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DTSTART;TZID=Europe/Berlin:20240109T183000
DTEND;TZID=Europe/Berlin:20240109T220000
DTSTAMP:20260405T170233
CREATED:20231220T085825Z
LAST-MODIFIED:20240214T124320Z
UID:2418-1704825000-1704837600@aesgermany.org
SUMMARY:Immersive Audio as its own art
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/immersive-audio-as-its-own-art
LOCATION:MSM STUDIOS BERLIN\, Gneisenaustraße 44-45\, Berlin\, 10961\, Germany
ORGANIZER;CN="AES Germany BERLIN":MAILTO:berlin@aesgermany.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231215T160000
DTEND;TZID=Europe/Berlin:20231215T200000
DTSTAMP:20260405T170233
CREATED:20231207T110436Z
LAST-MODIFIED:20231207T110437Z
UID:2403-1702656000-1702670400@aesgermany.org
SUMMARY:Bremen: Sendesaal (mit VDT RG Hamburg)
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/bremen-sendesaal-mit-vdt-rg-hamburg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231208T190000
DTEND;TZID=Europe/Berlin:20231208T233000
DTSTAMP:20260405T170233
CREATED:20231207T103700Z
LAST-MODIFIED:20231207T103948Z
UID:2398-1702062000-1702078200@aesgermany.org
SUMMARY:Hamburg: Punsch! Musik! 3D-Audio!
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/hamburgpunsch-musik
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231207T180000
DTEND;TZID=Europe/Berlin:20231207T235959
DTSTAMP:20260405T170233
CREATED:20231207T102815Z
LAST-MODIFIED:20231207T102816Z
UID:2395-1701972000-1701993599@aesgermany.org
SUMMARY:Frankfurt: GetTogether XMAS Grooves 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/frankfurt-gettogether-xmas-grooves-2023
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231108
DTEND;VALUE=DATE:20231112
DTSTAMP:20260405T170233
CREATED:20230113T175055Z
LAST-MODIFIED:20231003T182703Z
UID:1670-1699401600-1699747199@aesgermany.org
SUMMARY:Düsseldorf: 32. Tonmeistertagung
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/dusseldorf-32-tonmeistertagung
LOCATION:CCD – Congress Center Düsseldorf\, Stockumer Kirchstraße 61\, Düsseldorf\, 40474
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231025T000000
DTEND;TZID=Europe/Berlin:20231027T235959
DTSTAMP:20260405T170233
CREATED:20230116T100601Z
LAST-MODIFIED:20231002T183801Z
UID:1684-1698192000-1698451199@aesgermany.org
SUMMARY:AES Convention NYC 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/aes-ny-2023-exhibit-bookings-with-early-bird-discount
LOCATION:Javits Center\, 429 11th Ave\,\, New York\, New York\, 10001\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231017T000000
DTEND;TZID=Europe/Berlin:20231019T235959
DTSTAMP:20260405T170233
CREATED:20230113T180548Z
LAST-MODIFIED:20231002T151652Z
UID:1675-1697500800-1697759999@aesgermany.org
SUMMARY:Hamburg: LEaTCon + Studioszene 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-leatcon-2023
LOCATION:HAMBURG MESSE\, Messeplatz 1\, Hamburg\, 20357
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231012T174500
DTEND;TZID=Europe/Berlin:20231012T220000
DTSTAMP:20260405T170233
CREATED:20231003T163005Z
LAST-MODIFIED:20231003T163926Z
UID:2332-1697132700-1697148000@aesgermany.org
SUMMARY:AES Bayern @ FFS Film- & Fernseh-Synchron GmbH + Stammtisch @Biergarten
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-bayern-ffs-film-fernseh-synchron-gmbh-stammtisch-biergarten
LOCATION:FFS Film- & Fernseh-Synchron GmbH\, Poccistraße 3\, München\, 80336
ORGANIZER;CN="AES Germany Bayern":MAILTO:Florian.walter@impulse-audio-lab.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231010T100000
DTEND;TZID=Europe/Berlin:20231013T180000
DTSTAMP:20260405T170233
CREATED:20231003T165714Z
LAST-MODIFIED:20231003T165923Z
UID:2343-1696932000-1697220000@aesgermany.org
SUMMARY:Seminar @TU Berlin: Entwicklung\, Messung und Bewertung von Lautsprechern
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/seminar-tu-berlin-entwicklung-messung-und-bewertung-von-lautsprechern
LOCATION:TU BERLIN\, Straße des 17. Juni 135\, Berlin\, 10623
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20231005T000000
DTEND;TZID=Europe/Berlin:20231005T235959
DTSTAMP:20260405T170233
CREATED:20230927T073458Z
LAST-MODIFIED:20230927T094255Z
UID:2273-1696464000-1696550399@aesgermany.org
SUMMARY:HOLOPLOT Demos @Festspielhaus Bregenz
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/holoplot-demos-festspielhaus-bregenz
LOCATION:Festspielhaus Bregenz\, Platz d. Wr. Symphoniker 1\, Bregenz\, 6900\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230919T170000
DTEND;TZID=Europe/Berlin:20230919T183000
DTSTAMP:20260405T170233
CREATED:20230715T151506Z
LAST-MODIFIED:20230920T051752Z
UID:2202-1695142800-1695148200@aesgermany.org
SUMMARY:AES Germany Research Colloquium #5: Gain Sharing Automatic Microphone 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-research-colloquium-5-gain-sharing-automatic-microphone-mixing
LOCATION:Online Zoom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230906T000000
DTEND;TZID=Europe/Berlin:20230908T235959
DTSTAMP:20260405T170233
CREATED:20230329T175844Z
LAST-MODIFIED:20230329T180708Z
UID:1962-1693958400-1694217599@aesgermany.org
SUMMARY:AES 2023 International Conference on Audio Education Hasselt\, Belgium
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-2023-international-conference-on-audio-education-hasselt-belgium
LOCATION:PXL-Music\, PXL University of Applied Sciences and Arts Hasselt\, Belgium\, Elfde-Liniestraat 24\, Hasselt\, 3500\, Belgium
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230823
DTEND;VALUE=DATE:20230826
DTSTAMP:20260405T170233
CREATED:20230113T183515Z
LAST-MODIFIED:20230213T224943Z
UID:1679-1692748800-1693007999@aesgermany.org
SUMMARY:2023 AES International Conference on Spatial and Immersive Audio
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/2023-aes-international-conference-on-spatial-and-immersive-audio
LOCATION:University of Hudderfied\, Queensgate HD1 3DH\, Huddersfield\, HD1 3DH\, United Kingdom
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230822T183000
DTEND;TZID=Europe/Berlin:20230822T183000
DTSTAMP:20260405T170233
CREATED:20230810T162433Z
LAST-MODIFIED:20230811T101250Z
UID:2216-1692729000-1692729000@aesgermany.org
SUMMARY:Berlin: Mixing for Live-Broadcasting for acoustical and classical music recording
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/berlin-mixing-for-live-broadcasting-for-acoustical-and-classical-music-recording
LOCATION:Ableton AG\, Schönhauser Allee 6/7\, Berlin\, 10119\, Germany
CATEGORIES:Come Together
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230618T130000
DTEND;TZID=Europe/Berlin:20230618T180000
DTSTAMP:20260405T170233
CREATED:20230605T200610Z
LAST-MODIFIED:20230606T003257Z
UID:2142-1687093200-1687111200@aesgermany.org
SUMMARY:Tonkunst Hannover eV: Sommerfest
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/tonkunst-hannover-sommerfest
LOCATION:Tonstudio Tessmar\, Reinhold-Schleese-Str. 24\, Hannover\, 30179
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230613T170000
DTEND;TZID=Europe/Berlin:20230613T183000
DTSTAMP:20260405T170233
CREATED:20230528T133920Z
LAST-MODIFIED:20230625T201108Z
UID:2098-1686675600-1686681000@aesgermany.org
SUMMARY:AES Germany Research Colloquium #4: From mp3 to PARty
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-4-from-mp3-to-party
LOCATION:Online Zoom
CATEGORIES:Research Colloquium
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230531T163000
DTEND;TZID=Europe/Berlin:20230531T203000
DTSTAMP:20260405T170233
CREATED:20230504T105010Z
LAST-MODIFIED:20230504T105012Z
UID:2068-1685550600-1685565000@aesgermany.org
SUMMARY:VDT & AES Regionalgruppen Frankfurt laden ein zum Meetup bei Adam Hall | LD Systems
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/vdt-aes-regionalgruppen-frankfurt-laden-ein-zum-meetup-bei-adam-hall-ld-systems
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230529T000000
DTEND;TZID=Europe/Berlin:20230529T235959
DTSTAMP:20260405T170233
CREATED:20230402T173513Z
LAST-MODIFIED:20230402T173514Z
UID:1989-1685318400-1685404799@aesgermany.org
SUMMARY:CfP Submission Deadline for tmt32
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/cfp-submission-deadline-for-tmt32
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230526T000000
DTEND;TZID=Europe/Berlin:20231031T235959
DTSTAMP:20260405T170233
CREATED:20230606T013751Z
LAST-MODIFIED:20230606T014426Z
UID:2152-1685059200-1698796799@aesgermany.org
SUMMARY:Ausstellung MKG Hamburg: Can You Hear It?
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/ausstellung-mkg-hamburg-can-you-hear-it
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230518T000000
DTEND;TZID=Europe/Berlin:20230520T235959
DTSTAMP:20260405T170233
CREATED:20230121T162031Z
LAST-MODIFIED:20230421T155656Z
UID:1699-1684368000-1684627199@aesgermany.org
SUMMARY:CANCELLED: Hamburg: KLG 2023 // 6th International Conference on Sonic Arts and Spatial Audio
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-klg-2023-6th-international-conference-on-sonic-arts-and-spatial-audio
LOCATION:HAW Hamburg\, Finkenau\, Tonlabor\, FINKENAU 35\, Hamburg\, 22081
ORGANIZER;CN="HAW Hamburg%2C Prof. Thomas G%C3%B6rne":MAILTO:hamburg@aesgermany.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230513
DTEND;VALUE=DATE:20230516
DTSTAMP:20260405T170233
CREATED:20230113T165754Z
LAST-MODIFIED:20230118T092644Z
UID:1654-1683936000-1684195199@aesgermany.org
SUMMARY:AES Europe 2023 - Espoo\, Finland
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-2023-espoo-finland
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230503T120000
DTEND;TZID=Europe/Berlin:20230503T130000
DTSTAMP:20260405T170233
CREATED:20230425T092109Z
LAST-MODIFIED:20230425T092110Z
UID:2056-1683115200-1683118800@aesgermany.org
SUMMARY:Führung im Musikverein Wien
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/fuhrung-im-musikverein-wien
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230427T180000
DTEND;TZID=Europe/Berlin:20230427T230000
DTSTAMP:20260405T170233
CREATED:20230423T173210Z
LAST-MODIFIED:20230426T103840Z
UID:2049-1682618400-1682636400@aesgermany.org
SUMMARY:AES/VDT Get-Together @ Studios 301
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/vdt-get-together-studios-301
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230426T150000
DTEND;TZID=Europe/Berlin:20230426T200000
DTSTAMP:20260405T170233
CREATED:20230402T185633Z
LAST-MODIFIED:20230402T185634Z
UID:2002-1682521200-1682539200@aesgermany.org
SUMMARY:Tag gegen Lärm im Institut für Schallforschung (ISF) der ÖAW
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/tag-gegen-larm-im-institut-fur-schallforschung-isf-der-oaw
LOCATION:Institut für Schallforschung der ÖAW\, Wohllebengasse 12-14\, Wien\, 1040\, Austria
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230426T000000
DTEND;TZID=Europe/Berlin:20230426T235959
DTSTAMP:20260405T170233
CREATED:20230425T215057Z
LAST-MODIFIED:20230425T215058Z
UID:2061-1682467200-1682553599@aesgermany.org
SUMMARY:Tag gegen Lärm / International Noise Awareness Day
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/tag-gegen-larm-international-noise-awareness-day
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230425
DTEND;VALUE=DATE:20230429
DTSTAMP:20260405T170233
CREATED:20230116T153126Z
LAST-MODIFIED:20230402T204753Z
UID:1726-1682380800-1682726399@aesgermany.org
SUMMARY:Frankfurt: Prolight + Sound 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/frankfurt-pro-light-sound-2023
LOCATION:Messe Frankfurt\, Ludwig-Erhard-Anlage 1\, Frankfurt am Main\, 60327
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230421T000000
DTEND;TZID=Europe/Berlin:20230421T235959
DTSTAMP:20260405T170233
CREATED:20230402T152939Z
LAST-MODIFIED:20230402T152940Z
UID:1973-1682035200-1682121599@aesgermany.org
SUMMARY:CfP Submission Deadline for AES 2023 International Conference on Audio Education
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/cfp-submission-deadline-for-aes-2023-international-conference-on-audio-education
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230404T170000
DTEND;TZID=Europe/Berlin:20230404T183000
DTSTAMP:20260405T170233
CREATED:20230219T190000Z
LAST-MODIFIED:20230404T210644Z
UID:1787-1680627600-1680633000@aesgermany.org
SUMMARY:AES Germany Research Colloquium #3: The Williams Tree
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-1-2023-the-williams-tree
CATEGORIES:Research Colloquium
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230403T000000
DTEND;TZID=Europe/Berlin:20230403T235959
DTSTAMP:20260405T170233
CREATED:20230402T161716Z
LAST-MODIFIED:20230402T161717Z
UID:1987-1680480000-1680566399@aesgermany.org
SUMMARY:CfP Submission Deadline for AES International Conference on Spatial and Immersive Audio
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/cfp-submission-deadline-for-aes-international-conference-on-spatial-and-immersive-audio
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20230307T193000
DTEND;TZID=Europe/Berlin:20230307T230000
DTSTAMP:20260405T170233
CREATED:20230306T121703Z
LAST-MODIFIED:20230306T121704Z
UID:1877-1678217400-1678230000@aesgermany.org
SUMMARY:AES Germany Get Together - Hamburg
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-get-together-hamburg
LOCATION:GRÖNINGER PRIVATBRAUEREI\, Eingang Willy-Brandt-Str. 47\, Hamburg
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