AES Show 2024 NY

By now we know a lot about how immersive microphone arrays work, from fully coincident, to semi-coincident, to fully spaced etc., and how they can be used to make spectacular 3D productions, But what happens when we use the same recording techniques in very different acoustic spaces with different size ensembles etc.? Various hi-resolution immersive recordings of acoustic music from around the globe made in extraordinary acoustic spaces including Skywalker Scoring Stage, Zlin Concert Hall, Notre Dame University, NYU's Paulson Center, CNSO Studios, Smecky Studios, and other exceptional churches and concert halls will be presented. Along with critical listening exercises, we will share microphone set-ups, multi-track recordings, videos and photo documentation of the spaces with the participants.

In a perfect world, one would record projects in the perfect space with musicians performing in perfect balance, with perfect results, but for us, the perfect world doesn’t exist and we’re presented with projects that were never intended for surround or immersive presentation, In this illustrated talk, we will play projects that were recorded (even in the last century!) and have been turned into successful immersive and surround recordings..

Volumetric sound recording techniques , where multiple 3D sound signals are captured throughout the recording area and mapped later for playback, have shown great promise in the world of positional tracking immersive experiences. But is volumetric sound capture an effective and plausible technique for music production ? What advantages does volumetric have over more traditional recording techniques and single position Ambisonic recordings and how the signals are combined for a stationary immersive listening experience ? These questions will be addressed by sharing immersive recordings, documentation, and discussing the outcomes of recent and ongoing work conducted at New York University and McGill University.

Richard King plays high resolution 7.1.4 music recordings of Yo-Yo Ma and Eric Clapton, and from the excellent Chevalier sound track album, describing also some of the techniques used.

This masterclass series, featuring remarkable recording artists, is a chance to hear 3D audio at its best; as we discuss factors of production, distribution and reproduction that makes it worth the effort. Thomas exemplifies the important qualia, auditory envelopment (AE); and we evaluate how well AE latent in the content - from intimate to grand - comes across in this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats each time.

Ambisonic microphones offer a dynamic and multifaceted approach to capturing and creating immersive audio experiences. This workshop delves into the process of transforming multichannel A-format raw recordings into versatile Ambisonic B-format files. These files can then be decoded into various audio formats, including stereo, binaural, surround, and spatial 3D audio. This makes it an ideal technique for crafting head-tracking binaural audio for 360/3D videos and VR gaming environments.
Participants will gain hands-on experience with the Zoom H3-VR portable recorder and learn how to create Ambisonic recordings. The session will guide you through processing raw recordings using Reaper and the dearVR AMBI MICRO plugin and illustrating the workflow for integrating Ambisonic audio into 360/3D video and VR games for head-tracking binaural sound. Attendees are encouraged to bring their laptops and headphones, install the necessary software, and download the provided demo projects for an interactive experience. Additionally, the workshop will offer insights into capturing immersive audio with various Ambisonic microphones, including the new em64 Eigenmike Spherical Microphone Array.

Susan talks about her incredible carrier in science and music, working with artists such as Julia Darling, David Byrne, Prince, Laurie Anderson, Tevin Campbell and many more; all garnished with high resolution listening examples.

This masterclass series, featuring remarkable recording artists, is a chance to hear stereo and 3D music at its best; as we discuss important factors of production, distribution and reproduction. Thomas exemplifies the underrated qualia, auditory envelopment (AE); and we evaluate how robustly intimacy and AE latent in the content may be heard across this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats each time.

Join veteran audio engineer Matt Boudreau, who has mixed in ATMOS for Alanis Morissette, Green Day, and Deafheaven, as he delves into immersive audio mixing. In this session, Matt will discuss his approach to mixing in ATMOS and stereo simultaneously and provide a look into his Pro Tools mixing template. Drawing from his extensive experience and his Mixing in Stereo and ATMOS course, Matt will share practical tips for creating dynamic mixes that excel in both formats. Whether you're new to ATMOS or refining your skills, this presentation offers valuable insights for all audio professionals.

Morten details 3D music recordings from his 2L catalogue, including high resolution listening examples from new releases.

This masterclass series, featuring remarkable recording artists, is a chance to hear 3D audio at its best; as we discuss factors of production, distribution and reproduction that makes it worth the effort. Thomas exemplifies the underrated qualia, auditory envelopment (AE); and we evaluate how robustly AE latent in the content may be heard across this particular listening room.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A. If you attend multiple masterclasses, consider choosing different seats.