"Immersive" audio is a popularly used term today, and it is often regarded as synonym of 3D audio. But what does immersive mean exactly? There is currently a lack of consensus in how the term should be defined, and it is not yet clear what techniques are required to make audio content more immersive. This session will first explicate different dimensions of immersion as well as those of related concepts presence and involvement, identifying the source of confusion around the terms and provide a conceptual relationship among them. A universal conceptual model of immersive experience will then be introduced, and various context-dependent factors that might be associated with immersive "auditory" experience will be discussed with practical examples.Speaker(s):
In 2001, the AES Technical Committee on Coding of Audio Signals (TC-CAS) produced the legendary educational CD ROM "Perceptual Audio Coders - What To Listen For". It contains a taxonomy of common types of codec artifacts, as well as tutorial information on the background of each one. Example audio signals with different degrees of impairment illustrate the nature of the artifacts and help in training test listener expertise. Since its initial release, several generations of CD ROMs were sold and found worldwide use for education of the public.
This workshop presents the results of the TC's efforts in producing a second-generation educational package that tutors on new artifact types as they can be typically experienced with advanced audio codec processing, such as bandwidth extension or parametric stereo. Moreover, the format of the material was enhanced for seamless display and playback on PCs, tablets and mobile phones and includes interactive graphics elements. This makes it an attractive educational package that is now available as an AES publication.
Since the advent of the modern line arrays, it is common practice to fly the full-range sources of a main live sound reproduction system. Subwoofers, on the contrary, have remained ground-stacked primarily for practical reasons due to weight and the lack of captive rigging elements. Modern subwoofer designs however have partly alleviated these constraints.
This workshop compares ground-stacked against flown subwoofers in relation to the audience experience: level monitoring of low frequencies, health and safety measures relative to the exposition to high level of low frequencies, tonal balance and level distribution, subwoofer/main system time alignment over the audience, and the acoustical influence of the presence of the audience.
During the past decade, organizations focused on women and marginalized genders have been working to uplift these populations with workshops, mentoring, internships, networking, and other opportunities. Learn about the activities and philosophies that are making a measurable impact in the audio world. Moderated by Leslie Gaston-Bird, panelists include Terri Winston of Women's Audio Mission, Ebonie Smith from Gender Amplified, Karrie Keyes from SoundGirls.org, Erin Barra of Beats by Girlz, and Phebean Adedamola Oluwagbemi of Audio Girl Africa.Speaker(s):
Join the Abbey Road Studios Spatial Audio Forum in an exclusive round-table discussion about the latest technical innovations in spatial and immersive audio productions, with a focus on virtual creativity and how these metaverses could connect musicians and producers in real-time worlds, anywhere in the world.Speaker(s):
In 1995 at the Audio Engineering Society's 99th convention in New York, Carol Bousquet invited prominent women to speak about the lack of representation of women in the field of audio. Now, 26 years later, we revisit the event and its impact. Hosting the session is Meredith Goldstein of the Boston Globe who leads a discussion with Bousquet, artist and musician Laurie Anderson, producer Roma Baran, author Leslie Gaston-Bird, and Dr. Stephanie Hull of Girls, Inc.Speaker(s):
Trevor Noah, Clubhouse.... NFTs are the hottest three letters on the audio block right now.
This is what you need to know.
What are they? Are they real? What does an audio engineer or artist create to authenticate? Who owns what?
Our dazzling panelists will demystify no one else wants to touch... Wish us luck.
STMPD recording studios, owned by Dutch DJ Producer Martin Garrix, is Amsterdam’s largest recording studio facility. Designed as the ultimate playground for music and audio post-production. With its grand history, these studios have welcomed (inter)national artists and producers like Pharrell Williams, Lady Gaga, Snoop Dogg, The Black Eyed Peas, The Script, David Guetta, Giorgio Tuinfort, Big Sean, Akon and of course Martin Garrix himself.
After Martin Garrix B.V. acquired the famous FC Walvisch studio complex in April 2017, the facilities have been completely upgraded, giving the place new energy while maintaining the creative atmosphere, high service level and welcoming vibe. Besides music, the studio has a long history in post production, providing audio services like re-recording mixing, ADR, sound design and music composition. Their Dolby Atmos Mix Stage is among the very best in the world, being one out of only 9 awarded with the prestigious Atmos Premier Studio certification worldwide.
The Level Acoustics & Vibrations Lab is an acoustical laboratory associated with the Eindhoven University of Technology. It houses several chair members of the faculty of Building Acoustics. At the lab they perform different kinds of research in fields like room acoustics, building acoustics and environmental acoustics. The laboratory has three connected sound transmission rooms where they can do sound insulation measurements. One of the rooms also serves as a reverberation chamber. Currently, they are investigating the possibilities of realtime acoustic simulation using virtual reality. Remy Wenmaekers, acoustic consultant and researcher at the Level Acoustics & Vibration company, will take you on a tour showing you the lab and the facilities.
Did you ever wonder how your audio files squeeze so much sound into such a small size? Or what is the difference between MP3 and AAC? Or which multichannel audio coding format is best for your application?
The development of perceptual audio coding technologies allowed portable music devices to be launched and “suddenly” these technologies became ubiquitous in our daily lives, residing within mobile devices, DVDs, broad/webcasting, electronic distribution of music, etc.. A natural question to ask is: what made all this possible and where is the technology going?
In her presentation, Dr. Bosi will examine major shifts in audio consumption and how they represented new challenges and opportunities in coding audio for entertainment, information, and other purposes. Based upon her deep experience with digital media coding research and standards, Dr. Bosi will offer unique insights into the widespread use of these technologies in applications ranging from production and distribution of sound to the broader consumer experience, providing the foundation for an informed view of the future of digital media.