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DTSTART;VALUE=DATE:20230118
DTEND;VALUE=DATE:20230120
DTSTAMP:20260405T215733
CREATED:20221216T154719Z
LAST-MODIFIED:20230125T220144Z
UID:1568-1674000000-1674172799@aesgermany.org
SUMMARY:HAMBURG OPEN 2023
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/hamburg-open-2023
LOCATION:HAMBURG MESSE\, Messeplatz 1\, Hamburg\, 20357
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221217T120000
DTEND;TZID=Europe/Berlin:20221217T143000
DTSTAMP:20260405T215733
CREATED:20221210T134103Z
LAST-MODIFIED:20221212T172108Z
UID:1551-1671278400-1671287400@aesgermany.org
SUMMARY:AES Karlsruhe Region Stammtisch #4
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-karlsruhe-region-stammtisch-4
LOCATION:Vogel Hausbräu Ettlingen\, Rheinstraße 4\, Ettlingen\, 76275
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221212T100000
DTEND;TZID=Europe/Berlin:20221212T110000
DTSTAMP:20260405T215733
CREATED:20221127T170804Z
LAST-MODIFIED:20221128T151556Z
UID:1506-1670839200-1670842800@aesgermany.org
SUMMARY:RGTH Webinar: Einheitspatent und Einheitliches Patentgericht
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/rgth-webinar-einheitspatent-und-einheitliches-patentgericht
LOCATION:Online Zoom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221206T170000
DTEND;TZID=Europe/Berlin:20221206T183000
DTSTAMP:20260405T215733
CREATED:20221119T120027Z
LAST-MODIFIED:20230211T185406Z
UID:1471-1670346000-1670351400@aesgermany.org
SUMMARY:AES Germany Research Colloquium #2-2022: Hearing Profiles and Music Preferences
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-germany-research-colloquium-2-2022-hearing-profiles-and-music-preferences
LOCATION:Online Zoom
CATEGORIES:Research Colloquium
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221201T170000
DTEND;TZID=Europe/Berlin:20221201T210000
DTSTAMP:20260405T215733
CREATED:20221128T121911Z
LAST-MODIFIED:20240225T125351Z
UID:1525-1669914000-1669928400@aesgermany.org
SUMMARY:Hamburg: Joint Meeting zwecks Ideenaustausch im Tonlabor\, HAW Finkenau
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/hamburg
LOCATION:HAW Hamburg\, Finkenau\, Tonlabor\, FINKENAU 35\, Hamburg\, 22081
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221130T190000
DTEND;TZID=Europe/Berlin:20221130T220000
DTSTAMP:20260405T215733
CREATED:20221128T104113Z
LAST-MODIFIED:20221128T151818Z
UID:1517-1669834800-1669845600@aesgermany.org
SUMMARY:Thüringen: Erster Ilmenauer Audiostammtisch (TU Hörlabor)
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/thuringen-erster-ilmenauer-audiostammtisch-tu-horlabor
LOCATION:TU Ilmenau\, Helmholtzpl. 2\, Ilmenau\, 98693
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221111
DTEND;VALUE=DATE:20221130
DTSTAMP:20260405T215733
CREATED:20221102T110046Z
LAST-MODIFIED:20221102T111704Z
UID:1444-1668124800-1669766399@aesgermany.org
SUMMARY:Lautsprecherentwicklung - Vortragsreihe an der Hochschule Darmstadt
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/lautsprecherentwicklung-vortragsreihe-an-der-hochschule-darmstadt
LOCATION:Hochschule Darmstadt\, Max-Planck-Strasse 2\, Dieburg\, 64807\, Germany
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221028T183000
DTEND;TZID=Europe/Berlin:20221028T230000
DTSTAMP:20260405T215733
CREATED:20221009T100536Z
LAST-MODIFIED:20221009T202040Z
UID:1377-1666981800-1666998000@aesgermany.org
SUMMARY:AES Regionalgruppe Frankfurt @ Max-Planck-Institut für empirische Ästhetik in Frankfurt
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-regionalgruppe-frankfurt-max-planck-institut-fur-empirische-asthetik-in-frankfurt
LOCATION:Max-Planck-Instituts für empirische Ästhetik\, Grüneburgweg 14\, Frankfurt am Main\, 60322
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221026
DTEND;VALUE=DATE:20221028
DTSTAMP:20260405T215733
CREATED:20220913T152618Z
LAST-MODIFIED:20220913T152947Z
UID:1307-1666742400-1666915199@aesgermany.org
SUMMARY:AES Convention New York 2022 Online Event
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-convention-new-york-2022-online-event
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221019
DTEND;VALUE=DATE:20221021
DTSTAMP:20260405T215733
CREATED:20220913T151113Z
LAST-MODIFIED:20221010T151354Z
UID:1300-1666137600-1666310399@aesgermany.org
SUMMARY:AES Convention New York 2022
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-convention-new-york-2022
LOCATION:Javits Center\, 429 11th Ave\,\, New York\, New York\, 10001\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221018
DTEND;VALUE=DATE:20221021
DTSTAMP:20260405T215733
CREATED:20220913T223105Z
LAST-MODIFIED:20221014T173722Z
UID:1312-1666051200-1666310399@aesgermany.org
SUMMARY:Live Entertainment and Technology Convention premieres @ Hamburg Messe 2022
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/call-for-panelists-leatcon-premiers-hamburg-messe-2022
LOCATION:HAMBURG MESSE\, Messeplatz 1\, Hamburg\, 20357
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20221008T180000
DTEND;TZID=Europe/Berlin:20221008T220000
DTSTAMP:20260405T215733
CREATED:20220925T175233Z
LAST-MODIFIED:20221005T235642Z
UID:1354-1665252000-1665266400@aesgermany.org
SUMMARY:Public Listening des Finales - VDT Student 3D-Audio Production Competition
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/hamburg-einladung-zum-public-viewing-des-finales-student-3d-audio-production-competition
LOCATION:HAW Hamburg\, Finkenau\, Tonlabor\, FINKENAU 35\, Hamburg\, 22081
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220924T130000
DTEND;TZID=Europe/Berlin:20220924T143000
DTSTAMP:20260405T215733
CREATED:20220913T144507Z
LAST-MODIFIED:20220913T144507Z
UID:1296-1664024400-1664029800@aesgermany.org
SUMMARY:AES Germany (Karlsruhe Region) Stammtisch #3
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-germany-karlsruhe-region-stammtisch-3
LOCATION:Vogel Hausbräu Ettlingen\, Rheinstraße 4\, Ettlingen\, 76275
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220922
DTEND;VALUE=DATE:20220923
DTSTAMP:20260405T215733
CREATED:20220907T115302Z
LAST-MODIFIED:20220907T132354Z
UID:1262-1663804800-1663891199@aesgermany.org
SUMMARY:1-Day Conference "Dome's Day" @ experimenta science center/Heilbronn
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/1-day-conference-domes-day-experimenta-science-center-heilbronn
LOCATION:Experimenta Heilbronn\, Experimenta-Platz\, Heilbronn\, 74072\, Germany
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220917T150000
DTEND;TZID=Europe/Berlin:20220917T230000
DTSTAMP:20260405T215733
CREATED:20220912T124620Z
LAST-MODIFIED:20220914T090548Z
UID:1276-1663426800-1663455600@aesgermany.org
SUMMARY:analog audio innovation @ "elysian Fields" Nettetal (NRW region)
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/exclusive-company-event-elysian-fields-nettetal-nrw-region
LOCATION:elysia GmbH\, Am Panneschopp 18\, Nettetal\, 41334\, Germany
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220915T160000
DTEND;TZID=Europe/Berlin:20220915T183000
DTSTAMP:20260405T215733
CREATED:20220915T092725Z
LAST-MODIFIED:20220915T092725Z
UID:1327-1663257600-1663266600@aesgermany.org
SUMMARY:Three Engineering Societies’ Perspectives on Multi-channel Audio and Psychoacoustics
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/three-engineering-societies-perspectives-on-multi-channel-audio-and-psychoacoustics
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220719T170000
DTEND;TZID=Europe/Berlin:20220719T183000
DTSTAMP:20260405T215733
CREATED:20220703T160052Z
LAST-MODIFIED:20230412T072709Z
UID:1153-1658250000-1658255400@aesgermany.org
SUMMARY:AES Germany Research Colloquium #1-2022: AI in Audio – Controversy and Opportunity
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-germany-research-colloquium-1-2022-ai-in-audio-controversy-and-opportunity
LOCATION:Online Zoom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220712T190000
DTEND;TZID=Europe/Berlin:20220712T203000
DTSTAMP:20260405T215733
CREATED:20220711T133042Z
LAST-MODIFIED:20220711T134105Z
UID:1216-1657652400-1657657800@aesgermany.org
SUMMARY:AES Bayern @ SAE Institute Munich: Mix It (More Efficiently!) with Ian Corbett
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/1216
LOCATION:SAE MUNICH\, Zielstattstraße 30\, München\, 81379
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220707T180000
DTEND;TZID=Europe/Berlin:20220707T180000
DTSTAMP:20260405T215733
CREATED:20220613T094648Z
LAST-MODIFIED:20220711T111519Z
UID:1066-1657216800-1657216800@aesgermany.org
SUMMARY:AES Germany Berlin: Ian Corbett "More Efficient Mixing"
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-germany-berlin-ian-corbett-more-efficient-mixing
LOCATION:Native Instruments GmbH\, Schlesische Str. 29/30\, Berlin\, 10997\, Germany
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220630
DTEND;VALUE=DATE:20220701
DTSTAMP:20260405T215733
CREATED:20220621T221935Z
LAST-MODIFIED:20220621T222634Z
UID:1148-1656547200-1656633599@aesgermany.org
SUMMARY:END OF CALL: Europe's Sixth Student 3D Audio Production Competition and virtual Finals are held Oct. 2022
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/end-of-call-europes-sixth-student-3d-audio-production-competition-and-virtual-finals-are-held-oct-2022
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220622
DTEND;VALUE=DATE:20220625
DTSTAMP:20260405T215733
CREATED:20220512T181817Z
LAST-MODIFIED:20240815T121335Z
UID:989-1655856000-1656115199@aesgermany.org
SUMMARY:Seminarreihe Audiokommunikation an der TU Berlin im Juni 2022
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/seminarreihe-audiokommunikation-an-der-tu-berlin-im-juni-2022
LOCATION:TU BERLIN\, Straße des 17. Juni 135\, Berlin\, 10623
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220609
DTEND;VALUE=DATE:20220611
DTSTAMP:20260405T215733
CREATED:20220120T040418Z
LAST-MODIFIED:20220314T070635Z
UID:292-1654732800-1654905599@aesgermany.org
SUMMARY:4. Schoeps Mikroforum
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/4-schoeps-microforum
LOCATION:Karlsburg Durlach\, Pfinztalstraße 9\, Karlsruhe\, 76227
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220601
DTEND;VALUE=DATE:20220603
DTSTAMP:20260405T215733
CREATED:20220525T131102Z
LAST-MODIFIED:20220531T185057Z
UID:1020-1654041600-1654214399@aesgermany.org
SUMMARY:HAMBURG OPEN 2022
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/hamburg-open-2022
LOCATION:HAMBURG MESSE\, Messeplatz 1\, Hamburg\, 20357
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220516
DTEND;VALUE=DATE:20220520
DTSTAMP:20260405T215733
CREATED:20220120T042922Z
LAST-MODIFIED:20220423T184538Z
UID:303-1652659200-1653004799@aesgermany.org
SUMMARY:ONLINE - AES EUROPE SPRING CONVENTION
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/online-aes-europe-spring-convention-den-haag
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220507
DTEND;VALUE=DATE:20220509
DTSTAMP:20260405T215733
CREATED:20220120T042239Z
LAST-MODIFIED:20220423T184252Z
UID:298-1651881600-1652054399@aesgermany.org
SUMMARY:IN PERSON - AES EUROPE SPRING CONVENTION\, THE HAGUE\, NL
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-europe-convention-den-haag
LOCATION:AMARE TheHague\, Spuiplein 150\, TheHague\, Den Haag\, 2511\, Netherlands
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220505T180000
DTEND;TZID=Europe/Berlin:20220505T193000
DTSTAMP:20260405T215733
CREATED:20220430T104227Z
LAST-MODIFIED:20220430T105249Z
UID:980-1651773600-1651779000@aesgermany.org
SUMMARY:AES BERLIN - KICK OFF MEETING (ONLINE)
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-berlin-kick-off-meeting-online
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220426T180000
DTEND;TZID=Europe/Berlin:20220426T220000
DTSTAMP:20260405T215733
CREATED:20220419T192850Z
LAST-MODIFIED:20220421T131419Z
UID:936-1650996000-1651010400@aesgermany.org
SUMMARY:AES GERMANY Get-Together @ PLS2022 - FRANKFURT
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/aes-get-together-prolight-sound-2022-frankfurt
LOCATION:Dauth-Schneider\, Neuer Wall 5-7\, Klappergasse 39\, Frankfurt am Main\, 60594
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220426
DTEND;VALUE=DATE:20220430
DTSTAMP:20260405T215733
CREATED:20220214T220625Z
LAST-MODIFIED:20220419T193131Z
UID:527-1650931200-1651276799@aesgermany.org
SUMMARY:Prolight + Sound 2022 - FRANKFURT
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/prolight-sound-frankfurt
LOCATION:Messe Frankfurt\, Ludwig-Erhard-Anlage 1\, Frankfurt am Main\, 60327
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220412T190000
DTEND;TZID=Europe/Berlin:20220412T210000
DTSTAMP:20260405T215733
CREATED:20220412T104723Z
LAST-MODIFIED:20220412T104723Z
UID:929-1649790000-1649797200@aesgermany.org
SUMMARY:HAMBURG: REGIONALES ONLINE MEETING mit VDT Regionalgruppe
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/hamburg-regionales-online-meeting-mit-vdt-regionalgruppe
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20220331T140000
DTEND;TZID=Europe/Berlin:20220331T163000
DTSTAMP:20260405T215733
CREATED:20220303T192310Z
LAST-MODIFIED:20220329T085241Z
UID:661-1648735200-1648744200@aesgermany.org
SUMMARY:Seminarreihe Beschallungstechnik: Grundlagen\, Bewertung\, Simulation  Teil 3 (von 3) (*)
DESCRIPTION:The new AES Germany Research Colloquium aims to provide a platform to discourse on a specific audio topic and create a bridge between basic research\, manufacturers and users in audio technology. The Williams Tree\, the True 3D Audio Main Microphone Array designed to replace the much-overrated Decca TreeThe ‘Williams Tree’\, is based on the process of segmentation of the sound field around us\, each segment being covered by the corresponding pair of microphones within an array. A different approach must be adopted for each part of the 3D coverage – the surround sound segments\, the side height coverage\, and the top zenith zone coverage. This 3D audio array has been developed over a period of about 30 years\, and is a carefully constructed array of microphones covering each segment of the sound field\, and producing a smooth and accurate natural sound image of the complete spatial image around us. This can be limited to only the upper hemisphere\, or it can also cover the lower part of the sound image below the surround sound layer of microphones. The quality of the complete 3D sound image is infinitely superior to the Decca Tree\, and promises to become the standard approach to the recording and the reproduction of 3D Audio. However\, it must not be forgotten that the recording array is only half the problem\, equal attention must be given to the loudspeaker configuration\, if optimum results are to be obtained. The idea for the Decca Tree started in the 1950s in the early days of Stereophonic Recording. Due to Angular Distortion of the reproduced stereo recordings\, people came to the conclusion that there seemed to be a hole in the centre of the stereo image. It was therefore quite logical to introduce a third microphone\, pan-potted to the centre. In those days\, this was seemingly a satisfactory solution to the stereo reproduction problem. But in fact\, the Decca Tree was little more than a set of pan-potted omnidirectional microphones. The introduction of the Decca Tree into surround sound recording and later into 3D or immersive sound recording and reproduction\, but with no real psychoacoustic analysis of real segment reproduction\, was a completely unsatisfactory approach to trying to record and reproduce the spacial aspects of sound. More information:Convention Paper: MMAD — Designing for Height – Practical ConfigurationsConvention e-Brief: The “Williams Star” Microphone Array Support SystemConvention Paper: Migration of 5.0 Multichannel Microphone Array Design to Higher Order MMAD (6.0\, 7.0 & 8.0) with or Without the Inter-Format Compatibility Criteria. (Open access)Convention Paper: The Whys and Wherefores of Microphone Array Crosstalk in Multichannel Microphone Array Design (Open access)Michael Williams – Freelance Sound Recording Engineer and Lecturer\, Sounds of Scotland After studying mathematics and physics at Queens University in Belfast\, Northern Ireland\, Michael Williams started his professional career in the Technical Operations department at the BBC Television Studios in London in 1960. In 1965 he moved to France to work for ‘Societe Audax’ in Paris developing loudspeakers for professional sound and television broadcasting\, and later worked for the ‘Conservatoire National des Arts et Metiers’ as Chief Engineer in the adult education television service. Whilst at the Conservatoire he created a full time yearly training course in ‘les Métiers et Techniques de l’Audiovisuel’. In relation to this course he was in charge of training sessions at the CNAM in all aspects of the Audio Visual Industry. During this period he also worked as Consultant Engineer to the Research Laboratories « Brigitte Fribourg » for the Training of the Handicaped for reinsertion into the normal working environment. In 1980 he became a free-lance instructor in Audio Engineering and Sound Recording Practice\, working for most of the major French national television and sound broadcasting companies\, as well as many training schools and institutions. He is an active member of the Audio Engineering Society\, Fellow of the Audio Engineering Society\, former Governor\, and served on the AES French Section Committee from 1987 to 2009. He was Papers Chair at the Paris Conventions in 1991 and 2000\, Convention Secretary in 1995 and Papers Cochair in 2006. During this period Michael Williams has continued his career as a free-lance sound recording and research engineer\, and has published many papers on Stereo\, Multichannel and 3D Microphone Array Recording Systems over the past twenty five years\, leading to the publication of three books on the subject of Microphone Array Design. Join MeetingThe colloquium will be held in English with a presentation of 60 minutes\, followed by a 30-minute discussion. Link to register in advance for this meeting. After registering\, you will receive a confirmation email containing information about joining the meeting. The Meeting Format: We will be hosting this meeting using Zoom. After registering\, you will receive a confirmation email containing information about joining the webinar. For most participants\, audio and video are muted during the presentation. In the discussion they can be unmuted (indicated by the raised hand function). This will be explained again at the beginning of the meeting. For a better quality we suggest to use a headset with microphone. The presentation will be recorded. By turning on your camera you are consenting for your image to be used in a photograph of the event.
URL:https://aesgermany.org/event/seminarreihe-beschallungstechnik-grundlagen-bewertung-simulation
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