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2018 AES International Conference on Spatial Reproduction — Aesthetics and Science

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Program

Venue Abbreviations
<TDU = Tokyo Denki University>
<TUA = Tokyo University of the Arts>
Days
jump to Day 1 (August 7)
jump to Day 2 (August 8)
jump to Day 3 (August 9)
Note
Clicking the ID number at the front of each of workshops, tutorials, and paper/posters will take you to the detailed information.

Day 0 (August 6th)

Technical Tour [14:00–16:00] <off-site>

CD-607 Mixing studio for 22.2 Multi-channel Audio, NHK Broadcasting Center (Shibuya, Tokyo, Japan)
Capacity: 15 people (Preregistration is required preregistration closed thanks to the overwhelming interests!)

Welcome Concert [18:00–20:00, door opens at 17:30] <Studio A, TUA>

Japanese Traditional Music
No registration required. Please join us at Studio A, Senju Campus, Tokyo University of the Arts.

Program
SAKURA HENSOKYOKU (Variations on Sakura)
ROKUDAN NO SHIRABE (Music of Six Steps)
TSURU NO SUGOMORI (The Nesting of the Cranes)
YUGAO (Evening face from “The Tale of Genji&rdwuo;)
GODANGINUTA (Five steps by Kinuta's motif)
—Intermission—
MIYAKO ODORI (Traditional Spring Dance Festival)
SEOTO (The Sound of Rapids)
HARU NO UMI (The Spring Sea)
HENKYOKU SHOCHIKUBAI (Pine, Bamboo, and Plum)
Performers
Koto: Ando Masateru, Ishii Manami, Ando Tamaki, Shimizu Satomi
Shakuhachi: Tomotsune Bizan
Violin: Sahara Atsuko

Special Demonstration [14:00–17:30] <Foyer, TUA>

Special demonstration of a living room with 8K Super Hi-Vision and its 22.2 multichannel sound will be presented. No registration required. Please drop in at the entrance of Senju Campus, Tokyo University of the Arts.

8K Living Room

NHK will begin satellite broadcasting of 4K/8K Super Hi-Vision in December, 2018. We are also engaged in initiatives to widely promote its adoption for home viewing by 2020. This exhibit will let you experience to watch Super Hi-Vision programs in a living room in the home.

8K images
8K images can provide a strong sense of presence and reality, and they have a wide color gamut, a high dynamic range (HDR) and a frame rate of 60 Hz, in addition to 16 times the number of resolution of HD.
22.2 multichannel sound
8K Super Hi-Vision has a 22.2 multichannel sound system — a three-dimensional sound system with channel configuration on top, middle and bottom layers. It provides a considerably stronger sense of presence and reality than the sound from conventional TVs.

Day 1 (August 7th)

Registration starts from 8:20 at the registration desk on 1st floor of TDU Building No.1

Opening Ceremony [9:00–9:30] <100th Anniversary Hall, TDU>

Welcome address “Future of IoT Era” by Hiroshi Yasuda (President, Tokyo Denki University)

With the accelerating evolution and growth of “IoT; Internet of Things” in recent years, societies and industries in the world are advancing faster than our expectation. However, at the same time, we are suffered by increasing cyber attacks. The talk first describes the progress of IoT, then today's situation of cyber security technologies. As IoT system is consisted of various elements, multi-disciplinary cyber security technology is needed. The talk then explains key technologies of multi-disciplinary cyber security, and also future prospect of IoT era.

Keynote 1 [9:30–10:15] <100th Anniversary Hall, TDU>

“The WOW Factor” — Jim Anderson (Anderson Audio NewYork)

Who has Wow?
What is Wow? When can I get Wow?
Where is Wow? Why is Wow needed? How can I get Wow?

Over one hundred years ago, audiences experienced “Wow” listening to a singer and comparing the sound with a recording. Observers found that it was “almost impossible to tell the difference” between what was live sound and what was recorded. Sixty years ago, the transition from monaural sound to stereophonic brought ‘realism’ into listener's homes and today audiences can be immersed in sound. This talk will trace a history of how listeners have been educated and entertained to the latest sonic developments and said to themselves and each other: “Wow!”

Workshop

W1 “The Real World of Immersive Surround Production Techniques in JAPAN” [14:30–15:45] <100th Anniversary Hall, TDU>
Mick Sawaguchi (UNAMAS-Label), Hideo Irimajiri (WOWOW)
W2 “Techniques for recording and mixing pop, rock, and jazz music for 22.2 Multichannel Sound” [16:00–17:15] <100th Anniversary Hall, TDU>
Will Howie (McGill University)
W3 “Microphone arrangement comparison of orchestral instrument for recording producer, balance engineer education” [17:30–18:30] <100th Anniversary Hall, TDU>
Thorsten Weigelt (Berlin University of the Arts), Kazuya Nagae (Nagoya University of Arts)

Tutorial

T1 “New Surround and Immersive Recordings” [10:30–11:45] <100th Anniversary Hall, TDU>
Jim Anderson, Ulrike Schwarz (Anderson Audio NewYork), and Kimio Hamasaki (ARTSRIDGE LLC)
T2 “Psychoacoustics of 3D sound recording and reproduction” [13:00–14:15] <100th Anniversary Hall, TDU>
Hyunkook Lee (University of Huddersfield)

Paper Presentation

P1: Binaural-1 [10:30–12:10] <Seminar Room 1, TDU>
Chair: Brian Katz
P1-1 “Evaluation of Robustness of Dynamic Crosstalk Cancellation for Binaural Reproduction,” Ryo Matsuda (Kyoto University), Makoto Otani (Kyoto University), and Hiraku Okumura (Yamaha Corporation / Kyoto University)
P1-2 “Optimization and prediction of the spherical and ellipsoidal ITD model parameters using offset ears,” Helene Bahu (Dysonics), and David Romblom (Dysonics)
P1-3 “The effects of dynamic and spectral cue on auditory vertical localization,” Jianliang Jiang (South China University of Technology), Bousn Xie (Acoustic Lab., School of Physics and Optoeletronics), Haiming Mai (South China University of Technology), Lulu Liu (South China University of Technology), Kailing Yi (South China University of Technology), and Chengyun Zhang (School of Mechanical & Electrical Engineering, Guangzhou University)
P1-4 “Detection of a nearby wall in a virtual echolocation scenario based on measured and simulated OBRIRs,” Annika Neidhardt (Technische Universität Ilmenau)
P2: Binaural-2 [13:10–14:00] <Seminar Room 1, TDU>
Chair: Jorge Treviño
P2-1 “Dataset of near-distance head-related transfer functions calculated using the boundary element method,” César Salvador (Tohoku University), Shuichi Sakamoto (Tohoku University), Jorge Treviño (Tohoku University), and Yôiti Suzuki (Tohoku University)
P2-2 “Estimation of the spectral notch frequency of the individual early head-related transfer function in the upper median plane based on the anthropometry of the listener's pinnae,” Kazuhiro Iida (Chiba Institute of Technology), Masato Oota (Chiba Institute of Technology), and Hikaru Shimazaki (Chiba Institute of Technology)
P3: Psychoacoustics-1 [16:00–17:15] <Seminar Room 1, TDU>
Chair: William Martens
P3-1 “Evaluation of the frequency dependent influence of direct sound on the effect of sound projection,” Tom Wühle (TU Dresden), Sebastian Merchel (TU Dresden), and Ercan Altinsoy (TU Dresden)
P3-2 “Influence of the frequency dependent directivity of a sound projector on the localization of projected sound,” Sebastian Merchel (TU Dresden), Tom Wühle (TU Dresden), Felix Reichmann (TU Dresden), and Ercan Altinsoy (TU Dresden)
P3-3 “A quantitative evaluation of media device orchestration for immersive spatial audio reproduction,” James Woodcock (University of Salford), Jon Francombe (BBC Research and Development), Richard Hughes (University of Salford), Russell Mason (University of Surrey), William J. Davies (University of Salford), and Trevor J. Cox (University of Salford)
P4: Psychoacoustics-2 [17:20–18:30] <Seminar Room 1, TDU>
Chair: Atsushi Marui
P4-1 “Energy Aware Modelling of Inter-Aural Level Difference Distortion Impact on Spatial Audio Perception” Pablo Delgado (International Audio Laboratories Erlangen), Jürgen Herre (Fraunhofer), Armin Taghipour (Fraunhofer), and Nadja Schinkel-Bielefeld (Fraunhofer)
P4-2 “The effect of characteristics of sound source on the perceived differences in the number of playback channels of multi-channel audio reproduction system,” Misaki Hasuo (WOWOW Inc.), Toru Kamekawa (Tokyo University of the Arts), and Atsushi Marui (Tokyo University of the Arts)
P4-3 “Discrimination of auditory spatial diffuseness facilitated by head rolling while listening to ‘with-height’ versus ‘without-height’ multichannel loudspeaker reproduction,” William Martens (The University of Sydney) and Yutong Han (The University of Sydney)
Poster-1 (Full Paper) [14:00–14:15] <Seminar Room 1, TDU> / [14:15–15:45] <Seminar Room 2, TDU>
Chair: Akira Omoto
PP-1 “Challenges of distributed real-time finite-difference time-domain room acoustic simulation for auralization,” Jukka Saarelma (Aalto University), Jonathan Califa (Oculus VR, Facebook), and Ravish Mehra (Oculus VR, Facebook)
PP-2 “The Number of Virtual Loudspeakers and the Error for Spherical Microphone Array Recording and Binaural Rendering,” Jianliang Jiang (South China University of Technology), Bousn Xie (Acoustic Lab., School of Physics and Optoeletronics), and Haiming Mai (South China University of Technology)
PP-3 “Effect of individualized head-related transfer functions on distance perception in virtual reproduction for a nearby source,” Liliang Wang (South China University of Technology) and Guangzheng Yu (South China University of Technology)
PP-4 “Controlling The Apparent Source Size In Ambisonics Using Decorrelation Filters,” Timothy Schmele (Eurecat) and Umut Sayin (Eurecat)
PP-5 “Sound field renderer with loudspeaker array using real-time convolver,” Takao Tsuchiya (Doshisha Univ.), Issei Takenuki (Doshisha Univ.), and Kyousuke Sugiura (Doshisha Univ.)
PP-6 “Proposal of a sound source separation method using image signal processing of a spatio-temporal sound pressure distribution image,” Kenji Ozawa (University of Yamanashi), Masaaki Ito (University of Yamanashi), Genya Shimizu (University of Yamanashi), Masanori Morise (University of Yamanashi), and Shuichi Sakamoto (Tohoku University)

Special Demonstration [10:30–18:00] <Foyer, TUA>

Special demonstration of a living room with 8K Super Hi-Vision and its 22.2 multichannel sound will be presented. No registration required. Please drop in at the entrance of Senju Campus, Tokyo University of the Arts.


Day 2 (August 8th)

Keynote 2 [9:00–9:45] <100th Anniversary Hall, TDU>

“Rendering of multichannel audio”, Akio Ando (University of Toyama)

Recent multichannel audio can capture the sound field with higher sense of reality. Since the audio format includes the detailed spatial information about the sound field in the production, the same loudspeaker arrangement with the production may be unnecessary in the reproduction. Instead of setting up such loudspeakers, audio rendering is required in the reproduction.

Many studies have been made on the audio rendering. They can handle the direct sound, because these methods were based on the directional information of channels. What seems to be lacking, however, is the rendering method of diffuse sound. In this presentation, we introduce the audio rendering method based on the decomposition of audio signal into direct and diffuse components, and clarify the requirements for the rendering of diffuse sound from the viewpoint of sound reflection in the room.

Workshop

W4 “Microphone Techniques for 3D sound recording” [10:00–12:00] <100th Anniversary Hall, TDU>
Helmut Wittek (SCHOEPS Mikrofone GmbH), Will Howie (McGill University), Thorsten Weigelt (Berlin University of the Arts), Florian Camerer (ORF), Toru Kamekawa (Tokyo University of Arts), Kimio Hamasaki (ARTSRIDGE LLC), Hyunkook Lee (University of Huddersfield)
W5 “Upmix and downmix technique for 3D sound recording and reproduction” [13:15–14:30] <100th Anniversary Hall, TDU>
Toru Kamekawa (Tokyo University of the Arts), Yo Sasaki (NHK STRL), Rafael Kassier (HARMAN Lifestyle Division)
W6 “Object-Based Audio workflow for spatial broadcast productions” [16:00–17:00] <100th Anniversary Hall, TDU>
Matthieu Parmentier (France TV)
W7 “Live spatial and Object-Based Audio production” [17:10–18:10] <100th Anniversary Hall, TDU>
Matthieu Parmentier (France TV)

Tutorial

T3 “Ambisonic Recording and Mixing for Live Music Performance in 3D space” [14:45–15:45] <100th Anniversary Hall, TDU>
Masato Ushijima (Sonologic-Design)

Paper Presentation

P5: Game Audio [10:00–12:05] <Seminar Room 1, TDU>
Chair: Joel Douek
P5-1 “Personality and listening sensitivity correlates of the subjective response to real and simulated sound sources in virtual reality,” J. William Bailey (University of Salford), and Bruno Miguel Fazenda (University of Salford)
P5-2 “A Low Cost Method for Applying Acoustic Features to Each Sound in Virtual 3D Space Using Layered Quadtree Grids,” Kenji Kojima (CAPCOM Co., Ltd.) and Takahiro Kitagawa (CAPCOM Co., Ltd.)
P5-3 “Proximity representation of VR world — Realization of the real-time binaural for video games,” Kentaro Nakashima (CAPCOM Co., Ltd.), Shotaro Nakayama (CAPCOM Co., Ltd.), and Joji Kuriyama (J.TESORI Co., Ltd.)
P5-4 “Impact of HRTF individualization on player performance in a VR shooter game,” David Poirier-Quinot (Sorbonne Université, CNRS, Institut Jean Le Rond d'Alembert) and Brian Katz (Sorbonne Université, CNRS, Institut Jean Le Rond d'Alembert)
P5-5 “The Effect of Virtual Environments on Localization during a 3D Audio Production Task,” Matthew Boerum (McGill University), Jack Kelly (McGill University), Diego Quiroz (McGill University), and Patrick Cheiban (McGill University)
P6: Psychoacoustics-3 [14:45–15:35] <Seminar Room 1, TDU>
Chair: Kenji Ozawa
P6-1 “Recognition of an auditory environment: investigating room-induced influences on immersive experience,” Sungyoung Kim (Rochester Institute of Technology), Richard King (McGill University), Toru Kamekawa (Tokyo University of the Arts), and Shuichi Sakamoto (Tohoku University)
P6-2 “On Human Perceptual Bandwidth and Slow Listening,” Thomas Lund (Genelec OY) and Aki Mäkivirta (Genelec OY)
P7: Ambisonics-1 [15:45–17:00] <Seminar Room 1, TDU>
Chair: Shuichi Sakamoto
P7-1 “Directional filtering of Ambisonic sound scenes,” Pierre Lecomte (Centre Lyonnais d'Acoustique), Philippe-Aubert Gauthier (Université de Sherbrooke), Alain Berry (Université de Sherbrooke), Alexandre Garcia (Conservatoire National des Arts et Métiers), and Christophe Langrenne (Conservatoire National des Arts et Métiers)
P7-2 “Spatialization Pipeline for Digital Audio Workstations with Three Spatialization Techniques,” Tanner Upthegrove (Virginia Tech), Charles Nichols (Virginia Tech), and Michael Roan (Virginia Tech)
P7-3 “Size of the accurate-reproduction area as function of directional metrics in spherical harmonic domain,” Pierre Grandjean (Université de Sherbrooke), Philippe-Aubert Gauthier (Université de Sherbrooke), and Alain Berry (Université de Sherbrooke)
P8: Ambisonics-2, VR [17:10–18:00] <Seminar Room 1, TDU>
Chair: Hyunkook Lee
P8-1 “Extending the listening region of high-order Ambisonics through series acceleration,” Jorge Treviño (Tohoku University), Shuichi Sakamoto (Tohoku University), Yôiti Suzuki (Tohoku University)
P8-2 “Psychophysical validation of binaurally processed sound superimposed upon environmental sound via an unobstructed pinna and an open-ear-canal earspeaker,” Frederico Pereira (The University of Sydney) and William Martens (The University of Sydney)
Poster-2 (eB) [13:15–14:30] <Seminar Room 2, TDU>
EB1-1 “Acoustic characteristics of headphones and earphones,” Yoshiharu Soeta (National Institute of Advanced Industrial Science and Technology) and Sho Ooi (National Institute of Advanced Industrial Science and Technology)
EB1-2 “Tetrahedral Microphone: A Versatile “Spot” and Ambience Receiver for 3D Mixing and Sound Design,” Wieslaw Woszczyk (McGill University), Jennifer Nulsen (McGill University), Ephraim Hahn (McGill University), Haruka Nagata (McGill University), Kseniya Degtyareva (McGill University), and John Castillo (McGill University)
EB1-3 “A Mid-Air Gestural Controller for the Pyramix 3D panner,” Diego I Quiroz Orozco (McGill University / CIRMMT)
EB1-4 “Recording and mixing technics for ambisonics,” Tomoyuki Nishiyama (NHK)
EB1-5 “Analysis of Sound Localization on Median Plane by using Specular Reflection Shape Features,” Tatsuya Shibata (Tokyo Denki University), Yuko Watanabe (Tokyo Denki University), and Akito Michishita (Route Theta)
EB1-6 “Movie Scene Classification using Audio Signals in a Home-Theater System,” Yuta Yuyama (Yamaha Corporation), Sungyoung Kim (Rochester Institute of Technology), and Hiraku Okumura (Yamaha Corporation)
EB1-7 “Accurate spatialization of VR sound sources in the near field,” Camilo Arévalo (Pontificia Universidad Javeriana Cali), Gerardo M. Sarria M. (Pontificia Universidad Javeriana Cali), and Julián Villegas (University of Aizu)
EB1-8 “Creating a highly-realistic “Acoustic Vessel Odyssey” using Sound Field Synthesis with 576 Loudspeakers,” Yuki Mitsufuji (Sony Corporation), Asako Tomura (Sony Corporation), and Kazunobu Ohkuri (Sony Corporation)
EB1-9 “Loudspeaker Positions with Sufficient Natural Channel Separation for Binaural Reproduction,” Kat Young (University of York), Gavin Kearney (University of York), and Anthony I. Tew (University of York)
EB1-10 “Quality discrimination on high-resolution audio with difference of quantization accuracy by sound-image localization,” Akio Suguro (Hachinohe Institute of Technology) and Masanobu Miura (Hachinohe Institute of Technology)
EB1-11 “Three-dimensional large-scale loudspeaker array system using high-speed 1-bit signal for immersive sound field reproduction,” Kakeru Kurokawa (Tokyo Denki University), Izumi Tsunokuni (Tokyo Denki University), Yusuke Ikeda (Tokyo Denki University), Naotoshi Osaka (Tokyo Denki University), and Yasuhiro Oikawa (Waseda University)
EB1-12 “Sound field reproduction in prism-type arrangement of loudspeaker array by using local sound field synthesis,” Izumi Tsunokuni (Tokyo Denki University), Kakeru Kurokawa (Tokyo Denki University), Yusuke Ikeda (Tokyo Denki University), and Naotoshi Osaka (Tokyo Denki University)
EB1-13 “Multipresence and Autofocus for Interpreted Narrowcasting” Michael Cohen (University of Aizu) and Kojima Hiromasa (University of Aizu)

22.2 ch Demo of Workshop Contents [14:00–18:00] <Studio B, TUA>

“HH:MM–” denotes that it starts every hour at minute MM. (for example, HH:12 starts at 14:12, 15:12, 16:12, and 17:12)

HH:00– W2 Will Howie (McGill University)

  1. Adrian Vedady: “Improvisation”
  2. ADV Trio: “Listening”
  3. ADV Trio: “Blues Jam”
  4. The Graduates: “Working”
  5. Brasstronaut: “Low High Hopes”

HH:10– Thorsten Weigelt (9ch - 5.1.4)

  1. Chamber opera and orchestra
    Leoš Janácek — Zápisník zmizelého
    Noam Sheriff — Akeda
  2. Chamber music and Requiem
    Georg Katzer — Oktopus
    Gabriel Fauré — Requiem: Libera me, In paradisum
  3. Fauré and Monteverdi
    Gabriel Fauré — Requiem: Sanctus
    Claudio Monteverdi — Vespro della Beata Vergine

HH:20– W5 Yo Sasaki, Upmix and Downmix example

An example of Upmix form 2 channel stereo to 22.2 multichannel, and downmix from 22.2 to 2 channel stereo.

HH:23– W8 Charles Nichols, Tanner Upthegrove

  1. “Beyond the Dark (2016) for computer music and sonified space weather data”,
    Charles Nichols accompanying the Dense Space art installation, with architect Paola Zellner Bassett
  2. “rabies (2017)”
    Tanner Upthegrove for computer generated electrometal band (3:30 excerpt)
  3. “Shakespeare's Garden (2018) for processed environmental sounds and recited poetry”, Charles Nichols accompanying projected graphic design and theatrical lighting, with directors Amanda Nelson and Natasha Staley, graphic designer Meaghan Dee, lighting designer John Ambrosone, and media engineer Tanner Upthegrove

HH:33– P7-1 Pierre Lecomte, “Directional filtering of Ambisonic sound scenes”

HH:40– ARIB Standard Test Materials for 3D-multichannel stereophonic sound system

  1. Sound image localization
    • Flying overhead
    • Vertical Helix
  2. Soundscape
    • Train Passing overhead
    • Amusement Park
  3. Music
    • Octet

HH:49– Excerption from the “Welcome Concert” (Aug.6th)

  • HARU NO UMI (The Spring Sea)
    Koto: ANDO Tamaki, Violin: SAHARA Atsuko

Student Event

Recording Critiques on 3D Audio for Students - 1 [12:30–13:30] <Studio B, TUA>
Advisor: Jim Anderson and Ulrike Schwarz (Anderson Audio NewYork)

Special Demonstration [10:00–18:00] <Foyer, TUA>

Special demonstration of a living room with 8K Super Hi-Vision and its 22.2 multichannel sound will be presented. No registration required. Please drop in at the entrance of Senju Campus, Tokyo University of the Arts.

Banquet [18:30–20:30] <Cafeteria>

The banquet fee is included in the conference registration fee.


Day 3 (August 9th)

Workshop

W8 “Strategies for Controlling and Composing for the Cube Spatial Audio Renderer” [10:00–11:00] <100th Anniversary Hall, TDU>
Charles Nichols (Institute for Creativity, Arts, and Technology Virginia Tech)
W9 “The Present of Spatial Audio Expression in VR Games” [11:15–12:15] <100th Anniversary Hall, TDU>
Atsushi OHTA (BANDAI NAMCO Studios Inc.)
W10 “Creating Sound in Virtual 3-D Space” [14:45–16:15] <100th Anniversary Hall, TDU>
Tomoya Kishi (CAPCOM Co.,Ltd.), Tetsukazu Nakanishi (BANDAI NAMCO Studios Inc.), Hajime Saito (beBlue Co.,Ltd Aoyama Studio), Masataka Nakahara (SONA Corporation / ONFUTURE Ltd.), and Joel Douek (ECCO VR)

Tutorial

T4 “Kraftwerk and Booka Shade — The Challenge to Create Electro Pop Music in Immersive / 3D audio” [9:00–9:45] <100th Anniversary Hall, TDU>
Tom Ammermann (New Audio Technology)
T5 “Acoustic enhancement system: Lessons on spatial hearing from concert hall designs” [13:15–14:30] <100th Anniversary Hall, TDU>
Hideo Miyazaki (Yamaha Corporation), Takayuki Watanabe (Yamaha Corporation), Suyoung Lee (SoundKoreaENG Corporation, Seoul, Korea)
(This tutorial has an on-site demonstration tour from 5pm at Yamaha at Ginza.)

Paper Presentation

P9: Signal/Spatial Processing [9:00–10:15] <Seminar Room 1, TDU>
Chair: Christoph Sladeczek
P9-1 “Structured sparsity for sound field reproduction with overlapping groups: Investigation of the latent group lasso,” Philippe-Aubert Gauthier (Université de Sherbrooke), Pierre Grandjean (Université de Sherbrooke), and Alain Berry (Université de Sherbrooke)
P9-2 “VISR — A versatile open software framework for audio signal processing,” Andreas Franck (ISVR University of Southampton) and Filippo Fazi (ISVR University of Southampton)
P9-3 “Comparison of microphone distances for real-time reverberation enhancement system using optimal source distribution technique,” Atsushi Marui (Tokyo University of the Arts), Motoki Yairi (Kajima Technical Research Institute), and Toru Kamekawa (Tokyo University of the Arts)
P10: Production-1 [10:30–12:10] <Seminar Room 1, TDU>
Chair: Aki Mäkivirta
P10-1 “Subjective and objective evaluation of 9ch three-dimensional acoustic music recording techniques,” Will Howie (McGill University), Denis Martin (McGill University), David H. Benson (McGill University), Jack Kelly (McGill University), and Richard King (McGill University)
P10-2 “An Approach for Object-Based Spatial Audio Mastering,” Simon Hestermann (Fraunhofer), Mario Seideneck (Fraunhofer), and Christoph Sladeczek (Fraunhofer)
P10-3 “Efficacy of using spatial averaging in improving the listening area of immersive audio monitoring in programme production,” Aki Mäkivirta (Genelec) and Thomas Lund (Genelec)
P10-4 “Eclectic Space — Dynamic Processing, Temporal Envelope and Sampling as Spatial Stagers in Contemporary Pop Music,” Anders Reuter (University of Copenhagen)
P11: Production-2, Audio System-2 [14:45–16:25] <Seminar Room 1, TDU>
Chair: Ephraim Hahn
P11-1 “Sound-Space Choreography,” Gerard Erruz (Eurecat) and Timothy Schmele (Eurecat)
P11-2 “Should sound and image be coherent during live performances?,” Etienne Hendrickx (University of Brest), Julian Palacino (Feichter Electronics), Vincent Koehl (University of Brest), Frédéric Changenet (Radio France), Etienne Corteel (L-Acoustics), and Mathieu Paquier (University of Brest)
P11-3 “A framework for intelligent metadata adaptation in object-based audio,” James Woodcock (University of Salford), Jon Francombe (BBC Research and Development), Andreas Franck (University of Southampton), Philip Coleman (University of Surrey), Richard Hughes (University of Salford), Hansung Kim (University of Surrey), Qingju Liu (University of Surrey), Dylan Menzies (University of Southampton), Marcos Simon Galvez (University of Southampton), Yan Tang (University of Salford), Tim Brookes (University of Surrey), William J. Davies (University of Salford), Bruno M. Fazenda (University of Salford), Russell Mason (University of Surrey), Trevor J. Cox (University of Salford), Filippo Maria Fazi (University of Southampton), Philip J. B. Jackson (University of Surrey), Chris Pike (BBC Research and Development), and Adrian Hilton (University of Surrey)
P11-4 “Dual frequency band amplitude panning for multichannel audio systems,” Richard Hughes (University of Salford), Andreas Franck (University of Southampton), Trevor Cox (University of Salford), Ben Shirley (University of Salford), and Filippo Maria Fazi (University of Southampton)
P12: Audio Systems [16:40–17:30] <Seminar Room 1, TDU>
Chair: Hiraku Okumura
P12-1 “Sign-Agnostic Matrix Design for Spatial Artificial Reverberation with Feedback Delay Networks,” Sebastian Schlecht (International Audio Laboratories, Erlangen) and Emanuel Habets (International Audio Laboratories, Erlangen)
P12-2 “Musical Emotions Evoked by 3D Audio,” Ephraim Hahn (McGill University)
Poster-3 (eB) [13:15–14:30] <Seminar Room 2, TDU>
EB2-1 “Individual binaural reproduction of music recordings using a virtual artificial head,” Mina Fallahi (Jade Hochschule Oldenburg), Matthias Blau (Jade Hochschule Oldenburg), Martin Hansen (Jade Hochschule Oldenburg), Simon Doclo (Carl von Ossietzky Universität Oldenburg), Steven van de Par (Carl von Ossietzky Universität Oldenburg), and Dirk Püschel (Akustik Technologie Göttingen)
EB2-2 “Creation of immersive-sound content by utilizing sound intensity measurement. Part 1, Generating a 4-pi reverberation,” Masataka Nakahara (ONFUTURE Ltd. / SONA Corporation), Akira Omoto (Kyushu University / ONFUTURE Ltd.), and Yasuhiko Nagatomo (Evixar Inc.)
EB2-3 “Creation of immersive-sound content by utilizing sound intensity measurement. Part 2, Obtaining a 3D panning table,” Takashi Mikami (SONA Corporation), Masataka Nakahara (ONFUTURE Ltd.), and Kazutaka Someya (beBlue Co., Ltd.)
EB2-4 “Creation of immersive-sound content by utilizing sound intensity measurement. Part 3, Object-based post-production work,” Ritsuko Tsuchikura (SONA Corporation), Akiho Matsuo (SONA Corporation), and Masumi Takino (beBlue Co., Ltd.)
EB2-5 “An immersive 3D audio-visual installation based on sound field rendering and reproduction with higher-order ambisonics,” Shoken Kaneko (Yamaha Corporation) and Hiraku Okumura (Yamaha Corporation)
EB2-6 “Reduction of Number of Inverse Filters for Boundary Surface Control,” Hiroshi Kashiwazaki (Kyushu University) and Akira Omoto (Kyushu University)
EB2-7 “A novel method for simulating movement in multichannel reverberation providing enhanced listener envelopment,” Joshua Jaworski (The University of Sydney) and William Martens (The University of Sydney)
EB2-8 “Investigation of practical compensation method for “so-called” bone conduction headphones with a focus on spatialization,” Akiko Fujise (Panasonic Corporation)
EB2-9 “Acoustic validation of a BEM-suitable 3D mesh of KEMAR,” Kat Young (University of York), Gavin Kearney (University of York), and Anthony I. Tew (University of York)
EB2-10 “Spatial impression of source widening effect for binaural audio production,” Hengwei Su (Tokyo University of the Arts), Atsushi Marui (Tokyo University of the Arts), and Toru Kamekawa (Tokyo University of the Arts)
EB2-11 “A method to measure the binaural response based on the reciprocity by using the dummy head with sound sources,” Wan-Ho Cho (Korea Research Institute of Standards and Science) and Ji-Ho Chang (Korea Research Institute of Standards and Science)
EB2-12 “Virtual Ensemble System with three-dimensional Sound Field Reproduction using ‘Sound Cask’,” Yuko Watanabe (Tokyo Denki University), Tomoya Fukuda (Tokyo Denki University), Shin Iwai (Tokyo Denki University), Rina Sasaki (Tokyo Denki University), and Shiro Ise (Tokyo Denki University)

22.2 ch Demo of Workshop Contents [14:00–17:00] <Studio B, TUA>

“HH:MM–” denotes that it starts every hour at minute MM. (for example, HH:12 starts at 14:12, 15:12, and 16:12)

HH:00– W2 Will Howie (McGill University)

  1. Adrian Vedady: “Improvisation”
  2. ADV Trio: “Listening”
  3. ADV Trio: “Blues Jam”
  4. The Graduates: “Working”
  5. Brasstronaut: “Low High Hopes”

HH:10– Thorsten Weigelt (9ch - 5.1.4)

  1. Chamber opera and orchestra
    Leoš Janácek — Zápisník zmizelého
    Noam Sheriff — Akeda
  2. Chamber music and Requiem
    Georg Katzer — Oktopus
    Gabriel Fauré — Requiem: Libera me, In paradisum
  3. Fauré and Monteverdi
    Gabriel Fauré — Requiem: Sanctus
    Claudio Monteverdi — Vespro della Beata Vergine

HH:20– W5 Yo Sasaki, Upmix and Downmix example

An example of Upmix form 2 channel stereo to 22.2 multichannel, and downmix from 22.2 to 2 channel stereo.

HH:23– W8 Charles Nichols, Tanner Upthegrove

  1. “Beyond the Dark (2016) for computer music and sonified space weather data”,
    Charles Nichols accompanying the Dense Space art installation, with architect Paola Zellner Bassett
  2. “rabies (2017)”
    Tanner Upthegrove for computer generated electrometal band (3:30 excerpt)
  3. “Shakespeare's Garden (2018) for processed environmental sounds and recited poetry”, Charles Nichols accompanying projected graphic design and theatrical lighting, with directors Amanda Nelson and Natasha Staley, graphic designer Meaghan Dee, lighting designer John Ambrosone, and media engineer Tanner Upthegrove

HH:33– P7-1 Pierre Lecomte, “Directional filtering of Ambisonic sound scenes”

HH:40– ARIB Standard Test Materials for 3D-multichannel stereophonic sound system

  1. Sound image localization
    • Flying overhead
    • Vertical Helix
  2. Soundscape
    • Train Passing overhead
    • Amusement Park
  3. Music
    • Octet

HH:49– Excerption from the “Welcome Concert” (Aug.6th)

  • HARU NO UMI (The Spring Sea)
    Koto: ANDO Tamaki, Violin: SAHARA Atsuko

Student Event

Recording Critiques on 3D Audio for Students - 2 [12:30–13:30] <Studio B, TUA>
Advisor: Thorsten Weigelt (Berlin University of the Arts) and Kazuya Nagae (Nagoya University of Arts)

Panel Discussion [16:30–17:30] <100th Anniversary Hall, TDU>

“What are the keys for connecting Science and Aesthetics in the 3D Audio Reproduction?”
Jim Anderson (Anderson Audio NewYork), Hyunkook Lee (University of Huddersfield),Thorsten Weigelt (Berlin University of the Arts), Akira Omoto (Kyushu University), Yuko Watanabe (Tokyo Denki University), Toru Kamekawa (Tokyo University of Arts)

Closing Ceremony [17:40–18:10] <100th Anniversary Hall, TDU>

Special Demonstration [9:00–16:00] <Foyer, TUA>

Special demonstration of a living room with 8K Super Hi-Vision and its 22.2 multichannel sound will be presented. No registration required. Please drop in at the entrance of Senju Campus, Tokyo University of the Arts.

AES - Audio Engineering Society