Audio in many forms is an important part of the interactive media like games: sound effects and music have a substantial effect on players' experience of games. In this proposed panel, several experts in industry and academia will hold a semi-structured chat. The panel members consist of several experts working in the industry with a background in music composition and sound effects design for games and other interactive media, and a game audio researcher with empirical work in game audio for PC and VR games. The questions will involve the process of audio design for games, how they design or compose for specific experiences and to minimize replay fatigue, how they communicate about the audio they're aiming for, how music can create or break immersion, what factors distract from game audio, and what makes audio in games particularly satisfying.

How would your career look with your mentor/mentee experience were different?

This tutorial will examine some of the challenges and opportunities in Networked Music Performance from a musician’s perspective in a home environment. The Covid-19 pandemic has highlighted the importance of playing music with other people in many people’s lives, and playing online has allowed this to continue throughout enforced isolation. This tutorial will first look at the two main approaches: asynchronous (or the ‘virtual ensemble’) and synchronous, including the pros and cons of each approach, the particular considerations around how to choose which approach to take, and musical examples.

The tutorial will then go on to focus on the synchronous approach – playing together in (near) real time. The Internet was not designed for real-time transmission of audio, and data packets may arrive late, or not at all, introducing latency and glitches to the received signals. Latency is a major consideration for musicians, and we will discuss the ways it can be used creatively. We will also discuss bandwidth issues, and the trade-offs around this, as well as the impact of different approaches to monitoring. We will give examples of accessible software that musicians can use in their own homes for Networked Music Performance.

"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.

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.

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.

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.

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.