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Immersive Audio Podcast Episode 59 – Hyunkook Lee (A Conceptual Model of Immersive Experience in Extended Reality)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the director of the Applied Psychoacoustics Laboratory at the University of Huddersfield – Hyunkook Lee.

Dr Hyunkook Lee is a Reader (i.e., Associate Professor) in Music Technology and the Director of the Applied Psychoacoustics Laboratory, University of Huddersfield, U.K. His research over the last 10 years contributed to advancing the understanding of three-dimensional (3D) audio perception and developing new 3D capture and reproduction techniques. He has invented various psychoacoustics-based 3D microphone arrays including PCMA-3D and ESMA-3D, whose principle for height microphone configuration has been adopted for Schoep’s award-winning ORTF-3D array. Recently, he has been focusing on researching and developing perceptually optimised techniques of 6DoF audio rendering for extended reality applications. He is also currently leading a multidisciplinary project that connects immersive arts and technologies. From 2006 to 2010, he was a Senior Research Engineer in audio R&D with LG Electronics, South Korea, where he participated in the standardisations of MPEG audio codecs and developed spatial audio algorithms for mobile devices. He is an Associate Technical Editor of the Journal of the Audio Engineering Society (AES). He co-edited a recently published book “3D Audio” (Routledge). Hyunkook is a Fellow of the AES, Vice-Chair of the AES High-Resolution Audio Technical Committee, and has recently been elected as a Governor of the AES for 2022-2023.   Dr Lee received a B. Mus (Hons) degree in music and sound recording (Tonmeister) from the University of Surrey, U.K., in 2002 and a PhD in spatial audio psychoacoustics from the Institute of Sound Recording (IoSR), the University of Surrey in 2006.

In this episode, we discuss Hyunkook’s recent research on “A Conceptual Model of Immersive Experience in Extended Reality” and its influence on spatial audio.

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Show Notes

Hyunkook Lee – https://pure.hud.ac.uk/en/persons/hyunkook-lee

360 Reality Audio Creative Suite – https://360ra.com/

IMERSA – https://www.imersa.org/item/immersive-audio

University of Surrey, Music & Sound Recording (Tonmeister) – https://www.surrey.ac.uk/undergraduate/music-and-sound-recording-tonmeister

University of Huddersfield, Music Technology – https://www.hud.ac.uk/inspire/musictechnology/

University of Huddersfield, Applied Psychoacoustics Lab – www.hud.ac.uk/apl

Applied Psychoacoustics Lab on Facebook – https://www.facebook.com/applied.psychoacoustics.lab/

A Conceptual Model of Immersive Experience in Extended Reality Paper – https://psyarxiv.com/sefkh/

Conceptual Model of Immersive Experience in Extended Reality Online Lecture – https://www.youtube.com/watch?v=ZoSTV-WVeeI

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 57 – Hugo Larin (Flux:: Immersive – SPAT Revolution)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the ambassador and key collaborator of the FLUX:: Immersive – SPAT Revolution audio engine project Hugo Larin from Montreal, Canada.

Hugo Larin has deep roots in audio mixing, design, and operation as well as in networked control and data distribution.  He launched his career in production equipment rentals and in-studio recording. His passion for technology and for the entertainment production environment quickly drove him toward the live production sphere. His activities in this realm include a number of mixing, operation, and technical director roles on a variety of high-profile productions and events.

In this episode, Hugo discusses the technical capabilities of the SPAT Revolution engine along with the entire fleet of FLUX:: Immersive tools and we talk about the newly launched ADM OSC initiative.

For our podcast listeners, Flux:: Immersive are giving special access to extended licenses for -> Spat Revolution Software

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Show Notes

Flux:: – https://www.flux.audio/

Flux:: Immersive – https://www.flux.audio/immersive/

Spat Revolution – https://www.flux.audio/project/spat-revolution/

Ircam HEar  – https://www.flux.audio/project/ircam-hear-v3/

LANDR – https://www.landr.com

Ircam – https://www.ircam.fr/

ADM-OSC – https://doc.flux.audio/en_US/spat_revolution_doc/Ecosystem_&_integration_ADM_OSC.html

ADM-OSC GitHub – https://github.com/immersive-audio-live/ADM-OSC

FLUX:: Immersive User Group – https://www.facebook.com/groups/fluximmersive.usergroup

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 50 – Henrik Oppermann, Jean-Pascal Beaudoin and Viktor Phoenix

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by industry practitioners Henrik Oppermann, Jean-Pascal Beaudoin and Viktor Phoenix. Based on decades of combined experience of creative practice in the field of spatial audio for immersive media we discuss current affairs and reflect on the progress and prospects for the industry as a whole.

Henrik  Oppermann

Henrik Oppermann (M.Mus.) is a leading 3D sound specialist. Formerly Head of Sound at Visualise, he brings with him over 10 years of experience of recording studio-quality audio on location for film, advertising, music industry clients and 3D sound installations.   Since joining Visualise in 2014, Henrik has worked on over 80 virtual reality projects, capturing 3D audio in a number of challenging environments, including low flying military aircraft, formula one race cars, refugee camps, mountain peaks and concert halls around the world.   An expert in his field, Henrik has developed hardware and software audio applications for VR collaboration with leading sound partners, to deliver the best possible immersive sound.   For example with Sennheiser, Henrik was involved in the early stages of the development of the AMBEO VR mic and has kept close interaction with the AMBEO team since then. He is featured in the education video series covering how to record and mix with the AMBEO VR mic. Henrik sees the 360 image as a score for interactive soundscapes and has developed a number of unique workflows to deliver the best possible immersive sound experiences.

Viktor Phoenix

Partner & Head of Sound, Headspace Studio Los Angeles. Viktor believes in a vision of the future where everything you experience digitally is more immersive, more emotional, and more meaningful when what you see and do has a deep connection to what you hear.  He is a creative and technical audio director with expertise in interactive audio, sound design, and spatial audio for immersive media and a passion for non-linear and reactive storytelling.  Phoenix has collaborated on XR projects with talented partners at companies like Wevr, Artie, MPC, Sony Pictures, The Mill, MAP Design Lab, Annapurna Pictures, With.in, The New York Times, Kite & Lightning, ETC@USC, TNT, Lionsgate, Cloudhead Games, and ThreeOneZero, including Documentary Emmy®-nominated The Click Effect, ADR1FT — winner of the 2016 award for Sound Mixing in VR from The National Academy of Video Game Trade Reviewers, and Insurgent – Shatter Reality VRE — nominated for Best Sound Design at the 2015 Proto Awards.   Phoenix was previously Sound Supervisor for the Sound Lab at Technicolor and held senior positions at AAA game developers Pandemic Studios, an Electronic Arts-owned developer, and Turtle Rock Studios

Jean-Pascal Beaudoin

Co-founder & President, Headspace Studio Head of Sound, Headspace Studio Montreal     Jean-Pascal believes in a vision of the future where everything you experience digitally is more immersive, more emotional, and more meaningful — because of what you hear.  With extensive experience in audio post-production and music score supervision and driven by a combined passion for cinematic storytelling and immersive audio technology, he established himself as a creative pioneer in the emerging field of spatial audio for XR.  With Headspace Studio, Jean-Pascal has worked with high-profile creative partners on VR projects such as the Emmy Award-winning The People’s House: Inside the White House with Barack and Michelle Obama, Wes Anderson’s Isle of Dogs: Behind the Scenes, Jurassic World: Blue, Traveling While Black by Academy Award-winning director Roger Ross Williams, Gloomy Eyes with Colin Farrell, and the Space Explorers franchise partly shot aboard the International Space Station and adapted for 360 3D VR video, full-dome, theatrical, and an immersive exhibition.

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Show Notes

Headspace Studio – https://headspacestudio.com/

Schallgeber – https://www.schallgeber.com/

Felix & Paul – https://www.felixandpaul.com/

Olympic Studios Cinema – https://www.olympiccinema.co.uk/

NASA Project – https://time.com/space-explorers/

Mahler Chamber Orchestra – https://mahlerchamber.com/

Symphony VR with Gustavo Dudamel and the Mahler Chamber Orchestra – https://www.schallgeber.com/symphony-vr

Ambeo Cube – https://en-us.sennheiser.com/ambeo-blueprints-loudspeakers

MKH800 Twin Microphone – https://en-us.sennheiser.com/studio-condenser-microphone-stereo-surround-mkh-800-twin-ni

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 48 – Andy Slater

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 47 – Asbjoern Andersen (A Sound Effect)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Bjørn Jacobsen are joined by the founder of A Sound Effect –  Asbjoern Andersen from Copenhagen, Denmark.

Asbjoern Andersen is the founder of A Sound Effect (asoundeffect.com), the world’s largest site for independent sound effects, and is also the co-creator of Soundlister.com, featuring portfolios of thousands of audio professionals from around the world. Along with his team, he also runs the Audio Jobs newsletter and Audio Jobs groups on Facebook and LinkedIn.

In this episode, Asbjoern tells us how he built the biggest independent sound effects marketplace in the world along with an entire ecosystem of practical resources for audio professionals. We also discuss MPEG-H Authoring Suite and the role of the sound designer in the AAA Game development set-up.

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Show Notes

EBU – https://www.ebu.ch/home

Fraunhofer MPEG-H Authoring Suite – https://www.iis.fraunhofer.de/en/ff/amm/dl/software/mas.html

Asbjoern Andersen – https://www.linkedin.com/in/aandersen

A Sound Effect – https://www.asoundeffect.com

A Sound Effect Podcast – https://www.asoundeffect.com/podcast

Soundlister – https://soundlister.com/

CyberPunk – https://www.cyberpunk.net/gb/en/

Eve Valkyrie – https://www.evevalkyrie.com/

Audio Podcast Alliance – https://www.asoundeffect.com/audio-podcast-alliance/

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 44 – Evelyn Glennie

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Grammy Award-winning percussionist and composer Evelyn Glennie via Zoom from Cambridgeshire, UK.

Dame Evelyn Glennie is the first person in history to successfully create and sustain a full-time career as a solo percussionist, performing worldwide with the greatest orchestras, conductors and artists. Evelyn paved the way for orchestras globally to feature percussion concerti when she played the first percussion concerto in the history of the Proms at the Royal Albert Hall in 1992. Evelyn has commissioned over 200 new pieces for solo percussion from many of the world’s most eminent composers to vastly expand the percussion repertoire. She regularly provides masterclasses and consultations to inspire the next generation of musicians. The film ‘Touch the Sound’ and her enlightening TED speech remain key testimonies to her innovative approach to sound-creation. Leading 1000 drummers, Evelyn had the honour of a prominent role in the Opening Ceremony of the London 2012 Olympic Games. Evelyn was awarded an OBE in 1993 and now has over 100 international awards, including the Polar Music Prize and the Companion of Honour. She was recently appointed the first female President of Help Musicians, only the third person to hold the title since Sir Edward Elgar and Sir Peter Maxwell Davies. Evelyn is currently creating The Evelyn Glennie Collection with a vision to open a centre that embodies her mission to Teach the World to Listen. She aims to ‘improve communication and social cohesion by encouraging everyone to discover new ways of listening as proven in her book ‘Listen World!’. We want to inspire, to create, to engage and to empower’.

In this episode, Evelyn talks about her unique journey and perspective as a musician and dives deep into her long-time mission – to teach people how to listen.

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Show Notes

Official website – https://www.evelyn.co.uk/

Official Youtube – https://www.youtube.com/user/DameEvelynGlennie

Evelyn Glennie Podcast – https://www.evelyn.co.uk/theevelynglenniepodcast/

Book Link – https://www.evelyn.co.uk/shop/books/listen-world-book/

Spotify – https://open.spotify.com/artist/6MYiQGy8MIcBps6Ez0IQA8?si=Djlmv6eERduDFsFJOlN_eQ

TED Talk – How to truly listen – https://www.ted.com/talks/evelyn_glennie_how_to_truly_listen?language=en

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.

Image credit – Produktion Bärbel Recktenwald England

Immersive Audio Podcast Episode 43 – Krotos (Audio Software for Creative Minds)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is talking to the innovative sound technology company Krotos whose mission is to improve the way sound is designed and performed.

The Founder and CEO – Orfeas Boteas and General Manager Matt Collings dive deep into the creation of the company and software development, along with our guest speakers Mark Lanza and Bjørn Jacobsen sharing their unique perspective on how Krotos tools can enhance creativity when designing audio for films and games.

Orfeas Boteas is the founder and CEO of Krotos. Krotos’ audio software has been used in top films, series and video games such as The Avengers, Game of Thrones, Stranger Things, Jungle Book, Frozen, Cyberpunk and Far Cry. Previous to founding Krotos he worked in post-production, music composition and location sound. He holds a BSc in Music Technology and Acoustics and an MSc in Sound Design from the University of Edinburgh. He was a Royal Society of Edinburgh Fellow and received two Edge awards for his work at Krotos.

Matthew Collings has successfully led prototyping and project managed the development of Krotos’ major software projects due to be released in recent years: Weaponiser, Dehumaniser Live, Reformer and Reformer Pro. He has worked for Krotos since 2015, driving the technical development of the company, and as a board member. As a composer, he has produced projects for the 50th Design Biennial in Ljubljana, Slovenia (2014), Glasgow Centre for Contemporary Art (2014), Gaudeamus Musikweek in Utrecht (2015), and Edinburgh Fringe Festival.

Mark A. Lanza MPSE is a sound designer and supervisor for Sony Pictures Television, he has worked for major studios as well as several prominent independent sound facilities. He has crafted sound for many directors including Oliver Stone, James Cameron, Bryan Singer, and Phillip Noyce. His 250+ credits cover the gamut from Sci-Fi blockbusters like Independence Day and Starship Troopers to Natural Born Killers and True Lies. He has won a Bafta award for his work on JFK, and he took home a Hollywood Post Alliance award for his supervision for the Grimm TV series. He has over 30 MPSE nominations and a win for Phillip K. Dick’s Electric Dreams. He is also the President of the Motion Picture Sound Editors, on the board of directors for EIPMA, and on the Executive Steering Committee for the Television Academy.

Bjørn Jacobsen is a sound designer coming from an electronic music background, he currently runs his own studio from Copenhagen Denmark called Cujo Sound from where he works on numerous game audio projects and recently finished the very well-received indie game DARQ and working on titles such as The Settlers, Divinity Fallen Heroes, The Ascent, Straits of Danger and more.  Previously Bjorn has been working in-house at AAA studios such as CD PROJEKT RED, IO Interactive, Sharkmob and CCP Games, having been able to work on great titles such as Cyberpunk 2077, HITMAN, EVE Online, EVE Valkyrie and some unannounced and prototype projects.

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Show Notes

Krotos – https://www.krotosaudio.com/

Orfeas Boteas – https://www.linkedin.com/in/orfeas-boteas-0b779740/?originalSubdomain=uk

Matt Collings – https://www.linkedin.com/in/matthew-collings-95a78029/

Dehumaniser 2 – https://www.krotosaudio.com/products/dehumaniser2/

Reformer – https://www.krotosaudio.com/products/reformer-pro/

Weaponiser – https://www.krotosaudio.com/weaponiser-3/

Igniter – https://www.krotosaudio.com/igniter/

Concept – https://www.krotosaudio.com/concept/

Krotos Sound Libraries – https://www.krotosaudio.com/shop/libraries/

Mark Lanza – https://www.sonypicturesstudios.com/bio/marklanza.php

Motion Picture Sound Editors – https://www.mpse.org/

Bjorn Jacobsen – https://www.imdb.com/name/nm1327187/

Cujo Sound – https://www.cujo.dk/

Krotos For Education – https://www.krotosaudio.com/educational-discount-for-sound-design-and-audio-students/

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 Isaac Joel, Yung Koolade and Knobs Bergamo.

Immersive Audio Podcast Episode 41 – Charles Spence (University of Oxford)

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by world-famous experimental psychologist and Professor at the University of Oxford – Charles Spence via Zoom from Oxford, UK.

Professor Charles Spence is a world-famous experimental psychologist with a specialization in neuroscience-inspired multisensory design. He has worked with many of the world’s largest companies across the globe since establishing the Crossmodal Research Laboratory (CRL) at the Department of Experimental Psychology, Oxford University in 1997. Prof. Spence has published over 900 academic articles and edited or authored, 15 books including, in 2014, the Prose prize-winning “The perfect meal”, and the international bestseller “Gastrophysics: The new science of eating” (2017; Penguin Viking) – winner of the 2019 Le Grand Prix de la Culture Gastronomique from Académie Internationale de la Gastronomie.

In this episode, Charles opens up about the world of multisensory design focusing on how sound affects our perception of taste and much more.

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Charles Spence Extended Bio

Much of Prof. Spence’s work focuses on the design of enhanced multisensory food and drink experiences, through collaborations with chefs, baristas, mixologists, chocolatiers, perfumers, and the food and beverage, and flavour and fragrance industries. Prof. Spence has worked extensively in the world of multisensory experiential wine and has also worked extensively on the question of how technology will transform our dining/drinking experiences in the future.

The research conducted at the Crossmodal Research Laboratory in Oxford has garnered widespread media attention across the globe, including in The Economist (February 4-10th, 2012, p. 74), and The Financial Times (3rd June, 2013, p. 14; http://www.ft.com/cms/s/0/6bc0fa04-c175-11e2-9767-00144feab7de.html#axzz2VEbNyXiR) and has been profiled in The New Yorker (http://www.newyorker.com/magazine/2015/11/02/accounting-for-taste). Over the last decade alone, Prof. Spence and the CRL have been featured in more than 3,000 newspaper articles, radio interviews, and television programs.

Prof. Spence frequently delivers consumer neuroscience lectures and courses to global companies, and business schools and schools of business administration, such as at Los Andes, Rosario University, and Javariana University in Colombia, the Saïd Business School, Oxford, and the Singapore Business School.

Prof. Spence has been awarded numerous national and international prizes for scientific excellence, including the 10th Experimental Psychology Society Prize, the British Psychology Society: Cognitive Section Award, the Paul Bertelson Award, recognizing him as the young European Cognitive Psychologist of the Year, and, the Friedrich Wilhelm Bessel Research Award from the Alexander von Humboldt Foundation (Germany): ‘in recognition of past accomplishments in research and teaching’. In 2008, together with Dr. Max Zampini, he was awarded the 2008 IG Nobel prize for nutrition for his work on ‘the sonic crisp’

Show Notes

Charles Spence – Sensploration (FoST 2016) – https://vimeo.com/170509976

Accounting for Taste How packaging can make food more flavorful – http://www.newyorker.com/magazine/2015/11/02/accounting-for-taste

“The Perfect Meal” | Talks at Google – https://www.youtube.com/watch?v=JgUVjKsP_wc

Heston Blumenthal – https://en.wikipedia.org/wiki/Heston_Blumenthal

Fat Duck – https://thefatduck.co.uk/

ASMR – https://www.1618digital.com/immersive-audio-podcast-episode-11-asmr-the-feeling-of-sound

AEG Tasteology – http://www.aeg.co.uk/taste/inspiration/tasteology/

Neurocuisine, The Guardian – https://www.theguardian.com/lifeandstyle/video/2016/may/23/neuro-cuisine-exploring-the-science-of-flavour-video

Multisensory Experience and Coffee – Reco Symposium – https://www.youtube.com/watch?v=vVKabsudi1I

Unexpected connections – pleasure and pain: Charles Spence at TEDx UHasselt – https://www.youtube.com/watch?v=NVt-QrNFZso

Entomophagy in our world, TEDx City University London – https://www.youtube.com/watch?v=iQEX-kMpz-4

Spence LSE Gastrophysics talk – https://www.youtube.com/watch?v=HB_B9hfsNXI

Spence Going Underground TV – https://www.youtube.com/watch?v=56e5UZJreg0

For multisensory packaging video, see – https://www.youtube.com/watch?v=tV3SRKFpEsg

Nuffield Triannual Food Conference – https://www.youtube.com/watch?v=ePguEqCJ7Ks

Taste of General Mills Podcast, Making food your five senses will love – http://www.blog.generalmills.com/2016/09/podcast-making-food-your-five-senses-will-love/

Chef Jozef Youssef – http://kitchen-theory.com/staff-member/jozef-youssef/

Charles Spence Book “Gastro Physics” – https://www.amazon.co.uk/Gastrophysics-Science-Eating-Charles-Spence/dp/0241977746/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr=

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.

Listen to Podcast

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)

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Credits

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