AES New York 2005 Tutorial Session Details


Subject: AES New York 2005 Tutorial Session Details
From: Eldad Tsabary (eldadsabari@hotmail.com)
Date: Mon Sep 12 2005 - 17:12:14 EDT


Apologies for any cross-postings
 
Source: http://www.aes.org/events/119/tutorials/session.cfm?displayall
 
There are quite a few relevant tutorials (T14 and T15 among others)
 
Eldad
 
 
 

AES New York 2005
Tutorial Session Details

Friday, October 7, 9:00 am — 12:00 pm

T1 - The Acoustics and Psychoacoustics of Loudspeakers in Small Rooms: A
Review

Presenter:
Floyd Toole, Harman International Industries, Inc. - Northridge, CA, USA

Abstract:
The physical measures by which acousticians evaluate the performance of
rooms have evolved in performance spaces—concert halls, opera houses, and
auditoria. They rely on a set of assumptions that become progressively less
valid as spaces get smaller and more acoustically absorptive. In live
performances, sound sources radiate in all directions and the room is a part
of the performance. In sound reproduction, loudspeakers tend to exhibit
significant directivity, and what we hear should ideally be independent of
the listening room. What, then, should we measure in small rooms? What
configuration of loudspeakers and acoustical treatment is appropriate for
multichannel audio reproduction? To what extent can we "eliminate" the room?
Or, do we need to? Is there a point beyond which the human hearing system is
able to adapt to the listening space—hearing "through" the room and "around"
the reflections to accurately perceive the source? A certain amount of the
right kind of reflected sound appears to enhance the music listening
experience and, interestingly enough, to improve speech intelligibility. In
this tutorial we review some of the basic science, using existing knowledge
to provide guidance for choosing and using loudspeakers in rooms, and
pointing out gaps in our knowledge— subjects for future research.

Friday, October 7, 9:00 am — 12:00 pm

T2 - Audio System Grounding and Interfacing—An Overview

Presenter:
Bill Whitlock, Jensen Transformers, Inc. - Chatsworth, CA, USA

Abstract:
Many audio professionals think of grounding and interfacing as a “black
art.” This tutorial replaces myth and misinformation with insight and
knowledge, revealing the true sources of system noise and ground loops.
Signals accumulate noise and interference as they flow through system
equipment and cables. Both balanced and unbalanced interfaces transport
signals but are also vulnerable to coupling of interference from the power
line and other sources. The realities of ac power distribution and safety
are such that some widely used noise reduction strategies are both illegal
and dangerous. Properly wired, fully code-compliant systems always exhibit
small but significant residual voltages between pieces of equipment as well
as tiny leakage currents that flow in signal cables. The unbalanced
interface has an intrinsic problem, common-impedance coupling, making it
very vulnerable to noise problems. The balanced interface, because of a
property called common-mode rejection, can theoretically nullify noise
problems. Balanced interfaces are widely misunderstood and their common-mode
rejection suffers severe degradation in most real-world systems. Many pieces
of equipment, because of an innocent design error, have a built-in noise
coupling mechanism. A simple, no-test-equipment, system troubleshooting
method will be described. It can pinpoint the exact location and cause of
system noise. Most often, devices known as ground isolators are the best way
to eliminate noise coupling. Signal quality and other practical issues are
discussed as well as how to properly connect unbalanced and balanced
interfaces to each other. While immunity to RF interference is a part of
good equipment design, it must often be provided externally. Finally, power
line treatments such as technical power, balanced power, power isolation
transformers, and surge suppression are discussed.

Friday, October 7, 1:30 pm — 3:30 pm

T3 - Analog Design in a Digital Environment

Presenters:
Dennis Bohn, Rick Jeffs, & Paul Mathews, Rane Corporation - Mukilteo, WA,
USA

Abstract:
This tutorial presents a fast-paced overview of the problems faced by an
analog audio designer working in the mixed analog-digital environment found
in most pro audio products. A typical mixed analog-digital audio product is
examined with respect to the analog design elements necessary to maintain
pristine audio performance while satisfying international EMC and safety
compliance. Topics include how to bring in low-level signals, maintain
fidelity and SNR, provide high gain and buffering, supply clean power, and
deliver high quality signals on the output side, all within the context of a
hostile environment both inside and outside the product housing. Examples of
gotchas and do’s and don’ts in chassis design, circuit design, and circuit
board layout highlight the session.

Friday, October 7, 1:30 pm — 3:30 pm

T4 - Surround Mixing

Friday, October 7, 3:30 pm — 6:00 pm

T5 - Dynamic Range Compression—A Real World Users Guide

Presenter:
Alex U. Case, University of Massachusetts Lowell - Lowell, MA, USA

Abstract:
Compression (of audio, not data) confounds many recording engineers, from
rookies to veterans. As an audio effect it can be difficult to hear and even
more difficult to describe. As a tool its controls can be counterintuitive
and its meters and flashing lights uninformative. This tutorial organizes
the broad range of effects created by audio compressors, as audio engineers
use it to reduce/control dynamic range, increase perceived loudness, improve
intelligibility and articulation, reshape the amplitude envelope, add
creative doses of distortion, and extract ambience cues, breaths, squeaks,
and rattles. Attendees will learn when to reach for compression, know a good
starting place for compression parameters (ratio, threshold, attack, and
release), and advance their understanding of what to listen for and which
way to tweak.

Friday, October 7, 4:30 pm — 6:30 pm

T6 - Designing with Delta-Sigma Converters

Presenter:
Steve Green, Cirrus Logic, Inc. / Crystal Semiconductor - Austin, TX, USA

Abstract:
The performance of integrated analog-to-digital and digital-to-analog
converters integrated circuits continue to improve as new techniques and
processes become available to the IC design engineer. Many subtleties must
be understood and addressed in order to realize optimal performance of these
devices.

Friday, October 7, 6:00 pm — 8:00 pm

T7 - DJ Mixing: Are You Ready For The Transition

Presenters:
Richie Hawtin “PlastikMan”
Ronald Prent

Abstract:
A journey into the fascinating world of samples and loop-based music with
original sounds to create new Techno-Lounge Music in Surround using the
advantages of a digital worksstation and the analog technology to create the
next step in Techno-Music!

This Tutorial will show an exciting new world were Techno-Music meets
Surround “Artistry” and explores its endless creative possibilities for
making new music. We will show how the project evolved and demonstrate the
workflow. At the end of the tutuaral we will play a 20 minute part of the
project so you can emerge in to the music and make the “Transition.”

Saturday, October 8, 9:00 am — 11:00 am

T8 - Chamber Reverb—D.I.Y. : Send Your Snare to the Stairwell, Your Kalimba
to the Kitchen, and Your Bassoon to the Bathroom

Presenter:
Alex U. Case, University of Massachusetts Lowell - Lowell, MA, USA

Abstract:
Any live space becomes a reverb chamber if you are willing to make the
effort. Careful placement of loudspeakers creates the reverb send, and
microphones provide the reverb return. This tutorial reviews the basics of a
good reverb chamber—the architecture, the signal flow, the equipment, the
measurements, and most of all the sound. Informed by this review of some of
the most important chambers in the history of pop production, learn how to
bring it all home. Your productions deserve the uniqueness and richness that
only a live chamber can offer. Move your mixes out of the box by applying
effects not available for purchase in any box. You alone have access to the
spaces around your studio. Turn any live space— be they stairwells,
kitchens, or bathrooms—into a source of reverberation that becomes part of
your own signature sound.

Saturday, October 8, 11:00 am — 1:00 pm

T9 - Loudspeaker Basics and Planar-Magnetics

Presenter:
David Clark, DLC Design - Wixom, MI, USA

Abstract:
The first half of the tutorial covers the transducer, enclosure and
listening environment basics:
• Two coupled transducers (motor and radiator)
• Motor types—magnetic, electrostatic, piezoelectric
• Radiator types—cone, membrane, panel, horn
• Simplified physics and energy flow
• Enclosures
• Listening environment

The second half of the tutorial will investigate planar-magnetic transducers
in some depth:
• History of planar magnetic speakers
• Ribbon vs. planar-magnetic
• How they work—physical arrangement
• Why they have a fanatic following
• What are the problems in making them work
• Room interface
• Sub-woofers and super-tweeters

Saturday, October 8, 1:00 pm — 3:00 pm

T10 - Preservation, Archiving, and Restoration: A Look at Practical
Application

Presenters:
David Ackerman, Harvard College Library Audio Preservation Services -
Cambridge, MA, USA
Peter Alyea, Library of Congress - Washington D.C., USA
Chris Lacinak, VidiPax, LLC - Long Island City, NY, USA

Abstract:
This tutorial session will approach the practical application of three
fundamentals associated with archiving preservation and restoration. These
are reproduction, digitization, and metadata.

Reproduction

Faithful reproduction of source content is the overarching goal of
reformatting. Faithful sonic reproduction is achieved by restoring the
physical medium to its original condition. Although it may be expedient,
shortcutting this labor-intensive phase is ultimately detrimental to the
content. Any compromises made during these steps can affect the integrity of
the transferred content to the detriment of future preservation and, of
course, the value of the asset. We will look at diagnosis and treatment
methods associated with media that is commonly found in sound archives.

Digitization

As archives rapidly reformat content from physical carriers toward digital
systems the bridge used to make that transition and the systems that manage
the content carry a great burden. Ensuring and maintaining integrity are
simplistic in concept but difficult in practice. We will explore the
practical application of digitization and the digital archive from a
system-wide perspective.

Metadata

Without metadata there is no preservation in the digital archive. There is
the matter of the content, as well as the relationships of the audio to
other audio files in a project, a collection, and the archive itself. There
are the technical characteristics of the file that must be known to retrieve
the audio properly and the documentation of the work history behind the
creation of the audio file. This presentation will explore the Harvard
College Library’s use of the Harvard Digital Repository Service (DRS) for
the preservation of unique and rare audio recordings.

Saturday, October 8, 4:00 pm — 6:00 pm

T11 - Loudness

Saturday, October 8, 4:30 pm — 6:30 pm

T12 - Audio Compression

Presenter:
John Strawn, S Systems Inc. - Larkspur, CA, USA

Abstract:
Audio compression involves removing certain parts of the signal, with the
goal of reducing the data rate without impacting the audio quality much if
at all. In this tutorial, which will include sound examples, we start with
an overview of the perceptual bag of tricks in perceptually-based codecs
such as MP3 and AC-3. Perceptual insights are often combined with
mathematical innovations, such as the discrete cosine transform. For R&D
engineers, there will be information about methods for implementing the DCT.
We will show how the building blocks can be assembled into the basic
structure of a perceptual encoder and decoder. As time allows, we will
review the basic families of codecs, including where MP3 fits in and look at
nonperceptually-based codecs. Finally, building on the theory covered here,
there are tips for the recording engineer making an MP3 to minimize
undesired artifacts.

Sunday, October 9, 9:00 am — 11:00 am

T13 - Project Studio Design: Layout, Acoustics, Sound System, Tuning – Part
1

Presenter:
Anthony Grimani, Performance Media Industries (PMI), Ltd. - Fairfax, CA, USA

Abstract:
Statistics tell us that fully 93% of all A titles go through a “project”
studio in some phase of their production cycle. In fact, there are an
estimated 350,000 project studios worldwide. Whether to cut costs, be more
convenient, or more convivial, the project studio trend is growing, and gear
is available at astoundingly low prices to all those interested in setting
up their own project room. The real challenge today is how to maintain
quality and consistency in the transition from “professional” studio to
project studio and back. Ultimately, project studios need to be set up
following some fundamental rules if the program material is to stand a
chance of surviving the transition between facilities. These two tutorials
will focus on guidelines for proper set-up of a project studio: room layout,
acoustics, sound system design, and calibration. The information will cover
all the details that affect the system design, from room to equipment, and
will provide simple recipes for improving quality and consistency. Basic
knowledge of audio engineering theory, acoustics, and electro-acoustics are
recommended.

This is the first tutorial of a two-part series. The main topics covered in
this first part are:

• Room and system layout
• Room acoustics and dimensioning
• Sound isolation
• Noise control
• Vibration and rattle control

Sunday, October 9, 9:00 am — 12:00 pm

T14 - Audio Ear Training

Presenter:
David Moulton, Moulton Laboratories - Groton, MA, USA

Abstract:
Audio ear training can be a powerful and effective component of education
for audio engineers. The act of learning to accurately recognize and
describe various physical audio characteristics and dimensions can enable a
much clearer and higher level of understanding of audio processes, as well
as their relative importance. Further, such ear training can be undertaken
at any level, for a variety of purposes, by private individuals, by
educational institutions and by companies concerned about the acuity and
reliability of their employees’ hearing.
In this tutorial, Dave Moulton will describe his ear training techniques,
developed over the past 35 years, including presentations regarding the
identification of various frequency bands, relative amplitudes, time domain
and other areas, including a variety of signal processing treatments.

Moulton will discuss the cognitive problems he has found that students often
have, the real goals for such ear training, how students can do ear training
on their own, and how such programs can be most effectively used in an
academic context. He will discuss the relationship between these techniques
and the musical ear training widely used in music curricula. He will also
discuss what he feels are the reasonable resolution limits for the
determined listener, in both blind and sighted contexts. Participants will
take various drills to get a sense of what is involved as well as the
various levels of difficulty that are normally encountered.

Sunday, October 9, 11:00 am — 1:00 pm

T15 - Distance and Depth Perception

Presenters:
Durand Begault, NASA Ames Research Center - Moffett Field, CA, USA
William Martens, McGill University - Montreal, Quebec, Canada

Abstract:
Much discussion in the audio engineering literature has focused on the
spatial location of sounds in terms of azimuth, and less often, elevation.
Far less investigation has focused on auditory distance perception and how
engineers consciously or unconsciously manipulate the relative distance of
sound sources.
How is it possible for an engineer to systematically manipulate the distance
of the perceived image of a sound source? How is the sound "stage" and
relative distances established on both live and studio recordings? What are
the fundamental cues for distance and depth perception? This tutorial seeks
to elucidate these issues. Sound examples will be provided.

Sunday, October 9, 12:00 pm — 2:00 pm

T16 - Fundamental Knowledge about Microphones

Presenter:
Jörg Wuttke, SCHOEPS GmbH - Karlsruhe, Germany

Abstract:
Even a professional with many years of experience might enjoy reviewing the
basics of acoustics and the operating principles of microphones. This
tutorial also includes a discussion of technical specifications and numerous
practical issues.

- Introduction: Vintage technology and the future; physics and emotion;
choosing a microphone for a specific application

- Basic acoustics: Sound waves; frequency and wavelength; pressure and
velocity; reflection and diffraction; comb filter effects; direct and
diffuse sound

- Basic evaluations: Loudness and SPL; decibels; listening tests;
frequency/amplitude and frequency/phase response; frequency domain and time
domain

- How microphones work: Pressure and pressure-gradient transducers;
directional patterns; some special types (boundary layer microphones and
shotguns)

- Microphone specifications: Frequency responses (plural!); polar diagrams;
free-field vs. diffuse-field response; low- and high-frequency limits;
equivalent noise, maximum SPL and dynamic range

- Practical issues: Source and load impedance; powering; wind and breath
noise

Sunday, October 9, 12:00 pm — 2:00 pm

T17 - Post Production of Sacred Love Live - Nathaniel Kunkel

Sunday, October 9, 2:00 pm — 4:00 pm

T18 - Psychophysics and Physiology of Hearing

Presenter:
Poppy Crum, Johns Hopkins University School of Medicine - Baltimore, MD, USA

Abstract:
This tutorial presents psychoacoustical phenomena from a physiological
perspective. What we hear for any given acoustic signal is often not easily
predicted without a consideration of nonlinear processing occurring in the
ear and brain. Psychoacoustical studies demonstrate this relationship and
offer mapping functions that enable better prediction from the acoustic
source to the perceptual experience. In this tutorial we will discuss many
such phenomena as they occur in natural hearing and offer an understanding
of the physiology that leads to a particular perceptual outcome. Initial
emphasis will be on how the ear (outer, middle, and inner) processes a
simple sound – with a focus on the physiology of the inner ear. From here we
will consider psychoacoustic phenomena associated with the perceptual
experiences of: loudness, masking, pitch, and spatial localization. As
appropriate we will discuss the physiology of higher auditory brain areas
(beyond the cochlea) and the relative processing necessary for a given
phenomenon. For example, many of the neural correlates of spatial hearing
are well understood. We will discuss various properties of spatial hearing
and attempt to understand how an acoustic signal in a free-field environment
is encoded and represented in the nervous system ultimately leading to the
perceived location. In other words, where, and how, is a spatial signal
interpreted and coded in the brain? And how does this representation
influence our perception of the source’s location?

Sunday, October 9, 4:30 pm — 6:30 pm

T19 - Project Studio Design: Layout, Acoustics, Sound System, Tuning—Part 2

Presenter:
Anthony Grimani, Performance Media Industries (PMI), Ltd. - Fairfax, CA, USA

Abstract:
Statistics tell us that fully 93 percent of all A titles go through a
“project” studio in some phase of their production cycle. In fact, there are
an estimated 350,000 project studios worldwide. Whether to cut costs, be
more convenient, or more convivial, the project studio trend is growing, and
gear is available at astoundingly low prices to all those interested in
setting up their own project room. The real challenge today is how to
maintain quality and consistency in the transition from “professional”
studio to project studio and back. Ultimately, project studios need to be
set up following some fundamental rules if the program material is to stand
a chance of surviving the transition between facilities. These two tutorials
will focus on guidelines for proper set-up of a project studio: room layout,
acoustics, sound system design, and calibration. The information will cover
all the details that affect the system design, from room to equipment, and
will provide simple recipes for improving quality and consistency. Basic
knowledge of audio engineering theory, acoustics, and electroacoustics are
recommended.

This is the second tutorial of a two-part series. The main topics covered in
the second part are:

• Acoustical treatments for optimized reflections, echoes, and energy decay
• Sound system selection
• Sound system placement optimization
• System calibration

Sunday, October 9, 4:30 pm — 6:30 pm

T20 - AUDIO FOR GAMES

Monday, October 10, 9:00 am — 12:00 pm

T21 - Digital Filters and Filter Design—A Tutorial

Presenters:
James Johnston, Microsoft Corporation - Redmond, WA, USA
Bob Adams
Jayant Datta

Abstract:
In this tutorial we will first present the basic form and function of
digital filters, explain the link between impulse response and frequency
response, and how it leads to different forms of filtering, and relate that
to the similarities and differences between the designs of analog filters
and digital filters. Then, we will talk about some presently available
filter design tools, how to use them, and how to relate the filters produced
to the actual needs of the filter designer. Finally, we will say something
about bit depth for both data and coefficients and mention to some extent
the sensitivities of different kinds of digital filter.

Monday, October 10, 9:00 am — 10:30 am

T22 - Surround Film Mixing

Monday, October 10, 11:00 am — 1:30 pm

T23 - Mick Sawaguchi - Int. Surround Mixing

Monday, October 10, 12:30 pm — 2:00 pm

T24 - Assembly Language Programming: Street Smarts from OOP

Presenter:
John Strawn, S Systems Inc. - Larkspur, CA, USA

Abstract:
This tutorial will cover the craft of writing in assembler, typically for
DSP chips and embedded processors. Based on my experience of the last 20
years, I will demonstrate how I apply lessons from object-oriented
programming (OOP) to assembly language, to make code easier to develop,
debug, maintain, and reuse. Recently this approach saved me when finishing a
30,000-line program in assembler. Even if the syntax of the assembly
language does not support OOP directly, I approach the design using OOP
principles, and I structure the code following OOP practices, without
changing the target assembler syntax. The discussion will review OOP,
discuss how to partition a real-world device (maybe an iPOD) based on OOP,
and show (non-proprietary) code examples based on several processors. This
tutorial seminar is especially intended for students just learning assembly
language programming as well as R&D engineers who are not yet seasoned
assembly language programmers. Bring pencil and paper to participate in some
designs during the presentation.

Monday, October 10, 12:30 pm — 2:30 pm

T25 - DSP Design Considerations in Application to Higher Performance
Intelligent Digital Audio Amplifiers

Presenter:
Skip Taylor, D2Audio Corporation - Austin, TX, USA

Abstract:
There is a strong technological revolution in the world of audio
amplification where traditional Class A/Class AB analog amplifiers are
giving way to high-efficiency digital amplifiers with improved sound
quality. This presentation discusses some of the legacy amplifier technology
solutions and their application, and the key points audio design engineers
need to pay attention to when transitioning to a digital amplifier system
solution. Using advanced DSP technology, this new Class-D amplifier
technology can lead to further performance improvement in higher power
digital amplifier solutions and can provide a formidable competitor to the
legacy Class AB analog solutions.
 

 
 
 
 
 



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