AES Europe 2026: Full Schedule

Schedule as of May 16, 2022 - subject to change

Default Time Zone is CEST - Central European Summer Time
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LIVESTREAMS : A and B

ON DEMAND VIDEOS (previous days)

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8:00am CEST

Attendee Registration

Saturday May 30, 2026 8:00am - 4:00pm CEST

Foyer Building 306

Saturday May 30, 2026 8:00am - 4:00pm CEST
Foyer Building 306 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Registration attendees

9:00am CEST

Adaptive Deesser Application

Saturday May 30, 2026 9:00am - 9:30am CEST

Aud 43

High-fidelity vocal processing is frequently compromised by
sibilance, a phenomenon characterized by stochastic
high-frequency energy that presents unique dynamic range
challenges. While traditional de-essing techniques often
rely on static frequency bands, they fail to account for
inter-speaker variability; changing dynamics. This
project presents an adaptive real-time de-essing
application, developed using the JUCE framework, which
automatically detects; suppresses sibilant frequencies.
The proposed methodology integrates a derivative-based
frequency tracking algorithm to estimate the spectral
centroid without the computational overhead of the Fast
Fourier Transform (FFT). This is coupled with a dual-path
envelope detection system; a relative threshold logic to
distinguish sibilance from the wideband signal.
Additionally, a dynamic harmonic exciter is implemented to
restore high-frequency presence during non-sibilant
periods. Objective spectral analysis confirms the system's
ability to selectively attenuate energy in the 6–11 kHz
range while maintaining spectral transparency;
minimizing artifacts.

Authors

Cumhur Erkut

Aalborg University

Cumhur Erkut (M.Sc. 1997, D.Sc. 2002) has received a PhD in acoustics and audio signal processing from Helsinki University of Technology, Finland. During his post-doctoral period, he has contributed to national and international projects (EU FP5 and 6). Between 2007 and 2012, he has conducted i... Read More →

Stefanos Biliousis

Aalborg University

Saturday May 30, 2026 9:00am - 9:30am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Audio Processing, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

9:00am CEST

Augmented Ubiquity - A fully volumetric music composition for VR

Saturday May 30, 2026 9:00am - 9:30am CEST

Aud 42

This paper presents the production of a fully volumetric
audiovisual music composition with six degrees of
freedom, featuring a dance performance. The project
realizes the artistic potential enabled by recent
technological
advancements in volumetric video capture; spatial audio
rendering. The interdisciplinary production team
consisted of music composers, dancers, sound engineers,;
experts in 4D Gaussian Splats. An existing 3D body
scanner consisting of 112 cameras was used to capture a
dance performance in high definition video. For the
visual scene, custom 4D Gaussian Splat algorithms were
developed; employed to create the dynamic model.
Additional static 3D Gaussian Splats were captured with the
same scanner; integrated into the scene in Unity.
The acoustic scene is dynamically binauralized via SPAT
Revolution, depending on the position of the listener
in the virtual space. Audio; video scenes are run on
separate PCs, synchronized via OSC; presented via
commercially available head-mounted displays (HMDs).
Audiences report a high level of immersion at the initial
presentation at an exhibition event. A detailed evaluation
is planned in the near future. Furthermore, a unified
application for both visual; audio scenes is planned in
order to reach a wider audience.

Authors

Benedikt Samuel Jäger

Kreativinstitut.OWL | Detmold Music University

Lou Kilger

Kreativinstitut.OWL | Detmold Music University

Manuel Steitz

Wunderkammer Visual Engineering

Pablo Dawson

Wunderkammer Visual Engineering; CENIA

Sascha Armin Etezazi

Music Director, Artistic Research Assistant, Kreativinstitut.OWL | Detmold Music University

Saturday May 30, 2026 9:00am - 9:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Cross-Disciplinary Sound Studies, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

9:00am CEST

Recent loudness developments and challenges

Saturday May 30, 2026 9:00am - 10:00am CEST

Aud 44

With the omnipresence of immersive audio the loudness
agenda has been pushed out of the spotlight. While there
are important areas (like TV) where the introduction has
been a resounding success with a complete paradigm shift,
others have not yet fully embraced the "auditory cease
fire" (Radio) or even searched for ways to counteract
loudness normalisation or still gain a loudness advantage
(pop music). In this workshop, two veterans of the EBU
loudness group PLOUD will elaborate on potential
meta-reasons for the resistance in the latter areas as well
as survey recent developments and challenges.

Speakers

Florian Camerer

Senior Sound Engineer, ORF

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Saturday May 30, 2026 9:00am - 10:00am CEST
Aud 44 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Tutorial | Perception, Tutorial | Recording Production and Reproduction, Tutorial

Presentation Type Tutorial

9:00am CEST

Creating Emotional Space with Layered Sounds in 3D Audio

Saturday May 30, 2026 9:00am - 10:00am CEST

Aud 31

3D audio allows music to be experienced as an immersive
spatial environment. By distributing musical elements
around the listener, the perception of width, depth, and
presence is enhanced, allowing individual sounds to have a
greater emotional impact.

In this workshop, Lasse Nipkow presents a creative concept
in which recordings of acoustic instruments are used to
create a virtual sound space via 3D audio. The workshop
illustrates how spatial hearing, auditory fusion, and
perceptual grouping allow multiple tracks of a single
instrument to be perceived as a coherent sound. Different
instruments located at the same position in space merge
into a new, unified sound, while perceptual grouping
organizes similar sounds into a spatially coherent
connection. Lasse Nipkow clearly explains the
psychoacoustic principles and demonstrates how the ear
integrates distributed sound sources into a unified musical
experience.

Compelling listening examples are presented during the
workshop, both as complete 3D audio mixes and as groups and
individual tracks. This allows participants to understand
how the distribution of sounds in space, fusion, and
grouping work together in immersive music production.

Speakers

Lasse Nipkow

CEO, Silent Work LLC

Lasse Nipkow – 3D Audio Opinion Leader & Spatial Design Specialist Lasse Nipkow shapes the intersection of immersive audio production, spatial perception, and high-end listening environments.He develops perceptual approaches to 3D audio in collaboration with leading producers and engineers, connecting musical practice with how sound is actually experi... Read More →

Saturday May 30, 2026 9:00am - 10:00am CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Tutorial | Recording Production and Reproduction, Tutorial

Presentation Type Tutorial

9:00am CEST

Introduction to Physical Modelling Sound Synthesis

Saturday May 30, 2026 9:00am - 10:00am CEST

Aud 41

This tutorial lecture is intended to present the basic
concepts of Physical Modelling (PM) sound synthesis. The
motivation behind the presentation is to increase the
awareness of the audio community of the existence of this
synthesis method, as an alternative to the much more
widespread subtractive synthesis approach.

Physical modelling synthesis allows for the creation of
realistic acoustic instrument timbres, as well as
avant-garde sound design constructs, in a way that is much
more approachable and intuitive than FM synthesis.

The lecture is intended for the beginner adept of sound
design, as well as the general audio public, so no prior
knowledge is required beyond a basic, intuitive
understanding of sound. Auditory examples will be presented
using a software modular synthesiser environment, as well
as dedicated physical modelling virtual instruments/effects
plugins within a Digital Audio Workstation application.

The presented concepts are applicable to the field of sound
design for music, film, gaming, and audiovisual arts, as
well as to teaching acoustics and musical instrument
studies in the classroom.

Topics covered:
-PM synthesis premise
-Comparison to subtractive synthesis
-Concept of a resonant model (Karplus–Strong oscillator)
-Simple and complex resonators, resonator coupling,
exciters, modifiers, pickups, and instrument body resonance
-Typical PM synthesiser architecture and workflow
-Signal processors/effects utilising physical modelling
(e.g. modal reverb)
-Dedicated virtual instruments for realistic acoustic and
electroacoustic instrument synthesis

All sound and workflow examples will be presented in a
technology-neutral way (using a variety of physical
modelling plugins from different vendors).

Speakers

Adam Pietruszko

Educator / Sound Designer, Akademia Realizacji Dźwięku

Audio engineering educator at the Academy of Sound Engineering in Warsaw and sound designer at the self-owned KNOBZ.NET studio.Specializes in sound synthesis, acoustics, MIDI, field recording, sampling, and SFX production.Brings over a decade of professional experience in teaching, educational content development, and the creation of soundbanks, sample libraries, as well... Read More →

Saturday May 30, 2026 9:00am - 10:00am CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Sound Design, Tutorial

Presentation Type Tutorial

9:00am CEST

Differentiated Wavefront Modulation for Directivity Control at High Frequencies

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

The inherent narrowing of directivity at high frequencies
in compact tweeters limits the spatial uniformity of sound
reproduction in modern audio systems. Conventional passive
solutions, such as waveguides; acoustic lenses,
partially mitigate this issue but typically rely on bulky
geometries; treat the diaphragm as a unitary radiator,
neglecting localized vibration behavior. This study
proposes a Matrix Wavefront Modulator (MWM), a compact
passive device that implements a differentiated
wavefront-shaping strategy based on vibration-aware
radiation control. Sound radiation from the piston-like
diaphragm dome; the breakup-prone surround is processed
independently by combining guided wavefront steering with
targeted scattering compensation. The geometry of the MWM
is optimized to adapt to the radiation characteristics of
the tweeter. Numerical simulations show that the optimized
MWM reshapes the high-frequency wavefront toward a more
spherical distribution; significantly reduces off-axis
attenuation above 10 kHz. Experimental measurements confirm
significant improvements in high-frequency directivity over
wide radiation angles.

Authors

Jianbin Yang

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Jun Gu

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Zhi Li

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster

Presentation Type Poster

9:00am CEST

Mechanical Characterization; Geometry Optimization of Loudspeaker Spider Suspensions

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

Loudspeaker spider suspensions play a crucial role in
defining the compliance; stability of electrodynamic
transducers. Due to their woven structure impregnated with
thermosetting resins, spiders exhibit a nonlinear;
viscoelastic mechanical response, resulting in stiffness
dependence on displacement; excitation rate, as well as
energy dissipation during operation. However, viscoelastic
effects are often simplified during early loudspeaker
design stages.
This work presents a combined numerical–experimental study
aimed at characterizing the mechanical behaviour of
loudspeaker spiders; assessing its influence on
optimization choices during the pre-design phase. An
experimental campaign was conducted on spider samples with
fixed geometry; varying materials. Loading–unloading
cycle measurements were performed at different displacement
rates to capture nonlinear stiffness; hysteresis effects.
A finite element modelling framework was developed using a
2D axisymmetric formulation. Viscoelastic material
behaviour was first described through time-dependent
simulations, with model parameters identified by fitting
simulated loading–unloading curves to experimental data. A
parametric geometry optimization model based on linear
elastic assumptions was then implemented using quasi-static
simulations. Finally, the optimized spider geometries were
re-evaluated using time-dependent simulations incorporating
the identified viscoelastic material properties.
Results show that spider materials may influence its
mechanical behaviour, in particular the suspension
stiffness; hysteresis effects. Viscoelasticity mainly
affects the magnitude of the stiffness curve rather than
its overall shape, particularly at small displacements.
These findings support the use of quasi-static linear
elastic simulations for geometry optimization in early
loudspeaker design, while highlighting the importance of
material characterization for accurate performance
prediction.

Authors

Chiara Corsini

R&D engineer, FAITAL S.P.A. ALPS ALPINE GROUP

Chiara has joined Faital S.p.A. in 2018, working as a FEM analyst in the R&D Department. Her research activities are focused on thermal phenomena associated with loudspeaker functioning, and mechanical behavior of the speaker moving parts. To this goal, she uses FEM and lumped parameter... Read More →

Grazia Spatafora

Luca Villa

FAITAL S.P.A. ALPS ALPINE GROUP

Nicolò Chillè

Politecnico di Milano

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster

Presentation Type Poster

9:00am CEST

Quasi-Anechoic Loudspeaker Measurements: a “Step” Forward

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

Measuring the anechoic response of a loudspeaker system
requires space; facilities that are not commonly
available. The evolution of measurement instruments has
made it possible to visualize the time response of the
system under analysis, enabling the identification of
reflected signals; their elimination through time-gating
(windowing) of the impulse response. However, this comes at
the cost of a loss of resolution; characterization of
the system's response at lower frequencies. To correctly
characterize the system's response at the lowest
frequencies, the most widely used technique is the one
described by Keele in his AES paper "Low-Frequency
Loudspeaker Assessment by Nearfield Sound-Pressure
Measurement".
To obtain the overall system response, the appropriately
windowed far-field response; the near-field response are
combined, as described by Struck; Temme in their paper
"Simulated Free Field Measurements".
This operation is performed in the frequency domain, but
what happens when applied in the time domain?
The goal of this work is to use the near-field impulse
response to reconstruct the far-field portion of the
impulse response affected by environmental reflections. As
already stated, it’s quite easy to identify the first
reflection point on a far-field impulse response; this
can be used as a merging point to reconstruct the
reflections affected impulse tail using the corresponding
part of the near-field impulse measurement. Once the
far-field impulse tail is reconstructed, it is possible to
obtain the full-range frequency response of the system
under test while maintaining maximum measurement
resolution. The steps required to achieve a full-range
frequency response are fewer than those required for the
frequency-domain technique. For example, it is not
necessary to add the baffle diffraction step effect, as
demonstrated in the paper.

Authors

Davide Saronni

Independent

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster

Presentation Type Poster

9:00am CEST

Reduction of Mid-to-High-Frequency Distortion in Loudspeakers through Structural Magnetic Circuit Modification

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

This paper investigates mid-to-high-frequency distortion in
traditional electrodynamic loudspeakers arising from
current-dependent nonlinearity in the magnetic circuit.
Through theoretical analysis, finite-element simulations
; experimental validation, the dominant distortion
mechanisms are identified. To mitigate distortion while
maintaining a stable frequency response, an improved
magnetic circuit is proposed, which introduces longitudinal
slits to suppress surface-concentrated eddy currents.
Experimental results demonstrate that the modified circuit
achieves greater distortion reduction compared with
conventional designs. As the improvement relies solely on
structural modifications without changing the ferromagnetic
materials, the proposed design offers a practical;
cost-effective solution for engineering applications.

Authors

He Xiao

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Jianbin Yang

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Zhi Li

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster

Presentation Type Poster

9:00am CEST

Sound Diffusion Properties of a Bending-Wave Loudspeaker Compared with a Conventional Speaker

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

The Panel-shaped Bending Wave Loudspeaker was proposed
recently by Kawahara. The authors conducted an objective
evaluation of the diffusion characteristics of Bending Wave
Loudspeakers (BWL) using the degree of interaural
cross-correlation (DICC) in this paper.
Conventional speakers exhibit strong directionality;
rely on room reflections to create a spatial impression. In
contrast, BWLs are considered less susceptible to room
reflections due to complex mode vibrations across the
entire diaphragm.
To quantify this characteristic, the authors recorded sound
in a real-world environment using a head-and-torso
simulator (HATS); compared the BWL's DICC with that of a
conventional speaker.
The results showed that the BWL exhibited significantly
lower DICC values than conventional loudspeaker at the
front position (Center) under both broadband noise;
music conditions, confirming its high diffusivity.
Furthermore, this difference exceeded the Just Noticeable
Difference (JND) for spatial perception, suggesting it is
also significant to the human ear. In addition, analysis
separating early reflections; late reflections suggested
differences in diffusion characteristics between
conventional speakers; BWL.

Authors

Kazuhiko Kawahara

Associate Professor, Faculty of Design, Kyushu University

Dr. Kazuhiko Kawahara is an Associate Professor at the Department of Acoustic...

Rina Mizukami

Graduate School of Design, Kyushu University

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster

Presentation Type Poster

9:00am CEST

Zylia ZM-1 vs. Harpex Spcmic: A Case Study of Higher-Order Ambisonic Recording Performance

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

The Zylia ZM-1 (19 MEMS capsules, spherical array, 88 mm
diameter, 3rd-order); Harpex Spcmic (84 MEMS capsules,
planar array, 230 mm diameter, 5th-order capable) represent
two distinct geometrical approaches to higher-order
Ambisonics capture. Despite widespread adoption in research
; production, systematic comparison of their performance
in real-world recordings remains absent from published
literature. This case study presents a controlled
comparison through simultaneous recordings of piano
recitals in the same concert hall.

Two arrays—Zylia ZM-1; Harpex Spcmic—were mounted on a
single stereo bar (17 cm apart) ensuring acoustically
identical capture positions. Recording sessions occurred in
Aula Politechniki Gdańskiej (370-seat hall, RT60 = 1.97 s)
on two dates: August 15, 2024 (Franck: Prélude, Choral et
Fugue; Prokofiev: Piano Sonata No. 4, 35.6 minutes
total); April 30, 2024 (Ginastera: Sonata No. 1, Op. 22,
15.4 minutes). Both arrays recorded simultaneously; files
were processed through manufacturer A-to-B conversion
software; peak-normalized to −0.5 dBTP. The Spcmic was
encoded to both native 5th-order; truncated 3rd-order
formats for direct comparison with the ZM-1.

Four metrics were analyzed: (1) W-channel spectral
response, (2) integrated loudness (LUFS-I per ITU-R
BS.1770-5), (3) spatial energy distribution across
Ambisonics orders,; (4) first-order directional
component ratios.

Spectral analysis reveals the ZM-1 exhibits 5–8 dB
elevation at 200–600 Hz relative to the Spcmic. Loudness
measurements show the Spcmic 3rd-order yields 2.3–3.3 dB
higher LUFS-I than the ZM-1 despite identical peak
normalization.

The primary finding concerns spatial energy: the ZM-1
exhibits 27.4 dB attenuation from 0th to 3rd order, while
the Spcmic shows only 8.4 dB—a 19 dB difference despite
both producing "3rd-order Ambisonics" format. Analysis of
both recording sessions confirms consistency across
different repertoire (romantic, 20th-century,
contemporary). Directional analysis shows the Spcmic
exhibits stronger first-order components (X/Y/Z ratios
0.68–0.83) versus the ZM-1 (0.42–0.55).

Results demonstrate that nominal Ambisonics order
inadequately characterizes spatial resolution in real
recordings. The substantial higher-order energy deficit in
compact spherical arrays has implications for reproduction
quality, decoder design,; archival standards. Arrays
with steeper rolloff may require order-dependent gain
compensation to match spatial impression of larger systems.

This case study complements existing anechoic validation by
demonstrating performance differences in authentic
recording conditions. Recordings are part of a publicly
available HOA corpus (Gdańsk University of Technology
repository).

Authors

Bartlomiej Mroz

Assistant Professor, Gdańsk University of Technology

PhD, Spatial Audio & Immersive Media Researcher, Recording Engineer, Statistics enthusiast

Szymon Zaporowski

Gdańsk University of Technology

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster | Immersive Audio, Poster | Recording Production and Reproduction, Poster

Presentation Type Poster

9:00am CEST

A Longitudinal Dataset for Guitar String Ageing

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

String ageing is a familiar; perceptually important
phenomenon for guitarists; players of other stringed
instruments. From the moment a new set of strings is
installed, the sound they produce when excited begins to
change due to a combination of chemical degradation,
corrosion,; mechanical wear arising from playing.
Musicians commonly report that aged strings sound dull,
lack sustain,; feel less responsive compared to new
strings. String ageing is a function of both elapsed time
; accumulated playing time, with repeated playing
accelerating degradation through contamination; repeated
mechanical stress.

Previous studies have investigated individual aspects of
string ageing by artificially accelerating wear;
performing controlled acoustic measurements, identifying
effects such as increased damping of higher partials;
increased inharmonicity. While these approaches provide
valuable physical insight, the tightly constrained
experimental conditions differ significantly from
real-world playing conditions.

This paper presents a dataset of audio recordings of guitar
playing over a four-week period, starting from the point of
new strings being installed.
Audio performance data from different sets of electric
guitar strings is recorded daily over a four-week period,
using strictly fixed musical exercises that are repeated
multiple times per session. By collecting many takes of
identical material at each stage of string age, the dataset
enables statistical analysis of ageing-related changes
while accounting for natural performance variability.

The dataset is intended to support exploratory machine
learning investigations into string ageing, including
questions of how ageing manifests over time; playing
duration, whether string age can be predicted from audio
alone,; which audio features or learned representations
capture perceptually relevant aspects of the ageing process.

Authors

Alec Wright

University of Edinburgh

Matthew Hamilton

University of Bologna

Thomas McKenzie

Lecturer in Acoustics, University of Edinburgh

Thomas McKenzie is a Lecturer in Acoustics and Architectural Acoustics at the Reid School of Music, Edinburgh College of Art, University of Edinburgh, UK. He completed a B.Sc. in Music, Multimedia, and Electronics at the University of Leeds, UK, in 2013, before completing his M.Sc... Read More →

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster | Perception, Poster

Presentation Type Poster

9:00am CEST

Modulation Noise in Tape Recording

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A

Tape recording of audio programme produces significant
noise signals underlying the audio signal. Measurements
show that total modulation noise is significant; often
around 25 dB down from a sinusoidal audio signal, although
historical measurement methods give numbers that may exceed
50 dB. The persistent popularity of tape in the audio
industry may indicate a preference for some of the more
salient tape characteristics; perhaps even modulation
noise. Measurements on a variety of tapes; machines are
presented in an attempt to understand the basic principles.
A model of modulation noise is developed which provides a
broad steepening spectral peak centred on the signal
frequency; captures much of the tape noise character.
This could be the basis of a plug-in to simulate such
noise. A new measurement method is presented culminating
in a single plot which gives a useful more complete picture
of modulation noise.

Authors

John Vanderkooy

University of Waterloo

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Poster | Recording Production and Reproduction, Poster

Presentation Type Poster

9:00am CEST

Poster Session 4

Saturday May 30, 2026 9:00am - 11:00am CEST

Foyer Building 303A Posters

- Differentiated Wavefront Modulation for Directivity Control at High Frequencies

- Mechanical Characterization; Geometry Optimization of Loudspeaker Spider Suspensions

- Quasi-Anechoic Loudspeaker Measurements: a “Step” Forward

- Sound Diffusion Properties of a Bending-Wave Loudspeaker Compared with a Conventional Speaker

- Zylia ZM-1 vs. Harpex Spcmic: A Case Study of Higher-Order Ambisonic Recording Performance

- A Longitudinal Dataset for Guitar String Ageing

- Modulation Noise in Tape Recording

- Reduction of Mid-to-High-Frequency Distortion in Loudspeakers through Structural Magnetic Circuit Modification

Saturday May 30, 2026 9:00am - 11:00am CEST
Foyer Building 303A Posters Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

POSTER SESSIONS

9:00am CEST

Exhibit Hall

Saturday May 30, 2026 9:00am - 4:00pm CEST

Aud 36

Saturday May 30, 2026 9:00am - 4:00pm CEST
Aud 36 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Exhibition

9:30am CEST

When Excellence Fails the Mix: Non-Compensatory Relationships in Mix Preparation for Music Production

Saturday May 30, 2026 9:30am - 10:00am CEST

Aud 43

Mix preparation, the foundational stage encompassing
technical, musical,; organisational tasks preceding
creative mixing, remains under-examined despite
professional acknowledgement. This study investigated
whether preparatory effectiveness operates through
compensatory relationships, where excellence in one
dimension offsets weakness in another, or through threshold
requirements demanding adequacy across all dimensions
simultaneously.

Nine professional audio practitioners each prepared three
sessions from a pool of nine multitrack recordings spanning
diverse genres. Nine engineers (with partial overlap) then
evaluated the resulting twenty-seven preparations across
five dimensions derived from Phase 1 practitioner
interviews: Session Organisation, Signal Integrity, Musical
Refinement, Processing Boundaries,; Workflow
Facilitation. Professional 'adequacy' was established at a
4.0 threshold based on practitioner consensus regarding
preparations they would 'work with' versus 'send back'.

Results revealed consistent non-compensatory patterns:
exceptional performance in isolated dimensions failed to
compensate for failures elsewhere. One practitioner
achieved perfect Workflow Facilitation (5.00) yet overall
inadequacy (3.43) due to Signal Integrity failure (2.50).
Another achieved strong Musical Refinement (4.75) whilst
Workflow Facilitation collapse (1.75) produced a
below-threshold outcome (3.49). These patterns held across
all inadequate sessions. No track produced exclusively
adequate or inadequate outcomes, confirming source material
did not determine success.

The findings challenge three assumptions: that
practitioners can specialise; compensate, that education
can sequence skills for later integration,; that
intelligent systems can optimise tasks independently.
Preparatory adequacy requires meeting threshold standards
across all dimensions concurrently, with implications for
professional hiring, curriculum design,; AI-assisted
tool development.

Authors

Ashour Ahmed

University of West London - London College of Music

Saturday May 30, 2026 9:30am - 10:00am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Audio Applications and Technologies, Lecture | Audio Processing, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

9:30am CEST

The artistic role of the sound engineer in immersive spatialisation. Investigation of the influence of space in the emotional interpretation of sounds.

Saturday May 30, 2026 9:30am - 10:00am CEST

Aud 42

Historically, music has developed primarily as a frontal
phenomenon, thus limiting the expressive; perceptual
potential related to sound space. The recent development of
immersive audio systems opens new creative possibilities by
expanding the artistic action space from a narrow frontal
area to a complete sphere around the listener. The
Ambisonic system (Scene-Based Audio), together with
Object-Based formats; hybrid solutions, represents
fertile ground for creative experimentation; the
redefinition of workflows in the field of spatialized sound.
In this new context, what is the role of the sound
engineer, as an electroacoustic interpreter, in immersive
musical artistic creation?
The research is based on a multidisciplinary analysis that
combines an in-depth study of current immersive audio
technologies; their performance, with observations of
existing compositional; production approaches.
Additionally, a comparative study is conducted on the
design choices of the sound engineer as an interpreter,
investigating workflows, emerging musical semantics,
available tools,; the recovery of the historical
repertoire.
Particular attention is paid to the experiment aimed at
investigating a correlation between the position of a sound
; an emotional trigger in the listener.
New directions emerge in the creative role of the sound
engineer, who goes beyond the mere technical aspect to
become an integral part of the compositional;
interpretative process, harmonizing the relationship
between technique; art.

Authors

Luca Frigo

Conservatorio G. Nicolini Piacenza

Saturday May 30, 2026 9:30am - 10:00am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Cross-Disciplinary Sound Studies, Lecture | Immersive Audio, Lecture | Perception, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

10:00am CEST

Low-Frequency Limits of Cross-Talk Cancellation Systems Under Robustness Constraints

Saturday May 30, 2026 10:00am - 10:30am CEST

Aud 42

The low-frequency performance of cross-talk cancellation
(CTC) systems is fundamentally limited by the condition
number of the plant matrix, which indicates the robustness
of the inverse system in the absence of regularisation.
This condition number, in turn, depends on the relationship
between loudspeaker spacing, listener distance,;
acoustic wavelength.
This paper derives a simple approximate expression for the
low-frequency limit of CTC performance, defined for a given
maximum affordable condition number as a function of these
parameters. The increase in condition number is also shown
to be directly related to the increase in array effort
relative to the minimum achievable array effort. The
formulation is derived for a centered listener; can be
extended to the case of off-center listener positions,
demonstrating the method's applicability to
listener-position-adaptive cross-talk cancellation systems.

Speakers

Filippo Fazi

Chief Scientist, Audioscenic

Authors

Filippo Fazi

Chief Scientist, Audioscenic

Francesco Veronesi

University of Southampton

Saturday May 30, 2026 10:00am - 10:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Lecture | Immersive Audio, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

10:00am CEST

Melodical Mashup of Classical Pieces: How to Maximize Audience Enjoyment?

Saturday May 30, 2026 10:00am - 10:30am CEST

Aud 43

Mashup is a distinctive form of music composition which
integrates elements from existing songs to create a
cohesive audio experience. The digital music landscape,
with various audio processing tools; sharing platforms,
has facilitated the creation; propagation of mashups by
musicians, remixers, audio engineers,; automated
systems. While most prior research; studies focus on
mashups created by combining elements from individual audio
tracks, typically using pop songs, there exists other types
of mashups; for example, by incorporating phrases from base
melodies into a new arrangement. In this study, we examined
listener enjoyment ratings for this type of mashup,
utilizing well-known Western classical melodies. A
listening test was conducted to assess whether variations
in pitch, tempo,; familiarity with the source material
correlate with enhanced enjoyment. This paper presents our
preliminary findings, with plans for future studies;
additional survey responses to strengthen the results;
uncover insights for crafting more engaging classical
mashups.

Authors

Andrew Horner

Anh-Dung Dinh

The Hong Kong University of Science and Technology

Saturday May 30, 2026 10:00am - 10:30am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Perception, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

10:00am CEST

Kimio Hamasaki: 3D Masterclass

Saturday May 30, 2026 10:00am - 11:00am CEST

Aud 31

Kimio-san designed NHK’s 22.2 audio system and the
Hamasaki-cube, which is brilliant at capturing spatial
qualities of a concert hall. Attendees are treated to a
selection of high resolution 3D recordings from glorious
Japanese concert halls.

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.

Speakers

Kimio Hamasaki

President, Artsridge LLC

Kimio Hamasaki, an AES Fellow, is a producer and balance engineer for music recordings, a researcher in spatial audio, an educator in audio engineering and acoustics, and a consultant in audio engineering. He has recorded and produced numerous orchestral and operatic works with the Vienna Philharmonic... Read More →

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Saturday May 30, 2026 10:00am - 11:00am CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Acoustics of Music Rooms, Masterclass | Immersive Audio, Masterclass | Perception, Masterclass | Recording Production and Reproduction, Masterclass

Presentation Type Masterclass

10:00am CEST

Creating immersion without discrete channels: A Binaural-centric approach

Saturday May 30, 2026 10:00am - 11:00am CEST

Aud 41

Most contemporary immersive audio production workflows are
centered on discrete channel-based loudspeaker formats such
as 7.1.4. These formats are rarely experienced by most
consumers and listeners, particularly in music playback. In
practice, spatial audio is predominantly delivered via
binaural reproduction. Beyond headphones, head-tracked
loudspeaker array systems now enable convincing binaural
reproduction in a practical, listener-centric manner,
unlocking spatial audio over loudspeakers for ordinary
listeners. This positions binaural reproduction not as a
secondary translation, but as the core delivery format for
immersive audio consumption.

Creating primarily for fixed speaker layouts can impose
creative and technical constraints often resulting in
restrained spatial design when content is later rendered
binaurally. This workshop advocates a binaural-centric
approach to spatial audio creation, treating binaural as
the main deliverable, while preserving compatibility with
discrete channel-based systems. Through discussion and
practical examples, we will explore how designing with
binaural in mind enables more expressive, perceptually
robust, and immersive experiences across both headphone and
loudspeaker-based binaural playback, without relying on
traditional 7.1.4-centric production models.

Speakers

Natalia Mamcarczyk

Audioscenic Ltd

Jake Hollebon

Audioscenic Ltd

Saturday May 30, 2026 10:00am - 11:00am CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Tutorial | Immersive Audio, Tutorial | Perception, Tutorial

Presentation Type Tutorial

10:00am CEST

Student Mix Critiques 3

Saturday May 30, 2026 10:00am - 11:00am CEST

Building 302, 2nd floor

These sessions are an opportunity for AES student members
to receive feedback on their mixes from a panel of industry
professionals, in a live, non-competitive setting. Join us
to hear mixes by other students, and get tips, tricks, and
advice to push your skills to the next level! Mixes can be
submitted in advance by following the instructions are
posted at:
https://www.aesstudents.org/competitions/student-mix-critiques/
Very limited on-site submission may also be possible on
site. Maybe one of your mixes can be featured!

Speakers

Ian Corbett

AES / Kansas City Kansas Community College / off-beat-open-hats LLC, AES

Dr. Ian Corbett is the Coordinator and Professor of Audio Engineering and Music Technology at Kansas City Kansas Community College. He also owns and operates "off-beat-open-hats LLC”, providing live sound, audio production, and recording services to clients in the Kansas City area. Highly active... Read More →

Saturday May 30, 2026 10:00am - 11:00am CEST
Building 302, 2nd floor Technical University of Denmark Asmussens Alle, Building 302 DK-2800 Kgs. Lyngby Denmark

Recording Production and Reproduction, Masterclass

Presentation Type Masterclass

10:00am CEST

What Are You Doing With That Compressor?

Saturday May 30, 2026 10:00am - 11:30am CEST

Aud 44

Dynamic range controllers, or compressors, have long been
central to music production. The loudness standards now
adopted by major streaming platforms have further
heightened the importance of skilled and intentional
compression in both mixing and mastering. Pop and rock
productions with extremely limited dynamic range are
routinely attenuated during playback, while highly dynamic
material—such as classical orchestral works and film
scores—risks gain and possibly undesirable soft clipping
being applied when delivered masters are normalized.
This panel will address best practices for the use of
compression across a wide range of applications, from
individual instruments to full-program material, in both
stereo and immersive formats. Panelists will present
established methodologies alongside innovative techniques
drawn from their current professional workflows. Different
types of compression will be examined and compared,
including their application in mastering for vinyl release.
Audience engagement is an integral component of the
workshop, and ample time will be reserved for questions and
discussion with conference attendees.

Speakers

George Massenburg

Associate Professor of Sound Recording, Massenburg Design Works

George Y. Massenburg is a Grammy award-winning recording engineer and inventor. Working principally in Baltimore, Los Angeles, Nashville, and Macon, Georgia, Massenburg is widely known for submitting a paper to the Audio Engineering Society in 1972 regarding the parametric equali... Read More →

Richard King

McGill University, McGill University

Montreal

Stefan Bock

Managing Director, msm-studios GmbH

Stefan Bock, born 20.08.1964 in southern Germany was starting his career in 1987 as an audio engineer. After freelancing in different facilities in Munich, he co-founded msm-studios in 1991 where he was the Chief Mastering Engineer and General Manager.

He was leading msm-studios t... Read More →

Margaret Luthar

Dark Sky Mastering

Saturday May 30, 2026 10:00am - 11:30am CEST
Aud 44 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Panel | Audio Processing, Panel | Immersive Audio, Panel | Recording Production and Reproduction, Panel

Presentation Type Panel

10:30am CEST

A multitrack dataset of a ten-song album with stereo; immersive 7.1.4 masters

Saturday May 30, 2026 10:30am - 11:00am CEST

Aud 43

This paper presents a multitrack dataset designed to
support music production research; education, including
machine learning techniques such as automatic mixing;
source separation. The dataset comprises a cohesive 10-song
indie album (indie rock/folk), with separate stems for
individual instruments, such that each song has between 13
; 35 individual tracks (stems). For each song, three
versions of each stem are provided: the raw unprocessed
stems, a dry mixed version (processed but without
reverberation or delay effects),; a full mixed version.
Additionally, each song includes two final master formats:
stereo; immersive 7.1.4. This album-format dataset
enables studies of mix consistency across a thematically
aligned collection of songs, as well as stereo upmixing to
immersive formats,; contains far more stems per song
than traditional four-stem datasets. To illustrate an
example usage of the dataset, the MEGAMI automatic mixing
model is used to produce a mix for two songs. The results
are analysed in comparison to the raw (unmixed); human
mixed versions. The dataset is made open-access; free to
download.

Authors

Alec Wright

University of Edinburgh

Eloi Moliner

Aalto University

Thomas McKenzie

Lecturer in Acoustics, University of Edinburgh

Saturday May 30, 2026 10:30am - 11:00am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

10:30am CEST

Room Measurement Based Calibration of MPEG-I Tracked Loudspeaker Rendering

Saturday May 30, 2026 10:30am - 11:00am CEST

Aud 42

The MPEG-I Immersive Audio standard for Virtual;
Augmented Reality (VR/AR) audio with six degrees of freedom
(6DoF) was completed in November 2025 by the MPEG Audio
group (ISO/IEC JTC 1/SC 29/WG 6)). It offers compressed
representation of virtual audio scenes as well as an
efficient; acoustically sophisticated rendering to both
head-tracked binaural headphones; loudspeaker setups.
The latter is a unique feature among VR/AR audio
specifications; enables convincing reproduction of
conventional stereo, surround; 3D material with a large
sweet area in home entertainment setups for a single
tracked user, without the need for a head-mounted
display. This paper describes the technology of MPEG-I
Audio listener-tracked loudspeaker rendering as a
stand-alone application with a special focus on practical
considerations for optimal room calibration.

Authors

Christof Faller

Illusonic GmbH

Juergen Herre

International Audio Laboratories Erlangen

Markus Schmidt

Sascha Disch

Fraunhofer IIS, Fraunhofer IIS

Sascha Disch received his Dipl.-Ing. degree in electrical engineering from the Technical University Hamburg-Harburg (TUHH) in 1999 and joined the Fraunhofer Institute for Integrated Circuits (IIS) the same year. Ever since he has been working in research and development of perceptual... Read More →

Saturday May 30, 2026 10:30am - 11:00am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

11:00am CEST

Optimising Sound Effects to Enhance Dialogue Perception in Audio Mixes Using Selective Auditory Attention

Saturday May 30, 2026 11:00am - 11:30am CEST

Aud 43

Dialogue intelligibility is a fundamental aspect of audio
post-production. Ensuring speech clarity in complex sound
mixes remains challenging across different playback
systems. Selective auditory attention plays a central role
in how listeners track dialogue in busy mixes, so small
changes in spectral or spatial structure can influence
perceived clarity in unexpected ways. This study
investigates the effectiveness of psychoacoustically
informed techniques, equalisation; spatialisation, in
reducing auditory masking; improving the clarity of
dialogue. The listening test was completed on participants’
own playback systems, which reflects typical domestic
viewing conditions; aligns the study with real-world
listening environments. The techniques were tested
individually; in combination to assess their impact.
Results show that equalisation was more effective than
spatialisation in reducing masking, while their combination
produced a significant improvement in intelligibility,
clarity,; reduced interference. The effectiveness of
these methods varied between the two groups of clips,
suggesting that their application should be adapted to the
specific acoustic context of each scene.

Authors

Federico Aramini

Edinburgh Napier University

Dialogue and sound editor with 3+ years' experience and 30+ credits in film across feature film, animation, documentary and TV series.Contributed to award-winning and festival recognised productions, including films screened at the Venice Film Festival and the David di Donatello Awards... Read More →

Iain McGregor

Edinburgh Napier University

Rod Selfridge

Edinburgh Napier University

Saturday May 30, 2026 11:00am - 11:30am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Lecture | Perception, Lecture | Recording Production and Reproduction, Lecture | Sound Design, Lecture

Presentation Type Lecture

11:00am CEST

The Missing Next Step: Sound, Agency,; Plausibility in Virtual Reality — A Narrative Review

Saturday May 30, 2026 11:00am - 11:30am CEST

Aud 42

Sound plays a critical role in virtual reality (VR),
shaping attention, narrative comprehension, emotional
engagement,; experiential plausibility under conditions
of embodiment; user agency. Although a growing body of
research addresses VR audio techniques, perceptual effects,
; sound taxonomies, existing approaches remain fragmented
; largely descriptive. In particular, they do not provide
a unifying, VR-specific account of how sound meaning;
emotional intent are operationally linked to user agency
; non-linear narrative progression. This paper presents a
narrative review of selected literature spanning game audio
frameworks, immersive sound design, narrative theory,;
plausibility-related research in games; VR. Through
synthesis of these perspectives, the review identifies a
conceptual gap in current research, namely the absence of a
VR-specific, agency-coupled sound design framework for
structuring sound meaning; emotional intent in support
of experiential plausibility as users actively shape events
in interactive VR environments.

Authors

Eve Klein

Senior Lecturer, Music Technology & Popular Music, The University of Queensland, School of Music

Dr Eve Klein is a lecturer in music technology at the University of Queensland, Australia. She is also an operatic mezzo soprano, a composer, and an Ableton Live Certified Trainer. Eve's research is concentrated on music technology, recording cultures and contemporary music. Her current... Read More →

Neil Hillman

The Audio Suite

Nilufar Baghaei

The University of Queensland, School of ElectricalnEngineering and Computer Science

Peter Kurucz

The University of Queensland, School of ElectricalnEngineering and Computer Science

Stefania Serafin

Department of Engineering Technology and Didactics,nTechnical University of Denmark

Saturday May 30, 2026 11:00am - 11:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture | Perception, Lecture | Sound Design, Lecture

Presentation Type Lecture

11:00am CEST

Head-tracking for spatial audio reproduction using loudspeaker arrays

Saturday May 30, 2026 11:00am - 12:00pm CEST

Aud 41

Binaural audio is fundamental to delivering immersive
spatial audio, however traditionally playback has been
limited to headphones. A combination of cross-talk
cancellation (CTC) technology and beamforming allows for
binaural audio playback over loudspeaker arrays by focusing
sound exactly at the listener’s ears. This enables binaural
audio to be reproduced using just compact loudspeaker
arrays in front of the listener.

The approach relies upon accurate knowledge of the
listener’s instantaneous head position, thus combining a
head-tracking system with position-adaptive loudspeaker
beamforming. This workshop explores CTC-based spatial audio
as a system: introducing the theory of CTC-based binaural
audio reproduction, and the practicality of introducing
head-tracking into such a system. The workshop will include
a live-demonstration of head-tracked binaural audio
delivery over loudspeakers using a soundbar.

Speakers

Filippo Fazi

Chief Scientist, Audioscenic

Jago Reed-Jones

R&D Engineer, Audioscenic

I am a Research & Development Engineer at Audioscenic, where we are developing the next generation of 3D Audio Technology using binaural audio over loudspeakers.

Saturday May 30, 2026 11:00am - 12:00pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Tutorial

Presentation Type Tutorial

11:00am CEST

The Chopin Residue Project

Saturday May 30, 2026 11:00am - 12:00pm CEST

Aud 31

The making of the Chopin Residue Project: From inception to release.

The process of creating an immersive release requires planning, and many components to achieve the desired creative results. Especially when designing a new project from scratch, like this ambitious reimagination of Chopin soundscapes with electronic textures, accompanied by world-class musicians.

Mariusz Szypura, Jacek Gawlowski, Morten Lindberg and Michael Romanowski will walk through the production stages, from conception to release, describing what each role brings to the final album’s presentation for the listener, while playing hi-res examples from the album, and describing the thought process behind.

Speakers

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Recording Producer and Balance Engineer with 50 GRAMMY-nominations, 42 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. Founder and CEO of the record label 2L. Grammy Award-winner 2020 and 2026. Immersive... Read More →

Mariusz Szypura

composer, multi-instrumentalist, producer, and visual artist

Mariusz Szypura is a Warsaw-based composer, multi-instrumentalist, producer, and visual artist with nearly three decades of work spanning music, design, and technology. He has built a practice that moves freely between sound and image, releasing music ranging from electronic and ambient... Read More →

Jacek Gawlowski

Michael Romanowski

Owner-Head Engineer, Coast Mastering

Saturday May 30, 2026 11:00am - 12:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Masterclass

Presentation Type Masterclass

11:30am CEST

Intelligent Audio personalization for Enhanced user experience

Saturday May 30, 2026 11:30am - 12:00pm CEST

Aud 42

Most of music contents available are stereo which cause
inadequate spatial treatment; listeners feel
disconnected from the music, failing to transport them into
the intended sonic environment. Insufficient separation
between instruments can lead to an unbalanced mix, where
certain elements dominate others; disrupt the overall
harmony. Instruments may appear flat; confined to a
narrow area, reducing the sense of dimensionality in the
mix. Stereo audio offers limited spatial information,
restricting its adaptability to immersive sound
environments. This research presents a novel approach for
converting stereo audio into a personalized immersive
experience by leveraging object-based audio rendering,
sound stage of listener; surround speaker capability.
The proposed system separates audio signals into individual
objects (such as instruments or vocals); dynamically
maps these objects to specific speakers based on
personalized preferences; spatial configurations. This
method improves audio localization; enhances the
listener's engagement by delivering a tailored auditory
experience.

Authors

Avinash Singh

Samsung Research Institute, Delhi (SRID)

Hemanshu Srivastava

Natasha Meena

Samsung Research Institute, Delhi (SRID)

I am working as Software developer in Samsung Research Institute India - Delhi and am responsible for development of features related to Samsung sound device’s

Sumit Panwar

Samsung Research Institute, Delhi (SRID)

Saturday May 30, 2026 11:30am - 12:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Acoustics of Music Rooms, Lecture | Audio Equipment, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

12:30pm CEST

George Massenburg: 3D Masterclass

Saturday May 30, 2026 12:30pm - 1:30pm CEST

Aud 31

George plays high resolution stereo, 5.1 and 3D recordings
from his fabulous back catalogue, commenting on production
tools and techniques, including his own excellent dynamics
processor.

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.

Speakers

George Massenburg

Associate Professor of Sound Recording, Massenburg Design Works

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Saturday May 30, 2026 12:30pm - 1:30pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Audio Processing, Masterclass | Immersive Audio, Masterclass | Perception, Masterclass | Recording Production and Reproduction, Masterclass

Presentation Type Masterclass

12:30pm CEST

Studio Slave to Audio Professional

Saturday May 30, 2026 12:30pm - 1:30pm CEST

Aud 41

The gravest concern of many students regards their first
professional position. Whether it is an internship, a paid
position, or getting clients to use their studio, many
students express nervousness regarding this leap from the
relatively calm, controlled path of education to the vast
unknown of the professional world. In this workshop we will
discuss the traits and characteristics most sought after by
potential employers. We will also share tips for success at
entry level and all levels of the audio profession, along
with helpful ideas for educators to pass along to their
students. This workshop typically includes a lively
question and answer period.

Speakers

Gary Gottlieb

AES President, AES Past President

Ukiah, California

John Krivit

AES Past President, Hey Audio Student

Saturday May 30, 2026 12:30pm - 1:30pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Recording Production and Reproduction, Panel

Presentation Type Panel

12:30pm CEST

Building A Personal Immersive Studio

Saturday May 30, 2026 12:30pm - 2:00pm CEST

Aud 44

Imagine that you just finished designing and are now
managing your dream immersive audio mix room for a client
with an array of 64 speakers and it functions beautifully -
then CoVid19 wreaks global havoc. You find yourself
suddenly isolated in a new country, forced into retirement
with its budgetary restrictions, and your dream studio has
become an early victim to the pandemic. What would be your
next move?

In this real-life story, follow the adventures of an
intrepid audio engineer and his quest to build a personal
version of that immersive studio that was lost – all within
a fixed-income retiree’s budget.

In this tutorial, an immersive studio design and
construction will be described including:

Inspiration from prior work by the author and colleagues
Room design goals
Equipment choices
Custom electronics design
Speaker design considerations
Speaker support and position alignment
Construction steps
VBAP, Ambisonics, and WFS approaches
Test mixes

Immersive mix examples will be demonstrated.

Speakers

Jeff Levison

self

Saturday May 30, 2026 12:30pm - 2:00pm CEST
Aud 44 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Tutorial | Audio Equipment, Tutorial | Immersive Audio, Tutorial | Perception, Tutorial

Presentation Type Tutorial

1:00pm CEST

A Systematic Literature Review on Inverse Synthesis; Sound Matching

Saturday May 30, 2026 1:00pm - 1:30pm CEST

Aud 42

This paper presents a systematic literature review on
inverse synthesis; sound matching, which focus on
predicting synthesizer parameters to recreate a target
audio waveform. Automating this process using machine
learning is impeded by distinct technical challenges: many
to one mappings where different parameter settings produce
the exact same sound, the non-differentiability of
commercial black box synthesizers, a scarcity of musically
structured training data,; a lack of standardized
perceptual metrics. Existing approaches are categorized
into non-differentiable synthesizer methods, utilizing
evolutionary algorithms; deep learning, incorporating
techniques to bypass gradient limitations such as neural
proxies or generative models. In contrast, differentiable
synthesizer methods, enable the integration of audio loss
functions into training pipelines via custom signal
processing environments. The analysis identifies a critical
reliance on spectral representations for evaluating
perceptual similarity, given that parameter based metrics
frequently fail to align with human hearing. The findings
indicate that while deep learning has reduced inference
times, the field lacks a unified production solution.
Future progress requires the establishment of standardized
benchmarks to evaluate models, the implementation of novel
advancements in generative models not yet applied to this
problem,; the development of hybrid architectures to
simultaneously address these distinct technical challenges.

Authors

Bruno Gawęcki

Poznan University of Technology, Institute of ComputingnScience

Ewa Łukasik

Poznan University of Technology, Institute of ComputingnScience

Saturday May 30, 2026 1:00pm - 1:30pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Audio Applications and Technologies, Lecture | Sound Design, Lecture

Presentation Type Lecture

1:00pm CEST

Artificial ear for bone-conducted vibrations, simulation; measurement

Saturday May 30, 2026 1:00pm - 1:30pm CEST

Aud 43

The bone-conducted occlusion effect (OE) is a major source
of acoustic discomfort for users of hearing aids, earbuds,
earplugs,; related devices. Conventional objective OE
measurements rely on in-ear microphones in human subjects,
which are time-consuming, invasive,; difficult to
control during product development. The aim of this paper
is to present a new artificial ear, specifically designed
for objective OE measurements under bone-conducted
excitation, coupled with a finite element analysis (FEA)
model developed in COMSOL Multiphysics. Both the model;
the artificial ear demonstrate good agreement regarding the
sound pressure found at the tympanic membrane for a
conventional dome at shallow, medium; deep insertions.
The validated FEA model is then used to perform a virtual
test of the bone-conducted objective OE for different
occluding devices, including plastic; foam earplugs;
a conventional closed dome for hearing aids. This is to
investigate the relative contributions; phases of the
ear-canal; device surfaces govern the resulting occluded
sound pressure. The proposed artificial ear; modeling
approach provide a controlled; repeatable platform for
studying the OE; for evaluating occluding devices during
the development process.

Authors

Roberta Dattilo

GN Hearing A/S

Yu Luan

GN Hearing A/S

Saturday May 30, 2026 1:00pm - 1:30pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Audio Equipment, Lecture | Cross-Disciplinary Sound Studies, Lecture

Presentation Type Lecture

1:00pm CEST

JoyCam: Blending Facial Recognition with Neural Activity measurement for Real-time Estimation of Listener Emotion

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

The ability to objectively measure listener emotion is a
critical frontier for adaptive audio systems, healthcare,
; personalized music therapy. While music is a powerful
driver of affect, traditional self-reporting is often
intrusive or inaccessible for users in wellbeing settings
who may struggle to articulate their mood. This paper
introduces JoyCam, a multimodal system that estimates
subtle moments of joyful engagement by blending lightweight
brain-wave monitoring (wearable EEG) with facial-expression
sensing. By capturing physiological reactions that occur
below the threshold of conscious awareness, the system
creates a more stable emotional profile than
single-modality methods. In our system, Facial joy is
estimated via MediaPipe landmark analysis, focusing on
normalized mouth-width deviations. Simultaneously,
neurological engagement is tracked through Frontal Alpha
Asymmetry (FAA) using an OpenBCI Cyton system. To address
the sensitivity of EEG to movement, a dynamic artefact
index down-weights neural signals during high-frequency
interference. The system was tested in a pilot study with
five participants. Preliminary results indicate that
baseline-corrected physiological scores align closely with
self-reported music impact; valence ratings across
joyful; sad conditions. These findings suggest that
JoyCam offers a robust framework for responsive musical
companions that can adjust playlists or production
parameters based on a listener’s real-time physiological
state

Authors

Duncan Williams

Senior Lecturer, Acoustics Research Centre, University of Salford

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Poster | Cross-Disciplinary Sound Studies, Poster | Perception, Poster

Presentation Type Poster

1:00pm CEST

Smartphone-based tinnitus matching: Implementation; Validation

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

Tinnitus has been described as `the conscious awareness of
a tonal or composite noise for which there is no
identifiable corresponding external sound source'; is
experienced by ~15% of the European population. Tinnitus
may be experienced in one ear, both ears, or perceived as
originating from within the head. It can present as tonal
sounds, noise-like sounds, or a combination of both. The
perception can lead to emotional;/or cognitive
dysfunction, autonomic arousal, behavioural changes,;/or
functional disability (DeRidder 2021, Biswas 2022, Jarach
2022). There is no standard test for tinnitus in the
medical literature; audiologists typically test pitch (to
within half an octave); perceived loudness of the tone
using standard clinical equipment for testing hearing loss.
The underlying causes of tinnitus are not yet fully
understood,; the most effective treatments not yet
identified. We present the first release of an extended
Tinnitus matching app that includes a highly
individualizable tinnitus tone-matching tool; a
comprehensive questionnaire for mobile health tracking. The
app facilitates large data collection on tinnitus sounds
across aetiologies, co-occurring symptoms,;
demographics. Our intentions are threefold; 1) to provide
those experiencing tinnitus with a way to communicate what
they hear more precisely, 2) understand how tinnitus sounds
vary across demographics, how these relate to co-occurring
symptoms,; eventually – 3) to provide a means of
individualising any sound-based approach to symptom
amelioration. We present the approach; validation of the
tinnitus matching tool against common clinical measures.

Authors

Cheol-Ho Jeong

Acoustic Technology, Department of Electrical and PhotonicsnEngineering, DTU

Fiona Bríd Mulvey

Izabela Ossowska

Hearing Systems, DTU HealthTech

Mark Bo Jensen

Department of Engineering Technology and Didactics, DTU

Mie LærkegårdJørgensen

Hearing Systems, DTU HealthTech

Mikkel Brunstedt Nørgaard

Department of Engineering Technology and Didactics, DTU

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Poster | Cross-Disciplinary Sound Studies, Poster | Perception, Poster

Presentation Type Poster

1:00pm CEST

Investigations on Nonlinearity in a Gammatone Filter Bank Based Perceptual Model

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

Perceptual models are playing an important role in
effectively balancing the data compression; fidelity in
audio encoders by leveraging the masking effects in human
auditory perception. For deriving well suitable masking
thresholds, considering tonality is important. In this
study, a novel filter bank is proposed, which uses narrow
complex-valued all-pole gammatone filters followed by a
non-linear spectral spreading processing. With an
appropriate non-linear mapping before spreading,;
inverse non-linear mapping afterwards, differences between
masking strengths of tonal; noise-like maskers can be
directly obtained without explicit tonality estimation.
By employing a suitable non-linearity, level-dependency of
spectral spreading in the human auditory system can also be
modeled. The performance of the proposed approach is
evaluated through subjective listening tests, which include
comparisons with results obtained using partial spectral
flatness measures.

Authors

Bernd Edler

International Audio Laboratories Erlangen, Germany

Fabian Schaller

Fraunhofer IIS, Erlangen, Germany

Paul EmilMeier

International Audio Laboratories Erlangen

Paula Schäfer

Fraunhofer-Institut für Integrierte Schaltungen IIS

Yaqiong Hou

PhD student, International Audio Laboratories Erlangen

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Poster

Presentation Type Poster

1:00pm CEST

Measurement; Analysis of Perceptual Characteristics of Binaural Cues

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

The application of binaural cue perception mechanisms to
multichannel audio compression technology can reduce
spatial parameter redundancy; effectively lower the
encoding bitrate. Binaural cues play a critical role in
sound source localization,; their frequency-dependent
characteristics yield varied perceptual localization
effects. However, current understanding of the specific
behavior of binaural cues at low frequencies, as well as
the similarities; differences between interaural time
difference (ITD); interaural level difference (ILD),
remains incomplete. To explore the relationship between
ITD-based; ILD-based azimuth perception, this study
non-uniformly selected nine ITD values; twelve ILD
values within the 300–1480 Hz frequency range to test ITD
; ILD perceptual azimuths, respectively. The experimental
method involved using fixed binaural cue stimuli while
varying the audio with known horizontal azimuth angles to
approach the target binaural cue stimulus. Test results
indicate that both ITD; ILD perceptual effects are
significantly influenced by frequency, with the minimum
perceptual azimuth values for both ITD; ILD observed at
700 Hz, suggesting that binaural cue perception azimuths
are closer to the median plane at this frequency.
Furthermore, surface fitting was applied to the perceptual
azimuths of ITD; ILD, revealing relatively similar
patterns. Based on experimental findings, this paper
analyzes the explorable perceptual correlation between
ITD-based; ILD-based azimuth perception. The application
of data in spatial audio coding contributes to the
efficient transmission; fidelity preservation of audio
signals. This study provides valuable insights for
optimizing binaural cue-based compression techniques,
ultimately supporting high-fidelity spatial audio
reproduction.

Authors

Heng Wang

Wuhan Polytechnic University

Mingyan Gao

Wuhan Polytechnic University

Yiming Xu

Wuhan Polytechnic University,Wuhan,China

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Poster | Perception, Poster

Presentation Type Poster

1:00pm CEST

Subjective Evaluation of Stereo Width Shrinkage Method Using Semantic Differential Method; Scheffé’s Paired Comparison

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

The authors proposed a stereo-width shrinkage method for
headphone reproduction, in
which crosstalk from loudspeaker reproduction is added to
the original stereo
sources. In this study, we investigate the sound quality of
stereo-width-shrunken
sources with different parameter settings. A Semantic
Differential method is
employed to quantify the subjective characteristics with
five adjective pairs,;
the naturalness of the stereo width shrunk sources is
evaluated in detail with
Scheffé’s paired comparison. The results of the Semantic
Differential method
comprehensively rank the sound sources. Interestingly, the
results of the paired
comparison are not reversed in the natural; unnatural
evaluations, whereas the
negative evaluation yields reasonable results. These
results provide valuable
insights for practical sound-quality evaluation.

Authors

Matsumoto Arisa

Kyushu Institute of Technology

Mitsunori Mizumachi

Professor, Kyushu Institute of Technology

Mitsunori Mizumachi graduated from the Department of Acoustic Design, Kyushu Institute of Design, in 1995 and received his Ph.D. degree in Information Science from Japan Advanced Institute of Science and Technology in 2000. From 2000 to 2004, he worked as a researcher at Advanced... Read More →

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Perception, Poster

Presentation Type Poster

1:00pm CEST

Poster Session 5

Saturday May 30, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A Posters

- JoyCam: Blending Facial Recognition with Neural Activity measurement for Real-time Estimation of Listener Emotion

- Smartphone-based tinnitus matching: Implementation; Validation

- Investigations on Nonlinearity in a Gammatone Filter Bank Based Perceptual Model

- Measurement; Analysis of Perceptual Characteristics of Binaural Cues

- Subjective Evaluation of Stereo Width Shrinkage Method Using Semantic Differential Method; Scheffé’s Paired Comparison

Saturday May 30, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Posters Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

POSTER SESSIONS

1:30pm CEST

From DSP to AI Audio Engineering: The Heritage; the Future of Physical Modeling Sound Synthesis

Saturday May 30, 2026 1:30pm - 2:00pm CEST

Aud 42

Digital Audio Signal Processing has long enabled precise
analysis of musical instrument behavior, supporting digital
sound synthesis. In parallel, physical modeling has evolved
into a mature synthesis; simulation technology capable
of running in real time, coupling vibro-acoustic models
with perceptual control interfaces. Over the last decade,
advances in machine learning have begun to transform both
ends of this pipeline. Instead of relying solely on
analytical DSP methods, we are increasingly able to learn
impulse; frequency responses, infer parameters,;
drive synthesis models directly from data. This broader
transition from classical DSP to *AI Audio Engineering*
brings not only new algorithms but also new workflows,
evaluation practices,; deployment contexts for musical
acoustics.

Two demonstrators illustrate this shift. *First*,
measurement-driven studies of musical instruments can
constrain model architectures; reduce parameter search
spaces. The measurement-derived priors can inform both
classical modeling; data-driven neural surrogates.
*Second*, real-time physical modeling integrated into XR
environments highlights how haptic control, perceptual
feedback,; spatial audio can create convincing virtual
instruments suitable for experimentation, pedagogy,;
performance.

These demonstrators motivate an AI Audio Engineering
workflow in which measurement, modeling, learning,;
perceptual evaluation form a continuous loop, to enable
immersive XR experiences, rapid prototyping of novel
instruments,; new modes of digital lutherie. The
approach invites collaboration across acoustics, DSP,
spatial audio,; AI Audio Engineering: an emerging
discipline that considers audio models as deployable,
maintainable,; continuously improvable artifacts
governed by data, inference, evaluation,; lifecycle
operations.

Authors

Cumhur Erkut

Aalborg University

Saturday May 30, 2026 1:30pm - 2:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Audio Applications and Technologies, Lecture | Audio Processing, Lecture | Cross-Disciplinary Sound Studies, Lecture

Presentation Type Lecture

1:30pm CEST

A Study on Uncertainty of Sound Pressure Measurements in Cars

Saturday May 30, 2026 1:30pm - 2:00pm CEST

Aud 43

Accurate; efficient measurement of sound pressure levels
around the ears of occupants in cars is essential for
objective evaluation of basic sound quality; automotive
audio features such as personal sound zones; active
noise control. In this paper, the uncertainties of sound
pressure measurements obtained with 5 commonly used methods
are compared, which are the AES 6-microphone method, the
single-microphone method, the two-microphone method with
occupants presented, the head-and-torso simulator method,
; the human binaural method. Measurements were conducted
in the front-right seat of a 4-door electric Sedan, using
either all car body loudspeakers or a pair of headrest
loudspeakers driven by a two-channel uncorrelated pink
noise to generate an average sound pressure level of 70 dBA
in the seat. Each method underwent 3 complete
install–measure–remove cycles, a total of 54 recordings
were collected,; the standard deviation of the measured
average sound pressure levels was adopted to quantify
measurement uncertainty. The test results show that all the
5 methods have good repeatability; low uncertainty below
200 Hz; above 15 kHz, but have large uncertainty between
200 Hz; 15 kHz. The AES 6-microphone method demonstrates
the best repeatability with the lowest uncertainty across
most frequency resolutions,; its maximum uncertainty in
1/3 octave bands is less than 2.0 dB for sound pressure
measurements in the car. Therefore, the AES 6-microphone
method is recommended for use in engineering comparison;
reporting.

Authors

Jiancheng Tao

Key Laboratory of Modern Acoustics and Institute ofnAcoustics, Nanjing University

Ruoyan Chen

Key Laboratory of Modern Acoustics and Institute ofnAcoustics, Nanjing University

Xiaojun Qiu

Yinwang Intelligent Technology Co., Ltd, Shanghai, China

Zhou Zhou

Key Laboratory of Modern Acoustics and Institute ofnAcoustics, Nanjing University

Saturday May 30, 2026 1:30pm - 2:00pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Audio Equipment, Lecture | Audio Processing, Lecture

Presentation Type Lecture

1:30pm CEST

Hyunkook Lee: Enveloping Masterclass

Saturday May 30, 2026 1:30pm - 2:30pm CEST

Aud 31

Hyunkook describes his fine, compact 3D mic array, used for
outdoor and indoor capture of 3D atmosphere and music.
Attendees are treated to examples from the excellent ECHO
project, and to a selection of new high resolution
recordings.

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.

Speakers

Hyunkook Lee

Professor, University of Huddersfield

Professor

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Saturday May 30, 2026 1:30pm - 2:30pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Acoustics of Music Rooms, Masterclass | Immersive Audio, Masterclass | Perception, Masterclass | Recording Production and Reproduction, Masterclass

Presentation Type Masterclass

1:30pm CEST

Ask Us Anything!

Saturday May 30, 2026 1:30pm - 2:30pm CEST

Aud 41

Join a panel of professionals from a variety of fields in
the audio industry, as they discuss topics including how
each got started in their own careers and the path their
careers took, and give advice geared towards students and
recent graduates. Bring your questions for the panelists –
most of this workshop will be focused on answering YOUR
questions and the information YOU want to hear!

Speakers

Kseniya Kawko

Tonmeister, msm studios

Kseniya Kawko is a producer and recording engineer specialized in classical music and jazz. She holds Master of Music degrees from two world-renowned audio programs: Sound Recording, McGill University (Montréal, Canada) and Musikregie / Tonmeister, Hochschule für Musik Detmold (Germany... Read More →

Richard King

McGill University, McGill University

Montreal

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Ian Corbett

AES / Kansas City Kansas Community College / off-beat-open-hats LLC, AES

Margaret Luthar

Dark Sky Mastering

Saturday May 30, 2026 1:30pm - 2:30pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Student Events, Panel

Presentation Type Panel

2:00pm CEST

Knowledge-Driven Optimization of Reverberation Parameters Using Declarative Audio Constraints

Saturday May 30, 2026 2:00pm - 2:30pm CEST

Aud 42

Artificial reverberation is a fundamental process in music
production; audio post-production. However, the large
; highly interdependent parameter spaces of modern
reverberation algorithms make the identification of
perceptually optimal configurations difficult, particularly
when attempting to minimize audible artifacts. This paper
presents a knowledge-driven framework for reverberation
parameter optimization that evaluates candidate
configurations using rule-based audio quality constraints
derived from perceptual; signal-processing principles.
The system automatically detects; prevents common
artifacts including spectral obfuscation, clipping, spatial
collapse,; ringing phenomena. Instead of relying on
data-driven training procedures, the proposed approach
employs declarative reasoning to model audio engineering
knowledge; systematically constrain parameter
exploration. Experimental evaluation demonstrates that the
framework successfully reduces artifact occurrence across
diverse audio material while maintaining computational
feasibility. The results suggest that knowledge-based
reasoning can provide an interpretable; controllable
alternative to data-driven optimization strategies in audio
signal processing.

Authors

Flavio Everardo

Tec de Monterrey, University of Potsdam

Noah Haussmann

TU Berlin, University of Potsdam

Saturday May 30, 2026 2:00pm - 2:30pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Audio Applications and Technologies, Lecture | Audio Processing, Lecture

Presentation Type Lecture

2:00pm CEST

Optimal levels; measurement time for separation of nonlinear components

Saturday May 30, 2026 2:00pm - 2:30pm CEST

Aud 43

Linear loudspeaker parameters are often estimated via
fitting of transferfunctions, under the assumption of
linearity. This paper investigates the corruption of the
measurement caused by nonlinearities in the system;
presents a new; improved method for separating the true
linear response from the nonlinear components by analyzing
a sequence of measurements done at different levels. The
method is improved by analyzing the influence of the chosen
measurement levels as well as the measurement time at each
level; presents numerically optimal values for the most
typical cases of nonlinear behaviour. While the influence
of noise; nonlinear distortion can be eliminated
completely in the case of finite orders of nonlinearities
on the system, the method is also shown to provide improved
accuracy in the more realistic case where all orders are
present but only a finite number of them dominate.

Authors

Finn Agerkvist

Technical University of Denmark

My interest are loudspeakers (measurements, modelling, (nonlinear) parameter estimation, nonlinear compensation. Active noise control, indoor and outdoor sound field control

Saturday May 30, 2026 2:00pm - 2:30pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Equipment, Lecture | Audio Processing, Lecture

Presentation Type Lecture

2:30pm CEST

Topology Optimized Tweeter Waveguides for Automotive Audio

Saturday May 30, 2026 2:30pm - 3:00pm CEST

Aud 43

Automotive audio is challenging for a variety of reasons.
The acoustic environment is noisy, the geometry is complex
with many reflecting surfaces,; there are several
listening positions of interest. While digital signal
processing can to some degree alleviate some of the
associated issues, there often is a need for specialized
waveguides that directly affect the sound propagation from
the transducers. However, with the desired objectives being
quite intricate; involving on-axis pressure,
directivity, beam width,; possibly other metrics, the
design process is highly non-trivial. A strategy based on
acoustical topology optimization is presented here,;
where a tweeter waveguide to be mounted in the dashboard is
optimized towards certain objective functions.

Authors

René Christensen

CEO, Acculution ApS

PhD in microacoustics. CEO of Acculution ApS. Consultant, vibroacoustics.

Saturday May 30, 2026 2:30pm - 3:00pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Cross-Disciplinary Sound Studies, Lecture

Presentation Type Lecture

3:00pm CEST

Student Competitions Awards Ceremony

Saturday May 30, 2026 3:00pm - 4:00pm CEST

Aud 42

Winners and prizes in the Student Recording Competition and
Saul Walker Student Design Competition will be announced
during this session, and photographs of winners taken after
the session.

Speakers

Ian Corbett

AES / Kansas City Kansas Community College / off-beat-open-hats LLC, AES

Saturday May 30, 2026 3:00pm - 4:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Student Events, Special Event

Presentation Type Special Event