The AES Audio Product Education Institute promotes a second online session to explore Immersive Audio in automotive audio design and applications, and how these technologies enable the expansion of vehicle acoustic perceptions.
Currently on the minds for both automotive brands and consumers, immersive audio reproduction results from a convergence of multiple technologies and concepts, from multichannel playback to acoustic auralization of perceived listening spaces, to DSP enhancement of sound reproduction. This session explores the different ways to translate actual immersive audio content and generate immersive experiences.
Most consumers are familiar with the term “Immersive Audio” to describe what we might know as a height or channel-based, object-oriented process, which first appeared eleven years ago, and which was given some criteria standards by the Society of Motion Picture and TV Engineers (SMPTE) just a few years ago. With consumers now being offered immersive, 3D audio, and spatial audio experiences in all types of playback platforms, and with actual immersive audio formats, such as Dolby Atmos and MPEG-H 3D Audio, becoming widely recognized, it’s only natural that automotive audio followed the trend, and naturally strives to take it a step further…
During this webinar,
Roger Shively (
JJR Acoustics) will have a closer look at the interaction between discrete 3D audio content (e.g.
Sony 360RA), a renderer for such content (e.g.
Fraunhofer Symphoria) and the automotive integration (e.g.
Audio Weaver Framework of DSP Concept).
Roger will discuss with his guests how “Immersive Audio” can be defined and what challenges and requirements new immersive audio formats imply.
To have a closer look at these topics as well as available technologies and solutions,
Roger Shively invited three immersive audio specialists to discuss this matter from different perspectives.
Johannes Schmidl, Business Development Manager at
Fraunhofer IIS, will introduce the immersive audio codec MPEG-H and demonstrate its features. Moreover, he will discuss what is technically needed to be able to enjoy content like Sony 360 Reality Audio in vehicles.
Michael Fabry, the General Manager of
DSP Concepts GmbH, will discuss the technical requirements to bring 3D sound to life in in-car environments.
Thomas Bachmann, Group Manager Automotive Acoustics at
Fraunhofer IIS, will discuss what is meant by the term “Immersive Audio” and outline the challenges of rendering immersive formats and tuning a car accordingly. Furthermore, he will analyze the coexistence of upmix and discrete immersive audio.
