131st AES Convention Papers Co-Chair Agnieszka Roginska
The 131st AES Convention is scheduled for October 20-23 in New York City’s Javits Center, and the AES announces that it anticipates close to 20,000 attendees from around the globe, and upwards of 300 exhibitors. As part of the event, the organization announces a range of pertinent topics that will be explored and addressed in the 131st AES Convention Papers.
“A clear reflection of today’s pro audio environment, this year’s Papers submissions have been notably diverse and ambitious,” says AES 131st Convention Chair Jim Anderson. “Papers Co-Chairs Agnieszka Roginska and Veronique Larcher and the members of their extraordinary review board have performed in an exemplary fashion. Their selections address many of the key issues faced by pro audio practitioners and by students planning careers in our rapidly evolving industry.”
131st AES Convention Papers include Beyond Surround Sound—Creation, Coding and Reproduction of 3-D Audio Soundtracks, given by Jean-Marc Jot and Zoran Fejzo of DTS Inc. This paper offers a proposal for a flexible and practical end-to-end solution for creating, encoding, transmitting, decoding, and reproducing spatial audio soundtracks. Compatible with legacy surround-sound decoders, 3-D soundtracks enable the representation of a three-dimensional audio scene, irrespective of the listener’s playback system configuration.
The SCENIC Project: Space-Time Audio Processing for Environment-Aware Acoustic Sensing and Rendering, presented by multiple contributors. SCENIC is designed to develop a harmonized corpus of methodologies for environment-aware acoustic sensing and rendering. The project focused on space-time acoustic processing solutions that engage the production environment to help achieve its goal. Solutions cover a wide range of applications, including acoustic self-calibration.
131st AES Convention Papers Co-Chair Veronique Larcher
Multichannel Sound Reproduction in the Environment for Auditory Research, presented by Mark A. Ericson of the U.S. Army Research Laboratory. The U.S. Army’s new EAR Lab is dedicated to spatial sound perception and speech communication research. It is comprised of four indoor research spaces, an outdoor space (Open EAR), and a common control center. Digital audio signals are routed through state-of-the-art RME hardware to more than 600 loudspeakers and microphone channels throughout the facility. Acoustic environments range from anechoic and real field through various soundscapes.
The Impact of Producers’ Comments and Musicians’ Self-Evaluation on Performance During Recording Sessions, presented by Amandine Pras and Catherine Guastavino of McGill University in Montreal. In the recording studio, musicians constantly repeat the same musical composition without the presence of an audience. This field experiment investigated whether record producers’ comments and musicians’ self-evaluation helped the artists improve their performance during recording sessions. The results show that external comments and self-evaluation provide a common ground for criticism, but also make musicians too self-conscious.
Automatic Soundscape Classification via Comparative Psychometrics and Machine Learning, presented by Krithika Rajagopal of the University of Miami and Audio Precision in Beaverton, Ore., and Phil Minnick and Colby Leider of the University of Miami. Computational acoustical ecology is a relatively new field in which long-term environmental recordings are mined for meaningful data. Humans naturally associate environmental sounds with emotions, and can easily identify the components of a soundscape. However, equipping a computer to accurately rate unknown environmental recordings, let alone report the recording environment (e.g., beach, barnyard, research lab, etc.) is a considerable challenge.
Accurate Acoustic Modeling of Small Rooms, presented by Holger Schmalle, Stefan Feistel, and Wolfgang Ahnert of AFMG; Ahnert Feistel of Media Group in Berlin, Germany; and Dirk Noy and Gabriel Hauser of Walters-Storyk Design Group. Modeling sound reinforcement systems and room acoustics in large and medium-size venues is a standard audio industry practice. However, acoustic modeling of small rooms has not yet evolved into a widely accepted concept, mainly because of the unavailable tool set. This paper introduces a practical and accurate software-based approach for simulating the acoustic properties of studio rooms based on FEM.
“With nearly 160 submissions, our 74-member review board was faced with a daunting assignment, particularly because this year authors had the option of submitting full-length papers,” says Papers Co-Chair Agnieszka Roginska. “We are indebted to our reviewers for their diligence and their stamina.”
Co-Chair Veronique Larcher adds, “The most difficult part of our job has always been making the final selections. Winnowing the final candidates down to a manageable 25 Papers and Posters sessions was particularly demanding this year. We received many worthwhile submissions, which we were unable to find time slots for. This is what is known as an embarrassment of riches.”