AES Europe 2026: Full Schedule

Schedule as of May 16, 2022 - subject to change

Default Time Zone is CEST - Central European Summer Time
You can change your view to your time zone (look for "Timezone" on the right)

LIVESTREAMS : A and B

ON DEMAND VIDEOS (previous days)

9:00am CEST

Deep Learning-Based Lower-Layer Upmixing

Thursday May 28, 2026 9:00am - 9:30am CEST

Aud 43

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.

Authors

Ema Souza-Blanes

Samsung Research America

Luis Madrid

Samsung Research Tijuana

Thaddeus Páez

Research Engineer, Samsung Research Tijuana

Research Engineer at Samsung Mexico.

Thursday May 28, 2026 9:00am - 9:30am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Lecture | Audio Processing, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

10:00am CEST

Comparative Quantitative Analysis of Immersive Mixing Practices: Tracking Spatial Trends in Award-Winning; Popular Streaming Media

Thursday May 28, 2026 10:00am - 10:30am CEST

Aud 42

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.

Authors

Can Murtezaoglu

Research Assistant, Istanbul Technical University

Immersive audio recording and mixing techniques, audio design for visual media

Thursday May 28, 2026 10:00am - 10:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture

Presentation Type Lecture

10:00am CEST

ECHO Project - Immersive Microphone Array Techniques for Orchestral Recording

Thursday May 28, 2026 10:00am - 11:00am CEST

Aud 31

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.

Speakers

Hyunkook Lee

Professor, University of Huddersfield

Professor

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

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

Thursday May 28, 2026 10:00am - 11:00am CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Tutorial | Recording Production and Reproduction, Tutorial

Presentation Type Tutorial

10:30am CEST

Effect of an Active Acoustic Reinforcement System on Musical Performance in a Recording Studio

Thursday May 28, 2026 10:30am - 11:00am CEST

Aud 42

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.

Authors

Gianluca Grazioli

Montreal, Canada, McGill University

Richard King

McGill University, McGill University

Montreal

Wieslaw Woszczyk

McGill University

Thursday May 28, 2026 10:30am - 11:00am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

11:00am CEST

Comfortability analysis of immersive sound playback system for cabin noise based on frontal lobe fNIRS experiment: an application of 4th order ambisonics

Thursday May 28, 2026 11:00am - 11:30am CEST

Aud 42

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.

Authors

Yonghee Lee

Research Associate, Changwon National University

Yonghee Lee
Ph D. Mechanical Engineeing.
Ultrasonic, Acoustic, SHM, NDE, fNIRS, and Bio-medical engineering.
Contact: [email protected]
Institute: Changwon National Uniersity, South Korea

Thursday May 28, 2026 11:00am - 11:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture

Presentation Type Lecture

11:00am CEST

Kseniya Kawko: 3D Masterclass

Thursday May 28, 2026 11:00am - 12:00pm CEST

Aud 31

Kseniya Kawko, a Munich- and London-based Tonmeister and
recording engineer specializing in classical music and
jazz, shares selections from her recent live and studio
recording and mixing projects, featuring leading orchestras
and jazz ensembles, and provides an introduction to the
artistic and production considerations behind immersive
formats.

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

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

Speakers

Kseniya Kawko

Tonmeister, msm studios

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

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Thursday May 28, 2026 11:00am - 12:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

11:00am CEST

Immersive Audio Formats: Innovation, Fragmentation, or Both?

Thursday May 28, 2026 11:00am - 12:00pm CEST

Aud 41

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.

Speakers

Stefan Bock

Managing Director, msm-studios GmbH

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

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

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Michael Romanowski

Owner-Head Engineer, Coast Mastering

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Lars Tirsbæk

Head of Sonic Days, Sonic College

With expertise in Dolby Atmos and immersive sound, Lars Tirsbæk leads the way in teaching studio production at Sonic College. His innovative approach combines the best of both studio and live sound, focusing on efficient workflows, technical tools, and the creative process. Additionally... Read More →

Thursday May 28, 2026 11:00am - 12:00pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Panel

Presentation Type Panel

11:00am CEST

Measurement tools for immersive audio production

Thursday May 28, 2026 11:00am - 12:00pm CEST

Aud 49

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.

Speakers

Pavel Smokotnin

RTW GmbH & Co. KG, RTW GmbH & Co. KG

Germany, Köln

Thursday May 28, 2026 11:00am - 12:00pm CEST
Aud 49 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Tutorial | Perception, Tutorial

Presentation Type Tutorial

11:30am CEST

System-Level Remapping for Electronic Music Spatial Reproduction: A Case Study of the Cross-Venue Reperformance of Symphonic Coding

Thursday May 28, 2026 11:30am - 12:00pm CEST

Aud 43

Taking the premiere and reperformance of the sci-tech symphonic suite Symphonic Coding 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.

Authors

Chuhan Gao

Communication University of China

Xiuquan Yao

Communication University of China

Yilong Zhang

Communication University of China

Thursday May 28, 2026 11:30am - 12:00pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

11:30am CEST

The efficacy of phantom image perception: an active listener perspective.

Thursday May 28, 2026 11:30am - 12:00pm CEST

Aud 42

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.

Authors

Song Hui CHON

Associate Professor, Belmont University

Associate Professor of Audio Engineering Technology, interested in the perception and cognition of music and sound, especially timbre and attention. An amateur historical keyboardist. And my first name sounds like "song-he" as in "The song he sang was beautiful."

Wesley Bulla

Belmont University

Thursday May 28, 2026 11:30am - 12:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

1:30pm CEST

Headphone development is not over yet

Thursday May 28, 2026 1:30pm - 2:30pm CEST

Aud 41

Headphones have become the dominant device for music
playback, and their design appears to have reached a
certain level of technical maturity. This workshop presents
an overview of the current state of the art in headphone
design and examines potential directions for future
technological development, addressing both acoustic
aspects—including transducer design—and signal-processing
approaches.

The workshop establishes a common foundation by introducing
the fundamentals of headphone acoustics and design
principles, together with a brief overview of the
historical development of headphones and the main headphone
types in use today.

Based on this foundation, the workshop addresses current
challenges and future development potential in headphone
technology, including:
• Transducer and acoustic development potential: materials,
design methodologies and simulation techniques, and
advances in measurement technology
• Characteristics of a high-quality headphone: What
differentiates an excellent headphone from a good one? To
what extent can headphone performance be characterized
using current measurement techniques, and what additional
metrics, target criteria, or perceptual considerations may
be required? What is the role of mechanical quality?
• Signal processing potential: from advanced noise
cancellation and augmented hearing to spatial audio
processing
• Challenges in realistic spatial reproduction: interaction
between auditory and visual environments
• Emerging wireless technologies: technologies such as UWB
and Bluetooth 6 offer not only increased bandwidth and
reduced latency but also the capability to localize the
playback device. What are the implications for conventional
headphone performance and for spatial audio applications?
• Changes in studio workflows: professional practice has
evolved from loudspeakers as the primary monitoring tools,
with headphones mainly used for detailed analysis, toward
headphones playing a central role in the early stages of
recording and mixing. What are the consequences of this
shift for headphone design and signal processing?
• Technically feasible but not yet commercialized
solutions: advanced headphone concepts that are achievable
with current technology but have not yet been adopted due
to economic or practical constraints

Speakers

Juha Backman

Bang & Olufsen

Naotaka Tsunoda

Huawei

Axel Grell

Grell Audio

Thursday May 28, 2026 1:30pm - 2:30pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Panel | Audio Equipment, Panel | Immersive Audio, Panel

Presentation Type Panel

1:30pm CEST

New Paths for Immersive Music Streaming: Channel-based and High Resolution

Thursday May 28, 2026 1:30pm - 3:00pm CEST

Aud 49

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.

Speakers

Kimio Hamasaki

President, Artsridge LLC

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

Stefan Bock

Managing Director, msm-studios GmbH

Bert van Daele

CTO, Goer Dynamics BV

Bert Van Daele is CTO at NewAuro.
After graduating as an Engineer in Digital Electronics in 1997, he started out as an electronics designer at Philips Electronics, mainly working on digital products related to Surround Sound.
During a sabbatical leave, he worked at the Galaxy Studi... Read More →

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Vicki Melchior

Chair, AES Technical Committee - HRA; also: IndependentnConsultant, Audio DSP and Software

Thursday May 28, 2026 1:30pm - 3:00pm CEST
Aud 49 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Panel

1:30pm CEST

Binaspect: A Python Library for Binaural Audio Analysis, Visualization & Feature Generation

Thursday May 28, 2026 1:30pm - 3:30pm CEST

Foyer Building 303A

We present Binaspect, an open-source Python library for
binaural audio analysis, visualization,; feature
generation. Binaspect generates interpretable “azimuth
maps” by calculating modified interaural time; level
difference spectrograms,; clustering those
time-frequency (TF) bins into stable time-azimuth histogram
representations. This allows multiple active sources to
appear as distinct azimuthal clusters, while degradations
manifest as broadened, diffused, or shifted distributions.
Crucially, Binaspect operates blindly on audio, requiring
no prior knowledge of head models. These visualizations
enable researchers; engineers to observe how binaural
cues are degraded by codec; renderer design choices,
among other downstream processes. We demonstrate the tool
on bitrate ladders, ambisonic rendering,; VBAP source
positioning, where degradations are clearly revealed. In
addition to their diagnostic value, the proposed
representations can be exported as structured features
suitable for training machine learning models in quality
prediction, spatial audio classification,; other
binaural tasks. Binaspect is released under an open-source
license with full reproducibility scripts at: (link removed
for blind review)

Authors

Alessandro Ragano

University College Dublin

Andrew Hines

Dan Barry

University College Dublin

Davoud Shariat Panah

University College Dublin

Jan Skoglund

Google, Google

Thursday May 28, 2026 1:30pm - 3:30pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Poster | Audio Processing, Poster | Immersive Audio, Poster | Perception, Poster

Presentation Type Poster

1:30pm CEST

Lightweight Real-time Spatial Audio Interpolation for Standalone VR using Hand Claps

Thursday May 28, 2026 1:30pm - 3:30pm CEST

Foyer Building 303A

Realistic spatial audio consistent with visual information
is essential for providing high immersion in Augmented
Reality (AR) environments. However, conventional
high-precision real-time acoustic simulations require
significant computational power, limiting their
implementation on standalone mobile VR devices such as the
Meta Quest. This study proposes a practical method to
enhance reverb realism using solely a standalone VR HMD,
without the need for additional external equipment. By
measuring impulse responses using a few hand claps in the
physical space, we interpolate room acoustic
parameters—specifically RT60; early/late energy
ratios—to reflect the environment's unique characteristics.
These extracted parameters are then applied to the VR
engine's built-in reverb effects, enabling dynamic,
location-aware real-time rendering with minimal
computational load. The proposed method demonstrates that a
brief calibration period of 3 to 5 minutes yields
significantly improved realism compared to static reverb
templates, offering an efficient; practical spatial
audio solution for mobile
AR environments.

Authors

Minsu Kim

Seoul National University

Thursday May 28, 2026 1:30pm - 3:30pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Poster | Audio Processing, Poster | Immersive Audio, Poster

Presentation Type Poster

1:30pm CEST

Can the individual winner HRTFs be determined in a shooting task during onboarding for an Audio Only VR?

Thursday May 28, 2026 1:30pm - 3:30pm CEST

Foyer Building 303A

The significance of individual versus generic HRTFs in
Virtual Audio can be difficult to ascertain given the
variety of scenarios; tasks related to the spatial
listening experience. Are we working on the most
significant 80% of the success or fine-tuning the last 5%
of the sound quality? When the VR users are blind it is
fair to assume that the quality of the spatial audio
becomes a critical; more important factor. This is the
challenge as we see it. In the present project, we will
investigate options for powerful game components relying on
spatialized sound, using effects that are natural for the
blind gamer. As a first step, we have implemented a test
platform, where different options for HRTFs will exist,;
where the on-boarding process shall reveal the optimal
solution for the given user. The test scenario is inspired
by a “classical” shooting down sound sources scenario,
where we will vary e.g. the task definition, success
criteria (hit zone, number of attempts; elapsed time) as
well as eavesdropping game internal parameters of more
complex nature (e.g. navigation trajectories). The results
will display the variation in normal seeing listeners;
produce normative data for later comparisons with blind
participants. The platform also includes options for simple
mirror-image room models,; standardized reverberation,
which will be used in later tests to learn, whether the
room acoustics may play a stronger role for the blind
gamers’ navigation; source identification, than for
normal seeing listeners.

Authors

Dorte Hammershøi

Professor, Acoustics and Hearing, AI and Sound, Department of Electronic Systems, Aalborg University

Flemming Christensen

Acoustics and Hearing, AI and Sound, Department ofnElectronic Systems, Aalborg University

Max Væhrens

PhD Fellow, Acoustics and Hearing, AI and Sound, Department ofnElectronic Systems, Aalbor...

Stefania Serafin

Department of Engineering Technology and Didactics,nTechnical University of Denmark

Thursday May 28, 2026 1:30pm - 3:30pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Poster

Presentation Type Poster

1:30pm CEST

Exploiting Source Directivity for Robust Asymmetric Crosstalk Cancellation

Thursday May 28, 2026 1:30pm - 3:30pm CEST

Foyer Building 303A

This study investigates the relationship between the
robustness of crosstalk cancellation; the symmetry of
system configuration. Analytical results show that, when
the positions of the sound sources are fixed, increasing
asymmetry caused by deviations in the listener’s head
position or orientation leads to a reduction in system
robustness, whereas optimal performance is consistently
achieved in symmetric layouts. For asymmetric
configurations, we propose a method to optimize the axial
angles of the sound sources. This method leverages source
directivity patterns to adjust level differences along the
acoustic propagation paths, thereby improving system
robustness. Experiments confirm the effectiveness of the
proposed method in asymmetric crosstalk cancellation
systems, demonstrating enhanced robustness; yielding
higher binaural channel separation under slight listener
head movements.

Authors

Jianbin Yang

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Keyu Pan

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Ning Cong

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Xing Tian

Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark, Dynaudio Lab, Gammel Lundtoftevej 3B, Copenhagen, Denmark

Thursday May 28, 2026 1:30pm - 3:30pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Poster

Presentation Type Poster

1:30pm CEST

Capturing Immersive Sound in Concert Halls: A Comparative Analysis of PCMA-3D and Decca Cuboid Recording Techniques

Thursday May 28, 2026 1:30pm - 3:30pm CEST

Foyer Building 303A

This paper presents a comparative analysis of two immersive
recording techniques for classical music: the PCMA-3D
(Perspective Control Microphone Array); the Decca
Cuboid. While the Decca Cuboid relies primarily on
time-of-arrival differences to generate spatial
impressions, the PCMA-3D utilises intensity differences;
separates ambience from direct sound. A recording session
was conducted in a concert hall using a classical guitar
soloist; two distinct folk music ensembles to capture
performances simultaneously with both arrays. Subjective
evaluation was performed using a MUSHRA listening test with
18 participants, assessing parameters such as sensation of
space, localisation precision,; sound quality.
Statistical analysis reveals that while both systems
provide high-quality immersive experiences, the PCMA-3D
scored significantly higher in the sensation of space (p

Authors

Zechen Wang

University of York

Thursday May 28, 2026 1:30pm - 3:30pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Poster

2:00pm CEST

Florian Camerer: 3D Masterclass

Thursday May 28, 2026 2:00pm - 3:00pm CEST

Aud 31

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

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

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

Speakers

Florian Camerer

Senior Sound Engineer, ORF

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Thursday May 28, 2026 2:00pm - 3:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Masterclass | Perception, Masterclass | Recording Production and Reproduction, Masterclass | Sound Design, Masterclass

Presentation Type Masterclass

2:30pm CEST

EMORSION – Examining the Impact of Audio Features on Emotional Responses; Immersion in Film.

Thursday May 28, 2026 2:30pm - 3:00pm CEST

Aud 43

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.

Authors

Bleiz Macsen Del Sette

Charalampos Saitis

Queen Mary University of London

George Fazekas

Queen Mary University of London

Josh Reiss

Professor, Queen Mary University of London

Josh Reiss is Professor of Audio Engineering with the Centre for Digital Music at Queen Mary University of London. He has published more than 200 scientific papers (including over 50 in premier journals and 6 best paper awards) and co-authored two books. His research has been featured... Read More →

Nelly Garcia

PhD Researcher, Queen Mary University of London

I'm Nelly Garcia.
I'm an engineer in communications and electronics with the specialty in acoustics.
Now, I'm a PhD Researcher at the Centre for Digital Music (C4DM) at Queen Mary University of London.
My main interest is sound design, ways to create sounds from scratch, optimize the workflow of a sound designer and innovative ways to label, categorise or access samples... Read More →

Ruby Crocker

Queen Mary University of London

Thursday May 28, 2026 2:30pm - 3:00pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

3:00pm CEST

Jim and Ulrike Anderson: 3D Masterclass

Thursday May 28, 2026 3:00pm - 4:00pm CEST

Aud 31

Jim and Ulrike have been recording in and for immersive
audio for broadcast, film and audiophile staples for
decades. They specialize in turning traditional acoustic
New York Studio recordings into vast spatial experiences.
The audiences will be experiencing the breathtaking
virtuosity of the likes of Jane Ira Bloom, the Secret Trio,
Donald Vega and large format ensembles under Franco
Ambrosetti and Jim Pugh.

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

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

Speakers

Jim Anderson

Professor, Anderson Audio New York

Jim has been the President of the AES Educational Foundation since 2020 and is a professor of recorded music with the Clive Davis Institute of Recorded Music in the Tisch School of the Arts at New York University. Jim was the Institute’s Chair from 2004 – 2008. A graduate of the... Read More →

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Ulrike Anderson

Anderson Audio New York

Thursday May 28, 2026 3:00pm - 4:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

3:00pm CEST

From Spec to Studio: Immersive Audio Creation and Delivery using Eclipsa Audio

Thursday May 28, 2026 3:00pm - 4:00pm CEST

Aud 49

Eclipsa Audio, based on the Immersive Audio Model and
Format (IAMF) specification developed by members of the
Alliance for Open Media, represents an open and
royalty-free approach to immersive audio creation and
delivery. Eclipsa Audio provides a growing ecosystem for
producing and distributing spatial audio content, with
hardware integration and streaming platform support,
including YouTube, actively being rolled out. This panel
brings together practitioners, researchers, and engineers
directly involved in the development of IAMF and Eclipsa
Audio to inform the audio engineering community about the
current state of the format and its evolving toolkit.
Presenters will provide an overview of the specification's
design principles, discuss the collaborative research and
development effort behind the Open Audio Renderer (OAR) and
Open Audio Codec (OAC), introduce the content creation
tools currently available within the Eclipsa Audio
ecosystem, and propose practical workflows for immersive
audio production and delivery. The session will include
presentations followed by an open discussion addressing
format interoperability, integration with existing
production environments, listener experience
considerations, and future directions for development.
Audience participation is encouraged.

Speakers

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Toni Hirvonen

Researcher, Samsung Research America

Toni Hirvonen studied acoustics at the Helsinki University of Technology (now Aalto University), where he obtained a PhD in audio signal processing and spatial audio. After a position as a Marie Curie fellow, he has worked internationally in the audio industry since 2010. His projects... Read More →

Jani Huoponen

Google, Google LLC

With 25+ years of media industry product development, Jani Huoponen is a seasoned expert in developing cutting-edge audio and video technologies for consumer devices and streaming systems. Joining Google in 2010, he’s served as a product manager across key multimedia initiatives... Read More →

Tomasz Rudzki

University of York

Thursday May 28, 2026 3:00pm - 4:00pm CEST
Aud 49 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Panel

Presentation Type Panel

3:30pm CEST

NAVIQUAL: Creating Spatial Audio Quality Maps for Virtual Live Music Environments

Thursday May 28, 2026 3:30pm - 4:00pm CEST

Aud 43

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.

Authors

Andrew Hines

Carl Timothy Tolentino

University College Dublin

Thursday May 28, 2026 3:30pm - 4:00pm CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture | Perception, Lecture

Presentation Type Lecture

4:00pm CEST

Stefan Bock: 3D Masterclass

Thursday May 28, 2026 4:00pm - 5:00pm CEST

Aud 31

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.

Speakers

Stefan Bock

Managing Director, msm-studios GmbH

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Thursday May 28, 2026 4:00pm - 5:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

9:00am CEST

A method to synchronize dynamic media stream on heterogenous media playback devices

Friday May 29, 2026 9:00am - 9:30am CEST

Aud 44

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.

Authors

Avinash Singh

Samsung Research Institute, Delhi (SRID)

Mohit Singh

Samsung Research Institute, Delhi (SRID)

Natasha Meena

Samsung Research Institute, Delhi (SRID)

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

Friday May 29, 2026 9:00am - 9:30am CEST
Aud 44 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

9:00am CEST

Exploring 2D Ambisonics by Amplitudes; Phases

Friday May 29, 2026 9:00am - 9:30am CEST

Aud 42

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.

Authors

Alain Bonardi

Professor in Computer Science and Music Creation, University of Paris 8

Alain Bonardi is a Professor of Computer Science and Music Creation at Paris 8 University, where he is based in the Music Department and is a member of the Musidanse laboratory.
There, he co-directs the CICM (Center for Research in Computer Science and Music Creation) with Anne... Read More →

André Villa

AxelChemla-Romeu-Santos

University of Paris 8

Emma Frid

University of Paris 8

Paul Goutmann

University of Paris 8

Friday May 29, 2026 9:00am - 9:30am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

9:00am CEST

Altering the Immersive Potential: The Case of the Heilung Concert at Roskilde Festival

Friday May 29, 2026 9:00am - 9:30am CEST

Aud 43

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.

Authors

Birgitte Folmann

Senior Associate Professor, Sonic College

Friday May 29, 2026 9:00am - 9:30am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

9:00am CEST

Student Recording Competition Category 3: Sound for Visual Media

Friday May 29, 2026 9:00am - 10:00am CEST

Aud 31

Join us to hear the finalists selected for this category of
the Student Recording Competition. We will hear their
presentations and recordings, and comments and feedback
from the judges. Award and prize placements will be
announced on the last day of the convention.

Speakers

Niels Böttcher

Sound Designer and more, Floppy Club

20+ years experience in working with sound professionally from many perspectives. My main focus has been on sound design for computer games, toys and other interactive applications. The last couple of years I have also been working in the field of UX sound design for mobility.
I h... Read More →

Ken Candelas

Metal Mastermind®, Metal Mastermind®

New York, NY

Ian Corbett

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

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

Kia Eshghi

CUNY LaGuardia Community College, CUNY LaGuardia Community College

New York City

Friday May 29, 2026 9:00am - 10:00am CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Special Event | Recording Production and Reproduction, Special Event | Sound Design, Special Event

Presentation Type Special Event

9:00am CEST

Immersive Sound Volume II - Authors Table

Friday May 29, 2026 9:00am - 10:30am CEST

Aud 41

As spatial audio moves to a consumer standard, the demand
for sophisticated design frameworks has never been higher.
This panel brings together key contributors from the
recently published "Immersive Sound Volume II: The Design
and Practice of Binaural and Multi-Channel Experiences" to
bridge the gap between theoretical research and real-world
production. The session will explore the recent and
developing trends and practices of immersive audio,
focusing on the core design principles that define modern
binaural and multi-channel workflows. Panelists will
discuss themes from the text, including current guiding
principles and system design, and the creative practice of
building immersive sound experiences. Through a mix of case
studies and technical perspectives, the authors will
provide insights into a roadmap for engineers and creators
looking to master the immersive soundstage.

Speakers

Kimio Hamasaki

President, Artsridge LLC

Lasse Nipkow

CEO, Silent Work LLC

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

Hyunkook Lee

Professor, University of Huddersfield

Professor

Jim Anderson

Professor, Anderson Audio New York

Michael Romanowski

Owner-Head Engineer, Coast Mastering

Charlie Morrow

Tom Ammerman

Rolf Nordahl

Wilfried van Baelen

Agnieszka Roginska

Professor of Music Technology, New York University

Professor of Music Technology

Paul Geluso

Director of the Music Technolo, New York University

Authors

Stefania Serafin

Department of Engineering Technology and Didactics,nTechnical University of Denmark

Friday May 29, 2026 9:00am - 10:30am CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Acoustics of Music Rooms, Panel | Immersive Audio, Panel | Recording Production and Reproduction, Panel | Sound Design, Panel

Presentation Type Panel

9:00am CEST

Use of Headphones in Stereo Mastering and 3D Recording

Friday May 29, 2026 9:00am - 10:30am CEST

Aud 49

Loudspeaker monitoring is the reference when audio
professionals evaluate content. Headphones are also
important quality-checking tools; and many consumers enjoy
music using “close-fitting listening devices”, as all
different flavours of headphones are known in recent
standards writing.

We discuss the two reproduction methods from perceptual,
recording and mastering perspectives; especially
differences in timbre, imaging and auditory envelopment
when listening to stereo. Applications of headphones in
recording, when setting up and trimming stereo or 3D
microphone arrays, are also practically detailed.

In the last part of the workshop, attendees are invited to
personally compare the two domains on the qualities and
applications discussed; with guided listening to audio
examples between a pair of precision nearfield monitors,
Genelec 8351B, and a pair of excellent headphones, Audeze
CRBN2.

Speakers

Stefan Bock

Managing Director, msm-studios GmbH

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Ulrike Anderson

Anderson Audio New York

Chris Berens

Artist and Industry Relations, Audeze

Brand ambassador for Audeze, I love all aspects of audio production and engineering, especially immersive audio!

Friday May 29, 2026 9:00am - 10:30am CEST
Aud 49 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Tutorial

9:30am CEST

Generate 4pi SBA reverberation from virtual sound sources detected from x-y-z sound intensities. -Improvement of the source detection method.

Friday May 29, 2026 9:30am - 10:00am CEST

Aud 42

Generating 4pi acoustical atmosphere of a target space is
important for creating an immersive sound content. A
SBA-based reverb is a useful tool for this purpose. We
developed VSVerb, a SBA reverb that generates 4pi
reverberation from the virtual sound sources detected from
three orthogonal x-y-z sound intensities measured at the
target space. A virtual sound source, also known as a
mirror source, is an acoustic concept in geometrical
acoustics. According to this theory, many virtual sound
sources are considered to be located outside the room;
provide reflection sounds inside the room. Since the
spatial information of virtual sound sources is a kind of
fingerprint of a room’s reverberant characteristics,
correctly sampled virtual sound sources enables us to
recreate room's reverberation precisely.
Several methods have been proposed for detecting virtual
sound sources of a room, i.e., dominant reflection sounds
in a room, by using the spatial room impulse responses
(SRIRs). However, these methods have the disadvantage of
failing to detect small virtual sound sources that provide
late reflections, because they detect sources by focusing
on the peak amplitude values in SRIRs. It is difficult to
distinguish if a small peak in the latter part of SRIR
indicates the reflection or noise component. Additionally,
in low-band analysis, side robes of the band pass filter
add many large peaks to the SRIRs,; they make it
difficult to detect true reflection peaks.
To overcome these disadvantages of the conventional
methods, we developed a method that detects virtual sound
sources without using the amplitude characteristics of
SRIRs. We call this method “Speed Detection.” This method
detects virtual sound sources based on the spatial moving
speed of the sound intensity. Instead of measuring SRIRs of
the sound pressure, we measure SRIRs of x-y-z instantaneous
sound intensities. Since we can assume that the reflection
sound comes from a “certain-sized” virtual sound source
over a “certain period,” the sound intensity provided by
the virtual sound source is considered to remain within a
small area; move slowly while the source emits the
reflection sound. We focused on this behavior of sound
intensities; developed the new detection method.
First, we identify the portions of the sound intensity that
move slowly; isolate them as the “Source intensity.”
Then, we calculate the positions, strengths,; phase
characteristics of the virtual sound sources from these
Source intensities of the x, y,; z directions. We
examined Speed Detection method by generating several types
of 4pi reverbs from the virtual sound sources detected
using this method,; verified that it works well in many
cases. However, we have also found that it does not always
work well. We have realized the necessity of improving the
threshold value for classifying sound intensity into the
source intensity or other.
We have used to classify sound intensities into source
intensities; others by referring a threshold value,
vt=40(1000t+10)^1.5 [m/s], where t indicates the arrival
time [s] of the sound intensity. This equation is based on
our practical experience, rather than scientific facts. It
works well in most cases, but some adjustments are required
in very rare cases. To apply the threshold value to various
acoustical conditions of the target spaces, we propose
switching the threshold value from our conventional
equation to an averaged value using a time-varying time
window. To examine the newly proposed threshold value, we
conducted experiments on detecting virtual sound sources of
a simple rectangular room. The results demonstrated the
validity of the new threshold value. We expect this new
threshold value to improve the sound quality of VSVerb;
V2MA as well.

Authors

Akira Omoto

Kyushu University / ONFUTURE Ltd.

Masataka Nakahara

President / Senior Managing Director, ONFUTURE Ltd. / SONA Corp.

Masataka Nakahara is an acoustician specializing in studio acoustic design and room acoustics R&D. After studying acoustics at the Kyushu Institute of Design, he began his professional career as an acoustic designer at SONA Corporation. He earned his Ph.D. in acoustics from Kyushu... Read More →

Yasuhiko Nagatomo

Evixar Inc.

Friday May 29, 2026 9:30am - 10:00am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

9:30am CEST

Who Controls the Space? Artistic Intent; Sound Diffusion in Immersive Concert Performance

Friday May 29, 2026 9:30am - 10:00am CEST

Aud 43

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.

Authors

Kasper Fangel Skov

Assistant Professor, PhD, Sonic College (UC SYD)

Friday May 29, 2026 9:30am - 10:00am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

10:00am CEST

Introduction to Active Acoustics Systems in Recording Studios

Friday May 29, 2026 10:00am - 11:00am CEST

Aud 31

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.

Speakers

Gianluca Grazioli

Montreal, Canada, McGill University

Friday May 29, 2026 10:00am - 11:00am CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Tutorial

10:30am CEST

Spatial Estimation of Room Acoustic Parameters using Sound Field Reconstruction Methods

Friday May 29, 2026 10:30am - 11:00am CEST

Aud 42

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.

Authors

Antonio Figueroa-Duran

Universidad Politécnica de Madrid

Efren Fernandez-Grande

Universidad Politécnica de Madrid

Friday May 29, 2026 10:30am - 11:00am CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

10:30am CEST

The cognition of sound in museums: Toward a spectrum of meanings

Friday May 29, 2026 10:30am - 11:00am CEST

Aud 43

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.

Authors

alcina cortez

Sound Studies Researcher, INET-md | NOVA University lisbon

A PhD in ethnomusicology and museum studies and a curator, I am committed to exploring the diverse meaning-making capabilities of sound when exhibited in museums, encompassing the representational, emotional, sensorial, and social, as well as its ability to foster imagination and... Read More →

Friday May 29, 2026 10:30am - 11:00am CEST
Aud 43 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

10:30am CEST

Credibilitizing in Immersive Audio: Impact Panel

Friday May 29, 2026 10:30am - 12:00pm CEST

Aud 41

Join leaders in immersive audio who work with affinity
groups: women and miniorities who are building social
capital in audio in unexpected ways. Following the
"Credibilitizing" framework proposed by Dr Leslie
Gaston-Bird, the panel discussions how role models,
networking, and the right kind of mentoring opportunities
are helping people from underrepresented groups upskill,
innovate, and find new purpose and career pathways in
immersive audio.

Speakers

Rebekah Wilson

CEO, Source Elements

As a New Zealand-native living in the northern hemisphere, Rebekah understands very well how important it is to be connected even when separated by oceans; there is no excuse for creativity to suffer just because of where we are in the world. Her background as composer, software and... Read More →

Aline Bruijns

CEO & Sound designer, AudioRally Sounddesign

Aline has a never ending drive to create sound design that enriches a soundtrack and that elevates the story. As a jazz vocalist (and multi-instrumentalist), she obtained her Bachelor’s Degree at the Conservatory in Enschede (the Netherlands) in 2004. She continued at the HKU (school... Read More →

Leslie Gaston-Bird

Audio Engineering Society, City St George's University of London

Dr. Leslie Gaston-Bird (AMPS, MPSE) is Past President of the Audio Engineering Society and author of the books "Women in Audio", part of the AES Presents series and published by Focal Press (Routledge); and Math Fundamentals for Audio (A-R Editions). She is a voting member of the... Read More →

Agnieszka Roginska

Professor of Music Technology, New York University

Professor of Music Technology

Banu Sahin

Founder | Technical Consultant & Application Engineer, Sonostein

Banu Sahin has been involved in a wide range of projects from small-scale venues to large open-air events with a focus on immersive audio applications. She supported various artists and productions through spatial audio system design and operation. She received her M.Sc. in Music... Read More →

Phebean Oluwagbemi

Audio Girl Africa

Friday May 29, 2026 10:30am - 12:00pm CEST
Aud 41 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Panel

Presentation Type Panel

10:30am CEST

What Makes Binaural Audio Truly Immersive?

Friday May 29, 2026 10:30am - 12:00pm CEST

Aud 49

Binaural audio delivered over headphones is currently the
most widely used method for experiencing immersive sound.
However, significant challenges remain in achieving the
highest possible quality of immersive listening through
current binaural delivery systems. Numerous technical
factors influence the listening experience, including the
personalisation of head-related transfer functions (HRTFs),
room simulation, head tracking, headphone type,
equalisation, etc. Beyond these technical considerations,
however, content types, production practices, and user
expectations and preferences also play critical roles in
shaping perceptual outcomes. Binaural audio is often
treated primarily as a post-processing technique for
simulating loudspeaker reproduction. Yet binaural
approaches also offer substantial creative opportunities
when considered from the earliest stages of content
production. This panel workshop will discuss these topics,
bringing together perspectives from creative practice,
research and development. The session will explore how
immersive listening experiences can be more effectively
designed, produced, and evaluated using binaural audio
technologies.

Speakers

Hyunkook Lee

Professor, University of Huddersfield

Professor

Stefan Bock

Managing Director, msm-studios GmbH

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Chris Berens

Artist and Industry Relations, Audeze

Brand ambassador for Audeze, I love all aspects of audio production and engineering, especially immersive audio!

Friday May 29, 2026 10:30am - 12:00pm CEST
Aud 49 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Panel | Recording Production and Reproduction, Panel

Presentation Type Panel

11:00am CEST

Li Dakang: 3D Masterclass

Friday May 29, 2026 11:00am - 12:00pm CEST

Aud 31

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.

Speakers

Hanying Feng

China National Director, Communications University of China

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Friday May 29, 2026 11:00am - 12:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

12:30pm CEST

Perceptual Evaluation of the Open Binaural Renderer

Friday May 29, 2026 12:30pm - 1:00pm CEST

Aud 42

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.

Authors

Felicia Lim

Google LLC

Gavin Kearney

Professor of Audio Engineering, University of York

Gavin Kearney graduated from Dublin Institute of Technology in 2002 with an Honors degree in Electronic Engineering and has since obtained MSc and PhD degrees in Audio Signal Processing from Trinity College Dublin. He joined the University of York as Lecturer in Sound Design in January... Read More →

Jan Skoglund

Google, Google

Jani Huoponen

Google, Google LLC

Katarzyna Sochaczewska

Immersive Music Producer, Researcher, University of York

Tomasz Rudzki

University of York

Friday May 29, 2026 12:30pm - 1:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture | Perception, Lecture

Presentation Type Lecture

12:30pm CEST

Morten Lindberg: 3D Masterclass

Friday May 29, 2026 12:30pm - 1:30pm CEST

Aud 31

Morten describes his excellent recording techniques, and
attendees are treated to
a unique selection of high resolution 3D music listening
examples.

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.

Speakers

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Friday May 29, 2026 12:30pm - 1:30pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

1:00pm CEST

Gaussian Splatting-Based Head; Pinna Reconstruction for Individualized HRTF Computation from Commodity Multi-View Images

Friday May 29, 2026 1:00pm - 1:30pm CEST

Aud 42

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.

Authors

Houlin Zhu

Peking University

Tianshu Qu

Peking University

Xihong Wu

Peking University

Friday May 29, 2026 1:00pm - 1:30pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

1:00pm CEST

A Psychoacoustic Framework for In-Vehicle Audio-Light Mapping

Friday May 29, 2026 1:00pm - 3:00pm CEST

Foyer Building 303A

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.

Authors

Kangwei Wang

Acoustic System Engineer, GoerDynamics Lab2

Friday May 29, 2026 1:00pm - 3:00pm CEST
Foyer Building 303A Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Poster | Immersive Audio, Poster | Perception, Poster

Presentation Type Poster

1:30pm CEST

An Extended Multichannel Frequency-Domain FxLMS Algorithm for Real-Time Full-Band Adaptive Transaural Reproduction

Friday May 29, 2026 1:30pm - 2:00pm CEST

Aud 44

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.

Authors

Alexis Rigaud

LMFA

Pierre Lecomte

LMFA

Thomas Fouchard

LMFA

Friday May 29, 2026 1:30pm - 2:00pm CEST
Aud 44 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Processing, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

1:30pm CEST

A Perceptual Evaluation Method for Binaural Rendering Algorithms via Minimum Audible Angle Measurements

Friday May 29, 2026 1:30pm - 2:00pm CEST

Aud 42

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.

Authors

Houlin Zhu

Peking University

Tianshu Qu

Peking University

Xihong Wu

Peking University

Yufan Qian

Peking University

Friday May 29, 2026 1:30pm - 2:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture | Perception, Lecture

Presentation Type Lecture

1:30pm CEST

Richard King: 3D Masterclass

Friday May 29, 2026 1:30pm - 2:30pm CEST

Aud 31

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.

Speakers

Richard King

McGill University, McGill University

Montreal

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

Friday May 29, 2026 1:30pm - 2:30pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Masterclass

2:00pm CEST

Toward an improved auditory model for predicting binaural coloration

Friday May 29, 2026 2:00pm - 2:30pm CEST

Aud 42

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.

Authors

Fabian Brinkmann

Thomas McKenzie

Lecturer in Acoustics, University of Edinburgh

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

Friday May 29, 2026 2:00pm - 2:30pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Immersive Audio, Lecture

Presentation Type Lecture

2:30pm CEST

Exploring Rendering Variability in Next-Generation Audio Reproduction

Friday May 29, 2026 2:30pm - 3:00pm CEST

Aud 42

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.

Authors

Ema Souza-Blanes

Samsung Research America

Phill Williams

Netflix

Toni Hirvonen

Researcher, Samsung Research America

Wonbeen Jo

Samsung Research

Yongmin Kwon

Samsung Research

Friday May 29, 2026 2:30pm - 3:00pm CEST
Aud 42 Technical University of Denmark Asmussens Alle, Building 303A DK-2800 Kgs. Lyngby Denmark

Audio Applications and Technologies, Lecture | Immersive Audio, Lecture | Perception, Lecture | Recording Production and Reproduction, Lecture

Presentation Type Lecture

2:30pm CEST

Immersive Underwater Audio Capture Using a Wideband Spatial Hydrophone Array

Friday May 29, 2026 2:30pm - 3:00pm CEST

Aud 31

Immersive audio continues to expand beyond traditional
studio; terrestrial field-recording environments, yet
underwater soundscapes—particularly those involving marine
mammals—remain largely documented in mono or stereo
formats. This paper presents a practical; low-cost
approach for capturing immersive underwater audio using a
newly developed wideband hydrophone; a multichannel
array optimized for marine environments. The hydrophones,
designed by the author, feature a low noise floor, extended
frequency response exceeding 100 kHz,; direct
compatibility with standard P48 phantom-powered audio
recorders, enabling deployment without specialized
underwater preamplifiers or power systems.

To translate established immersive recording techniques
into the ocean environment, an array architecture was
developed based on a compact eight-element cube geometry.
Two array variants were constructed to account for the
significantly higher speed of sound in water compared to
air, allowing the spatial characteristics of underwater
sources to be captured with appropriate inter-element
spacing. Field recordings were conducted off the coast of
Hawaii in January during the peak season for humpback whale
song. Recordings were made at multiple depths; positions
to explore variations in reverberation, propagation,;
ambient biological activity.

Preliminary results indicate that the system captures
detailed spatial cues from humpback whale vocalizations
while simultaneously preserving the rich ambient marine
soundscape. The extended ultrasonic response further allows
slowed or pitch-shifted playback to reveal fine temporal
structures not typically audible. This work demonstrates a
feasible method for immersive underwater recording;
provides a foundation for both scientific research;
creative content production.

Authors

Jules Ryckebusch

Sound Sleuth, Sound Sleuth

Jules career with audio and electronics started early. At 16 he built an analog synthesizer from a PAiA kit. While still in high school, he designed and built a mixing board then started doing sound for local bands.
Jules went to college, studied physics, and then joined the US Navy where he spent 20 years as a nuclear submariner. In between submarines, he was an instructor at the Naval Nuclear Power School in Orlando, Florida. He taught Reactor Kinetics by day, and spent many a night in local... Read More →

Friday May 29, 2026 2:30pm - 3:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

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

Presentation Type Lecture

3:00pm CEST

'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

Friday May 29, 2026 3:00pm - 4:00pm CEST

Aud 31

‘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.

Speakers

Daniel Jones

Distinguished Audio Research Engineer, University of Iceland

I am an artist and researcher based in South London, interested in algorithmic composition, sonification, systems music, sound installations, and spatial audio. As part of my work, I develop a series of open-source frameworks for making music with Python, all available on GitHub... Read More →

Mikołaj Tchórzewski

Creative Spatial Audio Implementation Specialist, VizAion Immersive

MIKO (Mikołaj Tchórzewski) is a interdisciplinary artist with a main focus on spatial audio and sound art. Based in London his work, shaped by experiences from backpacking across different countries and cultures, explores the subjects of sound, space and collective psychology within... Read More →

Adilei Ensemble

Friday May 29, 2026 3:00pm - 4:00pm CEST
Aud 31 Technical University of Denmark Asmussens Alle, Building 306 DK-2800 Kgs. Lyngby Denmark

AI and Machine Learning in Audio, Special Event | Cross-Disciplinary Sound Studies, Special Event | Immersive Audio, Special Event | Recording Production and Reproduction, Special Event | Sound Design, Special Event

Presentation Type Special Event

9:00am CEST

Augmented Ubiquity - A fully volumetric music composition for VR

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

Aud 42

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

Authors

Benedikt Samuel Jäger

Kreativinstitut.OWL | Detmold Music University

Lou Kilger

Kreativinstitut.OWL | Detmold Music University

Manuel Steitz

Wunderkammer Visual Engineering

Pablo Dawson

Wunderkammer Visual Engineering; CENIA

Sascha Armin Etezazi

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

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

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

Presentation Type Lecture

9:00am CEST

Creating Emotional Space with Layered Sounds in 3D Audio

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

Aud 31

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

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

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

Speakers

Lasse Nipkow

CEO, Silent Work LLC

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

Immersive Audio, Tutorial | Recording Production and Reproduction, Tutorial

Presentation Type Tutorial

9:00am CEST

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

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

Foyer Building 303A

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

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

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

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

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

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

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

Authors

Bartlomiej Mroz

Assistant Professor, Gdańsk University of Technology

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

Szymon Zaporowski

Gdańsk University of Technology

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

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

Presentation Type Poster

9:30am CEST

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

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

Aud 42

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

Authors

Luca Frigo

Conservatorio G. Nicolini Piacenza

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

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

Presentation Type Lecture

10:00am CEST

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

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

Aud 42

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

Speakers

Filippo Fazi

Chief Scientist, Audioscenic

Authors

Filippo Fazi

Chief Scientist, Audioscenic

Francesco Veronesi

University of Southampton

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

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

Presentation Type Lecture

10:00am CEST

Kimio Hamasaki: 3D Masterclass

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

Aud 31

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

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

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

Speakers

Kimio Hamasaki

President, Artsridge LLC

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

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

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

Presentation Type Masterclass

10:00am CEST

Creating immersion without discrete channels: A Binaural-centric approach

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

Aud 41

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

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

Speakers

Natalia Mamcarczyk

Audioscenic Ltd

Jake Hollebon

Audioscenic Ltd

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

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

Presentation Type Tutorial

10:00am CEST

What Are You Doing With That Compressor?

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

Aud 44

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

Speakers

George Massenburg

Associate Professor of Sound Recording, Massenburg Design Works

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

Richard King

McGill University, McGill University

Montreal

Stefan Bock

Managing Director, msm-studios GmbH

Margaret Luthar

Dark Sky Mastering

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

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

Presentation Type Panel

10:30am CEST

Room Measurement Based Calibration of MPEG-I Tracked Loudspeaker Rendering

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

Aud 42

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

Authors

Christof Faller

Illusonic GmbH

Juergen Herre

International Audio Laboratories Erlangen

Markus Schmidt

Sascha Disch

Fraunhofer IIS, Fraunhofer IIS

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

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

Audio Applications and Technologies, Lecture | Immersive Audio, Lecture

Presentation Type Lecture

11:00am CEST

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

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

Aud 42

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

Authors

Eve Klein

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

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

Neil Hillman

The Audio Suite

Nilufar Baghaei

The University of Queensland, School of ElectricalnEngineering and Computer Science

Peter Kurucz

The University of Queensland, School of ElectricalnEngineering and Computer Science

Stefania Serafin

Department of Engineering Technology and Didactics,nTechnical University of Denmark

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

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

Presentation Type Lecture

11:00am CEST

Head-tracking for spatial audio reproduction using loudspeaker arrays

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

Aud 41

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

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

Speakers

Filippo Fazi

Chief Scientist, Audioscenic

Jago Reed-Jones

R&D Engineer, Audioscenic

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

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

Immersive Audio, Tutorial

Presentation Type Tutorial

11:00am CEST

The Chopin Residue Project

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

Aud 31

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

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

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

Speakers

Morten Lindberg

Engineer and Producer, 2L (Lindberg Lyd)

Mariusz Szypura

composer, multi-instrumentalist, producer, and visual artist

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

Jacek Gawlowski

Michael Romanowski

Owner-Head Engineer, Coast Mastering

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

Immersive Audio, Masterclass

Presentation Type Masterclass

11:30am CEST

Intelligent Audio personalization for Enhanced user experience

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

Aud 42

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

Authors

Avinash Singh

Samsung Research Institute, Delhi (SRID)

Hemanshu Srivastava

Natasha Meena

Samsung Research Institute, Delhi (SRID)

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

Sumit Panwar

Samsung Research Institute, Delhi (SRID)

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

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

Presentation Type Lecture

12:30pm CEST

George Massenburg: 3D Masterclass

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

Aud 31

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

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

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

Speakers

George Massenburg

Associate Professor of Sound Recording, Massenburg Design Works

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

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

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

Presentation Type Masterclass

12:30pm CEST

Building A Personal Immersive Studio

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

Aud 44

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

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

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

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

Immersive mix examples will be demonstrated.

Speakers

Jeff Levison

self

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

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

Presentation Type Tutorial

1:30pm CEST

Hyunkook Lee: Enveloping Masterclass

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

Aud 31

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

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

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

Speakers

Hyunkook Lee

Professor, University of Huddersfield

Professor

Thomas Lund

Genelec Oy, Genelec Oy

Denmark

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

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

Presentation Type Masterclass