BEGIN:VCALENDAR
VERSION:2.0
X-WR-CALNAME:aeseurope2026
X-WR-CALDESC:Event Calendar
METHOD:PUBLISH
CALSCALE:GREGORIAN
PRODID:-//Sched.com AES Europe 2026//EN
X-WR-TIMEZONE:UTC
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260527T070000Z
DTEND:20260527T120000Z
SUMMARY:AES Europe 2026 Technical Tour 1 - DPA Microphones A/S
DESCRIPTION:Important: You need to register for this event. Adding it to you schedule &nbsp\;is not enough.&nbsp\;\n\nVisit DPA Microphones’ production facility in Asnaes (1 hour from Copenhagen). Experience the factory where the renowned microphones are manufactured by very dedicated individuals.\n\nDate:\nMay 27\, 2026 (day before the official opening)\n\nMeeting place: \nLyngby Station &nbsp\; &nbsp\;\nJernbanepladsen &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nDK-2800 Lyngby\, Denmark\n\nWe will meet at the bus terminal on the NE side of the rails\, just outside the NETTO store. (There will be a person with a DPA Microphones sign.)\n\nProgram:\n9.00 AM &nbsp\; &nbsp\; &nbsp\; &nbsp\; \nDeparture from Lyngby Station &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nBus transportation from Lyngby to Asnaes &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nFactory tour\, groups guided by the head of the factory or head of capsule production &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; \nTechnical presentation by the head of acoustics\, R&D &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nLunch &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nBus transportation back to Lyngby \n\n2.00 PM &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;\nArrival at Lyngby Station\n\nFee &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; \nIt’s free\nThe maximum number of participants is 30.\nRegistration opens April 16 to current AES Member registrants only.\n\nRegistration instructions: \nYou must be registered as an AES Member for AES Europe 2026 to be eligible.\n&nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;REGISTER &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\; &nbsp\;
CATEGORIES:TECHNICAL TOUR 1
LOCATION:Tech Tours\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngb
SEQUENCE:0
UID:2fcf084b887e9bb5ef56dfe916ff9cc5
URL:http://aeseurope2026.sched.com/event/2fcf084b887e9bb5ef56dfe916ff9cc5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260527T090000Z
DTEND:20260527T130000Z
SUMMARY:AES Europe 2026 Technical Tour 2 - Sonic College\, Kolding
DESCRIPTION:Pre-Convention Tech Tour: Sonic College\, KoldingWednesday\, May 27\, 11:00–15:00Ahead of the 160th AES Convention in Copenhagen\, participants are invited to visit Sonic College in Kolding for a focused pre-convention experience combining technical insight\, critical listening\, and informal exchange.&nbsp\;Sonic College is one of Europe’s leading educational environments for sound design\, working at the intersection of audio technology\, artistic practice\, and industry collaboration.The visit is organised in collaboration with Meyer Sound and offers a curated programme including:Guided tours of Sonic College’s facilitiesListening sessions in multiple environments\, including:A Dolby Atmos cinema mixing stageThe Sonic College atrium featuring more than 180 loudspeakersProfessional studios for music\, film\, and interactive audioDemonstrations by students\, providing insight into contemporary workflows in sound design and productionA technical presentation and listening session delivered by Meyer SoundLunch and networking&nbsp\;Kolding is conveniently located on the main train route between Germany and Copenhagen\, making it an accessible stop for international attendees traveling to the convention. Participation is limited to 80 attendees.\nREGISTER\n
CATEGORIES:TECHNICAL TOUR 2
LOCATION:Tech Tours\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngb
SEQUENCE:0
UID:c2117947f675815534a6e1ccdc05a1f7
URL:http://aeseurope2026.sched.com/event/c2117947f675815534a6e1ccdc05a1f7
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T060000Z
DTEND:20260528T150000Z
SUMMARY:Atendee Registration
DESCRIPTION:\n
CATEGORIES:REGISTRATION ATTENDEES
LOCATION:Foyer Building 306\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ff17a745b598ac589da70bfd7b688d74
URL:http://aeseurope2026.sched.com/event/ff17a745b598ac589da70bfd7b688d74
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T070000Z
DTEND:20260528T073000Z
SUMMARY:Deep Learning-Based Lower-Layer Upmixing
DESCRIPTION:This paper introduces a novel approach for generating a lower layer in multichannel audio upmixing\, addressing a gap in existing methods that primarily focus on mid\; top layers. Leveraging Harmonic-Percussive Separation (HPS)\, the proposed framework dynamically adjusts key parameters (separation factor\, harmonic attenuation\,\; phase shift) to enhance percussive components while diffusing harmonic elements. We compared three neural network architectures for this task: LSTM\, TCN\,\; Transformer. Experimental results show comparable perceptual quality\; objective metrics across all models\, with the TCN being the most balanced\; suitable for deployment on edge devices.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO PROCESSING\, IMMERSIVE AUDIO
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:470bf2239fb510b4175bb4a1a4e400e2
URL:http://aeseurope2026.sched.com/event/470bf2239fb510b4175bb4a1a4e400e2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T070000Z
DTEND:20260528T073000Z
SUMMARY:Design; Optimization of Acoustic Lenses for Audible Frequency
DESCRIPTION:Acoustic lenses are structures that enable the focusing of\n acoustic waves\, with increasing applications in audio\n devices like loudspeakers to concentrate energy toward a\n listening position. While typically employed at higher\n frequencies\, achieving effective performance within the\n audible frequency range remains a significant challenge due\n to long acoustic wavelengths\, which necessitate structures\n of substantially larger dimensions.\n This paper addresses the design of an acoustic lens\n dedicated to operation in the audible range. The proposed\n lens is composed of periodically arranged acoustic unit\n cells\, enabling precise control over both the sound\n transmission coefficient\; the phase delay. A parametric\n analysis of a single acoustic unit cell was performed\,\n followed by global optimization of the complete lens\n structure using the Particle Swarm Optimization (PSO)\n algorithm. The outcome of the study is an acoustic lens\n design with predefined properties that demonstrate the\n desired directional characteristics. The findings highlight\n the potential of this approach for effectively manipulating\n the acoustic wave field\; the directivity of sound\n sources within the audible frequency range.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:14d528c0b692387294686347a8c79812
URL:http://aeseurope2026.sched.com/event/14d528c0b692387294686347a8c79812
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T070000Z
DTEND:20260528T080000Z
SUMMARY:The Roaring Twenties - the first decade of consumer loudspeakers
DESCRIPTION:The proposed workshop/tutorial serves as a prequel to the presentation on the history of dynamic loudspeakers given at the 158th Convention (Warsaw\, 2025). It focuses on the earliest phase of consumer loudspeaker technology in the 1920s\, prior to the widespread adoption of dynamic loudspeakers in the mass market. Loudspeakers had been in use since the mid-1910s for public address applications\, and the rapid global expansion of broadcast radio soon brought loudspeakers into domestic use. The 1920s constituted a period of rapid innovation in loudspeaker design\, preceding the introduction of the dynamic loudspeaker\, which achieved significant commercial impact only in the latter part of the decade. The workshop/tutorial will examine consumer loudspeaker technologies of the 1920s\, the concurrent advancements in audio electronics and signal sources that enabled subsequent developments\, and the earliest efforts in systematic loudspeaker theory and measurement. Two loudspeaker types dominated this period: horn loudspeakers driven by electromagnetic drivers similar to those used in headphones and telephone receivers (with headphones\, particularly Baldwin models\, also serving as the basis for do-it-yourself loudspeakers)\, and open-baffle cone loudspeakers\, frequently actuated by electromagnetic reed drivers. Although these transducer technologies were rapidly superseded during the following decade\, the electromagnetic loudspeaker era already featured multi-way loudspeakers employing passive crossovers. Early measurements exposed deficiencies in frequency response\, leading to the introduction of equalisation techniques\, including notch filters\, to correct these responses. Developments in amplification were equally significant. The 1920s saw the introduction of push-pull amplifiers (described at the time as “distortionless”) and\, as a key contributor to improved bandwidth and reduced distortion\, new audio transformers derived from Bell Labs’ telephone research. Amplifier power limitations nevertheless remained a dominant constraint in loudspeaker design\, resulting in the widespread use of strong resonances to achieve high sensitivity. Improvements in signal source quality from the mid-1920s onwards — including advances in radio transmission and the introduction of electrical disc recording and playback — further increased the demand for improved loudspeaker performance\, ultimately contributing to the development of dynamic loudspeakers. In contrast\, headphone technology appears to have undergone relatively little development during this period. The tutorial will conclude with a brief overview of the loudspeaker manufacturing landscape of the era\, noting that only a small proportion of manufacturers survived the transition to dynamic loudspeaker technology.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:32c8cc9f774267d5d4a01ab9baa3df2b
URL:http://aeseurope2026.sched.com/event/32c8cc9f774267d5d4a01ab9baa3df2b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T070000Z
DTEND:20260528T080000Z
SUMMARY:Exhibitor Registration
DESCRIPTION:\n
CATEGORIES:REGISTRATION EXHIBITORS
LOCATION:Foyer Building 306\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:4f6e63ab834faf1cfbe96889bfd1f4d2
URL:http://aeseurope2026.sched.com/event/4f6e63ab834faf1cfbe96889bfd1f4d2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T070000Z
DTEND:20260528T080000Z
SUMMARY:Student Welcome Meeting
DESCRIPTION:Come and meet fellow student peers and AES leadership from\n around the world. Attendees will gain an overview of\n student-focused events at the Convention\, other upcoming\n student events and competitions organized by AES\, and learn\n about the finalists in the Student Recording Competition.\n \n Participants will have the opportunity to introduce\n themselves and their local student sections. The short\n session encourages international connection and\n collaboration among students\, fostering a global network of\n future audio professionals.
CATEGORIES:STUDENT EVENTS
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0123ccc56b6ff4f360afcfdcab9a93c5
URL:http://aeseurope2026.sched.com/event/0123ccc56b6ff4f360afcfdcab9a93c5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T073000Z
DTEND:20260528T080000Z
SUMMARY:Spectral Optimization for Automatic Multitrack Mixing Using Answer Set Programming
DESCRIPTION:The mixing stage in music production involves a complex set of interdependent technical\; creative decisions aimed at achieving a coherent\; industry-level result. Intelligent Music Production (IMP) is an emerging research area that integrates Artificial Intelligence techniques into music creation\; post-production processes\, spanning from composition to mastering. Within this context\, Answer Set Programming (ASP)\, a declarative paradigm from Knowledge Representation\; Reasoning\, has proven effective for modeling\; solving complex optimization problems. This article presents frmixerr\, an ASP-based intelligent system designed to optimize the mixing process by automatically generating balanced mixes. The system formulates mixing as a combinatorial optimization problem\; evaluates candidate solutions against a reference spectral profile. To assess its performance\, a subjective listening test was conducted comparing mixes generated by frmixerr with mixes produced by human engineers with varying levels of professional experience. The results indicate no significant differences in perceived quality between frmixerr mix\; those created by professionals\, suggesting that ASP constitutes a viable approach for intelligent assistance in music mixing.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:97a37b9f0968eea0267df5ae075d9ad3
URL:http://aeseurope2026.sched.com/event/97a37b9f0968eea0267df5ae075d9ad3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T073000Z
DTEND:20260528T080000Z
SUMMARY:Mutual coupling investigation of bass horn loaded speakers
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, SOUND DESIGN
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:6040735ea8937b95a8411a00e882ea3f
URL:http://aeseurope2026.sched.com/event/6040735ea8937b95a8411a00e882ea3f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T083000Z
SUMMARY:Experimental study of sound zone methods for indoor/outdoor active noise cancellation
DESCRIPTION:The development of personal sound zone systems in recent\n years show great potential for low-frequency noise control\n outside of noisy spaces. These approaches show promising\n applications to manage noise pollution arising from\n concerts in large venues or urban festivals. However\, most\n of the literature considered that the created sound zones\n would exist in the same room or acoustic space as the noise\n source. This premise hence discards all setups where the\n disturbances would occur outside of concert venues (e.g in\n neighboring houses). This paper presents a first\n experimental study of the behavior of sound zone methods\n for indoor sound zones\; outdoor noise sources. These\n initial results present a good efficiency of these methods\n in this edge case\, opening new use cases for these\n approaches.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7aeebc6505f38030e30f3f726c2f9bec
URL:http://aeseurope2026.sched.com/event/7aeebc6505f38030e30f3f726c2f9bec
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T090000Z
SUMMARY:Distortion Measurements; Can We Measure What We Hear?
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, AUDIO PROCESSING\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION\, SOUND DESIGN
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:216c9104e7e2912db66878cb1b7870e2
URL:http://aeseurope2026.sched.com/event/216c9104e7e2912db66878cb1b7870e2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T083000Z
SUMMARY:Beyond Species Identification: Real-Time Spatial Interaction Analysis in Avian Bioacoustics Using Microphone Arrays; Hybrid Beamforming on Edge Architectures
DESCRIPTION:Conventional ornithological monitoring systems rely heavily on single-channel recorders\; deep learning classifiers to identify "what" species is present\, but fail to capture "where" it is located or how individuals interact spatially. This limitation hinders the study of complex ecological behaviors\, such as inter-specific spacing in dense vegetation\; predator-prey dynamics. We propose a novel\, dual-mode acoustic localization system designed to unify semantic classification\; spatial tracking. Utilizing an economically scalable 16-channel Uniform Rectangular Array (UMA-16) interfaced with edge-computing platforms\, we implement a hybrid spatial filtering pipeline structured to balance real-time latency constraints with achievable angular resolution. The first stage employs a computationally efficient\, noise-robust linear scanning technique to generate an acoustic energy map\; estimate source multiplicity. This preliminary data initializes a second-stage\, super-resolution spectral estimation algorithm predicated on signal-noise subspace orthogonality\, allowing the noise robustness of non-parametric beamforming methods with the precision of parametric approaches. By integrating these spatial filters with standard deep learning classifiers\, the system resolves overlapping vocalizations in "Cocktail Party" scenarios\; improves Signal-to-Noise Ratio (SNR) for cryptic species detection. We address the physical "Localization-Detection Range Disparity\," demonstrating that while detection is viable at long ranges\, precise localization is constrained by the array aperture to the near-to-mid field. The system outputs real-time video overlays of acoustic heatmaps for field observation\; generates autonomous volumetric territory maps in fixed deployments\, collectively providing ornithologists with a robust capability for analyzing the spatial ecology of avian vocalizations.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:457c1f8e75e05bfbbdb6e0b5cbbddb84
URL:http://aeseurope2026.sched.com/event/457c1f8e75e05bfbbdb6e0b5cbbddb84
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T090000Z
SUMMARY:Drone-Based Class 1 Sound Level Measurements for Three-Dimensional Characterization of Outdoor PA Systems
DESCRIPTION:Accurate characterization of the three-dimensional sound\n radiation of outdoor public-address (PA) systems is\n essential for sound system engineering\, environmental noise\n assessment\, neighbourhood protection\, and the validation of\n prediction models. In current practice\, field measurements\n around performance stages are typically restricted to\n receiver heights below 5 m\, limiting insight into sound\n radiation at elevated positions and towards the surrounding\n environment. This tutorial presents a measurement approach\n using an unmanned aerial vehicle (UAV) as a platform for\n Class 1 sound level measurements\, enabling in-situ\n characterization of large-scale PA systems sound radiation\n in three dimensions.\n A controlled case study was conducted at an open-air\n festival site in Belgium where the sound radiation of a\n professional line-array PA system was measured at heights\n of 2 m and 30 m using both conventional ground-based\n measurements and a drone-mounted sound level meter. To\n ensure compatibility with standard sound engineering and\n environmental noise practice\, strict Class 1 methodology\n was applied\, including the use of an omnidirectional\n microphone\, broadband excitation signals\, and background\n noise correction in accordance with ISO 1996-2. Drone\n self-noise was quantified under operational conditions\, and\n measurement data not meeting signal-to-noise validity\n criteria were excluded.\n The results show that reliable drone-based measurements are\n achievable in the low-frequency range from 25 to 315 Hz\,\n which is of primary relevance for outdoor music systems and\n community noise impact and disturbance. Directivity indices\n derived at elevated height reveal weaker low-frequency\n directivity compared to ground-level measurements. This\n provides new insight into vertical sound radiation\n behaviour of festival PA systems. A comparison between\n measured and modelled sound levels demonstrates good\n agreement in terms of angular distribution and relative\n level differences.\n The proposed drone-based measurement approach enables\n three-dimensional sound field characterization of outdoor\n PA systems that is not attainable using conventional\n techniques. The method provides valuable data for sound\n system engineering leading to validation of prediction\n models and environmental noise assessment. This\n three-dimensional decibel measurement represents a step\n towards standardized UAV-based measurement methodologies\n for large-scale outdoor sound reinforcement systems.\n This tutorial will describe in detail the protocol to\n operate a measurement drone flight. After the presentation\n a practical demonstration of the drone platform will be\n held outside of the building.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:397f691c5f3043547dc17b092bd275da
URL:http://aeseurope2026.sched.com/event/397f691c5f3043547dc17b092bd275da
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T090000Z
SUMMARY:The Early Electronic Orchestra: The Analogue Circuits Behind Electronic Keyboards Before Digital Came Along.
DESCRIPTION:Before digital signal processing took over electronic\n keyboard instruments\, they were implemented using analogue\n circuits that used tubes/valves\, transistors\, and even neon\n lightbulbs! Yet using these components keyboards were\n developed that could mimic string and brass ensembles\,\n pianos and harpsichords and many other instruments. How did\n they do it?\n \n The purpose of this tutorial is to look at both the\n architecture and the circuitry of these instruments. And\n show how amazing results could be achieved using\n comparatively simple electronic circuitry. It will look at:\n \n 1. The basic architecture of these instruments\n 2. How they generated the right notes\,\n 3. How they desired envelope\,\n 4. And imposed them on the waveform\,\n 5. Simulated the effect of many instruments playing\n together.\n \n It will also look at how\, if it was required\, touch\n sensitivity could be achieved\, such as in electronic\n pianos. Where possible there will be audio examples\n demonstrating the sounds that could be achieved.\n \n For many people who have only ever experienced the digital\n world it will be illuminating to see just how much could be\n achieved by comparatively simple circuits.\n In those days electronic components were expensive so\n considerable ingenuity was expended in minimising the total\n number of components required.\n \n These instruments are part of our musical and audio\n heritage and the circuit techniques they used are in danger\n of being forgotten so this tutorial will be a timely\n reminder of what used to be done.\n It may also provide useful information to people who are\n attempting to model these instruments using modern digital\n methods.\n \n The tutorial will be accessible to everyone\, you will not\n have to be an electronic engineer to understand the\n principles behind these unique pieces of audio engineering\n history.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,AUDIO PROCESSING
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0497f18e8d330dc95a4c3511f8e5e9aa
URL:http://aeseurope2026.sched.com/event/0497f18e8d330dc95a4c3511f8e5e9aa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T160000Z
SUMMARY:Exhibit Hall
DESCRIPTION:\n
CATEGORIES:EXHIBITION
LOCATION:Aud 36\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f86f57be2df04d539db0e592a33ba600
URL:http://aeseurope2026.sched.com/event/f86f57be2df04d539db0e592a33ba600
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T083000Z
SUMMARY:Comparative Quantitative Analysis of Immersive Mixing Practices: Tracking Spatial Trends in Award-Winning; Popular Streaming Media
DESCRIPTION:Since 2021\, 7.1.4 musical content has transitioned from a niche specialty to a mainstream commercial deliverable within major streaming ecosystems. However\, industry discourse indicates a disparity in how the immersive stage is utilized across different production tiers. This paper presents a targeted quantitative study of thirty 7.1.4 tracks (N = 30 total\; 15 per category\; 2021–2026)\, employing a matched-pair sampling strategy driven by the availability of 'Established Excellence' (Grammy Award-winning/nominated immersive albums) against genre-equivalent 'Market Dominance' (top-charting streaming tracks). The study utilizes a multi-parameter measurement methodology\, including Inter-Channel Cross-Correlation\, hemispheric symmetry\; spatial width analysis. Furthermore\, vertical spectral centroid distribution\; channel occupancy (Center\; LFE) are analyzed to identify recurring structural immersive design markers. Preliminary findings suggest a consistent forward-facing bias\; lower activity in select channels in charting commercial releases compared to award-recognized counterparts. By documenting these technical indicators\, such as quarter-sphere correlation\; LFE handling differences\, this study establishes a benchmark for current immersive mixing practices\; highlights the technical indicators that may limit the transition from enhanced stereo to true immersive envelopment.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c703674308ccdc0efd3e14ecd85debc8
URL:http://aeseurope2026.sched.com/event/c703674308ccdc0efd3e14ecd85debc8
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T080000Z
DTEND:20260528T090000Z
SUMMARY:ECHO Project - Immersive Microphone Array Techniques for Orchestral Recording
DESCRIPTION:The ECHO Project (Exploring the Cinematic Hemisphere for Orchestra) is a collaborative initiative investigating 3D microphone array techniques for orchestral recording. Building on the 3D-MARCo initiative\, the project provides a platform for sound engineers\, composers\, researchers\, and students to explore and experiment with immersive recording approaches. As part of this effort\, an open-access database of high-quality orchestral recordings was created from sessions at AIR Studios\, London\, featuring Oscar-winning composer Volker Bertelmann and the London Contemporary Orchestra.The ECHO database contains recordings of four musical pieces captured using up to 143 microphone capsules\, including seven expert-designed microphone arrays\, spot microphones\, a dummy head\, and a higher-order spherical microphone system. The database enables comparison of different recording techniques and supports experimentation with microphone mixing\, making it a valuable resource for research\, teaching\, and immersive audio production. This workshop will introduce the microphone arrays\, describe the recording process and immersive compositional approach\, and showcase selected recordings in 7.1.4.
CATEGORIES:IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e67599b9834e67b57483ffb03af2060d
URL:http://aeseurope2026.sched.com/event/e67599b9834e67b57483ffb03af2060d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T083000Z
DTEND:20260528T090000Z
SUMMARY:Effect of an Active Acoustic Reinforcement System on Musical Performance in a Recording Studio
DESCRIPTION:This work presents the results of a perceptual study investigating the influence on musicians of a virtual acoustics system installed in the live room of a professional recording studio. The study focused on analyzing relationships between a selection of objective acoustic parameters (T30\, STLate\, LJ)\; subjective perceptions of 19 solo musicians performing under 11 different acoustic conditions. The experiment was conducted using the VAT (Virtual Acoustic Technology) system\; the VAT Suite software developed at the Immersive Media Laboratory (IMLab) in the Sound Recording Department at McGill University. Correlations between quantitative\; qualitative analyses show that musicians’ preferences converge on conditions with T30 ≈ 1 s\,\; that late\; lateral energy increases the perception of spatiality\, providing a positive balance between clarity\; acoustic support. However\, longer reverberation reduces comfort\; executive control.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:dc6ec289d332deb8cc87b6b6a5fa56b9
URL:http://aeseurope2026.sched.com/event/dc6ec289d332deb8cc87b6b6a5fa56b9
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T083000Z
DTEND:20260528T090000Z
SUMMARY:Confidently Wrong: Evaluating AudioSet-Trained Models Under Real-World Deployment
DESCRIPTION:Audio event-classification models trained on AudioSet are widely adopted\; form a central component of the state of the art in machine listening\, yet their behavior when deployed in complex\, open acoustic environments remains largely unexplored. In this study\, we evaluate several widely adopted AudioSet-pretrained architectures—particularly models from the PANNs family\, including MobileNetV2\; Wavegram\; Transformer-based PaSST model—when applied to a real operational scenario at the commercial Port of Valencia\, Spain. We observed a recurring\; systematic unexpected behavior: the models frequently assigned disproportionately high probability to the class Music for non-musical industrial\; transportation sounds. These mislabeled events included train-wheel squealing\, motorcycle acceleration\, emergency sirens\,\; reversing beeps—sound categories that are common in port logistics environments but acoustically different from music. By analyzing the probability distributions output by the models\, we demonstrate that this erroneous Music activation is not an isolated failure but a pervasive pattern across several architectures. Our findings highlight a critical gap in the robustness\; domain generalization of AudioSet-derived models\; emphasize the need for targeted adaptation techniques when deploying them in real industrial settings.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a6bff47b24d5e6c42ff7df50e0b3c96e
URL:http://aeseurope2026.sched.com/event/a6bff47b24d5e6c42ff7df50e0b3c96e
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T083000Z
DTEND:20260528T090000Z
SUMMARY:Nonlinear viscoelasticity in loudspeaker suspensions
DESCRIPTION:Damping in viscoelastic materials such as rubbers is often\n desirable\, especially in loudspeaker suspensions. Under\n high strain loads however\, viscoelastic materials can also\n exhibit a hysteretic stiffness behavior\, causing a\n stiffness decrease with amplitude. In this study\, we\n examine the viscoelastic rubber suspension of a\n loudspeaker\, using the loudspeaker motor system as actuator\n\; sensor. From measurements we observe the hysteretic\n force-displacement behavior\; pronounced odd-order\n harmonic distortion even at low amplitudes\, in accordance\n with the literature. We further explore a\n macro-thermodynamic plastic flow model to model the\n stiffness of viscoelastic materials. The results show that\n the plastic flow suspension model explains\; replicates\n the observed nonlinear hysteretic behavior. We also show\n that a fitted time-domain loudspeaker model including\n plastic flow matches the measured distortion profile. In\n contrast\, models with polynomial stiffness\; viscous\n damping fail to explain the observed amplitude dependencies\n such as odd order harmonic levels. The experiments\n demonstrate that viscoelastic hysteresis occurs not only at\n high but also at low amplitudes\, where the elastic\n stiffness is approximately linear.
CATEGORIES:AUDIO EQUIPMENT\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:63ea84af12dd268696891bf38e80c1b6
URL:http://aeseurope2026.sched.com/event/63ea84af12dd268696891bf38e80c1b6
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T100000Z
SUMMARY:Kseniya Kawko: 3D Masterclass
DESCRIPTION:Kseniya Kawko\, a Munich- and London-based Tonmeister and\n recording engineer specializing in classical music and\n jazz\, shares selections from her recent live and studio\n recording and mixing projects\, featuring leading orchestras\n and jazz ensembles\, and provides an introduction to the\n artistic and production considerations behind immersive\n formats.\n \n This masterclass series\, featuring remarkable recording\n artists\, is a chance to hear 3D audio at its best\; as we\n discuss qualities that make it truly worth the effort.\n \n In each masterclass\, we explore the new spatial\n possibilities in recording and production\, detailing also\n this specific listening room\, regarding ITU-R BS.1116\n compliance and auditory envelopment (AEV) transparency.\n Seats are limited to keep playback variation at bay.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:948fda873d4cd1abdd495aeb25235e82
URL:http://aeseurope2026.sched.com/event/948fda873d4cd1abdd495aeb25235e82
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T093000Z
SUMMARY:Audio data augmentation techniques for frame drum stroke recognition
DESCRIPTION:This work addresses the problem of frame drum (bendir) stroke technique recognition in simulated real-world conditions. The traditional frame drum technique includes three discrete strokes that are used to create rhythmic patterns\, dum\, tek\; slap. In the presented work\, audio data augmentation is investigated on a dataset containing recordings of instruments of various construction attributes. The used techniques are selected in the direction of generalizing classification in real-world conditions. Moreover\, the mixing of the frame drum samples with accompanying guitar chords is introduced\, simulating the more complicated problem of hit technique recognition when playing in a duo. The application of the aforementioned data augmentation leads to the formation of different available datasets for training\; testing. Two convolutional neural network architectures (one-\; two-dimensional) are taken into consideration\, trained on waveforms\; melscale spectrograms of the different subsets accordingly.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:79b4625aeb2ded642052585049dc7cf7
URL:http://aeseurope2026.sched.com/event/79b4625aeb2ded642052585049dc7cf7
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T093000Z
SUMMARY:Input-output linearization of loudspeaker dynamics via automatic differentiation
DESCRIPTION:Input-output linearization is a technique for compensating nonlinear distortion in loudspeakers. To apply it to complex loudspeaker models\, we describe an end-to-end framework for estimating model parameters from data\; deriving the linearizing control laws using automatic differentiation. The parameter estimation approach combines frequency-domain linear parameter estimation with a time-domain prediction-error method for the nonlinear parameters. The linearization approach supports non-linear reference systems\; stabilization of the control law using trajectory tracking. We implement the framework in dynax\, an open-source Python package based on JAX\,\; validate it experimentally as a feed-forward controller on a closed-box loudspeaker. Results demonstrate validation errors of 1--5\\,\% NRMSE\; total harmonic distortion reductions of 6--12\\,dB. The framework enables researchers\; engineers to rapidly prototype\; validate complex loudspeaker models for distortion compensation without manual symbolic derivations.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO PROCESSING\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:fb9a5470627e6cbeda4a4b22cb18f51f
URL:http://aeseurope2026.sched.com/event/fb9a5470627e6cbeda4a4b22cb18f51f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T093000Z
SUMMARY:Comfortability analysis of immersive sound playback system for cabin noise based on frontal lobe fNIRS experiment: an application of 4th order ambisonics
DESCRIPTION:This study introduces a fourth-order Ambisonics-based decoding system to reproduce railway cabin running noise in a studio environment\, enabling enhanced spatial impression and detailed sound field variation. Real-world operational noise was recorded using a multichannel fourth-order Ambisonics microphone (Eigenmike® EM32\, mh acoustics LLC\, USA)\, and the reproduced sound field was implemented through a multichannel loudspeaker system. The reproduced signals were quantitatively compared with the original operational noise in terms of spectral variation and waveform distortion.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:1a9bf40a8be88e353c4ed359f90d886a
URL:http://aeseurope2026.sched.com/event/1a9bf40a8be88e353c4ed359f90d886a
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T100000Z
SUMMARY:Immersive Audio Formats: Innovation\, Fragmentation\, or Both?
DESCRIPTION:Immersive music is at a critical point in its development.While production tools\, workflows\, and distribution models have begun to stabilise\, the market remains fragile\, and long-term adoption is far from guaranteed.New immersive audio formats are now entering a field where creators\, labels\, and platforms have only recently started to commit resources and build confidence. This raises a fundamental question: does the introduction of additional formats strengthen immersive music\, or does it increase uncertainty at a time when the market can least afford it?This panel-based workshop focuses on immersive audio formats for music and explores whether current challenges are best addressed through new formats\, or through innovation and improvement within existing ones.Topics for discussion include:- What are the most pressing problems facing immersive music today?- Do emerging formats solve these problems\, or risk fragmenting production\, distribution\, and listening experiences?- How does format uncertainty affect investment\, release strategies\, and creative willingness\, especially in smaller markets?- What are the potential consequences if industry stakeholders decide that immersive music is too complex or too risky to prioritise?- How do issues such as translation between loudspeaker-based and headphone listening fit into this broader picture?The session is designed as an open\, moderated discussion with panelists from production\, research\, mastering\, education\, and technology development.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a18a5001a7efa04c9fa301a8a9e44ed2
URL:http://aeseurope2026.sched.com/event/a18a5001a7efa04c9fa301a8a9e44ed2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T090000Z
DTEND:20260528T100000Z
SUMMARY:Measurement tools for immersive audio production
DESCRIPTION:Multichannel audio formats require an attention to channels' correlations and sometimes special approach. In this workshop\, we would like to continue the discussion started at AES Show 2025 in LA and show how you can use different measurement tools to avoid certain problems in the final mix. For example\, the mutual influence between the upper and main beds in immersive layout or problems in the LFE channel and how to check the mix for the correlation issues outside the sweet spot.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b230787e1d1cf971355bed7e6057cd24
URL:http://aeseurope2026.sched.com/event/b230787e1d1cf971355bed7e6057cd24
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T093000Z
DTEND:20260528T100000Z
SUMMARY:System-Level Remapping for Electronic Music Spatial Reproduction: A Case Study of the Cross-Venue Reperformance of Symphonic Coding
DESCRIPTION:Taking the premiere and reperformance of the sci-tech symphonic suite&nbsp\;Symphonic Coding&nbsp\;as a case study\, this paper discusses audio system organization\, sound diffusion\, and cross-venue migration in the co-performance of symphonic and electronic music. Given the challenges of diverse live inputs\, real-time control of the electronic music part\, concurrent recording and live streaming\, and varying acoustic conditions\, the article analyzes how a single workflow handles traditional miking\, electronic music generation and control\, live spatial diffusion\, and multi-purpose distribution. The study is structured across four levels: system design requirements\, signal organization\, dual-venue implementation\, and engineering discussion. It illustrates the development of an interconnected workflow comprising Content\, Rendering\, and Distribution Layers through mixing console organization\, immersive rendering\, and AoIP distribution. Results indicate that the significance of this work lies not in the reproduction of the listening experience of the entire performance\, but in enabling the spatial presentation of the electronic music part to remain valid across different environments based on a consistent reference. Furthermore\, the project enhances reperformance capability and production flexibility through the separation of functions\, roles\, and systems.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES\,IMMERSIVE AUDIO
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e5cbbfb88a5a0f275f402903718df809
URL:http://aeseurope2026.sched.com/event/e5cbbfb88a5a0f275f402903718df809
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T093000Z
DTEND:20260528T100000Z
SUMMARY:Virtualization-Based Mechanical Loudspeaker Protection Using Nonlinear Wave Digital Modeling
DESCRIPTION:Mechanical overload remains a primary limitation in high-output loudspeaker operation\, particularly at low frequencies where large coil excursions are required. Conventional mechanical protection strategies are typically implemented as signal-domain limiters or filters\, which act indirectly on the loudspeaker’s mechanical state\; may introduce discontinuities\, spectral modification\, or unnecessary attenuation. This paper proposes a methodological framework for mechanical loudspeaker protection based on the virtualization of admissible system behavior. The approach is formulated within a nonlinear wave digital loudspeaker model\; realized using a direct–inverse–direct architecture. Mechanical protection is embedded directly into the virtual loudspeaker dynamics by shaping the nonlinear suspension compliance as a function of voice-coil displacement. As the excursion approaches a prescribed admissible limit\, the virtual compliance is progressively reduced using a smooth raised-cosine law\, resulting in a continuous increase of the virtual mechanical stiffness. Excessive excursion is therefore prevented as a consequence of the system dynamics\, without explicit limiting\, clipping\, or signal-domain intervention. The proposed framework is evaluated through numerical simulations using steady-state low-frequency sinusoids\; low-frequency sine bursts under free-air loading. Results are compared against an unprotected loudspeaker\; a fixed high-pass filter configured to meet the same excursion constraint. The simulations verify that the proposed method enforces a soft excursion ceiling without discontinuities\, preserves low-frequency output in the near-limit operating region\,\; exhibits stable\; immediate recovery following transient excitation. Distortion behavior is characterized\; shown to increase smoothly as a result of the introduced mechanical nonlinearity. The results demonstrate that mechanical protection can be realized as an emergent property of a virtual loudspeaker model rather than as an external control action. The proposed approach provides a physically interpretable\; numerically robust foundation for virtualization-based loudspeaker protection.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:189e46b615e35b82b809cf8f5ca8ec0d
URL:http://aeseurope2026.sched.com/event/189e46b615e35b82b809cf8f5ca8ec0d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T093000Z
DTEND:20260528T100000Z
SUMMARY:The efficacy of phantom image perception: an active listener perspective.
DESCRIPTION:A “phantom image” is the illusion of an independent sound source created by two or more loudspeakers. Most often created by manipulating level differences between stereophonic channels (aka\, “panning”)\, the effect is used to create a sense of auditory space between loudspeakers\; is largely taken for granted. In recent years\, surround\; immersive audio systems have attempted to utilize phantom image processing to render audio objects in desired positions across multiple loudspeaker arrays. This research examined the efficacy of phantom image perception horizontally\; vertically from an active listener perspective. After listening to a target loudspeaker\, listeners (n = 442) were asked to move a phantom sound to a position to match that of the target loudspeaker. The listener’s phantom placement was then compared to the target\,\; subjects were allowed “correct” their phantom position. The horizontal experiment was based on a standard stereophonic 60° loudspeaker array with the target loudspeaker at 15° off center. The vertical experiment utilized elevated loudspeakers in a 60° arc with the target loudspeaker elevated 10° above the horizon (lower loudspeaker). Results show nearly universal “undershoot” in horizontal placement error on first attempts with gradual improvement over trials that coalesced around the projected target location. However\, after repeated tries\, final perceptual image locations were spread over 2/3 of the sound-field around the target loudspeaker. In the vertical trials perceptual locations were spread across the entire sound field in all three trials\; failed to show any patterns of coalescence around the target loudspeaker.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7af05f8f962c496ae2a2ba4c8b9ce51a
URL:http://aeseurope2026.sched.com/event/7af05f8f962c496ae2a2ba4c8b9ce51a
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T100000Z
DTEND:20260528T113000Z
SUMMARY:Opening Ceremony\, Keynote Session\, Awards
DESCRIPTION:This is the official Opening Ceremony of the 160th AES Convention in Copenhagen.\n \n\n AGENDA\n \n WELCOME\n Colleen Harper\, AES Executive Director\n Brecht De Man\, AES President\n Jan Abildgaard Pedersen\, AES 160th Convention Chair\n \n PRESENTATION OF AWARDS\n Cesar Lamschtein\, AES President Elect\n Finn T. Agerkvist and Lars Tirsbæk\, Papers Co-Chairs\n \n KEYNOTE ADDRESS\n Jan Abildgaard Pedersen\, Committee Chair\n Geoff Martin : “The Perceptual Irrelevance of Physical Measurements”\n \n CLOSING REMARKS\n Jan Abildgaard Pedersen\, AES 160th Convention Chair\n\n
CATEGORIES:SPECIAL EVENTS
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f3623a998e23ed418a2d8902d6b4ce81
URL:http://aeseurope2026.sched.com/event/f3623a998e23ed418a2d8902d6b4ce81
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T120000Z
SUMMARY:A New Reference Target Curve for Studio Headphones
DESCRIPTION:Target curves for the sound signature of headphones are a\n helpful design target during the development process. While\n a lot of attention has been made to fi nd target curves that\n match the listening preference of consumers\, equivalents\n for studio headphones date back to the 90’s. In the context\n of music production a mutual target or even standard is\n essential as to make mixing\; mastering more\n gear-independent. This becomes even more important since\n the main tool for sound engineers shifts from loudspeakers\n in professional environments such as acoustically treated\n studios to headphones\, often additionally equipped with\n virtualization algorithms. This enables them to be more fl\n exible\; to rely less on potentially expensive\n loudspeaker setups. The diffuse fi eld target curve that is\n currently still the only standardized target curve for\n studio headphones is often reported to not match a real\n loudspeaker-equivalent of studio environments. In this\n paper\, we approach to find a new standard target curve for\n studio headphones emulating the frequency response of a\n loudspeaker setup in modern studio environments.\n For this\, we give an overview of current target curves\;\n match them to their equivalent loudspeaker setups.\n Based on that we propose a new methodology for a\n measurement-based target curve incorporating typical\n panning paradigms of music signals based on measurements\n inside multiple control rooms. To verify the results\, we\n conduct listening tests with professionals in multiple\n studio environments.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, AUDIO EQUIPMENT\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a26cd16dec501476f3929c933d46b891
URL:http://aeseurope2026.sched.com/event/a26cd16dec501476f3929c933d46b891
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T120000Z
SUMMARY:Joint Neural Translation; Classification of Videos for Audio Processing
DESCRIPTION:A low-parameter-count machine-learning model for\n classifying streaming video can enable content-aware\n audio/video processing on consumer edge devices with\n latency\, computational\,\; battery constraints. In this\n paper\, we propose a low-compute classification technique\n that uses only text metadata from the streaming file\n header\, enabling near-instantaneous inference without\n decoding\; analyzing audio or video signals as is\n traditionally done. In particular\, to support multilingual\n platforms such as YouTube\, we first apply neural machine\n translation as a pre-processing step for the text metadata\n\; optimize a lightweight neural classifier for a\n three-class audio-centric classification taxonomy (movie\,\n music\, dialog/other). Experiments on a mixed-language\n YouTube dataset achieve $\approx$90\% classification\n accuracy on a test set using a combined translation\; a\n classification model (with only $\sim22K$ parameters)\,\n demonstrating a globally-scalable approach for robust\n classification on the edge.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO PROCESSING
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:988926c7a7fc46c8ee08caf53a8de04d
URL:http://aeseurope2026.sched.com/event/988926c7a7fc46c8ee08caf53a8de04d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Binaspect: A Python Library for Binaural Audio Analysis\, Visualization & Feature Generation
DESCRIPTION:We present Binaspect\, an open-source Python library for\n binaural audio analysis\, visualization\,\; feature\n generation. Binaspect generates interpretable “azimuth\n maps” by calculating modified interaural time\; level\n difference spectrograms\,\; clustering those\n time-frequency (TF) bins into stable time-azimuth histogram\n representations. This allows multiple active sources to\n appear as distinct azimuthal clusters\, while degradations\n manifest as broadened\, diffused\, or shifted distributions.\n Crucially\, Binaspect operates blindly on audio\, requiring\n no prior knowledge of head models. These visualizations\n enable researchers\; engineers to observe how binaural\n cues are degraded by codec\; renderer design choices\,\n among other downstream processes. We demonstrate the tool\n on bitrate ladders\, ambisonic rendering\,\; VBAP source\n positioning\, where degradations are clearly revealed. In\n addition to their diagnostic value\, the proposed\n representations can be exported as structured features\n suitable for training machine learning models in quality\n prediction\, spatial audio classification\,\; other\n binaural tasks. Binaspect is released under an open-source\n license with full reproducibility scripts at: (link removed\n for blind review)
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO PROCESSING\,IMMERSIVE AUDIO\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:348a703973d1ef0280a52f799a5383e3
URL:http://aeseurope2026.sched.com/event/348a703973d1ef0280a52f799a5383e3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T123000Z
SUMMARY:Headphone development is not over yet
DESCRIPTION:Headphones have become the dominant device for music\n playback\, and their design appears to have reached a\n certain level of technical maturity. This workshop presents\n an overview of the current state of the art in headphone\n design and examines potential directions for future\n technological development\, addressing both acoustic\n aspects—including transducer design—and signal-processing\n approaches.\n \n The workshop establishes a common foundation by introducing\n the fundamentals of headphone acoustics and design\n principles\, together with a brief overview of the\n historical development of headphones and the main headphone\n types in use today.\n \n Based on this foundation\, the workshop addresses current\n challenges and future development potential in headphone\n technology\, including:\n • Transducer and acoustic development potential: materials\,\n design methodologies and simulation techniques\, and\n advances in measurement technology\n • Characteristics of a high-quality headphone: What\n differentiates an excellent headphone from a good one? To\n what extent can headphone performance be characterized\n using current measurement techniques\, and what additional\n metrics\, target criteria\, or perceptual considerations may\n be required? What is the role of mechanical quality?\n • Signal processing potential: from advanced noise\n cancellation and augmented hearing to spatial audio\n processing\n • Challenges in realistic spatial reproduction: interaction\n between auditory and visual environments\n • Emerging wireless technologies: technologies such as UWB\n and Bluetooth 6 offer not only increased bandwidth and\n reduced latency but also the capability to localize the\n playback device. What are the implications for conventional\n headphone performance and for spatial audio applications?\n • Changes in studio workflows: professional practice has\n evolved from loudspeakers as the primary monitoring tools\,\n with headphones mainly used for detailed analysis\, toward\n headphones playing a central role in the early stages of\n recording and mixing. What are the consequences of this\n shift for headphone design and signal processing?\n • Technically feasible but not yet commercialized\n solutions: advanced headphone concepts that are achievable\n with current technology but have not yet been adopted due\n to economic or practical constraints
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, IMMERSIVE AUDIO
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2d1f2c87b4029d2f810d02bbf932da69
URL:http://aeseurope2026.sched.com/event/2d1f2c87b4029d2f810d02bbf932da69
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T130000Z
SUMMARY:New Paths for Immersive Music Streaming: Channel-based and High Resolution
DESCRIPTION:Streaming of immersive audio is known to western audiences\n almost exclusively in the object-based format\, Atmos\,\n developed by Dolby and employing lossy codecs to limit bit\n rates. Other object-based formats like Sony 360 have had\n limited success\, and until recently there were no channel\n based streamed versions. But this situation is changing\,\n as it has already done in Japan.\n \n Responding to growing interest in very high quality\n immersive music for both on-demand streaming and live\n broadcast\, two new services are now active that offer\,\n first\, channel-based audio and second\, audio streamed in\n high res PCM. Binaural mixes\, a range of PCM formats and\n video are variously included\, with extensions to portables\,\n loudspeakers\, and home theater.\n \n This workshop provides a forum for discussion of both the\n genuine promise and the challenges in these new\n initiatives. Included are the advantages of high\n resolution over lossy\; channel-based versus object-based\;\n the degree of adoption of transducers for multichannel\;\n adaptive bit rates\; data sources\; and the Japanese\n approach\; amongst others.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0ed9a019bacf12a761598c56a5ea94cc
URL:http://aeseurope2026.sched.com/event/0ed9a019bacf12a761598c56a5ea94cc
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Lightweight Real-time Spatial Audio Interpolation for Standalone VR using Hand Claps
DESCRIPTION:Realistic spatial audio consistent with visual information\n is essential for providing high immersion in Augmented\n Reality (AR) environments. However\, conventional\n high-precision real-time acoustic simulations require\n significant computational power\, limiting their\n implementation on standalone mobile VR devices such as the\n Meta Quest. This study proposes a practical method to\n enhance reverb realism using solely a standalone VR HMD\,\n without the need for additional external equipment. By\n measuring impulse responses using a few hand claps in the\n physical space\, we interpolate room acoustic\n parameters—specifically RT60\; early/late energy\n ratios—to reflect the environment's unique characteristics.\n These extracted parameters are then applied to the VR\n engine's built-in reverb effects\, enabling dynamic\,\n location-aware real-time rendering with minimal\n computational load. The proposed method demonstrates that a\n brief calibration period of 3 to 5 minutes yields\n significantly improved realism compared to static reverb\n templates\, offering an efficient\; practical spatial\n audio solution for mobile\n AR environments.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO PROCESSING\,IMMERSIVE AUDIO
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0929f558a6624f68f61da9af51201daa
URL:http://aeseurope2026.sched.com/event/0929f558a6624f68f61da9af51201daa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Perceptual Evaluation of the MPEG-I Immersive Audio Standard
DESCRIPTION:The recently finalized ISO international standard (IS) on\n MPEG-I immersive audio enables interactive\n six-degrees-of-freedom (6DoF) audio rendering for a\n multitude of virtual-reality\; augmented-reality (VR/AR)\n acoustic scenarios\; applications with comprehensive\n modeling of room acoustics\; intricate acoustic\n phenomena\, including e.g. occlusion\, reflection\,\n transmission\; diffraction caused by sound obstacles\,\n Doppler effect\,\; dynamic environment changes triggered\n by user interactivity. This paper describes concept\,\n methodology\; results of the final verification test of\n this standard. In the verification test\, the perceptual\n quality of the renderer was assessed in an interactive\n listening test using different in-\; outdoor acoustic\n scenes\, testing the above-mentioned features of the\n standard. More than 50 listeners participated in the test\n distributed across six labs using the ITU‑R BS.2132 [1]\n multi‑stimulus method on a 100‑point scale for three\n conditions (IS\, mid-\; low anchor) in 10 VR scenes plus\n two repetitions. The results of several anchor processing\n configurations are presented. The selected mid\; low\n anchors have demonstrated stable quality across diverse\n scenes with progressive timbre\; spatial degradations.\n The listening test results show a clear separation of the\n conditions (IS &gt\; mid &gt\; low)\; the low anchor was stable\n (around 16 points median value) while the mid anchor varied\n by scene (around 47 points). The IS is rated with a median\n of 84 points among all labs\, which is the “excellent”\n region of the scale. The individual scenes are rated\n differently. The quartile range for some scenes can exhibit\n 20 points. The median value for the IS of the different\n labs varied\, some are a bit more critical than others.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:19c31e9bdff60b51f8465b49c0d07b08
URL:http://aeseurope2026.sched.com/event/19c31e9bdff60b51f8465b49c0d07b08
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Can the individual winner HRTFs be determined in a shooting task during onboarding for an Audio Only VR?
DESCRIPTION:The significance of individual versus generic HRTFs in\n Virtual Audio can be difficult to ascertain given the\n variety of scenarios\; tasks related to the spatial\n listening experience. Are we working on the most\n significant 80% of the success or fine-tuning the last 5%\n of the sound quality? When the VR users are blind it is\n fair to assume that the quality of the spatial audio\n becomes a critical\; more important factor. This is the\n challenge as we see it. In the present project\, we will\n investigate options for powerful game components relying on\n spatialized sound\, using effects that are natural for the\n blind gamer. As a first step\, we have implemented a test\n platform\, where different options for HRTFs will exist\,\;\n where the on-boarding process shall reveal the optimal\n solution for the given user. The test scenario is inspired\n by a “classical” shooting down sound sources scenario\,\n where we will vary e.g. the task definition\, success\n criteria (hit zone\, number of attempts\; elapsed time) as\n well as eavesdropping game internal parameters of more\n complex nature (e.g. navigation trajectories). The results\n will display the variation in normal seeing listeners\;\n produce normative data for later comparisons with blind\n participants. The platform also includes options for simple\n mirror-image room models\,\; standardized reverberation\,\n which will be used in later tests to learn\, whether the\n room acoustics may play a stronger role for the blind\n gamers’ navigation\; source identification\, than for\n normal seeing listeners.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:feaa0815c5bcd6796e76feb617952fcb
URL:http://aeseurope2026.sched.com/event/feaa0815c5bcd6796e76feb617952fcb
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Exploiting Source Directivity for Robust Asymmetric Crosstalk Cancellation
DESCRIPTION:This study investigates the relationship between the\n robustness of crosstalk cancellation\; the symmetry of\n system configuration. Analytical results show that\, when\n the positions of the sound sources are fixed\, increasing\n asymmetry caused by deviations in the listener’s head\n position or orientation leads to a reduction in system\n robustness\, whereas optimal performance is consistently\n achieved in symmetric layouts. For asymmetric\n configurations\, we propose a method to optimize the axial\n angles of the sound sources. This method leverages source\n directivity patterns to adjust level differences along the\n acoustic propagation paths\, thereby improving system\n robustness. Experiments confirm the effectiveness of the\n proposed method in asymmetric crosstalk cancellation\n systems\, demonstrating enhanced robustness\; yielding\n higher binaural channel separation under slight listener\n head movements.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:03f0940f404080549692942f6f25d61d
URL:http://aeseurope2026.sched.com/event/03f0940f404080549692942f6f25d61d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Capturing Immersive Sound in Concert Halls: A Comparative Analysis of PCMA-3D and Decca Cuboid Recording Techniques
DESCRIPTION:This paper presents a comparative analysis of two immersive\n recording techniques for classical music: the PCMA-3D\n (Perspective Control Microphone Array)\; the Decca\n Cuboid. While the Decca Cuboid relies primarily on\n time-of-arrival differences to generate spatial\n impressions\, the PCMA-3D utilises intensity differences\;\n separates ambience from direct sound. A recording session\n was conducted in a concert hall using a classical guitar\n soloist\; two distinct folk music ensembles to capture\n performances simultaneously with both arrays. Subjective\n evaluation was performed using a MUSHRA listening test with\n 18 participants\, assessing parameters such as sensation of\n space\, localisation precision\,\; sound quality.\n Statistical analysis reveals that while both systems\n provide high-quality immersive experiences\, the PCMA-3D\n scored significantly higher in the sensation of space (p
CATEGORIES:IMMERSIVE AUDIO\,ACOUSTICS OF MUSIC ROOMS\,PERCEPTION\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0f64e952ba90254a7cb209923d0ced9c
URL:http://aeseurope2026.sched.com/event/0f64e952ba90254a7cb209923d0ced9c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T113000Z
DTEND:20260528T133000Z
SUMMARY:Poster Session 1
DESCRIPTION:- Binaspect: A Python Library for Binaural Audio Analysis\, Visualization & Feature Generation\n\n\n- Lightweight Real-time Spatial Audio Interpolation for Standalone VR using Hand Claps\n\n\n- Perceptual Evaluation of the MPEG-I Immersive Audio Standard\n\n\n-&nbsp\;Can the individual winner HRTFs be determined in a shooting task during onboarding for an Audio Only VR?\n\n\n- Exploiting Source Directivity for Robust Asymmetric Crosstalk Cancellation\n\n\n- Capturing Immersive Sound in Concert Halls: A Comparative Analysis of PCMA-3D and Decca Cuboid Recording Techniques\n\n\n
CATEGORIES:POSTER SESSIONS
LOCATION:Foyer Building 303A Posters\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:6dc4e227ae13df79ec2d42d7826b9f06
URL:http://aeseurope2026.sched.com/event/6dc4e227ae13df79ec2d42d7826b9f06
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T120000Z
DTEND:20260528T123000Z
SUMMARY:Personalized VR for hearing research with embedded devices
DESCRIPTION:Deep learning has significantly improved speech enhancement performance in controlled laboratory conditions\, yet these advances rarely translate into robust real-world benefit for hearing aid users. Current algorithms are trained\; evaluated in simplified acoustic scenarios\, neglecting multimodal cues\, user interaction\, environmental dynamics\,\; the strict latency\; power constraints of embedded devices. As a result\, a persistent gap remains between algorithmic performance\; everyday listening experience. This position paper reviews recent progress in speech enhancement\, embedded Artificial Intelligence hardware\,\; hearing aid systems\,\; argues for a shift toward ecologically valid evaluation\; hardware-aware design. We propose virtual reality as a reproducible\, multisensory benchmarking platform enabling joint assessment of human perception\; algorithmic processing. This perspective outlines a research roadmap toward adaptive\, context-aware\,\; practically deployable hearing technologies.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, PERCEPTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f327babfeb18ac2498012a2b119edb01
URL:http://aeseurope2026.sched.com/event/f327babfeb18ac2498012a2b119edb01
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T120000Z
DTEND:20260528T123000Z
SUMMARY:The Perception; Measurement of Nonlinear Distortion in Headphones
DESCRIPTION:Few studies exist on the perception\; measurement of nonlinear distortion in headphones. This paper reports the detection thresholds\; perceived sound quality from real distortion in headphones. Five different distortion measurements were made on the headphones to determine how well they predict audibility\; quality. Music samples were binaurally recorded on six headphones at playback levels ranging from 85 to +110 dBA at 3 dB increments. The recordings were reproduced at a normal playback level (83 dBA) through a reference headphone with low distortion. The headphone recordings were post-processed to remove both level\; frequency response differences so only nonlinear distortions\; residual noise remained. In a second test\, listeners rated the similarity in quality of headphones relative to an undistorted reference\; a hidden version of it. The results provide evidence audible distortion in headphones with music occurs at significantly higher playback levels (104 to 112 dBA SPL) than what is considered typical\; safe. The percentage of measured THD in the headphone had the highest correlation with the detection thresholds while the non-coherent distortion with music best predicted the similarity ratings. We discuss the results\; the practical implications they might have on future headphone design\, testing\; measurement.
CATEGORIES:AUDIO EQUIPMENT\, PERCEPTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a121984efc2479605257d950ca0592f0
URL:http://aeseurope2026.sched.com/event/a121984efc2479605257d950ca0592f0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T120000Z
DTEND:20260528T123000Z
SUMMARY:Perceptual Model Considering Comodulation Masking Release by Postmasking Adaptation
DESCRIPTION:This work presents a perceptual model based on a complex\n IIR filterbank. The filterbank with a frequency resolution\n of 4 bands per Bark consists of 104 filters whose slopes\n are designed to take spectral masking effects into account.\n The filter outputs are used to obtain masking thresholds\n with the following post processing. To obtain resonable\n masking thresholds from the spreading outputs\, a post\n masking stage is required. Here\, we propose a comodulation\n dependent adaptation of the postmasking decay to model\n Comodulation Masking Release (CMR) effects. This approach\n explicitely considers the dip-listening effect known from\n literature. The final masking thresholds are obtained by\n weighting the postmasking outputs by a tonality dependent\n gain\, controlled using spectral flatness estimation. A\n listening test compares the proposed method to an already\n known approach using direct CMR based modification of the\n masking threshold gains.
CATEGORIES:AUDIO PROCESSING\,PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:608183f4dff3d19e3a9c6651f1a7a22b
URL:http://aeseurope2026.sched.com/event/608183f4dff3d19e3a9c6651f1a7a22b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T120000Z
DTEND:20260528T130000Z
SUMMARY:Florian Camerer: 3D Masterclass
DESCRIPTION:Florian details the design of his brilliant and durable\n Double-Ufix 3D mic array\, capable of high resolution\n outdoor recording. Attendees are treated to memorable\n listening examples from natural and rural environments in\n Austria and the Nordics.\n \n This masterclass series\, featuring remarkable recording\n artists\, is a chance to hear 3D audio at its best\; as we\n discuss qualities that make it truly worth the effort.\n \n In each masterclass\, we explore the new spatial\n possibilities in recording and production\, detailing also\n this specific listening room\, regarding ITU-R BS.1116\n compliance and auditory envelopment (AEV) transparency.\n Seats are limited to keep playback variation at bay.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION\, SOUND DESIGN
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:754fe1227a479800ef1eb2b593a03675
URL:http://aeseurope2026.sched.com/event/754fe1227a479800ef1eb2b593a03675
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T120000Z
DTEND:20260528T130000Z
SUMMARY:Student Recording Competition Category 2: Studio Recording
DESCRIPTION:Join us to hear the finalists selected for this category of\n the Student Recording Competition. We will hear their\n presentations and recordings\, and comments and feedback\n from the judges. Award and prize placements will be\n announced on the last day of the convention.
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:6b77472dd2912a648d09377a2eb5a438
URL:http://aeseurope2026.sched.com/event/6b77472dd2912a648d09377a2eb5a438
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T123000Z
DTEND:20260528T130000Z
SUMMARY:A Recursive Attractor Network for Long-Form Sound Source Localization; Identity Tracking with a Variable Number of Sources
DESCRIPTION:Sound source localization\; identity tracking are fundamental tasks in acoustic scene analysis\, enabling machines to determine what\, where\; when produces sound events. While deep attractor-based networks have demonstrated improved performance under an unknown number of sources\, maintaining continuous source tracking over long-form audio remains challenging due to memory limitations\; permutation ambiguities across adjacent segments. In this paper\, we propose a Recursive Attractor Network (RANet) for long-form sound source localization\; identity tracking with a variable number of sources. RANet explicitly represents source attractors as transferable embeddings\; recursively propagates them across adjacent audio segments using a LSTM-based model\, thereby preserving source identity continuity over time. Experimental results on simulated datasets demonstrate that RANet achieves robust long-form sound source localization\; consistent source identity tracking\, outperforming baseline approaches under variable\; dynamic source conditions.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO PROCESSING
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:8f03e6a7da094066070b8298eade44f5
URL:http://aeseurope2026.sched.com/event/8f03e6a7da094066070b8298eade44f5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T123000Z
DTEND:20260528T130000Z
SUMMARY:Optical MEMS microphones leverage architectural advantages to achieve 80dB SNR
DESCRIPTION:There are three architectural approaches to\n microelectromechanical systems (MEMS) microphones\,\n miniature devices used in a wide range of products.\n Capacitive microelectromechanical systems (MEMS)\n microphones are embedded in billions of consumer\n electronics. Solder-compatible\; providing tight\n part-to-part sensitivity matching—all in a small\n footprint—capacitive MEMS microphones have demonstrated\n improved performance in recent years. State-of-the-art\n digital capacitive MEMS microphones can now achieve up to\n 72dB signal-to-noise ratio (SNR)\, with a 22dBA noise floor\n\; overall dynamic range in the order of 106 dB.\n \n However\, capacitive MEMS microphone technology has now\n reached the limits of its architecture\, which constrains\n the key audio performance metrics: SNR\; acoustic\n overload point (AOP).\n \n Piezoelectric MEMS microphones have not demonstrated SNR\n performance exceeding 65dB\,\; require new materials to be\n developed to increase their performance.\n Optical MEMS microphones—a new architectural approach that\n combines a laser optical subsystem\, a MEMS\; advanced\n CMOS circuit design—has exceeded the limits of capacitive\n technology. With 80dB SNR supporting a 14 dBA noise floor\,\n 132 dB dynamic range\,\; a 146dB AOP\, optical MEMS\n microphones accomplish studio-quality performance in a tiny\n form factor that supports semiconductor-level yields in\n high-volume manufacturing.\n \n This presentation will explain the architectural\n advancements of optical MEMS microphones in comparison to\n capacitive MEMS microphones. It will provide example use\n cases of high-SNR\; high-AOP microphones in high volume\n applications.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:397f88dfc8e154aca625a978aed70da2
URL:http://aeseurope2026.sched.com/event/397f88dfc8e154aca625a978aed70da2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T123000Z
DTEND:20260528T130000Z
SUMMARY:EMORSION – Examining the Impact of Audio Features on Emotional Responses; Immersion in Film.
DESCRIPTION: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.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION\, SOUND DESIGN
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e5329403ee2fc433c5f77483feadb4fa
URL:http://aeseurope2026.sched.com/event/e5329403ee2fc433c5f77483feadb4fa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T123000Z
DTEND:20260528T133000Z
SUMMARY:Be A Leader!
DESCRIPTION:Have you ever wondered how AES works? Let's meet up and\n talk about the benefits of volunteering and the path to\n leadership in AES! You could be our next Chair\, Vice\n President\, or even AES President!
CATEGORIES:SPECIAL EVENTS
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:90c7ad843fcbce4e0b9178cb6a31d385
URL:http://aeseurope2026.sched.com/event/90c7ad843fcbce4e0b9178cb6a31d385
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T133000Z
SUMMARY:Sound Absorber Estimation with Deep Neural Network
DESCRIPTION:Boundary conditions are a critical part of room acoustic\n simulations. In the case of ray tracing\, absorption\n coefficients of nearly all materials are measured\;\n provided. However\, wave-based simulations face several\n issues. The first one is the variety of boundary conditions\n used. Depending on the method\, surface impedance or\n admittance might be needed\, either in the frequency or in\n the time domain\, as an angle-dependent or averaged\n variable. This limitation hinders the development of a\n standard measured quantity for boundary conditions in\n wave-based simulations. In turn\, this leads to the second\n issue encountered\, which is the lack of widely available\n data to describe the characteristics of the different\n materials commonly found in rooms. In this study\, a deep\n neural network has been trained to estimate the material\n properties of porous absorbers from their absorption\n coefficient in octave bands. These estimated material\n properties can then be used to calculate any boundary\n condition needed. This method thus allows to characterize\n the boundary conditions for any type of room acoustic\n simulation from the most commonly available data. Moreover\,\n it provides a new tool to identify the sound absorber\n corresponding to a desired absorption profile during the\n design phase of a project. The training dataset in this\n study was generated from finite element method simulations.\n The poroelastic properties of the material\, the sample\n thickness\, as well as the depth of the air cavity backing\n the material were varied to create the training dataset.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:6b93bb38c9f8ef036986b0a9ef917a39
URL:http://aeseurope2026.sched.com/event/6b93bb38c9f8ef036986b0a9ef917a39
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T140000Z
SUMMARY:Jim and Ulrike Anderson: 3D Masterclass
DESCRIPTION:Jim and Ulrike have been recording in and for immersive\n audio for broadcast\, film and audiophile staples for\n decades. They specialize in turning traditional acoustic\n New York Studio recordings into vast spatial experiences.\n The audiences will be experiencing the breathtaking\n virtuosity of the likes of Jane Ira Bloom\, the Secret Trio\,\n Donald Vega and large format ensembles under Franco\n Ambrosetti and Jim Pugh.\n \n This masterclass series\, featuring remarkable recording\n artists\, is a chance to hear 3D audio at its best\; as we\n discuss qualities that make it truly worth the effort.\n \n In each masterclass\, we explore the new spatial\n possibilities in recording and production\, detailing also\n this specific listening room\, regarding ITU-R BS.1116\n compliance and auditory envelopment (AEV) transparency.\n Seats are limited to keep playback variation at bay.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0e5d32f89e5683a390e521062b81138e
URL:http://aeseurope2026.sched.com/event/0e5d32f89e5683a390e521062b81138e
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T140000Z
SUMMARY:TC-NAS : AES Technical Committee on "NETWORK AUDIO SYSTEMS"
DESCRIPTION:AES Technical Committee on "NETWORK AUDIO SYSTEMS"\n\n\n\nThe AES Technical Committees (TC) lead the Society's involvement in science and technology\, and are a hub of networking\, knowledge and expertise. Each TC specializes in a specific area of audio\, and helps forge links between each of these areas and the society as a whole. &nbsp\;Connect and engage!
CATEGORIES:AES TECHNICAL COMMITTEE MEETINGS
LOCATION:Aud 93\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b0f9648b95c04917ce4455efeedb5031
URL:http://aeseurope2026.sched.com/event/b0f9648b95c04917ce4455efeedb5031
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T133000Z
SUMMARY:Deep-Learning-Driven Sensory Profiling of Headphone Target Curves with Adaptive Listening Test Validation
DESCRIPTION:Identifying robust headphone target curves is challenging when preference data from untrained listeners are interpreted without explicit perceptual structure. This work presents a methodological framework in which deep- learning-driven sensory-profile analysis serves as the primary interpretive layer for listening data. Candidate target curves are generated using an Interactive Differential Evolution (IDE) listening experiment that combines paired comparisons with a second- stage absolute-rating task\, enabling continuous exploration of the perceptually relevant tuning space while reducing cognitive load. Converged gain sets are analyzed using a Virtual Listener Panel (VLP)\, a Deep Learning (DL) model trained on large-scale expert evaluations to predict perceptual attributes from rendered musical material. Predicted attributes are reported as relative scores along key sensory dimensions\, including bass strength\, timbral balance\,\; brilliance\, enabling exploration of sensory clusters\, perceptual trade-offs\,\; potential families of target tunings. Adaptive listening data from three culturally distinct listener panels (Denmark\, Japan\,\; Colombia\; 20 participants per site) support the DL-based interpretation. Convergence is quantified as a reduction in population variance\,\; cross-site analyses assess the similarity of clustering structures\; the consistency of relationships between preference\; sensory attributes. Overall\, the framework provides a scalable\, perceptually grounded approach to interpreting listener-preference data when developing headphone target curves.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, PERCEPTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7236109fbbf51fcc44e71414cbfebb7b
URL:http://aeseurope2026.sched.com/event/7236109fbbf51fcc44e71414cbfebb7b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T133000Z
SUMMARY:Emergence; Spatial Directionality of Sa Quintina in the Sacred Vocal Tradition of Castelsardo\, Sardinia\, Italy: An Early-Stage Sonological–Acoustical Study
DESCRIPTION:Sa quintina is a distinctive emergent vocal phenomenon almost exclusively associated with the sacred polyphonic singing tradition of Castelsardo\, perceived as an autonomous “fifth voice” arising during collective performance by four male singers. Although widely acknowledged in ethnomusicological literature\, its formation mechanisms remain only partially explored within audio engineering\; acoustical research. This paper presents an early-stage\, descriptive sonological case study proposing new hypotheses on the formation\; spatial reinforcement of sa quintina. The phenomenon is interpreted as a physically grounded\, measurable outcome of harmonic fusion\; spatial interference\, observable through spectral energy distribution\; coherence. It is hypothesized to emerge from a converging set of conditions—including non-tempered harmonic textures\, differentiated vocal emission techniques\, intentional formant tuning\,\; circular spatial configuration—none of which is assumed to be strictly sufficient in isolation. Building upon previous spectral coherence analyses\, the study introduces a Quintina Directionality Index (QDI) to quantify the spatial dimension of the phenomenon. QDI is defined as the ratio between spectral energy in two frequency bands associated with sa quintina (600–750 Hz\; 1200–1400 Hz)\; total spectral energy. The index is evaluated as a function of direction using ambisonic recordings in an anechoic chamber\; as a function of microphone position in a controlled field setting. Preliminary observations suggest that sa quintina corresponds to localized regions of enhanced spectral coherence\; energy reinforcement\, supporting its interpretation as an emergent physical phenomenon that precedes\; enables its perceptual salience\, rather than a purely auditory illusion.
CATEGORIES:AUDIO PROCESSING\, CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:93f5e00800dbd3e41126f20a7fe8c869
URL:http://aeseurope2026.sched.com/event/93f5e00800dbd3e41126f20a7fe8c869
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T140000Z
SUMMARY:From Spec to Studio: Immersive Audio Creation and Delivery using Eclipsa Audio
DESCRIPTION:Eclipsa Audio\, based on the Immersive Audio Model and\n Format (IAMF) specification developed by members of the\n Alliance for Open Media\, represents an open and\n royalty-free approach to immersive audio creation and\n delivery. Eclipsa Audio provides a growing ecosystem for\n producing and distributing spatial audio content\, with\n hardware integration and streaming platform support\,\n including YouTube\, actively being rolled out. This panel\n brings together practitioners\, researchers\, and engineers\n directly involved in the development of IAMF and Eclipsa\n Audio to inform the audio engineering community about the\n current state of the format and its evolving toolkit.\n Presenters will provide an overview of the specification's\n design principles\, discuss the collaborative research and\n development effort behind the Open Audio Renderer (OAR) and\n Open Audio Codec (OAC)\, introduce the content creation\n tools currently available within the Eclipsa Audio\n ecosystem\, and propose practical workflows for immersive\n audio production and delivery. The session will include\n presentations followed by an open discussion addressing\n format interoperability\, integration with existing\n production environments\, listener experience\n considerations\, and future directions for development.\n Audience participation is encouraged.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:15512a94004ab5f5fd26fdf7d72dfb0d
URL:http://aeseurope2026.sched.com/event/15512a94004ab5f5fd26fdf7d72dfb0d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T130000Z
DTEND:20260528T140000Z
SUMMARY:Student Recording Competition Category 1: Traditional Acoustic Recording
DESCRIPTION:Join us to hear the finalists selected for this category of\n the Student Recording Competition. We will hear their\n presentations and recordings\, and comments and feedback\n from the judges. Award and prize placements will be\n announced on the last day of the convention.
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7356c914a4f2756607b1898e5b335f55
URL:http://aeseurope2026.sched.com/event/7356c914a4f2756607b1898e5b335f55
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T133000Z
DTEND:20260528T140000Z
SUMMARY:Center Extraction GAN
DESCRIPTION:This paper presents a method for extracting a center signal from two-channel stereo signals for upmixing\; reproduction with additional center loudspeakers. It uses a generative adversarial network with a generator trained with multiple reconstruction losses\; adversarial losses obtained from a discriminator. The processing is of low computationally complexity\, causal\; can be configured for latencies down to one audio frame of 46 ms length. It is described how training data are created using only publicly available signals\; how the generation of target data enables to control the attenuation of diffuse signals\; direct signals panned off-center. An evaluation with listening test\; computational metrics SI-SDR\; F2 measure is presented. It shows an advantage compared to methods based on classical signal processing in terms of computational metrics for source separation\; listeners preference.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:9635f86e2260e690c6e63f0a67ac67c5
URL:http://aeseurope2026.sched.com/event/9635f86e2260e690c6e63f0a67ac67c5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T133000Z
DTEND:20260528T143000Z
SUMMARY:Audio engineering music for listeners with hearing loss
DESCRIPTION:Audio engineering often implicitly assumes a uniformity in\n hearing across listeners\; this is an assumption that does\n not reflect real-world diversity. How could technologies\n and practices in production\, mixing\, and reproduction be\n adapted to create music that is more inclusive? While the\n AES has a conference series on Audio and Music Induced\n Hearing Disorders\, this has focused on the causes of\n hearing loss with little on audio engineering for listeners\n who have a hearing loss.\n \n In western countries\, about one in three adults are deaf\,\n have hearing loss or suffer from tinnitus. Hearing loss can\n lead to many challenges with music such as: inaudibility of\n quieter passages\, distortion\, degraded pitch perception\,\n and difficulty in identifying and picking out lyrics and\n instruments. The most common intervention for mild to\n moderately severe hearing loss is hearing aids. But while\n many of these devices have music programs\, their efficacy\n is mixed\, to the point that many opt not to use them. With\n the rise of machine learning within Audio Engineering\,\n there are opportunities to better personalise music\, and\n therefore address issues listeners face. Consumer devices\n are also increasingly having audio accessibility features\n added\, but the usefulness of these lack independent\n testing. This workshop will consider opportunities for\n making music more accessible.\n \n The workshop will start by exploring how hearing loss harms\n the experience of listening to music and how this varies\n between people. This will lead to discussion of why no\n technology can fully ‘correct’ music to achieve a ‘perfect’\n listening experience for those with hearing loss. There is\n no technology to recreate a ‘golden-ears’ experience. This\n leads to a key research question: what is the best\,\n rendition of a piece of music for someone who has hearing\n loss? What do listeners want from music\, and how can we get\n closest to achieving that?\n \n We will bring in findings from research projects and\n listening tests to explore what is known\, and also to\n highlight that there are significant gaps in knowledge that\n require further research. We will then explore\n state-of-the-art in wearables such as hearing aids and\n sound reproduction systems. This will include the current\n Cadenza project\, which has been running a series of machine\n learning challenges to improve music for those with hearing\n loss.\n \n Throughout\, we will encourage questions and engagement from\n delegates. We want to hear about lived experience of\n hearing difference and how that has changed professional\n practice and personal lives. We are also keen to hear\n suggestions from delegates on what approaches might be used\n to improve music for those with hearing loss.\n \n We aim to raise awareness of the importance of considering\n diverse audiences in Audio Engineering practice. Where\n possible\, the workshop will provide practical guidance for\n audio engineers\, highlighting techniques and emerging\n technologies that can better support listeners with diverse\n hearing profiles.\n \n The Workshop will be organised by the Cadenza Project Team\n https://cadenzachallenge.org/ A large UK-funded project\n about improving music for those with hearing loss.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:28df76a1d244f0487ecb2a91cf688b9f
URL:http://aeseurope2026.sched.com/event/28df76a1d244f0487ecb2a91cf688b9f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T133000Z
DTEND:20260528T140000Z
SUMMARY:Measurement Uncertainty of MEMS Microphone Sensitivity in A Free-Field Condition
DESCRIPTION:This work presents a measurement uncertainty evaluation of the free-field sensitivity of a MEMS microphone using a substitution comparison method. The measurement setup is based on principles used in secondary microphone calibration\, with sensitivity determined relative to a calibrated reference microphone. The uncertainty analysis follows the Guide to the Expression of Uncertainty in Measurement (GUM)\, where Type A\; Type B uncertainty evaluations are propagated through a defined measurement model to obtain the final measurement result. The MEMS microphone sensitivity is estimated together with an expanded uncertainty\, where the calibration uncertainty of the reference microphone is identified as the dominant contributor. Broadband results show that the measured sensitivity is close to the typical manufacturer sensitivity over a wide frequency range\; follows a similar frequency trend. The proposed approach enables reproducible estimation of the free-field sensitivity of MEMS microphones\; provides a clear framework for uncertainty evaluation.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:619afbdb955b3b4c75efbbec343448a1
URL:http://aeseurope2026.sched.com/event/619afbdb955b3b4c75efbbec343448a1
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T133000Z
DTEND:20260528T140000Z
SUMMARY:NAVIQUAL: Creating Spatial Audio Quality Maps for Virtual Live Music Environments
DESCRIPTION:Live music environments can be simulated\; evaluated through spatial audio\; augmented reality (AR) technology. However\, conducting perceptual studies on AR environments can be challenging\, as multiple design considerations\; uncontrolled variables come into play. Hence\, we developed Naviqual\, a tool to create a spatial audio quality map for a virtual live music environment. We generated objective quality contour\; polar maps to predict the quality of experience (QoE) across listener locations\; directions respectively. We found that these maps strongly aligned with perceptual evaluations by normal-hearing listeners through listening tests. We also found that binaural objective metrics\; signal-to-noise ratio both strongly predict QoE across listener translations\, with the former outperforming the latter in predicting QoE across listener directions. Overall\, Naviqual provides a QoE map for virtual live music environments robust across various listener locations\; directions\, noise locations\, music content\,\; room acoustics.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:446e08d57c1d2bc46998c8f7d0d87e43
URL:http://aeseurope2026.sched.com/event/446e08d57c1d2bc46998c8f7d0d87e43
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T150000Z
SUMMARY:Stefan Bock: 3D Masterclass
DESCRIPTION:Stefan reports from the front lines of recording\, mixing\, and live streaming immersive music\, highlighting the technical and creative challenges of delivering three-dimensional sound in real time. He shares practical insights into spatial mixing\, format compatibility\, and the realities of reliable immersive streaming across diverse playback environments. 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.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ae1ab201e47daf2de9b64abcad43dc90
URL:http://aeseurope2026.sched.com/event/ae1ab201e47daf2de9b64abcad43dc90
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T150000Z
SUMMARY:TC-AA : AES Technical Committee on "AUTOMOTIVE AUDIO"
DESCRIPTION:AES Technical Committee on "AUTOMOTIVE AUDIO"\n\n\n\nThe AES Technical Committees (TC) lead the Society's involvement in science and technology\, and are a hub of networking\, knowledge and expertise. Each TC specializes in a specific area of audio\, and helps forge links between each of these areas and the society as a whole. &nbsp\;Connect and engage!
CATEGORIES:AES TECHNICAL COMMITTEE MEETINGS
LOCATION:Aud 93\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0512c750a082088f8f27bbd2bec19ad3
URL:http://aeseurope2026.sched.com/event/0512c750a082088f8f27bbd2bec19ad3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T143000Z
SUMMARY:Flow-HOA: Generative Joint Optimization for Ambisonics Encoding via Flow Matching
DESCRIPTION:Higher-Order Ambisonics (HOA) encoding from sparse\, irregular microphone arrays remains a critical challenge for consumer spatial audio capture in immersive communication\; XR. We propose Flow-HOA\, a generative framework that jointly optimizes a multi-dimensional perceptual objective while producing a deployable\, time-invariant bank of Finite Impulse Response (FIR) encoding filters. Using conditional flow matching\, the model learns to map a simple prior distribution to the target distribution of FIR filter coefficients. Training is guided by a composite loss that balances time-domain waveform fidelity\, multi-resolution spectral consistency\, sub-band energy preservation\,\; spatial directivity constraints. Objective evaluations demonstrate improved performance over strong model-based baselines in both signal fidelity\; spatial accuracy metrics. Subjective listening tests further confirm that Flow-HOA yields higher overall sound quality with reduced artifacts.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:53fbc271a2f267c086ea738d49b80825
URL:http://aeseurope2026.sched.com/event/53fbc271a2f267c086ea738d49b80825
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T143000Z
SUMMARY:Accurate Characterization of Integrated Microphone Arrays for Device--Related Transfer Function Synthesis
DESCRIPTION:This paper presents an improved method for characterizing integrated microphone arrays for Device‑Related Transfer Function (DRTF) synthesis. A probe‑array extension of the IMPro technique is introduced to measure all device microphones simultaneously\, eliminating unknown timing offsets that arise in asynchronous device–probe recordings. A custom four‑element probe array\; modular test jig were developed to evaluate relative inter‑channel propagation delay (RIPD) accuracy across varied microphone‑port geometries. Hybrid free‑field DRTFs were synthesized by combining IMPro data with Boundary Element Method (BEM) acoustic scattering simulations\, demonstrating that the probe‑array measurements capture small delay variations essential for precise spatial‑audio modeling. The extended IMPro method offers a practical\, scalable alternative to anechoic‑chamber measurements for modern multi‑microphone devices.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b2a7cf16c8e8e3dd30bf8724d5d4baf5
URL:http://aeseurope2026.sched.com/event/b2a7cf16c8e8e3dd30bf8724d5d4baf5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T150000Z
SUMMARY:Best practices for wireless audio in modern RF environments
DESCRIPTION:The demand for wireless audio expands constantly\, while the\n available RF spectrum over recent decades has shrunk and\n become more crowded. This session will explore strategies\n for making wireless audio work cleanly and reliably\,\n essential information for live production\, as well as TV\n and film production.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:911325e401922b84ab2eb01cf2dfa34f
URL:http://aeseurope2026.sched.com/event/911325e401922b84ab2eb01cf2dfa34f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T143000Z
SUMMARY:Influences of Nonlinear Distortion in Music Playback on Listeners’ Stress Evaluated by PPI; RMSSD of PPG
DESCRIPTION:The phenomenon in which listeners’ impressions of music are unintentionally altered even when the same sound source is played back remains an important issue. Previous research has shown that the state\; combination of audio equipment affect the characteristics of nonlinear distortion in music playback. Hence\, we conducted a subjective evaluation of auditory\; musical impressions using sound sources with various nonlinear distortions. However\, the subjective evaluation was unstable\; difficult to assess. The reason was that the sound change was perceived emotionally as a slight change in sound image\; musicality\,\; the interpretation of evaluation terms varies widely among subjects due to the difficulty of verbalizing the impression. Therefore\, we evaluated the change in listeners’ stress caused by nonlinear distortion in music playback using the photoplethysmography (PPG). In this study\, we conducted a follow-up experiment with improved accuracy. In the experiment\, 41 subjects listened to sound sources with even-order harmonic distortion at 2.69% THD\, odd-order harmonic distortion at 2.69% THD\,\; no distortion. The musical piece of sound sources is an original to eliminate familiarity\; bias toward existing music. We evaluated changes in subjects’ stress states using the mean pulse-pulse interval (PPI)\; the root mean square of successive differences (RMSSD)\, computed from the PPG signal\, as indicators of stress. These results reconfirm that nonlinear distortion in music playback affects listeners’ vital responses\, as evidenced by significant differences in both mean PPI\; RMSSD\, as assessed by Cochran's Q test at the 5% significance level.
CATEGORIES:PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0d2df5a8007d61405f923956a5340063
URL:http://aeseurope2026.sched.com/event/0d2df5a8007d61405f923956a5340063
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T140000Z
DTEND:20260528T150000Z
SUMMARY:Student Mix Critiques 1
DESCRIPTION:These sessions are an opportunity for AES student members\n to receive feedback on their mixes from a panel of industry\n professionals\, in a live\, non-competitive setting. Join us\n to hear mixes by other students\, and get tips\, tricks\, and\n advice to push your skills to the next level! Mixes can be\n submitted in advance by following the instructions are\n posted at:\n https://www.aesstudents.org/competitions/student-mix-critiques/\n Very limited on-site submission may also be possible on\n site. Maybe one of your mixes can be featured!
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:d053b021c54ea84d0eb9d12e9076bce8
URL:http://aeseurope2026.sched.com/event/d053b021c54ea84d0eb9d12e9076bce8
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T143000Z
DTEND:20260528T150000Z
SUMMARY:Personalized Timbre Optimization for Stereophonic Sound Reproduction via Earphones: Part 2 – Practical Implementation; Validation on Consumer TWS Devices
DESCRIPTION:This paper presents Part 2 of our study on personalized\n timbre optimization for stereophonic sound reproduction via\n earphones\, following our previous work presented at the AES\n International Conference on Headphone Technology in 2025.\n While Part 1 established a novel auditory-model-based\n framework for reproducing a listener’s natural timbre\n reference\; demonstrated its perceptual validity under\n controlled conditions\, the present study focuses on the\n practical implementation\; validation of this approach\n for real-world use with consumer True Wireless Stereo (TWS)\n earphones.\n \n Conventional headphone\; earphone personalization\n techniques primarily target spatial audio reproduction or\n rely on preference-based equalization\, often overlooking\n the accurate reproduction of natural timbre in stereophonic\n content. Our approach explicitly addresses this limitation\n by isolating\; optimizing perceptually relevant timbral\n cues while excluding spatial encoding components\, thereby\n improving timbral fidelity without degrading stereo imaging.\n \n The proposed method originally consists of four stages:\n high-resolution anatomical scanning of the listener’s upper\n body\, including the pinnae\, individualized HRTF computation\n using the boundary element method\, selective removal of\n spatial encoding components to derive a personalized\n reference target response curve (PR-TRC)\,\; perceptual\n optimization using a listener-specific weighting\n coefficient grounded in auditory reference fidelity rather\n than preference. In this paper\, each stage is simplified\n\; automated using smartphone-based scanning\;\n AI-assisted processing\, enabling end users to complete the\n entire personalization process via a smartphone connected\n to a cloud-based server. The resulting personalized target\n response curve is implemented within the computational\;\n memory constraints of the DSP pipeline of commercial\n consumer TWS earphones.\n \n A subjective evaluation using the Semantic Differential\n Method was conducted to assess the perceptual impact of the\n simplified implementation. Twenty-four listeners evaluated\n personalized target curves generated by both the original\n\; simplified methods\, as well as two non-personalized\n target curves commonly used in commercial TWS earphones.\n The results show that both personalized methods\n consistently outperform non-personalized conditions in\n overall sound quality\; listener preference. Importantly\,\n no statistically significant degradation in perceived\n timbral naturalness was observed between the simplified\;\n original methods.\n \n These findings demonstrate that auditory-model-based\n personalized timbre optimization can be effectively\n translated into a practical\, consumer-ready technology. The\n proposed approach represents a foundational contribution to\n future audio personalization\; has broad applicability\n across headphone\; earphone systems for stereophonic\n sound reproduction.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, AUDIO PROCESSING\, PERCEPTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:1321ccaa54da3a79c340bed8140275a9
URL:http://aeseurope2026.sched.com/event/1321ccaa54da3a79c340bed8140275a9
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T143000Z
DTEND:20260528T150000Z
SUMMARY:A Parametric Dual-Channel Audio Coding via Learned Time-Frequency Masking
DESCRIPTION:While Neural Audio Codecs (NAC) have revolutionized monaural audio compression\, achieving high-fidelity dual-channel coding at low bitrates remains a significant challenge. Existing approaches often rely on naive independent channel quantization\, leading to phase incoherence\, or entangled latent modeling\, which sacrifices spatial precision for spectral energy. This paper proposes a novel dual-channel coding framework based on contentspatial disentanglement. Reframing spatial reconstruction as an informed source separation task\, our architecture synergizes a frozen\, pre-trained DAC encoder for robust mono content preservation with a parameter-efficient side information encoder that predicts fine-grained time-frequency masks. To ensure precise spatial imaging\, we introduce explicit physical constraints into the end-to-end training. Experimental results indicate that at low bitrates of 9\; 11 kbps\, the proposed method outperforms state-of-the-art dual-mono neural baselines\; industry standards in both objective spatial metrics\; subjective MUSHRA evaluations.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO PROCESSING
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f19c6c9da7cfca93d7434c6fb5e381ca
URL:http://aeseurope2026.sched.com/event/f19c6c9da7cfca93d7434c6fb5e381ca
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T143000Z
DTEND:20260528T150000Z
SUMMARY:From Gaze to Gnosis: A Critical Framework for Embodied Audio Production
DESCRIPTION:Audio engineering standards often present as objective\, yet they frequently rely on a systemic data bias which Perez characterises as the 'default male bias' [1]. This paper examines the hegemony of the male ear\, a system of norms that privileges masculine modes of hearing by prioritizing technical structure\; text over affective experience\; timbre [2]. By transitioning from a visual centric auditory gaze toward an embodied sonic gnosis\, researchers can recover haptic\; physiological ways of knowing sound. Drawing on the feminist listening praxis of the Female Ear [3]\, this work explores the recording studio as an analytical space where sonic microaggressions [4] enforce rigid technical standards. The author argues for a new audio praxis that centers ear pleasures [5]\, validating subjective\; affective sensory data as legitimate engineering input. This approach seeks to dismantle the regulatory fiction [6] of a universal hearing standard\, promoting a pluralistic understanding of musicking [7] that is inclusive of non normative perspectives.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:00165cd9ef8dcb67e8111028cb9beb16
URL:http://aeseurope2026.sched.com/event/00165cd9ef8dcb67e8111028cb9beb16
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T150000Z
DTEND:20260528T163000Z
SUMMARY:Richard Heyser Memorial Lecture : From head-related transfer functions to risk of damage and hearing rehabilitation
DESCRIPTION:This years famous Richard Heyser Momorial Lecture will be given by Professor Dorte Hammershøi from Aalborg University.\n\nThroughout a distinguished academic career\, the lecturer’s work in measuring outer ear transfer functions and headphone characteristics served not only to develop and refine methods for binaural recording and reproduction\, but eventually provided a stepping stone into the field of technical audiology and hearing-aid rehabilitation. In 2026\, an earphone is rarely just a sound reproduction device\, and a hearing aid is rarely just a medical device. The&nbsp\;talk will give highlights from 36 years of work in the field\, and discuss what the&nbsp\;presenter considers to be the contemporary challenges when earphones become hearing aids and vice versa. Finally\, the presenter may address the challenges of creating&nbsp\;audio-only virtual reality for blind gamers.
CATEGORIES:SPECIAL EVENTS
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:70a5107be7d55aa08d42342f79b585de
URL:http://aeseurope2026.sched.com/event/70a5107be7d55aa08d42342f79b585de
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T160000Z
DTEND:20260528T200000Z
SUMMARY:Auro-3D & Dynaudio Immersive Sound Evening at Black Tornado Studios
DESCRIPTION:Step into Immersive Sound with the High-Res Immersive Audio @ Dynaudio Reference Studio.\n\nJoin us for an evening of immersive sound.\nConnect\, listen and experience!\n\nBlack Tornado Studios\nRefshalevej 209\, 1432 København\, Denmark\n\n28 May\, 2026 from 6pm\n\n30 minutes car journey from the AES Europe 2026 Convention at DTU.\n\nSponsored by Auro-3D and Dynaudio
CATEGORIES:SPECIAL EVENTS
LOCATION:Black Tornado Studios\, Refshalevej 209\, 1432 København\, Denmark
SEQUENCE:0
UID:3dc7c0c50a33ce4ee4ea6c776f908acb
URL:http://aeseurope2026.sched.com/event/3dc7c0c50a33ce4ee4ea6c776f908acb
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260528T163000Z
DTEND:20260528T173000Z
SUMMARY:Opening Reception: Drinks\, snacks and live music with vocal ensemble "Tonika".
DESCRIPTION:This is the social start of the convention - following directly after the famous "Richard Heyser Memorial Lecture" held by Professor Dorte Hammershøiwith the title: "From head-related transfer functions to risk of damage and hearing rehabilitation"\n\nThe will be Drinks\, snacks and live music with vocal ensemble "Tonika"!\n\nCome and join us - catch up with your connections and make new connections!\n\n\n\n
CATEGORIES:SPECIAL EVENTS
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:9879c95cfc6c80bc4a282dbca98089de
URL:http://aeseurope2026.sched.com/event/9879c95cfc6c80bc4a282dbca98089de
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T060000Z
DTEND:20260529T123000Z
SUMMARY:Attendee Registration
DESCRIPTION:\n
CATEGORIES:REGISTRATION ATTENDEES
LOCATION:Foyer Building 306\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:aa1f8c55af994acc8a0add696c3aee43
URL:http://aeseurope2026.sched.com/event/aa1f8c55af994acc8a0add696c3aee43
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Music generation model based on global emotional feature perception
DESCRIPTION:The rapid development of artificial intelligence\n composition technology has brought innovation to music\n creation. However\, current deep learning music generation\n models often neglect the global correlation of emotional\n features\, resulting in fragmented emotional expression in\n generated works\; insufficient alignment with human\n emotional perception\, making it difficult to meet the core\n demand for emotional conveyance in diverse music creation.\n This study aims to propose a music generation method that\n integrates a global perception mechanism for emotional\n features. Taking the EMOPIA\; VGMIDI preprocessed\n datasets as the research objects\, an improved model based\n on EMelodyGen (EMelodyGen-PPO) is constructed: a GLU\n network layer is introduced in the feature extraction stage\n to enhance the model's ability to filter\; represent\n emotion-related features\; an improved PPO-Clip algorithm is\n integrated in the training process\,\; a multi-dimensional\n emotional reward function is designed to achieve global\n dynamic perception\; optimization of emotional features.\n Experimental results show that the music21 parsing rate of\n the EMelodyGen-PPO model on the target dataset is 3%\; 4%\n higher than that of the baseline model\, respectively. An\n automated quality assessment system based on fluency\,\n rhythm stability\, harmony richness\, melodic smoothness\,\;\n structural integrity verifies that the comprehensive score\n of the model's generated works is significantly better than\n that of the comparative model. This study provides an\n efficient technical path for emotion-oriented music\n generation\, which can empower grassroots cultural workers\n\; independent musicians at low cost\, facilitate diverse\n music creation practices\; emotional audio content\n dissemination\,\; align with the diversity\; innovative\n development concept of the AES audio community.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:fe72ed1d63effeb51e28d844c6710bfa
URL:http://aeseurope2026.sched.com/event/fe72ed1d63effeb51e28d844c6710bfa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T083000Z
SUMMARY:Immersive Sound Volume II - Authors Table
DESCRIPTION:As spatial audio moves to a consumer standard\, the demand\n for sophisticated design frameworks has never been higher.\n This panel brings together key contributors from the\n recently published "Immersive Sound Volume II: The Design\n and Practice of Binaural and Multi-Channel Experiences" to\n bridge the gap between theoretical research and real-world\n production. The session will explore the recent and\n developing trends and practices of immersive audio\,\n focusing on the core design principles that define modern\n binaural and multi-channel workflows. Panelists will\n discuss themes from the text\, including current guiding\n principles and system design\, and the creative practice of\n building immersive sound experiences. Through a mix of case\n studies and technical perspectives\, the authors will\n provide insights into a roadmap for engineers and creators\n looking to master the immersive soundstage.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,IMMERSIVE AUDIO\,RECORDING PRODUCTION AND REPRODUCTION\,SOUND DESIGN
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:41447e0d080519abe8fbf8f0750bf7ce
URL:http://aeseurope2026.sched.com/event/41447e0d080519abe8fbf8f0750bf7ce
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:A General Model for Deepfake Speech Detection: Diverse Bonafide Resources or Diverse AI-Based Generators
DESCRIPTION:In this paper\, we analyze two main factors of Bonafide\n Resource (BR) or AI-based Generator (AG) which affect the\n performance\; the generality of a Deepfake Speech\n Detection (DSD) model. To this end\, we first propose a\n deep-learning based model\, referred to as the baseline.\n Then\, we conducted experiments on the baseline by which\n we indicate how Bonafide Resource (BR)\; AI-based\n Generator (AG) factors affect the threshold score used to\n detect fake or bonafide input audio in the inference\n process. Given the experimental results\, a dataset\, which\n re-uses public Deepfake Speech Detection (DSD) datasets\;\n shows a balance between Bonafide Resource (BR) or AI-based\n Generator (AG)\, is proposed. We then train various\n deep-learning based models on the proposed dataset\;\n conduct cross-dataset evaluation on different benchmark\n datasets. The cross-dataset evaluation results prove that\n the balance of Bonafide Resources (BR)\; AI-based\n Generators (AG) is the key factor to train\; achieve a\n general Deepfake Speech Detection (DSD) model.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ae1505b873c6207f92c56c75aaf1cdd5
URL:http://aeseurope2026.sched.com/event/ae1505b873c6207f92c56c75aaf1cdd5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Semantic Audio Encoders from EQ Parameters Alone: Effects of Training Data Composition on Limited-Data Learning
DESCRIPTION:We investigate how training data composition influences\n semantic audio encoders that learn perceptual descriptors\n such as "warm\," "bright\,"\; "muddy" from equalization\n (EQ) parameter datasets without labeled audio examples.\n Using the SAFE-DB dataset of 1\,369 labeled EQ settings\, we\n train audio encoders via an inverse problem formulation in\n which labeled EQ parameters are applied to source audio\;\n the encoder is trained to recognize the resulting semantic\n characteristics. Three training configurations are\n compared\, varying both class sampling strategy (uniform\n versus balanced)\; source audio type (pink noise versus\n real music). Despite severe class imbalance in SAFE-DB\,\n where 76 percent of examples are labeled "bright" or\n "warm\," balanced class sampling combined with mixed-source\n training (50 percent pink noise\; 50 percent FMA music)\n successfully learns physically meaningful semantic-spectral\n relationships: "warm"\; "muddy" show negative correlation\n with spectral centroid (r = -0.56)\, while "bright"\;\n "thin" show positive correlation (r = +0.49). However\,\n prediction confidence decreases substantially (from 0.96 to\n 0.76 to 0.86)\,\; top-1 predictions remain dominated by\n the "bright" class across all evaluated music genres\,\n reflecting inherent dataset bias rather than training\n failure. These results demonstrate that training data\n composition significantly affects model calibration but\n cannot fully overcome fundamental bias in the underlying\n label distribution\, highlighting key challenges for\n semantic audio understanding systems.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:cca05d6fa7ad18074f9b1fa8ee898068
URL:http://aeseurope2026.sched.com/event/cca05d6fa7ad18074f9b1fa8ee898068
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Voice-Based Fatigue Detection for Military Personnel: A Multi-Modal Machine Learning Framework with Acoustic Feature Emphasis
DESCRIPTION:This study presents a voice-centered machine learning\n framework for detecting mental fatigue in military\n personnel\, integrating acoustic analysis with physiological\n biosensors to enhance detection robustness. Mental fatigue\n poses critical safety\; performance challenges in\n military operations\, yet cultural stigma often prevents\n self-reporting. We collected multi-modal data from 23\n participants across two fatigue states\, extracting\n comprehensive acoustic features including sound pressure\n level (SPL)\, formants\, mel-frequency cepstral coefficients\n (MFCCs)\, jitter\, shimmer\, harmonic-to-noise ratio (HNR)\,\n\; temporal speech characteristics. These voice features\n were combined with electroencephalography (EEG)\,\n photoplethysmography (PPG)\,\; temperature data to train\n multiple machine learning classifiers. The voice-based\n models achieved accuracies between 82-85\%\, with support\n vector machines (SVM)\; long short-term memory (LSTM)\n networks demonstrating superior performance. When acoustic\n features were combined with physiological markers\,\n classification accuracy improved to 92\%\, with\n Classification\; Regression Trees (CART)\; Linear\n Discriminant Analysis (LDA) emerging as top performers.\n Statistical analysis identified SPL\; formant variance as\n the most discriminative voice features\, while Lempel-Ziv\n Complexity (LZC)\; theta/beta ratio proved most reliable\n for EEG. Evaluation on new participants yielded 67\%\n accuracy\, revealing model generalization challenges that\n inform future research directions. This work demonstrates\n that voice-based machine learning systems\, when augmented\n with physiological data\, offer a promising non-invasive\n approach to real-time fatigue monitoring in operational\n military environments.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO PROCESSING\,CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:dd4d8ada3597cdd6ba362000bef73191
URL:http://aeseurope2026.sched.com/event/dd4d8ada3597cdd6ba362000bef73191
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Exploring Perceptual; Physiological Auditory Models for Assessing Speech Intelligibility in Enhanced Signals
DESCRIPTION:Current deep learning approaches to speech enhancement rely\n heavily on objective measures like mean squared error or\n scale-invariant signal-to-distortion ratio as both training\n objectives\; evaluation metrics. While analytically\n convenient\, these benchmarks often fail to capture the\n nuances of human perception or actual intelligibility.\n Furthermore\, the inconsistent integration of metrics like\n Short-Term Objective Intelligibility or Perceptual\n Evaluation of Speech Quality into training\; evaluation\n pipelines leaves a gap between algorithmic performance\;\n perceptual reality. This paper proposes a transition\n towards evaluation methodologies grounded in\n psychoacoustics\; audiological modeling. Our study\n explores two distinct methods to characterise enhanced\n signals. On one hand\, we employ a perceptual approach based\n on the Cambridge loudness model to assess the preservation\n of spectral excitation patterns\; perceived intensity. On\n the other hand\, we adopt a biophysical approach by\n utilising CoNNear\, a convolutional model of the human\n auditory periphery. This allows us to simulate\n representations of responses at different stages of the\n auditory periphery to observe how speech enhancement\n processing affects the physiological representation of\n speech. We analyse pre-trained speech enhancement models\n using automatic speech recognition\; Short-Term Objective\n Intelligibility as an additional proxy for human\n intelligibility. By mapping automatic speech recognition\n performance against loudness\; peripheral response\n patterns\, we investigate the extent to which current\n enhancement strategies maintain the perceptual\;\n physiological integrity of the speech signal. This work\n aims to identify features predictive of intelligibility\,\n providing a foundation for speech enhancement systems\n optimised for the human listener rather than purely\n signal-based objective functions.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO PROCESSING\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:75fb5448247c048673e21178022e5cb3
URL:http://aeseurope2026.sched.com/event/75fb5448247c048673e21178022e5cb3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Objective Quality Models for Decision-Making in Speech Coding
DESCRIPTION:Objective quality evaluation is widely used in speech\n coding\, yet objective estimates often show limited\n agreement with subjective listening-test results. Rather\n than focusing on absolute score accuracy\, this paper\n evaluates objective speech quality models from a\n decision-making perspective\, defined as their ability to\n support comparative judgments between speech codecs or\n codec configurations. A formal ITU-R P.800 Absolute\n Category Rating (ACR) listening test was conducted with 30\n listeners across 24 conditions\, covering conventional\;\n neural monophonic speech codecs operating under\n clear-channel conditions at sampling frequencies from 16 to\n 48 kHz\; bit rates ranging from below 1 kbps to above 16\n kbps. The speech material consisted of internally recorded\,\n clean French-language speech that was not used in the\n development or training of any of the evaluated codecs or\n objective quality models. Seven objective quality models\,\n namely PESQ\, VISQOL Speech\, VISQOL Audio\, WARP-Q\, NISQA\,\n UTMOS\,\; DistillMOS\, were evaluated on the same material.\n Decision-making performance was assessed by comparing\n subjective\; objective rankings using Kendall’s rank\n correlation coefficient\; by analyzing pairwise codec\n comparisons using t-tests at a 95% confidence level. The\n results show that some objective quality models are\n effective for comparing bit rate variations within a given\n speech coding technology\, provided that all other codec\n parameters remain unchanged (e.g.\, sampling frequency).\n However\, all models exhibit limitations\, including\n tendencies toward over- or underestimation for certain\n technologies\, as well as reduced reliability when applied\n across different sampling frequencies. Despite its\n conventional origins\, PESQ remains capable of supporting\n decision-making even when applied to neural speech codecs.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO PROCESSING\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3af4d0405c4862bed44af881f96f0023
URL:http://aeseurope2026.sched.com/event/3af4d0405c4862bed44af881f96f0023
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:The Ambisonic Denoising Paradox: U-Net Processing Degrades ASR Transcription Quality for Medical Speech
DESCRIPTION:Spatial audio recording using higher-order Ambisonics\n offers rich directional information for medical speech\n capture\, yet challenging hospital acoustic environments\n motivate preprocessing with neural denoising algorithms.\n This study investigates whether U-Net-based denoising of\n third-order ambisonic recordings improves automatic speech\n recognition (ASR) quality for medical applications. We\n developed the Medical Immersive Audio Corpus (MIAC)\,\n comprising 1\,759 utterances (6.43 hours) of Polish medical\n speech recorded with a Zylia ZM-1 microphone in\n uncontrolled hospital environments\, capturing 16-channel\n third-order Ambisonics across multiple specializations\n including thyroid ultrasonography\, surgical procedures\,\;\n general diagnostics. We applied a U-Net architecture with\n dual attention mechanisms trained using the Noise2Noise\n paradigm to denoise the corpus\, then evaluated\n transcription quality using ten Whisper ASR models ranging\n from 39 million to 1.55 billion parameters\, including\n domain-adapted medical variants. Surprisingly\, we\n discovered a "noise reduction paradox" where denoising\n degraded transcription quality for seven of ten models\,\n with statistically significant increases in Word Error Rate\n (WER)\; Character Error Rate (CER) for general-purpose\n base\, small\,\; medium models. Only the domain-adapted\n whisper-medium-68000-abbr model showed statistically\n significant improvement (p=0.0008)\, while large-scale\n models (large-v2\, large-v3) exhibited robustness with\n negligible changes. Effect sizes remained small (Cohen's d\n &lt\; 0.2) across all models. These counterintuitive findings\n suggest modern ASR systems implicitly utilize background\n noise characteristics as informative features\,\; that\n preprocessing pipelines should be reconsidered for\n domain-specific applications. Our results provide practical\n guidance for medical speech processing system design.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO PROCESSING\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2aa058eba31e680746c4fdcfd39332c3
URL:http://aeseurope2026.sched.com/event/2aa058eba31e680746c4fdcfd39332c3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:A perceptual evaluation of various commercial models of music source separation\, with a focus on model performance against non-traditional source material
DESCRIPTION:Music source separation (MSS) systems are commonly used in\n production\, remixing\,\; audio analysis work\, yet\n questions arise regarding the extent that objective\n evaluations of model performance align with human\n perceptual evaluations\, particularly when tasked with\n non-traditional source material (in this case\, heavily\n processed electronic music). This study seeks to set a\n framework for an evaluation of 3 machine learning\n approaches to MSS: a spectrogram-domain model (spleeter)\, a\n waveform-domain model (Demucs v2)\,\; a hybrid-domain\n model (HTDemucs). Subjective evaluations of model\n performance were accumulated via a MUSHRA-style listening\n test\, while objective evaluations were assessed using\n signal-to-distortion ratio (SDR)\; Frechet Audio Distance\n (FAD). Results showed consistent agreement across objective\n metrics\, with the hybrid-domain model outperforming the\n other singular-domain models. Perceptual ratings also\n favored the hybrid model\, with listeners occasionally\n rating the model output as equal or better quality than the\n original reference\, interestingly. Preliminary analysis\n indicates some moderate but insignificant correlations\n between the two assessment paths\, reinforcing concerns\n about relying solely on numerical evaluations when\n discussing MSS model performance. Implications for model\n design\; future evaluation procedures are discussed.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:01dde0b35526692f53be21aa5661cb30
URL:http://aeseurope2026.sched.com/event/01dde0b35526692f53be21aa5661cb30
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Automating sound design for adaptive video game narration
DESCRIPTION:HAMLET is a research project that investigates the\n integration of Artificial Intelligence\; co-creation\n practices within the creative industries. The project\n proposes AI-driven enablers to support artists through\n collaborative workflows between creative practitioners\;\n technology providers. This work focuses on an automated\n sound design framework for text-based role-playing games\,\n where the game narration is dynamically generated through\n player textual interaction with an LLM. To address this\n unpredictability\, the proposed system generates adaptive\n soundscapes automatically from textual scene descriptions.\n An LLM identifies semantically relevant sound sources\,\n which are then matched to audio libraries through metadata\n alignment. The files are assessed for quality\,\; are fed\n to an automated mixing module. The framework addresses\n challenges related to semantic alignment\, audio quality\,\n aesthetic balance\,\; file size constraints.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,SOUND DESIGN
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a1b0589735e6234a4faabce6448c0b36
URL:http://aeseurope2026.sched.com/event/a1b0589735e6234a4faabce6448c0b36
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T083000Z
SUMMARY:Use of Headphones in Stereo Mastering and 3D Recording
DESCRIPTION:Loudspeaker monitoring is the reference when audio\n professionals evaluate content. Headphones are also\n important quality-checking tools\; and many consumers enjoy\n music using “close-fitting listening devices”\, as all\n different flavours of headphones are known in recent\n standards writing.\n \n We discuss the two reproduction methods from perceptual\,\n recording and mastering perspectives\; especially\n differences in timbre\, imaging and auditory envelopment\n when listening to stereo. Applications of headphones in\n recording\, when setting up and trimming stereo or 3D\n microphone arrays\, are also practically detailed.\n \n In the last part of the workshop\, attendees are invited to\n personally compare the two domains on the qualities and\n applications discussed\; with guided listening to audio\n examples between a pair of precision nearfield monitors\,\n Genelec 8351B\, and a pair of excellent headphones\, Audeze\n CRBN2.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:fedecb3b12180b3eede92f48ddc84c34
URL:http://aeseurope2026.sched.com/event/fedecb3b12180b3eede92f48ddc84c34
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T073000Z
SUMMARY:A method to synchronize dynamic media stream on heterogenous media playback devices
DESCRIPTION:Audio synchronization across heterogeneous media playback devices is essential for delivering immersive sound experiences in applications such as speaker group play\; multi-room audio playback. Existing synchronization techniques predominantly rely on tightly coupled network infrastructures\; often embed a media sequence\; timestamp information to the media packet at the transmitting source end\, which restrict flexibility of selecting the transmitting source\; also compromises robustness under dynamic network conditions. This paper proposes a network\; source independent audio synchronization framework that eliminates dependency on embedding media sequence\; timestamps. The proposed system employs an audio fingerprinting-based media sequencing algorithm amongst the media playback devices without relying on the type of transmitting source\; the network availability. A novel audio synchronization algorithm is proposed which first determines a common sequence start information given a dynamic media stream from the transmitting source\; then communicates the fingerprint\; timestamp amongst the media playback devices without modifying the original audio packet structure. Experimental results demonstrate that the proposed approach achieves a high audio-audio synchronization of less than 10ms across media playback devices in a no network environment\, thereby extending the scope of immersive audio application irrespective of the transmitting source.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, IMMERSIVE AUDIO
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:edafa7a2ae3476b3cb9f10836ae737a2
URL:http://aeseurope2026.sched.com/event/edafa7a2ae3476b3cb9f10836ae737a2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T073000Z
SUMMARY:Exploring 2D Ambisonics by Amplitudes; Phases
DESCRIPTION:We present a spectral-like reformulation of 2D ambisonics\, enabling an alternative representation of the sound field in terms of amplitudes\; phases. We hypothesise that it simplifies the representation\; creative manipulation of 2D ambisonics\, beyond encoded directional point sources. In 2D high-order ambisonics (HOA) of order N\, a sound field can be represented as a 2π-periodic angular function as a combination of circular harmonics (Y_m) weighted by the coefficients (a_m) with m ∈ [-N\, N]. This representation can be reformulated in terms of N+1 amplitudes\; N phases\, similarly to a Fourier decomposition. A simple example of this representation is the ambisonic encoder at an angle theta. Phases are then multiples of a phase phi = theta/2π\, as frequencies are multiples of a fundamental in harmonic sounds. Therefore\, the amplitude-phase approach can draw on the field of sound synthesis\, between harmonic\; inharmonic modelling. Operations on ambisonic vectors in amplitude-phase also rely on Fourier representation\, namely the spectral convolution of two vectors (element-wise products of the amplitudes\, element-wise sums of the phases). Spectral convolution has vast potential in ambisonics\, allowing to represent all the usual spatial operations (geometric\; transformative) in a simple manner. To test this approach\, we are currently developing an ambisonic synthesiser based on Faust functions running in Max environment. We are evaluating the scope of this representation\, both theoretical\; compositional\,\; then attempt to expand this approach to 3D ambisonics.
CATEGORIES:AUDIO PROCESSING\, IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:1c6c8c12288c8d6f2558520caa2bb6b0
URL:http://aeseurope2026.sched.com/event/1c6c8c12288c8d6f2558520caa2bb6b0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T073000Z
SUMMARY:Altering the Immersive Potential: The Case of the Heilung Concert at Roskilde Festival
DESCRIPTION:Immersive audio systems are increasingly deployed in large-scale live music contexts\, yet there is limited research addressing how immersive concerts are perceived\; experienced by audiences. This paper presents a practice-based\; ethnographically informed study of the immersive audio design\; audience experience of the band Heilung’s concert at Roskilde Festival\, staged in the Arena Tent where a large-scale multichannel loudspeaker system including main\, surround\,\; overhead arrays was used. The study combines insights in technical system design\; pre-production methods with qualitative audience research in order to explore how immersive sound alters perception\, embodiment\,\; social engagement in live concerts. Pre-production involved scaled system simulations\, reference listening positions\, timing strategies\,\; power-matched test environments to translate an immersive studio mix to a festival-scale venue. During\; after the concert\, audience experience was investigated through in-depth interviews\, focus group discussions\, participant observation\, binaural\; ambisonic recordings\,\; phenomenologically inspired interview techniques. Findings indicate that immersive audio contributes to heightened affective engagement\, bodily involvement\,\; a sense of envelopment that exceeds conventional stereo concert experiences. Audience members described the experience as multisensory\, ritualistic\,\; spatially ambiguous\, often lacking technical vocabulary but emphasizing embodied\; emotional responses. Importantly\, immersion was not perceived as sound alone\, but as emerging from the interaction of sound\, visuals\, architecture\, social presence\,\; narrative framing. The paper argues that understanding immersive concerts requires the integration of anthropological insights with audio engineering knowledge. While technical approaches explain how immersive sound systems operate\, anthropological perspectives are essential for understanding how such systems are experienced\, interpreted\,\; given meaning by audiences. The study contributes to the limited body of research on the effects of immersive concert formats by examining how audiences perceive immersion\; how they ascribe meaning to immersive sound.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES\, IMMERSIVE AUDIO\, SOUND DESIGN
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2409a6dfd0056225e138b4b58f20d38a
URL:http://aeseurope2026.sched.com/event/2409a6dfd0056225e138b4b58f20d38a
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T150000Z
SUMMARY:Exhibit Hall
DESCRIPTION:\n
CATEGORIES:EXHIBITION
LOCATION:Aud 36\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:13401b247704db90d1f65d9118a1f176
URL:http://aeseurope2026.sched.com/event/13401b247704db90d1f65d9118a1f176
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T080000Z
SUMMARY:Student Recording Competition Category 3: Sound for Visual Media
DESCRIPTION:Join us to hear the finalists selected for this category of\n the Student Recording Competition. We will hear their\n presentations and recordings\, and comments and feedback\n from the judges. Award and prize placements will be\n announced on the last day of the convention.
CATEGORIES:IMMERSIVE AUDIO\,RECORDING PRODUCTION AND REPRODUCTION\,SOUND DESIGN
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2df42f355214f188dea4d2394f0ea941
URL:http://aeseurope2026.sched.com/event/2df42f355214f188dea4d2394f0ea941
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T070000Z
DTEND:20260529T090000Z
SUMMARY:Poster Session 2
DESCRIPTION:- Music generation model based on global emotional feature perception\n\n\n-&nbsp\;A General Model for Deepfake Speech Detection: Diverse Bonafide Resources or Diverse AI-Based Generators\n\n\n-&nbsp\;Semantic Audio Encoders from EQ Parameters Alone: Effects of Training Data Composition on Limited-Data Learning\n\n\n-&nbsp\;Voice-Based Fatigue Detection for Military Personnel: A Multi-Modal Machine Learning Framework with Acoustic Feature Emphasis\n\n\n-&nbsp\;Exploring Perceptual\; Physiological Auditory Models for Assessing Speech Intelligibility in Enhanced Signals\n\n\n-&nbsp\;Objective Quality Models for Decision-Making in Speech Coding\n\n\n-&nbsp\;The Ambisonic Denoising Paradox: U-Net Processing Degrades ASR Transcription Quality for Medical Speech\n\n\n-&nbsp\;A perceptual evaluation of various commercial models of music source separation\, with a focus on model performance against non-traditional source material\n\n\n-&nbsp\;Automating sound design for adaptive video game narration\n
CATEGORIES:POSTER SESSIONS
LOCATION:Foyer Building 303A Posters\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0e1eac283ec482b8d2a569469c0a89a1
URL:http://aeseurope2026.sched.com/event/0e1eac283ec482b8d2a569469c0a89a1
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T073000Z
DTEND:20260529T080000Z
SUMMARY:Design; analysis of sound insulation soft-solid metamaterials with periodic inclusions
DESCRIPTION:One of the many applications of acoustic metamaterials is the ability to substantially improve acoustic insulation in the low-frequency range compared to traditional materials. The objective of this study was to investigate a vibroacoustic metamaterial consisting of a soft solid plane with embedded inclusions. The analysed structure consists of a porous layer with periodic solid elements\, which allows for enhanced insulation properties. A numerical model considering interactions between the acoustic domain\; a solid was developed using COMSOL Multiphysics. The influence of selected material\; geometric parameters\, such as the shape of the inclusions\; their placement\, on the overall effectiveness of the structure was analysed. Based on the simulation results\, a variant of the structure was selected\; used to create a prototype of the metamaterial. The acoustic insulation of the constructed structure was then measured in the diffuse field. The next step is to conduct an optimization using the PSO algorithm in order to find geometry of the structure that can achieve the most favourable results in the selected frequency range. The optimized structure will then be validated by creating an additional sample\; conducting another measurement.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:84b2daaca1bfd7459ef9c2a645d2eab6
URL:http://aeseurope2026.sched.com/event/84b2daaca1bfd7459ef9c2a645d2eab6
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T073000Z
DTEND:20260529T080000Z
SUMMARY:Generate 4pi SBA reverberation from virtual sound sources detected from x-y-z sound intensities. -Improvement of the source detection method.
DESCRIPTION:Generating 4pi acoustical atmosphere of a target space is\n important for creating an immersive sound content. A\n SBA-based reverb is a useful tool for this purpose. We\n developed VSVerb\, a SBA reverb that generates 4pi\n reverberation from the virtual sound sources detected from\n three orthogonal x-y-z sound intensities measured at the\n target space. A virtual sound source\, also known as a\n mirror source\, is an acoustic concept in geometrical\n acoustics. According to this theory\, many virtual sound\n sources are considered to be located outside the room\;\n provide reflection sounds inside the room. Since the\n spatial information of virtual sound sources is a kind of\n fingerprint of a room’s reverberant characteristics\,\n correctly sampled virtual sound sources enables us to\n recreate room's reverberation precisely.\n Several methods have been proposed for detecting virtual\n sound sources of a room\, i.e.\, dominant reflection sounds\n in a room\, by using the spatial room impulse responses\n (SRIRs). However\, these methods have the disadvantage of\n failing to detect small virtual sound sources that provide\n late reflections\, because they detect sources by focusing\n on the peak amplitude values in SRIRs. It is difficult to\n distinguish if a small peak in the latter part of SRIR\n indicates the reflection or noise component. Additionally\,\n in low-band analysis\, side robes of the band pass filter\n add many large peaks to the SRIRs\,\; they make it\n difficult to detect true reflection peaks.\n To overcome these disadvantages of the conventional\n methods\, we developed a method that detects virtual sound\n sources without using the amplitude characteristics of\n SRIRs. We call this method “Speed Detection.” This method\n detects virtual sound sources based on the spatial moving\n speed of the sound intensity. Instead of measuring SRIRs of\n the sound pressure\, we measure SRIRs of x-y-z instantaneous\n sound intensities. Since we can assume that the reflection\n sound comes from a “certain-sized” virtual sound source\n over a “certain period\,” the sound intensity provided by\n the virtual sound source is considered to remain within a\n small area\; move slowly while the source emits the\n reflection sound. We focused on this behavior of sound\n intensities\; developed the new detection method.\n First\, we identify the portions of the sound intensity that\n move slowly\; isolate them as the “Source intensity.”\n Then\, we calculate the positions\, strengths\,\; phase\n characteristics of the virtual sound sources from these\n Source intensities of the x\, y\,\; z directions. We\n examined Speed Detection method by generating several types\n of 4pi reverbs from the virtual sound sources detected\n using this method\,\; verified that it works well in many\n cases. However\, we have also found that it does not always\n work well. We have realized the necessity of improving the\n threshold value for classifying sound intensity into the\n source intensity or other.\n We have used to classify sound intensities into source\n intensities\; others by referring a threshold value\,\n vt=40(1000t+10)^1.5 [m/s]\, where t indicates the arrival\n time [s] of the sound intensity. This equation is based on\n our practical experience\, rather than scientific facts. It\n works well in most cases\, but some adjustments are required\n in very rare cases. To apply the threshold value to various\n acoustical conditions of the target spaces\, we propose\n switching the threshold value from our conventional\n equation to an averaged value using a time-varying time\n window. To examine the newly proposed threshold value\, we\n conducted experiments on detecting virtual sound sources of\n a simple rectangular room. The results demonstrated the\n validity of the new threshold value. We expect this new\n threshold value to improve the sound quality of VSVerb\;\n V2MA as well.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e4eda4e2a4ffb03de03c66c1a3a6f83f
URL:http://aeseurope2026.sched.com/event/e4eda4e2a4ffb03de03c66c1a3a6f83f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T073000Z
DTEND:20260529T080000Z
SUMMARY:Who Controls the Space? Artistic Intent; Sound Diffusion in Immersive Concert Performance
DESCRIPTION:Recent advances in large-scale multichannel loudspeaker systems have enabled immersive concert formats that extend spatial control beyond conventional stereo\; small multichannel configurations. High-density loudspeaker arrays (HDLAs) allow sound to be distributed across complex architectural spaces\, challenging established distinctions between composition\, performance\,\; live sound practice. In live contexts\, however\, the realization of spatial attributes is often constrained by system complexity\, limited rehearsal time\,\; the lack of artist-facing spatial control interfaces. As a result\, spatial realization\; sound diffusion are frequently delegated to sound engineers\, who translate artistic material to the acoustic\; architectural conditions of the venue in real time. This paper examines three immersive concerts presented during Sonic Days 2025 in Denmark\, realized on both large-scale\; small-scale multichannel loudspeaker systems. The concerts represent contrasting production contexts\, including a site-specific spatial composition conceived explicitly for a high-density loudspeaker array\; performances by artists whose practices are typically oriented toward stereo or small multichannel formats. Across these cases\, spatialization functioned variously as compositional material\, interpretive layer\,\; adaptive live-mixing practice. The paper analyzes how control over spatial attributes is negotiated between artists\; sound engineers in live immersive concert settings\,\; how this negotiation affects the interpretation of artistic intent\; audience experience. Particular attention is given to the role of sound engineers as active mediators whose decisions shape spatial form\, listening perspective\,\; the relationship between sound\; architecture. The findings suggest that immersive concert formats redistribute creative agency across artists\, technicians\,\; technological infrastructures\,\; point toward the need for revised conceptual frameworks for authorship\, performance\,\; listening in large-scale spatial audio environments.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES\, IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a9b48e1ea711d16dc241c03356112e09
URL:http://aeseurope2026.sched.com/event/a9b48e1ea711d16dc241c03356112e09
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T090000Z
SUMMARY:Introduction to Active Acoustics Systems in Recording Studios
DESCRIPTION:Virtual acoustics and active acoustic systems are increasingly used in architectural acoustics to extend the acoustic response of performance spaces. While these technologies have traditionally been associated with concert halls\, theaters\, and multipurpose venues\, their application has recently expanded to more controlled environments such as recording studios and music production spaces. This tutorial introduces the fundamental principles of virtual acoustics implemented through active acoustic systems\, starting from their role in architectural acoustics and room acoustics enhancement. Basic concepts such as room impulse responses\, acoustical parameters\, system architectures\, and feedback control strategies are presented at an introductory level\, with emphasis on common practices and practical limitations. The discussion then progressively narrows to the specific case of recording studios\, where virtual acoustics are used not only to simulate performance spaces\, but also to influence musical performance\, comfort\, and interaction during recording sessions\, including the use of immersive microphone techniques. Through practical examples and listening demonstrations developed at the Immersive Medial Laboratory in the Department of Music Research of McGill University\, the tutorial illustrates how different virtual acoustic conditions can be designed and applied in studio contexts\, highlighting their perceptual effects and implications for musicians\, recording engineers\, and producers. The tutorial aims to provide attendees with a clear conceptual framework and practical insight into how virtual acoustics and active sound reinforcement systems can be effectively employed across architectural and studio applications\, preparing the audience for more advanced technical discussions on these topics.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:9cceb57313bbd2ecb1003c7c0d121d74
URL:http://aeseurope2026.sched.com/event/9cceb57313bbd2ecb1003c7c0d121d74
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T083000Z
SUMMARY:Designing Music Spaces in Educational Buildings: Challenges; Considerations
DESCRIPTION:The acoustic design of music rooms is well supported by\n existing guidances which are covering recording spaces\,\n practice rooms\, green rooms\,\; large-scale performance\n environments. However\, the direct application of these\n standards to high school\; college buildings is often\n constrained by limitations in budget\, space\, client\n requirements\; construction timelines. As a result\,\n educational music spaces present various design challenges\n that require specially considered solutions. This paper\n examines key architectural\; acoustic issues for music\n teaching\; performance spaces in high schools\, including\n wall performance between non-compatible spaces\, limited\n room volumes\,\; other acoustic challenges\, i.e.\n interconnecting doors\; windows between the spaces. A\n case study of a good design implemented at the large school\n project is presented to demonstrate how strategic planning\n\; interdisciplinary coordination can result in\n high-quality\, functional\,\; acoustically successful\n learning environments. It is highlighted that the\n collaboration between the design team\; acoustic\n consultants was the key to resolve the major project\n challenges to achieve the best possible performance results\n across all spaces.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,SOUND DESIGN
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ee800f29699d2e0fdb311a7c7be8705d
URL:http://aeseurope2026.sched.com/event/ee800f29699d2e0fdb311a7c7be8705d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T090000Z
SUMMARY:TC-MSQ : AES Technical Committee on "MEASUREMENT & SOUND QUALITY"
DESCRIPTION:AES Technical Committee on "MEASUREMENT & SOUND QUALITY"\n\n\n\nThe AES Technical Committees (TC) lead the Society's involvement in science and technology\, and are a hub of networking\, knowledge and expertise. Each TC specializes in a specific area of audio\, and helps forge links between each of these areas and the society as a whole. &nbsp\;Connect and engage!
CATEGORIES:AES TECHNICAL COMMITTEE MEETINGS
LOCATION:Aud 93\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c275e94489c44e3c8c8ddb6364f0049e
URL:http://aeseurope2026.sched.com/event/c275e94489c44e3c8c8ddb6364f0049e
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T083000Z
SUMMARY:Detecting Bandwidth Variation Artifacts in Perceptual Audio Coding
DESCRIPTION:Accurate identification of audio coding artifacts is\n instrumental in encoder design\, audio post-processing\,\;\n perceptual quality assessment. This paper addresses the\n detection of artifacts arising from changes in the\n effective bandwidth of coded audio signals caused by coarse\n spectral quantization. Such bandwidth variations give rise\n to two prominent artifact types: bandwidth limitation (BL)\n\; birdies\, also referred to as spectral islands (SI).\n Blind detection methods\, requiring no reference signal\, are\n presented for both artifact types. Bandwidth limitation\n is detected by analyzing variations in the zero-crossing\n count across time-domain subband signals\, enabling\n estimation of both fixed\; time-varying cutoff\n frequencies. Spectral islands are identified through\n analysis of the spectrogram by detecting clusters of\n isolated components in the time–frequency domain\,\n characterized by their temporal\; spectral extents. The\n proposed methods are evaluated using audio material from\n the ODAQ\; USAC verification datasets. Results show that\n the BL detection method achieves an average bandwidth\n estimation error of approximately 160 Hz\; demonstrates\n robustness to noisy bandwidth-limited signals. In addition\,\n the detected birdie artifacts are perceptually validated\n through listening tests\, indicating an improvement in\n perceived quality following detection\; subsequent\n suppression of the birdie artifacts.
CATEGORIES:AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:6490da90b2222273bc42c9c36f5b7ded
URL:http://aeseurope2026.sched.com/event/6490da90b2222273bc42c9c36f5b7ded
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T083000Z
SUMMARY:Predicting Sonic Atmospheres - Expectation; Attunement
DESCRIPTION:Soundscapes\; sonic atmospheres are often approached as environmental conditions perceived\; evaluated through their acoustic properties\; affective qualities. Recent predictive\; inferential accounts of perception\, however\, suggest a different understanding: that perception operates as an anticipatory process in which sensory input is primarily used to minimise error in an ongoing predictive model of the world\, rather than to construct experience from the bottom up. From this perspective\, auditory perception is an active\, temporally extended process shaped by expectation\, memory\, attention\,\; action. This paper explores what such a predictive understanding contributes to the study of everyday sonic atmospheres. Drawing on predictive processing as a conceptual framework—while acknowledging its contested status—the paper situates auditory perception alongside other sensory modalities as part of a broader inferential engagement with environments. Classical auditory phenomena\; longer-term perceptual “illusions” motivate this reframing by highlighting how expectations shape experience across multiple timescales. The main analytical focus is the case of transitioning from one atmosphere to another. Atmospheres are approached here as multimodal\, quasi-objective phenomena that do not reside in sound\, space\, or subjects alone\, but emerge through shared\, situated engagement. Transitions foreground this process by exposing how expectations\, attentional strategies\,\; perceptual norms are recalibrated over time. From a predictive perspective\, atmospheres are constituted through collective anticipatory activity\, in which agents continuously negotiate environmental cues\; affordances across sensory modalities. Attunement is thus understood as a temporally extended\, socially coordinated process shaped by prior experience\; anticipated action. By analysing atmospheric transitions through a predictive lens\, the paper argues that sonic atmospheres can be understood as dynamically constituted\; reconfigurable achievements. This reframing challenges object-centred or purely subjective accounts of atmospheres\; opens new ways of thinking about how sonic environments are shaped\, staged\,\; transformed in everyday life.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:37336fc7e6b7cf776c27e4b13a39b715
URL:http://aeseurope2026.sched.com/event/37336fc7e6b7cf776c27e4b13a39b715
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T080000Z
DTEND:20260529T090000Z
SUMMARY:Student Mix Critiques 2
DESCRIPTION:These sessions are an opportunity for AES student members\n to receive feedback on their mixes from a panel of industry\n professionals\, in a live\, non-competitive setting. Join us\n to hear mixes by other students\, and get tips\, tricks\, and\n advice to push your skills to the next level! Mixes can be\n submitted in advance by following the instructions are\n posted at:\n https://www.aesstudents.org/competitions/student-mix-critiques/\n Very limited on-site submission may also be possible on\n site. Maybe one of your mixes can be featured!
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:abb92dd7754a29305e1f0fb7a03c42e0
URL:http://aeseurope2026.sched.com/event/abb92dd7754a29305e1f0fb7a03c42e0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T083000Z
DTEND:20260529T090000Z
SUMMARY:Spatial Estimation of Room Acoustic Parameters using Sound Field Reconstruction Methods
DESCRIPTION:The acoustic characterisation of indoor spaces is crucial for a wide range of applications. While global metrics provide convenient descriptors of a room's overall behaviour\, a more spatially detailed analysis offers deeper insight into the spatio-temporal structure of the sound field\, albeit at a higher experimental cost. This paper proposes a methodology that leverages the predictive capabilities of sound field reconstruction methods to estimate room acoustic parameters as a function of position. The approach is experimentally evaluated in an auditorium\, where it achieves accurate estimation of temporal\; energetic room acoustic parameters across the entire audience area. In addition\, the reconstructed field yields higher intelligibility indices compared to the raw measurements. Overall\, these results highlight the potential of sound field reconstruction techniques as a practical tool for room acoustic characterisation\; for supporting assistive listening technologies.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, AUDIO PROCESSING\, IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3f856906eb62fbe61991217188273c5b
URL:http://aeseurope2026.sched.com/event/3f856906eb62fbe61991217188273c5b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T083000Z
DTEND:20260529T090000Z
SUMMARY:Lossless Audio Coding revisited
DESCRIPTION:MPEG-4 SLS (scalable lossless coding) was published more than 20 years ago. In the meantime several tools to improve coding efficiency\; flexibilities have been invented. Currently\, in MPEG WG6 (audio coding) there are two standardization activities on lossless audio coding: Audio Coding for Machines (ACoM)\; Biomedical\; general waveform signal coding (BWC). ACoM phase 1 originally was targeted only towards lossless storage formats for training of machine listening schemes\, but additional uses cases like “user generated content analysis”\, “live stream content analysis”\,\; “artistic creation” have been added. The focus was extended to the transmission of audio data from microphone (arrays) to central processing units. BWC is a joint activity with TU-R SG21. While ACoM started with a large number of use cases\; includes the specification of a rich set of metadata BWC started with a focus on medical data like electroencephalogram (EEG)\; electrocardiogram (ECG). However\, BWC can be used for audio signals\, too\; medical data coding are on the list of use cases for ACoM. The call for proposals (CfP) for ACoM was completed in January 2025. Two proposals\, both outperforming MPEG-4 SLS\, had been submitted. Both proposals reused\; optimized core codecs from BWC. Currently\, MPEG audio investigates how the ACoM proposals can be merged into BWC. This merge process must be completed end of April 2026. The presentation will give details about ACoM use cases\, the ACoM CfP process\, the results of the CfP\; results from the merge process.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO CONTENT MANAGEMENT\, AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2297527c4cb6c29abd248b3f9bc3cc99
URL:http://aeseurope2026.sched.com/event/2297527c4cb6c29abd248b3f9bc3cc99
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T083000Z
DTEND:20260529T100000Z
SUMMARY:Credibilitizing in Immersive Audio: Impact Panel
DESCRIPTION:Join leaders in immersive audio who work with affinity\n groups: women and miniorities who are building social\n capital in audio in unexpected ways. Following the\n "Credibilitizing" framework proposed by Dr Leslie\n Gaston-Bird\, the panel discussions how role models\,\n networking\, and the right kind of mentoring opportunities\n are helping people from underrepresented groups upskill\,\n innovate\, and find new purpose and career pathways in\n immersive audio.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b4086d8f497151bcc0295c5a7686cc54
URL:http://aeseurope2026.sched.com/event/b4086d8f497151bcc0295c5a7686cc54
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T083000Z
DTEND:20260529T090000Z
SUMMARY:The cognition of sound in museums: Toward a spectrum of meanings
DESCRIPTION:This presentation develops a conceptual framework for understanding how visitors cognize sound in museum exhibitions. While sound increasingly features in museum practice\, research has focused primarily on measuring visitor enjoyment\; engagement rather than examining the specific meanings sound generates. This gap reflects the absence of a framework conceptualizing sound's meaning-making capacities to guide empirical investigation. Drawing on scholarship from music studies\, semiotics\, phenomenology\,\; embodied cognition\, I propose a seven-component spectrum identifying distinct yet interrelated meanings that sound can convey in museums: aesthetic\, representational\, emotional\, sensorial\, imaginative\, social\,\; political. These meanings can be apprehended independently or in combination\, typically through emergent\, pre-conscious perception rather than deliberate awareness. The spectrum builds on the premise that museum sound meaning-making unfolds through dynamics internalized from early childhood as we attune to the world sonically. It draws on the notion of sound as a "sonic aggregate" (Grimshaw\; Garner 2015)—encompassing social\, contextual\, temporal\,\; embodied experiences—rather than reducing sound to wave phenomena. Visitors actively co-produce meanings by drawing on their moods\, memories\, knowledge\,\; imagination during exhibition encounters. Each meaning category is illustrated with exhibition case studies\, demonstrating the spectrum's applicability across diverse sound-based multimodal museum practices—from popular music exhibitions to sound art installations. The spectrum aims to catalyze research through varied methodological approaches\; establish analytical standards for studying sound in museums\, with potential adoption by international standardization bodies.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION\, SOUND DESIGN
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:eba0e719f7a5d0a47252f795808cbb23
URL:http://aeseurope2026.sched.com/event/eba0e719f7a5d0a47252f795808cbb23
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T083000Z
DTEND:20260529T100000Z
SUMMARY:What Makes Binaural Audio Truly Immersive?
DESCRIPTION:Binaural audio delivered over headphones is currently the\n most widely used method for experiencing immersive sound.\n However\, significant challenges remain in achieving the\n highest possible quality of immersive listening through\n current binaural delivery systems. Numerous technical\n factors influence the listening experience\, including the\n personalisation of head-related transfer functions (HRTFs)\,\n room simulation\, head tracking\, headphone type\,\n equalisation\, etc. Beyond these technical considerations\,\n however\, content types\, production practices\, and user\n expectations and preferences also play critical roles in\n shaping perceptual outcomes. Binaural audio is often\n treated primarily as a post-processing technique for\n simulating loudspeaker reproduction. Yet binaural\n approaches also offer substantial creative opportunities\n when considered from the earliest stages of content\n production. This panel workshop will discuss these topics\,\n bringing together perspectives from creative practice\,\n research and development. The session will explore how\n immersive listening experiences can be more effectively\n designed\, produced\, and evaluated using binaural audio\n technologies.
CATEGORIES:IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:bc392c8aa17109c7887b0fdbc59d4967
URL:http://aeseurope2026.sched.com/event/bc392c8aa17109c7887b0fdbc59d4967
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T100000Z
SUMMARY:Li Dakang: 3D Masterclass
DESCRIPTION:Prof. Li Dakang is a preeminent recording engineer and pioneer of 3D recording of Chinese traditional music\, ancient instruments and spaces. Attendees are treated to a selection of unique 3D recordings\, including a new and glorious version of China’s National Anthem. Prof. Li describes the LDK-Cube for capturing the envelopment of an acoustic space\, and questions reliable reproduction of this important quality. 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.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:070b01a0ba364a40b7db99cfab54ccf5
URL:http://aeseurope2026.sched.com/event/070b01a0ba364a40b7db99cfab54ccf5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T100000Z
SUMMARY:TC-SA : AES Technical Committee on "SPATIAL AUDIO"
DESCRIPTION:AES Technical Committee on "SPATIAL AUDIO"\n\n\n\nThe AES Technical Committees (TC) lead the Society's involvement in science and technology\, and are a hub of networking\, knowledge and expertise. Each TC specializes in a specific area of audio\, and helps forge links between each of these areas and the society as a whole. &nbsp\;Connect and engage!
CATEGORIES:AES TECHNICAL COMMITTEE MEETINGS
LOCATION:Aud 93\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7e56485dcc816c226028f0fef3ebf8be
URL:http://aeseurope2026.sched.com/event/7e56485dcc816c226028f0fef3ebf8be
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T100000Z
SUMMARY:Obsidian Neural: Open-Source VST3 for Real-Time Generative AI – Architecting the AI as a Live Performance Instrument
DESCRIPTION:Obsidian Neural is a novel\, open-source VST3 plugin that addresses the technical challenges of integrating generative AI models directly into a low-latency digital audio workstation (DAW) environment. This workshop will provide a deep dive into the architecture designed to use AI as a real-time performance instrument. We will cover the C++/DSP strategies necessary for minimizing latency during the asynchronous generation of audio loops via models like Stable Audio Open. Crucially\, we will detail the system's ability to maintain musical coherence during a live mix\, achieved through an internal LLM "Brain" that processes contextual session data (BPM\, key\, existing tracks) to enrich generation prompts. Furthermore\, we will explore the technical solutions implemented for seamless integration with the live mixing paradigm: quantized MIDI triggering\, multi-output routing\, and the novel "Draw-to-Sound" feature\, which employs a Vision Language Model (VLM) to translate visual input into musical parameters. This work demonstrates a robust framework for generative AI to function as an instantaneous\, adaptable partner within professional audio engineering workflows.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, SOUND DESIGN
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:cb2348dad61ac0cc7bc5cad1508d0fdd
URL:http://aeseurope2026.sched.com/event/cb2348dad61ac0cc7bc5cad1508d0fdd
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T093000Z
SUMMARY:Acoustic and Perceptual Consequences of Time Misalignments in Line Array Speakers
DESCRIPTION:Variable‑curvature line arrays achieve their intended directivity and spectral balance through phase‑coherent summation across cabinets. Even small timing disparities between elements perturb the interference patterns that shape the array response\, with consequences for both spatial coverage and timbre. In this work we quantify these effects end‑to‑end. Using simulations for a typical 12‑element array\, we examine how inter‑element delays modify the frequency response across an audience area. We then apply an auditory coloration model to predict the perceived impact of those modifications and validate the predictions through controlled listening tests. We observe that delays of a few dozen microseconds generate pronounced spectral coloration that listeners consistently judge as degraded quality\, whereas coloration becomes detectable at delays on the order of one microsecond. These results translate into synchronization accuracy targets for high‑fidelity line‑array deployments.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b193ca03c4a7e354d47f71caa9348c49
URL:http://aeseurope2026.sched.com/event/b193ca03c4a7e354d47f71caa9348c49
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T093000Z
SUMMARY:Experimental; Numerical Design of Vibroacoustic Metamaterials for Guitar Soundboard Resonance Control
DESCRIPTION:Metamaterials are engineered structures whose acoustic\; mechanical behavior arise from their geometric configuration\; internal architecture rather than their material properties. Within this group\, vibroacoustic metamaterials offer the ability to influence elastic wave propagation by introducing frequency bands in which flexural vibrations are either suppressed or selectively altered. The integration of such structures into musical instruments\, particularly acoustic guitars\, provides a promising approach to shaping their vibroacoustic response\; mitigating undesirable structural resonances. The objective of this project is to design a vibroacoustic metamaterial capable of modifying the resonance properties of an acoustic guitar soundboard. For this purpose\, vibration measurements with Laser Doppler Vibrometer were conducted to identify the fundamental resonant modes of the soundboard. Based on these measurements\, a coupled structural-acoustic numerical model was developed using COMSOL Multiphysics\; subsequently calibrated with the experimental data. In the following phase\, various vibroacoustic metamaterial configurations were designed\,\; their influence on the resonance characteristics of the soundboard was investigated. The most effective resonator design was fabricated using 3D printing\; its performance was experimentally evaluated. The anticipated outcome of this research is the development of an effective method for tailoring\; enhancing the tonal response of an acoustic guitar without modifying its conventional construction\, thereby contributing to new design strategies for stringed musical instruments.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f1f044b455e98b18883bddc4b9446098
URL:http://aeseurope2026.sched.com/event/f1f044b455e98b18883bddc4b9446098
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T090000Z
DTEND:20260529T093000Z
SUMMARY:Technologies of Everyday Life: “Yupiter”; the Formation of a Personal Acoustic Environment in the Ukrainian SSR
DESCRIPTION:This article examines open-reel tape recorders marketed under the “Yupiter” brand as a key technology of everyday life in late Soviet Ukraine\; as a material foundation for the formation of a personal acoustic environment in the Ukrainian SSR. The study aims to reconstruct the “biography” of the device\, including its design\, serial production ramp-up\, distribution\,\; use. It shows how the institutional constraints of a planned economy\; defense-sector priorities were translated into domestic regimes of listening\; recording. Methodologically\, the article combines approaches from sound studies\, the history of technology\,\; the history of everyday life\, supplemented by concepts of the “domestication” of technology\, DIY culture\,\; “phonographic labor.” The source base includes internal documents of the Kyiv “Kommunist” plant (annual reports\, explanatory memoranda\, plans\,\; quality-related materials for 1968-1976)\, interdepartmental reviews\; programmatic materials of the sector\, technical handbooks\; instructions\, as well as oral interviews with users. Bringing together the “upper” level of managerial reporting\; the “lower” level of user experience makes it possible to identify a gap between quality as a planning category\; quality as a daily practice: repairability\, shortages of parts\; tape\, re-recording\,\; selective choice of media were more the norm than the exception. The article demonstrates that the “fine-tuning” of tape recorders became institutionalized through networks of amateur knowledge\; informal service\, while fluctuating availability (shortage\; overstock) shaped the social geography of purchase. Ultimately\, “Yupiter” emerges not as a symbol of progress or nostalgia\, but as a material trace of late-socialist modernization - one that helps integrate the Ukrainian case into international debates on media materiality\, listening\,\; the politics of audibility. Particular attention is paid to the temporality of the object: the extension of “Yupiter’s” normative life cycle through repair\; re-recording\, as well as its “outliving” of the Soviet system in the 1990s. This makes it possible to interpret the tape recorder as a carrier of acoustic memory\; an indicator of social hierarchies of access to technology. The findings refine the understanding of shortage not as mere lack\, but as an everyday regime in the life of things.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:20bd9306bfb6e9b534db7872acc9291c
URL:http://aeseurope2026.sched.com/event/20bd9306bfb6e9b534db7872acc9291c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T093000Z
DTEND:20260529T100000Z
SUMMARY:Qualifying Timing Errors in Audio-over-Ethernet Networks for Live Sound
DESCRIPTION:Audio-over-Ethernet (AoE) protocols have become fundamental\n in modern live sound reinforcement systems\, yet their\n real-world synchronization behavior under diverse stress\n conditions\, both in terms of load\; configuration\, is not\n accurately characterized. Microsecond-scale timing\n mismatches between amplifier outputs can disrupt line-array\n interference patterns\, reducing directivity control\;\n spectral consistency. Ensuring robust timing accuracy\n across large\, mixed-traffic network topologies is therefore\n critical for predictable system performance.\n This paper presents a comprehensive\, application-oriented\n evaluation of Dante\, AES67\; Milan-AVB. A representative\n multi-hop architecture typical of touring deployments has\n been considered. A controlled measurement campaign\,\n combining eight daisy-chained switches\, heavy concurrent\n data traffic approaching link saturation\,\; sub-sampled\n latency tracking\, assesses each protocol under ideal\n conditions\, typical field situations\,\; common\n misconfigurations.\n Results reveal clear performance distinctions. Dante\n exhibits substantial timing variations\, exceeding\n 100~$\mu$s under load. AES67 provides tighter\n synchronization but remains vulnerable to configuration\n errors\, which can induce latency drift or even audio packet\n loss. Milan-AVB consistently maintains sub-microsecond\n accuracy across all scenarios.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:02d94cbfa9069130392aca393cc8de1a
URL:http://aeseurope2026.sched.com/event/02d94cbfa9069130392aca393cc8de1a
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T100000Z
DTEND:20260529T113000Z
SUMMARY:Saul Walker Student Design Competition
DESCRIPTION:The Saul Walker Student Design Competition is a long-running event of the Audio Engineering Society that highlights practical and creative work in audio design. It brings together experienced judges and a wide range of strong student submissions each year.During this session\, students from around the world will present their projects and bring their hardware designs for hands-on inspection by the judges. The format encourages open discussion\, giving attendees a chance to hear how ideas are evaluated and improved in a professional setting.Sponsored by API\, the competition includes cash prizes for the winners. More importantly\, it offers students valuable feedback and the opportunity to connect with people working in the industry. The session is open to everyone—students and non-students alike—who are interested in seeing what participants have created and learning more about current work in audio design.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\,AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,AUDIO PROCESSING\,CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3ec89c3698adcd82acdaf382b34ab661
URL:http://aeseurope2026.sched.com/event/3ec89c3698adcd82acdaf382b34ab661
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T103000Z
DTEND:20260529T113000Z
SUMMARY:Morten Lindberg: 3D Masterclass
DESCRIPTION:Morten describes his excellent recording techniques\, and\n attendees are treated to\n a unique selection of high resolution 3D music listening\n examples.\n \n This masterclass series\, featuring remarkable recording\n artists\, is a chance to hear 3D audio at its best\; as we\n discuss qualities that make it truly worth the effort.\n \n In each masterclass\, we explore the new spatial\n possibilities in recording and production\, detailing also\n this specific listening room\, regarding ITU-R BS.1116\n compliance and auditory envelopment (AEV) transparency.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b060c1dbe5fafdfe1c4ab0c55453b50b
URL:http://aeseurope2026.sched.com/event/b060c1dbe5fafdfe1c4ab0c55453b50b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T103000Z
DTEND:20260529T120000Z
SUMMARY:Innovative Measurement of Speech Intelligibility – Applications of Listening Effort in Research & Practice
DESCRIPTION:Speech intelligibility is a key factor in successful communication across various domains\, including research\, post-production for film and television\, live sound reinforcement\, and audio production. Traditional assessment methods often lack objectivity or fail to capture the listener’s experience in real-world scenarios. In this workshop\, we introduce an innovative approach to measuring speech intelligibility based on the concept of “Listening Effort.” We will present the underlying technology\, share practical examples from different application areas\, and demonstrate how this method can be integrated into workflows to optimize intelligibility. Attendees will have the opportunity to participate in a hands-on demonstration and discuss potential use cases relevant to their own work. This session is designed for professionals and researchers seeking reliable and actionable tools for evaluating and improving speech intelligibility in diverse environments. In this workshop\, we present a new technology for measuring speech intelligibility (“Listening Effort”). The method is used in research\, post-production (film/TV)\, live sound\, and audio production. The session is aimed at professionals from both academia and industry who are interested in objectively assessing and optimizing speech intelligibility. Participants will be able to join a short demo/exercise and ask questions. Introduction & Relevance: Overview of the importance of speech intelligibility across different fields Technology & Methodology: Presentation of the measurement method and underlying concepts Practical Examples: Case studies from research\, post-production (film/TV)\, live sound\, and production Live Demo / Interactive Exercise: Practical demonstration and opportunity for active participation Discussion & Outlook: Q&A\, exchange of ideas\, and future perspectives
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:88debfe2be4cd6b47503f2629dfeb2de
URL:http://aeseurope2026.sched.com/event/88debfe2be4cd6b47503f2629dfeb2de
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T103000Z
DTEND:20260529T110000Z
SUMMARY:Spatial Quality Measure for Mixed-phase Impulse Response Equalization
DESCRIPTION:Mixed-phase impulse response equalization can improve magnitude\; phase response\, but conventional objectives such as mean-squared error (MSE) can favor solutions that introduce objectionable temporal artifacts\, including pre-echo\; extended post-echo ringing. This paper proposes a Spatial Equalization Quality Measure (SEQM) to select a mixed-phase equalization filter that better controls these artifacts while remaining computationally simple\; applicable across multiple listening positions. SEQM combines (i) a temporal-domain metric that penalizes energy preceding the main pulse of an impulse response\; energy persisting after it\, while also accounting for the decay rate of the post-response tail\, with (ii) a spatial aggregation rule that summarizes quality across measurement positions. We use SEQM to select the modeling delay for mixed-phase finite-impulse-response (FIR) equalization\; to compare mixed-phase FIR designs with minimum-phase FIR\; IIR alternatives under a common multi-position measurement framework. Experiments using semi-anechoic measurements across 34 spatial positions for two loudspeakers show that SEQM consistently selects substantially shorter delays than MSE-based selection\; yields impulse responses with reduced pre-echo\; faster post-response decay\, while maintaining comparable frequency-response equalization. These results suggest that SEQM is a practical objective tool for designing multi-position mixed-phase equalization filters.
CATEGORIES:AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:7ddcc65081d7134b0e7cb29a26a01ce5
URL:http://aeseurope2026.sched.com/event/7ddcc65081d7134b0e7cb29a26a01ce5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T103000Z
DTEND:20260529T110000Z
SUMMARY:Perceptual Evaluation of the Open Binaural Renderer
DESCRIPTION:This paper presents the perceptual evaluation of the Open Binaural Renderer (OBR)\, an open-source librarydeveloped for headphone-based rendering of Immersive Audio Model and Formats (IAMF) content. The evaluationfollowed an iterative framework in which findings from a pilot listening study informed the tuning of renderingprofiles\, and the resulting renderer was benchmarked against established proprietary solutions. In the pilot study\,19 expert listeners rated the Overall Listening Experience (OLE) of the initial prototype (OBRv1) and five externalrenderers across diverse audio content. Qualitative feedback was analysed using inductive coding to identify salientperceptual dimensions. The pilot revealed content-dependent performance and showed that a single default profilewas inadequate\, yielding mixed responses in both the numerical scale and in the qualitative feedback and motivatingthe development of multiple rendering profiles in OBRv2. The main study evaluated two OBRv2 profiles targetingdifferent reverberation characteristics (Direct and Ambient) alongside three top-performing external renderers. Atotal of 39 participants\, divided into expert and non-expert groups\, rated five perceptual attributes: Voice Quality\,Envelopment\, Externalisation\, Overall Listening Experience\, and Timbral Balance. Mixed-design ANOVA revealedsignificant main effects of renderer condition on all attributes. Pairwise comparisons showed that OBRv2\,Ambientachieved significantly higher OLE ratings than one proprietary renderer and reached statistical parity with theremaining two\, representing a measurable improvement over the prototype. A trade-off between Voice Qualityand Externalisation was observed\, driven by the level of reverberation in each renderer. The results demonstratethat iterative\, perceptually informed tuning can yield competitive binaural rendering quality in an open-sourceframework.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:318773282254ef9c6c3318629a3e0476
URL:http://aeseurope2026.sched.com/event/318773282254ef9c6c3318629a3e0476
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T103000Z
DTEND:20260529T110000Z
SUMMARY:Evaluation of Objective Speech Intelligibility Metrics for Hearing-Aid Users in Multi-Talker Spatial Environments
DESCRIPTION:Despite the growing number of hearing-impaired workers wearing hearing-aids in occupational settings\, understanding speech in multi-talker situations remains challenging. This difficulty is particularly pronounced in open-plan offices\, where simultaneous talkers\; room reverberation are prone to degrade speech intelligibility. While spatial cues are essential for segregating target speech from competing sources\, hearing-aids signal processing may alter binaural information that supports spatial hearing. Accurate evaluation of hearing-aids performance is therefore crucial. Objective speech intelligibility metrics offer an efficient alternative to time-consuming listening tests\; however\, their validity in complex spatial scenarios involving hearing-impaired listeners remains unclear. Monaural metrics such as HASPI account for individual hearing loss but neglect spatial information\, whereas binaural metrics such as MBSTOI incorporate spatial cues but are primarily designed for normal-hearing listeners. This study evaluates the ability of existing objective metrics to predict speech intelligibility for hearing-aid users in multi-talker spatial environments. Listening tests are conducted on 20 hearing-impaired participants fitted with binaural hearing-aids. Four types of multi-talker auditory scenes representative of open-plan offices are reproduced using a loudspeaker array. They involve a target speech\, combined with diffuse noise\; a localized competing speech source. Objective measurements are performed using an acoustic mannequin fitted with the participants’ hearing-aids. HASPI\; MBSTOI values are computed from the binaural signals recorded at the eardrums\; incorporating individual hearing losses. Objective predictions are compared with subjective intelligibility scores\,\; an ablation analysis is conducted to distinguish the effects of hearing loss modeling from those of binaural processing.
CATEGORIES:PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:d8313c2667db353ef95e6c3d88d4d87b
URL:http://aeseurope2026.sched.com/event/d8313c2667db353ef95e6c3d88d4d87b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Geometry Sensitivity in Low-Count Virtual Microphone Arrays: From Tetrahedral Baselines to Stochastic Spherical Layouts
DESCRIPTION:Virtual Microphone Array techniques are being investigated by the authors to support room acoustics optimisation in live sound environments. In our recent AES paper\, “Room Acoustics Optimisation Using Virtual Microphone Arrays”\, a notable outcome was that a compact four-microphone tetrahedral array performed strongly relative to its low sensor count. Recent virtual sensing\; Remote Microphone Technique research treats microphone placement as an explicit design variable. It reports improved remote estimation performance when microphone layouts are deliberately chosen for the task\, rather than adopted as fixed\, standard configurations. This submission builds on our prior VMA work by focusing on the four-microphone case\, where geometry choices are especially constrained. We compare a tetrahedral baseline with an ensemble of stochastically generated spherical layouts at the same array aperture using Monte Carlo simulation. We apply a consistent evaluation protocol across multiple listening-region offsets\; standard beamforming estimators to isolate variability due to geometry alone. The central proposition is that\, for low-count VMAs\, geometry is a first-order design parameter. Tetrahedral remains a credible baseline\, but lightweight stochastic exploration can reveal alternative layouts that are competitive\;\, in some cases\, superior without increasing channel count.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, AUDIO PROCESSING
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:5b12e484d332d0bb14fc208ee957bab6
URL:http://aeseurope2026.sched.com/event/5b12e484d332d0bb14fc208ee957bab6
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Clustered Virtual Microphone Arrays for Listener-Level Monitoring; Room-Correction in Live Sound
DESCRIPTION:This paper introduces clustered virtual microphone arrays\n as a step toward improving listener-level virtual\n microphone estimation for live sound. Multiple compact\n microphone sub-arrays are placed around a nominal overhead\n position. Each sub-array produces a virtual microphone\n estimate\,\; the estimates are fused. The aim is to attack\n the estimation problem from multiple viewpoints\; reduce\n sensitivity to any one array placement or geometry.\n The work builds on our earlier paper\, “Room Acoustics\n Optimisation Using Virtual Microphone Arrays”. That paper\n proposed virtual microphones estimated from an overhead\n array as a measurement layer for live sound optimisation.\n It also highlighted a key limitation: in its initial form\,\n virtual microphone estimation quality was not yet strong\n enough for reliable use across positions. The present paper\n targets that limitation. We outline the clustered array\n idea\; treat cluster count\; inter-cluster spacing as\n design parameters. Virtual microphones are estimated using\n beamforming\; combined using simple fusion. Performance\n is assessed with objective signal measures\, including SNR\n\; frequency-\; phase-related error measures\, across\n multiple listener-level target positions. The results\n support further refinement under more realistic room\n conditions\; further study of the link between improved\n estimation quality\; FIR-based correction outcomes.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,AUDIO PROCESSING\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:255e8ffd379f205f5803f997d2b09d17
URL:http://aeseurope2026.sched.com/event/255e8ffd379f205f5803f997d2b09d17
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:A Time–Frequency Integrated Framework for Frequency-Invariant Beamforming in Loudspeaker Arrays
DESCRIPTION:Loudspeaker array beamforming technology has been widely used\; however\, current frequency-domain\; time-domain design methods for calculating FIR filters face challenges\, including the need for modeling delay\; high computational complexity. To address these issues\, this paper proposes a time–frequency integrated framework. This framework supports both pressure matching\; amplitude matching methods\, enabling not only the realization of traditional superdirective beams but also the design of frequency-invariant beams. For the nonlinear optimization problem in amplitude matching\, an efficient solving algorithm based on the Alternating Direction Method of Multipliers (ADMM) is introduced. Experimental results demonstrate that the proposed method combines the advantages of existing frequency-domain\; time-domain approaches\, directly computing FIR filter coefficients without delay modeling while maintaining high computational efficiency. This provides an effective solution for beam control in loudspeaker arrays.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, AUDIO PROCESSING
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ad4c82eb250459805d1b3cb0219c359d
URL:http://aeseurope2026.sched.com/event/ad4c82eb250459805d1b3cb0219c359d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:The Impact of Frequency Gradient on Nonlinear Pulse Distribution in the Farina Technique
DESCRIPTION:The Exponential Sine Sweep (ESS) technique\, popularized by Angelo Farina\, has become a cornerstone of modern electroacoustic measurement due to its unique capability to simultaneously extract a system’s linear impulse response\; its individual harmonic distortion components. Standard implementation of this method almost exclusively utilizes a low-to-high (upward) exponential sine sweep. However\, during a technical Q&A session at the AES Europe 2025 Convention in Warsaw\, a question was raised: what are the practical consequences of reversing the sweep direction? This inquiry is particularly relevant given that several industry-standard measurement platforms often employ high-to-low (downward) sweeps to optimize the mechanical\; thermal stability of the device under test (DUT) while performing stepped or swept sinusoidal analysis. This paper provides an investigation into the temporal behavior of nonlinearities when the frequency gradient of an exponential sweep is inverted. Through formal mathematical derivation\; numerical simulations the study proves that while the spacing between distortion orders remains identical in magnitude\, the polarity\; time distribution of these impulses is reversed. Specifically\, we demonstrate that in a downward sweep\, the distortion products shift from the "pre-causal" negative time region to the "post-causal" positive time region. This shift causes harmonic distortion pulses to emerge within the reverberant tail of the impulse response\, leading to significant contamination of decay measurements\; energy-time curves. By contrasting the "tracking filter" paradigm with "time-domain deconvolution\," this work clarifies why sweep direction is a critical parameter that must be aligned with the specific goals of the measurement protocol.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:4f74d1e11d34fc625973fe0af1c4bd9b
URL:http://aeseurope2026.sched.com/event/4f74d1e11d34fc625973fe0af1c4bd9b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Real-Time Heart Rate Sonification Using Spectral Filtering of Preferred Music for Running Training
DESCRIPTION:The purpose of this study was to evaluate a sonification system that maps live heart rate data to real-time spectral filtering of a runner's preferred music. Assessed using a within-subjects design (n = 13)\, the system employs high-pass\; low-pass filters to indicate deviations from target heart rate zones\, providing instantaneous biofeedback without requiring visual attention. Quantitative analysis revealed no statistically significant differences in target zone accuracy or response time between auditory\, visual\,\; combined conditions. However\, qualitative thematic analysis identified a clear division in user preference. Participants favouring the auditory condition demonstrated faster mean response times to audio biofeedback. Findings suggest that while sonification promotes environmental focus\; "gamifies" training\, its efficacy is highly dependent on individual processing styles\; music familiarity.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION\, SOUND DESIGN
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f6f4a8dafc9844ef92fb8c46ab775c6f
URL:http://aeseurope2026.sched.com/event/f6f4a8dafc9844ef92fb8c46ab775c6f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:A Psychoacoustic Framework for In-Vehicle Audio-Light Mapping
DESCRIPTION:This paper proposes a psychoacoustic-based audio-visual mapping framework for intelligent vehicle cabins to enhance immersion\; stabilize spatial auditory perception. By establishing mappings between auditory descriptors—such as Direction of Arrival (DOA)\, spectral centroid\,\; temporal envelope—and ambient lighting parameters\, the framework leverages "ambient vision" to augment the perceptual experience without increasing the driver's cognitive load. Theoretical analysis based on Stevens’ Power Law indicates that the proposed mapping strategies effectively synchronize audio-visual intensities\; mitigate perceptual fatigue\, providing a conceptual reference for future multisensory HMI design.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:04106f269b64be55f162ddb67c241cf1
URL:http://aeseurope2026.sched.com/event/04106f269b64be55f162ddb67c241cf1
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T113000Z
SUMMARY:Systematization of Multiplier-less Convolution for 1-bit Audio Signal
DESCRIPTION:High-speed 1-bit signals generated by oversampling are widely used in audio applications as they allow simple demodulation via low-pass filtering while preserving in-band spectral characteristics with high accuracy. However\, conventional FIR filtering of such signals generally requires conversion to a multi-bit representation at a common sampling frequency\, which increases computational cost\; complicates the overall processing flow. This paper addresses the convolution of high-speed 1-bit audio signals with multi-bit FIR impulse responses\; presents a systematic formulation of a multiplier-less convolution approach. Based on a mathematical reinterpretation of convolution\, the proposed formulation describes how time shifting\; amplitude weighting can be expressed through structured rearranging of 1-bit samples without arithmetic operations. This provides a theoretical description of previously reported 1-bit convolution methods\; however\, its validity has not been fully formalized. We examine the spectral characteristics of the proposed convolution method\; compare them with those obtained by multi-bit convolution followed by ΔΣ modulation. Experiments are conducted by convolving 1-bit input signals with FIR filters having multi-band frequency responses. Spectral analysis shows that the proposed method achieves extremely high agreement with the standard approach within the audible band while the differences appear primarily at much higher frequencies outside the audible range. These results demonstrate that convolution of high-speed 1-bit audio signals can be achieved without multipliers\, suggesting the potential for highly efficient hardware-oriented signal processing architectures.
CATEGORIES:AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e10df09c698dcefc5f5da3765dcbf3a0
URL:http://aeseurope2026.sched.com/event/e10df09c698dcefc5f5da3765dcbf3a0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T113000Z
SUMMARY:Gaussian Splatting-Based Head; Pinna Reconstruction for Individualized HRTF Computation from Commodity Multi-View Images
DESCRIPTION:Individualized head-related transfer functions (HRTFs) require accurate pinna geometry\, yet commodity multi-view captures leave the ear region self-occluded\; weakly textured. We present a practical pipeline that couples ear-centric acquisition with 3D Gaussian splatting (3DGS)\; the boundary element method (BEM) for complete HRTF computation. The protocol augments horizontal views with per-ear elevated captures under directional lighting\; 3DGS training with depth-distortion regularization yields watertight meshes via truncated signed distance function (TSDF) fusion. Standardized head coordinates\; ear-canal annotations interface the mesh with BEM. Experimental evaluations demonstrate that our method achieves lower ear-region geometric error\; lower full-band spectral distortion compared to existing image-based personalized reconstruction baselines including AudioEar\, NeuS\,\; Metashape MVS.
CATEGORIES:IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2e07b5022be580f71645827026827900
URL:http://aeseurope2026.sched.com/event/2e07b5022be580f71645827026827900
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T113000Z
SUMMARY:Assessing Situational Awareness of Hearing-Impaired People Through their Perception of Non-Speech Sound Events: a Literature Review
DESCRIPTION:Situational awareness is a multisensory ability that enables individuals to perceive\; appropriately take into account their immediate environment. This perception of the world through our senses is carried out continuously\; unconsciously throughout the day. When auditory perception is degraded\, an individual may no longer correctly perceive a doorbell\, a water leak\, or an alarm signal\, which negatively affects quality of life\; may lead to dangerous situations. Auditory perception can in particular be degraded by hearing loss\, a common\; widespread condition. The most common treatment consists of wearing hearing aids\, which are mainly designed to improve speech intelligibility\, especially in noisy environments. Feedback from hearing-impaired people\; hearing-aid users indicates that\, although auditory situational awareness has been recognised as an essential component of well-being\, it remains insufficiently studied\; requires further investigation. There is currently no standard method for assessing to which extent one's situational awareness is affected by hearing impairment\; the use of hearing aids. This is a complex process that requires assessing the perception of relevant sound events within a continuous stream of multisensorial information\, by individuals who have different subjective preferences. Most existing methods are limited to evaluating only a subset of the problem\, such as identification\; localisation of non-speech sound events. The rise of new technologies\, such as virtual reality\, enables the development of assessment methods within more realistic yet controlled environments. This study aims to review existing methods in order to highlight their limitations in addressing the issue at hand.
CATEGORIES:PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2560655896a360befc5d21196f526d09
URL:http://aeseurope2026.sched.com/event/2560655896a360befc5d21196f526d09
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Poster Session 3
DESCRIPTION:-&nbsp\;Geometry Sensitivity in Low-Count Virtual Microphone Arrays: From Tetrahedral Baselines to Stochastic Spherical Layouts\n\n\n-&nbsp\;A Time–Frequency Integrated Framework for Frequency-Invariant Beamforming in Loudspeaker Arrays\n\n\n-&nbsp\;The Impact of Frequency Gradient on Nonlinear Pulse Distribution in the Farina Technique\n\n\n-&nbsp\;Real-Time Heart Rate Sonification Using Spectral Filtering of Preferred Music for Running Training\n\n\n-&nbsp\;A Psychoacoustic Framework for In-Vehicle Audio-Light Mapping\n\n\n-&nbsp\;Sound field creation with a cube-like loudspeaker array designed using Lamé function based on virtual sound source distribution\n\n\n-&nbsp\;Spatial Sound Field Reproduction Systems for Cabin Noise in Rail Vehicles: Performance Evaluation Based on Sound Quality Indices\n\n-&nbsp\;Clustered Virtual Microphone Arrays for Listener-Level Monitoring\; Room-Correction in Live Sound\n\n\n
CATEGORIES:POSTER SESSIONS
LOCATION:Foyer Building 303A Posters\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:dc6010fb09a7cef95bae42a60de43ac6
URL:http://aeseurope2026.sched.com/event/dc6010fb09a7cef95bae42a60de43ac6
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Sound field creation with a cube-like loudspeaker array designed using Lamé function based on virtual sound source distribution
DESCRIPTION:The diversification of audio content production has\n increased the demand for realistic\, immersive sound field\n reproduction. Conventional methods struggle to separate\n direct\; reflected sounds\, limiting accuracy. To address\n this issue\, this study proposes a method for sound field\n reproduction that identifies the arrival directions of\n reflected sounds based on the virtual sound source\n distribution. In this study\, the virtual sound source\n distribution was calculated by using closely located four\n point microphone method. Assuming that spherical waves\n emitted from distant virtual sound sources arrive as plane\n waves within the listening area\, the target sound field is\n generated through plane wave synthesis\, enabling more\n accurate\; flexible sound field generation. Furthermore\,\n considering practical systems\; typical room shapes\, we\n investigated the reproducibility of plane wave sound fields\n using not only spherical array\, but also cube-like\n loudspeaker array configured by the Lamé function\, which\n allows continuous geometric transformation from a sphere to\n a cube-like form. In this study\, the ideal plane wave sound\n field derived from the wave equation was regarded as the\n reference\,\; the sound fields generated by the\n loudspeaker arrays were evaluated\; compared using mean\n square error (MSE). Furthermore\, the evaluation was\n extended beyond a single time instant\, enabling assessment\n that also accounts for temporal variations. The results\n indicated that changing the order of the Lamé function\n maintained the desired level of reproducibility.\n Consequently\, it was confirmed that cube-like loudspeaker\n arrays can achieve a level of reproducibility equivalent to\n that of the spherical array.
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:440ddce27430329f0a07e3a150b34021
URL:http://aeseurope2026.sched.com/event/440ddce27430329f0a07e3a150b34021
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T110000Z
DTEND:20260529T130000Z
SUMMARY:Spatial Sound Field Reproduction Systems for Cabin Noise in Rail Vehicles: Performance Evaluation Based on Sound Quality Indices
DESCRIPTION:Innovative railway vehicle systems such as high-speed rail\, maglev\,\; emerging transportation concepts are expected to reduce conventional noise sources related to wheel–rail\; aerodynamic interactions. As these changes alter the acoustic characteristics inside railway cabins\, reliable laboratory reproduction of interior noise becomes increasingly important for evaluating passenger acoustic comfort\; guiding sound design during vehicle development. Innovative railway vehicle systems such as high-speed rail\, maglev\,\; emerging transportation concepts are expected to reduce conventional noise sources related to wheel–rail\; aerodynamic interactions. As these changes alter the acoustic characteristics inside railway cabins\, reliable laboratory reproduction of interior noise becomes increasingly important for evaluating passenger acoustic comfort\; guiding sound design during vehicle development. The study focuses on practical methods for assessing reproduction accuracy. Conventional validation of reproduced sound fields typically relies on sound pressure level\; spectral matching\; however\, these metrics alone may not fully reflect perceptually relevant differences between in-situ\; reproduced environments. In this work\, sound quality indices are employed as complementary evaluation metrics to examine whether reproduced sound fields maintain perceptually meaningful characteristics of the original cabin noise. Comparisons between in-situ recordings\; reproduced sound fields were conducted in terms of overall sound pressure level\, frequency characteristics\,\; selected sound quality indices. In addition\, the influence of loudspeaker number\; spatial configuration on reproduction performance was examined. The results show that sound quality–based evaluation provides useful additional information for assessing perceptual fidelity\; for optimizing spatial sound reproduction systems for railway cabin noise. The proposed reproduction platform supports laboratory-based assessment of interior railway noise\; provides a practical framework for perceptually informed acoustic evaluation\; noise control during the design of next-generation railway vehicles.
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b58049ce38bde3f33842be7f79bd1a78
URL:http://aeseurope2026.sched.com/event/b58049ce38bde3f33842be7f79bd1a78
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T113000Z
DTEND:20260529T123000Z
SUMMARY:Richard King: 3D Masterclass
DESCRIPTION:Richard is a multiple Grammy Award–winning recording engineer and a specialist in acoustic music recording. His work is focused primarily on classical\, jazz\, and film score music. A selection of his immersive recordings will be presented\, accompanied by a discussion of the microphone configurations and mixing decisions employed in each example. 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.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:964a71ddcb9bccedd53d725600eb5d30
URL:http://aeseurope2026.sched.com/event/964a71ddcb9bccedd53d725600eb5d30
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T113000Z
DTEND:20260529T120000Z
SUMMARY:Transient Evoked Otoacoustic Emissions; Self Reported Sound Exposure
DESCRIPTION:Headphone listening has become an integral part of everyday\n life\, spanning music consumption\, communication\, online\n media\,\; increasingly\, computer gaming. These diverse\n listening contexts make individual sound exposure highly\n variable\; difficult to quantify. While music listening\n\; occupational headphone use have been widely studied\,\n sound exposure from gaming remains comparatively\n undocumented. This study investigated the relationship\n between self‑reported exposure through headphones\;\n cochlear function assessed using transient evoked\n otoacoustic emissions (TEOAE). Forty‑one university\n students completed a detailed questionnaire on listening\n habits\,\; TEOAEs were recorded in both ears across five\n half‑octave frequency bands. Estimated weekly exposure\n levels were derived from participants’ reported durations\n\; contexts of use. TEOAE amplitude\, signal‑to‑noise ratio\n (SNR)\,\; reproducibility showed clear frequency‑dependent\n patterns\; small ear asymmetries\, consistent with typical\n OAE behaviour. Only limited associations were found between\n self‑reported exposure\; TEOAE measures\, with significant\n effects emerging primarily for SNR\; reproducibility in\n the highest‑exposure group. No consistent differences were\n observed between long‑term gamers\; non‑gamers. These\n findings suggest that self‑reported exposure alone may be\n insufficient to detect subtle cochlear changes in young\n adults\,\; underscore the need for more precise\n exposure‑monitoring methods when evaluating recreational\n sound exposure risks.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,PERCEPTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:45327d7536e6158074d2ee858b9c15be
URL:http://aeseurope2026.sched.com/event/45327d7536e6158074d2ee858b9c15be
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T113000Z
DTEND:20260529T120000Z
SUMMARY:An Extended Multichannel Frequency-Domain FxLMS Algorithm for Real-Time Full-Band Adaptive Transaural Reproduction
DESCRIPTION:This paper presents a multichannel adaptive filtering algorithm for real-time full-band adaptive transaural reproduction on general-purpose hardware. It is based on a multichannel frequency-domain FxLMS algorithm using an overlap-save framework for both filtering\; adaptation\,\; is extended with (i) online plant identification for fully adaptive operation\, (ii) frequency-dependent normalization for faster convergence\,\; (iii) frequency-dependent regularization to stabilize adaptation. The proposed algorithm is implemented in C language on a standard desktop PC\; evaluated on a 4x2 transaural configuration running in real time at 48 kHz with 2048-tap control filters. Two evaluation tests are conducted. The first test consists of reproducing two uncorrelated white-noise signals at the ears of a manikin using crosstalk cancellation as the performance metric. An average crosstalk cancellation of 32 dB over 100 Hz–20 kHz is demonstrated. The second experiment considers binaural signal reproduction as a more realistic use case of the algorithm. In both cases\, performance is assessed for both a static listener\; a moving listener scenario\, demonstrating the algorithm’s ability to rapidly re-adapt.
CATEGORIES:AUDIO PROCESSING\, IMMERSIVE AUDIO
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f3bb46084a3dfb20cc9f21a969b66aaf
URL:http://aeseurope2026.sched.com/event/f3bb46084a3dfb20cc9f21a969b66aaf
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T113000Z
DTEND:20260529T120000Z
SUMMARY:A Perceptual Evaluation Method for Binaural Rendering Algorithms via Minimum Audible Angle Measurements
DESCRIPTION:Binaural rendering is typically assessed via timbre\; localization accuracy\, while its intrinsic spatial resolution remains rarely quantified. This paper proposes a perceptual evaluation method based on Minimum Audible Angle (MAA) measurements to estimate the azimuthal just-noticeable difference (JND) introduced by binaural rendering algorithms. We systematically compared several rendering algorithms across eight reference azimuths using two participant-allocation paradigms. The results show that spatial resolution is significantly influenced by Ambisonic order\; choice of the rendering alrorithm\, with MAA thresholds systematically decreasing as the truncation order increases. Furthermore\, the propsed method successfully captures physiological spatial characteristics\; identifies resolution limits imposed by reference angles. While both participant-allocation paradigms yield consistent qualitative trends\, the repeated-measures design provides superior data stability. These findings demonstrate that the proposed MAA-based method is an effective tool for quantifying the spatial resolution of binaural rendering algorithms.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:5b0dc8fda53ed4c43e64702beb7d2e96
URL:http://aeseurope2026.sched.com/event/5b0dc8fda53ed4c43e64702beb7d2e96
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T113000Z
DTEND:20260529T130000Z
SUMMARY:Education & Career Fair
DESCRIPTION:The only education and career fair focused entirely on\n degree and certificate programs in audio around the world.\n Come meet professors\, students\, and college admissions\n representatives\, and discover how to advance your career as\n an audio professional!\n \n For institutions wishing to participate in the 2026 AES\n European Convention Education and Career Fair\, please sign\n up here:
CATEGORIES:STUDENT EVENTS
LOCATION:Aud 49\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c89c8340f7efb0ee4d99ef8a0431f3ca
URL:http://aeseurope2026.sched.com/event/c89c8340f7efb0ee4d99ef8a0431f3ca
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T120000Z
DTEND:20260529T123000Z
SUMMARY:Real-Time Implementation of Personal Sound Zones Using Partitioned Convolution in Purr Data
DESCRIPTION:Personal sound zones aim to reproduce distinct audio contents in separate spatial regions using loudspeaker arrays\, while minimizing acoustic interference between zones. Although well established theoretically\, their real-time implementation remains challenging due to the long impulse responses involved\; the latency constraints of audio processing systems. This work presents a real-time implementation of personal sound zones based on the pressure matching method in a static context\, i.e. transfer functions between the loudspeakers\; the zones are assumed to remain constant. Sound zone filters are computed in the frequency domain from experimentally measured impulse responses between an array of 18 loudspeakers\; two microphone arrays of 9 microphones defining a bright zone\; a dark zone. The system performance is then evaluated in terms of acoustic contrast\, reproduction error\,\; effective frequency range. To meet real-time constraints\, a fast partitioned convolution algorithm has been used\, namely the Uniformly-Partitioned Overlap Save (UPOLS). This methods has been implemented in C++ as an external block for the Purr Data real-time audio environment. Experimental results\, obtained in a semi-anechoic environment\, demonstrate that it enables stable real-time multichannel convolution with negligible numerical error compared to offline convolution. The proposed system results in a functional real-time sound zones demonstrator\, suitable for experimental\; interactive spatial audio applications. The codes are shared in a GitHub repository so that the scientific community can benefit from them.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e87ce43542db08a07af47715f292fc68
URL:http://aeseurope2026.sched.com/event/e87ce43542db08a07af47715f292fc68
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T120000Z
DTEND:20260529T130000Z
SUMMARY:Audio Design Roundtable
DESCRIPTION:Join us for a panel discussion about audio design featuring some of the industry’s leading audio designers and educators. This session is meant to inspire upcoming designers and encourage dialogue with established audio designers.\n&nbsp\;\nThe panelists will give a brief overview of their designs\, their roles in the AES\, and how and why educators and students should participate in the various design competitions that the AES has to offer. The panel discussion is followed by a Q&A session that allows for questions and exchange with the panelists.\n\n
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,AUDIO PROCESSING\,CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:45fd7d011f515e5db4bb8ced637210f1
URL:http://aeseurope2026.sched.com/event/45fd7d011f515e5db4bb8ced637210f1
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T120000Z
DTEND:20260529T123000Z
SUMMARY:Toward an improved auditory model for predicting binaural coloration
DESCRIPTION:The evaluation of audio quality is important in the development of immersive audio algorithms\; reproduction systems\,\; binaural models are often used for this as a quick alternative to listening tests. Coloration (i.e.\, perceived loudness differences integrated across ears\; frequency) is one key quality aspect\; however\, the majority of models used to predict coloration are often oversimplified or are missing a dedicated binaural stage to consider the relative contribution of the left\; right ear signals. A binaural coloration model is presented that builds upon previous work\; tests three different approaches for its binaural stage. The proposed model is evaluated in comparison with nine models that are frequently used to predict coloration by using data from five listening tests totaling 252 stimuli with various audio contents\; source positions. The proposed model performed best with 85% of explained variance\, followed by predictions based on ISO 532-1 loudness\, yielding 78% explained variance. The commonly used log-spectral distance performed worst\, with only 44% explained variance. The three tested binaural stages had little influence on the performance of the proposed model. The model is made freely available to download.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:5a8eddfb4f3063a648c2b43e0cfb5824
URL:http://aeseurope2026.sched.com/event/5a8eddfb4f3063a648c2b43e0cfb5824
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T123000Z
DTEND:20260529T130000Z
SUMMARY:Exploring Rendering Variability in Next-Generation Audio Reproduction
DESCRIPTION:This study evaluates three Next-Generation Audio (NGA) rendering systems through listening tests using real-life audio content. The testing paradigm prioritized subjective preference over adherence to a ground-truth reference. Participants assessed perceptual spatial audio attributes in both 5.1\; 7.1.4 loudspeaker setups. The findings suggest that strict adherence to the rendering algorithm used during content creation is not mandatory in terms of listener preference. While not advocating disregarding artistic intent without consideration\, this study proposes that such flexibility in reproduction can be an acceptable compromise.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:580e03a0a832887904d48713cd93dc6b
URL:http://aeseurope2026.sched.com/event/580e03a0a832887904d48713cd93dc6b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T123000Z
DTEND:20260529T130000Z
SUMMARY:Immersive Underwater Audio Capture Using a Wideband Spatial Hydrophone Array
DESCRIPTION:Immersive audio continues to expand beyond traditional\n studio\; terrestrial field-recording environments\, yet\n underwater soundscapes—particularly those involving marine\n mammals—remain largely documented in mono or stereo\n formats. This paper presents a practical\; low-cost\n approach for capturing immersive underwater audio using a\n newly developed wideband hydrophone\; a multichannel\n array optimized for marine environments. The hydrophones\,\n designed by the author\, feature a low noise floor\, extended\n frequency response exceeding 100 kHz\,\; direct\n compatibility with standard P48 phantom-powered audio\n recorders\, enabling deployment without specialized\n underwater preamplifiers or power systems.\n \n To translate established immersive recording techniques\n into the ocean environment\, an array architecture was\n developed based on a compact eight-element cube geometry.\n Two array variants were constructed to account for the\n significantly higher speed of sound in water compared to\n air\, allowing the spatial characteristics of underwater\n sources to be captured with appropriate inter-element\n spacing. Field recordings were conducted off the coast of\n Hawaii in January during the peak season for humpback whale\n song. Recordings were made at multiple depths\; positions\n to explore variations in reverberation\, propagation\,\;\n ambient biological activity.\n \n Preliminary results indicate that the system captures\n detailed spatial cues from humpback whale vocalizations\n while simultaneously preserving the rich ambient marine\n soundscape. The extended ultrasonic response further allows\n slowed or pitch-shifted playback to reveal fine temporal\n structures not typically audible. This work demonstrates a\n feasible method for immersive underwater recording\;\n provides a foundation for both scientific research\;\n creative content production.
CATEGORIES:AUDIO EQUIPMENT\, IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ddee28949ff49f8a91d6b76b0251fd0b
URL:http://aeseurope2026.sched.com/event/ddee28949ff49f8a91d6b76b0251fd0b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T123000Z
DTEND:20260529T140000Z
SUMMARY:Transport to Copenhagen City Hall from 2:30pm - LAST BUS departs at 3:00pm !!!!
DESCRIPTION:If you registered for the Official Reception at Copenhagen City Hall&nbsp\;(during registration for the Convention) then busses will take you to the City Hall in the City Center off Copenhagen.\n\nThe LAST Bus will leave at 3.00pm - EXACTLY!!!\n\nThe busses will start to board at 2:30pm and the first bus will leave at 2:40pm - so if you are ready - please come and start boarding the busses from 2:30pm !\n\n\nThere will be no possibility to go to City Hall AFTER 3.00pm !!!!\n\n\n3.00pm will be the very LAST Bus to City Hall !
CATEGORIES:SPECIAL EVENTS
LOCATION:External to the Convention Venue\, Just outside building 302
SEQUENCE:0
UID:4f23d77c19dba94a6b67bf5b6758c6f4
URL:http://aeseurope2026.sched.com/event/4f23d77c19dba94a6b67bf5b6758c6f4
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T130000Z
DTEND:20260529T140000Z
SUMMARY:TC-CAS : AES Technical Committee on "CODING OF AUDIO SIGNALS"
DESCRIPTION:AES Technical Committee on "CODING OF AUDIO SIGNALS"\n\n\n\nThe AES Technical Committees (TC) lead the Society's involvement in science and technology\, and are a hub of networking\, knowledge and expertise. Each TC specializes in a specific area of audio\, and helps forge links between each of these areas and the society as a whole. &nbsp\;Connect and engage!
CATEGORIES:AES TECHNICAL COMMITTEE MEETINGS
LOCATION:Aud 93\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a20c248b27e3cfb0c821ce106b048872
URL:http://aeseurope2026.sched.com/event/a20c248b27e3cfb0c821ce106b048872
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T130000Z
DTEND:20260529T140000Z
SUMMARY:'Nexus Sonance - Real-Time Cosmic Decay' - A real-time spatial sonification of satellite space weather and geomagnetic data using machine learning for generative soundscape synthesis
DESCRIPTION:‘Nexus Sonance’ is a unique sonic space that is dependent on time\, place\, and the people interacting with the installation. At its core\, the concept is a sonic portal where the Cosmos\, Earth\, and Humans are unified through sound in a single location. For this iteration of this project\, we decided to focus on real-time satellite data sonification and put it as the core concept as our network makes it possible to collaborate with ESA (European Space Agency) therefore by sonifying real-time satellite data\, we create an evolving spatial environment where cosmic events are felt and heard in the present moment. This installation applies innovative machine-learning based synthesis techniques with immersive spatial audio to embody the experience of these unstoppable physical forces\, harnessing real-time satellite and geomagnetic data provided by the European Space Agency (ESA)\, by simulating neural network model corruption via cosmic radiation following real-time patterns transmitted by the L1 satellite cluster. While the cosmos is traditionally conceptualized through heavily processed and "colorized" visual imagery\, this installation shifts the lens to a sonic perspective. Here\, the positioning and synthesis of sound are governed by live-data streams from orbital satellites and global geomagnetic stations\, creating an immersive environment where the listener experiences a unique\, time-bound sonic representation of our solar system. As our lives are increasingly dependent on machine learning and neural networks whose fundamentals are based on binary forms of data\, introducing the concept of cosmic radiation and data corruption (based on a Single Event Upset phenomenon) throughout the duration of the work references the idea of Entropy as ever changing and expanding state. Using an ESA-provided data from satellites that measure specific states of solar weather\, namely the Interplanetary Magnetic Field (IMF) measurements including such variables as Bt (the total induction of the IMF) which are assigned to parameters such as intensity\, saturation and amount of the created sonic particles. Other variables include Bx\, By\, Bz that compose a 3D magnetic force field measurements are translatable to positioning\, velocity of travel\, and direction of travel. In case ESA could not provide such data\, a backup plan is to use publicly available data from https://norlys.live/rtsw. Furthermore\, with data from L1 ESA-operated satellites\, the readings regarding cosmic radiation flux in space could be used to train a model predicting the Single Event Upsets (SEU) and simulate events that impacts the way that RAVE (Ircam) outputs audio. This creates a metaphorical and literal decay of the machine-learning output\, mirroring the impact of radiation on digital infrastructure The earth and human layers that sit as a canvas background\, are a pre-sculpted soundscapes in combination with RAVEs generative output that is trained on a private collection of earth recordings (using geophones) and spatial audio recordings of Georgian Polyphonic Choir “Adilei” which symbolises the earth and human element within the spatial-sonic setting. Furthermore\, using publicly available data on geomagnetic changes across the globe through an intermagnet.org website with a MagPy package\, we are able to influence the textural output of the RAVE where the changes are related to the positioning of the actual reading stations. This way achieving a multi-layered sonic representation of earth’s constantly changing geomagnetic field\, which in combination with real-time space weather sonification in spatial audio creates a complex and innovative spatial soundscape that is driven predominantly by real-time data\, meaning\, that every time the work is presented\, the outcome is unique\, depending on the circumstances under which it is played.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, CROSS-DISCIPLINARY SOUND STUDIES\, IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION\, SOUND DESIGN
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:05488b8f3102f6deb57ffb48a2bf200f
URL:http://aeseurope2026.sched.com/event/05488b8f3102f6deb57ffb48a2bf200f
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T140000Z
DTEND:20260529T153000Z
SUMMARY:Official Reception at Copenhagen City Hall including Technical Presentation (separate registration needed!)
DESCRIPTION:If you registered for the Official Reception at Copenhagen City Hall&nbsp\;(separate registration during registration for the Convention) then you can participate in this unique Official Reception at City Hall in Copenhagen.\n\nWe are pleased to invite AES Europe 2026 participants to a special reception at Copenhagen City Hall\, offering a warm and official welcome to Denmark’s capital. Located in the very heart of the city\, Copenhagen City Hall is one of the city’s most iconic landmarks. Designed by architect Martin Nyrop and inaugurated in 1905\, the building is inspired by the medieval town hall of Siena\, Italy. Its impressive interiors and renowned clock tower make it a fitting and memorable setting for this occasion.\nAt the reception\, guests will be welcomed by the City of Copenhagen and enjoy a relaxed afternoon of networking with fellow conference participants. Refreshments will be served alongside the city’s much-loved specialty\, the traditional Town Hall Pancake. We will hear a speech by an official person from the City Council followed by an interesting&nbsp\;technical talk&nbsp\;by&nbsp\;Lars Risbo\,&nbsp\;CTO of Purifi\, who will share a brilliant example of the danish contributions to the audio world:\n\nUnreasonable Audio Innovation\nThe HiFi community is split into two camps we call “subjectivist” and “objectivist”. Subjectivists reject all measurements and only trust their ears. No explanation is too absurd so long as it doesn’t involve actual data. One of our products once drew this comment from a reviewer: “sounds surprisingly good for something that measures this well”. Objectivists obsess over spot measurements and double-blinded trials. If they are to be believed\, almost nothing is audible. In spite of which they mindlessly seek to improve a handful of fixed metrics that too often are bad surrogate markers: “we’ve a recipe for this measurement\, so that’s what we measure\,” no matter the relevance to the end point of how it sounds. The human ear is amazing and complex: to some defects it is nearly deaf while to others it is mind-bendingly sensitive. Standard metrics do not cover that complexity. The two camps are so entrenched that neither is open to new ideas. This is even recognised in patent law: “technical prejudice” means you can prove an invention is not “obvious” because it goes against common but flawed beliefs. Shall we still depend on G. B. Shaw’s unreasonable man for making any progress or can we do better? To the subjectivist\, audio is art. To the objectivist\, it is science. We propose it is neither. Audio is engineering. Our task as engineers is building equipment and doing so in a rational manner. Doing a full blown DBT is only rational if the decision that’s at stake is an expensive one. It’s often cheaper and faster to fix a defect than to prove it’s audible. Standard measurements often miss glaring problems\, so measurements must be designed with the specifics of the DUT in mind. It’s only after looking hard for bad news and not finding it that we can have some confidence that the news is good. This subtlety of approach can’t be arrived at simply by compromising between the objectivist and subjectivist positions. The pendulum must stop because the truth isn’t even in the middle.&nbsp\;“The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore\, all progress depends on the unreasonable man.”&nbsp\;George Bernard Shaw\n\n\n
CATEGORIES:SPECIAL EVENTS
LOCATION:Copenhagen City Hall\, Rådhuspladsen 1\, 1553 København\, Danmark
SEQUENCE:0
UID:fcc08e3624a13fc8205e512c4d547a1b
URL:http://aeseurope2026.sched.com/event/fcc08e3624a13fc8205e512c4d547a1b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T160000Z
DTEND:20260529T190000Z
SUMMARY:Self Organized Dinners In City Center of Copenhagen
DESCRIPTION:Self-organised Dinners at Restaurant in the Heart of Copenhagen of self-organised transport to your Hotels.\n\nWe recommend that people find a group of interesting fellow participants during this reception and go for a dinner in one of the many restaurants around Copenhagen City Hall in the heart of Copenhagen (at your own expense).\n\n\n\n&nbsp\;
CATEGORIES:SPECIAL EVENTS
LOCATION:Copenhagen City Center\, Rådhuspladsen 1\, 1553 København\, Danmark
SEQUENCE:0
UID:d1f7bcc018163895bf92f639ec08f19a
URL:http://aeseurope2026.sched.com/event/d1f7bcc018163895bf92f639ec08f19a
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260529T173000Z
DTEND:20260529T213000Z
SUMMARY:Student Party - meet at "Christians Brygge 12\, 1221 Copenhagen" at 7.30pm
DESCRIPTION:AES Student Social/Party:\nStudents are invited to the AES Student Social/Party on Friday evening!\nIt’s a FREE scenic boat cruise to Reffen\, a bar\, street-food\, entertainment complex – where you can make new friends\, get drinks and food\, and check out the music the DJ spins. Some limited refreshments will be provided\, and there are multiple different bars and street food options there\, for you purchase more! For more information visit: www.reffen.dk (Street food is open until 21:30\, bars until 01:00.)\n\n\nThis event is made possible through the generous sponsorship of Genelec and Interfacio.\n\n\nYOUR AES Convention Student badge is your boat ticket&nbsp\;– don’t forget to bring it!\nMeet Friday\, 19:30\, at:Christians Brygge 12\, 1221 CopenhagenBoat departs at 20:00.\n\n\nWhen it’s time to return to the city\, walk 10-12 minutes to bus 2A\, and it’s about a 20 minute ride to the city center. Make sure you have the Rejsebillet app on your phone to buy a single or day bus ticket\, or exact cash fare for the bus driver. Bank cards are not accepted on the bus.\n\n
CATEGORIES:STUDENT EVENTS
LOCATION:Student Party\, Christians Brygge 12\, 1221 Copenhagen\, Danmark
SEQUENCE:0
UID:0f6c2d94828fe75ec6469a8b61149bee
URL:http://aeseurope2026.sched.com/event/0f6c2d94828fe75ec6469a8b61149bee
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T060000Z
DTEND:20260530T140000Z
SUMMARY:Attendee Registration
DESCRIPTION:\n
CATEGORIES:REGISTRATION ATTENDEES
LOCATION:Foyer Building 306\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f9808495394649c723673dd798f00e4e
URL:http://aeseurope2026.sched.com/event/f9808495394649c723673dd798f00e4e
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T073000Z
SUMMARY:Adaptive Deesser Application
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:ff0e23d9bfdcfc726d08e095d16ea325
URL:http://aeseurope2026.sched.com/event/ff0e23d9bfdcfc726d08e095d16ea325
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T080000Z
SUMMARY:Recent loudness developments and challenges
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b6a8048765b29734b25c443dafbbf7c5
URL:http://aeseurope2026.sched.com/event/b6a8048765b29734b25c443dafbbf7c5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Differentiated Wavefront Modulation for Directivity Control at High Frequencies
DESCRIPTION:The inherent narrowing of directivity at high frequencies\n in compact tweeters limits the spatial uniformity of sound\n reproduction in modern audio systems. Conventional passive\n solutions\, such as waveguides\; acoustic lenses\,\n partially mitigate this issue but typically rely on bulky\n geometries\; treat the diaphragm as a unitary radiator\,\n neglecting localized vibration behavior. This study\n proposes a Matrix Wavefront Modulator (MWM)\, a compact\n passive device that implements a differentiated\n wavefront-shaping strategy based on vibration-aware\n radiation control. Sound radiation from the piston-like\n diaphragm dome\; the breakup-prone surround is processed\n independently by combining guided wavefront steering with\n targeted scattering compensation. The geometry of the MWM\n is optimized to adapt to the radiation characteristics of\n the tweeter. Numerical simulations show that the optimized\n MWM reshapes the high-frequency wavefront toward a more\n spherical distribution\; significantly reduces off-axis\n attenuation above 10 kHz. Experimental measurements confirm\n significant improvements in high-frequency directivity over\n wide radiation angles.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:af45e07d0010a580ede007b30018b028
URL:http://aeseurope2026.sched.com/event/af45e07d0010a580ede007b30018b028
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Mechanical Characterization; Geometry Optimization of Loudspeaker Spider Suspensions
DESCRIPTION:Loudspeaker spider suspensions play a crucial role in\n defining the compliance\; stability of electrodynamic\n transducers. Due to their woven structure impregnated with\n thermosetting resins\, spiders exhibit a nonlinear\;\n viscoelastic mechanical response\, resulting in stiffness\n dependence on displacement\; excitation rate\, as well as\n energy dissipation during operation. However\, viscoelastic\n effects are often simplified during early loudspeaker\n design stages.\n This work presents a combined numerical–experimental study\n aimed at characterizing the mechanical behaviour of\n loudspeaker spiders\; assessing its influence on\n optimization choices during the pre-design phase. An\n experimental campaign was conducted on spider samples with\n fixed geometry\; varying materials. Loading–unloading\n cycle measurements were performed at different displacement\n rates to capture nonlinear stiffness\; hysteresis effects.\n A finite element modelling framework was developed using a\n 2D axisymmetric formulation. Viscoelastic material\n behaviour was first described through time-dependent\n simulations\, with model parameters identified by fitting\n simulated loading–unloading curves to experimental data. A\n parametric geometry optimization model based on linear\n elastic assumptions was then implemented using quasi-static\n simulations. Finally\, the optimized spider geometries were\n re-evaluated using time-dependent simulations incorporating\n the identified viscoelastic material properties.\n Results show that spider materials may influence its\n mechanical behaviour\, in particular the suspension\n stiffness\; hysteresis effects. Viscoelasticity mainly\n affects the magnitude of the stiffness curve rather than\n its overall shape\, particularly at small displacements.\n These findings support the use of quasi-static linear\n elastic simulations for geometry optimization in early\n loudspeaker design\, while highlighting the importance of\n material characterization for accurate performance\n prediction.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:5d66c55059a855f52b1eb677449023a5
URL:http://aeseurope2026.sched.com/event/5d66c55059a855f52b1eb677449023a5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Quasi-Anechoic Loudspeaker Measurements: a “Step” Forward
DESCRIPTION:Measuring the anechoic response of a loudspeaker system\n requires space\; facilities that are not commonly\n available. The evolution of measurement instruments has\n made it possible to visualize the time response of the\n system under analysis\, enabling the identification of\n reflected signals\; their elimination through time-gating\n (windowing) of the impulse response. However\, this comes at\n the cost of a loss of resolution\; characterization of\n the system's response at lower frequencies. To correctly\n characterize the system's response at the lowest\n frequencies\, the most widely used technique is the one\n described by Keele in his AES paper "Low-Frequency\n Loudspeaker Assessment by Nearfield Sound-Pressure\n Measurement".\n To obtain the overall system response\, the appropriately\n windowed far-field response\; the near-field response are\n combined\, as described by Struck\; Temme in their paper\n "Simulated Free Field Measurements".\n This operation is performed in the frequency domain\, but\n what happens when applied in the time domain?\n The goal of this work is to use the near-field impulse\n response to reconstruct the far-field portion of the\n impulse response affected by environmental reflections. As\n already stated\, it’s quite easy to identify the first\n reflection point on a far-field impulse response\; this\n can be used as a merging point to reconstruct the\n reflections affected impulse tail using the corresponding\n part of the near-field impulse measurement. Once the\n far-field impulse tail is reconstructed\, it is possible to\n obtain the full-range frequency response of the system\n under test while maintaining maximum measurement\n resolution. The steps required to achieve a full-range\n frequency response are fewer than those required for the\n frequency-domain technique. For example\, it is not\n necessary to add the baffle diffraction step effect\, as\n demonstrated in the paper.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:cd6f4b63a345e6bec287d91212040b6c
URL:http://aeseurope2026.sched.com/event/cd6f4b63a345e6bec287d91212040b6c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Reduction of Mid-to-High-Frequency Distortion in Loudspeakers through Structural Magnetic Circuit Modification
DESCRIPTION:This paper investigates mid-to-high-frequency distortion in\n traditional electrodynamic loudspeakers arising from\n current-dependent nonlinearity in the magnetic circuit.\n Through theoretical analysis\, finite-element simulations\n\; experimental validation\, the dominant distortion\n mechanisms are identified. To mitigate distortion while\n maintaining a stable frequency response\, an improved\n magnetic circuit is proposed\, which introduces longitudinal\n slits to suppress surface-concentrated eddy currents.\n Experimental results demonstrate that the modified circuit\n achieves greater distortion reduction compared with\n conventional designs. As the improvement relies solely on\n structural modifications without changing the ferromagnetic\n materials\, the proposed design offers a practical\;\n cost-effective solution for engineering applications.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e460068d22dcb06a3c364b93b3c59d08
URL:http://aeseurope2026.sched.com/event/e460068d22dcb06a3c364b93b3c59d08
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Sound Diffusion Properties of a Bending-Wave Loudspeaker Compared with a Conventional Speaker
DESCRIPTION:The Panel-shaped Bending Wave Loudspeaker was proposed\n recently by Kawahara. The authors conducted an objective\n evaluation of the diffusion characteristics of Bending Wave\n Loudspeakers (BWL) using the degree of interaural\n cross-correlation (DICC) in this paper.\n Conventional speakers exhibit strong directionality\;\n rely on room reflections to create a spatial impression. In\n contrast\, BWLs are considered less susceptible to room\n reflections due to complex mode vibrations across the\n entire diaphragm.\n To quantify this characteristic\, the authors recorded sound\n in a real-world environment using a head-and-torso\n simulator (HATS)\; compared the BWL's DICC with that of a\n conventional speaker.\n The results showed that the BWL exhibited significantly\n lower DICC values than conventional loudspeaker at the\n front position (Center) under both broadband noise\;\n music conditions\, confirming its high diffusivity.\n Furthermore\, this difference exceeded the Just Noticeable\n Difference (JND) for spatial perception\, suggesting it is\n also significant to the human ear. In addition\, analysis\n separating early reflections\; late reflections suggested\n differences in diffusion characteristics between\n conventional speakers\; BWL.
CATEGORIES:AUDIO EQUIPMENT
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b87a93ded428169f6f7ec3c9c3bf25e2
URL:http://aeseurope2026.sched.com/event/b87a93ded428169f6f7ec3c9c3bf25e2
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Zylia ZM-1 vs. Harpex Spcmic: A Case Study of Higher-Order Ambisonic Recording Performance
DESCRIPTION:The Zylia ZM-1 (19 MEMS capsules\, spherical array\, 88 mm\n diameter\, 3rd-order)\; Harpex Spcmic (84 MEMS capsules\,\n planar array\, 230 mm diameter\, 5th-order capable) represent\n two distinct geometrical approaches to higher-order\n Ambisonics capture. Despite widespread adoption in research\n\; production\, systematic comparison of their performance\n in real-world recordings remains absent from published\n literature. This case study presents a controlled\n comparison through simultaneous recordings of piano\n recitals in the same concert hall.\n \n Two arrays—Zylia ZM-1\; Harpex Spcmic—were mounted on a\n single stereo bar (17 cm apart) ensuring acoustically\n identical capture positions. Recording sessions occurred in\n Aula Politechniki Gdańskiej (370-seat hall\, RT60 = 1.97 s)\n on two dates: August 15\, 2024 (Franck: Prélude\, Choral et\n Fugue\; Prokofiev: Piano Sonata No. 4\, 35.6 minutes\n total)\; April 30\, 2024 (Ginastera: Sonata No. 1\, Op. 22\,\n 15.4 minutes). Both arrays recorded simultaneously\; files\n were processed through manufacturer A-to-B conversion\n software\; peak-normalized to −0.5 dBTP. The Spcmic was\n encoded to both native 5th-order\; truncated 3rd-order\n formats for direct comparison with the ZM-1.\n \n Four metrics were analyzed: (1) W-channel spectral\n response\, (2) integrated loudness (LUFS-I per ITU-R\n BS.1770-5)\, (3) spatial energy distribution across\n Ambisonics orders\,\; (4) first-order directional\n component ratios.\n \n Spectral analysis reveals the ZM-1 exhibits 5–8 dB\n elevation at 200–600 Hz relative to the Spcmic. Loudness\n measurements show the Spcmic 3rd-order yields 2.3–3.3 dB\n higher LUFS-I than the ZM-1 despite identical peak\n normalization.\n \n The primary finding concerns spatial energy: the ZM-1\n exhibits 27.4 dB attenuation from 0th to 3rd order\, while\n the Spcmic shows only 8.4 dB—a 19 dB difference despite\n both producing "3rd-order Ambisonics" format. Analysis of\n both recording sessions confirms consistency across\n different repertoire (romantic\, 20th-century\,\n contemporary). Directional analysis shows the Spcmic\n exhibits stronger first-order components (X/Y/Z ratios\n 0.68–0.83) versus the ZM-1 (0.42–0.55).\n \n Results demonstrate that nominal Ambisonics order\n inadequately characterizes spatial resolution in real\n recordings. The substantial higher-order energy deficit in\n compact spherical arrays has implications for reproduction\n quality\, decoder design\,\; archival standards. Arrays\n with steeper rolloff may require order-dependent gain\n compensation to match spatial impression of larger systems.\n \n This case study complements existing anechoic validation by\n demonstrating performance differences in authentic\n recording conditions. Recordings are part of a publicly\n available HOA corpus (Gdańsk University of Technology\n repository).
CATEGORIES:AUDIO EQUIPMENT\,IMMERSIVE AUDIO\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b5a53b4d718926feb9e5ee527d94d20c
URL:http://aeseurope2026.sched.com/event/b5a53b4d718926feb9e5ee527d94d20c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:A Longitudinal Dataset for Guitar String Ageing
DESCRIPTION:String ageing is a familiar\; perceptually important\n phenomenon for guitarists\; players of other stringed\n instruments. From the moment a new set of strings is\n installed\, the sound they produce when excited begins to\n change due to a combination of chemical degradation\,\n corrosion\,\; mechanical wear arising from playing.\n Musicians commonly report that aged strings sound dull\,\n lack sustain\,\; feel less responsive compared to new\n strings. String ageing is a function of both elapsed time\n\; accumulated playing time\, with repeated playing\n accelerating degradation through contamination\; repeated\n mechanical stress.\n \n Previous studies have investigated individual aspects of\n string ageing by artificially accelerating wear\;\n performing controlled acoustic measurements\, identifying\n effects such as increased damping of higher partials\;\n increased inharmonicity. While these approaches provide\n valuable physical insight\, the tightly constrained\n experimental conditions differ significantly from\n real-world playing conditions.\n \n This paper presents a dataset of audio recordings of guitar\n playing over a four-week period\, starting from the point of\n new strings being installed.\n Audio performance data from different sets of electric\n guitar strings is recorded daily over a four-week period\,\n using strictly fixed musical exercises that are repeated\n multiple times per session. By collecting many takes of\n identical material at each stage of string age\, the dataset\n enables statistical analysis of ageing-related changes\n while accounting for natural performance variability.\n \n The dataset is intended to support exploratory machine\n learning investigations into string ageing\, including\n questions of how ageing manifests over time\; playing\n duration\, whether string age can be predicted from audio\n alone\,\; which audio features or learned representations\n capture perceptually relevant aspects of the ageing process.
CATEGORIES:AUDIO EQUIPMENT\,PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e414a9fa0498c78f0c9e5bab858b06c5
URL:http://aeseurope2026.sched.com/event/e414a9fa0498c78f0c9e5bab858b06c5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Modulation Noise in Tape Recording
DESCRIPTION:Tape recording of audio programme produces significant\n noise signals underlying the audio signal. Measurements\n show that total modulation noise is significant\; often\n around 25 dB down from a sinusoidal audio signal\, although\n historical measurement methods give numbers that may exceed\n 50 dB. The persistent popularity of tape in the audio\n industry may indicate a preference for some of the more\n salient tape characteristics\; perhaps even modulation\n noise. Measurements on a variety of tapes\; machines are\n presented in an attempt to understand the basic principles.\n A model of modulation noise is developed which provides a\n broad steepening spectral peak centred on the signal\n frequency\; captures much of the tape noise character. \n This could be the basis of a plug-in to simulate such\n noise. A new measurement method is presented culminating\n in a single plot which gives a useful more complete picture\n of modulation noise.
CATEGORIES:AUDIO EQUIPMENT\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a2cf1af3a4c36aaa519ad857dd4a2fdb
URL:http://aeseurope2026.sched.com/event/a2cf1af3a4c36aaa519ad857dd4a2fdb
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T073000Z
SUMMARY:Augmented Ubiquity - A fully volumetric music composition for VR
DESCRIPTION: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.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES\, IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:dc9d7223a00b879bf85be55477148cd4
URL:http://aeseurope2026.sched.com/event/dc9d7223a00b879bf85be55477148cd4
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T140000Z
SUMMARY:Exhibit Hall
DESCRIPTION:\n
CATEGORIES:EXHIBITION
LOCATION:Aud 36\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0b72b574e5854731ecab0d02d94f20c4
URL:http://aeseurope2026.sched.com/event/0b72b574e5854731ecab0d02d94f20c4
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T080000Z
SUMMARY:Creating Emotional Space with Layered Sounds in 3D Audio
DESCRIPTION: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.
CATEGORIES:IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c9f79be82bbe78c3885f33d57177f6a5
URL:http://aeseurope2026.sched.com/event/c9f79be82bbe78c3885f33d57177f6a5
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T090000Z
SUMMARY:Poster Session 4
DESCRIPTION:-&nbsp\;Differentiated Wavefront Modulation for Directivity Control at High Frequencies\n\n\n-&nbsp\;Mechanical Characterization\; Geometry Optimization of Loudspeaker Spider Suspensions\n\n\n-&nbsp\;Quasi-Anechoic Loudspeaker Measurements: a “Step” Forward\n\n\n-&nbsp\;Sound Diffusion Properties of a Bending-Wave Loudspeaker Compared with a Conventional Speaker\n\n\n-&nbsp\;Zylia ZM-1 vs. Harpex Spcmic: A Case Study of Higher-Order Ambisonic Recording Performance\n\n\n-&nbsp\;A Longitudinal Dataset for Guitar String Ageing\n\n\n-&nbsp\;Modulation Noise in Tape Recording\n\n-&nbsp\;Reduction of Mid-to-High-Frequency Distortion in Loudspeakers through Structural Magnetic Circuit Modification\n\n
CATEGORIES:POSTER SESSIONS
LOCATION:Foyer Building 303A Posters\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f3dbbd01e820f8b3e6b8304c6dfb71ec
URL:http://aeseurope2026.sched.com/event/f3dbbd01e820f8b3e6b8304c6dfb71ec
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T070000Z
DTEND:20260530T080000Z
SUMMARY:Introduction to Physical Modelling Sound Synthesis
DESCRIPTION: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).
CATEGORIES:SOUND DESIGN
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:4cd7b6b7bede703c07417452836dc749
URL:http://aeseurope2026.sched.com/event/4cd7b6b7bede703c07417452836dc749
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T073000Z
DTEND:20260530T080000Z
SUMMARY:When Excellence Fails the Mix: Non-Compensatory Relationships in Mix Preparation for Music Production
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:b0da491ccb0fcf9851d3f2072eea9279
URL:http://aeseurope2026.sched.com/event/b0da491ccb0fcf9851d3f2072eea9279
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T073000Z
DTEND:20260530T080000Z
SUMMARY:The artistic role of the sound engineer in immersive spatialisation. Investigation of the influence of space in the emotional interpretation of sounds.
DESCRIPTION: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.
CATEGORIES:CROSS-DISCIPLINARY SOUND STUDIES\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:61f392ac247441a8188583b9d3869c30
URL:http://aeseurope2026.sched.com/event/61f392ac247441a8188583b9d3869c30
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T090000Z
SUMMARY:Kimio Hamasaki: 3D Masterclass
DESCRIPTION:Kimio-san designed NHK’s 22.2 audio system and the\n Hamasaki-cube\, which is brilliant at capturing spatial\n qualities of a concert hall. Attendees are treated to a\n selection of high resolution 3D recordings from glorious\n Japanese concert halls.\n \n This masterclass series\, featuring remarkable recording\n artists\, is a chance to hear 3D audio at its best\; as we\n discuss qualities that make it truly worth the effort.\n \n In each masterclass\, we explore the new spatial\n possibilities in recording and production\, detailing also\n this specific listening room\, regarding ITU-R BS.1116\n compliance and auditory envelopment (AEV) transparency.\n Seats are limited to keep playback variation at bay.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f050a90786559987273751d63e8af1f4
URL:http://aeseurope2026.sched.com/event/f050a90786559987273751d63e8af1f4
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T093000Z
SUMMARY:What Are You Doing With That Compressor?
DESCRIPTION:Dynamic range controllers\, or compressors\, have long been\n central to music production. The loudness standards now\n adopted by major streaming platforms have further\n heightened the importance of skilled and intentional\n compression in both mixing and mastering. Pop and rock\n productions with extremely limited dynamic range are\n routinely attenuated during playback\, while highly dynamic\n material—such as classical orchestral works and film\n scores—risks gain and possibly undesirable soft clipping\n being applied when delivered masters are normalized.\n This panel will address best practices for the use of\n compression across a wide range of applications\, from\n individual instruments to full-program material\, in both\n stereo and immersive formats. Panelists will present\n established methodologies alongside innovative techniques\n drawn from their current professional workflows. Different\n types of compression will be examined and compared\,\n including their application in mastering for vinyl release.\n Audience engagement is an integral component of the\n workshop\, and ample time will be reserved for questions and\n discussion with conference attendees.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, IMMERSIVE AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:9232466a1eb88de102931650559e2d47
URL:http://aeseurope2026.sched.com/event/9232466a1eb88de102931650559e2d47
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T090000Z
SUMMARY:Creating immersion without discrete channels: A Binaural-centric approach
DESCRIPTION: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.
CATEGORIES:AUDIO EQUIPMENT\, IMMERSIVE AUDIO\, PERCEPTION
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f881962453a6533d2af212d4470463aa
URL:http://aeseurope2026.sched.com/event/f881962453a6533d2af212d4470463aa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T083000Z
SUMMARY:Low-Frequency Limits of Cross-Talk Cancellation Systems Under Robustness Constraints
DESCRIPTION:The low-frequency performance of cross-talk cancellation\n (CTC) systems is fundamentally limited by the condition\n number of the plant matrix\, which indicates the robustness\n of the inverse system in the absence of regularisation.\n This condition number\, in turn\, depends on the relationship\n between loudspeaker spacing\, listener distance\,\;\n acoustic wavelength.\n This paper derives a simple approximate expression for the\n low-frequency limit of CTC performance\, defined for a given\n maximum affordable condition number as a function of these\n parameters. The increase in condition number is also shown\n to be directly related to the increase in array effort\n relative to the minimum achievable array effort. The\n formulation is derived for a centered listener\; can be\n extended to the case of off-center listener positions\,\n demonstrating the method's applicability to\n listener-position-adaptive cross-talk cancellation systems.
CATEGORIES:AUDIO PROCESSING\,IMMERSIVE AUDIO\,RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e1b9e8b1da941af618f5e819f74bda77
URL:http://aeseurope2026.sched.com/event/e1b9e8b1da941af618f5e819f74bda77
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T083000Z
SUMMARY:Melodical Mashup of Classical Pieces: How to Maximize Audience Enjoyment?
DESCRIPTION: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.
CATEGORIES:PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:f31314a6f3b85f5605fbd818461e66ae
URL:http://aeseurope2026.sched.com/event/f31314a6f3b85f5605fbd818461e66ae
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T080000Z
DTEND:20260530T090000Z
SUMMARY:Student Mix Critiques 3
DESCRIPTION:These sessions are an opportunity for AES student members\n to receive feedback on their mixes from a panel of industry\n professionals\, in a live\, non-competitive setting. Join us\n to hear mixes by other students\, and get tips\, tricks\, and\n advice to push your skills to the next level! Mixes can be\n submitted in advance by following the instructions are\n posted at:\n https://www.aesstudents.org/competitions/student-mix-critiques/\n Very limited on-site submission may also be possible on\n site. Maybe one of your mixes can be featured!
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Building 302\, 2nd floor\, Technical University of Denmark Asmussens Alle\, Building 302 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c7e57ed772e4218134dc4b2fc3dfa5c7
URL:http://aeseurope2026.sched.com/event/c7e57ed772e4218134dc4b2fc3dfa5c7
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T083000Z
DTEND:20260530T090000Z
SUMMARY:A multitrack dataset of a ten-song album with stereo; immersive 7.1.4 masters
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:48f60707a96adffa4981c4dbec490d4c
URL:http://aeseurope2026.sched.com/event/48f60707a96adffa4981c4dbec490d4c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T083000Z
DTEND:20260530T090000Z
SUMMARY:Room Measurement Based Calibration of MPEG-I Tracked Loudspeaker Rendering
DESCRIPTION:The MPEG-I Immersive Audio standard for Virtual\;\n Augmented Reality (VR/AR) audio with six degrees of freedom\n (6DoF) was completed in November 2025 by the MPEG Audio\n group (ISO/IEC JTC 1/SC 29/WG 6)). It offers compressed\n representation of virtual audio scenes as well as an\n efficient\; acoustically sophisticated rendering to both\n head-tracked binaural headphones\; loudspeaker setups.\n The latter is a unique feature among VR/AR audio\n specifications\; enables convincing reproduction of\n conventional stereo\, surround\; 3D material with a large\n sweet area in home entertainment setups for a single\n tracked user\, without the need for a head-mounted\n display. This paper describes the technology of MPEG-I\n Audio listener-tracked loudspeaker rendering as a\n stand-alone application with a special focus on practical\n considerations for optimal room calibration.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:67cdb38f23654b02e515e31eee7653f0
URL:http://aeseurope2026.sched.com/event/67cdb38f23654b02e515e31eee7653f0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T090000Z
DTEND:20260530T093000Z
SUMMARY:Optimising Sound Effects to Enhance Dialogue Perception in Audio Mixes Using Selective Auditory Attention
DESCRIPTION: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.
CATEGORIES:AUDIO PROCESSING\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION\, SOUND DESIGN
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:60fd636ba2da1202eb9c27646ded25cd
URL:http://aeseurope2026.sched.com/event/60fd636ba2da1202eb9c27646ded25cd
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T090000Z
DTEND:20260530T100000Z
SUMMARY:Head-tracking for spatial audio reproduction using loudspeaker arrays
DESCRIPTION: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.
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:5e0b4dc12d36b7f618d491bc026a748c
URL:http://aeseurope2026.sched.com/event/5e0b4dc12d36b7f618d491bc026a748c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T090000Z
DTEND:20260530T100000Z
SUMMARY:The Chopin Residue Project
DESCRIPTION:The making of the Chopin Residue Project: From inception to release.\n&nbsp\;\nThe process of creating an immersive release requires planning\,&nbsp\;and&nbsp\;many components to achieve the desired creative results. Especially when designing a new project from scratch\, like this ambitious reimagination of Chopin&nbsp\;soundscapes&nbsp\;with electronic textures\, accompanied by world-class musicians.\n&nbsp\;\nMariusz Szypura\,&nbsp\;Jacek Gawlowski\,&nbsp\;Morten Lindberg&nbsp\;and Michael Romanowski&nbsp\;will walk through&nbsp\;the&nbsp\;production&nbsp\;stages\, from conception to release\, describing what each role brings to the final album’s presentation for the listener\, while&nbsp\;playing&nbsp\;hi-res&nbsp\;examples from the album\,&nbsp\;and&nbsp\;describing the thought process&nbsp\;behind.\n\n
CATEGORIES:IMMERSIVE AUDIO
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3e465e4e15fd611a1080330868db2e2d
URL:http://aeseurope2026.sched.com/event/3e465e4e15fd611a1080330868db2e2d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T090000Z
DTEND:20260530T093000Z
SUMMARY:The Missing Next Step: Sound\, Agency\,; Plausibility in Virtual Reality — A Narrative Review
DESCRIPTION: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.
CATEGORIES:IMMERSIVE AUDIO\, PERCEPTION\, SOUND DESIGN
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:96ae817d2f44c1316e0f1fd07216c9e0
URL:http://aeseurope2026.sched.com/event/96ae817d2f44c1316e0f1fd07216c9e0
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T093000Z
DTEND:20260530T100000Z
SUMMARY:Intelligent Audio personalization for Enhanced user experience
DESCRIPTION:Most of music contents available are stereo which cause\n inadequate spatial treatment\; listeners feel\n disconnected from the music\, failing to transport them into\n the intended sonic environment. Insufficient separation\n between instruments can lead to an unbalanced mix\, where\n certain elements dominate others\; disrupt the overall\n harmony. Instruments may appear flat\; confined to a\n narrow area\, reducing the sense of dimensionality in the\n mix. Stereo audio offers limited spatial information\,\n restricting its adaptability to immersive sound\n environments. This research presents a novel approach for\n converting stereo audio into a personalized immersive\n experience by leveraging object-based audio rendering\,\n sound stage of listener\; surround speaker capability.\n The proposed system separates audio signals into individual\n objects (such as instruments or vocals)\; dynamically\n maps these objects to specific speakers based on\n personalized preferences\; spatial configurations. This\n method improves audio localization\; enhances the\n listener's engagement by delivering a tailored auditory\n experience.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\,AUDIO EQUIPMENT\,IMMERSIVE AUDIO
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:463072cba84fc387108c195b900499a8
URL:http://aeseurope2026.sched.com/event/463072cba84fc387108c195b900499a8
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T103000Z
DTEND:20260530T120000Z
SUMMARY:Building A Personal Immersive Studio
DESCRIPTION:Imagine that you just finished designing and are now\n managing your dream immersive audio mix room for a client\n with an array of 64 speakers and it functions beautifully -\n then CoVid19 wreaks global havoc. You find yourself\n suddenly isolated in a new country\, forced into retirement\n with its budgetary restrictions\, and your dream studio has\n become an early victim to the pandemic. What would be your\n next move?\n \n In this real-life story\, follow the adventures of an\n intrepid audio engineer and his quest to build a personal\n version of that immersive studio that was lost – all within\n a fixed-income retiree’s budget.\n \n In this tutorial\, an immersive studio design and\n construction will be described including:\n \n Inspiration from prior work by the author and colleagues\n Room design goals\n Equipment choices\n Custom electronics design\n Speaker design considerations\n Speaker support and position alignment\n Construction steps\n VBAP\, Ambisonics\, and WFS approaches\n Test mixes\n \n Immersive mix examples will be demonstrated.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\,AUDIO EQUIPMENT\,IMMERSIVE AUDIO\,PERCEPTION
LOCATION:Aud 44\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:2d6e6f809287989e5da7ada909d78862
URL:http://aeseurope2026.sched.com/event/2d6e6f809287989e5da7ada909d78862
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T103000Z
DTEND:20260530T113000Z
SUMMARY:George Massenburg: 3D Masterclass
DESCRIPTION: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.
CATEGORIES:AUDIO PROCESSING\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:cce45fca250b86a0976e535e251f14aa
URL:http://aeseurope2026.sched.com/event/cce45fca250b86a0976e535e251f14aa
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T103000Z
DTEND:20260530T113000Z
SUMMARY:Studio Slave to Audio Professional
DESCRIPTION:The gravest concern of many students regards their first\n professional position. Whether it is an internship\, a paid\n position\, or getting clients to use their studio\, many\n students express nervousness regarding this leap from the\n relatively calm\, controlled path of education to the vast\n unknown of the professional world. In this workshop we will\n discuss the traits and characteristics most sought after by\n potential employers. We will also share tips for success at\n entry level and all levels of the audio profession\, along\n with helpful ideas for educators to pass along to their\n students. This workshop typically includes a lively\n question and answer period.
CATEGORIES:RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a777f60b3f565f53a68ee2a54abacc80
URL:http://aeseurope2026.sched.com/event/a777f60b3f565f53a68ee2a54abacc80
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T113000Z
SUMMARY:A Systematic Literature Review on Inverse Synthesis; Sound Matching
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, SOUND DESIGN
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:827bb66903e7c1725a96cf2f94367e43
URL:http://aeseurope2026.sched.com/event/827bb66903e7c1725a96cf2f94367e43
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T113000Z
SUMMARY:Artificial ear for bone-conducted vibrations\, simulation; measurement
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:d5de6c94abc8cd69ce037580d1739a31
URL:http://aeseurope2026.sched.com/event/d5de6c94abc8cd69ce037580d1739a31
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:JoyCam: Blending Facial Recognition with Neural Activity measurement for Real-time Estimation of Listener Emotion
DESCRIPTION: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
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3bc7f483d96ed9373334e1c3f91a825b
URL:http://aeseurope2026.sched.com/event/3bc7f483d96ed9373334e1c3f91a825b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:Smartphone-based tinnitus matching: Implementation; Validation
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES\, PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3a1ab1c54de3b228c08ccf49f201721d
URL:http://aeseurope2026.sched.com/event/3a1ab1c54de3b228c08ccf49f201721d
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:Investigations on Nonlinearity in a Gammatone Filter Bank Based Perceptual Model
DESCRIPTION: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.
CATEGORIES:AUDIO PROCESSING
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:3c7be7bf2b4534fe3b2a4906e0b7fb9b
URL:http://aeseurope2026.sched.com/event/3c7be7bf2b4534fe3b2a4906e0b7fb9b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:Measurement; Analysis of Perceptual Characteristics of Binaural Cues
DESCRIPTION: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.
CATEGORIES:AUDIO PROCESSING\, PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:416af27bf3074891d9bfcbeb9f4dc959
URL:http://aeseurope2026.sched.com/event/416af27bf3074891d9bfcbeb9f4dc959
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:Subjective Evaluation of Stereo Width Shrinkage Method Using Semantic Differential Method; Scheffé’s Paired Comparison
DESCRIPTION: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.
CATEGORIES:PERCEPTION
LOCATION:Foyer Building 303A\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:331e8f0b01cb2daef94e3be261fd62af
URL:http://aeseurope2026.sched.com/event/331e8f0b01cb2daef94e3be261fd62af
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T110000Z
DTEND:20260530T130000Z
SUMMARY:Poster Session 5
DESCRIPTION:-&nbsp\;JoyCam: Blending Facial Recognition with Neural Activity measurement for Real-time Estimation of Listener Emotion\n\n\n-&nbsp\;Smartphone-based tinnitus matching: Implementation\; Validation\n\n\n-&nbsp\;Investigations on Nonlinearity in a Gammatone Filter Bank Based Perceptual Model\n\n\n-&nbsp\;Measurement\; Analysis of Perceptual Characteristics of Binaural Cues\n\n\n-&nbsp\;Subjective Evaluation of Stereo Width Shrinkage Method Using Semantic Differential Method\; Scheffé’s Paired Comparison\n\n\n
CATEGORIES:POSTER SESSIONS
LOCATION:Foyer Building 303A Posters\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:533a47da5f0c5b91c8a84478a1448447
URL:http://aeseurope2026.sched.com/event/533a47da5f0c5b91c8a84478a1448447
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T113000Z
DTEND:20260530T123000Z
SUMMARY:Hyunkook Lee: Enveloping Masterclass
DESCRIPTION: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.
CATEGORIES:ACOUSTICS OF MUSIC ROOMS\, IMMERSIVE AUDIO\, PERCEPTION\, RECORDING PRODUCTION AND REPRODUCTION
LOCATION:Aud 31\, Technical University of Denmark Asmussens Alle\, Building 306 DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:60227548fd6d3991ebf65d3ea0e7aac6
URL:http://aeseurope2026.sched.com/event/60227548fd6d3991ebf65d3ea0e7aac6
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T113000Z
DTEND:20260530T120000Z
SUMMARY:From DSP to AI Audio Engineering: The Heritage; the Future of Physical Modeling Sound Synthesis
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:56b7cd374c9671d3e0dc06f63909951c
URL:http://aeseurope2026.sched.com/event/56b7cd374c9671d3e0dc06f63909951c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T113000Z
DTEND:20260530T120000Z
SUMMARY:A Study on Uncertainty of Sound Pressure Measurements in Cars
DESCRIPTION:Accurate\; efficient measurement of sound pressure levels\n around the ears of occupants in cars is essential for\n objective evaluation of basic sound quality\; automotive\n audio features such as personal sound zones\; active\n noise control. In this paper\, the uncertainties of sound\n pressure measurements obtained with 5 commonly used methods\n are compared\, which are the AES 6-microphone method\, the\n single-microphone method\, the two-microphone method with\n occupants presented\, the head-and-torso simulator method\,\n\; the human binaural method. Measurements were conducted\n in the front-right seat of a 4-door electric Sedan\, using\n either all car body loudspeakers or a pair of headrest\n loudspeakers driven by a two-channel uncorrelated pink\n noise to generate an average sound pressure level of 70 dBA\n in the seat. Each method underwent 3 complete\n install–measure–remove cycles\, a total of 54 recordings\n were collected\,\; the standard deviation of the measured\n average sound pressure levels was adopted to quantify\n measurement uncertainty. The test results show that all the\n 5 methods have good repeatability\; low uncertainty below\n 200 Hz\; above 15 kHz\, but have large uncertainty between\n 200 Hz\; 15 kHz. The AES 6-microphone method demonstrates\n the best repeatability with the lowest uncertainty across\n most frequency resolutions\,\; its maximum uncertainty in\n 1/3 octave bands is less than 2.0 dB for sound pressure\n measurements in the car. Therefore\, the AES 6-microphone\n method is recommended for use in engineering comparison\;\n reporting.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO EQUIPMENT\, AUDIO PROCESSING
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:e0472eb85923c6037dec1dfbc91961b3
URL:http://aeseurope2026.sched.com/event/e0472eb85923c6037dec1dfbc91961b3
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T113000Z
DTEND:20260530T123000Z
SUMMARY:Ask Us Anything!
DESCRIPTION:Join a panel of professionals from a variety of fields in\n the audio industry\, as they discuss topics including how\n each got started in their own careers and the path their\n careers took\, and give advice geared towards students and\n recent graduates. Bring your questions for the panelists –\n most of this workshop will be focused on answering YOUR\n questions and the information YOU want to hear!
CATEGORIES:STUDENT EVENTS
LOCATION:Aud 41\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:a68b0fcb05ca06759f6330db3258fd91
URL:http://aeseurope2026.sched.com/event/a68b0fcb05ca06759f6330db3258fd91
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T120000Z
DTEND:20260530T123000Z
SUMMARY:Knowledge-Driven Optimization of Reverberation Parameters Using Declarative Audio Constraints
DESCRIPTION: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.
CATEGORIES:AI AND MACHINE LEARNING IN AUDIO\, AUDIO APPLICATIONS AND TECHNOLOGIES\, AUDIO PROCESSING
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:c1df3c6883048b02f3a688158bd2fc7b
URL:http://aeseurope2026.sched.com/event/c1df3c6883048b02f3a688158bd2fc7b
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T120000Z
DTEND:20260530T123000Z
SUMMARY:Optimal levels; measurement time for separation of nonlinear components
DESCRIPTION: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.
CATEGORIES:AUDIO EQUIPMENT\, AUDIO PROCESSING
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:315acb8c461639f7ff3759c0ea8b9e2c
URL:http://aeseurope2026.sched.com/event/315acb8c461639f7ff3759c0ea8b9e2c
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T123000Z
DTEND:20260530T130000Z
SUMMARY:Topology Optimized Tweeter Waveguides for Automotive Audio
DESCRIPTION: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.
CATEGORIES:AUDIO APPLICATIONS AND TECHNOLOGIES\, CROSS-DISCIPLINARY SOUND STUDIES
LOCATION:Aud 43\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:10ff89d806fd95ea18582ead33202368
URL:http://aeseurope2026.sched.com/event/10ff89d806fd95ea18582ead33202368
END:VEVENT
BEGIN:VEVENT
DTSTAMP:20260520T184725Z
DTSTART:20260530T130000Z
DTEND:20260530T140000Z
SUMMARY:Student Competitions Awards Ceremony
DESCRIPTION:Winners and prizes in the Student Recording Competition and\n Saul Walker Student Design Competition will be announced\n during this session\, and photographs of winners taken after\n the session.
CATEGORIES:STUDENT EVENTS
LOCATION:Aud 42\, Technical University of Denmark Asmussens Alle\, Building 303A DK-2800 Kgs. Lyngby Denmark
SEQUENCE:0
UID:0a1258e4f6a40e6bbfc8f406a5a271f9
URL:http://aeseurope2026.sched.com/event/0a1258e4f6a40e6bbfc8f406a5a271f9
END:VEVENT
END:VCALENDAR