133rd AES Convention Workshop Co-Chairs
Jeffrey McKnight & David Bowles
San Francisco, CA (September 7, 2012)—Workshops are always one of the innovative features of any AES Convention, and at this year’s 133rd AES Convention, to be held October 26-29 at San Francisco’s Moscone Center, that’s still the case.
The Workshops Program epitomize pro audio’s extraordinary diversity. Thanks to Workshops Co-Chairs David Bowles and Jeffrey McKnight, 133rd Convention attendees will benefit from a particularly robust program. “Dozens of worthwhile proposals are submitted each year,” says Committee Co-Chair Valerie Tyler. “Our Workshops Co-Chairs’ final picks will challenge visitors to budget their time in order to maximize their opportunities to expand their knowledge.”
Highlights of the 133rd AES Convention Workshop Program include ‘mini-tracks’ on Digital and 3D Cinema Sound, Loudness and on Height Channel (an AES first):
Cinema Sound in 3D
Chair, Christof Faller, author/co-principal IIusonic, Switzerland
Enlisting many key players currently involved with 3D cinema sound, this panel will outline their 3D Sound strategies, including impact on production and compatibility with legacy equipment, content, and signal format/coding. The workshop will include a discussion on MPEG’s efforts on 3D Sound compatible formats.
Reconsidering Standards for Cinema Sound – Alternatives to ISO 2969
Chair, Brian McCarty, Coral Seas Studios, Australia
ISO 2969 (aka, SMPTE S202), has been a cornerstone of the audio reproduction ‘B-Chain’ for many years. Like the RIAA curve, it was originally implemented to compensate for delivery defects. What are the implications for these standards and the B-Chain, as film shifts to Digital Cinema delivery, with full bandwidth soundtracks?
Post Production Audio Techniques for Digital Cinema and Ancillary Markets
Chair, Brian McCarty, head of the AES Technical Committee on Sound for Digital Cinema & TV
With the film industry’s rapid move to audio distribution in full-bandwidth, multi-channel, discrete format, post-production techniques to provide high-quality audio continue to evolve. This workshop will feature four leading sound post mixers (music, dubbing, and DVD-Audio) discussing changes being implemented.
Loudness Wars – The Wrong Drug?
Presenter, Thomas Lund, HD Development Mgr., TC Electronics
Newly produced music rarely sounds good on fine speakers. Could the wrong mastering ‘drug’ have been used for decades, affecting Dynamic Range (DR) instead of Loudness Range (LRA)? Addressing the grim side effects of this question, the panel, will provide a unique perspective on the difference between DN and LRA from a technical, perceptual & practical POV.
Broadcasters Experiences In The Use of Loudness Standards
Lars Jonsson, Swedish Radio
With the recent U.S. adoption of the CALM Act, Loudness Standards have reached the tipping point in audience awareness. This Workshop will bring together a group of leading international broadcasters to address the use of new EBU and ATSC standards on loudness.
Acoustics & Audio iPhone Apps
Peter Mapp, Acoustic Consultant, PMA
The workshop will survey the range of audio and acoustic measurement, calculation and related apps currently available for the iPhone, iPad and other smart phones. A member of the AES Technical Committee on Acoustics & Sound Reinforcement (TCASR), Mapp will review current apps, their uses and limitations
Mastering for Specific Music Genres
Andres Mayo, Vice Chairman, TC Arms
Mastering projects occasionally require an expert in a music style which has very specific parameters (dynamics, color, warmth, S/N ratio, etc.). Examples include, classical and regional music e.g. Tango, and powerful ‘bassy’ tunes created for clubs. This workshop will review those unique features, and also address mastering for vinyl and iTunes.
The Controversy over ‘Up-sampling,’ Boon or Scam?
Vicki Melchior, Audio DSP Tech Consultant, Boston
Many ‘high resolution’ Blu-ray, DVD releases, and HD download files are created by ‘up-sampling’ Redbook or 48kHz data. A practice that frequently draws vehement outcries of ‘fraud.’ And yet, ‘up-samplers,’ both hardware and software, are commonly marketed to consumers and professionals with the promise of boosting Redbook Sonics to near-equality with high resolution. What’s going on? A panel of top mastering engineers, DAC and DSP designers will discuss in depth.
Other 133rd Convention Workshop Program Highlights Include:
• Sound Design Tools for Multichannel Audio With Height: Wieslaw Woszczyk McGill U. Center For Interdisciplinary Research In Music Media.
• Recording Music In 9.1 Height Surround: Presenter, Morten Lindberg, Engineer/Producer Lindberg, Lyd.
• 3D Audio Formats (Multichannel Sound With Height) Channel or Object Based? Presenter, Bert Van Daele
• Height Channel – Adding The Vertical Dimension To Surround Sound: Chair, Paul Geluso, Teacher, Chief Recording Engineer NYU Steinhardt
• Multi-Microphone Applications & Testing In Telecommunications Systems: Bob Zurek Motorola
• Spatial Audio Evaluation: Sean Olive, Director, Acoustic Research Harman Intl.
• What Does an Object Sound Like? Towards a Common Definition Of A Spatial Audio Object: Frank Melchior, BBC R&D
• MUSHA Reloaded: Presenter, Judith Liebetrau, Fraunhofer IDMT
• What Every Sound Engineer Should Know About The Voice: Eddy Brixen EBB Consultant
• New Delivery Mediums & How To Get There Safely…Or, Jumping On The New Media Express: Jim Kaiser Educator, Belmont U/Engineer, MasterMix, Nashville
• Forensic Authentication of Digital Audio: Jeffrey M. Smith
The Height Channel ‘Mini-Track’ will be held at Pyramind Media & Music Production School/Studio in the Bay Area’s SoMa neighborhood. In-depth descriptions of all the 133rd AES Conventions are posted on the Preliminary Calendar of Events http://www.aes.org/events/133/calendar/calendar.cfm
Audio Engineering Society