Listening evaluations are EVERYWHERE. Whether involved in the creative process, design of gear or selection of components, gear or suppliers, audio is being judged by humans! These evaluations might be informal, perhaps one of many taken on a given day. However, oftentimes, formal listening tests are performed to support business decisions: When the stakes are high, it is often prudent to gather scientific, valid data about the test scenario. In each instalment of the series, HARMAN's data analysis expert Dr. Darlene Williamson will take you through data analytic procedures for a specific type of test. Test design considerations will be covered, but the focus will be on valid data analytic strategies for formal listening tests. Students and professionals alike will benefit from Dr. Williamson’s careful and thorough explanations on the pitfalls to avoid and options to navigate when extracting the meaning from the data. The series begins with probably the most common type of listening test: the A/B Test, which aims to see which of two options are preferable. Analyses from real-world datasets will be showcased, using commonly available software tools. Everyone is invited to come along and give their stats skills a boost!Speaker(s):
As a spiritual successor to his infamous 2009 "Audio Myths Workshop" session, audio engineer, author and mythbuster Ethan Winer will be joined by Live Sound International technical editor Michael Lawrence to discuss what he has learned from a long career dedicated to investigating and debunking widely held audio-related misconceptions and mythology. Winer and Lawrence will touch on some common audio "truisms" that might not be as true as they seem, along with the perceptual biases that can skew our experiences as listeners, and talk about the "sandbox" approach to designing simple experimentations to test and investigate claims for oneself.Speaker(s):
Recently Digital to Analogue Converters (DACs) that claim to have resolutions of 32 bits have become available. How do they possibly achieve such exalted levels of performance? Almost all, modern Digital to Analogue convertors (DACs) use oversampled multi-bit convertors with noise-shaping to achieve their high performance. Oversampling and noise-shaping allow one to use a DAC with a small number of levels, which is easier to manufacture. Unfortunately traditional noise shaping does nothing to reduce the effect of component tolerances in the DAC, because the analogue output cannot be fed back to the input. However, modern DACs do manage to noise shape the output from the DAC without any feedback. This piece of audio alchemy is critical to the exceptional performance of modern Digital to Analogue convertors. This Tutorial will explain how this alchemy is achieved. It will review the problems of component tolerance in DACs and show how they compromise performance. Then noise-shaping, and how it can be applied, without magic, or knowing the actual converted output, to a practical DAC will be explained. It will conclude by discussing how system aspects may limit their performance and discuss how you might prepare audio signals to maximise converter performance.Speaker(s):
With more and more of our lives taking place in the digital world, particularly during the pandemic, it has never been more important to have a great brand presence online. Human-to-human connections can be a defining factor for your career, but how can you maintain them when more of our lives are becoming digital?
All these questions, and more, will be answered in “Starting Your Brand Like A Boss” which will take you from inspiration to creation to branding sensation!
Whether your profile is your website, your portfolio, or your social media activity, this jam-packed expert session will give you a stack of useful tips, tricks, and techniques to successfully manage your online brand like a boss.
Join our three experts for a download of branding awesomeness: daring branding maven Helga Osk Hlynsdottir from leading agency Serious Business, entrepreneur, educator, bass player, and founder of the Power Metal Quest Fest, Amie Chatterley, and journalist, podcaster, and award-winning marketer Oisin Lunny.
Topics covered will include:
• What is branding
• 10 top tips for branding
• The power of the collective
• From competition to collaboration
• How to create a personal brand
• Establishing and maintaining reputation
• The principles of networking
• How to network in a digital world
• The importance of social media
• LinkedIn, Facebook, Instagram, Twitter, WTF?
This session will be packed with great advice, handy checklists, hard-won career lessons, and even a few memes.
Immersive audio, high-resolution audio, and high-definition audio have become available for recording, creations, and online delivery the music. While the lossy codec such as MPEG4-AAC was the key technologies to enable digital broadcasting and online-delivery, viewers and listeners of digital broadcasting and online-delivery have become noticed the difference of audio quality and musical emotion between the legacy 2ch stereo audio using lossy codec and immersive audio using high-quality audio codec. This workshop will introduce recent actual use cases of next generation audio such as immersive audio, high-resolution audio, and high-definition audio for the advanced music creations and online-delivery of music. Kimio Hamasaki will summarize the history and latest status of next-generation audio and introduce examples of his own researches and development as well as his musical recording works. Hideo Irimajiri will report on the live experiment of music online-delivery with high-resolution audio and immersive audio in Japan done by WOWOW last October and discuss the future prospects. Toru Kamekawa will report on music creations using next-generation audio at the Tokyo University of the Arts and introduce some actual examples and discuss the future prospects. Kazuya Nagae will report on the recent productions, distributions and education using immersive audio at Nagoya University of the Arts and discuss the future prospects. These panels will also discuss the advantages of the next-generation audio for advanced music creations and online-delivery and issues of those they encountered during the actual cases. And finally, they will discuss how to improve the quality and emotion of music recordings and deliveries in the future.Speaker(s):
Immersive Sound offers consumers an extremely immersive listening experience for music through loudspeakers, which is not possible with standard 2CH stereo. Large loudspeaker setups such as Auro 3D 13.1 or Dolby Atmos 9.1.6 are not feasible for most consumers at home. It therefore makes sense to offer the content as headphone productions for the mass market. A large number of binauralization processors and consumer products have entered the headphone market in recent years. And streaming services have been offering Immersive Sound content for headphones since 2019. But how close does headphone reproduction come to reproduction via loudspeakers? And what needs to be done still to make headphone reproduction equal? In his video workshop, Lasse Nipkow explains the most important aspects of loudspeaker virtualization, which are necessary for a three-dimensional headphone reproduction. He uses video animations and sound samples to show where we are today on the way to this goal.Speaker(s):
In response to changes in the music industry it has become vital for audio professionals to have the communication skills to work collaboratively with artists while creating a supportive, creative environment.
This industry led workshop, aims to provide practical solutions for how producers and audio technicians can communicate effectively with artists in order to provide the best outcome for collaborative, live and studio work.
The workshop will be led by industry expert staff and tutors from The Academy of Contemporary Music (ACM) who have experience both working with artists on high profile tracks and live events and in training the next generation of producers and technicians to work collaboratively in all areas of the music industry. The panel represents experience in artist collaboration through electronic music, studio production, live sound, studio management and sound design for media.
The workshop will provide a discussion and effective, tested, solutions on how to communicate with artists so that you can collaboratively meet your artistic aims while creating a professional and supportive environment.
The session will cover:
Precision in communication - ensuring that everyone is communicating consistently in order to work towards success.
Techniques for communicating technical information in a way that can be understood and used by all team members, regardless of technical training.
Codes of ethics and how to build ethical practices into your collaborative workflow.
Inclusive communication techniques to ensure that all members of the technical and creative team are able to fully participate in conversations and feel supported to communicate.
How to build partnerships with artists and ensure that you are easy to work with.
All guidance for this workshop has been developed by industry professionals with technical knowledge of production and audio engineering, ensuring that approaches can be easily included in the modern producer and technician’s workflow.
Psychoacoustic6s has been gradually making its way from lecture halls and academic papers to the everyday life of NVH (Noise, Vibration and Harshness) and sound quality engineers worldwide. The competitive situation in the market calls for new products to not only function better, but to sound better too. In this tutorial I would like to present how sound quality analysis tools, such as subjective listening tests or objective analyses (including calculations of loudness, sharpness, modulation or tonality) are used during the product development process. The presented examples will link the intricacies of the human auditory system to different acoustic challenges that arise during the design phase. From toothbrushes, through espresso machines and vacuum cleaners up to cars and airplanes, if the thing makes a sound, there’s a big chance that someone used the psychoacoustic theory to evaluate and improve it.Speaker(s):
As we ponder both the future of live music and digital streaming, a plethora of questions have arisen. Are the technologies converging? How can we make money going forward? Will live sound return as we know it? Can FOH engineers save money by mixing virtual concerts from their console and obviate the need for pricey broadcast trucks? What are the relevant technologies that currently exist or should be built for the future? This panel will also explore the monetization of concerts within gaming platforms such as Roblox, as well as the role of AI and animation. Is there a way to go not only from live streaming but from streaming or gaming to live? Join our panel of industry experts, including the engineer who recorded Beck's 3D/360 performance, one of the very first of its kind and Justin Bieber's current engineer, a seasoned live sound engineer, now organizing virtual streams during the pandemic. Other speakers will include a seasoned audio programmer for the Roblox gaming platform, which is providing a new framework for hosting concerts virtually. This panel will explore the future of live sound, along with the audio tools and platforms that are transforming the concert industry.Speaker(s):
The presenters will go through the common pitfalls, issues, and considerations to watch out for when creating and distributing your recordings/music. Who owns what? Who owns the recording? Who owns the song (composition)? Who owns the rights to publicly perform? What can be contractually waived? What's a must have in your agreements and where can you get help? The basics about music copyright law in North America and Europe and the most important differences between the two will be discussed during this panel.Speaker(s):