In this episode of The Immersive Audio Podcast, host Oliver is joined by Darren Emerson who is producer, director and co-founder of VR City and East City Films.
Recorded in Christmas 2018, during the production of interactive documentary ‘Common Ground’, which recently had its World Premiere at the Tribeca Film Festival 2019, Darren discusses the challenges of devising engaging and innovated work and what it takes to push the medium forward in a highly competitive industry. He talks to us about his journey into VR, his earlier VR documentaries “Indefinite” and “Witness 360:7/7”, and the challenges of running a business.
We also learn about how funding has developed for creatives and how the availability of financial support is helping to expand and grow the industry, enabling people to use new technology to be able to break rules and to push the boundaries, creating new and exciting ways of storytelling.
For this episode of the Immersive Audio Podcast, Oliver Kadel is joined by Sofia Brazzola, the User Experience Manager with the AMBEO team based at Sennheiser.
Sofia holds a Master in Design with a focus on Research and Visual Communication, and in her professional experience at Sennheiser has honed music and technology innovation expertise. Sofia is the User Experience Manager at Sennheiser’s AMBEO team, where she leads user-centric research to validate and develop new solutions for a range of 3D audio applications.
As part of the R&D team who developed the “AMBEO VR Mic”, she launched Sennheiser’s first early-adopters program by engaging with a community of beta-testers and content creators. She is currently leading Sennheiser’s Augmented Audio Developers Program, where early-adopters engagement, user-centric innovation and strategic marketing play another important role in AMBEO’s thought-leadership in AR audio.
Today, Oliver and Sofia discuss the role of the AMBEO team, Sennheiser’s AMBEO line of products, and the Augmented Audio Developers Program.
In this episode, we bring you the highlights from the “Audio Design for Mixed Reality Applications” panel hosted by Sennheiser during the Game Developers Conference last week in San Francisco.
The panel featured Jean-Marc Jot, a Distinguished Fellow with Magic Leap, Gio Jacuzzi, a 3D Audio Software Engineer with the Sennheiser AMBEO Team, Jack Daniel Gerrard, the Head of Sound at 1RIC, and Orfeas Boteas, the Founder and CEO of Krotos. The panel was moderated by Oliver Kadel, Co-founder and Audio Lead of 1.618 Digital
The panel discussed the latest tools and the workflow for sound design for mixed reality as well as challenges and innovations that are shaping the future of the immersive audio industry.
Sennheiser
For the last 70 years, Sennheiser has been working to shape the future of the audio industry through the establishment and development of trends.
Today, Sennheiser produces the world’s finest headphones, microphones, wireless systems, and broadcast headsets for artists, disc jockeys, scientists, sound technicians, and demanding music-lovers.
The Sennheiser AMBEO Augmented Audio creates a truly immersive and compelling journey, by augmenting what you hear in addition to what you see. This work pushes the boundaries of spatial audio with the mission to create compelling audible AR experiences by blending virtual 3D sound with the real acoustic world.
AMBEO is Sennheiser’s program and trademark for truly immersive 3D audio, designed to create sound experiences with an incredibly high emotional impact. The program will cover products and technologies for the entire audio signal chain, from capture to mixing and processing to reproduction.
AMBEO operates with a height elevation that gives audio back its natural three-dimensional character, creating a totally new experience that is set to change music and sound forever. AMBEO products are consistently developed with an early involvement of users, producers, content providers and technology partners across the globe, creating tools that not only match their demands but also shape the future of audio.
The Game Developers Conference (GDC) is the world’s largest professional game industry event, bringing together 28,000 attendees to exchange ideas and shape the future of the industry with five days of education, inspiration, and networking. Attendees include programmers, artists, producers, game designers, audio professionals, business decision-makers and others involved in the development of interactive games and immersive experiences.
Oliver Kadel – Moderator (Co-Founder /Audio Lead, 1.618 Digital)
Oliver Kadel is an award-winning audio engineer and sound designer based in London. In 2014, Oliver founded the immersive audio production collective 1.618 Digital. Oliver and his team of talented audio architects have produced over 100 immersive projects including branded content, films, music projects, games, immersive installations, experiences and charity work stretching across the globe, in Africa, Latin America, the Middle East and Europe. In 2018, Oliver launched the Immersive Audio Podcast which hosts industry experts and influential guests discussing all areas of immersive audio and the XR industry. The podcast has been highly commended as a valuable source of information for industry professionals and continues to grow its audience globally. More recently Oliver took on a new lecturing position, teaching Immersive Audio to Masters students at the University of West London.
Dr. Jean-Marc Jot joined Magic Leap to start up its audio algorithms team. Prior to this, Jot led DTS audio processing R&D and innovation. He had also led the development of SoundBlaster audio processing algorithms and architectures, including EAX and OpenAL technologies for game 3D audio authoring and rendering. Before relocating to California in the late 90s, he conducted research at IRCAM in Paris, where he designed the Spat software suite for spatial audio creation, performance and virtual reality.
Gio Jacuzzi is a 3D audio software engineer and experience designer for Sennheiser’s AMBEO innovation team, located in both San Francisco, California and Zurich, Switzerland. His research focuses on the integration of spatial audio technologies with XR applications, and he’s particularly interested in the potential for nonlinear and interactive music experiences in mixed reality. Gio currently leads the development of the AMBEO Lab application for Magic Leap and has contributed to the creation of Sennheiser’s spatial audio software suite and AMBEO AR One earphones.
Orfeas Boteas is the founder and CEO of Krotos. Krotos develops innovative audio software that fundamentally improves the way sound is made and performed. Their software is used by top studios in award-winning Films, TV, Games, Music, Augmented Reality and Virtual Reality applications such as the Avengers, Game of Thrones, Stranger Things, Jungle Book, Far Cry, Microsoft Hololens, and Life of Us VR. With years of experience in the entertainment industry, Orfeas holds a BSc in Music Technology and Acoustics including an MSc in Sound Design. Before starting Krotos, he also worked in audio post production and location recording for commercials, documentaries and TV Shows.
Jack Daniel Gerrard is an AR developer and the head of sound for 1RIC Studios. Jack focuses on narrative AR and believes spatial sound to be an even more crucial element to the medium than in traditional film. His work includes original score and sound design for Terminal 3, which premiered at the Tribeca Film Festival 2018, and A Jester’s Tale which was called “The best AR experience at Sundance” by The Verge.
This episode was produced by Oliver Kadel and Kaelyn Tindall with help from the Sennheiser team and included music by Knobs Bergamo.
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For this episode of the Immersive Audio Podcast, Oliver Kadel is joined via Skype by Dave Malham, ambisonics researcher, retired Experimental Officer at the University of York and half of the team behind the FuMa format.
Dave Malham’s professional interests are in digital audio and related computing systems, post-stereo multidimensional sound projection systems such as ambisonics, electroacoustic music and recording engineering. He worked in the Department of Music from 1973 to 2012 and was Experimental Officer in the Music Research Centre with special responsibility for the Music Technology Group, which he helped found in 1986.
During the 1980s he was responsible for the hardware and low level software that enabled the Composers Desktop Project computer music system to be realised on Atari ST computers. He developed this into the Audio Design SoundMaestro digital audio editing system.
Since then he has been responsible for the design of the Focusrite Blue245 20 bit, the Audio design PB4 18 bit and PB4+ 24bit stereo audio ADCs, as well as the microcontrollers, sensors and RF link technologies for the RIMM project and the hardware for Craig Vear’s “Singing, Ringing Buoy” project. He has written a number of VST plugins for ambisonic processing, the “MRC Stereometer” which implements Bob Katz’s K-system metering system as a VST plugin and, with Matt Paradis, the “ambilib” ambisonic processing library for PD as well as Max/MSP.
His research relates to digital audio, signal preservation, sound spatialisation and recording techniques. He has engineered 18 LPs and CDs and has edited several others. His research topics include advanced sound spatialisation technologies, the applications of spatialisation systems in musical composition and the development of sensing devices for musical performance applications. He has been an Audio Engineering Society member since 1975 and he has a patent, WO02085068, for the Ambisonic Sound Object Format.
Today, Oliver and Dave discuss the impact that Malham has had on the Immersive Audio industry we know today, audio production in the 70s and 80s, and the advancements of ambisonics into the digital era.
This episode was produced by Abbigayle Bircham, Gillian Duffy, Oliver Kadel, Felix Thompson and included music by Knobs Bergamo.
If you can, head to our page on iTunes and leave us a review and rating – it really helps us out in pushing our show further! The podcast is also available on Soundcloud and Stitcher.
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For this episode of the Immersive Audio Podcast, our team Oliver Kadel and Felix Thompson bring you the highlights from Immerse(d) event in London, bringing you interviews with some of the main speakers and other guests from the day.
Having already held events in Los Angeles and Montreal, Subpac’s event series headed to Ravensbourne University in South East London last weekend.
These meetings have brought together artists, scientists, practitioners and technologists, to explore how deep immersive sound and music are changing society.
There were several panels throughout the day, which looked at the deep cultural roots of bass in British Afro-Caribbean culture, and concepts such as how sound can be used to improve health and mindfulness.
There were several installations too. Guests were able to try out immersive experiences such as “Internal Garden”. By putting on a SUBPAC and headphones, users were able to hear and feel signals from plants.
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Shownotes
James Edward Marks
James E. Marks is an experimental new media provocateur. He is a creator of award-winning social video edutainment, and maker of immersive mixed and virtual reality experiences. With over 20 years of hands-on collaborations with alternative, pop culture branded and unbranded entertainment, James is Co-Founder & Chief Marketing Officer for DoubleMe, a Silicon Valley transformative tech start-up that’s pushing the boundaries of holographic mixed reality. He is also the founder of PsychFi Lab & Hackstock Festival. At PsychFi, he collaborates with the biggest social video & moving image artists, exploring immersive tech, psychology, psychedelia, sci-fi and pop culture.
Gary Pritchard is the Dean of the School of Media at Ravensbourne University. Ravensbourne is an innovative, industry-focused college based in Greenwich, that prepares students for careers in digital media and design.
Prior to his role at Ravensbourne University, he has significant experience at executive level in the both state and private education sectors and in commercial environments.
As Director of Talent at Forward 3D – a global digital marketing agency – Gary helped develop their leadership and development programme.
Steve Snooks is a sound designer and artist. Snooks runs an indie record label and dj sound system music and works at SubPac where he is involved with Partnership Development and Sales in Europe.
Magic beans is an immersive-audio startup that was founded by 3D audio pioneers Gareth Llewellyn and Jon Oliver. It maps high-definition spatial audio into the world around you – creating new kinds of mixed reality audio experience for brands, artists and visitor attractions.
Magic Beans work includes helping to create DotDotDot’s groundbreaking immersive theatre experience SOMNAI, while Gareth and Jon were the sound team behind The Philharmonia Orchestra’s acclaimed VR Sound Stage. Premiering in April at SXSW 2018 it went onto receive Royal approval from Prince William.
Earlier in their careers, Gareth and Jon were pioneers in 3D audio for cinema, mixing the world’s first immersive feature ‘Red Tails’ – in partnership with Skywalker Sound and LucasFilm.
Justin Wiggan is an artist who has worked in a variety of mediums, including sound, phonics, film and performance. His exhibitions have been displayed around the world, and at the Immerse(d) event was demonstrating his latest project – “Internal Garden: Life of Plants”. By using SUBPAC technology and headphones, Justin offers users an immersive experience that lets them feel and hear plant signals.
Lena has 17 years of hearing therapy experience. Drawing on her own background of hearing difficulties, she aims to help other adults with hearing loss to better understand and manage their conditions. She completed her training at Bristol University and the Royal National Throat Nose and Ear Hospital in 2004 and is a member of the Registration Council for Clinical Physiologists. Over the years Lena has held several clinical posts. These have included setting up the first Hearing Therapy service in Hertfordshire and working as an Advanced Hearing Therapist for 6 years at the Royal National Throat Nose and Ear Hospital.
From his work as an International DJ to his current role as a sound architect, Tom Middleton has spent decades working in audio. Tom started his professional career as an Electronic Neo-Classical Composer and international touring DJ and Artist – sharing stages with the likes of Lady Gaga and Kanye West. Today, he designs psychoacoustic soundtracks and soundscapes for major brands and organisations. His audio sensory company SONUX aim to help global firms reduce stress, improve sleep, boost productivity, increase resilience and enhance performance.
Ari Peralta is the CEO and Founder of Arigami, a company that uses cutting edge neuroscience research into multi-sensory perception to help brands leave a lasting impression on consumers. Ari began his career at Nielsen Media Research, and has since become a Forbes recognized innovator and serial entrepreneur. Through his company Arigami, Ari now focuses on building the connection between multisensory cues, emotions and memory.
For this episode of the Immersive Audio Podcast, Oliver Kadel is joined via Skype by Adam Levenson, the Vice President of Business Development at Gaudio Lab.
Based in Seoul, Gaudio Lab develops audio technology solutions for VR and streaming media including the Sol VR360 SDK and the Sol Loudness SDK available for licensing now. Working with the likes of Honda Innovation and Naver Corporation, Gaudio Lab received the “Innovative VR Company of the Year” award from the AMD Studios VR Awards in 2017.
Adam Levenson has 25 years of experience in audio production and technology. During his tenure as Senior Director at Activision, Adam established the Central Audio team supporting work on major franchises such as Call of Duty, Skylanders, James Bond, Spider-Man, and Transformers. He’s since worked in high-level positions at companies like Somatone Interactive, CRI Middleware, and Krotos.
On this episode, Oliver and Adam discuss the topics of loudness, audio quality in streaming and standards for creators.
This week on the Immersive Audio Podcast, Oliver is joined by Dr Alex Southern, a Principal Consultant and the Auralisation Lead for the engineering and construction consultancy company AECOM.
Alex is also a former Royal Society Industry Fellow and the most recent winner of the Institute of Acoustics Young Person Innovation Award in Acoustical Engineering for his work in Auralisation as well as recently winning an award for his work on the A303 Stonehenge project.
Today, Oliver and Alex cover the topics of the role of audio in architecture and engineering, auralisation for civil-engineering projects, and how academia and research drive the future of audio in engineering, and the challenges within the Acoustics Industry.
In this episode of the Immersive Audio Podcast, host Oliver Kadel is joined in the studio with Thomas Winsor, Pip Brignall and Kudzi Chiwawa – the crew of the startup VR filmmaking company, Reality Check Productions. Tom Winsor founded Reality Check Productions after first being introduced to VR in 2016, bringing in Kudzi and Pip as the writer and producer respectively in their first project as a company, MacbethVR, a cinematic VR adaption of the famous Shakespearean play.
Thomas is co-founder and Creative Director of Reality Check Productions. Prior to his work in immersive mediums, Thomas worked on site specific classical and immersive theatre experiences. He was Screenwriter and Assistant Director on ‘Lapse’, a Cinematic VR experience produced by Eastbound VR and most recently worked with Yuecheng Technology in Beijing as a consulting VR/AR creative. Alongside Macbeth VR, Thomas and Pip continue to develop a slate of mind bending immersive projects and explore the use cases of advanced tech in live performance.
Pip Brignall is co-founder and Creative Producer of Reality Check Productions. He has worked extensively in theatre, as Artistic Producer of Scena Mundi Theatre Company, producing large-scale site-specific productions of classical dramas in historic buildings, and Associate Producer of Anonymous is a Woman Theatre Company, developing and producing immersive feminist theatre for rural audiences across the UK.
Today, Oliver and the Reality Check team discuss the development of MacbethVR, interpreting and adapting Shakespeare to new media as well as collaborating with partners and difficulties with securing funding.
For this episode, Oliver is joined via Skype by Will Buchanan, Director of RPPTV. Starting out recording his own music for his band, Will picked up a part-time job in a recording studio whilst studying Astrophysics at the Queen Mary University of London, juggling both personal and client work. He soon moved into becoming a Music Producer for a short time before moving into producing music videos and films as well, eventually landing him the role as Director at RPPTV.
RPPTV develops simple to use media production tools, recently focusing on audio production to support creators. Working closely with experts and academics, they aim to create groundbreaking technology to take the next steps into the future of audio production. They’ve worked with the likes of Innovate UK, Salsa Sound and Mixed Immersion, as well as a variety of educational institutions such as the University of York, the University of Surrey and the University of Salford in Manchester.
Today, Oliver and Will discuss Immersive Audio in the music and film industries, the ASSIGN project and procedural audio, as well as engaging academic research in the creative processes to make more innovative products.
Today, Oliver was joined in studio by Dr. Gavin Kearney, Senior Lecturer in Audio and Music Technology at the University of York. Gavin received an honours degree in electronic engineering from Dublin Institute of Technology, in 2002 and M.Sc. and Ph.D. degrees in audio signal processing from Trinity College Dublin in 2006 and 2010 respectively. He subsequently worked as a Postdoctoral Research Fellow on game audio, while lecturing on the Interactive Digital Systems and Music and Media Technology masters courses at Trinity College Dublin.
He was appointed Lecturer in sound design at the Department of Theatre, Film, and Television at the University of York in January 2011 where he currently teaches both bachelors and masters level courses on spatial audio and surround sound, audio engineering and sound production and postproduction methods. Gavin also continues to work in the audio industry as a sound engineer and designer.
In this episode, Gavin focuses on ongoing research, industry practice standards and enhancing audio description.
Audio extracts are taken from the first-person drama Pearl, a film produced at the University of York with Binaural enhanced audio, and a music recording session from Abbey Road Studios featuring Nova Neon.
