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Audio Engineering Society News

Unless indicated otherwise, meetings are held in the Telus Project Studio,
JPL building, The Banff Centre, at 7:30 p.m.

Dr. Geoff Martin: “Objective Measures for Audio Quality'
March 14, 2006 , ICT Building, University of Calgary

Geoff MartinDr. Geoff Martin has degrees in music performance, sound recording, and acoustics simulation. He has taught electronics and electroacoustic music composition at McGill University and the University of Ottawa. He is presently a researcher in acoustics and auditory perception at Bang & Olufsen in Denmark. Geoff Martin was the papers chair for the 24th International Conference of the Audio Engineering Society (AES) on Multichannel Audio held at The Banff Centre. He is also the chair of the AES Technical Committee on Microphones and Microphone Applications and is a member of the review board for the society’s Journal. In addition, he is the author of a textbook on sound recording which is available at www.tonmeister.ca.

Dr. Martin treated an enthusiastic crowd to a discussion of “Objective Measures for Audio Quality.' Most methods currently used to assess the perceived quality of audio systems are subjective preference tests. This presentation introduced an alternative method, descriptive analysis, which provides an objective assessment of the perceived quality of reproduced sound. The context for the presentation was that of the benefits of this type of testing as it applies to equipment design. Dr. Martin explained how, through the use of a filter model of human sensory perception, we can see sound quality as being perceived in three stages. First, we recognize definitive physical descriptions of the stimulus. Second, there is a stage that involves the assignment of attributes to the stimulus. Finally, there is the subjective or “hedonic' rating that will reveal the listeners opinion of the stimulus. Dr. Martin’s presentation centred around the second stage or the assigning of attributes to the stimulus. Lists of descriptive words that apply to a given stimulus are elicited from a panel of test subjects. There is much individual and group effort put into explaining just what perceptual attributes these words describe about what the subjects hear. The chief investigator can then find associations between these attributes and the technical specifications of some equipment. The result is a kind of map between physical measurements and perceptual measurements. With this map, equipment can be improved and specifications can even be prioritized. In the future, this may lead to an ability to measure the “third' filter and map out preferences.

Gavin Fernandes: “Audio post-production'
January 17, 2006

Gavin FernandesGavin Fernandes, CAS, B.Sc., is a re-recording mixer working with the major sound facilities in Montreal (Technicolor, Modulations, InExtenso), mixing feature films and IMAX. Gavin started in 1988 working on television as an editor/mixer by day and recording albums by night, graduating to films in 1995. He has been nominated for Genie, Gemeaux, and Jutras awards, including Les Invasion Barbares (Oscar, Genie, Jutras), IMAX Volcanoes of the Deep Sea and Fighter Pilot (Best Sound IMAX), Head in the Clouds (Genie), and Les Bougons (Gemeaux). In 2005 he won the Genie Award for Le Dernier Tunnel. Gavin is currently mixing the last season of Les Bougon before starting the feature Duo. He has given conferences for AES, SPARS, AsPrAudio and Digidesign, and been a guest faculty member at The Banff Centre. Gavin is an active member of the Cinema Audio Society in Los Angeles and the Academy of Canadian Cinema and Television.

Gavin began the presentation with an overview of audio post production from the early 20th century right up to current trends, highlighting the phenomenon of “mixing-in-the-box' or entirely within a digital audio workstation. This included a discussion of how the approach to mixing changes with fully automated software plug-ins, and integration with outboard or hybrid gear like TC Powercore. He discussed the impact of ever-growing track counts on the post-production chain, and showed examples of stem mixing. He then followed with a description of emerging standards for delivery formats and related encoding processes for film and TV. This discussion included file formats, sync, tones, and noise for deliver, discreet layback to HDSR, DMU/DTS mastering, Dolby AC-3, DTS, and Dolby E encoding. Gavin concluded with a discussion of new trends in post-production, such as the merging of roles including director, mixer, editor, etc. The AES presentation was well attended by members of the Alberta AES section, as well as those from The Banff Centre Audio and CEE programs.

Graemme Brown and Ed Meitner: “DSD Surround Recording Workshop'
February 22, 2005

Graemme Brown and Ed MeitnerThe Alberta Section of the AES hosted Graemme Brown, chief engineer of Zen Mastering in Vancouver, in an demonstration of surround recording techniques using Direct Stream Digital (DSD) conversion technology. The Callino String Quartet, a performing ensemble in residence at The Banff Centre, graciously performed several works throughout the evening to allow participants in the workshop to move between the live performance space and the monitoring space to compare the two experiences. Several different techniques were discussed, and an interactive dialog ensued throughout the evening. Ed Meitner of EMM Labs was kind enough to provide a pair of their AD and DA converters, a Switchman Monitor Controller, as well as one of their new SACD players for the purposes of the workshop. Ed also led a brief discussion on DSD conversion technologies. Finally, a reception was held at Canada Disc and Tape following the workshop. A special thanks to the Centre Street Church in Calgary for providing a fantastic venue for this event!

David Sonnenschein: “Creating our World with Sound”
November 5, 2004

The Alberta Section of the AES hosted David Sonnenschein, author, film producer, and sound designer, for a lecture on conceptual tools for filmmakers and sound designers. Mr. Sonnenschein demonstrated examples of his sound design work, and led an interesting discussion pertaining to creative sound design issues.

Mr. Sonnenschein treated the 20 engineers and enthusiasts in attendance to a varied discussion on topics ranging from the film producers role in sound design, to creative uses of technology for the manipulation of sound. The second half of Mr. Sonnenschein’s talk focused on critiquing a five minute video clip produced and edited by Banff Centre audio associate Shawn Everett. An interesting and interactive dialog on the role of sound and music in film ensued, giving participants an opportunity to voice their opinions on creative issues.

Marina Bosi: “Perceptual Audio Coding Technologies: An Overview'
August 14, 2004

The Alberta Section of the AES hosted Marina Bosi, consulting professor at Stanford University’s Computer Center for Research in Music and Acoustics (CCRMA) and chief technology officer of MPEG LA, for a lecture on perceptual audio coding technologies. Dr. Bosi’s talk introduces basic principles behind perceptual audio coding systems and the design choices applied in state-of-the-art audio coding schemes, e.g. AC-3; MPEG Layers I, II, and III (MP3); MPEG AAC; MPEG-4. Perceptual audio coders are currently used in many applications including digital radio and television, digital sound on film, DVD, multimedia/internet audio, portable devices, and electronic music distribution. Dr. Bosi used a variety of audio examples allowing participants to hear different aspects of the audio coding process and potential artifacts as well as the quality of state-of-the-art implementations at varying data rates.

Mark Willsher: “Technical and creative issues in the production of large scale orchestral film scores with reference to the Lord of the Rings trilogy'
June 27, 2004

The Alberta Section of the AES hosted Mark Willsher, San Francisco-based producer and engineer, for a lecture on both technical and artistic issues related to shrinking post-production schedules for large scale film scores.

Mr. Willsher’s lecture to the audience of 30 engineers and audio enthusiasts included several practical examples from his work on The Lord of the Rings trilogy. An open discussion period led to many interesting questions regarding editing, mixing and the production chains for such large scale work. Technical demands of such work were discussed, including the use of Digidesign’s Protools and Merging Technologies Pyramix software, as were issues related to audio editing with picture.

Graemme Brown
May 16, 2004

The Alberta Section of the AES hosted Graemme Brown of Zen Mastering, Vancouver British Columbia, for a lecture on Mastering for SACD, and the use of Merging Technologies Software and associated hardware. Mr. Brown treated the audience to both stereo and multi-channel examples of his work, as well as a lively, stimulating and interactive discussion.

The thirty engineers, musicians and audio enthusiast in attendance engaged in an open dialog with topics ranging from the current state of the Recording industry, to specific topics pertaining to SACD technology. After a short break the second half of Mr. Browns talk focused on the use of Merging Technologies Pyramix software, and some of its associated hardware. He discussed his use of Pyramix for both SACD and PCM mastering projects, future directions for the software, and ways in which Pyramix can be used to increase speed and productivity versus other products on the market.

Gilles St-Laurent
March 21, 2004

The Alberta Section of the AES hosted Gilles St-Laurent, the audio conservator in the Music Division at the Library and Archives Canada, for a lecture on audio conservation and restoration. He is also a member of the AES Technical Committee on Archiving, Restoration and Digital Libraries and a member of the IASA (International Association of Sound Archives). Mr. St-Laurent discussed his work preserving old, unstable and/or damaged audio carriers as well as digitally restoring recordings for CDs, film, television and internet.

Mr. St-Laurent played numerous samples of his work including recordings spanning the past 110 years. Of particular interest to the audience were recently restored recordings of Glen Gould. Mr. St-Laurent also discussed his use of the CEDAR Cambridge software for purposes of noise reduction, as well as some of the equipment and techniques he uses to transfer older out-dated audio carriers.

Florian Camerer
November 8, 200, Telus Studio


Mr. Camerer addressing the
Banff Mountain Film Festival


Interviewed for TV by Theresa Leonard, director of audio at
The Banff Centre

The Alberta Section of the AES hosted Florian Camerer (senior audio engineer, ORF) for a lecture on 5.1 Surround Sound for Documentaries and Broadcast. Mr. Camerer discussed his experiences recording surround sound for the documentaries "Paradise Found" and "The Ice Trap" as well as the live mixing and transmission of the New Year's Eve concert from Vienna.

The audience of 23 musicians, engineers, filmmakers and local audio enthusiasts were shown numerous clips from Mr. Camerer's documentaries and broadcasts played back in surround sound. Mr. Camerer discussed in depth the technical issues in broadcasting a live surround sound program and his campaign to push the ORF, and other European broadcasters, towards full surround sound broadcast.

While at The Banff Centre, Mr. Camerer took part in the Banff Mountain Film Festival where he explained the importance of 5.1 sound and how it enhances all ranges of productions. Many directors were convinced that 5.1 would increase the impact of their films.

Michael Haas and Jonathan Stokes
October 19, 2003, Telus Studio

The Alberta Section of the AES hosted Michael Haas (independent producer) and Jonathan Stokes (Classic Sound Ltd.) for a lecture on classical music production. The producer and engineer discussed talent management in a recording session, current audio equipment and technology and the future of the classical recording industry.

The audience of 25 musicians, engineers and local audio enthusiasts were treated to listening examples of their recordings and various anecdotes from their recording experience. Mr. Haas discussed in depth how audio is disseminated to the public and the many delivery mediums.

Mr. Haas and Mr. Stokes were at The Banff Centre as part of the 2003 Music Producers' Seminar where they lectured and demonstrated preparing scores, microphone techniques and obtaining the optimum performance from the musicians.

An Evening with Elliot Scheiner
March 10, 2003, Telus Studio

The Alberta Section of the AES hosted Elliot Scheiner, for a lecture on recording and mixing for surround sound. The enthusiastic audience of 46 local area engineers, producers and musicians were treated to various examples of Elliot’s work in 5.1 surround sound including Sting, The Eagles and Steely Dan to name a few.

During the evening, Elliot discussed his experience in the recording industry including his early work with Phil Ramone and various anecdotes from his various recording and mixing credits. Elliot described in technical and artistic detail how he mixes for 5.1 surround sound including various equipment and mixing techniques.

This event was documented on digital video for future streaming of Elliot’s presentation to Alberta section members.

Quantization, Dither and Noise Shaping with Stanley Lipshitz
November 10, 2002, Telus Studio

The Alberta Section of the AES hosted Stanley Lipshitz of The Audio Research Group, Departments of Applied Mathematics and Physics, University of Waterloo, Ontario, for a lecture/demonstration on Multi-Bit versus 1-Bit audio. The audience of 32 local area engineers were treated to a demonstration on the importance of good digital signal processing. The lecture reviewed the nature of quantization errors and how they can be made innocuous through proper dithering. The need for dither in noise shapers and sigma-delta modulators was discussed while the argument was made that signal quantization using a 1-bit sigma-delta modulator is "a backward step, since these converters cannot be properly dithered".

A History of Electronic Music with David Kean
October 22, 2002, Telus Studio

The Alberta Section of the AES hosted David Kean of The Cantos Music Museum, Calgary, Alberta, for a lecture on the history of electronic music including a tour of the museum. The enthusiastic audience of 72 local area engineers, producers and musicians were treated to a history of electronic music with demonstrations of pump organs, player pianos, Melotrons, Chamberlains, Buchla and Moog synthesizers and rare instruments, such as the Theremin. As the museum is still in its infancy, attendees had hands-on access to one of the largest collections of electronic musical instruments.

David discussed his experience in the recording industry including building several recording studios such as the Bomb Factory and Audities in Los Angeles. The most popular topic of the evening was David’s recent acquisition of the original mobile recording studio owned by the Rolling Stones – noteworthy for having the very first Helios console built. The console had been installed in London’s Olympic Studios where it was used to record many famous recordings by artists such as Jimi Hendrix and Led Zepplin.

Alberta Section Meeting Report
July 14, 2002, Telus Studio

Sound Effects in a High-Resolution World with Michael Bishop

The Alberta Section of the AES hosted Michael Bishop of Telarc Records, Cleveland, Ohio, for a lecture on his unique approach to collecting and creating sound effects. The small but appreciate audience of 30 local area engineers and producers were treated to insights into Michael's recordings of real events including stampeding cattle and smashing glass. Michael also discussed the sound design for a novelty CD of "scary music" soon to be released by Telarc, for which he used cutting, snapping and splattering of vegetables to synthesize bloody, gory effects!

Michael also spent considerable time discussing the finer points of Direct Stream Digital audio recording, his preferred choice of high-resolution audio format for both music and effects. The audience was treated to examples of Michael's music recordings on SACD format in 5.1 surround, and posed many questions about the advantages and technicalities of this format, with reference to the consumer market as well.

The Alberta Section would like to thank not only Michael Bishop, but also DSD design engineer Ed Meitner of EMM Labs for providing his 8 channel ADC and DAC convertors, a Switchman router and a Pyramix workstation.

Alberta Section Meeting Report
July 7, 2002, Telus Studio

Audio for Games with Edwin Dolinski

On July 7th the Alberta Section hosted Edwin Dolinski, Director of Audio Operations for Electronic Arts Canada, for a lecture on audio for video games to an audience of 30 local area audio engineers and new media artists. Edwin began the presentation with a discussion of the scope of Electronic Arts Vancouver production house, which employs over 800 people, including 32 audio engineers. He then presented a series of exciting demonstrations of some of EA's titles with full 5.1 mixes that amazed the audience before segueing into the technical aspects of sound design and programming for interactive video. Edwin shed light on the complexities of memory management in games with reference to streaming, RAM allocation, buffering and bit budgetting as well as the role of data compression in multi-voice, multichannel products. Other subjects discussed included the use of onboard DSP to mix audio and treat samples with ambiences and EQ according to the on-screen scenario; the role and managment of music in games; and the use of dynamics processing to rebalance elements of spontaneously generated mixes.

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