2:00 pm

R-1 0-dB FS+ Level in Digital Audio Production

Thomas Lund, TC Electronic A/S, Risskov, Denmark

The paper is the third in a trilogy investigating consequences of the current level restriction in CD mastering, which leads to 0 dB FS+ level on most new album releases. We have previously shown that much consumer equipment is not capable of reproducing 0 dB FS+ signals. In this paper the performance of professional equipment exposed to such signals are presented and evaluated. Ways of monitoring and estimating the detrimental effect of overly hot signals are discussed.

No Convention Paper Printed

2:30 pm

R-2 Automatic Long-Term Loudness and Dynamics Matching

Earl Vickers, Creative Advanced Technology Center, Scotts Valley, CA, USA

Traditional audio level control devices, such as automatic gain controls (AGCs) and compressors, generally have little or no advance knowledge of the dynamic characteristics of the remainder of the current audio program. If such advance knowledge is available (i.e., if audio files can be pre-analyzed), it becomes possible to match desired values of overall loudness and dynamics. We introduce two new measures, "long-term loudness matching level" and "dynamic spread," and present new methods for long-term loudness and dynamics matching.

Convention Paper 5495

3:00 pm

R-2 A Survey Study of In-Situ Stereo and Multi-Channel Monitoring Conditions

Aki V. Mäkivirta and Christophe Anet, Genelec OY, Iisalmi, Finland

The in-situ responses of a total of 372 loudspeakers in 164 professional monitoring rooms around the world have been measured after acoustical calibration. All measured rooms have been equipped with factory calibrated three way monitors and acoustically calibrated with standardized apparatus. The results provide a thorough understanding of typical monitoring conditions for stereo and multichannel rooms, distribution in room parameters and quality of reproduced audio. Results are compared to current standards and recommendations.

Convention Paper 5496

3:30 pm

R-4 Music and Sound Production within a Computer

Robert Jay Ellis-Geiger, Leeds Metropolitan University, Leeds, West Yorkshire, UK

It is a good time to reflect on where the music and audio recording industry has come from and to consider how best to use the new hardware/software tools, options, views and opinions that are being presented to us. In support of this paper the author will give an audio demonstration, covering recording, production and mastering using a computer. The author will also give a live demonstration on composing music for film to illustrate the creative possibilities when using a computer to assist 'traditional' orchestral composition and orchestration.

Convention Paper 5497