Programme 2018

Sounds in Space 2018 – Day 1

Time Talk Author Room
11:00 Welcome Bruce Wiggins Aud 3
11:10 Keynote : Salsa Sound Ben Shirley Aud 3
11:50 How High is Enough? Strategies for Ambisonics Immersive Audio over Headphones Bruce Wiggins & Mark Dring Aud 3
12:20 Rethinking production techniques and aesthetics in Brazilian popular music using HOA José Ricardo Barboza Aud 3
12:50 Lunch MS017/8
13:50 The simulation and evaluation of Planar HOA and WFS arrays Alex Vilkaitis Aud 3
14:20 The Spherical Glitch Studies Timothy Schmele Aud 3
14:50 Composing for an Ambisonic Environment Rob Cadman Aud 3
15:20 Break MS017/8
15:50 The Politics of Periphony Aditya Mandayam Aud 3
16:20 3D audio for music: an investigation into recomposition for binaural reproduction Jo Lord Aud 3
16:50 Translation between surround formats: A case study using Moog analogue synthesis in the piece Voyage Foog Phat Moog No1. Simon Hall Aud 3
17:20 Break
17:50 Holomorph (https://vimeo.com/234689992) Augustine Leudar Aud 3
18:30 Close of Day 1

Sounds in Space 2018 – Day 2

Time Talk Author Room
10:00 Welcome Bruce Wiggins Aud 3
10:10 Psychoacoustics of 3D and VR Sound Recording: Research and Practice Hyunkook Lee Aud 3
10:50 Presentation : Composing 3D immersive music and acusmatic montrage : strategies, aesthetic and perception & Cathédrales : I – Ville aux cents clochers David Ledoux Aud 3
11:20 On High Frequency Variation in Ambisonics Thomas McKenzie Aud 3
11:50 Higher Order Microphones Charlie Middlicott Aud 3
12:20 Lunch MS017/8
13:20 Immersive Audio for the Live Event Dave Haydon Aud 3
14:00 Strategies for the Creation of Spatial Gestures in Virtual Reality Michael Smith Aud 3
14:30 What differences does spatial audio make for the viewer compared to a stereo downmix? A heatmap case-study. Martin Rieger Aud 3
15:00 rive: splitting sound and light James Dooley Aud 3
16:00 Close

Confirmed talks and demonstrations (more to come!):

In order of submission date!

Keynote talk will be from Ben Shirley & Rob Oldfield from Salsa Sound who have developed an automated mixing algorithm uses artificial intelligence to analyse feeds from the existing microphones for content that matches predefined acoustic feature templates; it then localizes any detected ‘audio events’ in time & space using triangulation techniques from the available microphones to help automate & augment live sports audio mixing, providing a more engaging & immersive experience for viewers.

Hyunkook Lee (University of Huddersfield) – Psychoacoustics of 3D and VR Sound Recording: Research and Practice

Alexander Vilkaitis (University of Derby) – The simulation and evaluation of Planar HOA and WFS arrays

David Ledoux (Université de Montréal) – Composing 3D immersive music and acousmatic montrage : strategies, aesthetic and perception – Cathédrales : I – Ville aux cents clochers

Jo Lord (London College of Music) – 3D audio for music: an investigation into recomposition for binaural reproduction

Martin Rieger (vrtonung) – What differences does spatial audio make for the viewer compared to a stereo downmix? A heatmap case-study

José Ricardo Barboza (Faculdade de Engenharia da Universidade do Porto) – Rethinking production techniques and aesthetics in Brazilian popular music using HOA

Michael Smith (University of North Texas) – Strategies for the Creation of Spatial Gestures in Virtual Reality

Charles Middlicott (University of Derby) – Higher Order Ambisonic Microphones

Aditya Mandayam – The Politics of Periphony

Simon Hall (Royal Birmingham Conservatoire) – Translation between surround formats: A case study using Moog analogue synthesis in the piece Voyage Foog Phat Moog No1.

James Dooley (Royal Birmingham Conservatoire) – rive: splitting sound and light

Bruce Wiggins & Mark Dring (University of Derby) – How High is Enough?  Strategies for Ambisonics Immersive Audio Over Headphones.

Paul Vandemast-Bell & Michael Brown (University of Derby) – Time Tides: An interactive exploration of dynamic loop-based performance diffused in a multi-channel environment.

Thomas McKenzie (University of York) – On High Frequency Variation in Ambisonics