April 23, 2013 | 4:00pm - Pablo Espinosa from Meyer Sound speaks about linear systems during Sound:Check Xpo. Registration required through AES

A discussion of power for live events where the panelists will focus on practical considerations. Power for modern amplifiers – how much is really needed? Power factor of loads – real power, reactive power, why this matters. Non-linear loads and harmonics. High-quality audio systems co-existing with theatrical lighting, rigging, video, catering and cooling – Electromagnetic Compatibility in the real world. Safety and regulatory issues. Panelists: Steve Bush, Meyer Sound Labs, Inc. Marc Kellom, Crown Audio, Inc.

Modern-day data-acquisition techniques allow the gathering of high-resolution polar data to assess the detailed performance of loudspeakers. While these techniques are now common in laboratory and engineering laboratories, they can also be used for acoustic investigation into the in-situ performance of loudspeakers. This paper uses modern high-resolution data acquisition techniques and analysis tools to investigate the complexity of the interaction between a loudspeaker and the screen in a cinema presentation environment. A discussion is presented which explores the effects of three types of screen materials on loudspeaker frequency responses and radiation patterns. These screen effects are explored using a range of loudspeaker-screen distances found in typical cinemas. The impact of the screen on patron listening experience is examined and also in relation to the standards for system response set out in ST-202.

Demo Room Neopolitan I

Alternative applications for the use of electro-acoustic technology. Presented by John Pellowe.

John Pellowe of Meyer Sound will demonstrate the use and effect of an electro-acoustic enhancement system, used to change the acoustic environment of the conference space from the base case suitable for lectures and papers up to spaces suitable for solo and ensemble music of various styles. There will be audience participation in all senses, including a chance to operate the acoustic parameters of the system. At the end of the session, and into the evening, anyone will be welcome to bring along musical instruments to play in the acoustic of their choosing. It should be amazing!

November 12, 3:30 PM | Sommertheater

Daily | Small Seminar Room

Conrad Prebys music center at the University of California, San Diego has the last concert hall designed by Cyril Harris, a lecture/recital hall, rehearsal rooms, and an experimental music room incorporating an active acoustic system. All of these are well isolated from each other as well as from the noise of passing busses on the adjoining street and aircraft noise from the nearby Marine Corp Air Station.

Orchestra shells are often loud places. So much so that some orchestras have instituted noise monitoring and select their repertoire to limit noise exposure. Orchestra shells are loud places because they are surrounded on five out of six sides by nearby hard reflecting surfaces. This also means that the orchestra only experiences reverberation coming from the direction of the house. Active Acoustics offers an alternative to physical orchestra shells which is more light-weight and offers more flexible acoustical performance including enveloping reverberation for performers. Presented by Roger Schwenke

We call building materials "acoustic treatment" when they change the response of a room to sounds that occur in it. Absorption reduces the reverberation time of a room as well as Strength. Reverberant Chambers increase the cubic volume of the room and increase the reverberation time without significantly changing the Strength. Diffusion changes the distribution of reflections in time and level. Electro-Acoustic systems using microphones, signal processors, and speakers can also be used to change the response of a room to the sounds that occur in it. This paper will illustrate the many ways that Electro-Acoustics can be thought of as an active acoustic treatment - one of the many acoustic treatments acousticians have in their palette to achieve their design goals. Presented by Roger Schwenke

Paper reviews physiological and psycho-Acoustic factors which influence choice of analysis time and bandwidth for cinema sound system measurements. Perceived pitch is proportional to the percentage change in frequency. Perceived loudness of a tone is proportional to its duration, until a saturation time is reached. The higher the frequency, the shorter the duration needed to achieve saturation. These perceptions can be correlated with measurements of nerve impulses from auditory hair cells To have high resolution in frequency, one must use a long analysis time. To have high resolution in time, one must analyze a wide frequency bandwidth. To measure perceptually relevant phenomena, a multi-resolution approach is needed. At low frequencies, constant fractional bandwidth and longer loudness integration time means high resolution in frequency and long analysis time is appropriate. At high frequencies, constant fractional bandwidth and shorter loudness integration time means lower frequency resolution and shorter analysis time is appropriate. -- Presented by Roger Schwenke, Ph.D.

Working With the New IEEE Audio Video Bridging Network Standards and Linux | The new IEEE-802.1AS, IEEE-802.1Q-2011, IEEE-1722, IEEE-P1722.1 and IEEE-1733 AVB networking standards for low latency, accurate audio and video networking require special consideration in network bridge design, Linux kernel development and Linux user space programs. An overview of how these standards work together will be given. Current approaches to implementations of these protocols in Linux devices will be presented. Possible future directions of network driver, audio driver, timing subsystems and user space will be discussed. The audience for this presentation is: Technical people interested in AVB including Linux kernel networking/audio/video developers and Linux userspace developers. They can expect to gain a deeper knowledge of how networking is advancing for time sensitive streams and how Linux can change to be able to take full advantage of these new standards. Presented by Jeff Koftinoff

Visit www.infocommshow.org and get a free exhibits only pass using VIP code MEY0270

CASE STUDY: King Abdullah University of Science and Technology - Developing New Ways to Visualise and Auralise Complex Data Sets in Immersive Environments (Presented by Steve Ellison)

Register for a free pass using code 705114

Featuring Meyer Sound systems in the entire festival!

AVB (Audio/Video Bridging) Seminar:
The future of standards-based A/V networking
In English - November 17th at 10:00am
In Mandarin - November 17th at 12:00pm

Experience Meyer Sound's Constellation on ATL's booth at InterBEE.

IEEE 802.1 Audio/Video Bridging (AVB):
The future of standards-based A/V networking
with Jerry Placken
Nov. 5, 2:30 PM

Audio Network Control Protocols
with Jeff Koftinoff
Nov. 5, 4:30 PM

Subwoofer Directionality
with Steve Bush
Nov. 6, 9:00 AM

San Francisco Live Sound in the '70s
with John Meyer
Nov. 6, 4:30 PM

Electroacoustic Enhancement Systems:
LARES, Constellation, AFS, SIAP
with Roger Schwenke
Nov. 7, 9:00 AM

Register for your free VIP Exhibits Only Pass!

Register for your free VIP Exhibits Only Pass!

Conference Dates: June 15 - 21

Conference Dates: March 13 - 17

Register For a Free Pass
Invitation Code: 941269

Outdoor Stage C Complimentary
Guest Pass

Click for VIP Pass
Technical Program Oct. 5th-8th

Demo Room S230

Meyer Sound is a proud sponsor of the 2005 TEC Awards

The RMS Queen Mary

Parking lot behind Sands Convention Center