Convention Program
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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