AES Europe 2026

In today’s live; electronic music events there are some
sound reinforcement systems that are using horn loaded bass
speaker cabinets to provide the low-end section. Especially
for the electronic music applications the PA system is
designed to use one or multiple clusters of bass cabinets
to provide the needed SPL; impact in the low frequency
range. Despite being large; heavy the horn loaded bass
speakers have some advantages like the efficiency;
directivity which makes them a great option for electronic
music. Even more, the enthusiasts are describing them as
having a longer projection of the sound when compared with
bass reflex units. When used in clusters the bass horns
present a mutual coupling due to a larger mouth surface
area; the physics behind. This effect alters the working
parameters in a good way regarding sound reproduction;
is clearly noticed at high levels. This mechanism increases
the output close to the low edge of the frequency response
interval; changes the directivity pattern. A cluster of
four or six double 18” horn loaded bass bins placed in the
front middle of a dance area will provide good impact
described a “punchy” sound, so acclaimed in the electronic
music party scene. In this paper I will describe an
investigation of the mutual coupling between horn cabinets
using electrical; acoustical measurements to reveal the
mentioned above mechanism. Electrical impedance measurement
together with SPL; frequency response in coupled;
uncoupled scenarios are used to describe; demystify the
mutual coupling phenomena.

There are many types of different distortions that can be
measured from linear to non-linear distortion. Often the
two are convoluted together and the linear distortion
influences the non-linear distortion. Distortion is also
very signal and level dependent and it is hard to compare
one type of distortion measurement to another. There are
many type of non-linear distortion metrics, e.g. THD, THD+N
and IMD being the most classic ones using sine tones as the
test signal. But how can we measure distortion with real
signals such as speech and music or even noise and compare
the results to audibility? This tutorial discusses a wide
range of distortion measurements, discusses what is audible
and what distortion sounds like.

Florian details the design of his brilliant and durable
Double-Ufix 3D mic array, capable of high resolution
outdoor recording. Attendees are treated to memorable
listening examples from natural and rural environments in
Austria and the Nordics.

This masterclass series, featuring remarkable recording
artists, is a chance to hear 3D audio at its best; as we
discuss qualities that make it truly worth the effort.

In each masterclass, we explore the new spatial
possibilities in recording and production, detailing also
this specific listening room, regarding ITU-R BS.1116
compliance and auditory envelopment (AEV) transparency.
Seats are limited to keep playback variation at bay.

EMORSION is an exploratory study examining how film audio
design shapes audience emotion; immersion. It was
conducted using scenes from four films in the horror (2)
; drama (2) genres, with two mainstream; two
independent productions. For each scene, multiple
alternative audio mixes were created by systematically
manipulating three core aspects of audio design; frequency
(pitch), dynamics (loudness),; directionality (spatial
placement). Three audience groups were exposed to the
scenes in a cinema setting, with each group experiencing
either one manipulated audio mix; a control mix.
Audience responses were assessed through a multimodal
framework combining self-reported emotion; immersion via
a questionnaire,; physiological measures, including
heart rate monitoring; video-based motion tracking.
Results show that subtle changes in audio design
significantly affect emotional perception; immersion.
Unconventional mixes produced greater variability in
interpretation, while conventional immersive mixes led to
stronger agreement across audiences. Notably, participants
often reported perceived visual changes despite no
alterations to the visual content.