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Ambisonics

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Immersive Audio Podcast Episode 48 – Andy Slator

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Bjørn Jacobsen are joined by sound artist and disability advocate – Andy Slater from Chicago, US.

Andy Slater is a Chicago based media artist and disability advocate. He is the founder of the Society of Visually Impaired Sound Artists and director of the Sound As Sight accessible field recording project. His current work features the sounds of antiquated assistive technology, field recordings, spatial audio design for virtual and augmented reality, video games, and films. He works with analogue and FM synthesis in his sound design process with a lean towards retro-futurism, Classic sci-fi and video game sound, and blurry analogue tape charm. Andy has a masters in Sound Arts and Industries from Northwestern University and holds a BFA from the School Of the Art Institute of Chicago.

In this episode, Andy shares his unique journey full of frustrating battles and success stories. You will hear excerpts of Andy’s conceptual artwork and find out about his mission of making the world of audio tech for blind and visually impaired people more accessible.

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Show Notes

Dear VR Micro Plugin  – https://www.dearvr.com/products/dearvr-micro

EPOS GTW 270 Hybrid – https://www.eposaudio.com/en/gb/gaming/products/gtw-270-hybrid-low-latency-connection-bluetooth-gaming-headset-1000230

Andy Slater Website – https://www.thisisandyslater.net/

Shure Motiv Recording App – https://www.shure.com/en-GB/products/software/shure_plus_motiv

Microsoft Soundscape – https://www.microsoft.com/en-us/research/product/soundscape/

Apogee  MetaRecorder App – https://apogeedigital.com/products/metarecorder

The Last of Us – https://www.naughtydog.com/blog/the_last_of_us_part_ii

Our Patreon

If you enjoy the podcast and would like to show your support please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more.

Find out more on our official Patreon page – https://www.patreon.com/immersiveaudiopodcast

We thank you kindly in advance!

Survey

We want to hear from you! We really value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

Immersive Audio Podcast Episode 45 – Guillaume Le Nost (L-Acoustics)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Executive Director, and Creative Technologist at L-Acoustics Guillaume Le Nost via Zoom  from London, UK.

Driven by a passion for sound and technology, Guillaume has built a career in both the artistic and technical domains.

After getting two MScs in electrical engineering and signal processing from Ecole Centrale Paris and IRCAM, he started a research career in 3D sound, and received a PhD in Acoustics. He then performed as a professional rock musician and managed an indie music label before going on to co-found the start-up AudioGaming, a pioneer in audio synthesis technologies and French Ministry of Research award-winner.

He joined the L‑Acoustics R&D department in France in 2009 where he led projects on acoustic measurement and simulation, and developed new signal processing algorithms for integration into L‑Acoustics software and amplified controllers. Guillaume moved to London in 2012 to head the company’s research efforts into immersive audio for live sound. Since then, L-ISA object-based audio technology has been deployed in more than 5000 live shows, from clubs to arenas across the world, with artists such as Aerosmith, Lady Gaga, Bon Iver, Alt-J, or the BBC Proms.

In this episode, Guillaume talks about how the live sound industry is undergoing a quiet revolution by adapting immersive audio and how their latest L-ISA technology empowers sound engineers to break through long standing conventions.

The binaural audio excerpt by Molecule from the Acousmatic 360 tour, performed live at “Printemps de Bourges” with a 12.1 system. The spatialization is done in real-time using L-ISA by a live mixing engineer Herve Dejardin.

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Show Notes

L-Acoustics – https://www.l-acoustics.com

L-ISA – https://l-isa-immersive.com/

L-ISA Controller – https://www.l-acoustics.com/fr/produit/l-isa-controller/

L-Acoustics Soundvision – https://www.l-acoustics.com/en/software/soundvision-presentation/

We Make Events Initiative – https://www.wemakeevents.com/

Owl Project – https://www.kickstarter.com/projects/marser/owl-programmable-effects-pedal

Survey

We want to hear from you! We really value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

Credits

This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo.

Immersive Audio Podcast Episode 42 – Kedar Shashidhar

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by technical sound designer and XR evangelist Kedar Shashidhar via Zoom from LA, US.

Kedar Shashidhar is an XR creator with a focus on spatial audio design and technologies. With a focus on creative research and development, he has worked to help develop new tools, create content, and explore the boundaries of audio in new realities. Most notably he has contributed to the development of various audio toolsets including Steam Audio, Ossic, and Magic Leap Soundfield Audio. He also formed an indie game studio, Blackout VR, focused on developing audio-only games. Kedar is also an active voice for audio in new realities having previously spoken at Audio Engineering Society, GameSoundCon, Indiecade, and more. In his time at Magic Leap, Kedar was working on bringing the newest innovations in mixed reality audio to content creators in order to continue pushing the boundaries of what is possible for audio in new realities. Currently, Kedar is working on the next generation of virtual venues and concerts in XR with Stage XR.

In this episode, Kedar speaks candidly about his time at Steam Audio, Ossic and Magic Leap, whilst sharing insights on cutting edge tool development for spatial audio and gives personal advice on how to keep high-level creativity and performance whilst maintaining a healthy work-life balance.

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Show Notes

Kedar Shashidhar – https://www.linkedin.com/in/kedarshashidhar/

Immersive Audio Podcast Episode 28 – Audio For Augmented Reality – https://www.1618digital.com/immersive-audio-podcast-episode-28-audio-for-augmented-reality/

Steam Audio – https://valvesoftware.github.io/steam-audio/

Ossic – https://www.kickstarter.com/projects/248983394/ossic-x-the-first-3d-audio-headphones-calibrated-t

Magic Leap – https://www.magicleap.com/en-us

Immersive Audio Podcast – Episode 4 Sally-Anne Kellaway – https://www.1618digital.com/immersive-audio-podcast-episode-4-sally-anne-kellaway/

Magic Leap Soundfield Audio – https://developer.magicleap.com/en-us/learn/guides/lumin-sdk-soundfield-audio

AirPods Pro – https://apple.co/3kOCO6h

Royal Shakespeare Experience – https://www.rsc.org.uk/events/magic-leap-seven-ages-of-man

Survey

We want to hear from you! We really value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

Credits

This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo.

Immersive Audio Podcast Episode 40 – Bruce Wiggins & Duncan Werner (University of Derby & GASP)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by senior academics of University of Derby Dr Bruce Wiggins and Duncan Werner via Zoom from Derbyshire, UK.

Dr Bruce Wiggins graduated with a 1st class honours in Music Technology and Audio System Design from the University of Derby in 1999.  His interest in audio signal processing spurred him to continue at Derby completing his PhD entitled “An Investigation into the Real-time Manipulation and Control of 3D Sound Fields” in 2004 where he solved the problem of generating Ambisonic decoders for irregular speaker arrays and looked at the optimisation of binaural/transaural systems.  Bruce’s research into Ambisonics has been featured as an impact case study in the national Research Excellence Framework in 2014 and will be again in 2021.  His latest work is based around the auralisation of rooms to very high order Ambisonics with head-tracking.

Duncan Werner graduated from Aston University in Electrical/Electronic Engineering in the late seventies, but as a keen musician moved towards the music industry gaining work as a recording and touring musician in the UK and Europe, subsequently being employed by the London-based Chrysalis Music Group as studio sound engineer. This was followed by postgraduate Music Technology studies at City University London. Research interests include immersive music production, in particular the GASP system (Guitars with Ambisonic Spatial Performance) based at the University of Derby. He has been programme leader for BSc Music Technology since its inception in 1995 and is currently Programme Leader for MA Music Production.

In this episode, we dive into the collaborative project GASP (Guitars with Ambisonic Spatial Performance), discuss the Sound in Space Symposium, and current research projects for immersive audio.

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Show Notes

University of Derby – https://www.derby.ac.uk/

Sound in Space – http://soundsinspace.co.uk/

Bruce Wiggins Academic Profile – http://www.derby.ac.uk/staff/bruce-wiggins

Bruce Wiggins Website – http://www.brucewiggins.co.uk/

GASP Website – Guitars with Ambisonic Spatial Performance – http://gaspproject.xyz/

GASP Paper – http://gaspproject.xyz/wp-content/uploads/2020/07/GASP-paper-for-Innovation-in-Music.pdf

VLC Player – https://www.videolan.org/vlc/index.en-GB.html

AmbiFreeverb 2 – https://www.researchgate.net/publication/289958469_AmbiFreeverb_2_WigWare_-_Sounds_in_Space_2015

https://derby.openrepository.com/handle/10545/618606

Measured Reverbs for Ambisonics and VR – https://www.brucewiggins.co.uk/?page_id=881

Webcam Head-tracked Ambisonics (WHAM) – https://brucewiggins.co.uk/WHAM

Cat Fantastic Mix 1 (comparison mix)

CatFantasticAmbiX3rdOrder: http://gaspproject.xyz/gaspaudio/CatFantasticAmbiX3rdOrder.wav

Facebook: https://www.facebook.com/111035420660669/videos/904591106728398/

HOAST: https://hoast.iem.at/play/cat_fantastic_o3

Cat Fantastic Mix 1: applies post-production timbral morphing and dynamic spatialisation. This is the first GASP binaural demo track in the podcast; the original ‘raw’ guitar is at the beginning which then morphs through timbral and spatial variations up to around 1.10 when the raw guitar returns. Performed by Jack Hooley, production by Duncan Werner and Emma Fitzmaurice. The recording has no overdubs, that is, the final production is derived from one single guitar performance. Post-production included experimenting with ‘timbral morphing’, where multiple versions of each string, each with different timbres were printed on time-synchronized parallel tracks, thus allowing crossfading between individual string timbres, then mixing together the respective tracks. The timbral morphing works well and we have now developed templates for real-time timbral morphing for live performance applications.

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Pale Aura (comparison mix)

PaleAuraAmbiX2ndOrderComparisonMix.wav: http://gaspproject.xyz/gaspaudio/PaleAuraAmbiX2ndOrderComparisonMix.wav

Facebook: https://www.facebook.com/GASP-Guitars-with-Ambisonic-Spatial-Performance-111035420660669/

HOAST: https://hoast.iem.at/play/pale_aura_comparison_o2

Pale Aura: performed by Dominic Dallali, production by Jack Hooley and Dominic Dallali. This is the first GASP binaural demo track in the podcast; the original ‘raw’ guitar is at the beginning which then morphs through timbral and spatial variations up to around 1.10 when the raw guitar returns. The recording has no overdubs, that is, the final production is derived from one single guitar performance. This track is the guitar part of the song Pale Aura by the band Periphery; it is in the genre of progressive metal. It turned out to be quite a dramatic production, with rapid changes in location for close temporal events. The guitar part consists of some highly syncopated timing elements, which have been mapped to rapid location switching. There is a good range of amp distortion timbres employed for different parts of the performance. A low kick drum was included to provide the listener with a sense of meter as the guitar performance which includes several syncopated elements.

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Prelude to Life (comparison mix)

PreludeToLifeAmbiX2ndOrderComparisonMix.wav

http://gaspproject.xyz/gaspaudio/PreludeToLifeAmbiX2ndOrderComparisonMix.wav

Facebook: https://www.facebook.com/111035420660669/videos/637100453564316/

HOAST: https://hoast.iem.at/play/prelude_to_life_comparison_o2

Prelude to Life: composed and performed by Fred T Baker, production by Charlie Box and Duncan Werner. This is the first GASP binaural demo track in the podcast; the original ‘raw’ guitar is at the beginning which then morphs through timbral and spatial variations up to around 1.10 when the raw guitar returns. The recording has no overdubs, that is, the final production is derived from one single guitar performance. Post-production timbralisation is a mix of both NI Guitar Rig and instrument samples. Melodyne’s pitch to MIDI conversion was applied, the MIDI note events were then arranged to trigger various instrument samples e.g. orchestral strings with other sampled and synthetic sounds. Upon reflection, the timing of pitch to MIDI conversion worked very well, such that the nuances of the guitar performance are precisely captured.

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GASP is ‘Guitars with Ambisonic Spatial Performance’. The project is the design, realisation, and application of a spatial-audio guitar production system; it is aimed towards guitarists, music producers and spatial-audio sound designers. GASP is an ongoing University of Derby research project, where our interest in Ambisonic algorithmic research and guitar sound production is combined with off-the-shelf hardware and bespoke software to create an Ambisonic based immersive guitar sound system. Applications include:

Live performance as an immersive spatial sound instrument, either as a solo instrument or as part of an ensemble, for both small or large format theatre or concert systems

Audio post-production immersive sound for on-line spatial audio applications such as YouTube and Facebook 360, including Virtual Reality applications

Guitar performance analysis and tuition tool, where on-screen displays enable identification of notation and performance artefacts which provide feedback to the player

A research tool for performative applications, with significant potential for use in the Sound Arts world

We’ve recently set up a GASP page: www.gaspproject.xyz which includes links to some of our example demo GASP productions, as well as the project timeline, posters and includes our paper ‘Development of an Ambisonic Guitar System’ which was presented to ‘Innovation in Music’  conference at the University of West London in December 2019, it’s due for publication by Routledge as a book chapter sometime in 2021. https://www.routledge.com/Innovation-in-Music-Future-Opportunities/Hepworth-Sawyer-Paterson-Toulson/p/book/9780367363352

Dring, M., Wiggins, B. (2019)  The Transparency of Binaural Auralisation Using Very High Order Circular Harmonics.  Reproduced Sound 2019 – Proceedings of the Institute of Acoustics, p165-173, Vol. 41. Pt. 3 2019, Bristol, UK

Wiggins, B., Dring, M., (2016) AmbiFreeVerb 2—Development of a 3D Ambisonic Reverb with Spatial Warping and Variable Scattering.  2016 AES International Conference on Sound Field Control.  University of Surrey, Guildford, UK.

Wiggins, B. (2017) Measured Reverbs for Ambisonics and VR.  Sounds in Space Research Symposium 2017, Derby, UK. (Video)

Survey

We want to hear from you! We really value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

Credits

This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo.

Immersive Audio Podcast Episode 38 – Chris Pike (BBC R&D)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the lead R&D audio engineer at the BBC Chris Pike via Zoom from London, UK.

Chris leads the audio team in BBC R&D and the BBC Audio Research Partnership. He is passionate about using technology innovation to enable new creative possibilities in sound production and storytelling. Chris has led the BBC’s work on spatial audio for several years, which has led to productions on major brands such as Doctor Who, Planet Earth II and the BBC Proms. He was director of sound on the BBC’s first public VR app, The Turning Forest, and worked with Björk to create an augmented reality audio guide for her exhibition at MoMA in New York. As part of his role at the BBC, Chris is active in standardisation bodies, working to ensure open interoperable technology for spatial audio production. He’s also completed a PhD with the Audio Lab at the University of York during his work at BBC R&D, on binaural technology and its perceptual evaluation. His thesis is available online.

In this episode, Chris talks about research and development work at the BBC, touching on a number of exciting projects, a collaboration between the industry and academia and his personal journey whilst completing a PhD program.

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Show Notes

Chris Pike Profile – https://www.bbc.co.uk/rd/people/chris-pike

BBC R&D Audio Research – https://www.bbc.co.uk/rd/work_streams/audio-research

Audio Research Partnership – https://www.bbc.co.uk/rd/projects/audio-research-partnership

S3A Spatial Audio – http://www.s3a-spatialaudio.org/

VISR- Versatile Interactive Scene Renderer Framework – https://www.s3a-spatialaudio.org/visr

Sounding Special: Doctor Who in Binaural Sound – https://www.bbc.co.uk/rd/blog/2017-05-doctor-who-in-binaural-sound

Björk’s Songlines and VR album – https://www.thirdspace.co/innovation

The EBU’s Next-Generation Audio – https://tech.ebu.ch/nga

Pike, Christopher William (2019) Evaluating the Perceived Quality of Binaural Technology. PhD thesis, University of York – http://etheses.whiterose.ac.uk/24022/

Audio Orchestrator Tool –  https://www.bbc.co.uk/makerbox/tools/audio-orchestrator

BBC Together – https://www.bbc.co.uk/taster/pilots/bbc-together

Sounds Amazing 2020: Celebrating Innovation in Audio – Day 1 – https://www.eventbrite.co.uk/e/sounds-amazing-2020-celebrating-innovation-in-audio-day-one-tickets-113794155382

Sounds Amazing 2020: Celebrating Innovation in Audio – Day 2 – https://www.eventbrite.co.uk/e/sounds-amazing-2020-celebrating-innovation-in-audio-day-two-tickets-113796191472

Sounds Amazing 2020: Celebrating Innovation in Audio – Day 3 – https://www.eventbrite.co.uk/e/sounds-amazing-2020-celebrating-innovation-in-audio-day-three-tickets-113797033992

Survey

We want to hear from you! We really value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you!

Credits

This episode was produced by Oliver Kadel and Michelle Chan with the help of Emma Rees and included music by Knobs Bergamo.

Immersive Audio Podcast Episode 29 – John Kyle Varley (Frameworks Productions)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by John Kyle Varley on Skype from Halifax, Canada.

John Kyle is a musician/music producer and founder of Frameworks Productions, a production company that specializes in creating musical scores for virtual reality and 360º film. At the end of 2017, Frameworks worked with the Banff Centre for Arts and Creativity to develop generative music processes using spatial audio. He recently gave a talk on spatialized 3D audio and generative music at VRTO2019, the annual Virtual & Augmented Reality World Conference & Expo in Toronto, Canada.

After receiving a Bachelor of Arts in Music Theory and Composition from St. Francis Xavier University in 2006, he cultivated years of experience as a touring, recording, and teaching musician and switched to music production later on in his career.

Today, Oliver and John Kyle discuss the influence of sound and music in virtual reality and the creation of Frameworks Productions.

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Show Notes

Frameworks Productions Official Website: https://www.frameworksproductions.ca/

John Kyle Varley’s LinkedIn: https://www.linkedin.com/in/johnkylevarley/

John Kyle Varley’s Quora: https://www.quora.com/profile/John-Kyle-Varley

John Kyle Varley’s talk at VRTO2019:  https://www.youtube.com/watch?v=F_qfSPnSJEY

PlayStation VR (PSVR): https://www.playstation.com/en-ae/explore/playstation-vr/

PlayStation VR Worlds – Ocean Descent: https://www.youtube.com/watch?v=7yxa7-7jeWw

Oculus Rift: https://www.oculus.com/

Banff Centre for Arts and Creativity: https://www.banffcentre.ca/

Virtual Reality at Banff Centre: https://www.banffcentre.ca/articles/we-have-vr-%E2%80%94-now-how-do-we-use-it-tell-stories

Credits

This episode was produced by Oliver Kadel and Michelle Chan with the help of Shane O’Hare and included music by Knobs Bergamo.

Immersive Audio Podcast Episode 28 – Audio For Augmented Reality

Summary

In this episode of Immersive Audio Podcast, Felix Thompson, with the help of insightful guest speakers, will look at Audio for Augmented Reality, and how it’s changing peoples’ lives today.

Augmented reality, or AR for short, is an industry that’s been silently booming over the last couple of years. Unlike virtual reality which totally immerses the user, AR offers a blend of the physical and the virtual worlds.

With the huge success of Pokemon Go, which allows people all across the world to see Pokemon floating around in real life via their mobile devices, augmented reality developers want to take the next step in revolutionising how we hear the world too, making augmented reality experiences for tourism, education, music – and even reinventing hearing aids.

 

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Guest Speakers

Elliot Graves, Atlantic Productions

Elliot leads Atlantic Productions’ Immersive and Digital content. As an immersive experience Director, he works across all XR technologies including augmented reality, virtual reality and AI empowered experiences. Prior to Atlantic, he worked in the agency space, creating immersive projects across the world for Nike, Google, Ford, Unicef and UEFA. Elliot started his career in factual production, working with The Royal Geographical Society, the United Nations and the BBC across a range of different initiatives.

 

Jean-Marc Jot, Magic Leap

Dr. Jean-Marc Jot joined Magic Leap to start up its audio algorithms team. Prior to this, Jot led DTS audio processing R&D and innovation. He had also led the development of SoundBlaster audio processing algorithms and architectures, including EAX and OpenAL technologies for game 3D audio authoring and rendering. Before relocating to California in the late 90s, he conducted research at IRCAM in Paris, where he designed the Spat software suite for spatial audio creation, performance and virtual reality.

Immersive Audio Podcast – Episode 22 Audio Design For Mixed Reality Panel at GDC feat. Jean-Marc Jot

 

Sofia Brazzola, Sennheiser

Sofia Brazzola is the User Experience Manager with the AMBEO team based at Sennheiser, where she leads user-centric research to validate and develop new solutions for a range of 3D audio applications. As part of the R&D team who developed the “AMBEO VR Mic”, she launched Sennheiser’s first early-adopters program by engaging with a community of beta-testers and content creators. She is currently leading Sennheiser’s Augmented Audio Developers Program, where early-adopters engagement, user-centric innovation and strategic marketing play another important role in AMBEO’s thought-leadership in AR audio.

Immersive Audio Podcast Episode 23 Sofia Brazzola

 

Kedar Shashidhar, Magic Leap

Kedar Shashidhar is an audio generalist focused on new realities. With a focus in creative research and development, he has worked to help develop new tools, create content ,and explore the boundaries of audio in new realities. Most notably he has contributed to the development of various audio toolsets including Magic Leap, Steam Audio, and Ossic. He also formed an indie game studio, Blackout VR, focused on developing audio only games. Kedar is also an active voice for audio in new realities having previously spoken at AES, Game Sound Con, Indiecade, and more. Currently at Magic Leap, Kedar works on bringing the newest innovations in mixed reality audio to content creators in order to continue pushing the boundaries of what is possible for audio in new realities. You can find his latest work in Magic Leaps Soundfield Audio toolset and a number of experiences on the Magic Leap platform.

Luis Marcelino, Evollu

Luis Marcelino is CTO at Evollu and an adjunct professor at the Polytechnic Institute of Leiria. Evollu aims to help companies in the field of hearing rehabilitation increase their sales and expand their business. They use hearing tests and adaptive listening to support people in the process of improving their hearing. They have developed an augmented audio app that gives people “enhanced hearing.” This “enhanced hearing “ will allow users to selectively improve the quality of sound from different sources. This app was made for people with mild and moderate hearing loss, or for environments where it’s difficult to hear.

 

Per Beck Hansen, AWE

Per Beck Hansen is co-founder and CEO of AWE, a Danish startup working with audio development and design for interactive VR/AR. They have created projects from international VR installations to music driven health care solutions to augmented audio games for tourism. As part of the Ambeo development programme, AWE created the app 1807 for tourists in Copenhagen. Spatialized audio for visitors to Copenhagen – alternative to a tour guide. Users get to experience Copenhagen as it was 200 years ago, while under siege from the British. Expect guns and grenades.

 

Marc Green, University of York Audio Lab

Marc Green is a third-year PhD student at the University of York AudioLab. His research is focused on environmental soundscapes, with a view to utilising techniques from machine listening and spatial audio in their analysis. Using Sennheiser AMBEO technology, he has developed an AR app that could assist urban planners, researchers and architects in creating more positive acoustic environments for people to live and work in.

 

Damian Murphy, University of York

Damian Murphy is a Professor of Sound and Music Computing in the Department of Electronic Engineering at the University of York, where he has been a member of the academic staff since 2000. On top of that, he is the University Research Champion for Creativity. Damian was key in making links between the Sennheiser AMBEO programme and researchers at the University AudioLab to explore the potential for the creative use of augmented audio as part of our wider immersive audio research. One particular area of application is in the use of machine learning to understand and discern more information about our sound environment, and how augmenting this soundscape with additional audio content might change our perception of this soundscape. Damian’s PhD student Marc Green is currently leading on research in the area of spatial audio, machine learning and environmental soundscape and decided to look to how AMBEO technology might feature in his work.

Immersive Audio Podcast Episode 8 Damian Murphy

 

Eric Tarr, Belmont University

Dr. Eric Tarr is an associate professor of Audio Engineering Technology at Belmont University in Nashville, TN. He teaches classes on digital audio, computer programming, signal processing, and analysis. He received a Ph.D., M.S., and B.S. in Electrical and Computer Engineering from the Ohio State University. He received a B.A in Mathematics and a minor in Music from Capital University in Columbus, OH. He released an iOS app as a development partner with Sennheiser Electronic using the Smart AMBEO headset for VR/AR audio. The app simulates multiple types of hearing loss for use in hearing science research. It is called the Impaired Hearing Simulator (IHSIM) and is available for free from the iOS app store. He has developed software with several other audio companies including Apogee Electronics, Skywalker Sound, L.R. Baggs, and Harrison Consoles. His research has spanned across the topics of speech signal processing, musical robotics, sound spatialization, acoustic and electronic system modeling, hearing loss, perception and cognition.

Show Notes

Website for awe: https://theawe.dk/

Info on Microsoft Hololens: https://www.microsoft.com/en-us/hololens

More information about Pokemon Go: https://www.pokemon.com/uk/pokemon-video-games/pokemon-go/

Article about an augmented reality try on app: https://www.realitytechnologies.com/try-on-shoes-using-this-augmented-reality-app-for-ios/

More information about Sennheiser Augmented Audio Lab and  AMBEO AR One: http://sennheiser-ambeo.com/arone/

More information about St Mary’s Abbey: Reconstructed: https://www.york.ac.uk/news-and-events/events/yornight/2015/activities/yorkshire-museum/hearing-the-past-st-marys-abbey/

More information about Magic Leap’s Wearable 3D Audio: https://www.magicleap.com/news/news/wearable-3d-audio

Information about Eric Tarr’s work with Sennheiser AMBEO: http://sennheiser-ambeo.com/community/eric-tarr/

Information about the textbook written by Eric Tarr: https://www.mathworks.com/academia/books/hack-audio-tarr.html

Article about Evollu’s work: https://www.jornaldeleiria.pt/detalhe-noticia-print/8844

More information about Luis Marcelino’s work with Sennheiser AMBEO: http://sennheiser-ambeo.com/community/luis-marcelino/

Information of Sigur Ros and Magic Leap collaboration: https://pitchfork.com/news/sigur-ros-and-magic-leap-release-new-vr-experience-tonandi/

How to Balance VR and Realism: https://uploadvr.com/balance-gameplay-realism-creating-vr-sim-experience/

Creadits

This episode was produced by Felix Thompson and Oliver Kadel with the help of Abbigayle Bircham and Share O’Hare and included music by Knobs Bergamo, Isaac Joel and Yung Koolade.

Immersive Audio Podcast Episode 27 – Helena McGill and Anna Wozniewicz (Noctvrnal)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Helena McGill and Anna Wozniewicz of Noctvrnal via Skype from their office in LA.

Noctvrnal is an audio post-production studio based in Los Angeles. Co-founders Helena McGill and Anna Wozniewicz are visual storytellers with a background in sound design for narrative film. After noticing a lack of female entrepreneurs in audio and music production, the duo decided to launch Noctvrnal in January 2017 and have since expanded into the XR and immersive tech space. Noctvrnal is bringing an immersive sound design to the forefront of virtual and augmented reality by pushing the boundaries of current techniques to create a more visceral experience. The team is passionate about creating new worlds through sound, and their work has been featured at MIT, USC, and VRLA.

In this episode, they chat about the beginning of Noctvrnal, the advancement of the immersive technology, and talk about the importance of diversity in the creative industries.

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Show Notes

Chapman University Film School: https://www.chapman.edu/dodge/index.aspx

Avid Protools: https://www.avid.com/pro-tools

Youtube VR Creator Lab LA: https://www.youtube.com/space/losangeles/vr-creator-lab/

Facebook Spatial Workstation: https://facebook360.fb.com/spatial-workstation/

DearVR: https://www.dearvr.com/

CalArts: https://calarts.edu/

Noctvrnal Official Site: https://www.noctvrnal.com/

Creadits

This episode was produced by Abbigayle Bircham and Oliver Kadel with the help of Share O’Hare and included music by Knobs Bergamo.

Immersive Audio Podcast – Episode 23 Sofia Brazzola (Ambeo Sennheiser)

Summary

For this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Sofia Brazzola, the User Experience Manager with the AMBEO team based at Sennheiser.

Sofia holds a Master in Design with a focus on Research and Visual Communication, and in her professional experience at Sennheiser has honed music and technology innovation expertise. Sofia is the User Experience Manager at Sennheiser’s AMBEO team, where she leads user-centric research to validate and develop new solutions for a range of 3D audio applications.

As part of the R&D team who developed the “AMBEO VR Mic”, she launched Sennheiser’s first early-adopters program by engaging with a community of beta-testers and content creators. She is currently leading Sennheiser’s Augmented Audio Developers Program, where early-adopters engagement, user-centric innovation and strategic marketing play another important role in AMBEO’s thought-leadership in AR audio.

Today, Oliver and Sofia discuss the role of the AMBEO team, Sennheiser’s AMBEO line of products, and the Augmented Audio Developers Program.

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Show Notes

Sennheiser: https://en-uk.sennheiser.com/

AMBEO: http://sennheiser-ambeo.com/

Magic Leap: https://www.magicleap.com/

AMBEO Lab App: https://itunes.apple.com/us/app/sennheiser-ambeo-smartheadset/id1231509105?mt=8

HD25 Headphones: https://en-uk.sennheiser.com/on-ear-dj-headphone-hd25

HD600 Headphones: https://en-uk.sennheiser.com/best-audio-headphones-high-end-stereo-hifi-hd-600

AMBEO VR Microphone: https://en-uk.sennheiser.com/microphone-3d-audio-ambeo-vr-mic

AMBEO Smart Headset: https://en-uk.sennheiser.com/finalstop

AMBEO AR ONE: http://sennheiser-ambeo.com/arone/

Augmented Audio Developers Program: http://sennheiser-ambeo.com/developers-program/

iOS: https://en.wikipedia.org/wiki/IOS

Unity: https://unity3d.com/

Comply Memory Foam Ear Tips: https://www.complyfoam.com/

Credits

This episode was produced by Abbigayle Bircham, Oliver Kadel with the help of Kaelyn Tindall and included music by Knobs Bergamo.