Dutch & Dutch is a young company from the Netherlands. Dutch & Dutch believes that the sound quality in your studio or home is primarily determined by three things: your speakers, the acoustics of your room, and the interaction between those two. Dutch & Dutch currently makes one product, which is a DSP-based full-range monitor that is designed to work together with the acoustics of your room. It adapts to your room, and Dutch & Dutch claim it sounds great even if the acoustics of your room are less than perfect.

This presentation is to celebrate individuals who currently are using sound and audio technology in creative and alternative ways that enhance the human experience.

Some examples:
Roy Allela, an engineer from Kenya who has created gloves that turn sign language into audible speech.

Ellen Reid, creator of "Soundwalk", a GPS enabled work of public art that uses music to illuminate the natural environment. She has composed musical works to stroll through Central Park and hike in Los Angeles' Griffith Park.

Jonathan Ward, an audio archeologist who collects 78rpm records from around the world including Nigeria, Madacascar and Panama. Author of "Excavated Shellac, an alternate History of World Music".
Brian Bushway, Greatest Blind Mountain Biker and master of Echolocation, how blind people see with sound.

A discussion on introducing audio coding into our respective curricula and resources for educators to do the same.

This masterclass will focus on how to create a spatial audio mix from scratch. It will begin with an overview of the hardware commonly used to create immersive experiences such as ambisonic microphones. It will discuss the state of the art, and the type of platforms that support spatial audio. This masterclass will also go over signal flow, and the installation of a variety of spatial audio plugins. The goal of this masterclass is to present beginners with affordable tools such as Reaper and the FB360 Spatial Workstation, so they can easily begin producing content from home.

The panel leads through various perspectives in the field of audio preservation and restoration. Introducing the work of international communities and networks, the panel will present some glimpses into the variety of related and specialized fields. The presenters will discuss the challenges of in- and outside the world of professional production - from the perspective of a National Audio-Visual Conservation Center to preserving independent musicians' work, small labels and foundations who have historically important recordings but no means or resources for preservation, to safeguarding the unique recordings of Mexican indigenous radio and the related challenges, to the importance of audio archiving and restoration in the context of research accessibility and also in the field of arts preservation.

This workshop will review a thorough representation of the currently active open source and freely available software projects that allow for networked music performance. Even prior to the pandemic, the development of tools that meet the requirements of performing music together online were growing in number; since the last year, we have seen new tools and existing ones have become more sophisticated and powerful, as a unprecedented level of attention is paid to their use and application by those musicians and music groups who traditionally work together offline. Networked music performance has three particular demands of the technology it uses: first, the audio stream must be suitably high-quality; secondly, it must minimise interference, for example avoiding echo cancellation algorithms and unnecessary processing; thirdly it must be low-latency, where what defines low-latency exactly depends on the intention and resources of the musicians. Given these factors, the variety of applications and services available that can be used for network performance each have their own specific approach, usually born from the original intended purpose of the developer. Certain tools may, for example, focus on low-latency while others on group usability, and others on solutions where participants do not have access to broadband or 4G. The outcome of this workshop will be that viewers who are interested in performing together over the internet will receive a comprehensive review of software tools, with the aim to select those that suit their specific needs. In addition, the tools discuss are free-to-use and, in some cases, modify. The availability of such tools leads to an expansive array of music possibilities that extends the core of music practice itself.

The job market in the audio software industry is constantly growing and expanding with new opportunities. It is one of the most dynamic environments to work in! At the same time, it is challenging us to use the new technologies for designing new products or to adapt current ones. Therefore, to succeed in this industry, merely maintaining professional competence is not always the key. It is important to have innovative ideas, stay creative and keep yourself up-to-date on market demands and the needs of users. In this tutorial we would like to talk about different roles in the audio software industry as well as discussing the strong relationship between companies and their customers; why user-centered methods, as well as continuous research, are useful and necessary for today's software development in professional audio fields.

Within interactive sound and music composers and sound designers are presented with an interesting additional challenge, human behaviour. Interactive structures such as video games and immersive theatre events give audiences a chance to explore spaces freely and control their narrative experience. While this free exploration is appealing to audiences, it can lead to narrative fragmentation where audiences miss key parts of storylines that are vital for their understanding of the work. As a solution, audio can be used to help guide the audience to ensure that they are able to access all relevant areas of the narrative while still retaining exploratory control. This tutorial will provide practical approaches outlining how sound and music can be used to guide audiences through physical or virtual spaces. It will look at elements such as sound placement, strategic use of frequencies and semiotic associations related to sound and music which build on existing knowledge about audience behaviours in immersive theatre and games. These techniques can be easily adapted to any genre to provide composers and sound designers with effective approaches to take into any of their interactive work.

NEMOSINE is an EU founded project for the development of Innovative packaging solutions for storage and conservation of 20th century cultural heritage of artefacts based on cellulose derivatives. The objective of project NEMOSINE www.nemosineproject.eu is to improve traditional storage solutions by developing an innovative package with the main goal of energy saving and extending the lifetime of cultural objects based on cellulose derivatives. In contrast to conventional film cans or media boxes, the packages will be equipped with the latest sensor technology to monitor decomposition processes and adsorb decomposition products such as acetic acid. The focus is on films, photographs, posters, slides, cinematographic sound, magnetic tapes and discs, based on cellulose acetate and its derivatives. The aim of the four-year project is to achieve more efficient long-term archiving and to increase the life cycle of audiovisual media, as well as other objects of cultural heritage and arts. The complete solution for storage boxes proposed by NEMOSINE is based on multi-nano sensors for different gases (mainly acetic acid and nitric oxide) and a control software platform that simulates degradation processes and then will predict accurate protective treatments. The project has been introduced already at the last European AES Virtual Vienna Convention. This updated tutorial will now outline the various innovative developments, focussing on the latest insights, such as the development of multi-nanosensors for different gases (mainly acetic acid and nitric oxide) and a control software platform that simulates degradation processes and then predicts accurate protective treatment for the archivist.

The streaming music business model has been in the spotlight over the last year as COVID negatively impacted on most of the music industry's revenue streams, except premium streaming. Streaming services pay fractions of a penny per stream, but there are billions of streams, so the total monies paid over to the music industry are signifciant. But how is that money shared out? Some argue the current business model is unfair. And how does any of this apply the the emerging livestreaming business? Chris Cooke, Founder + MD of London-based music business consultancy CMU - and author of the book 'Dissecting The Digital Dollar' - explains how it all works from a rights and royalties perspective, to help you navigate and understand the bigger debates.