EDU-1 | Education | OS | 2023-11-08 | 13:30 - 14:30
curated by Ingo Weismantel —
moderated by Jim Anderson
New School with Nick Sansano
EDU-1-1 | Start 13:30 | Duration 60 min. | Nicholas Sansano |
Jim Anderson | Tutorial (English)
How does an aspiring music producer and/or sound engineer enter the modern music industry? The modern day individual has to be a self sustaining entrepreneur and deal with unforeseen expectations in today’s market. Nick Sansano, chair of the Clive Davis Institute of Recorded Music at New York University’s Tisch School of the Arts will present his insights as a music industry professional and educator.
MIC-1 | Microphones / Microphone Setups | Wabe | 2023-11-09 | 09:30 - 11:30
curated and moderated by Marcel Remy
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Shotgun microphones - how to describe true sound and features?
MIC-1-2 | Start 10:30 | Duration 60 min. | Eddy B. Brixen | Tutorial (English)
Interference tube microphones - or shotguns - apply to many jobs in audio, especially in film and TV. These mics have both advantages and disadvantages compared to more “conventional” 1st order microphones. What everybody expects is a perfect high directivity, constant with frequency. However, usually more is expected than achieved.
Many brands and models are available to the audio engineer, which is nice. Although many of them look alike, they are not when it comes to sound and functionality. How do they differ from each other? Does the polar plot tell the whole story of the perceived directivity, or should a “psycho-acoustic filter” be involved when assessing these data?
Is it possible to publish a directivity index for a shotgun mic? Is it valid to present one number, covering the complete frequency range, or should this be presented per octave or fraction of octaves?
What about the handling/boom noise and noise from vibrations? Handling noise is usually assessed very subjectively. Can this be done so it provides comparable data?
Often it is asked: What is the “reach” of the microphone? Is it possible to answer a question like that at all?
Is weigth a parameter, it is worth publishing? What if the mic is too heavy - or too light-weighted - to work sufficiently in a shockmount?
In this presentation, we will look at the available conventional data, and see whether they are sufficient, or are there other data one rather should look for to easen the choise of this special tool, the shotgun.
RD-3 | Research & Development | R 13 | 2023-11-09 | 10:00 - 11:30
moderated by Malte Kob
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
RD-3-2 | Start 10:30 | Duration 60 min. | Gottfried Behler |
Michael Makarski | Tutorial (English)
The focused development of high-quality loudspeakers requires the developer to keep an eye on a multitude of interacting influencing factors. The hierarchy of a development task is not always clearly defined. Depending on the requirements (application, size, cost, quality, appearance, clientele, etc.), very different approaches can be taken. However, if one may assume that the same physical, technical and acoustic boundary conditions apply in all cases, one can find generally valid criteria for a promising development. Here, especially the transformation of the 'one-dimensional' electrical signal into the 'three-dimensional' acoustic environment of the loudspeaker plays a significant role. Consequently, the directivity of a loudspeaker is a decisive feature for this transformation, which not least ensures a balanced sound image in the listening room (independent of the fact that the listening room itself has a decisive influence). This in turn depends on several other factors, such as the choice and arrangement of the transducers, the design of the loudspeaker cabinet with possible waveguides and, last but not least, on a correctly designed crossover with correct phase and amplitude responses. The article will deal with the essential criteria for a target-oriented development strategy, with special emphasis on the interaction between the components.
NGA-1 | Broadcast / Tri-medial Production / NGA | R 3 | 2023-11-09 | 12:00 - 13:00
curated by Wolfgang Rein, Daniela Rieger —
moderated by Daniela Rieger
Binaural production techniques and tools - Multiformat production versus native binaural approaches
NGA-1-1 | Start 12:00 | Duration 60 min. | Frank Melchior | Tutorial (English)
This tutorial will present the different approaches of binaural production, distribution, and consumption. Signal processing fundamentals as well as strength and weaknesses of native binaural production versus next generation audio (NGA) systems will be discussed.
The tutorial will be presented from a practical perspective with a focus on production technique and tools. The different concepts, workflows and options will be illustrated with real world examples to enable the participants to make informed decisions on the system selection for their projects.
Topics of this tutorial will include:
* Dynamic binaural synthesis versus static binaural reproduction
* Production tools and methods (Including non commercial options for signal processing and headtracking)
* Multiformat mixing (NGA Systems) versus binaural specific production techniques (e.g. systems based on Ambisonics or direct native binaural mixing and recording).
* Workflows and system setups
3D-10 | Immersive Audio | R 16 | 2023-11-09 | 14:30 - 17:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
The following list of contributions (2 of 3 in total) to this event is incomplete due to filtering.
Microphone Technique for Natural Immersive Music Recording and Reproduction
This workshop will introduce the microphone technique to achieve the most natural music recording and reproduction in immersive audio. The microphone technique consists of a main microphone array and an ambiance microphone array. The main microphone array should capture the direct sound mainly to record the appropriate sound image localization and the natural timber of musical instruments. The ambiance microphone array, the so-called Hamasaki-Cube, should capture the indirect sound mainly, such as the early reflections and late reverberation in a concert hall, to record the natural spatial information. Therefore, the main array uses omnidirectional or cardioid microphones, and the ambiance array uses figure-of-eight or super-cardioid microphones. Appropriate mixing of the sound captured by these two arrays enables the most natural immersive sound reproduction of musicians’ performances, such as an orchestra. This tutorial will explain the details of both microphone arrays and introduce valuable tips for achieving the natural immersive music recording using these microphone arrays. Some demos recorded and mixed using this microphone technique in immersive sound will be demonstrated using 3D multichannel sound loudspeakers to let participants understand the practical use cases of this microphone technique. This workshop will also explain the scientific background of this microphone technique and discuss the acoustic requirements for loudspeakers and headphones on the reproduction of natural immersive sound music.
Surround and Immersive Masterclass with Ulrike und Jim Anderson
3D-10-3 | Start 16:00 | Duration 60 min. | Ulrike Anderson |
Jim Anderson | Tutorial (English)
Grammy nominated and Grammy winning Tonmeisters, Ulrike and Jim Anderson, will play and discuss surround and immersive recordings that have been recorded and mixed by them. They will play a wide range of genres featuring performances by Patricia Barber, Franco Ambrosetti, Jane Ira Bloom, Bebo Valdes, and Arturo O’Farrell.
MIC-3 | Microphones / Microphone Setups | Wabe | 2023-11-09 | 14:30 - 17:00
curated by Marcel Remy —
moderated by Helmut Wittek
The following list of contributions (1 of 3 in total) to this event is incomplete due to filtering.
Spherical Microphone Arrays - From Theory to Application
MIC-3-2 | Start 15:00 | Duration 60 min. | Jens Meyer |
Gary Elko | Tutorial (English)
Spherical microphone arrays enable the recording of the three-dimensional soundfield rather than just the sound pressure or particle velocity (or a combination of the two) at a given point in space. A common use case for spherical arrays is as an Ambisonic microphone. First order Ambisonic (FOA) microphones have been around since the 1970s. Higher order Ambisonic (HOA) microphones started in the early 2000s.
This presentation will explain the underlying technology of spherical arrays, focusing on HOA microphones. Its benefits and physical limitations will be discussed. And finally some use cases beyond being an Ambisonic microphone will be presented.
GAME-1 | Game Audio | OS | 2023-11-09 | 16:00 - 17:00
curated by Dominik Zingler, Jan Lukas Feldmann —
moderated by Dominik Zingler
Game Audio - Ein Überblick für Neulinge
GAME-1-1 | Start 16:00 | Duration 60 min. | Jan Lukas Feldmann |
Dominik Zingler | Tutorial (German)
Das Thema Game Audio ist zwar nicht das neuste. Aber durch dessen Interdisziplinarität, technischen Herausforderungen und teilweise ungewohnte Arbeitsweisen für Tonschaffende mit Wurzeln in eher linearen Produktionen, kann es doch schnell unübersichtlich werden. Dieser Vortrag soll als allgemeine Einführungsveranstaltung in das Thema dienen und richtiet sich an Einstergerinnen und Einsteiger in das Gesamtthema Game Audio. Dabei werden anhand praktischer Beispiele generelle Produktions- und Gestaltungskonzepte, technische Lösungen und Produktionswerkzeuge vorgestellt.
EI-2 | Event Industry | Wabe | 2023-11-10 | 09:30 - 10:50
curated by Elias Ruh, Marco Völzke —
moderated by Marco Völzke
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Frequenznutzung heute und nach der WRC in der DACH Region
EI-2-2 | Start 10:00 | Duration 50 min. | Marco Völzke |
Christoph Keintzel, Daniel Künzi | Tutorial (German)
Dieses Tutorial gibt einen Überblick über das Themengebiet „Funk und Frequenzen“ und ist für die Veranstaltungsbranche, aber auch für Live Sound & Theater oder auch Filmton relevant. Es streift das Thema Nachhaltigkeit. Dieses Tutorial behandelt im Einzelnen:
- Überblick über die aktuelle Frequenzsituation in Dtl. mit Telekommunikationsgesetz,
- Verwaltungsvorschriften,
- Allgemeinzuteilungen,
- Sonder-/Kurzzeitzuteilungen,
- Zusammenarbeit mit den Behörden (in Dtl. die BNetzA)
- WRC Standpunkte und Optionen (mit Übersicht)
- Ausblick: Interpretationen, aus denen Verantwortungen resultieren.
3D-12 | Immersive Audio | R 16 | 2023-11-10 | 10:00 - 11:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Thomas Lund
Exploring the Northern Lights through Immersive Audio: Masterclass by Morten Lindberg and Ragnheiður Jónsdóttir
Friends and colleagues for years, Immersive Audio experts Morten Lindberg and Ragnheiður Jónsdóttir, had looked for a project to bring their work together. That project finally presented itself in this year’s release by Icelandic composer, Anna Thorvaldsdottir and the Iceland Symphony Orchestra “ARCHORA / AIŌN”. From the preplanning through mixing with Jónsdóttir and then the Mastering and finalization by Lindberg, this presentation will describe their approach and techniques used to bring this exciting and intriguing album to life as well as discussions of their other past productions.
NET-2 | Networked Audio & Video | R 2 | 2023-11-10 | 10:40 - 12:30
curated and moderated by Marc Schettke
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Crash Course Networked Audio: A Hands-On Guide in 1 hour
NET-2-1 | Start 10:40 | Duration 50 min. | Stefan Ledergerber | Tutorial (English)
Dive into the world of Ethernet and IP-based audio, a new reality for sound engineers. While many are daunted by the perceived complexities of networked audio, this crash course simplifies the labyrinth of information available online. In just an hour, you'll grasp the essentials for your daily work. This session is designed for everyone from beginners to experienced Tonmeisters. It offers streamlined, practical insights that cut through the theoretical clutter. You'll discover hands-on tips and tricks to elevate your networked audio experience. We'll also explore and compare industry standards and solutions such as AVB/Milan, Dante, RAVENNA, and AES67. By the end, you'll leave with a clear understanding of real-time audio networks and a number of useful practical hints, perfect for those new to the field or those looking to refine their expertise.
EDU-6 | Education | OS | 2023-11-10 | 11:30 - 12:30
curated by Ingo Weismantel —
moderated by Jim Anderson
Old School with Nick Sansano
EDU-6-1 | Start 11:30 | Duration 60 min. | Nicholas Sansano |
Jim Anderson | Tutorial (English)
Nick Sansano, an American record producer, engineer and musician, recorded and mixed groundbreaking hip hop artists including Public Enemy, Ice Cube, Run DMC and Sonic Youth. Born in the Bronx and graduated from Berklee College of Music he began a successfull career as recording engineer and producer with the traditional methods and techniques he had learned and studied. With the rise of Hip Hop Nick unlearnd those techniques and invented innovative production techniques.
Nick has been awarded over 15 gold, platinum and diamond record awards in the US and Europe.
Through musical examples Nick will demonstrate and explain these techniques and his way to get there.
3D-15 | Tutorial | R 16 | 2023-11-10 | 16:00 - 17:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
Masterclass Jim Anderson and Akira Fukada
3D-15-1 | Start 16:00 | Duration 60 min. | Jim Anderson |
Akira Fukada | Tutorial (English)
In 1997, internationally renowned recording engineer and lecturer Akira Fukada made an enormous impact at the New York AES Convention when he unveiled the "Fukada Tree," a seven microphone arrangement, which was, at the time, a totally new technique for recording orchestral music in surround sound for subsequent broadcast or CD release. Fukada's revolutionary technique has been adapted by recording engineers and producers world-wide. Jim Anderson's first commercially released surround mix of Patricia Barber's best-selling 1998 album "Modern Cool" was remixed in 5.1 and won a Grammy in 2013 in the Best Surround Album category. The two engineer/producers will present recordings and discuss their careers and philosophies of recording.
3D-15 | Immersive Audio | R 16 | 2023-11-11 | 09:30 - 10:30
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
Intro into Recording Immersive Music
3D-15-1 | Start 09:30 | Duration 60 min. | Ulrike Anderson |
Jim Anderson | Tutorial (English)
Changes in the music industry and in technology have finally given artists and engineers alike the ability to deliver new and exciting experiences to the home listener through immersive and spatial audio. While many of the same tools are used, the approach to recording immersive music can be a very different experience than what we have done historically. The music takes on extra dimensions and with it, extra challenges that require more advanced techniques. From pre-planning to post production, ensuring that the music is served and the home listener engaged without the effects of the extra speakers becoming a distraction or gimmick can be a daunting task, but an exciting challenge to overcome! This presentation will describe and demonstrate techniques for capturing and creating immersive recordings through the end production.
CS-1 | Cinema Sound | R 13 | 2023-11-11 | 11:00 - 12:00
curated by André Klar, Detlef Halaski —
moderated by Detlef Halaski
HF anschaulich: Funkstrecken im RTSA
CS-1-1 | Start 11:00 | Duration 60 min. | Thomas Conen | Tutorial (German)
Mit Hilfe eines Real-Time-Spectrum-Analyzers (RTSA) machen wir das Unsichtbare sichtbar. Wir betrachten analoge und digitale Funkstrecken und sehen in Echtzeit, wie sie sich im HF-Spektrum verhalten. Dabei gewinnen wir wichtige Erkenntnisse für den Einsatz in der Praxis.
SUST-2 | Sustainability | R 2 | 2023-11-11 | 11:30 - 13:30
curated by Maximilian Kock
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Nachhaltigkeit und Klimaschutz in der Audiobranche
Angesichts der sich dramatisch erhärtenden Szenarios der Klimaforscher gewinnt das Thema „Nachhaltigkeit“ quer durch alle Branchen rasant an Bedeutung. Wo steht dabei die Audiobranche? In diesem Grundlagenbeitrag soll die Faktenlage dargestellt, sollen Systeme und Schlüsselbegriffe zur Beurteilung von Nachhaltigkeit und die bereits vorhandenen politischen Rahmenbedingungen vorgestellt werden. Wir blicken auf Nachhaltigkeitsstrukturen bei öffentlich-rechtlichen und privaten Akteuren und auf die Bewegtbildbranche, die schon weiter zu sein scheint als die Geschwister vom Ton …