Binaural audio is fundamental to delivering immersive spatial sound, but traditional playback has been limited to headphones. Crosstalk Cancellation (CTC) technology overcomes this limitation by enabling accurate binaural reproduction over loudspeakers, allowing for a more natural listening experience. Using a compact loudspeaker array positioned in front of the listener, CTC systems apply beamforming techniques to direct sound precisely to each ear. Combined with listener tracking, this ensures consistent and accurate binaural playback, even as the listener moves. This workshop will provide an in-depth look at the principles behind CTC technology, the role of loudspeaker array beamforming, and a live demonstration of a listener-tracked CTC soundbar.
I am a researcher specialising in 3D spatial audio reproduction and beamforming using loudspeaker arrays. In my current role at Audioscenic I am helping commercialize innovate listener-adaptive loudspeaker arrays for 3D audio and multizone reproduction. Previously I developed a new... Read More →
Extensive studies have been made into achieving generally enjoyable sound colour in headphone listening, but few publications have been written focusing on the demanding requirements of a single audio professional, and what they actually hear.
However, headphones provide fundamentally different listening conditions, compared to our professional, in-room monitoring standards. With headphones, there is even no direct connection between measured frequency response and what a given user hears.
Media professionals from a variety of fields need awareness of such differences, and to take them into account in content production and quality control.
The paper details a recently published method and systematic steps to get to know yourself as a headphone listener. It also summarises new studies of basic listening requirements in headphone monitoring; and it explains why, even if the consumer is listening on headphones, in-room monitoring is generally the better and more relevant common denominator to base production on. The following topics and dimensions are compared across in-room and headphone monitoring: Audio format, listening level, frequency response, auditory envelopment, localisation, speech intelligibility and low frequency sensation.
New, universal headphone monitoring standards are required, before such devices may be used with a reliability and a confidence comparable to in-room monitoring adhering to, for example, ITU-R BS.1116, BS.775 and BS.2051.
How can Audio Augmented Reality (AAR) serve as a storytelling medium? Sound designer Matias Harju shares insights from The Reign Union, an experimental interactive AAR story currently exhibited at WHS Union Theatre in Helsinki, Finland.
This workshop addresses the challenges and breakthroughs of creating an immersive, headphone-based 6DoF AAR experience. In The Reign Union, two simultaneous participants experience the same bio-fictional story from different points of audition. Narrative design considerations and approaches are discussed and demonstrated through video clips featuring binaural sound recorded from the experience. References to other AAR experiences around the world are included to provide a broader context. A central theme is how reality anchors the narrative, while virtual sounds reveal new perspectives and interpretations.
The session also briefly examines the development of an in-house 6DoF AAR prototype platform, used for The Reign Union story as well as other narrative research conducted by the author and his team. This has been a journey through various pose tracking, virtual acoustic, and authoring solutions, resulting in a scalable system potentially suited for complex indoor spaces.
Matias, author of the forthcoming book Audio Augmented Reality: Concepts, Technologies, and Narratives (Routledge, June 2025), invites attendees to discuss and discover the possibilities of AAR as a tool for storytelling and artistic expression.
As immersive audio content becomes more prevalent across streaming and broadcast platforms, creators and engineers face the challenge of making spatial audio accessible to listeners using legacy codecs and traditional playback systems, particularly headphones. With multiple binaural encoding methods available, choosing the right approach for a given project can be complex.
This workshop is designed as an exploration for audio professionals to better understand the strengths and applications of various binaural encoding systems. By comparing different techniques and their effectiveness in real-world scenarios, attendees will gain insights into how binaural processing can serve as a bridge between legacy and modern formats, preserving spatial cues while maintaining compatibility with existing distribution channels.
As the first in a series of workshops, this session will help define key areas for real-world testing between this convention and the next. Attendee insights and discussions will directly influence which encoding methods are explored further, ensuring that the most effective solutions are identified for different content types and delivery platforms.
Participants will gain an understanding of processing methods, and implementation strategies for various distribution platforms. By integrating these approaches, content creators can enhance accessibility and ensure that immersive audio reaches a wider audience, possibly encouraging consumers to explore how to enjoy immersive content using a variety of playback systems.
Manager / Executive Producer / Sr. Engineer, Central Sound at Arizona PBS
Multi-Emmy Award Winning Senior Audio Engineer, Executive Producer, Media Executive, Surround, Immersive, and Acoustic Music Specialist. 30+ years of experience creating audio-media productions for broadcast and online distribution. Known for many “firsts” such as 1st audio fellow... Read More →
Friday May 23, 2025 4:00pm - 5:30pm CEST C3ATM Studio Warsaw, Poland
