AES Europe 2026

Streaming of immersive audio is known to western audiences
almost exclusively in the object-based format, Atmos,
developed by Dolby and employing lossy codecs to limit bit
rates. Other object-based formats like Sony 360 have had
limited success, and until recently there were no channel
based streamed versions. But this situation is changing,
as it has already done in Japan.

Responding to growing interest in very high quality
immersive music for both on-demand streaming and live
broadcast, two new services are now active that offer,
first, channel-based audio and second, audio streamed in
high res PCM. Binaural mixes, a range of PCM formats and
video are variously included, with extensions to portables,
loudspeakers, and home theater.

This workshop provides a forum for discussion of both the
genuine promise and the challenges in these new
initiatives. Included are the advantages of high
resolution over lossy; channel-based versus object-based;
the degree of adoption of transducers for multichannel;
adaptive bit rates; data sources; and the Japanese
approach; amongst others.

Audio engineering often implicitly assumes a uniformity in
hearing across listeners; this is an assumption that does
not reflect real-world diversity. How could technologies
and practices in production, mixing, and reproduction be
adapted to create music that is more inclusive? While the
AES has a conference series on Audio and Music Induced
Hearing Disorders, this has focused on the causes of
hearing loss with little on audio engineering for listeners
who have a hearing loss.

In western countries, about one in three adults are deaf,
have hearing loss or suffer from tinnitus. Hearing loss can
lead to many challenges with music such as: inaudibility of
quieter passages, distortion, degraded pitch perception,
and difficulty in identifying and picking out lyrics and
instruments. The most common intervention for mild to
moderately severe hearing loss is hearing aids. But while
many of these devices have music programs, their efficacy
is mixed, to the point that many opt not to use them. With
the rise of machine learning within Audio Engineering,
there are opportunities to better personalise music, and
therefore address issues listeners face. Consumer devices
are also increasingly having audio accessibility features
added, but the usefulness of these lack independent
testing. This workshop will consider opportunities for
making music more accessible.

The workshop will start by exploring how hearing loss harms
the experience of listening to music and how this varies
between people. This will lead to discussion of why no
technology can fully ‘correct’ music to achieve a ‘perfect’
listening experience for those with hearing loss. There is
no technology to recreate a ‘golden-ears’ experience. This
leads to a key research question: what is the best,
rendition of a piece of music for someone who has hearing
loss? What do listeners want from music, and how can we get
closest to achieving that?

We will bring in findings from research projects and
listening tests to explore what is known, and also to
highlight that there are significant gaps in knowledge that
require further research. We will then explore
state-of-the-art in wearables such as hearing aids and
sound reproduction systems. This will include the current
Cadenza project, which has been running a series of machine
learning challenges to improve music for those with hearing
loss.

Throughout, we will encourage questions and engagement from
delegates. We want to hear about lived experience of
hearing difference and how that has changed professional
practice and personal lives. We are also keen to hear
suggestions from delegates on what approaches might be used
to improve music for those with hearing loss.

We aim to raise awareness of the importance of considering
diverse audiences in Audio Engineering practice. Where
possible, the workshop will provide practical guidance for
audio engineers, highlighting techniques and emerging
technologies that can better support listeners with diverse
hearing profiles.

The Workshop will be organised by the Cadenza Project Team
https://cadenzachallenge.org/ A large UK-funded project
about improving music for those with hearing loss.

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.
 
The 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.

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