AUDIO-1 | Audio Demonstration | R 16 | 2021-11-03 | 12:00 - 12:30
moderated by Andreas Gernemann-Paulsen
Big-Band und Pop-Musik Live-Remixe in 9.1
AUDIO-1-1 | Peter Brümmer | Audio Demonstration (German)
Ich möchte ein paar Remixe einiger Aufnahmen zur Diskussion vorstellen, von denen einige ursprünglich nur für einen Stereo-Mix als Mehrspur-Aufzeichnung getätigt wurden.
Dabei liegt der Focus auf einer eigentlich unnatürlichen Positionierung des Zuhörers inmitten der Musik. Die dadurch gewonnene Steigerung der Auflösung und Umhüllung
lässt den Zuhörer die Musik intensiver wahrnehmen. Ist diese Anordnung der Quellen gestattet, ist sie legitim? Davon sollen sich die Zuhörer einen eigenen Eindruck verschaffen.
AUDIO-2 | Audio Demonstration | R 16 | 2021-11-03 | 15:30 - 16:00
moderated by Lasse Nipkow
Top-10-Musiktitel mischen in Immersive Audio
AUDIO-2-1 | Eric Horstmann | Audio Demonstration (German)
In diesem Vortrag befasse ich mich mit meinem Workflow, Top10 Musiktitel in immersive Audio zu mischen. Ich gebe einen Überblick über immersive Formate und ihre kommerzielle Anwendung, einen technischen Workflowüberblick und „Best-Practices“ am Beispiel
AUDIO-3 | Audio Demonstration | R 16 | 2021-11-03 | 16:30 - 17:20
moderated by Thomas Görne
Gezeigt werden Tonbeispiele immersiver Mischungen von symphonischer Musik und Kammermusik aus berühmten Konzertsälen sowie Studioproduktionen.
Goodbye Stereo - Audio samples
AUDIO-3-2 | Thomas Lund | Audio Demonstration (English)
Technology has long been available to record and reproduce music in more perceptually satisfactory ways than stereo. Formats known as "surround" was a first step, but with "immersive", excellent music performances can be preserved more sentiently, also for future generations to enjoy.
As "stereo" is fast becoming just a playback option, we will discuss immersive recording techniques, and which mixing principles to put behind us. It will also be discussed why a reference monitoring setup based on open standards is compulsory for new 3D formats to be of perceptual relevance.
This is a listening session with 7.1.4 examples in-room belonging to the presentation 3D-1 in room R3 on the same day at noon.
AUDIO-4 | Audio Demonstration | R 16 | 2021-11-05 | 14:30 - 16:00
moderated by Lasse Nipkow
Music production for various 3D audio formats
AUDIO-4-1 | Stefan Bock |
Wilfried Van Baelen | Audio Demonstration (English)
Due to different immersive audio formats on the market with different speaker layouts as well as different media formats being used for the distribution of Immersive Music, it is a challenge for content creators to understand the pros and cons of those systems. Having a better understanding of the differences helps to decide what is the best way forward taking into account the wishes of the client. The goal of this session is to discuss different topics (e.g. compatibility, artistic intent, distribution, different playback systems...) to get a better understanding of potential solutions in the workflow to create Music in 3D.
AUDIO-5 | Audio Demonstration | R 16 | 2021-11-05 | 16:30 - 18:00
moderated by Thomas Görne
What to listen for in immersive music!
AUDIO-5-1 | Ulrike Anderson | Audio Demonstration (English)
Immersive Sound is one of the most significant developments in years, rivaling previous developments in visual and aural formats. From monaural sound to stereophonic sound, analogue to digital audio, or NTSC and high definition television to virtual reality, the audience is now provided with a natural, life-like three-dimensional aural experience. Unlike anything heard before, immersive audio creates the sensation of height all around the listener, transporting them into a more thrilling and deeper audio experience.
Surround sound works because of the four ways humans perceive sound: audible, binaural, spatial, and cognitive. A surround sound mix often allows for more intimate, quieter overall sound as there are more point sources to deliver unique sounds for the ear to perceive. Compared with two-speaker, conventional stereo, surround sound offers better perception of object and sound location. Listeners more readily identify the general direction from which sounds are initiated with more accurate perception of tone due to the additional placement options of sound sources. There is also a significantly greater perception of ambience, since the listener can be more immersed in the listening field.
But, what does all of this mean? Only by listening with a tuned and critical ear can one make critical evaluations.
Spatialization as a stylistic device in immersive musical composition
AUDIO-5-2 | Camilo Andres Bueno de Leon |
Stefan Troschka, Thomas Görne | Audio Demonstration (English)
The presentation explores novel aesthetic approaches of utilizing spatial audio in pop music. We're understanding spatialization not as a technical parameter of a final mix of given material but rather as a fundamental creative device in musical composition, much in the tradition of sonic arts and electroacoustic music. Listening examples demonstrate this approach of composing with space.
AUDIO-6 | Audio Demonstration | R 16 | 2021-11-06 | 14:10 - 15:00
moderated by Lasse Nipkow
Grammy Winners making Pop Music in 3D
AUDIO-6-1 | Wilfried Van Baelen |
Brent Biles, George Massenburg, Ronald Prent | Audio Demonstration (English)
The addition of Height leads for content creators to a new dimension of creative possibilities. Although it is typically not difficult to achieve something that sounds good in a specific 3D audio setup, its compatibility with other Immersive Audio systems, as well as its backwards compatibility with the main audio formats (Stereo and Surround) “fold down mixes” often create serious challenges to maintain the artistic intent in each of those delivery formats.
History has proven that there is no ‘extra’ money for all those ‘extra’ mixes. It all needs to be done in the same timeframe as we used to do for a Stereo mix only. The panelists (top engineers of Grammy winning artists) are highlighting their view and explaining solutions, illustrating them with examples of productions they did by using a discrete 3D Audio workflow for music productions, which has a different approach from film or gaming.
The three Tonmeisters Brent Biles, Georg Massenburg and Ronald Prent will be part of this session through pre-recorded video statements.