Musical performances are closely linked to the acoustics of rooms. Comparisons of musical interpretations in different concert halls have already been made, but there is always a certain period of time between these performances. Day-dependent circumstances can cause differences that are not connected with the acoustics of the room.
This presentation evaluates musical performances in the same room, recorded in the timeframe of one hour. In a 200 square meter hall with a short reverberation time (T60 approx. 0.5s) a hybrid active acoustics system is installed and different acoustic presets comparable to typical concert hall acoustics are generated. A string Quartet will play the same piece in four different settings and a direct comparison of the sound and the interpretation is recorded.
It is assumed that the perception of dynamic expression and timing will change for the musician as well as for the listeners. Furthermore, the room acoustics will influence the way, the musicians will hear each other. Because of all these aspects it appears probable that that the different acoustical settings will lead to different interpretations.
The recordings as well as a questionnaire about the musicians experiences during the experiment are evaluated and presented together with the respective ISO 3382 measurements.
PROD-1 | Product Contribution | R 3 | 2023-11-08 | 13:00 - 13:30
curated by Harald Prieß —
moderated by Christopher Sauder Engeler
Treble - A new virtual acoustics platform
PROD-1-1 | Start 13:00 | Duration 30 min. | Finnur Pind | Product Contribution (English)
We introduce a new virtual acoustics platform: Treble. This software has cutting edge capabilities for simulating and rendering sound and acoustics in virtual domains, and has widespread applicability, e.g. in
* Architectural acoustics design,
* Synthetic data generation for audio AI,
* Pro-audio sound system design,
* 3D audio / immersive entertainment,
* Automotive acoustics,
* and more.
The value proposition of the platform is threefold:
* Better accuracy - brought about through Treble's proprietary wave-based sound simulation technology
* Better workflow - thanks to the web-based / cloud-based nature of the platform and live-link connection to industry standard 3D modeling tools
* Better auralizations - enabling physically accurate and perceptually authentic immersive rendering of sound in space.
The platform consists of two main user interfaces, a web-based graphic user interface which is tailored towards design applications, and an API interface which is tailored towards advanced applications such as synthetic audio data generation and 3rd party integrations. The platform was launched on March 1st 2023 and is already being used by many of the big tech giants, large audio technology companies, engineering consulting firms, automotive audio companies and architecture houses.
In this product presentation, we will introduce the platform and the technology that lies behind, and give a demo of the product.
PROD-2 | Product Contribution | Wabe | 2023-11-08 | 13:30 - 14:00
curated by Harald Prieß —
moderated by Christopher Sauder Engeler
Amadeus - A geometric approach to active acoustics
PROD-2-1 | Start 13:30 | Duration 30 min. | Volker Werner | Product Contribution (English)
In a great concert hall it is not only about how much absorption, reflection, diffusion is introduced to achieve certain acoustic goals, but about their spatial relations to the audience. “Reverberant bubbles” in front of a listener create a lack of intimacy or clarity while behind a listener they help to achieve the desired spaciousness. This presentation evaluates strategies to influence the audible perception of acoustic geometry by means of active acoustics.
In a 50-square meter test lab 36 speakers and 12 microphones are evenly distributed to create a number of acoustic settings with different spatial properties. For evaluation standard ISO 3382 are measured and extended to 3D space. The results are also evaluated by a test group of musicians and acousticians.
The classic approach in active acoustic systems regardless of an inline, regenerative or hybrid operating principle is to alter typical acoustic parameters like EDT, RT60 or C80. Those alterations are achieved by designing a number of feedback loops between microphones and loudspeakers or by convolving the microphone signals with a specifically designed or measured impulse response. Even though the desired measurement results can be achieved with those strategies, they neglect the 3- dimensional nature of the actual pre-existing hall and randomly alter the audible perception of the existing acoustic geometry.
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.
3D-2 | Immersive Audio | R 16 | 2023-11-08 | 14:00 - 15:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
The best seat in the house - 3D Sports Audio Production
3D-2-1 | Start 14:00 | Duration 60 min. | Felix Krückels | 3D Audio Workshop (English)
3D Audio for TV Sports production in competition with UHD HDR Video. Can audio compete with the attraction produced by modern broacast sports coverage? What are the tools, aestethics, philosophies behind an immersive audio production? The workshop will explain how one of the biggest sports events in 2022 and Bundesliga is realized week by week in 3D Audio and Dolby Atmos.
It will cover mic techniques and setups, mixing styles, exaggeration of immersion as well as challenges and solutions with even more speakers, signals, presentations in a TV live production.
AC-2 | Acoustics | Wabe | 2023-11-08 | 14:00 - 15:00
curated by Christopher Sauder Engeler —
moderated by Volker Werner
Dramaturgical employment of active acoustics in theatre and opera
Usually an active acoustics system is installed to reach optimal sound for a certain musical style and ensemble within a concert or performance. In theatre and opera changes in scenery and lighting are used to create different moods for different scenes, but the major impact of changes in an acoustical environment is neglected.
What if an active acoustics system is employed to cater to the theatrical needs of a performance?
Two productions are presented where the live room resonance was adjusted to the specific atmospheres of the performance. Customized acoustic spaces were developed so that all-acoustic activity would react like a natural hall, but with a diverse variety of shades and shapes.
Example one is a reinvention of Mozart’s Requiem by Romeo Castellucci & Raphaël Pichon. This piece blends dramaturgical, orchestral, and choir elements, requiring performers to jump between intimate and reflective vocals into bold orchestral expressions. This unconventional approach to the Requiem, influenced as much by Mozart’s religiosity as by Castellucci’s love for avant-guard cinema, required frequent fluctuation between a dry and intimate soundstage and rich and reverberant acoustics.
Example two is the operetta „La Perichole“ by Jacques Offenbach. Nikolaus Habjan revived Offenbach's masterpiece with a finely mocking look at politics and culture. A balancing act between spoken parts and musical pieces required very different acoustical settings.
Active Acoustics in a large scale open air environment
Oper Im Steinbruch, the annual opera event set in the Roman Quarry ampitheatre of St Margarethen features Europe’s largest outdoor stage with 80m width and 30m depth. Object-based spatialization and spatial active acoustics are employed to ensure the classical opera narratives, such as 2022’s Nabucco by Verdi or 2023’s Carmen by Bizet, are simple to follow for the 4700-capacity audiences.
A total of 98 loudspeakers with 53 speaker positions were integrated in the scenery and dynamically managed precedence was employed to handle the spatialization and vocal localization for the main stage. Furthermore a 32-channel surround system together with the 53 channel frontal system were driven by an active acoustics system to make the performance as natural and realistic as possible for soloists, choir and orchestra.
To cater for the extreme geometry of the stage, the positions of all actors were obtained with a tracking systems and fed through OSC to the active acoustics system. All reflections were interpolated in real-time to the actual positions of the singers.
This presentation gives an insight in the technical setup and the special requirements for this large-scale open air opera event.
NET-1 | Networked Audio & Video | R 2 | 2023-11-08 | 14:00 - 17:00
curated and moderated by Marc Schettke
Demystifying Audio Networking: Unveiling the Truths Behind Common Misconceptions
In the world of audio networking there are numerous myths and misunderstandings that can hinder the adoption and understanding of this transformative technology.
This presentation will debunk these misconceptions and shed light on the truth behind audio networking. By addressing some common myths - including the notion that it is only for large-scale installations, introduces significant latency, requires expensive equipment and IT expertise, lacks reliability or compromises sound quality - we will provide an accurate and comprehensive understanding of audio networking.
By dispelling these misconceptions audio professionals will gain the confidence to explore and embrace the benefits of audio networking technology, including enhanced scalability, flexibility, centralized control, improved audio quality, interoperability, remote production capabilities, simplified cabling, system monitoring, and integration with emerging technologies.
Let’s pave the way for a more informed and empowered audio networking journey.
"Your Flight Will Be Delayed by 5 ms" - Understanding Latency in AoIP Systems
NET-1-2 | Start 14:30 | Duration 30 min. | Andreas Hildebrand | Talk (English)
What is latency in AoIP systems and where does it come from? Why is latency varying? What minimum and maximum latencies can be expected? This presentation will provide answers to all these questions and explains buzz words and abbreviations such as packet time, PDV, software jitter and more...
The presentation sets the scene by explaining the fundamental differences between circuit-switched packet-switched networks (in principal, the difference between traditional analog / digital and network-based transport mechanisms). While circuit-switched networks in principal are only affected by the speed of light and thus latency is a direct result of distance, packet-switched networks add a number of additional factors to the calculation. Even more complex, most of these additional factors are highly dynamical, depend on other factors or can be configured to match particular applications or use cases. The presentation looks at important factors like network technology and topology, stream and packet configuration, device implementation and many more aspects. It also describes the highly dynamic effect of other network traffic with respect to latency.
While all of these factors appear to implicit that IP-based media transport technologies are not applicable to use cases with low latency requirements, attendees will learn how to counter all these variable factors, what latencies are actually achievable and what benefits are offered by flexibility IP-based systems are offering.
50 Years of Ethernet: What did it bring to the audio industry?
The pro audio industry is getting ready for a game-changing phenomenon: the widespread adoption of audio networks. Ethernet, a 50-year-old technology, is revolutionizing the audio realm and will change the way professionals work, expanding old limitations and bringing in new features and workflows:
- Immaculate Audio Quality: Experience high-resolution, low-latency audio transmission.
- Scale and Flexibility Unleashed: Expand your audio systems effortlessly while simplifying setup and configuration.
- Take Control, Centralize Power: Boost your efficiency during live performances and studio recordings.
- Cut Cable Chaos: Say goodbye to tangled nightmares!
- Unite the Audio World: Embrace a standardized framework for interoperability and endless creative possibilities.
- Conquer Distance: Enter the era of remote audio production.
- Monitor with Precision: Harness the power of robust monitoring and diagnostics.
With higher network speeds and Wireless TSN technologies looming on the horizon, Ethernet's role in professional audio will expand even further. And the convergence of Ethernet with emerging technologies like IoT and AI will unlock a new realm of intelligent audio system management and automation.
Let’s embrace Ethernet's unparalleled potential and shape the future of sound.
Do we really need PTP? A Comparison of Clocking & Synchronization in RTP, RAVENNA/AES67 & ST2110, AVB and IPMX
NET-1-4 | Start 15:30 | Duration 30 min. | Andreas Hildebrand | Talk (English)
AES67 and SMPTE ST 2110 require PTP for proper synchronization. Occasionally, people feel that proper PTP operation is quite difficult to maintain. Can't we use something easier? This presentation looks at how clocking & synchronization is achieved in other AoIP technologies and compares plain RTP, RAVENNA/AES67 & ST2110, AVB and IPMX.
The presentation starts by introducing the differences between asynchronous, plesiochronous, isochronous and fully synchronous operations. It then looks at particular synchronization requirements of professional media transport systems.
After setting the scene, the individual synchronization methods provided by various common transport technologies are explained and compared against the requirements. The presentation looks at the inherent asynchronous operation of RTP as specified in RFC 3550. It then explains why RAVENNA, AES67 & SMPTE ST 2110 required a more advanced synchronization method, why PTP had been chosen and how synchronization is actually achieved.
Another popular transport mechanism for certain fields of application is AVB; it turns out that AVB also utilizes a variant of PTP but differs from the beforementioned standards in the way it actually implements synchronization.
Finally, the presentation looks on how IPMX implements synchronization, in particular as it claims to be SMPTE ST 2110-compliant but can also work without PTP. In the conclusion, the benefits and drawbacks of each method are highlighted and the question if we really need PTP will be answered (or not…?).
On the integration of digital media in the performing arts - Juilliard expands its digital horizon with a comprehensive fiber network.
NET-1-5 | Start 16:00 | Duration 30 min. | Sascha von Oertzen |
Kevin Boutote | Talk (English)
As Chief Audio Video Engineer at The Juilliard School, I am sharing technological advancements implemented to keep Juilliard at the forefront of innovation.
As a global leader in performing arts education, Juilliard responded energetically to the challenge of the Covid19 pandemic by embarking on a comprehensive technology upgrade in 2020. The upgrade was necessary to better showcase our performances to the world, both within our community and beyond, and to support the artistic goals of our students and faculty.
Introduction:
- Student and faculty need: Brief description of the artistic divisions of Juilliard and their activities
- Description of campus and interconnectivity: 3D building sketch with “activated” spaces
- Rapid timeline of design/build process May 2020 to January 2021
Technology used:
- Fiber connectivity
- Networking audio and video
- Cameras, microphones, installed and mobile systems
- The tools created to achieve work goals, use cases, software patching, flexibility in assigning control rooms to production spaces, mobile uses, etc...
Conclusion topics:
- Adapting to rapidly changing technology
- Methods of distribution go beyond audiences visiting concert halls and theaters, streaming
Media consumption habits have shifted, and improvements in broadband and mobile connectivity are determining the viewers and listeners' preferences. As arts educators and creators of media, Juilliard strives to shape its participation, and the future of the performing arts within the highest standards possible and provide the students with the tools and outlets to succeed.
Dynamic Metadata in an SMPTE ST 2110 environment - a proof of concept
NET-1-6 | Start 16:30 | Duration 30 min. | Markus Brockmann |
Andy Weiss | Talk (English)
SRF is the national broadcaster in Switzerland, a small multilingual country surrounded by far bigger nations with a multiplicity of TV stations vying for our national audience’s attention. It goes without saying that in this environment, SRF needs to continually improve its services to excite and maintain its audience.
Next Generation Audio (NGA) came to surface at the right moment for us. The discussions concerning personalized sound experiences and the ongoing aim of optimizing the use of bandwidth found their solutions in the technologies associated with Object-Based Audio (OBA).
Additionally, SRF stepped into the future of IP-based workflows in broadcast by developing Europe’s first all-IP UHD OB Van (EBU Technology & Innovation Award 2019) and building a new Playout and Switching centre completely based on SMPTE ST 2110. One of the lessons learned from this innovation was the need for flexible Metadata-handling in an IP environment.
In this presentation we will highlight these two main issues and how they got married in a proof of concept .
PROD-3 | Product Contribution | OS | 2023-11-08 | 15:00 - 15:30
curated and moderated by Harald Prieß
DPA Microphones: 2017 Shotgun Microphone and other product highlights
PROD-3-1 | Start 15:00 | Duration 30 min. | Eddy B. Brixen | Product Contribution (English)
Eddy Brixen will be presenting the latest addition to the DPA portfolio: The 2017 Shotgun Microphone. He will walk you through the specifications and unique details of this most durable shotgun mic. Needless to say, that he will be having some other products in his pocket. Come by and get inspired!
3D-3 | Immersive Audio | R 16 | 2023-11-08 | 15:30 - 16:30
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
22.2 Multichannel Sound for 8K TV Broadcasting - Classical Music Content Production
3D-3-1 | Start 15:30 | Duration 60 min. | Johann Bömer | 3D Audio Workshop (English)
Since launching the 8K ultra-high-definition television satellite broadcasting service “NHK BS8K” in 2018, the Japan Broadcasting Corporation NHK regularly produces a variety of 8K contents in 22.2 Multichannel Surround Sound. Over the past few years, we recorded in this highly immersive channel-based 3D audio format at concert halls in Tokyo as well as at renowned venues and opera houses all over Europe. This workshop focuses on the 8K/22.2 classical music program production process at NHK and will give an insight into recording techniques as well as workflows of recent productions and live broadcasting transmissions. Excerpts of live performances of i.a. the NHK Symphony Orchestra recorded in 22.2 will be presented.
AC-3 | Acoustics | Wabe | 2023-11-08 | 15:30 - 17:00
curated and moderated by Christopher Sauder Engeler
Perceptual sweet area of 2-channel stereo playback
AC-3-1 | Start 15:30 | Duration 30 min. | Matthias Frank |
Johanna Kristl | Talk (English)
Panning and recording techniques for 2-channel stereo were developed for perfect playback conditions, i.e. a single listener sitting at equidistant position to the loudspeaker pair. However, in practice, these conditions are not met when playing back to a larger audience resulting in large localization errors. This contribution evaluates the perceptual sweet area in a larger loudspeaker system for typcial 2-channel recording techniques and amplitude/delay panning strategies. The evaluation also investigates the effect of different audio signals on the size of the sweet area (stationary noise and speech). Our results can be predicted by a simple localization model and are furthermore applicable to 3D audio playback on loudspeakers that is based on stereophonic principles.
Simulating physically accurate very-high-order spatial room impulse responses
AC-3-2 | Start 16:00 | Duration 30 min. | Finnur Pind | Talk (English)
Spatial (ambisonics) room impulse responses can be used for room acoustics analysis and audio rendering, e.g., binaural and multichannel loudspeaker rendering. Spatial room impulse responses can be measured, but a measurement-based approach is only possible in existing real-world spaces. Moreover, measuring spatial IRs can be time consuming and expensive, especially when going to very high ambisonics order. In this talk we present a method to simulate very high order spatial room impulse responses with a high level of physical accuracy. The method leverages a wave-based room acoustic simulation framework and spherical harmonics post-processing methods, the details of which will be presented in the talk. The simulation and post-processing system is entirely cloud-based, making the whole process efficient and scalable. We demonstrate through various benchmarks that the method yields spatial impulse responses which closely resemble measured spatial impulse responses. The ambisonics order can essentially be arbitrarily high, but we present benchmarks with up to 16th order impulse responses.
Immersive Wave Experimentation and The Matrix
AC-3-3 | Start 16:30 | Duration 30 min. | Dirk-Jan van Manen |
Johan Robertsson | Talk (English)
Immersive Wave Experimentation is a technology, originally developed in Geophysics, that makes it possible to immerse a physical wave propagation experiment in a larger desired numerical environment in real-time. Thus, the waves propagating in the physical experiment drive the numerical simulation and, vice-versa, the waves propagating in the simulation drive the experiment. This is made possible through a combination of active wave control on the boundaries of the experiment and by exchanging boundary conditions in real-time through a low latency high-performance compute system. Not only are reflections from the physical boundaries suppressed while reflections from scatterers in the virtual numerical environment are included, but our exact, full-wavefield approach facilitates multiple scattering between any real and virtual scatterers. Examples of succesful applications of the technology in Geophysics will be presented, demonstrating, e.g., the ability to turn a circular wave propagation domain into a square propagation domain. Another application of the technology is to acoustically cloak objects, while a third application is to clone them. Our two-way technology is focused on immersing entire spaces (of arbitrary shape and dimensions) characterized by complex wavefields originating from a multitude of sound sources (i.e., active environments). We speculate on the applications of our technology to the human scale and liken our technology to a "Matrix" for acoustic waves.
RD-2 | Research & Development | R 3 | 2023-11-08 | 16:00 - 17:00
moderated by Dieter Michel
Physical acoustic characteristics of earphones and headphones required for the faithful reproduction of the original spatial impression of immersive binaural sound
Immersive sound has been developed for systems with multichannel loudspeakers arranged in three dimensions, such as the 22.2 multichannel sound system. Recently, more and more immersive sound content is being produced to be listened to with headphones and earphones so that the immersive sound content can be enjoyed in a simpler way. However, the differences between the spatial impression reproduced by multichannel loudspeakers and that reproduced by headphones or earphones have become a problem. Representative examples of research conducted to address this problem include the individualization of head-related transfer functions used in binaural rendering and head tracking. Meanwhile, there has been less research on the physical acoustic characteristics required for earphones and headphones that reproduce the immersive binaural sound. We therefore investigated the physical acoustic characteristics of earphones and headphones required to reproduce the spatial impression of binaural sound aimed at by immersive sound content as faithfully as possible, and we found desirable characteristics. Subjective evaluation experiments showed that earphones and headphones designed according to these characteristics reproduce the spatial impression of the sound content more faithfully than devices designed on the basis of other characteristics. This workshop will introduce the appropriate physical acoustics characteristics of earphones and headphones for immersive binaural sound listening with some demos.
MIC-1 | Microphones / Microphone Setups | Wabe | 2023-11-09 | 09:30 - 11:30
curated and moderated by Marcel Remy
The use of lavalier microphones is very popular with location sound mixers and in studio situations. But how do you hide the little microphones so that they don't rustle and still record rich sound? Different items of clothing pose different challenges for sound engineers here. And how to place the transmitter packs so the talent is not disturbed by it?
In this hands-on workshop, Daniele Turi - CEO of Viviana Straps - will demonstrate his expertise in this field. Featuring a number of products and techniques for hiding lavalier mics and transmitter packs. Supported by their German distributor Ambient.
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.
3D-5 | Immersive Audio | R 3 | 2023-11-09 | 10:00 - 11:30
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Christian Birkner
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Everything you always didn't know to ask about binaurals ...
3D-5-1 | Start 10:00 | Duration 30 min. | Tom Ammermann | Binaural Workshop (English)
This workshop is a small excursion into the world of binaural audio and music production to inform and inspire ...
RD-3 | Research & Development | R 13 | 2023-11-09 | 10:00 - 11:30
moderated by Malte Kob
Auditory Envelopment and Affective Touch Hypothesis
RD-3-1 | Start 10:00 | Duration 30 min. | Thomas Lund | Talk (English)
Theoretical reason and qualitative evidence is given why auditory listener envelopment could have a stimulating effect on the human body, possibly akin to a more widely studied sensation, affective touch, originating from specialized nerve fibres in the skin. Physical reactions to listener envelopment could be one reason why music and singing has been performed under dedicated indoor settings for millennia.
Results from a pilot study are presented and discussed. A research agenda is proposed, to further study potential physiological responses when we experience enveloping sound, identified also as not threatening or friendly.
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.
3D-6 | Immersive Audio | R 15 | 2023-11-09 | 10:00 - 12:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Lasse Nipkow
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Immersive productions from one of the leading jazz clubs in Europe
3D-6-2 | Start 11:00 | Duration 60 min. | Kseniya Kawko |
Lasse Nipkow | 3D Audio Workshop (English)
The atmosphere of a jazz club is very unique. It happens very often that the musicians with big names are playing in the smallest places. It brings a particular intimacy and a special way of interaction with the audience that is not typical for other musical genres. At the same time the capacity of the venues doesn’t allow many people to experience one or the other concert live. Which is the case for one of the most prominent jazz club in Europe “Unterfahrt” with 160 seats. Through the recordings from this venue the workshop will show how immersive formats help to transmit the musical experience and the atmosphere of the club to the broader audience.
3D-7 | Immersive Audio | R 2 | 2023-11-09 | 10:00 - 13:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Andreas Ehret
Immersive Audio – Where is the money?
3D-7-1 | Start 10:00 | Duration 90 min. | Andreas Ehret |
Stefan Bock, Veronique Larcher, Lennart Damann | Roundtable Discussion (English)
Arguably, immersive audio is the most exciting trend in audio engineering, where sound professionals and academia have been discussing use cases, applications, and the required technologies such as recording techniques, workflows and delivery methods since a few years. However, so far there has been only limited mindshare about the economics. What does it mean commercially to embrace immersive audio? In this session, relevant industry players will share their perspective about the commercial opportunity by applying a lens on the business case from their perspective. With panelists from different market segments all the way from content creation to delivery, to consumer electronics, we are aiming for a broad and insightful view.
Mixing in Dolby Atmos - how pros can use the format creatively
3D-7-2 | Start 11:30 | Duration 90 min. | David Ziegler |
Jan Fraune, Stefan Haberfeld, Eric Horstmann, Felix Krückels | Roundtable Discussion (English)
Immersive, object-based audio in Dolby Atmos can be found in more and more areas of the audio industry, from in movies, streaming services originals, live sport transmission, game audio, podcasts and of course music. In this session, we invited three experienced mixing engineers with a music, film and live sports background to share how Dolby Atmos influences their workflows and how they use the format creatively.
EDU-2 | Education | OS | 2023-11-09 | 10:30 - 11:30
curated by Ingo Weismantel —
moderated by Jörn Nettingsmeier
ESSENCE: The European Sound Specialist Education and Curriculum Exchange, a new qualification program for live sound operators
The ESSENCE project, co-funded by the ERASMUS+ program of the European Union and chaired by VDT, is working towards a common European qualification and certification for live sound operators at EQF level 5 (one above the German "Fachkraft für Veranstaltungstechnik").
We have collected a compendium of existing qualifications in this area, and conducted a survey among industry professionals and other stakeholders of what features are most desired in such a program.
Based on the lessons learned, we are now designing a joint curriculum that is intended to meet the needs of the labor markets throughout Europe, and can be implemented in the very heterogeneous vocational training systems of the EU members. In case you have heard about the IGVW's new qualification "SQQ7 sound specialist", it will contribute to the project and our hope is for SQQ7 version 2 to be an implementation of the upcoming European Sound Specialist.
We are going to present the current state of our project, which will wrap in early 2024, and look forward to your comments and opinions. You can also meet us at the Partner Area for one-on-one talks.
ESSENCE is an ERASMUS+ partnership of OETHG and its academy in Austria, RITCS and STEPP in Belgium, VDT, EurAka and IGVW in Germany, and VPT and OSAT in the Netherlands.
PP-1 | Poster | Poster | 2023-11-09 | 12:00 - 13:00
moderated by Michael Hösel
The following list of contributions (1 of 6 in total) to this event is incomplete due to filtering.
Mastering Workflows for Object Based Music Production
The thesis deals with the special requirements and difficulties of mastering in the object-based formats Dolby Atmos Music and Sony 360 Reality Audio.
The underlying question is: "How could mastering workflows be optimized to meet the specific technical and artistic requirements of Sony 360 Reality Audio and Dolby Atmos Music?"
To answer this question the technical requirements for the two formats will be explored, and in the subsection Immersive Conception, the special artistic requirements to be considered for Spatial Audio will be described. The thesis will explore existing approaches and practices developed specifically for mastering Sony 360 Reality Audio and Dolby Atmos Music. This will include a look at other research and papers in this area, and a plugin with a solution approach will be reviewed in detail.
The findings of this thesis will be gained through the qualitative content analysis of guided interviews with experts like Hans-Martin Buff, Eric Schilling or Justin Gray.
The thesis aims on the one hand to record the current state of the art and to explore how mastering engineers have already optimized their workflows for the two formats under investigation. In addition, it is also intended to describe which artistic and technical requirements need to be taken into account in this area in general and whether there is still unused potential here.
3D-9 | Immersive Audio | R 16 | 2023-11-09 | 12:00 - 13:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Holger Urbach
New York University New York 3D Tonmeister Summer Academy presenting the course including several 3D recordings
3D-9-1 | Start 12:00 | Duration 60 min. | Gregor Zielinsky | 3D Audio Workshop (English)
Paul Geluso, Professor at the New York University is giving Tonmeister courses at the University since many years. Each Summer there is a special 3D Audio course over several weeks with different lecturers per week.
Gregor Zielinsky, Grammy awarded Tonmeister and long time 3D Audio user, has joined as a lecturer since 10 years as well.
The presentation will show the work at these courses. As a complete new building was completes in 2023, including a large concert hall plus a 7.1.4 control room. these new options will be shown as well.
Finally a few examples of 3D recordings done in the new building will be presented, including Jazz, Woodwind and Brass recordings.
EDU-3 | Education | R 13 | 2023-11-09 | 12:00 - 13:00
curated by Ingo Weismantel —
moderated by Ulrike Anderson
How the Contemporary Music Business Works
EDU-3-1 | Start 12:00 | Duration 60 min. | Nicholas Sansano |
Ulrike Anderson, Aleksandra Keriene, Morten Lindberg | Roundtable Discussion (English)
Covering a broad spectrum of business areas, including streaming, distribution, licensing/sync publishing, live performance, radio, marketing, copyright and related fields this discussion will also explore the emerging technologies and the accelerating rapid changes and challenges and opportunities faced when entering the marketplace.
MIC-2 | Microphones / Microphone Setups | Wabe | 2023-11-09 | 12:00 - 13:00
curated and moderated by Marcel Remy
Research on microphone arrangement in the grand piano recording: In search of a musical suitable timbre
Every musical instrument has a specific sound radiation pattern, which is highly dependent from tone and frequency. This has been extensively investigated by Jurgen Meyer in his book “Acoustics and the Performance of Music”. In 2018, We did comparison recordings of 15 orchestral instruments and In 2022, we finally did grand piano. The purpose of this research is to make comparable sound sources and to search the microphone arrangement that can record the most musically appropriate timbre of a grand piano through subjective evaluation experiments. This project was done in April 2022 at Berlin University of the Arts Hall by Kazuya Nagae of Nagoya University of Arts, Thorsten Weigelt of Berlin University of the Arts (UdK), Toru Kamekawa, Atsushi Marui of Tokyo University of the Arts (TUA) and Tonmeister course students of UdK, and graduates of TUA. About the recording, 28 omni-directional microphones, Schoeps MK2H were installed at different positions and heights while keeping the AB stereo 55cm. We can listen and compare the positions of 24 points. Also we recorded ambisonics microphone, Sennheiser AMBEO VR MIC. Because we want to introduce what is the direct sound and indirect sound of the piano in the hall. After recording, we conducted a subjective evaluation experiment to see how the sound impression would differ depending on the microphone position. We'd like to introduce about all this project, current results of subjective evaluation experiments and how relate between the piano and the microphone.
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
PROD-6 | Product Contribution | R 15 | 2023-11-09 | 13:00 - 13:30
curated by Harald Prieß —
moderated by Malgorzata Albinska-Frank
Big Cinema...
PROD-6-1 | Start 13:00 | Duration 30 min. | Tom Ammermann | Product Contribution (English)
These days, there are more and more applications where an above-average number of loudspeakers are used. But nobody really knows how to deal with it because immersive is not the focus here. Meant are theatres, live concerts, theme parks, installations, planetariums, etc. Everyone who buys such a system, and that is actually all newly created venues or technical renewal of existing ones, orders a processor that takes over the control of the system. The Spatial Audio Designer - Processor is at the forefront here. The workshop shows new and useful methods of how such a control can be carried out.
WILD-1 | Wildcard | Lounge | 2023-11-09 | 13:30 - 14:20
moderated by Andrew Levine
Meet the Chinese colleagues
WILD-1-1 | Start 13:30 | Duration 50 min. | Andrew Levine |
Chang Liu, Xucheng Wu, Miaotong Yuan, Basile Zimmermann | Open Meeting (English)
This is the second year we hold this session with global colleagues. Chinese audio engineers and scholars have a long history with German audio society from the 1980s. In 2023, VDT extended the cooperation with Chinese audio engineer society and invited representative figures from Peking and Nanjing, to share information of sound studies, sound education, audio market, performances and productions in China, also, the possibilities of future global cooperations.
NGA-2 | Broadcast / Tri-medial Production / NGA | R 13 | 2023-11-09 | 14:30 - 16:00
curated by Wolfgang Rein, Daniela Rieger —
moderated by Wolfgang Rein
The following list of contributions (2 of 3 in total) to this event is incomplete due to filtering.
Loudness for Cinematic Content - supplement 4 to EBU R 128, the 10th document of PLOUD
A dedicated small group of PLOUD-veterans has worked for several years on the subject how to treat/process highly dynamic Cinematic Content for TV. In order to gather more data on which to base the recommended processing scheme, the chairman Florian Camerer has conducted an extensive analysis of 44 German dubbed (and already processed) feature films as well as 16 english Originals (from Bluray). The original objective was to compare automatic dialogue detection with a manual extraction method. After the initial analysis, further investigations were encouraged and performed by two other members of the subgroup (Richard van Everdingen and Thomas Lund), mainly manually extracting "normal" voice loudness, as the automatic method as well as the original manual method measured "average" loudness. The study was thus extended to check if there is a significant difference on the processing result if either "average" or "normal" dialogue was used. In any case, the main parameter which is recommended in supplement 4 to EBU R 128 is a certain maximum value for the "Loudness-to-Voice-Difference" (LVD). The study as well as the supplement will be presented which is yet another milestone of the work of the EBU-group PLOUD.
The Future is Meta: Metadata, Formats and Perspectives towards Interactive and Personalized AV Content
NGA-2-3 | Start 15:30 | Duration 30 min. | Alexander Weller |
Werner Bleisteiner, Christian Hufnagel, Michael Iber | Talk (English)
The production of media content has undergone tremendous changes in recent years, not only in quantitative terms. Multiple daily content updates are just as common for some platforms as processing the provided content specifically for their target audiences. Such features are made possible through so-called metadata, which categorize information needed for the respective purpose thus making it accessible. In conjunction with AI-supported tools, metadata are shaping the future of audio-visual content production, distribution and consumption. It allows editors to effectively search through archives like in the Tailored Media Project, broadcasters to provide content that is adapted to users' surroundings like in the Drive By Bayern project or give users the ability to experience audio-visual content from different perspectives like in Mermaid’s Tears.
Although these projects provide comprehensive insight into the potential of metadata, their integration in existing infrastructures meets several limitations. For example, content-related metadata may initially be generated at some point during the production process but will then be lost at later stages due to current standards and incomplete software implementations.
In our contribution, we will discuss requirements and potential approaches and give an outlook on possible fields of application and use-cases.
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.
The Inception Dilemma
3D-10-2 | Start 15:30 | Duration 30 min. | Thomas Lund | 3D Audio Workshop (English)
For more than 80 years, reproduced sound has struggled with the "Inception dilemma"; not a dream in a dream, but a room in a room. In audio production, the primary goal is to know what is in the source, rather than what is contributed by a reproduction room. In that respect, immersive content gets distorted even easier than stereo and, with the widespread use of headphones in recreational sound, the playback room now also plays a lesser role for a typical end-listener.
With a balance shifted, what are the consequences for pro audio, if any? We discuss relevant monitoring from a perceptual perspective, including important qualities that reflect our improved music recording capabilities, and international standards that need to keep up to enable a predictable listening experience, also for future generations to appreciate.
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.
COMP-2 | Student's 3D Competition | R 3 | 2023-11-09 | 14:30 - 17:00
curated by Matthias Frank, Franz Zotter —
moderated by Cornelius Pöpel
Finals of the Student 3D Audio Production Competition 2023
COMP-2-1 | Start 14:30 | Duration 150 min. | Matthias Frank |
Franz Zotter | missing format (English)
In 2023, the Student 3D Audio Competition is held for the seventh year in a row. Again, we received submissions of high quality, elaborate, peppered with trend-setting ideas. The finals and award ceremony will take place during the Tonmeistertagung and they will be streamed, too. You can await the best of 34 contributions, made by students from 16 countries. The 31 jury members selected three nominee productions in each of the three categories. Tonight you can listen to the winner productions, in 3D (R15) or binaural (R3).
A great Thank You to our sponsors!
You can find more information about the competition on the website tonmeister.org/en/rubrics/3d-audio-competition/2023/).
COMP-1 | Student's 3D Competition | R 15 | 2023-11-09 | 14:30 - 17:00
curated by Matthias Frank, Franz Zotter —
moderated by Franz Zotter
Finals of the Student 3D Audio Production Competition 2023
COMP-1-1 | Start 14:30 | Duration 150 min. | Matthias Frank |
Franz Zotter | missing format (English)
In 2023, the Student 3D Audio Competition is held for the seventh year in a row. Again, we received submissions of high quality, elaborate, peppered with trend-setting ideas. The finals and award ceremony will take place during the Tonmeistertagung and they will be streamed, too. You can await the best of 34 contributions, made by students from 16 countries. The 31 jury members selected three nominee productions in each of the three categories. Tonight you can listen to the winner productions, in 3D (R15) or binaural (R3).
A great Thank You to our sponsors!
You can find more information about the competition on the website tonmeister.org/en/rubrics/3d-audio-competition/2023/).
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 (2 of 3 in total) to this event is incomplete due to filtering.
Recording music and sounds heavily rely on microphones, each with its unique function. Despite the continuous advancements in microphone technology, some models from the mid-20th century remain relevant and are still in use today. Microphones are, therefore, often valued very differently than other musical recording equipment.
Over the years, music recording has gone from an exclusive activity to something ordinary people can do. In the past, advanced equipment was required, and it was often costly to make recordings. Today, virtually anyone with a computer or mobile phone can make a decent sound-quality recording. In addition, the software available for music recording means that older, previously expensive equipment is available in digital formats, and such plug-ins have become very widespread.
In higher education, many students study music recording, including music production. However, it can be difficult for students to distinguish between different technical equipment, especially microphones. Our research project aims to clarify the differences and similarities among various microphone types, which will help students in higher music education, or anyone seeking guidance, to select the appropriate microphone for their needs.
Music recording and production is a popular study area for many higher-education students. However, it can be challenging for students to differentiate between various technical equipment, particularly microphones. Therefore, it is essential to have precise information in this domain. Our research project focuses on elucidating the distinctions and similarities among different types of microphones. This knowledge will benefit students pursuing higher education in music or anyone seeking guidance on selecting the most suitable microphone for their requirements.
In a previous study, a group of students evaluated dynamic microphones, considering cost and suitability. To eliminate any potential bias, all microphones were covered with black PVC electrical insulation tape and had coloured acoustic-foam microphone windscreens. The survey included five handheld microphones ranging from €25 to €400 in price. During testing, students were given a portable SQN mixer and a pair of Sony headphones to test the microphones. Surprisingly, the results showed that the students could not distinguish between low-budget and expensive microphones. Although some students could describe differences between the microphones, they could not differentiate between them since all the microphones were deemed suitable for most purposes.
In another previous study, the quality of vocal recordings was tested using different microphones, including Neumann and AKG microphones, as well as an Apple computer's built-in microphone. Participants in the study included students, teachers, and audio engineers who listened to the recordings with and without background music in a mix and with software processing. The findings were enlightening, indicating that most participants had difficulty distinguishing between microphones when the recordings were processed with software and mixed with background music. Although a handful of listeners could correctly identify the microphones in unprocessed recordings, many participants made mistakes during the test. They were surprised by the actual microphone used for each recording. The study also found no notable difference in results between male and female voices.
We are currently conducting a study measuring various types of microphones in a studio. We are playing music through speakers with microphones in different positions in front of the speakers. We are comparing the differences and similarities in the recorded sound when different microphones are used. The study includes analysing the dynamic, frequency, and directional responses. We have only tested microphones from the Shure manufacturer so far. In the coming months, we will test microphones from most other available manufacturers on the market under similar conditions, and also test some historically interesting microphones.
This project is a part of the research project Searching for Sophia in Music Production and Music Production Education. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarise the theoretical framework of the project.
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.
3D-11 | Immersive Audio | R 15 | 2023-11-10 | 09:30 - 11:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Nicolle Hummel
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Dolby Atmos Mixing in a Low-Budget Setup
3D-11-1 | Start 09:30 | Duration 30 min. | Peter Brümmer | 3D Audio Workshop (English)
I will explain the 9.1.4 Setup as well as the special Software-Workflow I use in my Dolby Atmos Music certified Studio. Additionally I will present a few examples of Mixes I created there, especially the concept I used while mixing BigBand Recordings in Dolby Atmos like: "Monika Roscher BigBand: Witchy Activities and the maple death"
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.
NGA-3 | Broadcast / Tri-medial Production / NGA | R 13 | 2023-11-10 | 10:30 - 12:30
curated by Wolfgang Rein, Daniela Rieger —
moderated by Wolfgang Rein
The following list of contributions (1 of 3 in total) to this event is incomplete due to filtering.
ADM and NGA: Now and Next – An EBU expert briefing
NGA-3-1 | Start 10:30 | Duration 60 min. | Werner Bleisteiner |
Simon Tuff, Paola Sunna, David Marston | Workshop (English)
The EBU has always been a central hub for coordination and communication for broadcast AV development and standardisation efforts. Early on, ADM has been defined as a generic format of Metadata Guided Audio (MGA), and under EBU's auspices driven by their members BBC R&D and IRT. By now, ADM has found its way into audio production and workflows. Due to the fact, that its open concept has been also adapted in the major NGA delivery formats AC-4 (Dolby) and MPEG-H (Fraunhofer IIS). With ADM gradually being built-in all major audio workstations, it becomes a 'lingua franca" for audio production.
In this briefing, EBU's experts working on ADM development and standardisation will outline the concepts, advantages and solutions of this format in all domains of audio production and delivery- and provide good reasons, why the time for a move to ADM is now.
NET-2 | Networked Audio & Video | R 2 | 2023-11-10 | 10:40 - 12:30
curated and moderated by Marc Schettke
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.
Ethernet-based Media Networks: A Dialogue between Users and Manufacturers
NET-2-2 | Start 11:30 | Duration 60 min. | Marc Schettke |
Andreas Hildebrand, Henning Kaltheuner, Stefan Ledergerber, Jochen Wainwright | Roundtable Discussion (English)
The wide-spread use of Ethernet-based media networks leaves both system integrators and end-users with loads of questions. Why have features been implemented the way they were? Why are things still so complicated? What is on the horizon to make our lifes easier?
This panel brings together users and manufacturers of respective technologies. Experts from both sides discuss requirements, implementations and possible gaps in between.
Moreover, the audience is invited to ask additional questions that will be discussed and, as far as possible, answered on stage.
3D-13 | Immersive Audio | R 15 | 2023-11-10 | 11:30 - 12:20
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Lasse Nipkow
Major Toms Relaunch
3D-13-1 | Start 11:30 | Duration 50 min. | Tom Ammermann | 3D Audio Workshop (English)
Who doesn't know him, Major Tom, who fled into the cosmos "completely detached" after the countdown in the 80s. The workshop is intended to show strategies for creating immersive audio mixes with catalog material that is still available as multi-track tapes, which make “old hits” shine in new splendor.
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.
GAME-3 | Game Audio | R 3 | 2023-11-10 | 11:30 - 12:30
curated by Dominik Zingler, Jan Lukas Feldmann —
moderated by Dominik Zingler
Sound Designing Rain for Hunt: Showdown
GAME-3-1 | Start 11:30 | Duration 60 min. | Christoph Pracht | Binaural Workshop (English)
Rain is a huge challenge for every sound designer, because typical recordings of rain closely resemble white noise. This can be very fatiguing for listeners, mask more important sounds and ultimately does not represent the experience of being exposed to strong rain well.
To overcome this problem, we came up with an innovative system, that automatically detects points in the virtual game environment where rain would hit. Those points form a grid around the player and instead of only using a static background loop, we place sounds of rain hitting a specific surface type at each grid position.
The result is a stunning and extremely immersive soundscape, in which players can really feel their environment by hearing how the rain impacts it. In the talk, we will dive into the details of this system, what we learned about how to make rain as detailed as in reality and how the same ideas can be applied to any sound design situation. Bring your umbrella!
TB-4 | TalkBack | R 16 | 2023-11-10 | 11:30 - 12:30
curated and moderated by Malgorzata Albinska-Frank
Translating immersive microphone techniques from classical music to pop productions
TB-4-1 | Start 11:30 | Duration 60 min. | Morten Lindberg | Talk Back Workshop (English)
We set out to explore how immersive microphone techniques from classical music could translate to modern pop productions. The 2L microphone array is designed to capture classical, jazz and folk music in large acoustic venues. During three days in Cederberg studios we experimented how to modify the microphone technique to adopt to a traditional studio environment and its implications on the workflow to engineers, producers, composers and performers. We will play the immersive result and discuss the process.
PP-2 | Poster | Poster | 2023-11-10 | 12:00 - 13:00
moderated by Michael Hösel
The following list of contributions (1 of 6 in total) to this event is incomplete due to filtering.
Mastering Workflows for Object Based Music Production
The thesis deals with the special requirements and difficulties of mastering in the object-based formats Dolby Atmos Music and Sony 360 Reality Audio.
The underlying question is: "How could mastering workflows be optimized to meet the specific technical and artistic requirements of Sony 360 Reality Audio and Dolby Atmos Music?"
To answer this question the technical requirements for the two formats will be explored, and in the subsection Immersive Conception, the special artistic requirements to be considered for Spatial Audio will be described. The thesis will explore existing approaches and practices developed specifically for mastering Sony 360 Reality Audio and Dolby Atmos Music. This will include a look at other research and papers in this area, and a plugin with a solution approach will be reviewed in detail.
The findings of this thesis will be gained through the qualitative content analysis of guided interviews with experts like Hans-Martin Buff, Eric Schilling or Justin Gray.
The thesis aims on the one hand to record the current state of the art and to explore how mastering engineers have already optimized their workflows for the two formats under investigation. In addition, it is also intended to describe which artistic and technical requirements need to be taken into account in this area in general and whether there is still unused potential here.
GAME-4 | Game Audio | R 3 | 2023-11-10 | 14:00 - 15:00
curated by Dominik Zingler, Jan Lukas Feldmann —
moderated by Jan Lukas Feldmann
Audio Serendipity
GAME-4-1 | Start 14:00 | Duration 60 min. | Giorgio Vezzini | Talk (English)
What is serendipity? How does this concept help us become better Sound designers?
In this talk, we'll talk about
- how to transform happy accidents into learning moments and part of our workflow
- how to create space for experimentation inside a tight production cycle
- tips and tricks that spawned from these moments
3D-14 | Immersive Audio | R 16 | 2023-11-10 | 14:00 - 15:30
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Ulrike Anderson
The Why and How Behind Immersive and Surround Recordings
3D-14-1 | Start 14:00 | Duration 90 min. | Ulrike Anderson |
Jim Anderson, Akira Fukada, Morten Lindberg, Daniel Shores, Kimio Hamasaki | Roundtable Discussion (English)
Producer/Engineers, Ulrike Schwarz, Morten Lindberg, Akira Fukada, Daniel Shores, Kimio Hamasaki and Jim Anderson will discuss the interaction between composers, musicians, producers, engineers and labels in today’s development of music productions in immersive audio. Anderson and all will illustrate these comments by playing examples of their recent work. The recent pandemic era also presented a wealth of challenges and the producers will discuss the difference of how those experiences differed for productions recorded in Europe, Japan and the US.
There will be individual immersive listening sessions for each of the authors.
GAME-5 | Game Audio | R 3 | 2023-11-10 | 15:10 - 17:00
curated by Dominik Zingler, Jan Lukas Feldmann —
moderated by Dominik Zingler
Vehicle Sound Design for Farming Simulator
GAME-5-1 | Start 15:10 | Duration 60 min. | Nils Heine |
André Sousa | Binaural Workshop (English)
André and Nils are showcasing vehicle audio recording methods and simulation techniques for the Farming Simulator series. They discuss their approach to recording tractors, detailing the equipment, procedures and conditions that are used to capture the sound of these complex machines. Real-time processing of Farming Simulator vehicle audio is explored in detail. They demonstrate methods for analyzing on/offload audio recordings to extract useable EQ profiles, which can be used as a basis for real-time processing to create a dynamic load sound. They will also briefly share some useful audio editing, processing and implementation tips.
How to boost your game audio production with spatial audio
GAME-5-2 | Start 16:10 | Duration 50 min. | Christian Sander |
Numael Mendez, Dominik Zingler | Roundtable Discussion (English)
This panel discussion is designed to address both creative and technical aspects of game audio production, providing a comprehensive approach to boosting the overall quality of and through spatial audio in games on mobile, desktop, or XR headsets. The panelists, who are industry experts and professionals with a wealth of experience in game audio, will share practical insights and strategies to optimize the technical aspects of audio production. They will cover topics such as workflows, implementation tools like game engines, audio middleware, spatializers, mixing, and many more.
Additionally, the panel will emphasize the importance of balancing technical considerations with creative decisions to create an immersive and captivating audio experience for players.
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.
EDU-9 | Education | R 3 | 2023-11-11 | 11:00 - 12:00
curated by Ingo Weismantel —
moderated by Ulrike Anderson
Exploring of Recorded Music Education World Wide
EDU-9-1 | Start 11:00 | Duration 60 min. | Jim Anderson |
Nicholas Sansano, Nadja Wallaszkovits, Toru Kamekawa | Roundtable Discussion (English)
The tools and techniques are similar, but different programs cover the same material in a multitude of goals. What are students learning and how are they prepared to the ever changing music industry. The founding and the present chair of the Clive Davis Institute of Recorded Music from NYU’s Tisch School of The Arts Professors Jim Anderson and Nick Sansano as well as Nadja Wallaszkovits, Professor of Conservation of New Media and Digital Information at the Staatliche Akademie der Bildenden Künste Stuttgart, Education and Human Development and Professor Toru Kamekawa of the Tokyo University of The Arts (Geidai) will discuss.
CS-2 | Cinema Sound | R 13 | 2023-11-11 | 12:00 - 14:00
curated by André Klar, Detlef Halaski —
moderated by André Klar
The following list of contributions (1 of 2 in total) to this event is incomplete due to filtering.
Cecile Tournesac is responsible for the blockbuster music sounds of Mission Impossible or Rocket Man, for example. She explains her workflow, demonstrates her work using the original Protools projects and gives a bunch of hints for the practical work.
More details will come soon.
OS-1 | Open Source for Audio | R 3 | 2023-11-11 | 12:00 - 14:00
moderated by Jörn Nettingsmeier
The following list of contributions (2 of 3 in total) to this event is incomplete due to filtering.
Open-Source in Pro-Audio
OS-1-1 | Start 12:00 | Duration 30 min. | Klaus Scheuermann | Workshop (English)
Still hooked on Avid, Apple & Co?
Imagine you quit your Avid support plan, skipped the next WAVES update cycle, or simply rejected Dolby's ATMOS encoder.
Then what's the status on Free and Open Source Software (FOSS) in pro-audio?
FOSS is literally everywhere, and especially successful in professional environments: For example, an estimated 96% of all web servers are running Linux. FOSS is now being developed commercially and has long evolved from the nerd space to mass-market applications like the multimedia system in every BMW.
Efficiency, longevity, accessibility, and potential for open innovation: FOSS has many great advantages - and a few disadvantages.
This Talk
- explores the strengths and weaknesses of FOSS in pro-audio
- gives an overview of the FOSS status quo in different categories of audio production
- identifies bottlenecks in FOSS development
- makes the case for more open systems in pro-audio
Klaus Scheuermann was born 1976 into a Tonmeister-family. Over the last 20 years, he has recorded, mixed and mastered hundreds of albums, mostly in Jazz and electronic music, at his studio in Berlin-Kreuzberg. Klaus also develops the FOSS audio-plugin 'master_me', which optimizes sound quality in live streams. He has been a VDT member since 2004 and won the VDT's Golden Bobby in 2005.
Solving problems with open source tools: mixing a concert feature film in Ardour, online music collaboration with JackTrip, and automated stream mastering with master_me
OS-1-2 | Start 12:30 | Duration 60 min. | Jörn Nettingsmeier |
Sven Thielen, Klaus Scheuermann | Roundtable Discussion (English)
Abstract:
In this round-table / lighting talk / demo, we explore three weird but successful problem-solving journeys, addressing different angles of the same global challenge with open source.
Jörn kicks off with "TWOFIFTY - remembering Beethoven". He shows how to record, edit, design and mix a conceptual contemporary music performance and turn it into a surround feature film soundtrack after the originally planned concert series had gone, well, viral. Meeting the combined challenges of location recording, live music production, and film post-production is accomplished with the Ardour DAW and a selection of open-source plugins.
Sven then shows how to turn a research by-product into an art and enterprise: "JackTrip" is a ground-breaking low-latency audio streaming solution originating at CCRMA (Stanford University), which becomes a vital tool for online music collaboration in times when musicians cannot physically be together.
How does it work, and how can it be made easy enough to be adopted even by amateur ensembles who do not have dedicated tech support?
Klaus wraps up with his personal journey from mastering engineer to plugin developer with no prior coding knowledge: "When the pandemic hit, streaming events peaked - audio-wise, too, unfortunately: they sounded bad." Armed with a GUI-less prototype of a mastering chain for live streams and internet radio stations created in the arcane programming language FAUST, he gets a bunch of highly skilled developers curious enough to join the project. The power of open source collaboration unfolds, and "master_me" is born.
3D-17 | Immersive Audio | R 15 | 2023-11-11 | 13:00 - 14:00
curated by Ulrike Anderson, Lasse Nipkow —
moderated by Andrew Levine
Based on the sharing of Chinese recording engineers and researchers at TMT 30, we are now holding a second China panel to further bring diversity and a global perspective to the conference agenda.
1) Analysis of the 3D spatial construction in Dolby's atmos music mixing through a case study of Dunhuang music piece "Fast Foreign Dialogue" (Chang LIU, Miatong YUAN).
2) Spatial Audio Live Broadcast Technology (Xucheng WU): Combining the multimedia original electronic concert "Night of E Music" and the demand for immersive broadcasts, the production goals of Dolby Atmos live broadcast are explained. From pre-production to content and form analysis of the program, the broadcast platform and user terminals down to the post-production stage.
3) To wrap the session up, Basile Zimmermann will talk about The Social Rematerialization of Sound and share his audio experience in China through European eyes. 4. In addition, we are going to play demos from more colleagues showing the progress of 3D audio in China.