Immersive Audio Podcast

Today Oliver is joined in the studio by Professor Damian Murphy. Damian is a Professor of Sound and Music Computing at the Department of Electronic Engineering, University of York, where he has been a member of academic staff since 2000, and is the University Research Champion for Creativity. He started his career in the Performing Arts Department at Harrogate College and has previously held positions at Leeds Metropolitan University and Bretton Hall College. His research focuses on virtual acoustics, spatial audio, physical modelling, and audio signal processing. This research formed the basis of the Surrounded by Sound project that was selected for inclusion in the Royal Society's Summer Science Exhibition in July 2001, and he was also co-author of SoundFX - Making Music with Technology, the 2004 IEE touring Faraday Lecture. He has been principal investigator on a number of AHRC and EPSRC funded projects relating to room acoustics simulation and auralisation, and published over 130 journal articles, confe

In today’s episode Oliver was joined via Skype by Aaron McLeran, Lead Audio Programmer at Epic Games. Aaron’s first taste of audio programming was writing computer music in CSound while in graduate school at University of Notre Dame (when he was supposed to be doing astrophysics research). Realising his true calling, he left physics to study procedural and interactive computer music, audio synthesis, and audio analysis with Dr. Curtis Roads at the University of Santa Barbara. His first game audio experience was writing procedural music on Spore where he got to collaborate with Brian Eno and Maxis’ audio director Kent Jolly on writing much of the game’s truly procedural music. His next game audio gig was a sound designer on Dead Space 2 where he wrote much of the games interactive audio systems in Lua along with accomplished audio director Don Veca. He made the leap from technical sound designer to audio programmer at Sledgehammer Games where he worked on Call of Duty: Modern Warfare 3 and Call of Duty: Advan

In today’s episode we are joined in studio by Catherine Robinson, Audio Supervisor at BBC Wales. Catherine has worked in radio sound for the BBC since 2001. Her specialism is sound design for radio drama, binaural audio and 3D sound for 360 video and VR. Catherine created the sound design and binaural mix for Ring, a horror radio drama for Radio 4. Following the success of that, Catherine has set up the first operational 3D sound studio in the BBC outside Research and Development, using their tools. Some of the binaural productions that have been created in the 3D studio are: The Russell T Davies adaptation of A Midsummer Night’s Dream, which was the first ever binaural feature film; six 360 films for Planet Earth 2 using dynamic binaural sound design; and an episode of Doctor Who called 'Knock Knock' which is the first binaural TV drama to be made available on BBC iPlayer. Catherine discusses her role at the BBC, the first binaural episode of a TV program available on the BBC iPlayer - Doctor Who, how cont

Today we are joined in the studio by Samuel Huber, the founder of Admix.in, the first adtech platform for mixed reality, giving VR, AR and MR developers the best tools to monetize their content. He frequently speaks at VR, AR and adtech conferences and is obsessed with the convergence of frontier technology, adtech, and consumer behaviour. Sam has previously disrupted the e-commerce market with Kout.io, a gamified e-commerce platform where users play free games to win their shopping basket, live with 20 of the largest retailers. He is a social gambling pioneer with Betify, a gamified video sharing app. He built and sold Rogue Trader, the first binary trading game on the App Store. In a previous life, Sam was responsible for Mercedes Formula 1 engine strategy (season 2011/2012). He has a MSc Engineering from Cranfield Uni (UK), BSc Physics from EPFL (Switzerland) and Uppsala Uni (Sweden). Sam discusses Admix and advertising in a non-intrusive way, monetisation solutions and the importance of audio in VR adv

In today’s episode we are joined by Sally-anne Kellaway via Skype. Sally is the Senior Audio Designer on the Microsoft Mixed Reality - Audio and AI team, and an industry leading VR Audio Evangelist. She has extensive experience in sound recording, editing, implementation and testing for interactive media in standard and VR/AR and has an interest in implementing true 3D spatial hearing and binaural sound in video games and other interactive experiences. She is the founder of the Virtual Reality Content Creators Network of Australia (VRCC) which is a not for profit community for virtual reality and associated industries. The VRCC advocates for innovation and connection for all professionals working in virtual, augmented and mixed reality industries in Australia. Previously the Creative Director at OSSIC, the leading audio technology providers active in the VR space, she has a Masters in Acoustics with a focus on psychoacoustics and spatial audio from the University of Sydney. Sally-anne is sought after by VR

Michael Kelly is Senior Director, Research and Development at DTS and is responsible for spatial audio SDKs used in games, AR, VR and other media. Kelly is also co-chair of the AES Technical Committee on Audio for games and chairs the AES Audio for Games conferences. He has over 15 year’s experience in the games industry working on both the creative and technical aspects of games. Michael began his career as Lead Sound Designer at Revolution Software working on Broken Sword: The Sleeping Dragon. Following this, he was responsible for the implementation of high quality DSP effects on a number of platforms at Creative Labs and led 3rd-party audio tools and high-level library development for PS3 and Vita at Sony Computer Entertainment Europe. He has a PhD in Electronic Engineering from the University of York, specialising in 3-D audio and Audio Coding. For more information follow: http://1618digital.com/immersive-audio-podcast-episode-3-michael-kelly/ Subscribe: 1618digital.com/#contact

Justin Paterson joined us in the studio for today’s highly informative episode. After leaving silicon chip design, Justin worked as a session drummer for a number of years in the 90’s playing on releases, TV and radio before moving to synthesis, production and composition. His research on many aspects of music production and audio technology has been published widely. He has written for, given tutorials to, and peer-reviewed for the AES in the UK, US and Europe. In 2014, He was awarded an AHRC grant to develop an App release-format for music albums with interactive playback, a system that is currently patent pending and undergoing further AHRC-funded commercial exploitation by the Warner Music Group. Justin also worked with the record label Ninja Tune and the band Coldcut on binaural 3-D (interactive) audio for VR. Justin also reviews books for Focal Press, and is author of The Drum Programming Handbook, and a chapter on 3-D music production in a forthcoming Routledge edition in the ‘ Perspective on Music Pro

In this episode, we are joined in studio by one of the leading 3D sound specialists, Henrik Oppermann. Henrik is the founder of Schallgeber and former Head of Sound at Visualise and has worked on over 40 virtual reality projects, capturing binaural audio in a number of challenging environments. He has over 10 years’ experience of recording audio on location for film, advertising, music industry clients and 3D sound installations. An expert in his field, Henrik has developed hardware and software audio applications for VR collaboration with leading sound partners, to deliver the best possible immersive sound. We discuss higher order ambisonics, the importance of being involved in a project from the early stages and the ins and outs of recording in unusual locations. We ask how and where immersive audio will be used in the future and discuss the mass adoption of VR. For more information follow: http://1618digital.com/immersive-audio-podcast-episode-1/ Subscribe: http://1618digital.com/#contact