Exciting research at the upcoming Audio Engineering Society Convention

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About five months ago, we previewed the last European Audio Engineering Society Convention, which we followed with a wrap-up discussion. The next AES  convention is just around the corner, October 18 to 21st in New York. As before, the Audio Engineering research team here aim to be quite active at the convention.

These conventions are quite big, with thousands of attendees, but not so large that you get lost or overwhelmed. Away from the main exhibition hall is the Technical Program, which includes plenty of tutorials and presentations on cutting edge research.

So here, we’ve gathered together some information about a lot of the events that we will be involved in, attending, or we just thought were worth mentioning. And I’ve gotta say, the Technical Program looks amazing.

Wednesday

One of the first events of the Convention is the Diversity Town Hall, which introduces the AES Diversity and Inclusion Committee. I’m a firm supporter of this, and wrote a recent blog entry about female pioneers in audio engineering. The AES aims to be fully inclusive, open and encouraging to all, but that’s not yet fully reflected in its activities and membership. So expect to see some exciting initiatives in this area coming soon.

In the 10:45 to 12:15 poster session, Steve Fenton will present Alternative Weighting Filters for Multi-Track Program Loudness Measurement. We’ve published a couple of papers (Loudness Measurement of Multitrack Audio Content Using Modifications of ITU-R BS.1770, and Partial loudness in multitrack mixing) showing that well-known loudness measures don’t correlate very well with perception when used on individual tracks within a multitrack mix, so it would be interesting to see what Steve and his co-author Hyunkook Lee found out. Perhaps all this research will lead to better loudness models and measures.

At 2 pm, Cleopatra Pike will present a discussion and analysis of Direct and Indirect Listening Test Methods. I’m often sceptical when someone draws strong conclusions from indirect methods like measuring EEGs and reaction times, so I’m curious what this study found and what recommendations they propose.

The 2:15 to 3:45 poster session will feature the work with probably the coolest name, Influence of Audience Noises on the Classical Music Perception on the Example of Anti-cough Candies Unwrapping Noise. And yes, it looks like a rigorous study, using an anechoic chamber to record the sounds of sweets being unwrapped, and the signal analysis is coupled with a survey to identify the most distracting sounds. It reminds me of the DFA faders paper from the last convention.

At 4:30, researchers from Fraunhofer and the Technical University of Ilmenau present Training on the Acoustical Identification of the Listening Position in a Virtual Environment. In a recent paper in the Journal of the AES, we found that training resulted in a huge difference between participant results in a discrimination task, yet listening tests often employ untrained listeners. This suggests that maybe we can hear a lot more than what studies suggest, we just don’t know how to listen and what to listen for.

Thursday

If you were to spend only one day this year immersing yourself in frontier audio engineering research, this is the day to do it.

At 9 am, researchers from Harman will present part 1 of A Statistical Model that Predicts Listeners’ Preference Ratings of In-Ear Headphones. This was a massive study involving 30 headphone models and 71 listeners under carefully controlled conditions. Part 2, on Friday, focuses on development and validation of the model based on the listening tests. I’m looking forward to both, but puzzled as to why they weren’t put back-to-back in the schedule.

At 10 am, researchers from the Tokyo University of the Arts will present Frequency Bands Distribution for Virtual Source Widening in Binaural Synthesis, a technique which seems closely related to work we presented previously on Cross-adaptive Dynamic Spectral Panning.

From 10:45 to 12:15, our own Brecht De Man will be chairing and speaking in a Workshop on ‘New Developments in Listening Test Design.’ He’s quite a leader in this field, and has developed some great software that makes the set up, running and analysis of listening tests much simpler and still rigorous.

In the 11-12:30 poster session, Nick Jillings will present Automatic Masking Reduction in Balance Mixes Using Evolutionary Computing, which deals with a challenging problem in music production, and builds on the large amount of research we’ve done on Automatic Mixing.

At 11:45, researchers from McGill will present work on Simultaneous Audio Capture at Multiple Sample Rates and Formats. This helps address one of the challenges in perceptual evaluation of high resolution audio (and see the open access journal paper on this), ensuring that the same audio is used for different versions of the stimuli, with only variation in formats.

At 1:30, renowned audio researcher John Vanderkooy will present research on how a  loudspeaker can be used as the sensor for a high-performance infrasound microphone. In the same session at 2:30, researchers from Plextek will show how consumer headphones can be augmented to automatically perform hearing assessments. Should we expect a new audiometry product from them soon?

At 2 pm, our own Marco Martinez Ramirez will present Analysis and Prediction of the Audio Feature Space when Mixing Raw Recordings into Individual Stems, which applies machine learning to challenging music production problems. Immediately following this, Stephen Roessner discusses a Tempo Analysis of Billboard #1 Songs from 1955–2015, which builds partly on other work analysing hit songs to observe trends in music and production tastes.

At 3:45, there is a short talk on Evolving the Audio Equalizer. Audio equalization is a topic on which we’ve done quite a lot of research (see our review article, and a blog entry on the history of EQ). I’m not sure where the novelty is in the author’s approach though, since dynamic EQ has been around for a while, and there are plenty of harmonic processing tools.

At 4:15, there’s a presentation on Designing Sound and Creating Soundscapes for Still Images, an interesting and unusual bit of sound design.

Friday

Judging from the abstract, the short Tutorial on the Audibility of Loudspeaker Distortion at Bass Frequencies at 5:30 looks like it will be an excellent and easy to understand review, covering practice and theory, perception and metrics. In 15 minutes, I suppose it can only give a taster of what’s in the paper.

There’s a great session on perception from 1:30 to 4. At 2, perceptual evaluation expert Nick Zacharov gives a Comparison of Hedonic and Quality Rating Scales for Perceptual Evaluation. I think people often have a favorite evaluation method without knowing if its the best one for the test. We briefly looked at pairwise versus multistimuli tests in previous work, but it looks like Nick’s work is far more focused on comparing methodologies.

Immediately after that, researchers from the University of Surrey present Perceptual Evaluation of Source Separation for Remixing Music. Techniques for remixing audio via source separation is a hot topic, with lots of applications whenever the original unmixed sources are unavailable. This work will get to the heart of which approaches sound best.

The last talk in the session, at 3:30 is on The Bandwidth of Human Perception and its Implications for Pro Audio. Judging from the abstract, this is a big picture, almost philosophical discussion about what and how we hear, but with some definitive conclusions and proposals that could be useful for psychoacoustics researchers.

Saturday

Grateful Dead fans will want to check out Bridging Fan Communities and Facilitating Access to Music Archives through Semantic Audio Applications in the 9 to 10:30 poster session, which is all about an application providing wonderful new experiences for interacting with the huge archives of live Grateful Dead performances.

At 11 o’clock, Alessia Milo, a researcher in our team with a background in architecture, will discuss Soundwalk Exploration with a Textile Sonic Map. We discussed her work in a recent blog entry on Aural Fabric.

In the 2 to 3:30 poster session, I really hope there will be a live demonstration accompanying the paper on Acoustic Levitation.

At 3 o’clock, Gopal Mathur will present an Active Acoustic Meta Material Loudspeaker System. Metamaterials are receiving a lot of deserved attention, and such advances in materials are expected to lead to innovative and superior headphones and loudspeakers in the near future.

 

The full program can be explored on the Convention Calendar or the Convention website. Come say hi to us if you’re there! Josh Reiss (author of this blog entry), Brecht De Man, Marco Martinez and Alessia Milo from the Audio Engineering research team within the Centre for Digital Music  will all be there.
 

 

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Ten Years of Automatic Mixing

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Automatic microphone mixers have been around since 1975. These are devices that lower the levels of microphones that are not in use, thus reducing background noise and preventing acoustic feedback. They’re great for things like conference settings, where there may be many microphones but only a few speakers should be heard at any time.

Over the next three decades, various designs appeared, but it didn’t really grow much from Dan Dugan’s original Dan Dugan’s original concept.

Enter Enrique Perez Gonzalez, a PhD student researcher and experienced sound engineer. On September 11th, 2007, exactly ten years ago from the publication of this blog post, he presented a paper “Automatic Mixing: Live Downmixing Stereo Panner.” With this work, he showed that it may be possible to automate not just fader levels in speech applications, but other tasks and for other applications. Over the course of his PhD research, he proposed methods for autonomous operation of many aspects of the music mixing process; stereo positioning, equalisation, time alignment, polarity correction, feedback prevention, selective masking minimization, etc. He also laid out a framework for further automatic mixing systems.

Enrique established a new field of research, and its been growing ever since. People have used machine learning techniques for automatic mixing, applied auditory neuroscience to the problem, and explored where the boundaries lie between the creative and technical aspects of mixing. Commercial products have arisen based on the concept. And yet all this is still only scratching the surface.

I had the privilege to supervise Enrique and have many anecdotes from that time. I remember Enrique and I going to a talk that Dan Dugan gave at an AES convention panel session and one of us asked Dan about automating other aspects of the mix besides mic levels. He had a puzzled look and basically said that he’d never considered it. It was also interesting to see the hostile reactions from some (but certainly not all) practitioners, which brings up lots of interesting questions about disruptive innovations and the threat of automation.

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Next week, Salford University will host the 3rd Workshop on Intelligent Music Production, which also builds on this early research. There, Brecht De Man will present the paper ‘Ten Years of Automatic Mixing’, describing the evolution of the field, the approaches taken, the gaps in our knowledge and what appears to be the most exciting new research directions. Enrique, who is now CTO of Solid State Logic, will also be a panellist at the Workshop.

Here’s a video of one of the early Automatic Mixing demonstrators.

And here’s a list of all the early Automatic Mixing papers.

  • E. Perez Gonzalez and J. D. Reiss, A real-time semi-autonomous audio panning system for music mixing, EURASIP Journal on Advances in Signal Processing, v2010, Article ID 436895, p. 1-10, 2010.
  • Perez-Gonzalez, E. and Reiss, J. D. (2011) Automatic Mixing, in DAFX: Digital Audio Effects, Second Edition (ed U. Zölzer), John Wiley & Sons, Ltd, Chichester, UK. doi: 10.1002/9781119991298. ch13, p. 523-550.
  • E. Perez Gonzalez and J. D. Reiss, “Automatic equalization of multi-channel audio using cross-adaptive methods”, Proceedings of the 127th AES Convention, New York, October 2009
  • E. Perez Gonzalez, J. D. Reiss “Automatic Gain and Fader Control For Live Mixing”, IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA), New Paltz, New York, October 18-21, 2009
  • E. Perez Gonzalez, J. D. Reiss “Determination and correction of individual channel time offsets for signals involved in an audio mixture”, 125th AES Convention, San Francisco, USA, October 2008
  • E. Perez Gonzalez, J. D. Reiss “An automatic maximum gain normalization technique with applications to audio mixing.”, 124th AES Convention, Amsterdam, Netherlands, May 2008
  • E. Perez Gonzalez, J. D. Reiss, “Improved control for selective minimization of masking using interchannel dependency effects”, 11th International Conference on Digital Audio Effects (DAFx), September 2008
  • E. Perez Gonzalez, J. D. Reiss, “Automatic Mixing: Live Downmixing Stereo Panner”, 10th International Conference on Digital Audio Effects (DAFx-07), Bordeaux, France, September 10-15, 2007

The Mix Evaluation Dataset

Still at the upcoming International Conference on Digital Audio Effects in Edinburgh, 5-8 September, our group’s Brecht De Man will be presenting a paper on his Mix Evaluation Dataset (a pre-release of which can be read here).
It is a collection of mixes and evaluations of these mixes, amassed over the course of his PhD research, that has already been the subject of several studies on best practices and perception of mix engineering processes.
With over 180 mixes of 18 different songs, and evaluations from 150 subjects totalling close to 13k statements (like ‘snare drum too dry’ and ‘good vocal presence’), the dataset is certainly the largest and most diverse of its kind.

Unlike the bulk of previous research in this topic, the data collection methodology presented here has maximally preserved ecological validity by allowing participating mix engineers to use representative, professional tools in their preferred environment. Mild constraints on software, such as the agreement to use the DAW’s native plug-ins, means that mixes can be recreated completely and analysed in depth from the DAW session files, which are also shared.

The listening test experiments offered a unique opportunity for the participating mix engineers to receive anonymous feedback from peers, and helped create a large body of ratings and free-field text comments. Annotation and analysis of these comments further helped understand the relative importance of various music production aspects, as well as correlate perceptual constructs (such as reverberation amount) with objective features.

Proportional representation of processors in subjective comments

An interface to browse the songs, audition the mixes, and dissect the comments is provided at http://c4dm.eecs.qmul.ac.uk/multitrack/MixEvaluation/, from where the audio (insofar the source is licensed under Creative Commons, or copyrighted but available online) and perceptual evaluation data can be downloaded as well.

The Mix Evaluation Dataset browsing interface

Sound Effects Taxonomy

At the upcoming International Conference on Digital Audio Effects, Dave Moffat will be presenting recent work on creating a sound effects taxonomy using unsupervised learning. The paper can be found here.

A taxonomy of sound effects is useful for a range of reasons. Sound designers often spend considerable time searching for sound effects. Classically, sound effects are arranged based on some key word tagging, and based on what caused the sound to be created – such as bacon cooking would have the name “BaconCook”, the tags “Bacon Cook, Sizzle, Open Pan, Food” and be placed in the category “cooking”. However, most sound designers know that the sound of frying bacon can sound very similar to the sound of rain (See this TED talk for more info), but rain is in an entirely different folder, in a different section of the SFx Library.

The approach, is to analyse the raw content of the audio files in the sound effects library, and allow a computer to determine which sounds are similar, based on the actual sonic content of the sound sample. As such, the sounds of rain and frying bacon will be placed much closer together, allowing a sound designer to quickly and easily find related sounds that relate to each other.

Here’s a figure from the paper, comparing the generated taxonomy to the original sound effect library classification scheme.

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Behind the spectacular sound of ‘Dunkirk’ – with Richard King: — A Sound Effect

The post Behind the spectacular sound of ‘Dunkirk’ – with Richard King: appeared first on A Sound Effect. Its an interesting interview giving deep insights into sound design and soundscape creation for film. It caught my attention first because of the mention of Richard King. But its not Richard King, Grammy award winning professor in sound recording at University of McGill. Its the other one, the Oscar award winning supervising sound editor at Warner Brothers Sound.

We collaborated with Prof. Richard King on a couple of papers. In [1], we conducted an experiment where eight songs were each mixed by eight different engineers. We analysed audio features from the multitracks and mixes. This allowed us to test various assumed rules of mixing practice. In the follow-up [2], the mixes were all rated by experienced test subjects. We used the ratings to investigate relationships between perceived mix quality and sonic features of the mixes.

[1] B. De Man, M. Boerum, B. Leonard, R. King, G. Massenburg and J. D. Reiss, ‘Perceptual Evaluation of Music Mixing Practices,’ 138th Audio Engineering Society (AES) Convention, May 2015

[2] B. De Man, B. Leonard, R. King and Joshua D. Reiss, “An analysis and evaluation of audio features for multitrack music mixtures,” 15th Int. Society for Music Information Retrieval Conference (ISMIR-14), Taipei, Taiwan, Oct. 2014

via Behind the spectacular sound of ‘Dunkirk’ – with Richard King: — A Sound Effect

sónar innovation challenge 2017: the enhanced dj assistant

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The Audio Engineering team (C4DMwas present in this year’s edition of Sónar+D in Barcelona. Sónar+D is an international conference integrated to Sónar festival that focus on the interdisciplinary approach between creativity and technology.

The Sónar Innovation Challenge (SIC), co-organized by the MTG, <<is an online and on site platform for the creative minds that want to be one step ahead and experiment with the future of technology. It brings together innovative tech companies and creators, collaborating to solve challenges that will lead to disruptive prototypes showcased in Sónar+D.>>

In this year’s challenge, Marco Martínez was part of the enhanced dj assistant by the Music Technology Group at Universitat Pompeu Fabra, which challenged participants to create a user-friendly, visually appealing and musically motivated system that DJs can use to remix music collections in exciting new ways.

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Thus, after nearly one month of online meetings, the challengers and mentors finally met at Sónar, and during 4 days of intensive brain-storming-programming-prototyping at more than 30°C the team came with ATOMIX:

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Visualize, explore and manipulate atoms of sound from
multitrack recordings, enhancing the creative
possibilities for live artists and DJs.

From multitrack recording (stems) and using advanced algorithms and cutting edge technologies in feature extraction, clustering, synthesis and visualisation. It segments a collection of stems into atoms of sound and groups them by timbre similarity. Thus, through concatenative synthesis, ATOMIX allows you to manipulate and exchange atoms of sound in real-time with professional DAW controls, achieving a one-of-a-kind live music exploration.

The project is still in a prototype stage and we hope to hear news of development very soon.

AES Berlin 2017: Keynotes from the technical program

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The 142nd AES Convention was held last month in the creative heart of Berlin. The four-day program and its more than 2000 attendees covered several workshops, tutorials, technical tours and special events, all related to the latest trends and developments in audio research. But as much as scale, it’s attention to detail that makes AES special. There’s an emphasis on the research side of audio topics as much as the side of panels of experts discussing a range of provocative and practical topics.

It can be said that 3D Audio: Recording and Reproduction, Binaural Listening and Audio for VR were the most popular topics among workshops, tutorial, papers and engineering briefs. However, a significant portion of the program was also devoted to common audio topics such as digital filter design, live audio, loudspeaker design, recording, audio encoding, microphones, and music production techniques just to name a few.

For this reason, here at the Audio Engineering research team within C4DM, we bring you what we believe were the highlights, the key talks or the most relevant topics that took place during the convention.

The future of mastering

What better way to start AES than with a mastering experts’ workshop discussing about the future of the field?  Jonathan Wyner (iZotope) introduced us to the current challenges that this discipline faces.  This related to the demographic, economic and target formatting issues that are constantly evolving and changing due to advances in the music technology industry and its consumers.

When discussing the future of mastering, the panel was reluctant to a fully automated future. But pointed out that the main challenge of assistive tools is to understand artistry intentions and genre-based decisions without the need of the expert knowledge of the mastering engineer. Concluding that research efforts should go towards the development of an intelligent assistant, able to function as an smart preset that provides master engineers a starting point.

Virtual analog modeling of dynamic range compression systems

This paper described a method to digitally model an analogue dynamic range compression. Based on the analysis of processed and unprocessed audio waveforms, a generic model of dynamic range compression is proposed and its parameters are derived from iterative optimization techniques.

Audio samples were reproduced and the quality of the audio produced by the digital model was demonstrated. However, it should be noted that the parameters of the digital compressor can not be changed, thus, this could be an interesting future work path, as well as the inclusion of other audio effects such as equalizers or delay lines.

Evaluation of alternative audio mixing interfaces

In the paperFormal Usability Evaluation of Audio Track Widget Graphical Representation for Two-Dimensional Stage Audio Mixing Interface‘  an evaluation of different graphical track visualization styles is proposed. Multitrack visualizations included text only, different colour conventions for circles containing text or icons related to the type of instruments, circles with opacity assigned to audio features and also a traditional channel strip mixing interface.

Efficiency was tested and it was concluded that subjects preferred instrument icons as well as the traditional mixing interface. In this way, taking into account several works and proposals on alternative mixing interfaces (2D and 3D), there is still a lot of scope to explore on how to build an intuitive, efficient and simple interface capable of replacing the good known channel strip.

Perceptually motivated filter design with application to loudspeaker-room equalization

This tutorial, was based on the engineering briefQuantization Noise of Warped and Parallel Filters Using Floating Point Arithmetic’  where warped parallel filters are proposed, which aim to have the frequency resolution of the human ear.

Thus, via Matlab, we explored various approaches for achieving this goal, including warped FIR and IIR, Kautz, and fixed-pole parallel filters. Providing in this way a very useful tool that can be used for various applications such as room EQ, physical modelling synthesis and perhaps to improve existing intelligent music production systems.

Source Separation in Action: Demixing the Beatles at the Hollywood Bowl

Abbey Road’s James Clarke presented a great poster with the actual algorithm that was used for the remixed, remastered and expanded version of The Beatles’ album Live at the Hollywood Bowl. The method achieved to isolate the crowd noise, allowing to separate into clean tracks everything that Paul McCartney, John Lennon, Ringo Starr and George Harrison played live in 1964.

The results speak for themselves (audio comparison). Thus, based on a Non-negative Matrix Factorization (NMF) algorithm, this work provides a great research tool for source separation and reverse-engineer of mixes.

Other keynotes worth to mention:

Close Miking Empirical Practice Verification: A Source Separation Approach

Analysis of the Subgrouping Practices of Professional Mix Engineers

New Developments in Listening Test Design

Data-Driven Granular Synthesis

A Study on Audio Signal Processed by “Instant Mastering” Services

The rest of the paper proceedings are available in the AES E-library.