enthusiasts. Moder- framework will serve as a useful platform to ated by Marc Finer, the panel includes Owen Kwon, deliver new audio processing applications, such John Quick, Fred Maher, Ray Kimber, Bob Stuart, as teleconferencing over headphones, personal- Michal Jurewicz, and Aaron Levine. ized hearing in gaming and virtual reality etc. Engineering Brief 161 11:30 am – 12:20 pm The New Business of Hi-Res Music: Get an inside look 10:30 am at the opportunities and challenges associated with hi-res music from Mark Piibe at Sony Music, Howie EB2-2 Flexible Audio Rendering for Arbitrary Input Singer at Warner Music, and Jim Belcher at Universal and Output Layouts—Hyunjoo Chung, Sang Music. Topics will include licensing hi-res files; the latest Bae Chon, Sunmin Kim, Samsung Electronics distribution partners; ingesting and archiving digital Co. Ltd., Suwon, Korea assets; new subscription models; and the best ways to This engineering brief introduces a rendering promote hi-res music. method compatible with various input audio for- 1:00 pm – 1:50 pm mats and output reproduction layouts. By using audio scene analysis, N-channel audio input sig- Hi-Res Audio Production Workshop: [co-sponsored by nals are converted to channel-independent spa- the Recording Academy P&E Wing] Join top producers tial parameters then sound fields are rendered and engineers as they discuss the music creation based on the M-channel output loudspeaker lay- process and best practices when recording, mixing and out with maintaining spatial information of origi- mastering in high resolution. The panel moderated by nal audio formats. Therefore, proposed method Leslie Ann Jones features Chuck Ainlay, John Burk, Bob enabled N-to-M flexible audio rendering with Clearmountain, and Ryan Ulyate who will review the key immersive sound perception. aspects of various audio formats in context with their lat- Engineering Brief 163 est music projects. 3:00 pm – 3:50 pm 10:30 am High Resolution Audio—Super Session: Meet and mix EB2-3 A Touchpad-Based Method for Inducing Attentional Tunneling—Durand R. Begault,1 with some of the brightest minds in the business, includ- 1 1 ing Bruce Botnick, George Massenburg, Bill Schnee, and Bonny R. Christopher, Charlotte Zeamer, Mark R. Anderson,1 Kirstianna Burns2 Andrew Scheps, as they explore a number of the most 1 challenging issues facing the recording industry today NASA Ames Research Center, Moffett Field, CA, USA concerning the adoption of high resolution audio. Don't 2 miss this rare opportunity to hear from these opinion City College of San Francisco, San Francisco, makers! CA, USA Attentional tunneling is a recognized problem for aviation safety in the flight deck. A prototype Friday, October 10 10:00 am Room 405 system (touchpad and associated application Technical Committee Meeting on Human Factors in and experimental software) was developed and Audio Systems evaluated for its success in inducing attentional tunneling in a reliable and predictable manner in

20 Audio Engineering Society 137th Convention Program, 2014 Fall training and experimental contexts. An experi- tinct issues: sound isolation (airborne and structure- ment with ten participants using the system borne), HVAC noise control, and surface treatments examined baseline performance for visual (absorption, reflection, and diffusion). The format has memory of a color or number sequence, simulta- been widely used, including for over 25 years at Berklee neous with performing a competing auditory College of Music. The objective is to provide the founda- detection task. Spatial auditory separation of the tion for optimized audio design and recording decisions, auditory stimuli was also evaluated. Data are and the confidence to better navigate the oceans of infor- provided for various aspects of touchpad entry mation and propaganda about "acoustical" products and (accuracy, speed) as well as hit and false alarm practices. rates for the auditory task. The results will help This session is presented in association with the determine means of inducing attentional tunnel- AES Technical Committee on Acoustics and Sound ing in more complex flight simulator experiments Reinforcement and for developing an inexpensive prototype for pilots to measure cognitive fixation and develop Workshop 3 Friday, October 10 mitigation strategies. 10:45 am – 12:15 pm Room 409 AB Engineering Brief 164 MAKING THE TRANSITION FROM STUDENT TO PROFESSIONAL 10:30 am EB2-4 The Open Multitrack Testbed—Brecht De Chair: Jonathan Wyner, Berklee College of Music, Man, Mariano Mora-Mcginity, György Fazekas, Boston, MA, USA; M Works Mastering Joshua D. Reiss, Queen Mary University of London, London, UK Panelists: Adam Ayan, Gateway Mastering Studios, Portland, ME USA We introduce the Open Multitrack Testbed, an Rob Jaczko, Berklee College of Music, online repository of multitrack audio, mixes or Boston, MA, USA processed versions thereof and corresponding John Krivit, New England Institute of Art, mix settings or process parameters such as Brookline, MA, USA; Emerson College, DAW files. Multitrack audio is a much sought Boston, MA, USA after resource for audio researchers, students, Jay LeBoeuf, Real Industry, San Francisco, and content producers, and while some online CA, USA; Stanford University, San resources exist few are large and reusable and Francisco, CA, USAHenry Moyerman none allow querying audio fulfilling specific crite- ria. The test bed we present contains a semantic There are many paths that lead to a fulfilling career as an database of metadata corresponding with the audio engineer. This workshop will include tales from songs and individual tracks, enabling users to those who have successfully navigated a version of this retrieve all pop songs featuring an accordion, or path and suggestions of recommended approaches all tracks recorded in reverberant spaces. The along with tools and skills worth acquiring to make the open character is made possible by requiring the young engineer an attractive hire. contributions, mainly from educational institu- tions and individuals, to have a Creative Com- Product Design Session 6 Friday, October 10 mons license. 10:45 am – 12:15 pm Room 402 AB Engineering Brief 165 HOW TO LEVERAGE DSP FOR PRODUCT 10:30 am GREATNESS

EB2-5 Maintenance Considerations in Higher Presenter: Denis Labrecque, Analog Devices, Education Facilities—Daniel Gonko, Western San Jose, CA, USA Carolina University, Cullowhee, NC, USA How to deal with the “more” law. While many are familiar Running and maintaining a recording studio in a with Moore's Law of computing, those of us in Pro Audio higher education environment poses various ben- are also painfully aware of the “more” law—designing efits and challenges that are not often encoun- todays' DSP based products require “more”—more perfor- tered in commercial facilities. This presentation mance, more precision, more complex processes, more will examine the pros and cons of working in such channels, more power efficiency, more connectivity etc. a facility, including availability, funding considera- This tutorial will explore the design considerations, deci- tions, and training needs. The Center for Applied sions and trade-offs necessary to develop modern audio Technology and Commercial and Electronic systems with advanced DSP capabilities. Overall design Music degree program at Western Carolina Uni- methodology discussed will include: fixed vs. floating point versity will be utilized as a case study. processing, internal vs. external memory, how require- Engineering Brief 166 ments change for low power applications, Ethernet/USB connectivity, and peripheral (I/O) selection. In addition, this Tutorial 12 Friday, October 10 tutorial will touch on software tools and modules available 10:30 am – 12:30 pm Room 404 AB for the creation of DSP based products. Specific examples will include system block diagrams of SHARC, Blackfin, ACOUSTICS—SORTING IT OUT AND GETTING IT and SigmaDSP processors. RIGHT Live Sound Seminar 4 Friday, October 10 Presenter: Tony Hoover 11:00 am – 1:00 pm Room 406 AB This tutorial on architectural acoustics covers three dis- MULTICELLULAR LOUDSPEAKERS— ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 21 Technical Program NOT YOUR FATHER'S LINE ARRAY “temp music” for preview screenings, synthesizer- enhanced orchestra tracks, and other special techniques. Chair: Jim Risgin, OSA International, Inc., This Master Class with one of Hollywood's leading profes- Chelsea, MI, USA sionals puts the process under the microscope. This session is presented in association with the AES Panelists: Bernie Broderick, System Support/Trainer Technical Committee on Sound for Digital Cinema and EAW Tom Petty Tour 2014 Television Martyn “Ferrit” Rowe, System Tech for Steely Dan 2014; Director Engineering Services, OSA Friday, October 10 11:00 am Room 405 Technical Committee Meeting on Loudspeakers and In this presentation some of the current experts in the Headphones field of deploying large line arrays for live events will dis- cuss their techniques, successes, and challenges in Friday, October 10 11:00 am Room 407 deploying new state-of-the-art, digitally-steered line array Standards Committee Meeting on Audio Connectors systems such as Martin MLA and EAW Anya. A panel of industry experts will reveal their real-world experiences Live Sound Expo LSE1 LSE STAGE with these hi-tech loudspeakers. What are their experi- enced with driving the software that is required for using NETWORKS AND IT—THE BASICS these systems? How do these system perform in the Friday, October 10, 11:00 am – 11:50 am field, how are they different from conventional line arrays? The panel will also discuss how these platforms Presenter: Landon Gentry, Director of Global Support are evolving and what they see happening with this for- Services, Audinate mat in the future. Live sound is increasingly embracing networking for audio distribution and system control. You don’t have to Game Audio Session 5 Friday, October 10 be an IT professional to set up such networks, but you 11:00 am – 1:00 pm Room 408 B do need the core knowledge covered here.

AUDIO MIDDLEWARE FOR THE NEXT GENERATION Project Studio Expo PSE1 PSE STAGE VOCAL RECORDING IN THE PROJECT STUDIO Friday, October 10, 11:15 am – 12:15 pm Presenters: Scott Looney, Academy of Art University, San Francisco, CA, USA Steve Horowitz, Game Audio Institute, San Presenter: Mike Senoir, Sound on Sound Francisco, CA, USA; Nickelodeon Digital Recording vocals is easy, right? Just put up a large-di- aphragm condenser mic (with popshield) about six inch- Until quite recently, there was very little audio middle- es away from your mouth, sling up a couple of old quilts ware capabilities available in popular game engines with- to soak up the room sound, grab a pair of headphones out the need for scripting. Now, there are at least four for monitoring, and you're away! Sadly, however, this hearty middleware solutions to choose from. In this pre- approach frequently achieves poor or inappropriate sentation and demonstration, we will bring you up to results in real-world project studios. To find out why, join speed on the latest and greatest audio middleware solu- Sound On Sound magazine's “Session Notes” and “Mix tions. We will get an overview of FMOD, WWISE, FAB- Rescue" columnist Mike Senior who'll be using live RIC, and MASTER AUDIO. We will compare and con- demonstrations and audio examples to show you how to trast their different features, strengths and weaknesses, get the best out of the stereotypical project-studio vocal as well as discuss elements of audio workflow and how tracking setup—as well as exploring a variety of common sound designers can go about deploying these full fea- situations where you're actually better off abandoning it tured solutions in a number of different game engines. completely.

Sound for Picture 2 Friday, October 10 Broadcast/Streaming Media Session 5 11:00 am – 1:00 pm Room 306 AB Friday, October 10 11:15 am – 12:45 pm Room 408 A MUSIC PRODUCTION FOR FILM—A MASTER CLASS THE STREAMING EXPERIENCE Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., Clifton Beach, QLD, Australia Chair: Dave Wilson, CEA, Arlington, VA, USA Moderator: Tom Salta, Persist Music, Norwalk, CT, USA Panelists: Don Backus, Broadcast Electronics, Quincy, Panelists: Chris Boardman IL USA; Farmington Hills, MI USA Simon Franglen, Class1 Media, Frank Foti, Telos, New York, NY, USA Los Angeles, CA, USA; London Philippe Generali, RCS, White Plains, NY USA Laura Karpman, Art Farm West, Playa Del Greg Ogonowski, Orban, San Leandro, CA, Rey, CA, USA USA Trevor Morris Geir Skaaden, DTS, Inc. Steven Saltzman, Music Visions, Los Angeles, CA USA Pandora, iHeartRadio, Radio.com, SiriusXM, and thou- sands of others use streaming technology as the founda- tion for their businesses. This session will cover the lat- Film soundtracks contain three elements: dialog, music, est advancements in streaming technology and help and sound effects. The creation of a music soundtrack is content creators and distributors learn how best to use far more complex than previously, now encompassing this tool to reach, capture, and retain an audience. The

22 Audio Engineering Society 137th Convention Program, 2014 Fall expert panelists have extensive experience with codecs, sion will focus on the practical benefits of Ethernet AVB. audio processing, and audio distribution. They will dis- Where it's benefits can best be exploited will be explored cuss the latest advancements in bringing quality audio to as regards systems scale, environment, performance the Internet audience. requirements such as latency and ease of deployment.

Tutorial 13 Friday, October 10 Student Event/Career Development 11:45 am – 12:45 pm Room 309 SPARS SPEED COUNSELING WITH EXPERTS —MENTORING ANSWERS FOR YOUR CAREER LET YOUR EYES HELP YOUR EARS—TECHNIQUES Friday, October 10, 12:30 pm – 2:00 pm AND NEW CHALLENGES IN AUDIO METERING Room 409 AB Mentors: Tom Salta Presenter: Paul Tapper Dren McDonald Why use audio analysis or metering at all? Why loud- Chanel Summers ness metering is relevant to engineers working in the Danny Leake music industry and the implications for music mastering Juan R Garza practice. If you think that your music might ever get Craig Doubet played out on TV, radio, or a music streaming service, TW Blackmon you need to have an awareness of loudness normaliza- Lorita de la Cerna tion. The importance of true-peak metering for music to Eric Johnson avoid distortion and fizzing caused by codec conver- Jeri Palumbo sions. The importance of mono compatibility for music Rick Senechal that might ever be listened to on iPod docks, flat-screen Geoff Gray TVs, DAB radios, or club PAs. The difficulty of audition- David Rideau ing this and pitfalls to avoid when trying to meter it will be Erik Zobler covered. Chuck Zwicky Sylvia Massy Mark Rubel Special Event Anthony Schultz LUNCHTIME KEYNOTE: NEIL PORTNOW Pat McMakin Friday, October 10, 12:00 noon – 1:00 pm Lisa Chamblee Room 403 AB David Glasser Bruce Maddocks Presenter: Neil Portnow, President/CEO The Recording Andrew Mendelson Academy, The GRAMMY Foundation, and MusiCares This event is specially suited for students, recent gradu- ates, young professionals, and those interested in career Neil Portnow, President/CEO of The Recording Acade- advice. Hosted by SPARS in cooperation with the AES my® (internationally known for the GRAMMY Awards®) Education Committee and G.A.N.G., career related Q&A in his keynote address, will discuss the challenges and sessions will be offered to participants in a speed group opportunities currently facing recording professionals, as mentoring format. A dozen students will interact with 4–5 well as targeted advocacy initiatives The Academy is working professionals in specific audio engineering fields or developing to address some of these concerns. categories every 20 minutes. Audio engineering fields/cate- gories include gaming, live sound/live recording, audio Friday, October 10 12:00 noon Room 405 manufacturer, mastering, sound for picture, and studio pro- Technical Committee Meeting on Perception duction. Listed mentors are subject to change. and Subjective Evlauation of Audio Signals Project Studio Expo PSE2 PSE STAGE Live Sound Expo LSE2 LSE STAGE IT WON'T SOUND RIGHT IF YOU DON'T HEAR IT LOUDSPEAKER SET-UP AND CONFIGURATION RIGHT: STUDIO ACOUSTICS, MONITORING, Friday, October 10, 12:00 noon – 12:50 pm AND CRITICAL LISTENING Friday, October 10, 12:30 pm – 1:30 pm Moderator: Mark Frink Presenter: Hugh Robjohns Presenters: Scott Sugden Vic Wagner The monitoring environment acoustics and the monitor- ing chain are critical to the music production process. FOH and system engineers share their strategies for Any weaknesses impact negatively not only on the over- successful touring system deployment in a cluster of all quality of mixes, but also on the confidence and ability case-studies. of the user to assess and process audio material efficiently and effectively. This workshop examines the Network Audio Session 4 Friday, October 10 theoretical requirements and practical optimization of 12:15 pm – 1:15 pm Room 308 AB high-quality monitoring systems for home and project studios, drawing on the author´s experiences in the THE BENEFITS OF ETHERNET AVB "Studio SOS" series published in Sound On Sound mag- azine. It will also explore the options for monitoring con- Presenter: Rick Kreifeldt, Harman International trollers and loudspeakers, optimizing control room acoustics, and honing critical listening skills As, what have been termed, third generation media net- This event replaces original PSE2 and PSE3 which working technologies and protocols have emerged over have been canceled. the past few years the benefits have been poorly under- stood by integrators and systems designers. This ses- ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 23 Technical Program Friday, October 10 12:30 pm Room 407 streamed content allows new services to be deployed Standards Committee Meeting on Microphone with very short lead times. The rapidity of this transition Measurement and Characterization to streaming has significantly accelerated the time frame for adoption of advanced object-based audio services of- Special Event fering spatially immersive sound, enhanced personaliza- DTV AUDIO GROUP/AES FORUM: tion, greater bandwidth efficiency and improved audio THE IMPLICATIONS OF STREAMED CONTENT quality. It is likely we will begin seeing these new fea- DELIVERY ON THE EVOLUTION OF TELEVISION tures in our homes and mobile devices in months rather AUDIO SERVICES than years. This forum explores some of the tools and Friday, October 10, 1:00 pm – 6:00 pm workflow approaches required to manage and exploit the Room 404 AB capabilities of next-generation audio standards. It takes a look at the convergence around streamed content deliv- Moderator: Roger Charlesworth, , Executive Director, ery and transition to IP distribution and contribution that DTV Audio Group makes this rapid deployment possible. “The explosive growth in streamed content delivery Program Advisors, Panelists, and Contributors: over mobile and fixed devices, has re-written the play- Tim Carroll, Chief Technology Officer, Telos book for television media distribution. Streaming delivery Alliance, President and Founder, Liner models are also inexorably finding their way into existing Acoustic cable services and are being written into next-generation David Colantuoni, Senior Director, Broadcast, advanced television standards. The migration from tradi- Storage, and Editor Product Development, tional broadcasting to a IP stream-based model greatly Avid simplifies implementation, and combined with tablet-em- Kevin Collier, Director of Engineering, Post powered UI, frees distributors to pursue a range of for- Production, Warner Bros Studio Facilities mats and encoding solutions with sophisticated interac- Craig Cuttner, Senior Vice President, tive and object-oriented audio services”—Roger Technology Development & Standards, HBO Charlesworth, Executive Director, DTV Audio Group Thomas Edwards, Vice President Engineering and Development, Fox Networks Discussion topics will include: Michael Englehaupt, Chief Technology This Is Not Your Father’s MVPD: A look into how the Officer, KQED Television transition to IP infrastructure and streamed content is Tino Fibaek, Chief Technical Officer, transforming cable and how this facilitate advanced Fairlight AU audio codecs Will Files, Sound Designer, Re-Recording Mixer, Skywalker Sound So Long SDI and MADI: IP infrastructure for audio and Mark Francisco, Fellow, Premises video contribution within the broadcast plant and in the field Technology, Office of the CTO, Comcast Interactivity, Objects, and Spatially Immersive Audio: Richard Friedel, Executive Vice President Mixers and technologist on the migration of object audio and General Manager, Fox Networks from cinema to the small screen and mobile Engineering and Operations Steve Harvey, West Coast Editor, Pro Object Audio Toolbox: What are the essential monitoring Sound News and authoring tools required for object audio production? Chris Jenkins, Sound Designer and Re-RecordingMixer It’s All in Your Head: The state of headphone virtualiza- John Kellogg, Senior Director, Corporate tion for immersive audio formats Strategy and Development, DTS The DTV Audio Group Forum at AES is produced in asso- Karl Malone, Director of Sound Design at ciation with the Sports Video Group and is sponsored by: NBC Sports and Olympics Calrec, Dolby Laboratories, DTS, Lawo, Linear Acoustic Steve Morris, Director of Engineering, Skywalker Sound Friday, October 10 1:00 pm Room 405 Michael Novitch, Chief Engineer, Technicolor Technical Committee Meeting on Recording Sound Services Technology and Practices Nathan Oishi, Chief Engineer, Sony Pictures Digital Sean Richardson, Executive Director Live Sound Expo LSE3 LSE STAGE and Principal Audio Engineer, Starz RF SYSTEMS—PRACTICAL CONSIDERATIONS Entertainment Friday, October 10, 1:00 pm – 1:50 pm Jeffery Riedmiller, Senior Director, Sound Group, Office of the CTO, Dolby Laboratories Presenter: Ike Zimbel, Zimbel Audio Productions Tom Sahara, Turner Sports Vice President, Wireless microphones and monitors are now a standard Operations and Technology, Turner Sports part of live performance, though not without challenges Steve Silva, Vice President of Technology as spectrum constraints take their toll. This RF Systems and Strategy, Fox Networks session explores frequency coordination and onsite Jim Starzynski, Director and Principal Audio spectrum analysis. Antenna design and placement and Engineer, NBCUniversal managing RF interference (including musician systems) Jeff Willis, Coordinating Technical Manager are examined. at ESPN Content delivery is converging on a streamed model Project Studio Expo PSE4 PSE STAGE whether for mobile, over the public internet, within the THE FIVE MOST COMMON PROJECT STUDIO walled garden of the MVPD, or over next generation RECORDING MISTAKES broadcast services. Virtualized delivery infrastructure for Friday, October 10, 1:45 pm – 2:45 pm

24 Audio Engineering Society 137th Convention Program, 2014 Fall Presenter: Mike Senior, Sound On Sound, Munich, Singing—Eddy B. Brixen,1 Cathrine Sadolin,2 Germany; Cambridge Music Technology Henrik Kjelin2 1EBB-consult, Smorum, Denmark Tearing your hair out at mixdown? Then you've probably 2Complete Vocal Institute, Copenhagen, Denmark fallen into one of the classic project-studio traps during tracking. Learn what they are—and, more importantly, The Complete Vocal Technique defines four vocal how to avoid them—in this down-to-earth workshop with modes: Neutral, Curbing, Overdrive, and Edge. Sound On Sound magazine’s “Session Notes” and “Mix This paper reports the result of a listening test in- Rescue” columnist Mike Senior. The seminar will be volving 59 subjects. The goal has been to find the specifically tailored to those working on a budget and will importance of onset and decay features when feature insider tips on equipment choice, mic technique, identifying the vocal modes. The conclusion is and session psychology, with plenty of supporting audio that the onset only to a minor degree is responsi- examples so you can judge the results with your own ears. ble for the aural detection of vocal modes. Convention Paper 9139 Session P8 Friday, Oct. 10 2:00 pm – 5:00 pm Room 308 AB 3:30 pm P8-4 The Influence of Up- and Down-mixes on PERCEPTION—PART 1 the Overall Listening Experience—Michael Schoeffler, Alexander Adami, Jürgen Herre, Chair: Dan Mapes-Riordan, Etymotic Research, International Audio Laboratories Erlangen, Evanston, IL, USA Erlangen, Germany; Fraunhofer IIS, Erlangen, Germany 2:00 pm Former studies have shown that up- and down- P8-1 Effect of Phase on the Perceived Level of mix algorithms have a significant effect on rat- Bass—Mikko-Ville Laitinen, Kai Jussila, Ville ings of audio quality. The question arises Pulkki, Aalto University, Espoo, Finland whether this significant effect is also verifiable when it comes to rating the overall listening expe- The perceived level of bass is typically consid- rience of music. When listeners rate the overall ered to be related to the level of the magnitude listening experience, they are allowed to take spectrum at the corresponding frequencies. everything into account that is important to them However, recently it has been found that, in the for enjoying a listening experience. An experiment case of harmonic complex signals, also the was conducted where 25 participants rated the phase spectrum can affect it. This paper studies overall listening experience while listening to this effect further using formal listening tests. It is music that was artistically mixed and up- and found out that the phase spectrum that produces down-mixed by six algorithms. The results show the perception of the loudest bass depends on that there are no significant differences between the individual. Furthermore, the loudness of the the artistic mixes and the up- and down-mix algo- bass appears to be affected by the phase char- rithms except for two mixing algorithms which acteristics of the tone in a relatively wide band. served as “lower anchors” and had a significant Convention Paper 9137 negative effect on the ratings. Convention Paper 9140 2:30 pm P8-2 Auditory Compensation for Spectral 4:00 pm Coloration—Cleopatra Pike, Russell Mason, P8-5 Measures of Microdynamics—Esben Skoven- Tim Brookes, University of Surrey, Guildford, borg, TC Electronic, Risskov, Denmark Surrey, UK Overall loudness variations such as the distance The “spectral compensation effect” (Watkins, between soft and loud scenes of a movie are 1991) describes a decrease in perceptual sensi- known as macrodynamics and can be quantified tivity to spectral modifications caused by the with the Loudness Range measure. Micrody- transmission channel (e.g., loudspeakers, listen- namics, in contrast, concern variations on a ing rooms). Few studies have examined this (much) finer time-scale. In this study six types of effect: its extent and perceptual mechanisms are objective measures—some based on loudness not confirmed. The extent to which compensa- level, some based on peak-to-average ratio— tion affects the perception of sounds colored by were evaluated against perceived microdynam- loudspeakers and other channels should be ics. A novel measure LDR, based on the maxi- determined. This compensation has been mainly mum difference between a “fast” and a “slow” studied with speech. Evidence suggests that loudness level, had the strongest perceptual cor- speech engages special perceptual mecha- relation. Peak-to-average ratio (or crest factor) nisms, so compensation might not occur with type of measures had little or no correlation. The non-speech sounds. The current study provides ratings of perceived microdynamics were evidence of compensation for spectrum in non- obtained in a listening experiment, with stimuli speech tests: channel coloration was reduced by consisting of music and speech of different approximately 20%. dynamical properties. Convention Paper 9138 Convention Paper 9141 3:00 pm 4:30 pm P8-3 The Importance of Onset Features in P8-6 Real-Time Infant Cry Detection in Diverse Listeners’ Perception of Vocal Modes in Environments: A Novel Approach—Anant ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 25 Technical Program Baijal, Jinsung Kim, Jae-hoon Jeong, Inwoo Materials used in acoustic transducer mem- Hwang, JungEun Park, Byeong-Seob Ko, branes need very specific qualities that in any Samsung Electronics Co. Ltd., Suwon, Korea real system require many tradeoffs to be made. Graphene and graphene related materials are a We present a novel approach to detect infant cry newly discovered class of materials with some in actual outdoor and indoor settings. Using exceptional properties that has the potential to computationally inexpensive features like Mel make significant contributions to the perfor- Frequency Cepstral Coefficients (MFCCs) and mance of many acoustical transduction systems. timbre-related features, the proposed algorithm The properties of graphene relevant to transduc- yields very high recall rates for detecting infant er applications are discussed and two graphene cry in challenging settings such as café, street, based films, an aluminum coated Graphene playground, office, and home environments, Oxide film and an aluminum coated reduced even when Signal to Noise Ratio (SNR) is as low Graphene Oxide film, are tested in a ribbon as 6 dB, while maintaining high precision. The microphone application. Physical and acoustical results indicate that our approach is highly accu- measurements of the films indicate that with rate, robust and, works in real-time. minor improvements, ribbon transducers could sig- Convention Paper 9142 nificantly benefit from graphene-based materials. Convention Paper 9144 Session P9 Friday, Oct. 10 2:00 pm – 4:30 pm Room 309 3:00 pm

TRANSDUCERS—PART 2 P9-3 Subwoofers in Rooms: Stereophonic Reproduction—Juha Backman, Microsoft, Chair: Mario DiCola, Audio Labs Systems Espoo, Finland A study based on computational model of inter- 2:00 pm aural level and time differences at the lowest audio frequencies, often reproduced through P9-1 The Implementation of MEMS Microphones subwoofers, is presented. This work studies for Urban Sound Sensing—Charlie Mydlarz, whether interaural differences can exist, and if Samuel Nacach, Agnieszka Roginska, Tae they do, what kind of relationship there is Hong Park, Eric Rosenthal, Michelle Temple, between the loudspeaker direction and the inter- New York University, New York, NY, USA aural differences when monophonic and stereo- The urban sound environment of New York City phonic subwoofer arrangements are considered. (NYC) is notoriously loud and dynamic. The cur- The calculations are made for both simple ampli- rent project aims to deploy a large number of tude panned signals and for simulated micro- remote sensing devices (RSDs) throughout the phone signals. The results indicate that strong city, to accurately monitor and ultimately under- narrow-band differences can exist, especially stand this environment. To achieve this goal, a near room eigenfrequencies when the listener is process of long-term and continual acoustic mea- close to nodes of the room modes and that the surement is required, due to the complex and modes of the recording room can have an effect transient nature of the urban soundscape. Urban on the sound field of the listening room. sound recording requires the use of robust and Convention Paper 9145 resilient microphone technologies, where unpre- [Paper not presented but available for purchace] dictable external conditions can have a negative impact on acoustic data quality. For the presented 3:30 pm study, a large-scale deployment is necessary to accurately capture the geospatial and temporal P9-4 Subwoofer Design with Moving Magnet Linear Motor—Mario Di Cola,1 Claudio characteristics of urban sound. As such, an imple- 2 2 mentation of this nature requires a high-quality, Lastrucci, Lorenzo Lombardi 1Audio Labs Systems, Casoli (CH), Italy low-power and low-cost solution that can scale 2 viably. This paper details the microphone selec- Powersoft S.p.a., Scandicci, FL, Italy tion process, involving the comparison between a A new electro-dynamic transducer has been range of consumer and custom made MEMS studied, based on a moving magnet linear motor microphone solutions in terms of their environ- instead of a traditional moving coil, and it has mental durability, frequency response, dynamic been carefully described into a recently present- range and directivity. Ultimately a MEMS solution ed paper from Claudio Lastrucci. This moving is proposed based on its superior resilience to magnet motor could considerably improve the varying environmental conditions and preferred conversion efficiency and the sound quality at acoustic characteristics. the lowest frequency range. It has been devel- Convention Paper 9143 oped around a fully balanced and symmetrical moving magnet motor geometry and it can sig- 2:30 pm nificantly reduce the distortion, in the lowest range, to a fraction if compared to that of a con- P9-2 Graphene Oxide Based Materials as Acoustic ventional moving coil loudspeaker in the same Transducers: A Ribbon Microphone 1,2 range. It also offers a considerably higher power Application Case Study—Peter Gaskell, handling and overall robustness thus being able Robert-Eric Gaskell,1,2 Jung Wook (Jonathan) 1,2 1 of reproducing the lowest range on bass spec- Hong, Thomas Szkopek trum with an unprecedented level of quality and 1University, Montreal, Quebec, Canada 2 output. The novel motor design also shows a GKL Audio Inc., Montreal, Quebec, Canada considerable high acceleration that makes it suit-

26 Audio Engineering Society 137th Convention Program, 2014 Fall able for the application also in the upper bass the lifetime of the original media; building and equipping region. This paper proposes a review of the a studio for audio preservation; proper handling, clean- methodology that can be pursued in subwoofer ing, and restoration of original media; maintaining and design while using this motor technology. The optimizing playback machines; and building a digital new motor technology will require a different infrastructure for preserving digital files. approach to subwoofer design. Several aspects that are in common with conventional loud- Broadcast/Streaming Media Session 6 speakers will be outlined while also described Friday, October 10 2:00 pm – 3:30 pm those characteristics that differs significantly. Room 408 A The application of the technology and relative results will be shown through examples of practi- LISTENER FATIGUE AND RETENTION cal applications and with measurement results. Convention Paper 9146 Chair: Marvin Caesar, Founder and Former President Aphex Systems, Sherman Oaks, 4:00 pm CA, USA P9-5 A Direct Driver for Electrostatic Transducers Panelists: John Galvin, III, Department of Head and —Dennis Nielsen, Arnold Knott, Michael A. E. Neck Surgery, David Geffen School of Andersen, Technical University of Denmark, Medicine, UCLA, Los Angeles, CA, USA Kgs. Lyngby, JJ Johnston, Retired, Redmond, WA, USA Denmark Jeff Levison, Iosono GmbH, Erfurt, Germany Electrostatic transducers represent a very inter- Sean Olive, Harman International, esting alternative to the traditional inefficient Northridge, CA, USA electrodynamic transducers. In order to establish Greg Ogonowski, Orban, San Leandro, CA, the full potential of these transducers, power USA amplifiers that fulfill the strict requirements Robert Reams, Psyx Research, Santa Clara, imposed by such loads (high impedance, fre- CA, USA quency depended, nonlinear, and high bias volt- age for linearization) must be developed. This A discussion of the psychological and physiological paper analyzes a power stage suitable for dri- aspects of listener fatigue and its causes, the short and ving an electrostatic transducer under biasing. long term impact on people who produce, amplify, broad- Measurement results of a plus/minus 400 V pro- cast, stream as well as consumer audio. totype amplifier are shown. THD below 1 % is reported. Live Sound Seminar 5 Friday, October 10 Convention Paper 9147 2:00 pm – 4:00 pm Room 406 AB [Paper presented by Henrik Schneider] RF SPECTRUM UPDATE: HOW MUCH LOSS Workshop 4 Friday, October 10 AND WHEN? 2:00 pm – 3:30 pm Room 4 Chair: Karl Winkler, Lectrosonics, Rio Rancho, THE END IS NEAR! THE PRESSING NEED NM, USA TO PRESERVE HISTORIC ANALOG SOUND Panelists: Mark Bruner, Shure Inc., Niles, IL USA RECORDINGS: AN OVERVIEW OF STRATEGIES Joe Ciaudeli, Sennheiser, Old Lyme, CT USA AND BEST PRACTICES James Stoffo, Radio Active Designs, Key West, FL, USA Chair: Konrad Strauss, Indiana University, Bloomington, IN, USA Recent rulings by the FCC on RF spectrum as applies to Panelists: George Massenburg, McGill University, wireless microphones will have a profound effect on our Montreal, Quebec, Canada industry in the years to come. Added to the loss of the Brad McCoy, Library of Congress, 700 MHz band just a few short years ago, now the 600 Charlottesville, VA, USA MHz band is about to be auctioned. Due to this pending John Spencer, BMS Chace LLC, Nashville, loss of spectrum and the resulting crowding in the TN, USA remaining UHF bands, the panel will discuss strategies Nadja Wallaszkovits, Phonogrammarchiv, for success going forward, along with the potential for Austrian Academy of Science, Vienna, Austria new frequency bands to become available for wireless mic use on a shared basis. An additional topic will be the The National Recording Preservation Plan, published in expanded license eligibility for sound companies and December 2012, identifies in excess of 46 million audio venues that routinely use 50 or more wireless mic chan- recordings held by the nation's libraries, archives, muse- nels (including IEMs and intercoms). ums, record companies, and private collectors that are in need of preservation. The window of time to preserve Game Audio Session 6 Friday, October 10 these recordings is rapidly closing; some experts believe 2:00 pm – 3:30 pm Room 306 AB that we have as little as 15 years left. Archivists, librari- ans, engineers, and studio owners will encounter increased demand for preservation and digitization ser- DIABLO III: REAPER OF SOULS vices in the coming years. This workshop, presented by THE DEVIL IS IN THE DETAILS the Association for Recorded Sound Collections http://www.arsc-audio.org, will focus on best practices for Presenters: Seph Lawrence, Blizzard Entertainment, preserving and migrating analog audio recordings. Lake Forest, CA, USA Experts in the field will discuss strategies for extending Andrea Toyias, Blizzard Entertainment ¯ Audio Engineering Society 137th Convention Program, 2014 Fall 27 Technical Program Derek Duke, Blizzard Entertainment Dave Pensado and Herb Trawick, hosts of wildly popular Kris Giampa, Blizzard Entertainment weekly show Pensados Place, are interviewed for the David Rovin, Blizzard Entertainment first time ever. See what they have learned from their superstar guests; from studio technique and engineering, Look, listen, and learn from the audio team behind Dia- to the pressures of creating online television for 180 blo III: Reaper of Souls as they show us the world of straight weeks (and counting). Plus it just wouldn’t be game audio development from multiple perspectives— Pensadisan without a couple of surprises to boot. Sound Design, Music, and VO. Hear from some the audio team members how they approached the task of Live Sound Expo LSE4 LSE STAGE bringing sound to the next installment in the Diablo fran- INSTALLED AUDIO—SOUND-CENTRIC SPACES chise and how it has evolved from the original Diablo III Friday, October 10, 2:00 pm – 2:50 pm release. Attendees will also get a peek at the Reaper of Souls cinematic. Moderator: Scott Sugden, Head of Applications, L-Acoustics Product Design Session 7 Friday, October 10 2:00 pm – 3:30 pm Room 402 AB Presenters: Marcus Ross, Head of Audio, Blue Man Group Fred Vogler, FOH LA Philharmonic / System SUCCEEDING WITH EXTERNAL AND INTERNAL Engineer Hollywood Bowl / Sound Designer PARTNERS High performance sound systems are essential to the Presenter: Rob Chadderdon, Sound Resolution success of high profile performance venues. World- class system designers detail application specific compo- As audio reproduction hardware becomes increasingly nent selection, installation and control. complex and corporate budgets shrink, product develop- ment resources become more and more strained. Network Audio Session 5 Friday, October 10 Options like supplier design support, engineering con- 2:15 pm – 3:00 pm Room 409 AB sulting firms, and contract engineers sound intriguing, but can also be “more trouble than they’re worth” if not utilized well. Not so successful example: A company HOW MICROSOFT UPGRADED THEIR contracted a very qualified project management consul- REDMOND, WA, PRODUCTION FACILITIES tant at the very beginning of a design project. While he WITH AUDIO-OVER-IP was an excellent program manager, the culture in the company needed strong technical leadership while the Presenter: John L. Ball, Microsoft Corp., Redmond, design architecture was being defined. The team WA, USA became frustrated and progress was slow. In the end, even though the product was a success, the project was How Microsoft upgraded their production facilities and late, over budget, and the company lost some engineers. parts of the Redmond, WA campus with Audio-over-IP The team dynamic wasn’t considered in the decisions using a Dante network with a multi-vendor system. about outside help. Successful example: A regulatory compliance project was repeatedly re prioritized by man- Student Event/Career Development agement in favor of new product development. The STUDENT RECORDING CRITIQUES changes needed to be completed before a new standard Friday, October 10, 2:15 pm – 3:15 pm became effective to continue to sell the product. The Room 305 contract-manufacturer had in-house engineering, had experience with the product, and was motivated to help Moderator: Ian Corbett since the alternative was to stop production. This previ- Students can bring stereo or surround mixes to these ously untapped resource allowed the company to finish non-competitive listening sessions and a panel will give the project with little impact to their core engineering you valuable feedback and comments on your work! team. Striking a balance between internal engineering Sign-up for time slots is immediately after the first SDA teams and external resources can optimize the cost to meeting, on a first come, first served basis. Bring your benefit ratio without alienating your core team or compro- stereo or 5.1 work on CD, DVD, memory-stick, or hard mising your intellectual property. The presenter will pre- disc, as clearly labeled 44.1 KHz WAVE or AIFF files. sent best practices and methods and provide an open The Student Recording Critiques are generously spon- forum to discuss the benefits, pitfalls, and process of sored by PMC, and you get to hear your work on some finding that balance between internal and external amazing loudspeakers! (Finalists in the Recording Com- resources. petition are excluded from participating in this event to allow the many non-finalists an opportunity for feedback Special Event on their hard work.) PLATINUM ENGINEERS Friday, October 10, 2:00 pm – 4:00 pm Session P10 Friday, Oct. 10 Room 403 AB 2:30 pm – 4:00 pm Foyer 1 Moderator: Michael MacDonald, ATK Audiotek, POSTERS: SPATIAL AUDIO Valencia, CA, USA Presenters: Dave Pensado 2:30 pm Herb Trawick P10-1 An Object-Based Audio System for Dave Pensado & Herb Trawick: Interactive Broadcasting—Robert Oldfield,1 THE SCRIPT IS FLIPPED Ben Shirley,1Jens Spille2

28 Audio Engineering Society 137th Convention Program, 2014 Fall 1University of Salford, Salford, Greater text of their perceived ability to render a given Manchester, UK sound event. The two techniques explored are a 2Technicolor, Research, and Innovation, recently introduced numerical technique and a Hannover, Germany conventional crosstalk cancellation system. Extensive perceptual evaluations were conduct- This paper describes audio recording, delivery, ed in order to evaluate the perceived quality of and rendering for an end-to-end broadcast sys- the proposed and conventional synthesis meth- tem allowing users free navigation of panoramic ods using a binaural representation over head- video content with matching interactive audio. The phones. The data were compiled to show the system is based on one developed as part of the relationship between linear array loudspeaker EU FP7 funded project, FascinatE. The premise arrangement, reproduction angle, filter length, of the system was to allow users free navigation and subjective mean opinion scores. of an ultra-high definition 180 degree video Convention Paper 9151 panorama for a customizable viewing experience. From an audio perspective the complete audio 2:30 pm scene is recorded and broadcast so the rendered sound scene at the user end may be customized P10-4 Uncorrelated Input Signals Design and to match the view point. The approach described Identification with Low-Complexity for here uses an object-based audio paradigm. This Simultaneous Estimation of Head-Related paper presents an overview of the system and Transfer Functions—Sekitoshi Kanai,1 Kentaro describes how such a system is useful for facilitat- Matsui,1,2 Yasushige Nakayama,2 Shuichi ing an interactive broadcast. Adachi1 Convention Paper 9148 1Keio University, Yokohama-shi, Kanagawa, Paper presented by Ben Shirley Japan 2NHK Science & Technology Research 2:30 pm Laboratories, Setagaya, Tokyo, Japan; P10-2 Effect of Headphone Equalization on In our previous study, we verified that a set of Auditory Distance Perception—Kaushik head-related transfer functions (HRTFs) can Sunder, Ee-Leng Tan, Woon-Seng Gan, simultaneously be estimated by treating it as a Nanyang Technological University, Singapore, multi-input single-output (MISO) system. Howev- Singapore er, this leads to a lack of accuracy if appropriate input signals are not chosen and high computa- Headphones are not acoustically transparent tional cost is required to estimate. To improve and thus it affects both the timbral as well as the the accuracy, a novel input design method is spatial quality of the input sound source. The proposed. Moreover, we also propose a system effect of the headphones has to be compensat- identifiation method that reduces the space com- ed by calculating the inverse of the headphones plexity even when the number of measuring transfer function and convolving it with the bin- directions increases. The effectiveness of the aurally synthesized audio. Headphone transfer proposed methods was demonstrated through function (HPTF) also depends on the head- simultaneous estimation experiments of HRTFs. phone-ear coupling and thus displays high spec- Convention Paper 9152 tral variation between individuals. It has been found that the type of equalization (individual or 2:30 pm non-individual) affects the directional perception of the virtual audio reproduced using head- P10-5 An Evolutionary Algorithm Approach to phones. However, little investigation has been Customization of Non-Individualized Head carried out on the effect of headphone equaliza- Related Transfer Functions—Eric S. tion on auditory distance perception. In this Schwenker,1,2 Griffin D. Romigh2 paper, we study in detail the perceptual effects 1Carnegie Mellon University, Pittsburgh, PA, USA of equalization on the auditory distance percep- 2Air Force Research Labs, Wright Patterson Air tion in the proximal region in anechoic condi- Force Base, OH, USA tions. It was found that the equalization of the headphone is critical for good distance percep- Currently, the commercialization of high-quality tion. The type of equalization (individual or non- virtual auditory display technology is limited by individual) did not have a significant effect on the the costly and time-consuming methods required auditory distance perception indicating that the for obtaining listener-specific head-related trans- distance perception does not depend on the idio- fer functions (HRTFs), directionally-dependent syncratic features. The effect of repositioning of filters that encode spatial information. As such, the headphone on auditory depth perception is there is an increased interest in the estimation of also studied in this work. individualized HRTFs based on non-acoustic Convention Paper 9149 data. This study highlights the capabilities of an evolutionary algorithm method applied to the complex parameter optimization problem that 2:30 pm arises when HRTFs are fit to individuals (or pop- P10-3 Perceptual Evaluation of Loudspeaker ulations), rather than acoustically measured. Binaural Rendering Using a Linear Array— Results suggest the algorithm may be capable of Ismael Nawfal, Joshua Atkins, Stephen Nimick, providing HRTFs that improve localization Beats Electronics, LLC, Culver City, CA, USA through both personalization of generic HRTFs and the generation of an optimized set of gener- In this paper we evaluate two different tech- ic HRTFs. niques for spatial rendering using various linear Convention Paper 9153 array arrangements and filter lengths in the con- ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 29 Technical Program 2:30 pm you'll get an up-close view into how experienced audio engineers break down what they hear, empowering you P10-6 Multichannel-Reproduced Music with Height to keep learning whenever you listen. Ambiences: Investigating Physical and Perceptual Factors for Comprehensive 3D Experience—Antonios Karampourniotis,1 Mark Live Sound Expo LSE5 LSE STAGE J. Indelicato,1 Sungyoung Kim,1 Richard King2 MIXING PRIMER 1Rochester Institute of Technology, Rochester, Friday, October 10, 3:00 pm – 3:50 pm NY, USA; Presenter: Chap Cooper 2McGill University, Montreal, Quebec, Canada; The Centre for Interdisciplinary Research in Aimed at the club, live event and House Of Worship mix- Music Media and Technology, Montreal, er, this session offers a practical, systematic approach to Quebec, Canada building a mix for smaller venues, including tips for con- trolling feedback and excessive stage volumes. This study investigated the influence of the height loudspeaker positions and their signals on Broadcast/Streaming Media Session 7 perceived overall sound quality. Two layers and Friday, October 10 3:30 pm – 5:00 pm a total of seventeen loudspeakers were used in Room 306 AB a horizontal and height layer. Twelve partici- pants were asked to subjectively rank and describe eight randomly presented configura- MPEG-DASH—WHAT ABOUT AUDIO? tions that consisted of four height loudspeakers. A set of inverse filters was generated and Chair: Jan Nordmann, Fraunhofer USA, San Jose, applied to remove the room’s acoustic influence CA, USA and a new set of listeners were asked to evalu- Panelists: Rupert Brun, BBC Audio & Music, London, ate sound quality. The experimental results indi- UK cate the significance of the height loudspeaker Richard Doherty, Dolby Laboratories, positioning for a perceived 3D sound field. San Francisco, CA, USA These results show that the room’s acoustic Ronny Katz, DTS, Calabasas, CA, USA influence affects desired perceptual characteris- Greg Ogonowski, Orban, San Leandro, CA, tics of the sound field and influences subjective USA preferences. Convention Paper 9154 MPEG-DASH is the emerging adaptive streaming stan- dard that's designed to replace proprietary transport Network Audio Session 6 Friday, October 10 mechanisms such as HDS, Smooth Streaming or HLS. 3:00 pm – 3:45 pm Room 409 AB Already adopted or considered by many TV standards around the world, deployed by YouTube and Netflix and DEPLOYMENT OF LARGE SCALE NETWORKING supported in Google Chrome, Chromecast, and Mi- BASED ANNOUNCEMENT SYSTEM FOR SYDNEY crosoft Internet Explorer among others, MPEG-DASH is RAIL taking the video world by storm. Even though adaptive streaming is often considered a pure video topic, the panel will discuss its implications on the audio side from Presenter: Mark Lowndes, Stagetec an engineering and commercial perspective. Large deployment of Dante Networking used to upgrade the mass transit rail systems. Sydney Trains, the opera- Product Design Session 8 Friday, October 10 tor of all railway services in New South Wales. Stagetec 3:30 pm – 5:00 pm Room 402 AB presents a look at this system rollout to equip the plat- forms with new announcement technology. CHOOSING THE BEST PROCESSOR FOR YOUR AUDIO DSP APPLICATION Friday, October 10 3:00 pm Room 405 Technical Committee Meeting on Fiber Optics Presenter: Paul Beckmann, DSP Concepts, for Audio Sunnyvale, CA, USA

Project Studio Expo PSE5 PSE STAGE This tutorial focuses on one of the key design decisions LISTEN UP, AND LEARN! for audio product makers today - which processor to use Friday, October 10, 3:00 pm – 4:00 pm for audio signal processing. While digital signal proces- sors (DSPs) have been the processor of choice for many Presenters: Alex Case, University of Massachusetts years, recent trends such as connectivity, integration, Lowell, Lowell, MA, USA and low power are pushing designs to microcontrollers. Stephen Webber, Berklee College of Music, This tutorial reviews the state of the art for both DSPs Valencia, Spain and microcontrollers and their applicability to audio prod- ucts. We provide extensive benchmarking results and Bring your ears, your artistry, and your opinions for an real world examples allowing you to make the right hour dedicated to the art of listening. Guided by your choice for your next design. hosts, Stephen Webber and Alex U. Case, you'll focus on an iconic record that is a proven success—artistically and commercially—and glean useful aural insights. We'll Game Audio Session 7 Friday, October 10 listen as producers, engineers, composers, performers, 3:45 pm – 5:15 pm Room 408 B and music fans analyzing the elements that contribute to the work's success. You'll gain a deeper appreciation of DYNAMIC MIXING FOR GAMES this recording. More importantly, you'll be inspired to approach your own work in new ways. Most importantly, Presenter Simon Ashby, Audiokinetic

30 Audio Engineering Society 137th Convention Program, 2014 Fall Given the linear nature of film and music, audio mixing is musician recording at home and for 18 years has owned easily controlled and predictable. Mixing game audio a commercial studio, Jackpot! recording in Portland, Ore- brings with it many challenges, including performance gon. In this presentation he will cover what recording constraints and the non-linear event based triggering of equipment is truly important, how to never regret your in-game sounds. Using real-game practical audio exam- purchases, and where to focus your spending. ples, this session will demonstrate the many positive benefits that dynamic audio mixing can have on modern sound design. Live Sound Seminar 6 Friday, October 10 4:30 pm – 6:30 pm Room 406 AB Network Audio Session 7 Friday, October 10 4:00 pm – 5:00 pm Room 409 AB UNDERSTANDING THE MYSTERY OF MIXING FOR IN-EAR MONITORS HOW THE NEWLY FORMED MEDIA NETWORKING ALLIANCE WILL SUPPORT AES67 ADOPTERS Moderator: Mike Pirich, VER Panelists: Beau Alexander, Monitor engineer for Green Chair: Bill Scott, Bosch Communications Systems, Day, Tool, Nashville, TN, USA Burnsville, MN, USA Michael Parker, Parker Audio Inc., Los Panelists: Terry Holton, Yamaha R&D Centre, Angeles, CA, USA London, UK Michael Santucci, Sensaphonics Stefan Lederberger, Lawo Group, Zurich, Switzerland; LES Switzerland GmbH This seminar is geared toward the music engineer who Marty Sacks, Telos Alliance wants to make the transition to mixing with in-ear moni- Rich Zweibel, QSC Audio tors. Although in-ear monitors seem ubiquitous on televi- sion and stage, many sound engineers still rely on the IT technology has a lot to offer, far more than our indus- stage monitor due to the cost of in-ears or the lack of try could ever afford to develop on its own. A wide experience. As the cost of wireless comes down, there installed base and huge functionality at an unbeaten will be more opportunities for less experienced mixers to price point are just two examples. We need to adopt use in-ear monitors, but what are some of the things to what is already there, carefully rethink our traditional look out for as you make this transition. Professional requirements, and adapt the commodity technology to monitor mixers will discuss some of the ways a sound our needs. AES67 is the essential recipe how to do that, engineer can prepare for mixing in-ears including impor- making sure all manufacturers have a common denomi- tant hearing safety issues as well as some of the mini- nator while still being able to maintain healthy competitive mum equipment requirements. advantages. AES67 (after AES/MADI) is to the audio in- dustry what VoIP (after ISDN) is to the telephone industry. Special Event This panel will summarize AES67, discuss why we PLATINUM MASTERING: HIGH RESOLUTION AUDIO need it within the industry, and the purpose of the Media Friday, October 10, 4:30 pm – 6:30 pm Networking Alliance whose mission will be to encourage Room 403 AB adoption and interoperability of the standard. Moderator: Bob Ludwig, Gateway Mastering Studios, Friday, October 10 4:00 pm Room 407 Inc., Portland, ME, USA Standards Committee Meeting on Audio File Transfer and Exchange Panelists: Bruce Botnick, Music Producer, Engineer, Mastering Engineer / VP Content Acquisition Live Sound Expo LSE6 LSE STAGE for Pono Music, Los Angeles, CA, USA THE ART OF THE SOUND CHECK Mark Donahue, Recording and Mastering Friday, October 10, 4:00 pm – 4:50 pm Engineer, Soundmirror, Boston, MA, USA Andrés Mayo, President, Andrés Mayo Moderator: Mark Frink Mastering & Audio Post, Buenos Aires, Argentina Presenters: Thomas Pesa, Super Bowl, Grammy Awards, Barak Moffitt, Head of Strategic Operations at Academy Awards – ATK Universal Music Group, Los Angeles, CA, USA Ken "Pooch" Van Druten, FOH - Linkin Park Even the first song can sound good with pre-show plan- There is a unified push to make High Resolution Audio ning and an organized approach to the oft rushed sound the next big thing for the consumer. The Digital Enter- check. tainment Group in cooperation with the Consumer Elec- tronics Association, The Recording Academy, and the major record labels have recently defined High Resolu- Project Studio Expo PSE6 PSE STAGE tion Audio as “lossless audio that is capable of reproduc- WHERE TO FOCUS YOUR STUDIO GEAR ing the full range of sound from recordings that have PURCHASING WITH A LIMITED BUDGET been mastered from better than CD quality music Friday, October 10, 4:15 pm – 5:00 pm sources.” We will discuss the ramifications of this initia- tive with experts who have worked with High Resolution Presenter: Larry Crane, Tape Op Magazine, Portland, Audio for a long time as well as play many examples OR, USA; Jackpot! Recording Studio from the participants so the audience can hear for them- Musicians and home recordists on lower budgets are selves how High Resolution Audio can allow the listener always on the prowl for recording equipment deals and to hear exactly what the artist has been hearing in the looking to upgrade what they currently have. Tape Op studio while creating their music. magazine founder and editor, Larry Crane, was once a ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 31 Technical Program Session EB3 Friday, Oct. 10 Auro3D part of the original mix rather than an 5:00 pm – 6:15 pm Room 308 AB afterthought. Engineering Brief 169 PAPERS SESSION 1 6:45 pm Chair: Christoph Musialik, Sennheiser EB3-4 Orchestral Recording and Live Webcasting at 5:00 pm McGill University—Alejandro Aspinwall, McGill University, Montreal, QC, Canada; Centre EB3-1 “It Has to Work With the Picture”: Audio for Interdisciplinary Research in Music Media Education for Film and Media Students— and Technology (CIRMMT), Montreal, Quebec, Ufuk Onen, Bilkent University, Ankara, Turkey Canada Audio education for students who major in film- Recording and broadcasting live audio and video making, video production, visual media practice, of a large student orchestra performance can be a or visual communication design in universities’ tremendous challenge but can also be a great bachelor-degree programs usually starts with educational experience when organized properly. creating and improving awareness for sound The most important aspects to succeed in this task both in general and, also, in relation to visual are assembling a team of students with the ade- media as well. In addition to that, since these quate technical skills to resolve potential problems students utilize recording and mixing only as a and putting together an efficient system that can part of their professional practice, not as their handle potential problems such as power outages main field of specialty, teaching the technical or digital audio workstation failure. This kind of concepts and aesthetics to them requires mak- event prepares the students for real life scenarios ing use of different content and approach than to where they will encounter similar workflows and those who intend to become audio specialists. will be able to spot and prevent technical flaws that This paper discusses these issues by using could compromise the success of future events. COMD 361 Sound Design course at Bilkent Finally, having a group of students with assigned University, Department of Communication and responsibilities will improve their teamwork skills Design, as a case study. and allow them to communicate with peers outside Engineering Brief 167 their area of expertise. Engineering Brief 170 5:15 pm EB3-2 Film Production Sound in Secondary 6:00 pm Markets— The Value of Networking—Tom EB3-5 Stereo Bluetooth and Low Latency Hauser, Hooz Audio, Winston-Salem, NC, USA Applications —Jonny McClintock, CSR, I came back home to North Carolina after a nega- Belfast, Northern Ireland, UK tive experience interning in Nashville and eventu- The A2DP Bluetooth protocol is used to trans- ally navigated my way into sound for picture in cor- port stereo audio over a non-synchronous pack- porate and commercial work. I have built my etized structure. Using a frame-based codec, network over several years, gone to grad school i.e., SBC or AAC, results in system latencies for film scoring, moved away from the slightly more between 150 and 800 milliseconds with wide competitive area of Raleigh, and now have a small drifts up to +/– 200ms. A2DP can be used for 5.1 mixing studio in Winston-Salem, NC. I want to music but because of the problems associated highlight some of the things a young person needs with the frame-based codecs, Bluetooth is not to know to get work as a new comer among veter- suitable for audio for video or gaming applica- ans where ever they go, emphasize continual skill tions. The aptX codec offers an alternative. It development beyond school, the value of personal uses a fundamentally different coding architec- relationships, and navigating the ups and downs of ture and is sample-based delivering a system being a freelancer. latency of 40ms with minimal drift, i.e., +/– 1 ms. Engineering Brief 168 With the use of aptX, Bluetooth can now be used to wireless connect TV’s to soundbars, gaming 5:30 pm consoles to headsets, and PC’s to speakers. Engineering Brief 171 EB3-3 “Object” Panning for Film: Challenges and Solutions—Ben Loftis, Harrison Consoles, Nashville, TN, USA Tutorial 14 Friday, October 10 5:00 pm – 6:30 pm Room 309 Object-based panning allows film mixers to break free of the limits imposed by traditional surround LOUDSPEAKER DESIGN PART 2: HORN DRIVERS— formats. Harrison Consoles has developed soft- HISTORY, THEORY, AND TECHNOLOGY— ware panning that allows sounds to be treated as A MASTER CLASS objects in a 3D space that can then be rendered in various surround formats. This enables users to Presenter: Alexander Voishvillo, JBL/Harman mix in immersive sound formats and transition to Professional, Northridge, CA, USA traditional surround formats without having to start a new mix; it was most recently implemented at Horn drivers are the oldest "electrical" transducers and Sony Pictures for the mix of The Amazing Spider- their invention preceded the development of the direct- Man 2. Explained in this paper are the obstacles radiating loudspeaker. Historically, several major inven- that we faced, and how we overcame them, mak- tions in the late 1800s and early 1900s triggered the ing technologies such as Dolby Atmos and Barco invention and development of horn drivers; it was the

32 Audio Engineering Society 137th Convention Program, 2014 Fall invention of the telephone, radio, phonograph, and tri- to hear the work of your fellow students at other educa- ode. Principles of operation for the compression driver, tional institutions. Everyone learns from the judges’ com- based on matching the output mechanical impedance of ments, even those who don't make it to the finals, and it's the vibrating diaphragm and the loading impedance of a great chance to meet other students and faculty. the phasing plug and horn, were understood since the beginning of the 1900s. The motors of the early com- Traditional Acoustic Recording pression drivers were based on a moving armature Judges: David Bowles, Scott Levine, Ulrike Schwarz, rather than on a moving coil. Jonathan Wyner Sound for Visual Media Broadcast/Streaming Media Session 8 Judges: Tim Edwards, John Rodd, Scott Stambler Friday, October 10 5:00 pm – 6:30 pm Room 408 A Project Studio Expo PSE7 PSE STAGE IRONS IN THE FIRE: CAREER AND BUSINESS AUDIO ISSUES AND HTML5 DEVELOPMENT MENTORING WITH THE MANHATTAN PRODUCERS ALLIANCE Chair: Valerie Tyler, College of San Mateo, San Friday, October 10, 5:15 pm – 6:00 pm Mateo, CA, USA Presenters: Bassy Bob Brockman Panelists: Dale Curtis, Google, Seattle, WA, USA Joe Carroll, Manhattan Producers Alliance, Greg Ogonowski, Orban, San Leandro, CA, New York, NY, USA USA Steve Horowitz Alex Schoepel, DTS Inc., Calabasas, CA, USA Jerry Smith, Microsoft Bring your energy, enthusiasm, business ideas, and Charles Van Winkle, Adobe, Minneapolis, questions. At this event the focus is on YOU! Succeeding MN, USA in music today is, more than ever, challenging. Members of the Manhattan Producers Alliance will give a brief talk HTML5 is a language for structuring and presenting con- about developing your brand and your business, and tent for the World Wide Web, a core technology of the In- functioning as a creative talent in an ever-changing ternet. It is the fifth revision of the HTML standard. music business. Take this unique opportunity to meet HTML5 has many features built into the code. One fea- some ManhatPro members and spend some time learn- ture is the media player and how it handles media being ing some tips and tricks for business development. You’ll downloaded or streamed. This session will look into the participate in our open discussions, discuss your person- technical considerations for media to be played back as al career goals one on one, and get a chance to meet well as the user interfaces. some ManhatPro members.

Product Design Session 9 Friday, October 10 Game Audio Session 8 Friday, October 10 5:00 pm – 6:30 pm Room 402 AB 5:30 pm – 6:30 pm Room 408 B

AUDIO PROCESSING PLATFORMS NEW TECHNIQUES FOR ZERO-LATENCY AND ARCHITECTURE CONVOLUTION

Presenter: Danny Olesh, Gateway Audio Presenter: Frederick Umminger, Senior Manager Software Engineering, Sony Computer Today's audio product design engineer and product man- Entertainment America ager are faced with a dizzying number of choices in putting together digital platforms for their end product. This Low latency in audio is critical for virtual reality applica- session by Danny Olesh of Gateway Audio will discuss tions. This creates a need for low-latency but highly effi- best practices in architecting and designing great products cient convolutions for HRIR and reverberation. Ordinary, around the power of DSP, Networking, Intelligence, FFT-accelerated block-based convolution requires Firmware and Software. Topics will include platform and increasing latency in order to lower the CPU load with architecture development, buy vs. build, software building larger FFT block sizes. In 1993, William Gardner proposed blocks, and managing a diverse engineering team that a method of using non-uniform block sizes to simultane- includes internal and external engineers, manufacturing ously attain low latency and high efficiency. In 2008, Jef- partners, design partners and others. frey Hurchalla proposed another method to accomplish this goal. This talk introduces two recent techniques for Student Event/Career Development performing efficient zero-latency convolution. RECORDING COMPETITION—PART 1 Friday, October 10, 5:00 pm – 7:00 pm Historical Event H3 Room 306 AB BENJAMIN BAUER AND THE SHURE UNIDYNE The Student Recording Competition is a highlight at each MICROPHONE: 75 YEARS OF AUDIO LEGEND convention. A distinguished panel of judges participates Friday, October 10, 5:30 pm – 6:30 pm in critiquing finalists of each category in an interactive Room 409 AB presentation and discussion. The top three finalists in each category, as identified by our judges, present a Presenter: Michael Pettersen, Shure Incorporated, short summary of their production intentions and the key Niles, IL, USA recording and mix techniques used to realize their goals. They then play their projects for all who attend. Meritori- 2014 marks the 75th anniversary of the Shure model 55 ous awards are determined here and will be presented at Unidyne Microphone and the Uniphase acoustical network. the closing Student Delegate Assembly Meeting (SDA-2) This historical presentation provides an overview of the life on Sunday afternoon. The competition is a great chance and career of Benjamin Bauer who developed the ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 33 Technical Program Uniphase network. Bauer (born Baumzweiger), an immi- 9:00 am grant from Ukraine, developed the network at age 24 and it earned him the first of over 100 patents in audio technolo- P11-1 Development of a Sound Field Diffusion gy. After a twenty year career at Shure Incorporated, Bauer Coefficient—Alejandro Bidondo, Mariano headed audio research for twenty years at CBS Laborato- Arouxet, Sergio Vazquez, Javier Vazquez, ries. Included in the presentation are photos and details of Germán Heinze, Adrián Saavedra, Universidad the first Unidyne mic elements constructed by Bauer. Nacional de Tres de Febrero, Buenos Aires, These prototypes were uncovered December 2013 in the Argentina Shure Archived and have not been seen since the early This research addresses the development of an 1940s. Also included are historical photos of Unidyne absolute descriptor and its associated calcula- microphones from the past 75 years. tion software algorithm with user interface, which quantifies the degree of diffusion, in a third Special Event octave band basis and globally, of a sound field OPEN HOUSE OF THE TECHNICAL COUNCIL from a monaural impulse response. The degree AND THE RICHARD C. HEYSER MEMORIAL LECTURE of sound field diffuseness is related with the Friday, October 10, 6:45 pm – 8:30 pm probability of getting accumulated energy in dis- Room 403 AB crete reflections compared to the total energy contained in all the reflections of an impulse Lecturer: Marty O’Donnell, Marty O'Donnell Music, response, after extracting its decay and normal- Seattle, WA, USA izing it in respect to its reverberation time. The The Heyser Series is an endowment for lectures by coefficient range varies between 0 and 1, zero eminent individuals with outstanding reputations in audio being “no diffuseness” and one being a maxi- engineering and its related fields. The series is featured mum absolute reference obtained from analyz- twice annually at both the United States and European ing different types of rooms. The challenge has AES Conventions. Established in May 1999, The Richard been not only to develop this coefficient theoreti- C. Heyser Memorial Lecture honors the memory of cally but converting its theory in a mathematical Richard Heyser, a scientist at the Jet Propulsion Labora- numerical calculation through a dedicated soft- tory, who was awarded nine patents in audio and com- ware. This coefficient may be used both to study munication techniques and was widely known for his the effects of sound diffusers coatings as well as ability to clearly present new and complex technical coated surfaces and the degree of perception of ideas. Heyser was also an AES governor and AES Silver different values which may appear within sound Medal recipient. fields. The Richard C. Heyser distinguished lecturer for the Convention Paper 9155 137th AES Convention is Marty O’Donnell. O'Donnell received a Bachelor of Music Composition from Wheaton 9:30 am College Conservatory and a Masters of Music Composi- tion from USC in the early 1980s. He started an original P11-2 Simulating Talker Directivity for Speech music and audio production company with Michael Sal- Intelligibility Measurements—Peter Mapp, vatori. From their studio in Chicago O’Donnell/Salvatori Peter Mapp Associates, Colchester, Essex, UK wrote and produced music and audio for hundreds of TV The research investigated how both the frequen- and radio commercials, as well as movie scores. In 1997 cy response and directivity of a talker or voice they began working on games and did the audio design simulator can affect the measured and predicted for Cyan’s Riven: The Sequel to Myst, and all the music speech intelligibility within a given situation. Cur- and audio for Bungie’s Myth: The Fallen Lords. Marty rent sound system and acoustic standards pro- joined Bungie as full time Audio Director in May of 2000 vide little guidance as to the required acoustic ten days before they were purchased by Microsoft and characteristics of a simulator or the effects that subsequently wrote and produced award winning music its directivity and frequency response parame- and audio for the Halo series. In 2007 he helped estab- ters may have. It is shown that the both driver lish Bungie as an independent game company and built size and format as well as the overall frequency an audio team to work on the upcoming game Destiny. response can have a marked effect on speech Recently, in collaboration with Salvatori and Sir Paul intelligibility measurements. A range of talker McCartney he completed an orchestral/choral suite titled loudspeaker simulators was investigated in both Music of the Spheres scheduled to be released this real and simulated environments. The research August. In April of 2014 he started his own company shows that the characteristics of several common- Marty O’Donnell Music. ly used simulators varied significantly which Marty is the famed audio director behind the award-win- markedly affected the resultant intelligibility mea- ning Halo game series and is responsible for the biggest surements. The results of the work are used to for- selling game soundtrack of all time. In his talk entitled “The mulate a number of recommendations for talker Ear Doesn’t Blink: Creating Culture With Adaptive Audio,” and voice simulator electroacoustic characteristics O'Donnell will draw on his unique perspective from games, and standardization of measurement methods. film and jingle-writing to share the creative challenges of Convention Paper 9156 working in non-linear media such as games. 10:00 am Session P11 Saturday, Oct. 11 9:00 am – 11:30 am Room 309 P11-3 Visualization of Early Reflections in Control Rooms—Malcolm Dunn, Daniel Protheroe, ROOM ACOUSTICS Marshall Day Acoustics, Auckland, New Zealand Measurements were undertaken in a variety of Chair: Doyuen Ko, Belmont University, Nashville, control rooms with a system utilizing a compact TN, USA microphone array and sound intensity technique

34 Audio Engineering Society 137th Convention Program, 2014 Fall to estimate the direction of early reflections. This frequency response that describes the sound at paper presents the results of these measure- the listening area as correct as possible, how ments including 3D intensity plots that provide a can we reduce comb-filter effects? In which way visual representation of sound arrivals at the lis- is a fast and adequate measurement possible? tener position. The effectiveness of this type of Results showed a significant reduction by move- system for the detection of problematic reflec- ment of the measurement microphone. An eval- tions and the evaluation of the listening environ- uation by listening tests showed that frequency ment is discussed. response averaging by microphone movements Convention Paper 9157 led not only to smoother magnitude responses but also to better sound experience through less 10:30 am equalization. Convention Paper 9159 P11-4 Holistic Acoustic Absorber Design: From Modeling and Simulation to Laboratory Testing and Practical Realization—Rob Toulson, Silvia Cirstea, Anglia Ruskin University, Session P12 Saturday, Oct. 11 Cambridge, UK 9:00 am – 12:00 noon Room 308 AB

In developing a new acoustic absorber, a num- TRANSDUCERS—PART 3 ber of practical design challenges are experi- enced. Complex mathematical models for many Chair: Eric Gaskell, GKL Audio Inc., McGill University, acoustic absorbing methods have previously Montreal, Quebec, Canada been developed, however there is very little accessible data describing how those models perform in a practical implementation of the 9:00 am design. This project describes a holistic P12-1 Compensation of the Flux Modulation approach to the development of a novel slotted Distortion Using an Additional Coil in a film sound absorber and presents the results at Loudspeaker Unit —Niccolo Antonello, Finn each design iteration. Initially a number of math- Agerkvist, Technical University of Denmark, Kgs. ematical models are considered, in order to opti- Lyngby, Denmark mize the design geometry for a maximum sound absorbing effect. Second, the modeled designs Flux modulation is one of the main causes of distor- are laboratory tested with an impedance tube tion in electrodynamic loudspeaker units. A new system. Finally, the practical acoustic absorber compensation technique that eliminates this type of design, including framing and mounting meth- non-linearity using an additional compensation coil ods, is finalized and tested in an ISO accredited in the speaker unit is presented. An equivalent cir- reverberation chamber. The results of the mod- cuit model of the device including the compensation eling, impedance tube testing, and the room coil is derived. The compensation technique con- testing are all considered. It is seen that the sim- sists on feeding the compensation coil and voice ulation and impedance tube results match very coil with filtered versions of the wanted audio signal. closely, whereas the practical implementation Simulations show that a significant reduction in flux performance is lower in terms of acoustic modulation distortion can be achieved with this absorption. This research therefore presents a technique. A simple magnetic circuit has been con- valuable case study for acoustic absorber structed to test the method on a real device, and the designers in helping to better predict the final measurements show the method works, also when performance of their designs. eddy currents are present. Convention Paper 9158 Convention Paper 9160

11:00 am 9:30 am P11-5 Oscillating Measurement Motion—Myth or P12-2 Physical Requirements of New Acoustic Magic? —Wolfgang Heß, Stefan Varga, Transducers to Replace Existing Moving-Coil Fraunhofer Institute for Integrated Circuits IIS, Loudspeakers—Gyeong-Tae Lee, Jong-Bae Erlangen, Germany Kim, Dong-Hyun Jung, Samsung Electronics, Suwon-si, Gyeonggi-do, Korea Acoustical reproduction in cars is different to acoustical reproduction in rooms or other larger New types of acoustic transducers have recently environments. This is caused by the size of the emerged as a possible alternative to moving-coil car cabin, by surrounding materials as well as loudspeakers. However, they have not met the non-ideal loudspeaker enclosures, and repro- performance for commercialization enough to duction positions. In order to achieve a well bal- replace existing loudspeakers. In this paper to anced sound system, for most sound system identify the requirements for high performance, tuning engineers, acoustical measurements are we derived an analytical model of a moving-coil essential in the process of designing and opti- loudspeaker based on physical acoustics and mizing an audio system. This paper analyses electroacoustics, and evaluated the simulated and describes different methods of measuring results of the model in terms of acoustic perfor- the frequency-gain behavior of single or multiple mance. Finally, we discussed the physical loudspeakers. When measured at a single posi- requirements of new acoustic transducers from tion, often dips and notches in the form of comb- the perspective of bass performance, tonal bal- filters can be observed in the frequency ance, decay time, and spatial directivity and then response. This work focuses on practical as- made some suggestions. pects: In which way is it possible to measure a Convention Paper 9161

Audio Engineering Society 137th Convention Program, 2014 Fall 35 Technical Program 10:00 am 1:30 am P12-3 Nonlinear Flux Modulation Effects in Moving P12-6 A General Approach for the Acoustic Design Coil Transducers—Felix Kochendörfer, of Compression Drivers with "Narrow" Alexander Voishvillo, JBL/Harman Professional, Channels and Rigid Diaphragms—Jack Northridge, CA, USA Oclee-Brown, GP Acoustics (UK) Ltd., Maidstone, UK Adverse effects in transducer motors produced by the nonlinear force factor on performance of loud- A generalized approach to determining the posi- speakers are well understood. Nonlinear effects tion and size of "narrow" phase-plug channels is produced by dependence of the voice coil induc- presented that is applicable to compression dri- tance and resistance on the coil’s position and on vers with radiating diaphragms of arbitrary the current are less obvious. Previous work of the geometry. In addition, it is demonstrated that by authors showed the nonlinear behavior of the carefully shaping the compression cavity accord- voice coil inductive component presented as a ing to the diaphragm motion then optimal behav- function of the voice coil position, which was ior results. FEM computed examples are obtained by FEA simulation tools. This work is an presented demonstrating the method for the attempt to obtain variation of the aforementioned case of a conical diaphragm geometry. parameters experimentally as functions of the Convention Paper 9165 voice coil position, current, and frequency. Convention Paper 9162 Tutorial 15 Saturday, October 11 9:00 am – 10:15 am Room 408 A 10:30 am P12-4 Design and Construction of a Circular AMT ALL ABOUT: TIMBRE Speaker of 360° Radiation—Rodrigo Fernández Arcani, Alejandro Sánchez Caparrós, Presenter: Alex Case, University of Massachusetts— Universidad Nacional de Tres de Febrero, Lowell, Lowell, MA, USA Buenos Aires, Argentina One of the most important properties of audio, timbre’s Among the electro-mechano-acoustical dynamic definition may be broader than you think. Distilling timbre transducers there is one whose operating principle into its essential elements reveals its rich meaning and is not widely publicized. This transducer is known lets us make a direct connection between it and the deci- as Air Motion Transformer (AMT). Using this oper- sions, actions, and devices that drive it. Much is in the ation principle, a prototype of an AMT transducer hands of the performer—their technique and their instru- type was designed and built with the particularity ment. Engineers have obvious impact through micro- of making a cylindrical diaphragm. The behavior of phone choice and placement. But we also focus on how the prototype was assessed and noted that it to use compression, delay, reverb, and distortion effects achieves a 360 degree of quasi uniform high fre- to refine timbre. quency sound pressure level radiation in the hori- zontal plane. In order to improve the efficiency, several configurations are proposed. Tutorial 16 Saturday, October 11 Convention Paper 9163 9:00 am – 11:00 am Room 409 AB

11:00 am AUDIO FORENSICS: AN OVERVIEW P12-5 Identification Compression Driver Parameters Based on a Concept of Chair: Jeff M. Smith, National Center for Media Diaphragm’s Frequency-Dependent Area— Forensics, Denver, CO, USA; University Alexander Voishvillo, JBL/Harman Professional, of Colorado Denver, Denver, CO, USA Northridge, CA, USA Presenters: Durand Begault, Audio Forensic Center In the previous work, matrix analysis was Eddy B. Brixen, ebb-consult, Smørum, applied the derivation of the transfer matrix of a Denmark compression driver’s diaphragm. Its mechanical Catalin Grigoras, University of Colorado impedance consisted of lumped parameters and Denver, Denver, CO, USA a part corresponding to the high-frequency Gordon Reid, CEDAR Audio Ltd. breakups. In the current work the mechanical This tutorial will feature several presenters engaged in impedance is based on lumped parameters various areas of audio forensics in lively discussion whereas the area of the diaphragm is presented geared toward experts learning from one another and to as a function of frequency. The transfer function benefit the introductory attendee. Tutorial Chair, Jeff M. of compression driver is derived from the overall Smith (National Center for Media Forensics, CU Denver) matrix that includes the frequency-dependent and chair of the Technical Committee on Audio Foren- area of the diaphragm. The area is included in sics, will present on Speaker Analysis and the applica- the transformation matrix that links the mechani- tion of Bayesian likelihood. Catalin Grigoras (NCMF, CU cal and acoustical parts. By equating the mea- Denver) will present on the best practices and future sured SPL for a given input voltage to SPL challenges in forensic audio authentication. Gordon Reid derived from the model, the expression for the (CEDAR Audio Ltd.) will present on noise reduction and frequency-dependent area of the diaphragm can speech enhancement techniques. Eddy Brixen (EBB be derived. This information is used in modeling consult) will present on auditory crime scene analysis. Fi- and design of different drivers using the identi- nally, Durand Begault (Audio Forensic Center) will wrap fied diaphragm. up some loose ends with a discussion of forensic audio Convention Paper 9164 miscellany including musicological forensics, warning

36 Audio Engineering Society 137th Convention Program, 2014 Fall signal audibility, acoustics, and more. Richard Warp, Manhattan Producers This session is presented in association with the AES Alliance, New York, NY, USA; Leapfrog Technical Committee on Audio Forensics Enterprises Inc., Emeryville, CA, USA Guy Whitmore, PopCap Games Broadcast/Streaming Media Session 9 Saturday, October 11 9:00 am – 10:30 am Everyone wants to work in games, just check out the Room 306 AB news. The game industry is on the rise and the growth curve keeps going up and up and up. So, what is the SOUND DESIGN AND STORYTELLING: best way to get that first gig in audio for games? How HOW TO CREATE THE ENVIRONMENTS can I transfer my existing skills to interactive media? We AND SOUNDS NEEDED TO ENHANCE ANY TALE will take a panel of today’s top creative professionals from large game studios to Indie producers and ask them Presenters: David Shinn, SueMedia Productions, what they think you need to know when looking for work Carle Place, NY, USA in the game industry. So, whether you are already work- Sue Zizza, SueMedia Productions, Carle ing in the game industry or just thinking of the best way Place, NY, USA to transfer your skills from film, TV or general music pro- duction to interactive media or a complete newbie to the No matter what the medium (film, TV, games, radio, etc.) industry, this panel is a must! creating a fully realized sound scape helps to bring your story to 'life' and engages your audience. Blending Network Audio Session 8 Saturday, October 11 recorded effects captured specifically for your story, 9:00 am – 10:30 am Room 404 AB along with recorded effects from the many SFX libraries available, and live 'in-studio' effects, helps to create a IMPLEMENTATION OF A LARGE SCALE ETHERNET sound scape tailored to your story's environments and AVB AUDIO NETWORK AT ESPN worlds. This session will take you through the different ways (in mono, stereo, and surround sound) to: • Capture recordings in the field Chair: Tim Shuttleworth, Renkus Heinz, • Showcase live SFX performance techniques (foley) Oceanside, CA, USA and review Panelists: Brian Ames • Microphone choices for sound effect recordings. Warren Belkin Christian Diehl As part of the demonstration a short skit will be per- Jonathan Pannaman formed showcasing the different performance and SFX techniques. ESPN has installed a large scale Ethernet AVB audio distribution network at its Bristol, CT Digital Center 2 Live Sound Seminar 7 Saturday, October 11 (DC2). Panelists involved in the installation will discuss 9:00 am – 11:00 am Room 406 AB the business case for this major project along with the audio requirements and the IT infrastructure required to accomplish this project. The presentation will address CHOOSING THE RIGHT LOUDSPEAKER the challenges in implementing an AVB based infrastruc- FOR THE APPLICATION ture on such a vast scale and the in-service experience since the facility opened in June, 2014. Presenter: Steve Bush, Meyer Sound Labs, Inc., Questions that this presentation will answer: Berkeley, CA USA • What were the audio requirements that ESPN and A wide variety of loudspeakers are designed for use in how did AVB provide a solution? different modern sound reinforcement applications. • What were your other technology considerations and Examples include line arrays, point-source loudspeak- why did you chose AVB? ers, loudspeakers with narrow coverage, wide coverage, • What role did open standards play in your decision short-throw and long-throw, and numerous other varia- to choose AVB? tions. The primary goal of sound system design is to • What were some of the challenges for the installa- evenly distribute the sound to the listening audience at tion and how did you arrive at a solution? the appropriate volume, but it can quickly become over- • What was the biggest benefit to utilizing AVB for this whelming to know how to best implement the tools avail- installation? What are the implications of the install for to- able to effectively achieve that goal. This presentation day’s workflow? will step participants through a general overview of com- mon loudspeaker types and how they are implemented Product Design Session 10 Saturday, October 11 in different sound system design applications. 9:00 am – 10:30 am Room 402 AB

Game Audio Session 9 Saturday, October 11 SELECTING AND WINNING WITH GLOBAL 9:00 am – 11:00 am Room 408 B PARTNERS

GAME AUDIO CAREERS 101— Presenter: Chris von Hellman, Tymphany HOW TO JUMP START YOUR CAREER Today's global economy presents a myriad of options in developing and delivering audio products. Most compa- Chair: Steve Horowitz, Game Audio Institute, San nies are engaged with some combination of: 1) Contract Francisco, CA, USA; Nickelodeon Digital Manufacturers, 2) Original Equipment Manufacturers (OEMs), 3) Original Design Manufacturers (ODMs), 4) Panelists: Brennan J. Anderson, Disney Interactive Design Engineering Companies, 5) Industrial Design Firms, 6) Market Research Firms. Stephan Schütze, Sound Librarian, ¯ Melbourne, Australia Market acceptance, time to market, and cost margin are

Audio Engineering Society 137th Convention Program, 2014 Fall 37 Technical Program the critical measures of a product?s success. To achieve Be Nice,” in the inaugural Raw Tracks series at the AES this, product management and engineering today must 137th International Convention in Los Angeles. Linett select and partner with the right combination of these or- has worked extensively with The Beach Boys and Brian ganizations and the ones that best fit both partners' goals. Wilson for over twenty-five years, including the first true Simply sending bids out to prospective suppliers will not stereo and 5.1 mix of Pet Sounds and has also worked suffice in today's highly competitive world. There are many with an array of artists including Jimi Hendrix, Randy dimensions beyond product cost that must be considered Newman, Rickie Lee Jones, Jane’s Addiction, Eric Clap- some more tangible than others. A spreadsheet should ton, and The Red Hot Chili Peppers. not be making such a critical decision. The presenter will lead a discussion about the details of Saturday, October 11 10:00 am Room 405 how to select and work with these partners that leads to a Technical Committee Meeting on Coding of Audio long term and highly successful relationship. This will Signals include the following topics: 1) What type of partner do you need? 2) How to we find the right partner? 3) How do we Session P13 Saturday, Oct. 11 structure the relationship? 4) What are the keys to minimiz- 10:30 am – 12:00 noon Foyer 1 ing risk? 5) Can we work without finger pointing? 6) How do we protect our intellectual property, uniqueness and brand equity? 7) What needs to change about our compa- POSTERS: APPLICATIONS IN AUDIO—PART 1 ny to ensure success with development partners? The presenter will discuss how a company can lever- 10:30 am age its core competencies by selecting partners whose P13-1 Automated Sound Optimization of Car Audio capabilities and competencies are complimentary. The Systems Using Binaural Measurements resulting partnership enables the company's products to and Parametric IIR Filters—Friedrich von maximize the value of internal and external assets, Tuerckheim, Tobias Münch, Visteon Electronics resources and skill sets. Germany GmbH, Straubenhardt, Germany

Student Event/Career Development Sound tuning is an important step towards STUDENT DESIGN EXHIBITION improved listening conditions in car interiors. In Saturday, October 11, 9:00 am – 10:30 am most cases it is done manually by sound engi- S-Foyer 1 neers. This paper presents an approach for fully automated sound optimization. In a first step, All accepted entries to the AES Student Design Competi- loudspeaker and interior responses are captured tion are given the opportunity to show off their designs at by averaged binaural measurements. Then, the this poster/ tabletop exhibition. The session is free and resulting frequency response is matched to a open to all convention attendees and is an opportunity given reference curve. As automotive head units for aspiring student hardware and software engineers to often provide limited capacity for audio filters, a have their projects seen by the AES design community. small set of second order recursive filters is used It is an invaluable career-building event and a great for equalization. Numerical optimization leads to place for companies to identify their next employees. a minimum error response while maintaining Students from both audio and non-audio backgrounds psychoacoustic specifications. The presented are encouraged to participate. Few restrictions are method is used for fast and efficient frequency placed on the nature of the projects, which may include response correction as well as for copying sound loudspeaker designs, DSP plug-ins, analog hardware, characteristics of different car interiors. signal analysis tools, mobile applications, and sound Convention Paper 9166 synthesis devices. Attendees will observe new, original ideas implemented in working-model prototypes. 10:30 am Saturday, October 11 9:00 am Room 405 P13-2 Study of TV Sound Level Adjustment System Technical Committee Meeting on Sound for Digital for the Elderly with Speech Rate Conversion Cinema & Television Function—Tomoyasu Komori,1,2 Atsushi Imai,3 Nobumasa Seiyama,3 Reiko Takou,3 Tohru Takagi,3 Yasuhiro Oikawa2 Saturday, October 11 9:00 am Room 407 1 Standards Committee Meeting on Digital Audio NHK Engineering System, Inc., Setagaya-ku, Measurement Techniques Tokyo, Japan 2Waseda University, Shinjuku-ku, Tokyo, Japan 3NHK Science & Technology Research Recording and Production Session 3 Laboratories, Setagaya-ku, Tokyo, Japan Saturday, October 11 9:30 am – 11:00 am Room 403 AB Elderly viewers sometimes feel that background sound (music and sound effects) in TV programs RAW TRACKS: PET SOUNDS—A MASTER CLASS is too loud, or that narration or speech is too fast to understand. That is why we have constructed Moderator: Mark Rubel, The Blackbird Academy, a prototype system that compensates for both of Nashville, TN, USA; Pogo Studio, Nashville, these problems with sound on the receiver side. TN, USA The results of evaluation experiments targeting elderly viewers showed that the use of this sys- Panelist: Mark Linett tem could make it significantly easier to listen to TV sound. These results also showed that elder- Renowned engineer/producer and three-time Grammy ly viewers exhibit the “recruitment phenomenon.” winner Mark Linett will discuss, analyze, and deconstruct They tend to select processing with a slowed track by track two songs from the Beach Boys seminal speech rate that is easy to hear. Pet Sounds album: “God Only Knows” and “Wouldn’t It Convention Paper 9167

38 Audio Engineering Society 137th Convention Program, 2014 Fall 10:30 am blindly on a single-channel input signal and cre- ates a 5-channel decorrelated presentation. This P13-3 Investigation of Gain Adjustment in a algorithm uses transient extraction to achieve Personal Assistive Listening System Using better fidelity when decorrelating a wide range of Parametric Array Loudspeakers—Santi input signals. A subjective listening test com- Peksi,1 Woon-Seng Gan,1 Ee-Leng Tan,1 2 2 pares the performance of the proposed algo- Eu-Chin Ho, Satya Vijay Reddy Medapati rithm in relation to two existing algorithms drawn 1Nanyang Technological University, Singapore 2 from the literature. Results of the test are dis- Tan Tock Seng Hospital, Singapore cussed as well as suggested improvements to Human hearing degrades with ages, which leads the test methodology. to difficulties in viewers of different age groups Convention Paper 9170 enjoying television together as they required dif- ferent audio volumes. To address the problem 10:30 am Simon et al. [1] proposed loudspeaker arrays that boost 10 dB at all frequencies in a narrow P13-6 Applicability of Perceptual Evaluation of spatial zone where hearing-impaired listener is Speech Quality in Evaluating Heavily located. This paper presents a different Distorted Speech—Mitsunori Mizumachi, approach using a personal assistive listening Kyushu Institute of Technology, Kitakyushu, (PAL) system that aims to deliver a highly direc- Fukuoka, Japan tional sound beam with the required gain amplifi- Speech quality assessment is indispensable to cation through a parametric array loudspeaker to properly design a speech enhancement match the hearing profile of a hearing-impaired algorithm. The perceptual evaluation of speech listener, while delivering normal sound loudness quality (PESQ) is frequently employed as an to the rest of normal listeners using conventional objective speech distortion measure. The PESQ electro-dynamic loudspeakers. This paper investi- is a methodology for estimating subjective as- gates the gain adjustment of two commercially- sessment of speech quality assuming a slight available parametric loudspeakers over the distortion caused by speech codecs for telepho- frequency range for audiometry testing and ny systems. In case of noise reduction, however, relates the gain adjustments to the sound pres- a degree of speech distortion is heavier than sure level (SPL) at various positions away from those caused by the speech codecs. In this the sound system. paper applicability of the PESQ is investigated Convention Paper 9168 for noisy and noise-reduced speech signals under severe noisy conditions. A relationship 10:30 am between PESQ scores and subjective mean opinion scores reveals that the PESQ can be P13-4 Cinema Sound Facility Design for Higher applicable for heavily distorted speech only un- Education—Robert Jay Ellis-Geiger, City der non-stationary noisy conditions. University of Hong Kong, Hong Kong, China Convention Paper 9171 This paper is a narrative of the trials and tribula- tions that the author went through from design Broadcast/Streaming Media Session 10 through to the commissioning of probably the Saturday, October 11 10:30 am – 12:00 noon most advanced higher education cinema sound Room 408 A facilities within the Asia-Pacific region. The facili- ties include a 7.1 THX and Dolby certified dub- COMPLIANCE WITH CALM ACT/PLOUD bing theatre, audio recording studio integrated into a 30-workstation audio/music technology Moderator: Skip Pizzi, NAB, Washington DC, USA lab, multiple 5.1 surround screening rooms, color correction, multi-format home entertainment Presenters: Florian Camerer, ORF, Austrian TV, Vienna, environment and a large sound stage that can Austria; EBU, European Broadcasting Union accommodate a full symphonic orchestra. The Tim Carroll, Telos Alliance, Lancaster, PA, main purpose for the facilities were to support USA the delivery of undergraduate and post-graduate Fadi Malek, DTS Inc. courses in sound, music, and audio within the Scott Norcross, Dolby Laboratories, academic studios of cinematic arts and anima- San Francisco, CA, USA tion and to establish a research center for cine- ma sound and music technology applications. Regulatory regimes or recommendations for control of Convention Paper 9169 television audio loudness are now well in place in the U.S. and Europe. Find out what these procedures entail, and learn the latest on implementation methods from top 10:30 am experts in the field, including some who were instrumen- P13-5 A General-Purpose Decorrelator Algorithm tal in creation of the governing documents. with Transient Fidelity—Ross Penniman, University of Miami, Coral Gables, FL, USA Network Audio Session 9 Saturday, October 11 10:30 am – 12:00 noon Room 404 AB In a multichannel spatial audio presentation, a decorrelator is a signal-processing algorithm that helps to create a diffuse sensation for the listen- USING AUDIO CONTENT OVER IP TECHNOLOGY er by defeating any localization cues. In this IN PUBLIC RADIO paper the relevant psychoacoustic and signal processing principles are reviewed, and a new Chair: Sherri Hendrickson, Director Broadcast decorrelator algorithm is proposed that operates Media and Operations, American Public ¯ Media (APM) Audio Engineering Society 137th Convention Program, 2014 Fall 39 Technical Program Panelists: Ian Adams, System Administrator, American um, and high-budget studios. The discussion will encom- Public Media (APM), Los Angeles, CA, USA pass site selection, construction, acoustics, technology, Tom Nelson, Director Broadcast Engineering, neighbors, clients, and other issues encountered and American Public Media (APM), St. Paul, MN, overcome. USA A recently completed refresh of American Public Media’s Live Sound Seminar 8 Saturday, October 11 Marketplace studios is focused on real-time collaboration 11:00 am – 1:00 pm Room 406 AB via IP based signal distribution for audio, display and control. Legacy analog and digital cabling has been THE CUBE SPATIAL AUDIO RENDERER: replaced by a multicast IP focused IT infrastructure con- THE NEXUS OF COLLABORATIVE PERFORMANCE necting the main Los Angeles studios to APM’s New AND LIVE SOUND FOR MULTIDISCIPLINARY York and Washington DC bureaus. Marketplace Morning RESEARCH Report and Marketplace Money are both hosted from New York but produced, directed and engineered from Presenters Mike Roan, Virginia Tech, Blacksburg, VA, the control rooms in Los Angeles. This workshop will USA explore how audio over IP enables real time collabora- Tanner Upthegrove, Virginia Tech, tion across locations for live broadcast. Blacksburg, VA, USA Our three presenters will discuss • The business case for this major investment and its The Institute for Creativity, Arts, and Technology (ICAT) impact on work flow and the user experience from the introduces a world-class collaborative research and per- host, director and producers’ perspective. formance sound instrument, The Cube Spatial Audio • The audio technologies employed and systems Renderer (CSAR). Housed in Virginia Tech’s new Moss design from an audio signal routing and control perspective Arts Center, CSAR layers immersive sound technologies • The underlying IT infrastructure which supports all to create a unique, multi-user experience. CSAR is this and how off-the-shelf network equipment is config- specifically designed for the Cube, a five-story, hybrid ured to support multicast distribution and provide trans- theater and research lab outfitted with hundreds of mission redundancy patchable AV and data panels. The primary 124.4 sys- tem produces Ambisonics, Wave Field Synthesis, and other spatial audio techniques. Nine ultrasonic beam Product Design Session 11 Saturday, October 11 speakers complement the primary system, four of which 10:30 am – 12:00 noon Room 402 AB are on motorized pan-tilt arms. Eight relocatable, high- fidelity loudspeakers complete the system. HOW TO DESIGN A ROBUST AUDIO PRODUCT This unique facility will provide researchers with aston- FOR THE REAL WORLD ishing new capabilities in the fields of science, engineer- ing, art, and design including Sound Field Synthesis, Presenter: Bill Whitlock, Whitlock Consulting, Oxnard, Auralization of Big Data, Human Perception, and Psy- CA, USA choacoustics. The primary aesthetic goal for the Cube is to pursue Testing the performance of audio products usually advances in multichannel music and sound art for 3D begins and ends in the manufacturer's test lab. Unfortu- audio. The methodologies will include the composition of nately, this testing doesn't always reveal problems that new works for the Cube; the development of new soft- occur only when the product is installed in a real-world ware to facilitate work in the Cube; dissemination of system. Such problems include hum, buzz, clicks, pops, research results through technical publications, software and other unexplained misbehavior. Most can be traced distribution, and concerts open to the public; and finally to design issues, such as internal grounding schemes or collaborations with other institutions that are working in conceptual misunderstandings of signal interface circuit- 3D audio. ry, that cost little or nothing to cure. These practical aspects of design are rarely taught in engineering schools but are precisely the focus of this tutorial. Learn Game Audio Session 10 Saturday, October 11 what challenges your product will face in real-world sys- 11:00 am – 12:30 pm Room 408 B tems and how to avoid the problems. BACK TO THE FUTURE: INTERACTIVE AUDIO Project Studio Expo PSE8 PSE STAGE IMPLEMENTATION TRENDS CREATING A PROJECT STUDIO Saturday, October 11, 10:45 am – 12:15 pm Presenter: Scott Selfon, Microsoft, Redmond, WA, USA Moderator: John Storyk, Architect, Studio Designer and Principal, Walters-Storyk Design Group, "Next gen” has arrived, with ever increasing technical Highland, NY, USA capabilities in both hardware and software processing. Panelists: Nellie Barnett, Singer, VO artist, actress, But are these new consoles really just offering the same Los Angeles, CA, USA thing, only more of it? What are the audio frontiers and PK Pandey, Director, GC Pro, Boston, barriers when so many of the restrictions of the past MA, USA have been eliminated? And with maturing and increas- Chris Pelonis, Musician, studio designer/ ingly sophisticated audio engine solutions, is game owner, Santa Barbara, CA, USA sound programming really now a “solved” problem? Scott reflects on the current state-of-the-art for areas Part 1: How to create the best sounding, most ergonomi- ranging from spatial simulation and acoustic modeling to cally functional and aesthetically pleasing project studio evolving and dynamic mixing, audio as a feedback possible on a given a budget (with questions from the mechanism, and highly personalized audio experiences. audience). He’ll use examples from both past and present to high- Part 2: Addressing the needs and goals for low, medi- light the technical achievements that implementers are

40 Audio Engineering Society 137th Convention Program, 2014 Fall striving for in making audio not only compelling and real- strations covering a range of approaches using different istic but an equal-footing contributor to immersive, DAWs and bespoke software using multi-touch tech- engaging, and rewarding gameplay experiences. niques. Although introducing all key concepts from scratch, its range and hybridization should provide inspi- Student Event/Career Development ration even for experienced practitioners. EDUCATION AND CAREER/JOB FAIR This session is presented in association with the AES Saturday, October 11, 11:00 am – 12:30 pm Technical Committee on Recording Technology and S-Foyer 2 Practices

The combined AES 135th Education and Career Fair will Session EB4 Saturday, Oct. 11 match job seekers with companies and prospective stu- 11:30 am – 1:00 pm Room 309 dents with schools. Companies PAPER SESSION 2 Looking for the best and brightest minds in the audio world? No place will have more of them assembled than Chair: Eric Benjamin, Surround Research, Pacifica, the 135th Convention of the Audio Engineering Society. CA, USA Companies are invited to participate in our Education and Career Fair, free of charge. This is the perfect 11:30 am chance to identify your ideal new hires! EB4-1 SoundWire: A New MIPI Standard Audio All attendees of the convention, students and profes- Interface—Pierre-Louis Bossart,1 Juha sionals alike, are welcome to come visit with representa- Backman,2 Jens Kristian Poulsen3 tives from participating companies to find out more about 1Intel Corporation, Austin, TX, USA job and internship opportunities in the audio industry. 2Microsoft, Espoo, Finland Bring your resume! 3BlackBerry Schools This paper presents the key features of the One of the best reasons to attend AES conventions is upcoming SoundWire hardware interface and the opportunity to make important connections with your protocol. SoundWire is a robust, scalable, low fellow educators from around the globe. Academic Insti- complexity, low power, low latency, two-pin tutions offering studies in audio (from short courses to (clock and data) multi-drop bus that allows for graduate degrees) will be represented in a "table top" the transfer of multiple audio streams and session. Information on each school's respective embedded control/commands. SoundWire pro- programs will be made available through displays and vides synchronization capabilities and supports academic guidance. There is no charge for schools/insti- both PCM and PDM, multichannel data, isochro- tutions to participate. Admission is free and open to all nous and asynchronous modes. The develop- convention attendees. ment of this interface has generated a lot of interest and contributions from providers of audio peripherals (microphones, amplifiers and Saturday, October 11 11:00 am Room 407 audio codecs), silicon vendors and OEMs. It will Standards Committee Meeting on Metadata for Audio become a ratified standard by MIPI (Mobile Industry Processor Interface consortium) at the Live Sound Expo LSE7 LSE STAGE end of 2014. The first products should appear in SOUND IN SPACE—THE BASICS REVISITED 2015 and enable new usage models or design Saturday, October 11, 11:00 am – 11:50 am choices for audio applications. Engineering Brief 172 Presenter: Bernie Broderick, Technical Training Manager, EAW 11:45 am Knowledge of the physics of sound—reflection, attenua- EB4-2 Performance and Response: A Framework to tion in air, the inverse square law—are as practical a part Discuss the Quality of Audio Systems—Ron Bakker,1 Masahiro Ikeda,2 Sungyoung Kim3 of the sound engineer’s repertoire as are signal flow and 1 a musical ear. Yamaha Music Europe, Vianen, Netherlands 2Yamaha Corporation, Hamamatsu, Shizuoka, Japan Tutorial 17 Saturday, October 11 3Rochester Institute of Technology, Rochester, 11:15 am – 1:15 pm Room 409 AB NY, USA CONTEMPORARY APPROACHES Recently we have designed a new networked TO PROGRAMMING DRUMS digital audio system that is far more flexible yet complicated than before. A main design parame- Presenter: Justin Paterson, London College of Music, ter was sound quality, focusing on cognitive University of West London, London, UK judgment as well as physical quality since they both significantly influence the final sound quality Drum programming has often faced boundaries in terms evaluation. To adopt a human centric based of how effectively it could address the complexities of approach for the design of a flexible networked certain genres. This tutorial will explore and push some digital audio system, the authors redefine the of these boundaries as implemented in contemporary concept of sound quality assessment that classi- professional practice, showing contrasting techniques fies a system’s overall quality into two attributes: used in the creation of both human emulation and the a physical part as performance and a cognitive unashamedly synthetic, across genres from Swing to part as response. ¯ Glitch. The session will include numerous live demon- Engineering Brief 173

Audio Engineering Society 137th Convention Program, 2014 Fall 41 Technical Program 12:00 noon Pinkle; Bryan Dalle Molle, University of Illinois at Chicago, Chicago, IL, USA EB4-3 Analog Mixer Digitally Controlled via Plugin —Vasin Limsukhawat, Max Sound Contour, The CAVE2 is a large scale, 320 degree, 3D / Denver, CO, USA; University of Colorado at 2D virtual reality environment featuring motion Denver, Denver, CO, USA capture technology and located in the Electronic Visualization Laboratory at the University of Illi- The purpose of this project is to turn an old ana- nois at Chicago. The environment includes a log mixer to be more controllable which 20.2 channel sound system controlled by a Su- enhances the workflow to be more efficient. It perCollider based audio server that is, in turn, consists of two major components: hardware controlled via the proprietary Omicron and software. A microcontroller has been used SoundAPI. Audio imaging for the system had to control the motorized potentiometer as well as operated with the assumption that the listener transfer all the data from the mixer to the plugin was stationary in the center of the CAVE2 and or vice versa. This provides an ability to control spatial extent was not dynamically altered. Our the mixer via the AU plugin or manually adjust team added functionality to maintain audio imag- as well as save and recall presets. ing, including source position and width, as a Engineering Brief 175 tracked user and sound object move relative to one another within the environment. 12:15 pm Engineering Brief 162 EB4-4 Performance of the Microphone-Preamp Interface—Eric M. Benjamin,1 Andrew Kimpel2 Special Event 1Surround Research, Pacifica, CA, USA MUSIC AND AUDIO FOR THE SMALLER SCREEN 2Auralab, San Francisco, CA, USA Saturday, October 11, 11:30 am – 12:30 am Room 304 AB The microphone/preamp interface is very impor- tant but not as well understood as its importance Moderator: Jerome Rossen, Freshmade Music, would suggest. The signal level between the San Francisco, CA, USA microphone and the preamp is at the lowest level it will ever be. Furthermore, any degradation or Presenters: Steve Horowitz, Game Audio Institute, loss of quality can’t be restored by later process- San Francisco, CA, USA ing. The microphone, microphone cable, and pre- Richard Warp, Manhattan Producers amplifier are made by different companies. The Alliance, San Francisco, CA, USA-Leapfrog power for the microphone comes from the pream- Enterprises Inc., Emeryville, CA, USA plifier. To optimally design the preamplifier it would be desirable to know the signal levels and the out- What are the important issues to take into account when put impedance of the microphone. Also, the output you’re composing, compiling, and refining your master- impedance of the microphone affects the intrusion piece for the small screen? What should you prioritize of external electrical noise into the system. A sur- during preproduction? How does the smaller screen vey and study of the interface yields new insights affect your creative decision making? How can you mix into system performance. for success? What do you need to know if you’re creat- Engineering Brief 176 ing for iOS, Android and the Web? Join members of the Manhattan Producers Alliance as they conduct this panel addressing how to make the best possible audio for the 12:30 pm “smaller screen.” EB4-5 Removal of Partially Correlated Noise to Improve Signal to Noise Ratio—A Theoretical Broadcast/Streaming Media Session 11 Study—Simon Busbridge, Chris Garrett, Saturday, October 11 12:00 noon – 1:30 pm University of Brighton, Brighton, UK Room 408 A Time correlation and decorrelation are well established tools to improve the signal to noise SBE/TROUBLESHOOTING AND MAINTENANCE ratio of a system, yet they are often poorly OF EQUIPMENT understood. When several unwanted signals are correlated they are much easier to remove from Chair: Kirk Harnack, Telos Alliance, Nashville, TN, uncorrelated wanted signals than vice versa, USA; South Seas Broadcasting Corp., where a much poorer improvement is possible. Pago Pago, American Samoa A case in point is the removal of wind noise from Panelists: John Bisset, Telos Alliance microphone signals. The situation is further com- Bill Sacks, Orban / Optimod Refurbishing, pounded when one or other of the signals is only Hollywood, MD, USA partially correlated or different spectral content is Kimberly Sacks, CBS Radio, Hollywood, differently correlated. This paper looks at the MD, USA theoretical improvement in signal to noise ratio Joe Talbot, Telos Alliance when either the signal or the noise are correlat- ed to different degrees. Application to real sig- nals and noise is discussed. Much of today’s audio equipment may be categorized as Engineering Brief 177 “consumer, throw-away” gear, or so complex that factory assistance is required for a board or module swap. The art of Maintenance, Repair, and Troubleshooting is actu- 12:45 pm ally as important as ever, even as the areas of focus may EB4-6 Dynamic Audio Imaging In Radial Virtual be changing. This session brings together some of the Reality Environments—Mark Blewett, James sharpest troubleshooters in the audio business. They’ll

42 Audio Engineering Society 137th Convention Program, 2014 Fall share their secrets to finding problems, fixing them, and USING AES67 NETWORKING—PRACTICAL ISSUES working to ensure they don’t happen again. We’ll delve IN AES67 DEPLOYMENT into troubleshooting on the systems level, module level, and the component level, and explain some guiding prin- Chair: Andreas Hildebrand, ALC NetworX GmbH, ciples that top engineers share. Munich, Germany This is jointly presented by the Society of Broadcast Engineers. Panelists: Landon Gentry, Audinate, Portland, OR, USA This session is open to all badges. Sydney, Australia Kevin Gross, AVA Networks, Boulder, CO, USA Recording and Production Session 4 Gints Linis, University of Latvia – IMCS, Riga, Saturday, October 11 12:00 noon – 1:30 pm Latvia Room 404 AB Greg Shay, The Telos Alliance, Cleveland, OH, USA MASTER MISSION: SPREADING THE WORD The AES67 standard provides comprehensive interoper- ON MENTORING, FORMATS, AND A CHANGING ability recommendations for professional audio over IP INDUSTRY networks in the areas of synchronization, media clock identification, network transport, encoding and stream- Moderator: Tom Kenny ing, session description, and connection management. This workshop will discuss the practical issues that Panelists: Gavin Lurssen, Lurssen Mastering, Los will arise when AES67 is deployed in small- and large- Angeles, CA, USA scale installations, including physical media, switches Andrew Mendelson, Georgetown Masters, and routers, and timing and latency. Nashville, TN, USA Joe Palmaccio, The Place . . . For Mastering, Historical Event H4 Nashville, TN, USA HISTORY OF AUDIO MEASUREMENT TECHNOLOGY Michael Romanowski, Michael Romanowski Saturday, October 11, 12:15 pm – 1:15 pm Mastering, San Francisco, CA, USA; Owner Room 402 AB Coast Recorders A discussion with multiple award-winning Mastering engi- Presenter: John Murray, Optimum System Solutions, neers on the state of the music industry from a mastering Woodland Park, CO, USA engineers position. They will be discussing the changes in the industry and how the model is changing with man- Starting with early CRT real-time analyzers and strip- ufacturing and online file distribution. Topics also includ- chart recorders, moving through LED RTAs to time-gated ed will be Meta-Data, High resolution, streaming, Singles direct sound and windowing methodologies, to the full vs. Albums, LPs. dual FFT era, including both dedicated boxes as well as software cards and programs, this presentation will track the historical development of audio measurement sys- Saturday, October 11 12:00 noon Room 405 tems for sound reinforcement. Systems to be mentioned Technical Committee Meeting on High Resolution in the timeline will include HP, Altec, Amber, Arta, Audio Audio Control, Audio Precision (Tektronix), Barclay Badap, B&K, Crown BDP-2 & TEF, General Radio, Goldline, Live Sound Expo LSE8 LSE STAGE Ivie, Meyer SIM, Neptune (NEI), SIA SMAART, Spectra DIGITAL CONSOLES—WHAT’S INSIDE? Foo, UREI Sonipulse, UREI 200/2000 w/HP 7010B, and Saturday, October 11, 12:00 noon – 12:50 pm White Instruments. Perspective on the practical application and technical Moderator: Mark Frink progression of these types of measurement systems will be shared. Insight will be presented as to how the Presenters: Antony David, Managing Director Solid State advancement of the technology fostered the expansion Logic of knowledge for both the practitioners of system design Tom Der, US Brand Manager-Soundcraft, and tuning, and for the developers of new loudspeaker/ Live Sound Product Specialist-Studer processing products. The presenter, John Murray, has Matt Larson, National Sales Manager, made a life-long study of sound-system equalization and DiGiCo, XTA, MC2 the tools used for it. Having experience in all sides of the Marc Lopez, Marketing Manager, Yamaha sound reinforcement industry, his career has been great- Commercial Audio Systems ly influenced by these measurement systems. Ray Tantzen, Product Manager StudioLive RM-series mixers - PreSonus Saturday, October 11 12:30 pm Room 407 What differentiates digital consoles in terms of sonic sig- Standards Committee Meeting on Loudspeaker natures? Our panel will discuss analog inputs, process- Modeling and Measurement ing algorithms and the available approaches to DSP hardware. Project Studio Expo PSE9 PSE STAGE MIXING SECRETS: PRODUCTION TRICKS Network Audio Session 10 Saturday, October 11 TO USE WITH ANY DAW 12:15 pm – 1:15 pm Room 308 AB Saturday, October 11, 12:30 pm – 1:15 pm

CANCELED Presenter: Mike Senior, Sound On Sound, Munich, Germany; Cambridge Music Technology Network Audio Session 3 Saturday, October 11 Affordable DAW software now provides all the process- 12:15 pm – 1:45 pm Room 308 AB ing tools you need to create commercially competitive ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 43 Technical Program music mixes within a home, college, or project studio. As Convention, is set to offer lively debate and discussion such, the overriding concern for budget-conscious engi- across all boundaries. No matter your gender, you will neers these days should be to develop effective habits want to hear what these Chicks in the Mix have to say. with regard to studio monitoring, mix balancing, and quality control. Important techniques in each of these Special Event three areas are often neglected in small-scale produc- THE FUTURE IS NOW: MIND CONTROLLED tions, leading to mixes that don't stack up against profes- INTERACTIVE MUSIC sional releases, or that collapse on some mass-market Saturday, October 11, 1:00 pm – 2:30 pm listening systems. In this seminar Sound On Sound mag- Room 304 AB azine's "Mix Rescue" columnist Mike Senior will draw on his experience of thousands of project-studio mixes to Presenters: Scott Looney highlight the most frequently overlooked studio tricks. In Tim Mullen the process he'll demonstrate how these methods can Richard Warp, Manhattan Producers powerfully upgrade your sonics without breaking the Alliance, San Francisco, CA; Leapfrog bank, no matter which DAW you're using. Enterprises Inc., Emeryville, CA, USA

Game Audio Session 11 Saturday, October 11 If one thing is clear from the music industry over the last 1:00 pm – 3:00 pm Room 306 AB 20 years, it is that consumers are seeking an ever-more immersive experiences, and in many ways bio feedback ADVENTURES IN MUSIC AND SOUND DESIGN is the "final frontier," where music can be made in reac- —THE WORLD OF HOHOKUM tion to emotions, mood and more. Whether the feedback comes from autonomic processes (stress or arousal, as in Galvanic Skin Response) or cognitive function (EEG Presenters: Daniel Birczynski, Sony Computer signals from the brain), there is no doubt that these Entertainment America “active input” technologies, which differ from traditional David Collins, Sony Computer HCI inputs (such as hardware controllers) in their singu- Entertainment America lar correspondence to the individual player, are here to Mike Niederquell, Sony Computer stay. These technologies are already robust enough to Entertainment America be integrated into everything from single interfaces to Accompanying the vibrant visuals in Hohokum is a lush complete systems. soundtrack and highly interactive audio environment that brings audio to the forefront of this title. In this workshop, Student Event/Career Development the senior staff of the audio team talks about storytelling STUDENT RECORDING CRITIQUES through their creative use of sound design and music. Saturday, October 11, 1:00 pm – 2:00 pm Room 305 Special Event CHICKS IN THE MIX Moderator: Ian Corbett Saturday, October 11, 1:00 pm – 2:30 pm Students can bring stereo or surround mixes to these Room 403 AB non-competitive listening sessions and a panel will give you valuable feedback and comments on your work! Moderator: Chris Lord-Alge, Multi-GRAMMY Sign-up for time slots is immediately after the first SDA Award-winning producer/mixer meeting, on a first come, first served basis. Bring your stereo or 5.1 work on CD, DVD, memory-stick, or hard Panelists: Marcella Araica, Recording & Mix engineer disc, as clearly labeled 44.1 KHz WAVE or AIFF files. (Britney Spears, Madonna, Pink) The Student Recording Critiques are generously spon- Amy Burr, Larrabee Sound Studios, Studio sored by PMC, and you get to hear your work on some Manager amazing loudspeakers! (Finalists in the Recording Com- Emily Lazar, September Mourning (Lead petition are excluded from participating in this event to Vocalist for the band) allow the many non-finalists an opportunity for feedback Lisa Loeb, GRAMMY-nominated on their hard work.) Singer/Songwriter Brenda Russell, BMPR, Los Angeles, CA, USA Saturday, October 11 1:00 pm Room 405 Historically the audio and recording industries has been Technical Committee Meeting on Automotive Audio a male dominated workplace. Whether you are a female engineer, product designer, producer, mixer, manager, songwriter or artist, there are challenges you face on a Live Sound Expo LSE9 LSE STAGE day-to-day basis that your male counterparts do not. Our THE SMALL VENUE MONITOR MIX panel of well-known female industry professionals dis- Saturday, October 11, 1:00 pm – 1:50 pm cuss what it takes to survive and thrive in what James Brown called “It’s A Man’sWorld.” Moderating this panel Presenter: Jason Spence, President-J Sound Services, is the industry’s most testosterone driven, turn it up to Monitor Engineer (Keith Urban, Megadeth, 11, egotistical person AES could find—multi-GRAMMY CMT and CMA Awards Award-winning producer/mixer, Chris Lord-Alge whose resume includes recordings for Muse, Pink, Foo Fight- Amps on stage, wedges in front of every musician, a ers, Avril Lavigne, Green Day, Daughtry, Paramore, and drummer who could fill a domed stadium with sound Black Eyed Peas. Whether you are just starting out in the without amplification—what’s a sound engineer to do to industry or are a seasoned professional, Chicks In The keep the musicians happy without destroying the house Mix brings together some of the most powerful and suc- mix? A practical approach will be presented, including cessful women to discuss what and how they do what the diplomacy involved in telling musicians to “turn it they do. This dynamic panel, debuting at the AES137 down” and the alternative of personal monitoring.

44 Audio Engineering Society 137th Convention Program, 2014 Fall Broadcast/Streaming Media Session 12 5Orange Labs, Cesson Sevigné, France Saturday, October 11 1:30 pm – 3:00 pm 6Dolby Laboratories, San Francisco, CA, USA Room 408 A 7BBC Research and Development, London, UK

UNDERSTANDING AUDIO PROCESSING— In audio quality evaluation, ITU-R BS.1534-1, HOW TO USE THE AUDIO PROCESSOR commonly known as MUSHRA, is widely used for the subjective assessment of intermediate audio quality. Studies have identified limitations Chair: Tracy Teagarden, CBS Radio of the MUSHRA methodology [1][2], which can Panelists: Sunil G. Bharitkar, Dolby Laboratories, influence the robustness to biases and errors San Francisco, CA, USA introduced during the testing process. Therefore Tim Carroll, Telos Alliance, Lancaster, ITU-R BS.1534 was revised to reduce the poten- PA, USA tial for introduction of systematic errors and bias- Frank Foti, Telos, New York, NY, USA es in the resulting data. These modifications Jean-Marc Jot, DTS, Inc., Los Gatos, CA, improve the validity and the reliability of data col- USA lected with the MUSHRA method. The main Jeff Keith, Wheatstone Corporation, New changes affect the post screening of listeners, Bern, NC, USA the inclusion of a mandatory mid-range anchor, Greg Ogonowski, Orban, San Leandro, CA, the number and length of test items as well as USA statistical analysis. In this paper the changes Robert Orban, Orban, San Leandro, CA, USA and reasons for modification are given. Convention Paper 9172 What is the audio processor? What is it used for? How do we use it? Is it the solution for bad levels, bad mixes, 2:30 pm bad audio? Will it save the world? P14-2 Movement Perception of Risset Tones with Saturday, October 11 1:30 pm Room 401 and without Artificial Spatialization—Julian Historical Committee Meeting Villegas, University of Aizu, Aizu Wakamatsu, Fukushima, Japan Project Studio Expo PSE13 PSE STAGE The apparent radial movement (approaching or LISTEN UP, AND LEARN!—TRACK 2 receding) of Risset tones was studied for Saturday, October 11, 1:30 pm – 2:15 pm sources in front, above, and to the right of listen- Presenters: Alex Case, University of Massachusetts ers. Besides regular Risset tones, two kinds of Lowell, Lowell, MA, USA spatialization were included: global (regarding Stephen Webber, Berklee College of Music, the tone as a whole) and individual (spatializing Valencia, Spain each of its spectral components). The results suggest that regardless of the direction of the Bring your ears, your artistry, and your opinions for an glissando, subjects tend to judge them as hour dedicated to the art of listening. Guided by your approaching. The effect of spatialization type hosts, Stephen Webber and Alex U. Case, you'll focus was complex: For upward Risset tones, judg- on another iconic record that is a proven success—artis- ments were, in general, aligned with the direc- tically and commercially—and glean useful aural tion of the spatialization, but this was not insights. We'll listen as producers, engineers, composers, observed in the downward Risset tones. Further- performers, and music fans, analyzing the elements that more, individual spatialization yielded judgments contribute to the work's success. You'll gain a deeper comparable to those of non-spatialized stimuli, appreciation of this recording. More importantly, you'll be whereas spatializing the stimuli as a whole yield- inspired to approach your own work in new ways. Most im- ed judgments more aligned with the treatment. portantly, you'll get an up-close view into how experienced Convention Paper 9173 audio engineers break down what they hear, empowering you to keep learning whenever you listen. 3:00 pm

Session P14 Saturday, Oct. 11 P14-3 The Audibility of Typical Digital Audio Filters 2:00 pm – 5:30 pm Room 308 AB in a High-Fidelity Playback System—Helen M. Jackson, Michael D. Capp, J. Robert Stuart, Meridian Audio Ltd., Huntingdon, UK PERCEPTION—PART 2 This paper describes listening tests investigating Chair: Sungyoung Kim, Rochester Institute of the audibility of various filters applied in high-res- Technology, Rochester, NY, USA olution wideband digital playback systems. Discrimination between filtered and unfiltered 2:00 pm signals was compared directly in the same sub- jects using a double-blind psychophysical test. P14-1 Revision of Rec. ITU-R BS.1534—Judith Filter responses tested were representative of 1 2 3 Liebetrau, Frederik Nagel, Nick Zacharov, anti-alias filters used in A/D (analog-to-digital) 4 5 Kaoru Watanabe, Catherine Colomes, Poppy converters or mastering processes. Further tests 6 1 7 Crum, Thomas Sporer, Andrew Mason probed the audibility of 16-bit quantization with 1 Fraunhofer IDMT, Ilmenau, Germany or without a rectangular dither. Results suggest 2 Fraunhofer Institute for Integrated Circuits IIS, that listeners are sensitive to the small signal Erlangen, Germany alterations introduced by these filters and quanti- 3 DELTA SenseLab, Iisalmi, Finland zation. Two main conclusions are offered: first, 4 NHK Broadcasting Center, Setagaya-ku, Tokyo, there exist audible signals that cannot be encod- ¯ Japan

Audio Engineering Society 137th Convention Program, 2014 Fall 45 Technical Program ed transparently by a standard CD; and second, of sound quality. On average, listeners preferred an audio chain used for such experiments must the reference headphone that was based on the be capable of high-fidelity reproduction. in-room frequency response of an accurate loud- Convention Paper 9174 speaker in a reference listening room. This was generally true regardless of the listeners’ experi- 3:30 pm ence, age, gender, and culture. This new evi- dence suggests a headphone standard based P14-4 Evaluation Criteria for Live Loudness Meters on this new target response would satisfy the —Jon Allan, Jan Berg, Luleå University of tastes of most listeners. Technology, Piteå, Sweden Convention Paper 9177 As a response to discrepancies in loudness lev- els in broadcast, the recommendations of the 5:00 pm International Telecommunication Union and the P14-7 A Hierarchical Approach to Archiving and European Broadcasting Union state that audio Distribution—J. Robert Stuart,1 Peter Craven2 levels should be regulated based on loudness 1Meridian Audio Ltd., Huntingdon, UK measurement. These recommendations differ 2Algol Applications Ltd., London, UK regarding the definition of meter ballistics for live loudness meters, and this paper seeks to identi- When recording, the ideal is to capture a perfor- fy possible additional information needed to at- mance so that the highest possible sound quality tain a higher conformity between the recommen- can be recovered from the archive. While an dations. This work suggests that the qualities we archive has no hard limit on the quantity of data seek in a live loudness meter could be more dif- assignable to that information, in distribution the ferentiated for different time scales (i.e., momen- data deliverable depends on application-specific tary and short-term that is defined by two differ- factors such as storage, bandwidth or legacy ent integration times), and therefore also should compatibility. Recent interest in high-resolution be evaluated by different evaluation criteria. digital audio has been accompanied by a trend Convention Paper 9175 to higher and higher sampling rates and bit depths, yet the sound quality improvements 4:00 pm show diminishing returns and so fail to reconcile human auditory capability with the information P14-5 Factors Influencing Listener Preference for capacity of the channel. By bringing together ad- Dynamic Range Compression—Malachy Ro- vances in sampling theory with recent findings in nan, Robert Sazdov, Nicholas Ward, University human auditory science, our approach aims to of Limerick, Limerick, Ireland deliver extremely high sound quality through a The introduction of loudness normalization hierarchical distribution chain where sample rate has led some commentators to declare that the and bit depth can vary at each link but where the loudness wars are over. However, factors con- overall system is managed from end-to-end, in- tributing to a preference for dynamic range com- cluding the converters. Our aim is an improved pression have not been removed. The research time/frequency balance in a high-performance presented here investigates the role of long-term chain whose errors, from the perspective of the memory in sound quality judgments. Factors human listener, are equivalent to no more than influencing preference judgments of dynamic those introduced by sound traveling a short dis- range compression are discussed along with tance through air. suggestions of further research areas. Research Convention Paper 9178 is presented that indicates that an objective measure of dynamic range will facilitate a Session P15 Saturday, Oct. 11 greater understanding of how dynamic range 2:00 pm – 5:00 pm Room 309 compression affects individual sound quality attributes. SIGNAL PROCESSING—PART 1 Convention Paper 9176 Chair: Jayant Datta, THX Ltd., San Francisco, CA, USA 4:30 pm P14-6 The Influence of Listeners’ Experience, Age, 2:00 pm and Culture on Headphone Sound Quality P15-1 MATLAB Program for Calculating the Preferences—Sean Olive, Todd Welti, Parameters of Autocorrelation and Interaural Elisabeth McMullin, Harman International, North- Cross-Correlation Functions Based on a ridge, CA USA Model of the Signal Processing Performed 1 Double-blind headphone listening tests were in the Auditory Pathways —Shin-ichi Sato, Alejandro Bidondo,1 Yoshiharu Soeta2 conducted in four different countries (Canada, 1 USA, China, and Germany) involving 238 listen- Universidad Nacional de Tres de Febrero, Caseros, Buenos Aires, Argentina ers of different ages, gender, and listening expe- 2 riences. Listeners gave comparative preference National Institute of Advanced Industrial ratings for three popular headphones and a new Science and Technology (AIST), Ikeda, Japan reference headphone that were all virtually pre- This paper describes a MATLAB program with a sented through a common replicator headphone graphical user interface (GUI) for a signal pro- equalized to match their measured frequency cessing based on the Auditory Image Model [S. responses. In this way, biases related to head- Bleeck et al., Acta Acustica united with Acustica, phone brand, price, visual appearance, and 90 (2004) 781–787], followed by the summary comfort were removed from listeners’ judgment autocorrelation function (SACF) and the summa-

46 Audio Engineering Society 137th Convention Program, 2014 Fall ry interaural cross-correlation function (SIACF) chosen to represent a range of different amounts analyses, and the calculation of the SACF and of TF overlap, then separated and evaluated us- SIACF parameters. The effects of the number of ing objective measures. PEASS results show im- the channels and the frequency range of the filter- proved interferer suppression and artifact scores banks on the SACF parameters are investigated. can be achieved using softer masking than that Convention Paper 9179 applied by binary or ratio masks. The improve- ment in these scores gives an improved overall 2:30 pm perceptual score; this observation is repeated at multiple TF resolutions. P15-2 An Investigation of Temporal Feature Convention Paper 9182 Integration for a Low-Latency Classification with Application to Speech/Music/Mix 4:00 pm Classification—Joachim Flocon-Cholet,1 Julien Faure,1 Alexandre Guérin,1 Pascal Scalart2 P15-5 A New Approach to Impulse Response 1Orange Labs, Lannion, France Measurements at High Sampling Rates— 2INRIA/IRISA, Université de Rennes, Rennes, Joseph G. Tylka, Rahulram Sridhar, Braxton B. France Boren, Edgar Choueiri, Princeton University, Princeton, NJ, USA In this paper we propose several methodologies for the use of feature integration and evaluate High sampling rates are required to fully charac- them in a low-latency classification framework. terize some acoustical systems, but capturing These general methodologies are based on the system’s high-frequency roll-off decreases three key aspects that will be assessed in this the signal-to-noise ratio (SNR). Band-pass filter- study: the selection of the features that have to ing can improve the SNR but may create an be temporally integrated, the choice of the undesirable pre-response. An iterative proce- integration techniques, i.e., how the temporal dure is developed to measure impulse respons- information is extracted, and the size of the inte- es (IRs) with an improved SNR and a con- gration window. The experiments carried out for strained pre-response. First, a quick the speech/music/mix classification task show that measurement provides information about the the different methodologies have a significant system and ambient noise. A second, longer impact on the global performance. Compared to measurement is then performed, and a suitable the state of the art procedures, the methodologies band-pass filter is applied to the recorded signal. we proposed achieved the best performance, Experimental results show that the proposed even with the low-latency constraints. procedure achieves an SNR of 37 dB with a Convention Paper 9180 peak pre-response amplitude of <0.2% of the IR peak, whereas a conventional technique 3:00 pm achieves an SNR of 32 dB with a peak pre- response amplitude of 16%. P15-3 MATLAB Program for Calculating the Convention Paper 9183 Parameters of the Autocorrelation and Interaural Cross-Correlation Functions 4:30 pm Based on Ando's Auditory-Brain Model— Shin-ichi Sato, Universidad Nacional de Tres de P15-6 IIR Filters for Audio Test and Measurement: Febrero, Caseros, Buenos Aires, Argentina Design, Implementation, and Optimization— Thomas Kite, Audio Precision, Inc., Beaverton, This paper describes a MATLAB program with a OR, USA graphical user interface (GUI) to calculate the parameters of the autocorrelation and the interau- Audio analyzers use filters for many reasons: to ral cross-correlation functions of a binaural signal define the measurement bandwidth, to isolate based on the auditory-brain model proposed by tones for measurement, to remove fundamental Ando [Y. Ando. (1998) Architectural Acoustics: signals, and so on. In modern instruments, the Sound Source, Sound Fields, and Listeners, majority of this filtering is done digitally, following Springer-Verlag, New York, Chap. 5], which can analog-to-digital conversion if the signal is not describe the various subjective attributes such as already digital. Digital filter design is a mature pitch, timbre, and spatial impression. field that encompasses a broad range of tech- Convention Paper 9181 niques, from classical analog filter design to advanced iterative design methods. However, 3:30 pm the filter design considerations and techniques unique to audio analyzers do not seem to occu- P15-4 Perceptual Quality of Audio Separated Using py much space in the published literature. This Sigmoidal Masks—Toby Stokes,1 Christopher paper aims to correct this with a discussion of fil- Hummersone,1 Tim Brookes,1 Andrew Mason2 ter design, implementation, and optimization for 1University of Surrey, Guildford, Surrey, UK modern Intel x86 architectures. 2BBC Research and Development, London, UK Convention Paper 9184 Separation of underdetermined audio mixtures is often performed in the Time-Frequency (TF) Workshop 5 Saturday, October 11 domain by masking each TF element according 2:00 pm – 3:30 pm Room 409 AB to its target-to-mixture ratio. This work uses sig- moidal functions to map the target-to-mixture HOW ARE WE LEARNING MASTERING, ratio to mask values. The series of functions TEACHING MASTERING—THE NEXT WAVE used encompasses the ratio mask and an ¯ approximation of the binary mask. Mixtures are Chair: Jonathan Wyner, Berklee College of Music,

Audio Engineering Society 137th Convention Program, 2014 Fall 47 Technical Program Boston, MA, USA; M Works Mastering require standardization to ensure comparability of the measurement data. Acoustic simulation of loudspeaker- Panelists: Scott Hull, Masterdisk, New York, NY, USA room interaction, the progress in 3D sound reproduction Eric Boulanger, The Mastering Lab, Ojai, systems and growing importance of personal audio CA, USA requires comprehensive data describing the near and far Mike Wells, Mike Wells Mastering, field of the source. There is also a need to develop stan- Los Angeles, CA, USA dardized measurement techniques for detecting impul- Traditionally mastering has been learned by apprentic- sive distortion generated by voice coil rubbing, loose ing. Now with the proliferation of educational resources particles, air leakage and other loudspeaker defects and the evolution of affordable hi quality in-the-box pro- which have a high impact on sound quality. cessing, more people are practicing mastering in more places than ever before. Teaching a young engineer to Network Audio Session 11 Saturday, October 11 become a top flight mastering engineer can be challeng- 2:00 pm – 3:00 pm Room 404 AB ing. Have you wondered: What does “Experienced Mas- tering Engineer” mean? What's the secret of mastering? HOW STANDARDIZATION HAS BENEFITED OUR In this workshop, seasoned mastering engineers and INDUSTRY AND HOW A COMMAND AND CONTROL educators discuss how the craft is being taught and STANDARD CAN GENERATE GROWTH AND learned and how the next generation of mastering engi- INNOVATION neers will learn from their contemporaries. Topics will include what time tested practices remain essential and Presenter: Ethan Wetzell what is new in the discipline of mastering. Attendees of this workshop will walk away with a clearer understand- This session will look at the impact that standards have ing of what it takes to thrive in today's mastering market, had on the industry in shaping technological and applica- how to assess internship/mentorship over “going solo” tion innovations. We will take a look back on how indus- early in a mastering career, and how to grow/build your tries have evolved due to the benefits and proliferation of mastering skills in today's market. standards that have enabled interoperability and look for- ward to how emerging standards will create new innova- Tutorial 18 Saturday, October 11 tions and opportunities. 2:00 pm – 4:00 pm Room 406 AB Product Design Session 12 Saturday, October 11 ACOUSTICAL OUTPUT-BASED EVALUATION 2:00 pm – 3:30 pm Room 402 AB OF SOUND SYSTEM EQUIPMENT PRODUCT DESIGN FOR STUDENTS Presenter: Wolfgang Klippel, Klippel GmbH, Dresden, Germany Presenters: Alex Ruthmann, New York University, New York, NY, USA This tutorial session will cover best practices for loud- Jay LeBoeuf, RealIndustry.org, San speaker measurements. It is critical for product develop- Francisco, CA, USA ment and component selection to know the response of The process of bringing an audio product or service idea loudspeaker systems and components with reasonable from ideation to mass commercialization is a complex one accuracy in order to make informed decisions based on whether you’re working as an entrepreneur in the context comparisons of data. In this session we will briefly cover of a start-up, or as a member of a development team with- the basics of FFT-based measurement systems before in a large company. This session brings together leaders moving on to additional topics. and mentors from across the audio product design and • Averaging and S/N Windowing (both signal acquisi- development process who will share their insights into tion and impulse response windowing) what they wished they had known as students. We’ll focus • Ground plane measurement techniques on the multiple roles, day to day responsibilities, skillsets, • Directivity measurements and inner working of how today's leading companies • Maximum input voltage measurements develop products for the audio market. • Impedance • Alignment of pass bands Traditional loudspeaker measurements as described in Sound for Picture 3 Saturday, October 11 the IEC standard 60268-5 require access to the loud- 2:00 pm – 4:00 pm Room 408 B speaker terminals and use the voltage and electrical input power for assessing the sensitivity, power handling, CINEMA STANDARDS REVIEW AND THE ROAD frequency response and other meaningful characteris- TO IMPLEMENTING CHANGES tics. These standards cannot be applied to active sound (A JOINT PRESENTATION WITH THE SMPTE) systems where signal processing, amplification and pas- sive transducers are combined to one physical unit and Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., the audio signal is supplied by wave-file, wireless trans- Clifton Beach, QLD, Australia mission or in any other digital format. Panelists: David Murphy, Krix Loudspeakers, Hackham, This tutorial gives a review on the current standard South Australia activities in AES, IEC and other committees to develop Neil Shaw, Menlo Scientific Acoustics Inc., output-based evaluation techniques applicable to all Topanga, CA, USA kinds of loudspeakers and sound reproduction systems. Brian Vessa, Sony Pictures Entertainment, The maximum sound pressure level SPLmax as rated by Culver City, CA, USA; Chair SMPTE 25CSS the manufacturer is not only a meaningful characteristic standards committee for the end user but also the basis for calibrating the stimulus provided by any input channel. Sinusoidal chirp The AES and SMPTE are pleased to present this joint signals, multi-tone, burst and other modern test signal workshop on audio standards issues in the cinema.

48 Audio Engineering Society 137th Convention Program, 2014 Fall This session is presented in association with the AES Microphone Array Design as a Master Technical Committee on Sound for Digital Cinema and Recording Array— Michael Williams, Sounds Television of Scotland, Le Perreux sur Marne, France It can be shown that Microphone Array Design Saturday, October 11 2:00 pm Room 405 applied to a 12-channel 3D microphone array Technical Committee Meeting on Audio Forensics can create a master recording array design that will generate downward compatible signals that Live Sound Expo LSE10 LSE STAGE satisfy most of the present-day univalent lower HOW’D THEY GET THAT SOUND? order channel/loudspeaker configurations. The — INSTRUMENT SPECIFIC PROCESSING implementation of this compatibility oriented Saturday, October 11, 2:00 pm – 2:50 pm array design requires no matrixing or processing of the channel signals, while still maintaining the Presenters: Derek Brener, Bruno Mars integrity of the overall sound field architecture. Matt Larson, National Sales Manager, This compatibility approach to 3D array design DiGiCo, XTA, MC2 produces a master recording system that can be Kevin Madigan, FOH for Crosby, Stills adopted for an overall production, eventually to and Nash be distributed using several different media for- mats (stereo, DVD, Blu-ray, 3D, etc.). However With digital consoles, a wealth of processing is available this approach can also be used as a consumer for even the smallest gig. Getting that big acoustic guitar choice function within a global master recording sound, a tight bass attack, drums with punch—specific or file downloading facility. approaches to reach common goals will be shared, along Convention Paper 9186 with an audience Q&A. 3:00 pm Project Studio Expo PSE11 PSE STAGE THE SPECIAL SAUCE FOR MIXING A HIT RECORD P16-3 Relative Influence of Spectral Bands in Saturday, October 11, 2:30 pm – 3:45 pm Horizontal Front Localization of White Noise —Tomomi Sugasawa, Jie Huang, Julian Presenters: Fab Dupont Villegas, University of Aizu, Aizu Wakamatsu, Mick Guzauski Fukushima, Japan Producer Fab Dupont (Mark Ronson, Jennifer Lopez) The relationship between horizontal-front local- talks with esteemed mix engineer, Mick Guzauski (Daft ization and the energy in different spectral bands Punk, Pharrell) as they walk through one of today’s is investigated in this paper. Specifically, we hottest tracks. Hear how the pros approach crafting a hit tried to identify which spectral regions produced with the same tools available to you and what that “spe- changes in the judgments of the position of a cial sauce” is too. white noise, when each band was removed from the noise presented through a front loudspeaker Session P16 Saturday, Oct. 11 and presented via side loudspeakers. These 3:00 pm – 4:30 pm Foyer 1 loudspeakers were set at left and right from the front-midsagittal plane of the listener. Partici- pants were asked to assess whether the noise POSTERS: APPLICATIONS IN AUDIO—PART 2 was coming from the front loudspeaker as bands 3:00 pm were moved from front to side loudspeakers. Results from a pilot study suggested differences P16-1 General Volterra and Swept-Sine Diagonal in the relative importance of spectral bands for System Estimation and Modeling Performance horizontal-front localization. —Russell H. Lambert, Harman International, Convention Paper 9187 South Jordan, UT, USA Volterra system modeling performance results 3:00 pm are given for various scenarios using both fully- P16-4 Acoustic Digital Communication for determined and under-determined models. Identification Systems—Sergio Vazquez, Three nonlinear system estimation methods are Universidad Nacional de Tres de Febrero, presented and compared including a novel and Buenos Aires, Argentina efficient Farina-type Hammerstein algorithm. The diagonal-only Hammerstein methods will not In this paper a secure, low cost, energy efficient, model off-diagonal nonlinear energy for general robust digital communication system for identifi- uncorrelated inputs but will model correlated cation purposes is presented. An alternative to inputs to some degree. The data matrix estima- magnetic stripe cards, Bluetooth LE, and NFC tion methods work for generic input signal types. (Near Field Communication) that requires no The nonlinear system must be fully determined specific hardware, making it compatible with al- to yield best results, but the diagonal-only mod- most every smartphone or portable device that els are more practical for applications having has a working loudspeaker and is capable of re- significantly long memory channels. producing audio. While previous works on the Convention Paper 9185 subject established the possibility to transmit digital data over the air using acoustic waves, 3:00 pm this paper focuses on its implementation. Convention Paper 9188 P16-2 Downward Compatibility Configurations [Paper was not presented but is available for when Using a Univalent 12 Channel 3D purchase in the E-Library] ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 49 Technical Program 3:00 pm With the technology shifts experienced by the industry over the past several years, broadcasters have been P16-5 How Critical Listening Exercises Complement challenged to keep up and evolve. Throughout it all, live Technical Courses to Effectively Provide broadcast has continued to present challenges for audio Audio Education for Engineering Technology engineers. Listen as our renowned panelists share their Students—Mark J. Indelicato, Clark Hochgraf, thoughts on the most significant issues, what has Sungyoung Kim, Rochester Institute of changed, what is the same and how they overcome pro- Technology, Rochester, NY, USA duction challenges of live programming. Music is important to many aspects of our lives including student life at an institution of higher Special Event education. Combining music with academic GRAMMY SOUNDTABLE coursework and programs therefore can be an Saturday, October 11, 3:00 pm – 4:30 pm effective way of engaging students to embrace Room 403 AB academic programs and be successful in higher education. Some institutions have purposely Moderator: Ed Cherney, Edward Cherney Company, incorporated audio engineering into technical Venice, CA, USA programs as a way to not only create interest but to increase retention. Others have created music Panelists: Michael Brauer and technology programs and options, leverag- Alex Da Kid ing the student passion for music and keen inter- No I.D. est in engineering. This paper discusses the Don Was benefit of combining music, technology, and engi- Songs That Move The Needle neering into higher education and, in particular, how the development of critical listening skills is Record production is a hybrid art encompassing vision, key to the success of such a curriculum. musicianship, well-honed instincts, and the bottom-line Convention Paper 9189 ability to get a project over the finish line. When these el- ements combine (and the stars align!), the result can be 3:00 pm a milestone recording. At this GRAMMY SoundTable event, presented by The Recording Academy Producers P16-6 On the Acoustics of Alleyways—Regina E. & Engineers Wing, five multi-talented, cross-genre hit- Collecchia,1 Jonathan S. Abel,1 Sean Coffin,1 makers will debate the who, what, when, where, and why Eoin Callery,1 Yoo Hsiu Yeh,1 Kyle Spratt,2 of songs that have left an indelible imprint. Julius O. Smith, III1 1Stanford University, Stanford, CA, USA 2 Live Sound Expo LSE11 LSE STAGE University of Texas, Austin, Austin, TX, USA INSTALLED SOUND—REFLECTION CONTROL, Alleyways bounded by flat, reflective, parallel FIDELITY, AND INTELLIGIBILITY walls and smooth concrete floors can produce Saturday, October 11, 3:00 pm – 3:50 pm impulse responses that are surprisingly rich in texture, featuring a long-lasting modulated tone Presenter: Jay Fullmer, Applications Engineer, JBL and a changing timbre, much like the sound of a didgeridoo. This work explores alleyway With applications for both fixed installation venues, and acoustics with acoustic measurements and pre- for performance venues and spaces that host touring sents a computational model based on the im- music acts, applied physics offers tools and techniques age method. Alleyway response spectrograms to aid in reaching the goals of higher fidelity music and show spectral zeros rising in frequency with time greater intelligibility for the spoken word. and a modulated tone lasting noticeably longer than the harmonic series associated with the dis- Game Audio Session 12 Saturday, October 11 tance between the walls. With slight canting of 3:15 pm – 4:45 pm Room 404 AB the walls and floors to produce the long lasting modulated tone, the image method model cap- YES, YOUR MOBILE GAME CAN HAVE AWESOME tures much of this behavior. AUDIO! Convention Paper 9190 Presenter: Stephan Schütze, Sound Librarian, Broadcast/Streaming Media Session 13 Melbourne, Australia Saturday, October 11 3:00 pm – 5:00 pm Room 408 A Many developers work under the fallacy that because they are working on a game for a mobile that high quality audio is not an option. Lack of resources, the need to SMPTE: AUDIO ISSUES FOR LIVE TELEVISION— stay within tight size constraints due to download OVERCOMING THE CHALLENGES OF LIVE requirements, and just a general idea that mobile means TELEVISION BROADCAST IN TODAY’S WILD, lower quality. Simply put these ideas are completely WILD WORLD wrong. There are a range of tools available that, when utilized properly, support the creation of dynamic, high Chair: Roger Charlesworth, DTV Audio Group quality audio for nearly every platform available. This presentation will cover two main aspects on this Panelist: Michael Abbott, All Ears Inc. topic. Bruce Arledge Jr. 1. An overview of how audio is a sophisticated tool for Kevin R. Cleary, ESPN, Belle Isle, FL, USA communicating with your customers in regards to narra- Ed Greene tive, tactical information, and feedback. Hugh Healey 2 Practical examples of how current tool sets allow for the creation of effective and dynamic audio elements that

50 Audio Engineering Society 137th Convention Program, 2014 Fall are incredibly resource efficient and high quality. Project Studio Expo PSE12 PSE STAGE THE IMPORTANCE OF A REFERENCE Product Design Session 13 Saturday, October 11 MONITORING LEVEL 3:30 pm – 5:00 pm Room 402 AB Saturday, October 11, 4:00 pm – 4:45 pm

OPTIMIZING THE POWERED LOUDSPEAKER SYSTEM Presenter: Hugh Robjohns, Technical Editor, Sound On Sound, Cambridge, UK Presenters: Scott Leslie, PD Squared, Irvine, CA, USA If you're serious about recording and mixing you need to Brian Oppegaard, SpeakerPower Inc., set a consistent reference level to which you can always Santa Ana, CA, USA return. SOS Technical Editor Hugh Robjohns explains Historically amplifiers and loudspeakers have been inter- the concept of a reference operating level in the DAW faced using a simplified interface of 4/8 Ohm nominal and how that relates to the common metering formats, speakers impedance. With a general market trend before showing how to extend that reference level into towards self-powered speakers, greater optimization in the acoustic domain with a simple seven-step process the interface between speaker and amplifier becomes resulting in an appropriate calibrated loudspeaker moni- possible. This tutorial aligns to the product design track, toring level. theme 2 and will provide a forum for discussing of required amplifier performance for self-powered speak- Live Sound Expo LSE12 LSE STAGE ers as well as optimization techniques between the am- MIKING FUNDAMENTALS FOR THE STAGE plifier section and speaker drivers and provide better un- Saturday, October 11, 4:00 pm – 4:50 pm derstanding of the complex interfaces of the signal Presenters: J. Mark King, Production & Music Mixer, processing, power amplification and the acoustic domain Primetime Emmy Awards, Dancing With in a self-powered speaker in order for speaker designers The Stars, Grammy Nominations Concert, to optimize self-powered speaker designs and achieve ACMs, CMAs higher SPL levels at lower cost. Dave Mendez, Systems Support Engineer, Shure Workshop 6 Saturday, October 11 3:45 pm – 5:15 pm Room 409 AB A wide array of microphone types, from the common dynamic mic to the condenser and even ribbon models, FINDING A GOOD ACOUSTIC SPACE can find a home in the live sound toolbox. We will take a closer look at how these microphones work, including guidelines for effective use and the applications for which Chair: Mike Wells, Mike Wells Mastering, they might best be suited. Los Angeles, CA, USA Panelists: Bob Hodas, Bob Hodas Acoustics, Berkeley, Sound for Picture 4 Saturday, October 11 CA, USA 4:30 pm – 6:30 pm Room 408 B Steven Klein, Studio City, CA, USA Ellis Sorkin IMMERSIVE SOUND AND ONE-MASTER MIXING New audio studios open often, and new people entering the market are always looking for qualified, usable studio Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., space. But where should you start? Build your own Clifton Beach, QLD, Australia room? Find an existing room to rent? Remodel an exist- Panelists: Ton Kalker, DTS, Mountain View, CA, USA ing space? What issues should you be concerned with Stephan Mauer, IOSONO GmbH, Erfurt, acoustically? How can you find out what available Germany spaces are on the market? What is a "reasonable" rental Bert Van Daele, Auro Technologies, Mol, price range for existing studio space? This workshop Belgium aims to address common questions such a these and also to empower the audience with useful information on With “Immersive Sound” and "Object-Based Mixing” the the subject of finding great acoustical spaces to run an new buzzwords in Sound for Picture production, some audio business. are wondering if the systems can be designed to stream- line the growing requirements for “special mixes.” The Network Audio Session 12 Saturday, October 11 methods and tools currently available and the changes 4:00 pm – 5:00 pm Room 406 AB that might be necessary going forward to eliminate specialized mixing for different devices and markets are AVB FOR AUDIO DISTRIBUTION IN CARS, discussed by this panel. SOME REAL WORLD IMPLEMENTATION This session is presented in association with the AES Technical Committee on Sound for Digital Cinema and Presenter: Robert Boatright, Harman Television

One arena where Ethernet AVB has already seen strong Saturday, October 11 4:00 pm Room 407 adoption is in infotainment systems for cars. This session Standards Committee Meeting on Audio Applications will discuss some of the implementations already of Networks designed or in advanced development. Systems require- ments and how these drive the network architecture and Student Event/Career Development the end point specifications will be explored. Potential RECORDING COMPETITION—PART 2 adopters in other application spaces such as commercial Saturday, October 11, 4:30 pm – 6:30 pm and residential systems will be interested to learn where Room 306 AB the development of AVB based products for cars is dri- ving the integrated circuit development road maps. The Student Recording Competition is a highlight at each ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 51 Technical Program convention. A distinguished panel of judges participates room as a whole. It is also apparent that com- in critiquing finalists of each category in an interactive pact speaker systems and a flexible approach to presentation and discussion. The top three finalists in installation opens the scope for multi-channel each category, as identified by our judges, present a sound installations. The author compares sever- short summary of their production intentions and the key al installation and also compares these with an recording and mix techniques used to realize their goals. alternative approach using the IOSONO system. They then play their projects for all who attend. Meritori- Engineering Brief 179 ous awards are determined here and will be presented at the closing Student Delegate Assembly Meeting (SDA-2) 5:30pm on Sunday afternoon. The competition is a great chance to hear the work of your fellow students at other educa- EB5-3 Mobile and Variable Absorption Product that tional institutions. Everyone learns from the judges’ com- Includes Low Frequencies—Niels Adelman- ments, even those who don't make it to the finals, and it's Larsen, Flex Acoustics, Copenhagen, Denmark a great chance to meet other students and faculty. At amplified music concerts, from medium sized Traditional Studio Recording venues to the biggest arenas, low frequency Judges: Jim Anderson, Jim Kaiser, Richard King, reverberation is known to be the primary source Mandy Parnell for an undefined sound with low clarity, even close to the loud speakers. Therefore, means for Modern Studio Recording providing additional low frequency absorption is Judges: Piper Payne, Ron Prent, Darcey Proper, always a concern. Several layers of fabric at var- Michael Romanowski ious distances from reflecting surfaces has usu- ally been the best option. Still this method pro- Session EB5 Saturday, Oct. 11 vides a relatively modest absorption coefficient 5:00 pm – 6:15 pm Room 309 in the important 63 and 125 Hz octave bands, while damping the high frequencies that the au- PAPERS SESSION 3 dience absorbs well, also due to the high Q of loud speakers at higher frequencies. A new, Chair: Ville Pulkki, Aalto University, Espoo, Finland; patented technology of inflated, ultra thin plastic Technical University of Denmark, Denmark membranes seems to solve this challenged in both multipurpose venues that need to adjust their acoustics at the push of a button, or in halls 5:00 pm and arenas that only occasionally present ampli- EB5-1 Comparison and Contrast of Reverberation fied music and need to be treated for the event. Measurements in Grace Cathedral San This paper presents briefly the technology with Francisco—Wieslaw Woszczyk,1 Durand R. cases from differently sized halls and arenas. Begault,2 Amanda G. Higbie3 Engineering Brief 180 1McGill University, Montreal, QC, Canada 2Human Systems Integration Division, NASA 5:45 pm Ames Research Center, Moffett Field, CA, USA 3Oxford Acoustics, Oxford, MS, USA EB5-4 Ellipsoidal Reflector for Measuring Oto- Acoustic Emissions—Ville Pulkki,1 Vesa In 2001 and 2013 the authors made separate Heiskanen,1 Bastian Epp2 and contrasting acoustical measurements of 1Aalto University, Espoo, Finland reverberation within Grace Cathedral, a gothic- 2Hearing Systems, Technical University style church located in San Francisco notable for of Denmark, Denmark its long reverberation time and immersive sound quality for musical performance. Both measure- A truncated prolate ellipsoidal reflector having ments used different, non-standard methods for the ear canal of a listener at one focal point and generating and capturing the reverberant sound large-diaphragm low-noise microphone at the field. This paper explores the synergy between other focal point is proposed for free-field record- both sets of measurements for both recording ings of oto-acoustic emissions. A prototype applications and for understanding spatial hear- reflector consisting of three pieces is presented, ing in large spaces. Applications include manipu- which enables measuring the response of the lation of the perceived size of relatively smaller system with different truncations. The response enclosures having multiple coupled spaces and of the system is measured with a miniature loud- for improving the long term habitability of space speaker, and proof-of-concept measurements of stations, lunar outposts, or other confined oto-acoustic emissions are presented. The effect spaces. of truncation and other physical parameters to Engineering Brief 178 the performance of the system are discussed. Engineering Brief 181 5:15 pm 6:00 pm EB5-2 The Design of Dolby ATMOS Post Production Theaters—Andrew Munro, Munro Acoustics EB5-5 Key Sonic Characteristics Voice Identification Ltd., London, UK Analysis and the Courts—Thomas Guzman- Sanchez, GS Media Lab, Northridge, CA, USA The introduction of Dolby ATMOS has raised several questions concerning the optimum The paper presents a voice identification analy- design of the room acoustics for smaller dubbing sis technique based on the analysis and theaters where the number of speakers and the comparison of four key sonic/acoustic character- associated hardware has some bearing on the istics. The proposed solution provides scientific method of analyzing voice or audio recordings

52 Audio Engineering Society 137th Convention Program, 2014 Fall and accessing similarities or differences for uses and the world: the Walt Disney Concert Hall and the Hol- of identification. The technique utilizes five differ- lywood Bowl. In this seminar he will discuss techniques, ent types of preparation and analysis generating challenges and tricks that he practices in reinforcing the multiple results that can be applied for compari- most complex of musical ensemble—the live orchestra. son. The function is similar to a police line-up except this is done with audio recordings. The Product Design Session 14 Saturday, October 11 proposed analysis will provide an accurate 5:00 pm – 6:30 pm Room 402 AB process in accessing voice identification. Engineering Brief 182 SPECIFYING AND SELECTING LOUDSPEAKER DRIVERS Tutorial 19 Saturday, October 11 5:00 pm – 6:00 pm Room 404 AB Presenter: Steve Hutt, Eighteen Sound, Reggio Emilia, Italy; Equity Sound Investments, PSYCHOACOUSTICS FOR SOUND DESIGNERS Bloomington, IN, USA

Presenter: Shaun Farley, Dynamic Interference, When designing loudspeaker systems, design engi- Berkeley, CA, USA neers and product managers have a seemingly infinite number of loudspeaker drivers from which to choose. This session will explore some of the mechanical and Understanding LF, MF and HF driver specifications is psychological oddities that affect our perception of critical to this task if value of the overall product is to sound. This will be focused on the sound designer's per- be maximized. This tutorial will focus on achieving a spective. As such, it will be more about identifying end desired sonic envelope in the overall system design by behaviors of the human hearing system than the underly- specifying the correct drivers to meet those goals and ing reasons for those behaviors. Some we develop will help answer the following (and other) questions: 1) awareness of through experience in our work, while oth- What is a loudspeaker specification and how is specifi- ers remain sub-conscious until they're presented to us. cation data determined? 2) How does loudspeaker This is meant to be a starting place for us to begin talking selection affect overall system design? 3) Should loud- about how we can use these behaviors as tools for sonic speakers be selected from a catalog or custom storytelling. designed? 4) How does loudspeaker selection and This session is presented in association with the AES budget affect marketability of a loudspeaker system? Technical Committee on Sound for Digital Cinema and 6) How do you compare the performance of different Television options? 7) What matters most, electrical power in, or sound power out? Broadcast/Streaming Media Session 14 Saturday, October 11 5:00 pm – 6:30 pm Recording and Production Session 5 Room 408 A Saturday, October 11 5:00 pm – 7:00 pm Room 403 AB TELEPHONY AND IP CODECS: HOW TO CHOOSE WHAT IS BEST FOR YOU AN AFTERNOON WITH GEOFF EMERICK

Chair: David Bialik Presenters: Geoff Emerick Howard Massey, OTRW, New York, NY, USA Panelist: Kevin Campbell, Worldcast Systems Chris Crump, Comrex The Beatles and Beyond Kirk Harnack, Telos Alliance, Nashville, TN, USA; Geoff Emerick is, of course, best known for his work with South Seas Broadcasting Corp., Pago Pago, The Beatles. Yes, he's the man who engineered American Samoa Revolver and Sgt. Pepper’s Lonely Hearts Club Band, as Tom Harnett well as many of the tracks on Magical Mystery Tour, The Doug Irwin, Clear Channel, Los Angeles, White Album, and Abbey Road. CA, USA But there's much more to his career than just those Joe Talbot milestones. Join us for a fascinating conversation with Geoff Emerick as he discusses not only his audio adven- Evolving technology has made great strides in audio tures with the Fab Four and each of the Beatles individual- transport versatility, connectivity, availability, and reliabili- ly (including the making of Paul McCartney’s Band On ty. Whether wired or wireless, this discussion will provide The Run in Lagos, despite band desertion and monsoons, real-time remote program solution options for broadcast- not to mention spiders and cockroaches as big as dinner ers trying to make ends meet. plates) but provides a glimpse behind the scenes of the records he crafted with artists such as Elvis Costello, Jeff Live Sound Seminar 9 Saturday, October 11 Beck, The Zombies, Robin Trower, Badfinger, America, 5:00 pm – 6:30 pm Room 406 AB Art Garfunkel and Nellie McKay. This very special presen- tation will be enhanced with rarely seen photos and video SOUND FOR LIVE CLASSICAL MUSIC footage as well as rarely heard audio clips. Time will be allotted for questions from the audience. This event is open to all badges. Presenter: Frederick Vogler, Sonitus Consulting, Los Angeles, CA, USA Special Event Fred Vogler is the sound designer for the LA Philharmon- AES67 TA MEETING ic overseeing both their recordings and live reinforce- Saturday, October 11, 5:00 pm – 6:30 pm ment in two of the most iconic venues in Los Angeles Room 303-4AB ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 53 Technical Program Chair: Bill Scott, Bosch Communications Systems, device is. The proposed method finds the direction Burnsville, MN, USA of speech and enhances the speech signal by first detecting the existence of speech utterance using Panelists: Terry Holton, Yamaha R&D Centre, only two microphones. This front-end is designed London, UK with practical consideration so that its implementa- Stefan Lederberger, Lawo Group, Zurich, tion in the mobile device showed higher recogni- Switzerland; LES Switzerland GmbH tion accuracy, shorter processing latency and Marty Sacks, Telos Alliance lower computing power consumption than any Rich Zweibel, QSC Audio other top-tier methods. The Media Networking Alliance (MNA) has been formed Convention Paper 9191 to actively promote the adoption and standardization of AES67 as an audio interoperability standard through 9:30 am marketing, education, and training. The Media Network- ing Alliance steering committee will discuss the formation P17-2 Predistortion of a Bidirectional Cuk Audio of the Alliance, their mission and goals for the upcoming Amplifier—Thomas Haagen Birch, Dennis year, and provide information on membership. This Nielsen, Arnold Knott, Michael A. E. Andersen, meeting is open to all individuals and companies who are Technical University of Denmark, Kgs. Lyngby, interested in promoting the adoption of AES67. Denmark Some non-linear amplifier topologies are capa- Saturday, October 11 5:00 pm Room 405 ble of providing a larger voltage gain than one Technical Committee Meeting on Signal Processing from a DC source, which could make them suitable for various applications. However, the Historical Event H5 non-linearities introduce a significant amount of HISTORY OF LINE ARRAYS harmonic distortion (THD). Some of this distor- Saturday, October 11, 5:30 pm – 6:30 pm tion could be reduced using predistortion. This Room 409 AB paper suggests linearizing a nonlinear bidirec- tional Cuk audio amplifier using an analog pre- Presenter: Mark Ureda, Harman Professional, distortion approach. A prototype power stage Northridge, CA, USA was built and results show that a voltage gain of up to 9 dB and reduction in THD from 6% down A presentation on the history of line arrays from the earli- to 3% was obtainable using this approach. est column speakers through to modern methods and Convention Paper 9192 configurations of fixed and portable line array implemen- tations. The presenter, Mark Ureda, has worked for 10:00 am Altec-Lansing and Electro-Voice as well as JBL/Harman, and is the author of a number of AES line array papers. P17-3 Frequency Dependent Loss Analysis and Minimization of System Losses in Switch- Session P17 Sunday, Oct.12 Mode Audio Power Amplifiers—Akira 9:00 am – 12:00 noon Room 308 AB Yamauchi, Arnold Knott, Ivan H. H. Jørgensen, Michael A. E. Andersen, Technical University of Denmark, Kgs. Lyngby, Denmark SIGNAL PROCESSING—PART 2 In this paper the frequency dependent losses in Chair: J. Keith McElveen, Wavesciences Corp. switch-mode audio power amplifiers are ana- lyzed and the loss model is improved by taking 9:00 am the voltage dependence of the parasitic capaci- tance of MOSFETs into account. The estimated P17-1 A Practical Approach to Robust Speech power losses are compared to the measurement Recognition Using Two Microphones and great accuracy is achieved. By choosing the in Driving Environments—Jaeyoun Cho, optimal switching frequency based on the pro- Seungyeol Lee, Inwoo Hwang, Samsung posed analysis, the experimental results show Electronics Co. Ltd., Suwon-si, Gyeonggi-do, that the system power losses of the reference Korea design are minimized and an efficiency improve- Now that the technologies related to the auto- ment of 8% in maximum is achieved without matic speech recognition have been mature compromising audio performances. enough and applicable to our everyday life, peo- Convention Paper 9193 ple have started considering speech as the most desirable human-device interaction means and 10:30 am utilized speech recognition in vehicles. Nonethe- P17-4 Resolving Delay-Free Loops in Recursive less, it is still challenging to recognize speech Filters Using the Modified Härmä Method— correctly in driving environments for at least two Will Pirkle, University of Miami - Coral Gables, reasons. One is that the speech signal is cor- FL, USA rupted by innumerable noise sources such as the engine sound, road friction, music from the Resolving delay-free loops in recursive filter radio, even worse the mixture of spoken words structures has been a longstanding problem by passengers, etc. Another is that the recogni- approached in several different ways including tion device may be put at any place like cup signal flow graph manipulation [1], [2] and more holder, passenger seat or dashboard. In this recently with Zavalishin’s instantaneous paper we propose a robust speech recognition response technique [3],[4]. Härmä demonstrates front-end that removes the probable ambient noise a method for resolving delay-less loops in recur- in a driving car regardless of where the recognition sive filter structures [5] but the technique is limit-

54 Audio Engineering Society 137th Convention Program, 2014 Fall ed to a specific generic loop topology in which Chair: Jonathan Hong, McGill University/GKL Audio, the feedforward branch does not implement sig- Montreal, Quebec, Canada nal processing; all processing is implemented in one or more delay-less feedback loops. We modify Härmä’s method to accommodate filter 9:00 am processing in the feedforward branch and pro- P18-1 Measuring Time Varying or Offset Voltage vide a step-by-step method to resolve delay-less Dependent Harmonic and Intermodulation loops in recursive filter structures. We conclude Distortion via Filter Banks Including a with examples including a new method of syn- Stairstep Signal and Measuring FM Distortion thesizing fourth order filters. in IM Distortion Signals—Ronald Quan, Ron Convention Paper 9194 Quan Designs, Cupertino, CA, USA 11:00 am This paper will present methods of measuring dynamic harmonic distortion using filter banks P17-5 Novel Hybrid Virtual Analog Filters Based and a staircase signal. The harmonic distortion on the Sallen-Key Architecture—Will Pirkle, is measured in real time at each level of the University of Miami, Coral Gables, FL, USA staircase signal. For measuring dynamic time The Sallen-Key filter structure is a revered ana- varying 2nd and 3rd order intermodulation distor- log filter design topology. In Sallen-Key lowpass tion, a low frequency sinewave signal is com- and highpass filters, the cutoff frequency and bined with a higher frequency signal. Also, the resonance (Q) controls are decoupled though FM distortion of the intermodulation distortion the cutoff and resonant frequencies are not. In signals is measured. FM distortion in current this paper we demonstrate novel variations on mode op amps is measured. Also FM distortion the Sallen-Key architecture and we decouple the is measured in an op amp with conventional resonant and cutoff frequencies. This produces Miller compensation then measured later in an multiple hybrid filter designs including resonant op amp with two-pole compensation. Finally, quasi-first order lowpass and highpass filters, Volterra Series distortion analysis is included as resonant quasi-first order low and high shelving part of an equation that describes phase or fre- filters, decoupled resonant second order filters quency modulation effects in a nonlinear system. and doubly resonant quasi-second order low- Convention Paper 9197 pass and highpass filters. In the doubly-resonant filters all three frequencies may be decoupled 9:30 am and independently adjustable; they also self- P18-2 DC Servos and Digitally-Controlled oscillate at both resonant frequencies. Microphone Preamplifiers—Gary Hebert, Convention Paper 9195 That Corp., Milford, MA, USA

11:30 am Microphone preamplifiers for professional audio applications require a very wide range of gain P17-6 Timbre Imitation and Adaptation for and low noise in order to provide a high-quality Experimental Music Instruments: An interface with the vast number of available interactive Approach Using Real-Time Digital microphones. In many modern systems the pre- Signal Processing Framework —Mingfeng amplifier gain is controlled indirectly via a digital Zhang,1 John Granzow,2 Gang Ren,1 Mark F. interface in discrete steps. Often dc servo ampli- Bocko1 fiers are employed as a means of keeping the dc 1University of Rochester, Rochester, NY, USA gain fixed to avoid large changes in output offset 2Stanford University, Stanford, CA, USA voltage while the audio band gain is varied. The We propose a real-time digital signal processing resulting highpass filter response varies sub- framework to extend the timbre control capability stantially as a function of the preamplifier gain. of experimental musical instruments. We focus We investigate the frequency and time-domain on two music cognition concepts of timbre imita- effects of this. We also investigate several tion and adaption to enable experimental musi- approaches to minimize these effects. cal instruments to be integrated into existing Convention Paper 9198 ensemble works. In timbre imitation, we aim to simulate known timbre patterns to enhance 10:00 am the musical coherence during an ensemble P18-3 The Design of Urban Sound Monitoring performance. In timbre adaptation, we explore Devices—Charlie Mydlarz, Samuel Nacach, extended timbre manipulation settings such as Tae Hong Park, Agnieszka Roginska, New York complementary timbre and contrasting timbre. University, New York, NY, USA Our proposed framework is implemented on a low cost real-time digital signal processing sys- The urban sound environment of New York City tem to ensure easy adaptability. Our study is is notoriously loud and dynamic. As such, scien- based on saxophone and violin but can be readi- tists, recording engineers, and soundscape ly generalized to other instrument categories. researchers continuously explore methods to Convention Paper 9196 capture and monitor such urban sound environ- ments. One method to accurately monitor and Session P18 Sunday, Oct. 12 ultimately understand this dynamic environment 9:00 am – 12:30 pm Room 309 involves a process of long-term sound capture, measurement and analysis. Urban sound APPLICATIONS IN AUDIO—PART 1 recording requires the use of robust and resilient acoustic sensors, where unpredictable external ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 55 Technical Program conditions can have a negative impact on acoustic ever increasing loudness levels as compared to data quality. Accordingly, this paper describes the other contemporary recordings, by way of dynam- design and build of a self-contained urban ic compression, peak limiting, and hard clipping. acoustic sensing device to capture, analyze, and This pursuit of loudness adds distortion, and transmit high quality sound from any given urban reduces fidelity. When radio stations play the environment. This forms part of a collaborative compromised audio through their FM processing effort between New York University’s (NYU) Cen- chains, this confluence of degradation causes ter for Urban Science and Progress (CUSP) and serious audio quality issues on air. This paper the NYU Steinhardt School’s Citygram Project. shall examine what the music endures when The presented acoustic sensing device prototype broadcast on FM, and how that led to the inven- incorporates a quad core Android based mini PC tion of the “undo” algorithm, which repairs dam- with Wi-Fi capabilities, a custom MEMS micro- age caused by these mastering techniques by phone and a USB audio device. The design con- adaptively de-clipping and de-compressing the siderations, materials used, noise mitigation strate- mastered recordings. gies and the associated measurements are Convention Paper 9202 detailed in the following paper. Convention Paper 9199 12:00 noon

10:30 am P18-7 Acoustic Surveillance of Hazardous Situations Using Nonnegative Matrix P18-4 A Comparison of Real-Time Pitch Detection Factorization and Hidden Markov Model— Algorithms in SuperCollider—Elliot Kermit- Kwang Myung Jeon,1 Dong Yun Lee,1 Canfield, Stanford University, Stanford, CA, USA Myung J. Lee2 1Gwangju Institute of Science and Technology Three readily-available pitch detection algo- (GIST), Gwangju, Korea rithms implemented as unit generators in the 2City University of New York, New York, NY, USA SuperCollider programming language are evalu- ated and compared with regard to their accuracy In this paper an acoustic surveillance method is and latency for a variety of test signals consist- proposed for accurately detecting hazardous sit- ing of both harmonic and non-harmonic content. uations under noisy conditions. In order to Suggestions are made for the type of signal on improve detection accuracy, the proposed which each algorithm performs well. method first tries to separate each atypical event Convention Paper 9200 from the input noisy audio signal. Next, maxi- mum likelihood classification using multiple hid- 11:00 am den Markov models (HMMs) is carried out to decide whether or not an atypical event occurs. P18-5 Performance Comparison Between Nested Performance evaluation shows that the Differentiating Feedback Loops and Classic proposed method achieves higher detection ac- Three Stage Operational Amplifier curacy under various signal-to-noise ratio (SNR) Architectures: A SPICE-Based Simulation conditions than a conventional HMM-based Approach—Ariel Muszkat, David Kadener, method. Universidad Nacional de Tres de Febrero, Convention Paper 9203 Buenos Aires, Argentina Since 1970, the three stage operational amplifier Workshop 7 Sunday, October 12 with dominant pole compensation has become 9:00 am – 10:30 am Room 408 A the standard basis in amplifier’s architectures. However, during the 1980s and following years 21ST CENTURY VINYL the nested differentiating feedback loops (NDFL) concept was introduced by Edward M. Cherry as Moderator: Jonathan Wyner, Berklee College of Music, an attempt to improve the classic power amp Boston, MA, USA; M Works Mastering performance, mainly distortion caused by class B output stages. The proposal of this work lies Panelists: JJ Golden, Golden Mastering on the first part of a comparison between both Robert Hadley, The Mastering Lab topologies’ performance in a SPICE based simu- Peter Lyman, Infrasonic Sound Recording lator. Most important analyzed parameters are Co., Los Angeles, CA, USA open-loop gain, distortion, transient response, Doug Sax, The Mastering Lab, Ojai, CA, USA and, of course, stability. In addition, modern Vinyl—the cornerstone format of the music industry. semi-conductor devices and improved inner Vinyl—despite the array of audio media formats that stages are used to make the comparison circuits have come out since the LP, vinyl remains a vibrant for- based on small signal devices such as discrete mat with a large (and growing!) fan base. Now that we operational amplifiers. find ourselves almost 15 years into the 21st century, how Convention Paper 9201 is the process of creating vinyl records changed? How is the equipment holding up after all these years? How 11:30 am hard is it to find media/supplies/parts for lathes still in use P18-6 Making Audio Sound Better One Square today? How has the approach to cutting vinyl masters Wave at a Time (Or How an Algorithm Called changed (if at all) with the changes to delivered mixes “Undo” Fixes Audio)—Leif Claesson, Omnia (e.g., shrinking dynamic range, demands for longer side Audio, Cleveland, OH, USA lengths, etc.)? This workshop will discuss the current state of the vinyl mastering industry, how it's adapting to Audio mastering engineers have felt increasing the changing mix landscape, and thoughts on the future pressure over the years to master recordings at of vinyl.

56 Audio Engineering Society 137th Convention Program, 2014 Fall Tutorial 20 Sunday, October 12 Game Audio Session 13 Sunday, October 12 9:00 am – 10:30 am Room 404 AB 9:00 am – 10:00 am Room 408 B

AUDIO GOES VIDEO: MULTIMEDIA-BASED MIDI: STILL STRONG AFTER 30 YEARS – PRESERVATION OF THE COLLECTION OSKAR NEW ADVANCES WITH WEB BROWSERS, SALA OR “HOW TO SAFEGUARD HITCHCOCK’S BLUETOOTH, AND MORE THE BIRDS” Presenters: Athan Billias, Executive Board Member, Presenter: Nadja Wallaszkovits, Phonogrammarchiv, MIDI Manufacturers Association; Director Austrian Academy of Science, Vienna, Austria of Strategic Product Planning, Yamaha Pete Brown, DX Engineering Engagement Oskar Sala was a German musician, scientist and a pio- and Evangelism, Creative Media Apps, neer of electronic music. He played and further devel- Microsoft oped the trautonium, a predecessor of the synthesizer. Pat Scandalis, CTO & Acting CEO, He composed the scores for more than 300 films and moForte.com created the effect soundtrack for Alfred Hitchcock’s film Torrey Walker, Core Audio Software 'The Birds', receiving many awards for his works. After Engineering Team, Apple his death he left a collection of about 1200 analogue Mobile platforms from Google, Apple, and Microsoft are magnetic audio tapes, stored in the archives of starting to catch up to desktop/console platforms when it Deutsches Museum in Munich. Oskar Sala fully exploited comes to audio capabilities. This session will provide an all the possibilities of analogue tape technology, using overview of new Audio/MIDI capabilities in the Chrome impressive experimental approaches. His tapes have web browser, Chrome OS, Android OS, and Windows become artworks themselves, as they comprise a unique RT OS, plus a progress report on the “MIDI over Blue- richness of very special metadata: cut up to 200 times tooth” standard involving the major OS developers and per reel, Sala used the tapes as a (more or less read- MIDI hardware/software makers. able) notebook. Such and many more surprises made the adequate safeguarding and digitization of the collec- tion a unique undertaking. The collection has been Network Audio Session 13 Sunday, October 12 successfully digitized under the consultancy of the 9:00 am – 10:00 am Room 409 AB Phonogrammarchiv Vienna. The tutorial outlines the vari- ous challenges of this project and discusses the parame- IMPLEMENTING THE COMMAND AND CONTROL ters and practical problems of the audio transfer, as well CAPABILITIES IN AVDECC (IEEE1722.1) as the strategy of safeguarding the richness of metadata by use of multimedia-based documentation, such as pho- Presenter: Jeff Koftinoff, Meyer Sound Laboratories, tographic capturing and high definition video recording. Vernon, BC, Canada This session is presented in association with the AES Technical Committee on Archiving Restoration and Digi- An overview of the major capabilities of the AVB Control tal Libraries Protocol IEEE 1722.1-2013, known as the AVDECC (Audio/Video Discovery, Enumeration, Connection man- agement, and Control) Protocol and details of the pieces Live Sound Seminar 10 Sunday, October 12 you need to implement the protocol for an Talker, Listen- 9:00 am – 11:00 am Room 406 AB er, or Responder embedded AVB device.

CORPORATE EVENTS: COMPLEX SETUP, ONE Product Design Session 15 Sunday, October 12 CHANCE TO GET IT RIGHT, WHAT COULD GO 9:00 am – 10:30 am Room 402 AB WRONG? SOFTWARE FOR LOUDSPEAKER AND APPLICATION Presenters: Harold Blumberg, Blumberg Sound ENGINEERING AND RELATED PRODUCTS Design Robyn Gerry-Rose, Freelance, Local 695, Presenter: Stefan Feistel, AFMG Technologies GmbH, Los Angeles, CA Berlin, Germany Mike Kahrs, Sound-Management Michael (Bink) Knowles, Freelance This tutorial will give an introduction into the capabilities Engineer, of modern acoustic modeling and measurement software Oakland, CA, USA as it relates to loudspeaker design, marketing, and appli- Ken Newman, Newman Audio, Inc., Canyon cation support. Focus is put on: 1. The integration of Country, CA, USA end-user software with hardware products to create su- Eric Stahlhammer, Greater Than Designs, perior user experience, state-of-the-art control features, San Diego, CA, USA and high brand recognition. 2. The use of software dur- ing the engineering process in order to develop and When you step up to audio for corporate events, you will refine the final product. 3. To leverage the synergies of find that the clients are more demanding, with a higher end-user software with engineering design software. expectation that the spoken word is heard very clearly. Key areas of the presentation include: 1. Creating and Corporate sound can be rewarding but it can also be dif- offering tailored prediction software to support end users ficult to accomplish, since “the look” is often more impor- in loudspeaker system design and setup. 2. Establishing tant than the optimal loudspeaker placement. The routing sound system and room-acoustic modeling software as of signals can get very complicated, with multiple loud- tools for product marketing, case studies, and application speaker zones and teleconferencing. Our panel will support. 3. Implementing cross-platform communication describe years of frustration and success in the trenches interfaces, e.g., for web access, DSP-based control and at corporate events. monitoring, system EQ, or beam steering. 4. Acquiring, ¯ validating, and publishing 3D high-resolution modeling

Audio Engineering Society 137th Convention Program, 2014 Fall 57 Technical Program data for loudspeakers, loudspeaker systems and arrays. issues will be covered, preferable in co-operation with 5. Integrating numerical algorithms for loudspeaker array the audience. The goal is to create an understanding of systems in order to optimize their mechanical configura- the basic concepts used in experimental design, in order tion as well as their IIR/FIR filter settings. 6. Using CDPS to enable audio professionals to appreciate the feasibility modeling for feasibility studies and proof of concept of listening tests. investigations. 7. Analyzing and improving loudspeaker performance parameters by means of advanced model- Game Audio Session 14 Sunday, October 12 ing and measurement tools. 10:15 am – 11:45 am Room 408 B

Recording and Production Session 6 NEW DAW RISING: SCORING AND MIXING YOUR Sunday, October 12 9:00 am – 10:00 am GAME, IN THE GAME Room 403 AB Presenter: Guy Whitmore, PopCap Games INSIDE THE MIX BY DAVE REITZAS A common practice for game composers and sound Presenter: Dave Reitzas designers today is to compose and arrange fully mixed music and sound cues in Pro Tools or Logic, then have Join multi-Grammy winning Engineer/Mixer Dave Reitzas an implementation specialist drop those files into the (Barbara Steisand, Madonna, Whitney Houston, Josh game. Sound integration, in this case, is seen as a basic Groban, Michael Buble), as he dissects the multi-tracks of technical task. But in order to score and mix a game with some of the hit songs that he has worked on as an engi- greater nuance, the composer would want to see the neer over the last 30 years. Dave will share the tips and game in action while composing; the sound designer techniques that he uses to record everything from rhythm would want to watch the interactivity of the visuals, work- sections to orchestras, and synthesizers to vocals. ing in a DAW that includes robust adaptive features. This new DAW exists; it is your game audio engine and its Sound for Picture 5 Sunday, October 12 authoring tools. In this scenario, sound integration is a 9:00 am – 11:00 am Room 306 AB highly creative endeavor, where music arranging, mixing, mastering, and even composing takes place. WORLD-CLASS CINEMA SOUND MIXERS DISCUSS THEIR CRAFT Recording and Production Session 7 Sunday, October 12 10:15 am – 11:45 am Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., Room 403 AB Clifton Beach, QLD, Australia Panelists: Sherry Klein, RAW TRACKS: RED HOT CHILI PEPPERS Mark Linden, —A MASTER CLASS Gregory Watkins, Moderator: Mark Rubel, The Blackbird Academy, The pinnacle of Sound for Picture recording is the sound Nashville, TN, USA; Pogo Studio, Nashville, mixing for Hollywood-made motion pictures. This work- TN, USA shop features the top members of this group. Panelist: Andrew Scheps This session is presented in association with the AES Technical Committee on Sound for Digital Cinema and Renowned engineer/producer Andrew Scheps will dis- Television cuss, analyze, and deconstruct a classic Red Hot Chili Peppers song “Pink Like Floyd” in the inaugural Raw Sunday, October 12 9:00 am Room 407 Tracks series at the AES 137th International Convention AESSC Plenary Meeting in Los Angeles.

Tutorial 21 Sunday, October 12 Broadcast/Streaming Media Session 15 10:15 am – 11:45 am Room 409 AB Sunday, October 12 10:30 am – 12:00 noon Room 408 A LISTENING TESTS— UNDERSTANDING THE BASIC CONCEPTS TROUBLESHOOTING SOFTWARE ISSUES

Presenter: Jan Berg, Luleå University of Technology, Chair: Jonathan Abrams, Nutmeg Post, New York, Piteå, Sweden NY, USA

Listening tests and other forms of data collection meth- Panelist: Mark Fassler, Avid ods that rely on human responses are important tools for Charles Van Winkle, Adobe, Minneapolis, audio professionals, as these methods assist our under- MN, USA standing of audio quality. There are numerous examples of tests, either formally recommended and widely used, Your application has either unexpectedly quit or brought or specially devised for a single occasion. In order to you to the blue screen of death. Now what? How can you understand listening tests and related methods, and also use a crash report to start the troubleshooting process? to potentially design and fully benefit from their results, What should you do before contacting support or posting some basic knowledge is required. This tutorial aims to on a forum? How can plug-ins make or break the stability address audio professionals without prior knowledge of of your system? How can permissions wreak havoc on listening test design and evaluation. The fundamentals of your system or workflow? What can you do to rule out what to ask for, how to do it, whom to engage as listen- hardware issues? At what point do you need to switch ers, what sort of results that may be expected and similar your thinking from software to hardware as the source of

58 Audio Engineering Society 137th Convention Program, 2014 Fall the problem? What problems have you been encounter- overview of the best user experiences there are in the ing that you need assistance with in order to stop trou- field today. bleshooting and get back to work? Please bring your own questions and get answers to Sunday, October 12 11:00 am Room 405 the others for Mac OS X, Windows, Adobe Audition, and Technical Committee Meeting on Spatial Audio Avid Pro Tools. This session is open to all badges. Project Studio Expo PSE14 PSE STAGE FOCAL PRESS Network Audio Session 14 Sunday, October 12 Sunday, October 12, 11:00 am – 11:45 am 10:45 am – 11:45 am Room 404 AB Moderator: Kyle P. Snyder LARGE SCALE IMPLEMENTATIONS OF AVB NETWORKS Presenters: Alex Case Jason Corey David Miles Huber Presenter: Jeff Koftinoff, Meyer Sound Laboratories, Mike Senior Vernon, BC, Canada Mixing Perspectives: Tales of achieving big studio results Audio Video Bridging makes it easy to build medium on a project studio budget. scale audio networks. Learn aspects of how to plan, deploy, and manage AVB audio and video networks. Learning objectives include: Live Sound Expo LSE13 LSE STAGE • Understand the important points to consider when TOURING SYSTEM OPTIMIZATION: CASE STUDIES choosing AVB devices. Sunday, October 12, 11:00 am – 11:50 am • Estimate AVB network infrastructure scale and requirements. Presenters: Jason Decter, FOH for Avril, Blink182, • Learn methods to manage deployed AVB networks. Weezer Robert Scovill, FOH for Prince, Rush, Tom Product Design Session 16 Sunday, October 12 Petty 10:45 am – 12:15 pm Room 402 AB Veteran FOH pros share perspectives on prepping a large venue rig for a show. MEASURING LOUDSPEAKER SYSTEMS Workshop 8 Sunday, October 12 Presenter: Charlie Hughes, Excelsior Audio, Gastonia, 11:15 am – 12:45 pm Room 306 AB NC, USA; AFMG, Berlin, Germany This tutorial session will cover best practices for loud- ANALOG TAPE IN A DIGITAL WORLD speaker measurements. It is critical for product develop- ment and component selection to know the response of Chair: Mike Wells, Mike Wells Mastering, loudspeaker systems and components with reasonable Los Angeles, CA, USA accuracy in order to make informed decisions based on Panelists: Charlie Boulis, Vertigo Recording Services comparisons of data. In this session we will briefly cover Larry Crane, Tape Op Magazine, Portland, the basics of FFT-based measurement systems before OR, USA; Jackpot! Recording Studio moving on to additional topics. Averaging and S/N Win- Dan Labrie, ATR Sterices/ATR Magnetics dowing (both signal acquisition and impulse response windowing) Ground plane measurement techniques Despite 20+ years of digital recording advancements, Directivity measurements Maximum input voltage mea- recording to analog tape remains a hot topic in the world surements Impedance Alignment of pass bands. of audio engineering. Software modeling companies work hard to create the best emulations while hardware Live Sound Seminar 11 Sunday, October 12 manufacturers pour over designs to also emulate the 11:00 am – 1:00 pm Room 406 AB "magic" of the tape process, and yet "the real thing" remains a no-option for many artists and engineers still DIGITAL CONSOLE USER INTERFACE EVOLUTION today. This workshop will discuss the current state of analog tape manufacturing, availability, and its usage in the recording, mixing, and mastering stages of the music Moderator: Louis Adamo, Hi-Tech Audio production cycle. Panelists: Pat Baltzall, Baltzall Audio Design Harold Blumberg, Blumberg Sound Designs Student Event/Career Development David Morgan, FOH Engineer STUDENT RECORDING CRITIQUES Sunday, October 12, 11:30am – 12:30 pm Analog mixing consoles have had roughly 40 years to Room 305 evolve into a familiar physical interface that allows users to move from one brand to another with relative ease. Moderator: Ian Corbett Digital consoles, though, are still developing and experi- Students can bring stereo or surround mixes to these menting with interface paradigms that make it difficult to non-competitive listening sessions and a panel will give exchange one model for another. Most engineers hope you valuable feedback and comments on your work! the that future will bring a more unified digital user inter- Sign-up for time slots is immediately after the first SDA face. In this seminar expert sound engineers will discuss meeting, on a first come, first served basis. Bring your the current state of the digital mixing console user inter- stereo or 5.1 work on CD, DVD, memory-stick, or hard face; what works, what doesn’t work and what might be disc, as clearly labeled 44.1 KHz WAVE or AIFF files. interesting ideas to explore in the future. Users of any The Student Recording Critiques are generously spon- ¯ specific console will benefit from hearing a general

Audio Engineering Society 137th Convention Program, 2014 Fall 59 Technical Program sored by PMC, and you get to hear your work on some DSD AND DXD: EXTREME RESOLUTION amazing loudspeakers! (Finalists in the Recording Com- PRODUCTIONS DISCUSSED petition are excluded from participating in this event to al- low the many non-finalists an opportunity for feedback on Chair: Dominique Brulhart, Merging Technologies, their hard work.) Puidoux, Sweitzerland

Workshop 9 Sunday, October 12 Presenters: Robert Friedrich, Five Four 12:00 noon – 1:30 pm Room 409 AB Productions Morten Lindberg, 2L CANCELED. John Newton, Soundmirror Jared Sachs, Channel Classics Sunday, October 12 12:00 noon Room 405 With the growing interest in high resolution by the audio- TC Plenary Meeting phile and general audience and the rapidly growing avail- ability of high resolution content for download on the Project Studio Expo PSE15 PSE STAGE market, and in relation with the 137th AES convention AUDIONAMIX HRA special event organized with the DEG, we thought Sunday, October 12, 12:00 noon – 12:45 pm mandatory to reiterate our DSD/DXD panel. As the reality of most extreme resolution productions Live Sound Expo√LSE14 LSE STAGE today is not anymore to ideologically focus on either LOUDSPEAKERS—SMALL SYSTEM ANALYSIS DSD or PCM, but to choose the most appropriate format Sunday, October 12, 12:00 noon – 12:50 pm based on the production and post-production require- ments, as it is been established during the three former workshops, we found more interesting to open this time Presenter: Sam Berkow, Principal and Founding the discussion to a wider number of panelists to share Partner, SIA Acoustics their experience in this domain, and base the compari- System performance monitoring software and hardware son between DSD and DXD on production prerogatives provide sophisticated assistance to the human ear for instead of purely sound quality considerations. sound-system set-up. These tools, their capabilities and Morten Lindberg from 2L, John Newton from Sound- application in small venues are explored, along with sys- mirror, Michael Bishop from Five Four Productions, and tem optimization using commonly available tools. Jared Sachs from Channel Classics will be presenting some of their productions and answer to questions about Network Audio Session 15 Sunday, October 12 their technical and artistic decisions. 12:15 pm – 1:15 pm Room 404 AB Sound for Picture 6 Sunday, October 12 INTEROPERABILITY TESTING FOR AUDIO 1:00 pm – 3:00 pm Room 408 B NETWORK APPLIANCES SUPERSTARS OF PRODUCTION SOUND Chair: Mark Yonge, AES Standards Secretary, UK RECORDING Panelist: Kevin Gross, AVA Networks, Boulder, CO, USA Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., Clifton Beach, QLD, Australia End users, systems integrators, and design consultants need assurance that a networked device will interoper- Panelists: Peter Kurland ate with other networked devices thath implement the Jim Tananbaum, Sound Recording Services, same protocol. How is this interoperability best guaran- Los Angeles, CA, USA teed? Interoperability compliance testing is an essential Mark Ulano requisite to meaningful claims by manufacturers that their product provides assured interoperability. How is The recording of Production Sound dialog for films is a this testing best achieved? This session will explore the unique area of sound recording, and done to a high stan- various methods for compliance testing with particular dard by the Hollywood production sound community. reference to verifying compliance with the AES67 inter- This type of recording requires an understanding of the operability standard. film-making process, a strong relationship with the vari- ous crafts, and a wide variety of "tricks" not usually Student Event/Career Development employed in other areas of sound recording. This work- STUDENT DELEGATE ASSEMBLY MEETING shop features several of the top Production Sound Mixers —PART 2 prepared to discuss their craft and recording philosophies. Sunday, October 12, 12:30 pm – 2:00 pm This session is presented in association with the AES Room 408 A Technical Committee on Sound for Digital Cinema and Television At this meeting the SDA will elect a new vice chair. One vote will be cast by the designated representative from Project Studio Expo PSE16 PSE STAGE each recognized AES student section in the North & FOCUSRITE NOVATION Latin American Regions. Judges’ comments and Sunday, October 12, 1:00 pm – 1:45 pm awards will be presented for the Recording Competi- tions and Design Competitions. Plans for future student Live Sound Expo LSE15 LSE STAGE activities at local, regional, and international levels will INSTALLED AUDIO—MODERN AUDIO INSTALL be summarized. Sunday, October 12, 1:00 pm – 1:50 pm

Workshop 10 Sunday, October 12 Presenters: Chuck Mitchell, System Design Consultant, 1:00 pm – 2:30 pm Room 306 AB Technology of Arts

60 Audio Engineering Society 137th Convention Program, 2014 Fall Matt Wilkinson, ARUP, designers of the 3D Operational Amplifiers—Robert-Eric Gaskell, audio system for “The Cube” at Virginia Tech McGill University, Montreal, QC, Canada; GKL Audio Inc., Montreal, QC, Canada The A in A/V installations is ever increasing in flexibility and sophistication. Guest systems designers share case Due to the gain-bandwidth characteristics of studies that illustrate the trends and potential of such operational amplifiers, their nonlinearities are installation with profiles of a number of houses of wor- frequency dependent, showing a rise in distortion ship and a unique performance space/laboratory. at higher frequencies. Depending on the circuit and system implementations, this distortion can Session P19 Sunday, Oct. 12 be significant to listener perception of sonic 1:30 pm – 5:00 pm Room 308 AB character and quality and is therefore relevant to models of op amp-based analog equipment. Pow- SIGNAL PROCESSING—PART 3 er-series models of the harmonic signature of var- ious op amp nonlinearities are developed with and without this frequency dependence. Listening Chair: Duane Wise, Wholegrain Digital Systems LLC, tests are performed to determine the extent to Boulder, CO, USA which the distortion characteristic of the model must match that of the real component to create a 1:30 pm perceptually similar result. Convention Paper 9206 P18-1 Eliminating Transducer Distortion in Acoustic Measurements—Finn Agerkvist,1 3:00 pm Antoni Torras-Rosell,2 Richard McWalte1 1Technical University of Denmark, Lyngby, P19-4 More Cowbell: A Physically-Informed, Circuit- Denmark Bendable, Digital Model of the TR-808 2Danish National Metrology Institute, Lyngby, Cowbell—Kurt James Werner, Jonathan S. Denmark Abel, Julius O. Smith, III, Stanford University, Stanford, CA, USA This paper investigates the influence of nonlin- ear components that contaminate the linear We present an analysis of the cowbell voice cir- response of acoustic transducers and presents a cuit from the Roland TR-808 Rhythm Composer. method for eliminating the influence of nonlinear- A digital model based on this analysis accurately ities in acoustic measurements. The method is emulates the original. Through the use of physi- evaluated on simulated as well as experimental cal and behavioral models of each sub-circuit, data and is shown to perform well even in noisy this model supports accurate emulation of cir- conditions. The limitations of the Total Harmonic cuit-bent extensions to the voice's original Distortion, THD, measure is discussed and a behavior (including architecture-level alterations new distortion measure, Total Distortion Ratio, and component substitution). Some of this TDR, which more accurately describes the behavior is very complicated and is inconvenient amount of nonlinear power in the measured sig- or impossible to capture accurately through nal, is proposed. black box modeling or structured sampling. The Convention Paper 9204 band pass filter sub-circuit is treated as a case study of how to apply Mason's gain formula to 2:00 pm finding the continuous-time transfer function of an analog circuit. P19-2 Uniformly-Partitioned Convolution with Convention Paper 9207 Independent Partitions in Signal and Filter— Frank Wefers, Michael Vorländer, RWTH 3:30 pm Aachen University, Aachen, Germany P19-5 A Modal Architecture for Artificial Low-latency real-time FIR filtering is often real- Reverberation with Application to Room ized using partitioned convolution algorithms, Acoustics Modeling —Jonathan S. Abel,1 which split the filter impulse responses into a Sean Coffin,1 Kyle Spratt2 sequence of sub filters and process these sub 1Stanford University, Stanford, CA, USA filters efficiently using frequency-domain meth- 2University of Texas, Austin, Austin, TX, USA ods (e.g., FFT-based convolution). Methods that split both, the signal and the filter, into uniformly- The modal analysis of a room response is sized sub filters define a fundamental class of considered, and a computational structure algorithms known as uniformly-partitioned con- employing a modal decomposition is introduced volution techniques. In these methods both for synthesizing artificial reverberation. The operands, signal and filter, are usually parti- structure employs a collection of resonant filters, tioned with the same granularity. This contribu- each driven by the source signal and their out- tion introduces uniformly-partitioned algorithms puts summed. With filter resonance frequencies with independent partitions (block lengths) in and dampings tuned to the modal frequencies both operands and regards viable transform and decay times of the space, and filter gains sizes resulting from these. The relations of the set according to the source and listener algorithmic parameters are derived and the per- positions, any number of acoustic spaces and formance of the approach is evaluated. resonant objects may be simulated. Issues of Convention Paper 9205 sufficient modal density, computational efficiency and memory use are discussed. Finally, models 2:30 pm of measured and analytically derived reverberant systems are presented, including a medium- ¯ P19-3 Modeling the Nonlinear Behavior of sized acoustic room and an electro-mechanical

Audio Engineering Society 137th Convention Program, 2014 Fall 61 Technical Program spring reverberator. by the new broadcast standard. After a short in- Convention Paper 9208 troduction to the features of MPEG-H, practical use cases are presented, such as immersive 4:00 pm mixes and interactive personalized audio. In a field test, two sports events were accompanied P19-6 The Procedural Sound Design of Sim Cell— and original audio material was gathered. Leonard J. Paul, School of Video Game Audio, Recording methods were tested to see how Vancouver, Canada much additional effort is needed to make use of Synthesis was used to generate all of the audio the mentioned features. The results show that for the sound design of educational game Sim already existing TV productions techniques can Cell using the open source language Pure Data be used to provide enough audio material for [1]. A primary advantage of using Pure Data is interactive TV mixes. With little additional effort that it can be easily embedded into games for immersive 3D-audio environments can be created. iOS, Android, and other platforms. This paper Convention Paper 9211 illustrates different examples of how synthesis can be effectively used in video games in contrast 2:00 pm to more conventional contemporary audio produc- P20-2 Headstock Resonances in the Electric Bass tion methods such as sampling. Synthesis allows Guitar —Bryan Martin,1,2 Goran Petrovic1 for the accurate rendering of high resolution audio 1McGill University, Montreal, QC, Canada easily in addition to very high rates of data com- 2Centre for Interdisciplinary Research in Music pression when compared to sampling. Media and Technology (CIRMMT), Montreal, Convention Paper 9209 QC, Canada 4:30 pm The solid-body electric bass has long been estab- lished as a staple in jazz and popular music. This P19-7 OBRAMUS: A System for Object-Based investigation examines the resonant characteris- Retouch of Amateur Music—Jordi Janer,1 tics of the headstock. Sine sweep techniques are Stanislaw Gorlow,1 Keita Arimoto2 employed to extract resonant characteristics from 1Universitat Pompeu Fabra, Barcelona, the headstock and compares these with those of Catalunya, Spain the plucked open strings. It was found that there 2Yamaha Corporation, Iwata, Shizuoka, Japan appears to be a correlation between the integrity of In the more recent past, the area of semantic the open string resonances in the headstock with audio has become an object of special attention the output sound quality of the instrument. due to the increase in attractiveness of signal rep- Convention Paper 9212 resentations that allow manipulations of audio on a symbolic level. The semantics usually refer to au- 2:30 pm dio objects, such as instruments, or musical enti- P20-3 Requirements Specification for Amplifiers ties, such as chords or notes. In this paper we pre- and Power Supplies in Active Loudspeakers sent a system for making minor corrections to —Henrik Schneider, Lasse C. Jensen, Lars amateur piano recordings based on a nonnegative Press Petersen, Arnold Knott, Michael A. E. matrix factorization. Acting as middleman between Andersen, Technical University of Denmark, the signal and the user, the system enables a sim- Kgs. Lyngby, Denmark ple form of musical recomposition by altering pitch, timbre, onset, and offset of distinct notes. The This work aims to provide designers with a workflow is iterative, that is the result improves method to develop a requirements specification stepwise through user intervention. for power supplies and amplifiers in active loud- Convention Paper 9210 speakers. The motivation is to avoid over-sizing [Paper not presented but available for purchase] and unnecessary cost. A realistic estimation of the power supplied during playback of audio in a Session P20 Sunday, Oct. 12 given loudspeaker is obtained by considering a 1:30 pm—5:00 pm Room 309 wide range of audio source material, loudness normalization of the source material, crossover APPLICATIONS IN AUDIO—PART 1 filtering, driver characteristics as well as a per- ceived maximum loudness/volume level. The results from analyzing a sub-woofer and a woofer Chair: Alexander Voishvillo, JBL Professional/ reveals the peak power, peak voltage, peak cur- Harman, Northridge, CA, USA rent, and apparent power—thus providing a solid foundation for a requirement specification. 1:30 pm Convention Paper 9213 P18-1 Producing Interactive Immersive Sound for MPEG-H: A Field Test for Sports 3:00 pm Broadcasting—Hanne Stenzel, Ulli Scuda, Fraunhofer Institute for Integrated Circuits IIS, P20-4 Multiphysical Simulation Methods for Erlangen, Germany Loudspeakers—Advanced CAE-Based Simulations of Motor Systems—Alfred The present paper gives a practical example Svobodnik,1 Roger Shively,2 Marc-Olivier how broadcast content can be produced for Chauveau3 MPEG-H. Existing production workflows are 1Konzept-X GmbH, Karlsruhe, Germany investigated with the question in mind, what 2JJR Acoustics, LLC, Seattle, WA, USA needs to be adapted in order to make use of 3Moca Audio, Tours, France audio objects and immersive 3D-Audio provided

62 Audio Engineering Society 137th Convention Program, 2014 Fall This is the first in a series of papers on the eliminating potential race conditions between details of loudspeaker design using multiphysical connection requests. Additionally, connection computer aided engineering simulation methods. management applications can be shared between In this paper, the simulation methodology for different networked devices and controllers. accurately modeling the electromagnetics of Convention Paper 9216 loudspeakers will be presented. Primarily, the creation of a useful impedance curve in the virtu- 4:30 pm al world will be demonstrated. The influences of the mechanical mounting will also be illustrated, P20-7 Utilizing Gesture Recognition and Ethernet as well as the inherent non-linearities of the AVB for Distributed Surround Sound Control loudspeaker motor. Those non-linearities will be —Mitchell Hedges, Richard Foss, Rhodes illustrated through the correct simulation of the University, Grahamstown, Eastern Cape, South electromagnetic driving force, which has an influ- Africa ence on all loudspeakers, and the voice coil Gesture recognition has become a preferred inductance, which can have a profound influence approach to the control of various systems. This on midrange and high frequency loudspeakers. allows users of the system to interact without Results will be presented, correlating the simu- having to use any controls or equipment. This lated model results to the measured physical paper investigates the use of gesture recognition parameters and to the impedance curve. From in order to select and transport audio tracks over that, the important aspects of the modeling that an Ethernet AVB network to speaker endpoints. determine its accuracy will be discussed. The research uses equipment that is commer- Convention Paper 9214 cially available and relatively cost efficient. The endpoints receive audio samples that are encap- 3:30 pm sulated within network packets and processes P20-5 MotionMix: A Gestural Audio Mixing them. The audio tracks are mixed at the end- Controller—Jarrod Ratcliffe, New York points according to gain ratios that will change University, New York, NY, USA and be different for each endpoint. Convention Paper 9217 This paper presents a control interface for stereo mixing using real time computer vision. The Product Design Session 17 Sunday, October 12 user’s sense of depth and panorama are 1:30 pm – 3:00 pm Room 402 AB improved over the traditional channel strip, while broad accessibility is maintained by integrating TESTING IN THE AGE OF GLOBAL PRODUCTION the system with Digital Audio Workstation (DAW) software and implementing a system that is portable and affordable. To provide the user with Presenter: Paul Messick, Avermetrics, Los Angeles, a heightened sense of sound spatialization over CA, USA the traditional channel strip, the concept of depth Good design is hard. Good testing should be easy. After is addressed directly using the stage metaphor. designing a product, making it work, and making sure it Sound sources are represented as colored meets all the specs, often little time is left to design the spheres in a graphical user interface to provide right tests to make sure the product is being built correct- the user with visual feedback. Moving sources ly at the factory. Instead, already overworked design back and forward controls volume, while left to engineers are asked at the last minute to come up with right controls panning. Preliminary evaluation is the factory production test regimen. Its no wonder that conducted through a pilot study, and user feed- production testing is too often done poorly and common- back is considered regarding future applications ly ends up looking eerily like R&D—costs and all. of the interface. Through this tutorial you will learn more about: Convention Paper 9215 • How to do the “right amount” of testing, without false positives or false negatives 4:00 pm • Different ways to implement product testing in the factory P20-6 An Associative Shared Memory Approach • How to make the most cost effective, yet thorough, to Audio Connection Management—Andrew end-to-end test solution for your products Eales,1 Richard Foss2 1 • What to look out for when setting up production line Wellington Institute of Technology, Wellington, tests both domestically and overseas New Zealand; • How to manage production test remotely and better 2Rhodes University, Grahamstown, Eastern manage testing costs Cape, South Africa • The difference between product engineering verifica- A distributed, associative memory that advertis- tion and production test es audio streams and represents audio connec- • How test fixtures can greatly speed up production tions between networked audio devices is testing described. Characteristic features of a shared, • Subassembly testing vs. Board-level testing vs. Fin- associative memory are discussed, and three ished Goods testing parameter-based models that represent audio • Design for Testing and Built-in test signals and audio connections are introduced. • Testing high-volume products quickly and speed up Connection management is then discussed with testing low-volume products reference to a distributed, associative memory • The non-linear relationship between test time and environment. This environment allows changes test expense made to audio connections to be automatically • Making testing count: collecting metrics and improv- propagated to all networked devices, while also ing delivered products ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 63 Technical Program Special Event Alameda, CA, USA SOUND IS THE CONDUIT TO THE ARTIST HEART Bill Whitlock, Whitlock Consulting, Oxnard, Sunday, October 12, 1:30 pm – 3:00 pm CA, USA Room 404 AB There is a lot of misinformation about what is needed for AC Moderator: Jack Joseph Puig, Multi-GRAMMY Award power for events. Much of it has to do with life-threatening winning Recording Engineer advice. This panel will discuss how to provide AC power properly and safely and without causing noise problems. Panelists: Dean Bolte, Managing Director, Americas This session will cover power for small to large systems, at Omnifone from a couple boxes on sticks up to multiple stages in ball- Joel Clarke, Motorola Mobile Devices rooms, road houses, and event centers; large scale in- Chris Dorian, Sr. Area Director/Business stalled systems, including multiple transformers and compa- Sales at T-Mobile USA ny switches, service types, generator sets, 1ph, 3ph, Aja Schmit, Vice Bullitt Group Ltd. 240/120 208/120. Get the latest information on grounding Devon Worrell, Mobile Audio Architect, Intel and typical configurations by this panel of industry veterans. Ever since the consumer-branded Yamaha NS-10 speaker became ubiquitous in almost every professional Sunday, October 12 2:00 pm Room 405 recording studio, the music industry has seen the worlds Technical Committee Meeting on Audio for Games of professional and consumer audio collide with the goal of creating an ecosystem that allows the professional to Project Studio Expo PSE16 PSE STAGE make the right creative choices, in order for the transla- MOTU tion of the artists’ intent to be fully realized and under- Sunday, October 12, 2:00 pm – 2:45 pm stood by the consumer. Now that “mobile” is how most consumers are listening to music, what is the future, and how do manufacturers in the consumer space view the Live Sound Expo LSE16 LSE STAGE future of mobile audio and pro audio intersecting? This STUMP THE PANEL provocative panel will address and discuss this paradigm Sunday, October 12, 2:00 pm – 2:50 pm shift while exploring the ramifications that will affect every- one in the industry, from audio manufacturer to end user. Presenters: Dave Rat, Rat Sound; Sound System Designer, Consultant, Audio Engineer - Red Broadcast/Streaming Media Session 16 Hot Chili Peppers, Soundgarden, Blink 182 Sunday, October 12 2:00 pm – 5:00 pm Robert Scovill, FOH for Prince, Rush, Room 407 Tom Petty Dave Shadoan, President and Co-founder, SOCIETY OF BROADCAST ENGINEERS EXAMS Sound Image Live sound audio professionals gather for a lively Q&A The Society of Broadcast Engineers (SBE) established a covering the gamut of sound reinforcement topics. certification program almost 40 years ago to recognize They’ll come equipped with entertaining tales from the and raise the professional status of broadcast engineers trenches (names may be withheld to protect the guilty) by providing standards of professional competence. It and to take your questions. has become recognized in the industry as the primary method of verifying the attainment of knowledge and experience. With the industry constantly changing, the Recording and Production Session 8 broadcast engineer, certified by the SBE, must keep up Sunday, October 12 2:30 pm – 4:00 pm with those changes by recertifying every five years. From Room 409 AB the certified operator to the Certified Professional Broad- cast Engineer, SBE has a certification for every broad- MASTERING FOR ENGINEERS cast engineer, technician and operator. SBE exams will take place on October 12 at 2:00 pm during the annual Presenters: Andres Mayo, Andres Mayo Mastering & AES convention. Applicants are encouraged to apply Audio Post, Buenos Aires, Argentina before the exams by going to www.sbe.org and access- Darcy Proper, Wisseloord Studios, ing the certification applications. You may apply on-site Hilversum, The Netherlands for the Certified Broadcast Technologist or the Certified Ronald Prent, Wisseloord Studios, Broadcast Networking Technologist exams. If you wish Eemnes, The Netherlands to apply for the broadcast engineer, senior engineer or specialist certifications then you would need to pre-regis- The presenters will “role-play” the real situation with a ter by September 19. To learn more about the SBE Certi- client in a mastering session. All the issues that may fication Program, visit the SBE website, www.sbe.org. come up in real life will be addressed in order to demon- This session is open to all badges. strate how important it is as engineers (and/or facility managers) to make clients feel confident and at ease but still keeping control of the session. In other words, how Live Sound Seminar 12 Sunday, October 12 to develop interpersonal skills that become crucial to the 2:00 pm – 4:00 pm Room 406 AB music production business. AC POWER AND GROUNDING Historical Event H6 AUTHENTIC REPLICATION AND MODELING Chair: Bruce Olson, Olson Sound Design, LLC, OF VINTAGE AUDIO GEAR Minneapolis, MN, USA; AFMG Services Sunday, October 12, 2:30 pm – 4:30 pm North America, LLC, Minneapolis, MN, USA Room 408 A Panelists: Ken Fause, Auerbach Pollock Friedlander, San Francisco, CA, USA Moderator: Dennis Fink, Crestron Electronics, Jaime Fox, The Engineering Enterprise, Rockleigh, NJ, USA

64 Audio Engineering Society 137th Convention Program, 2014 Fall Presenters: Dave Berners, Universal Audio, Scotts Valley, CA, USA Dave Derr, Empirical Labs, Parsippany, NJ, USA Steve Jackson, Pulse Techniques, LLC, Fort Collins, CO, USA Dan Kennedy, Great River electronics, St. Paul, MN, USA Upcoming AES Conventions A panel of manufacturers who are engaged in manufac- turing modern versions of classic audio products will and Conferences each profile one or more products, describing some of the methods which they use to duplicate the classic per- formance of the pieces. Dennis Fink, formerly with UREI, MSD consulting to JBL and others, Universal Audio and 56th International Conference Fink Audio, will moderate and begin with an outline of the different categories of product types. The participants will “Audio for Games” include representatives of manufacturers who do both hardware as well as software plug-ins. Each manufactur- London, UK er will present products, methods and techniques, with discussion of measured and sonically-judged faithfulness 2015 February 11–13 and/or improvements, and then panel interaction, and questions from the audience. • Sound for Picture 7 Sunday, October 12 57th International Conference 3:00 pm – 5:00 pmRoom 408 B “The Future of Audio Entertainment RECORDING PRODUCTION SOUND— Technology: Cinema, Television, A MASTER CLASS and the Internet” Chair: Brian McCarty, Coral Sea Studios Pty. Ltd., Clifton Beach, QLD, Australia Hollywood, CA, USA Panelists: Peggy Names 2015 March 6–8 Jay Patterson, Engineering For Production, Venice • The craft of recording live dialog on the set is one of the 138th CONVENTION most unique areas of sound recording. In many cases the other technicians on the set, including the director, Warsaw, Poland conspire to make the process of getting quality record- ings very difficult. And with this work often done out- 2015 May 7–10 doors, day and night, sunshine, pouring rain, or drifting snow, the production sound team need to be clever and • find solutions in real time. This workshop with a leading Production Sound mixer and top boom operator will shed 139th CONVENTION some light on this diverse recording craft. This session is presented in association with the AES New York, NY, USA Technical Committee on Sound for Digital Cinema and Television 2015 October 29–November 1 Product Design Session 18 Sunday, October 12 • 3:15 pm – 4:45 pm Room 402 AB For the latest information SYSTEM ENGINEERING AND GLOBAL SOURCING on AES conventions Presenter: Mike Klasco, Menlo Scientific Ltd., Richmond, CA, USA and conferences, visit In this interactive Tutorial, Mike Klasco will lead a the AES Web site at discussion about working with OEM and ODM product development partners and product managers in how to www.aes.org successfully bring products to market. Projects range from designing from a clean sheet of paper to brands that are in a hurry and are looking for how to pick an global vendor and grab something off-the-shelf to fill out a gap in their product line. This will include discussions about best practices in working with: (1) Off-shore manu- facturing and supply chain, (2) Design services, (3) Engineering services, (4) Off the shelf and semi-custom subassemblies. ¯

Audio Engineering Society 137th Convention Program, 2014 Fall 65