AES Show Spring 2021
Global Resonance

PROGRAM

Online & Streamed
May 25-28, 2021

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150th Audio Engineering Convention website now!
View the full program schedule, live streamcast sessions and more

AES Spring Show 2021 Program Information

The following topics will be included in the Technical Program.
Scroll down to see session titles and speakers. Abstracts coming shortly.

Information current as of April 13, 2021. Details subject to change.

Acoustics & Psychoacoustics
Archiving & Restoration
Automotive Audio
Broadcast & Online Delivery
Education
Electronic Dance Music
Electronic Instrument Design & Applications
Game Audio/AVAR/Spatial Audio
Historical
Networked Audio
Product Development
Recording & Production
Student & Career Development
Sound Reinforcement
Special Events
Additional Programming

Acoustics & Psychoacoustics

The Sound of Things
Agnieszka Oltarzewska

Listening Test Data Analysis for Everyone: The A/B Test
Darlene Williamson

Perception of Early Reflections in Small Rooms: Psychoacoustic Requirements for VR/AR Systems with 6DOF
Annika Neidhardt

Dimensions of Immersive Auditory Experience
Hyunkook Lee

Archiving & Restoration

Audio Archiving and Restoration: A Look at Different Facets of Safeguarding our Musical Heritage
Nadja Wallaszkovits, Ilse Assmann, Susana Belchior, Maria del Carmen Ordoño Vidaña, Jessica Thompson and Melissa Widzinski

NEMOSINE, the Future of Media Storage: Follow-up from the Lab
Nadja Wallaszkovits

Automotive Audio

Our Roads to the Automotive Industry
Shelley Uprichard, Eva Hasenberger, Sarah Hölscher, Hope Sheffield, Francesca Nucibella, and Debrupa Chakraborty

Broadcast & Online Delivery

Streaming as the Future of High Resolution Audio Distribution
Vicki Melchior, Michael Jbara, Pal Bratelund, Christopher Horton, and Ty Roberts

Next generation audio for advanced music creations and distributions
Kimio Hamasaki, Toru Kamekawa, Hideo Irimajiri and Kazuya Nagae

A Discussion of the Legal Issues of Streaming
Philipp Lengeling, Mark A. Pearson, and Heather Rafter

From Live to Virtual and Back: Is Hybrid the Future of Audio?
Heather Rafter, Sean Sullivan, Jim Ebdon, Frederick Umminger, and Dave Van Hoy

Education

A complete guide to Networked Music Performance using free and open-source software
Rebekah Wilson

Development of Living Mixing Simulation in VR
Emily Porter

Electronic Dance Music

Pushing the Envelope: An Introduction to Live Electronic Performance
Claire Lim

Game Audio/AVAR/Spatial Audio

Guiding Audiences with Sound: Techniques for interactive and games audio
Lucy Harrison

Loudspeaker Virtualization for Immersive
Lasse Nipkow

Panel: Audio in Games & Interactive Media
Katja Rogers, Winifred Phillips, Mathilde Hoffmann, and Sarah Fartuun Heinze

360 Ecosystem with Hank Shocklee
Brian “Bt” Gibbs, Paul “Willie Green” Womack, and Hank Shocklee

Innovative Uses of Spatial Audio Technology for Composition and Performing Arts: Wave Field Synthesis and “sound holograms”
Bobby McElver

Spatial Audio for VR in Unity
Jeanine Cowen

Masterclass on mixing spatial audio for beginners
Marcela Rada

Abbey Road Spatial Audio Forum: Audio Production in the Metaverse
Muki Kulhan

Extending Immersive Audio: Workshopping new spatial software tools for XR experiences
Muki Kulhan

Historical

Rupert Neve Retrospective – Sound Over Specs
Alex Case

Networked Audio

Networked Music Performance for Musicians
Miriam Iorwerth and Rebekah Wilson

Product Development

The Boring Allpass Filter?
Jayant Datta

Career path as an audio engineer in the world of the audio software industry
Angelika Podola and Maryam Safi

From idea to shipping audio software – every 2 weeks
Jay LeBoeuf, Rebecca Kossnick, Harmony Jiroudek, Katrina Liu, and Sarah Moliner-Roy

Recording & Production

FXpertise: Expansion and Gating
Alex Case

Creating Podcasts during a Pandemic
Jay LeBoeuf, Mia Lobel, and Annie Avilés

Audio for Social Justice
Helen Caddes

Advances in Realism in Sampled Orchestra Performance
Claudius Bruese

Deceptive Tracks
Thomas Lund

Introduction to Copyright Laws for Sound Engineers and Creatives
Philipp Lengeling and Mark A. Pearson

The importance of collaboration and mentoring in mastering
Magdalena Piotrowska

NFTs Demystified: What Every Audio Engineer (and investor!) Needs to Know
Heather Rafter

Student & Career Development

Non-Audio Skills You Need to Succeed as an Audio Freelancer & Business Owner
Benjamin Gallagher, Martin Rieger, Adele Cutting, Melissa Pons, and George Vlad

Bridging the Technical Divide: Techniques for effective communication with artists
Lucy Harrison, Nic Britton, Matthew Russell, and Amie Chatterley

Starting Your Brand Like a Boss
Oisin Lunny, Helga Osk Hlynsdottir, and Amie Chatterley

How to Get a Job in the Audio Industry?
Cheryl Ottenritter, Rebekah Wilson, and Joy Lyons

Special Events

Introducing the AES Technical Committee on Machine Learning and Artificial Intelligence
Andy Sarroff

“Perceptual Audio Coders – What To Listen For” – Launch of The Web Edition
Jürgen Herre, Sascha Dick, and Christof Faller

AI in Music
Heather Rafter and Alex Wankhammer

Women in Audio Panel
Leslie Gaston-Bird, Carol Bousquet, Terri Winston, Karrie Keyes, Erin Barra, and Phobean Adedamola

Keynotes
A Peek Under the Hood of Perceptual Audio Coding: A review of the history and a look into the future
Marina Bosi

Creative and Alternate Audio Adventurers
Lenise Bent

Loudness normalization, a personal history
Eelco Grimm

Heyser Lecture
Two Perceptual Puzzles: Audio Illusions and Perfect Pitch
Diana Deutsch

Additional Programming 

Modern Digital to Analogue Converters: HOW many bits!?
Jamie Angus-Whiteoak

Audio Mythology, Human Bias, and How Not To Get Fooled
Michael Lawrence

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