An Exploration of Machine Learning and the use cases where it might provide the most benefit for Audio Synthesis
Explores potential synthesis use cases that could benefit from current approaches in Deep Learning, and theorizes how those might be tackled with specific neural network architectures and data requirements
Defines and benchmarks from an OEM and consumer perspective the ideal voice assistant experience
Addresses the problem of current Augmented Reality audio solutions not considering listening and source contexts
Presents a transport-agnostic audio feature set, development guidelines ensuring baseline audio fidelity, and opportunities for differentiation for developers to provide added value
Discusses the emerging hearable market, and outlines new problems, opportunities and potential next steps that we can take, as an audio industry, to ensure that consumers’ hearing and well-being are managed appropriately
Discusses requirements and obstacles in real-sounding AR/MR audio, given that the sound is interactive and aspects have to be procedurally generated, and presents recommendations
Identifies problems in every stage of the existing architecture that are inhibiting innovation and adoption of enhanced usage of existing transducer and interface capabilities
Explores ethics, security, privacy, and user expectations surrounding devices that are always on and always listening
“You and the Uni: Defining Pedagogical Requirements for Audio Engineering Education” a.k.a. Discovering What to Learn Them Young Whippersnappers
Presents recommended curricula for both undergraduate and graduate engineering studies necessary in the design of professional and consumer audio electronics
Identifies key elements and attributes of an immersive multi-channel audio format that would enable the end user to experience a navigable audio scene (choosing their location and orientation at rendering time), and looks at audio content format needs for this situation
Describes the beneficial use of machine learning within audio applications in three categories: machine learning as a partial solution within a larger pipeline, machine learning as a full solution that stands by itself, and the use of machine learning in parallel with a classical solution
Defines a standard with common, wireless transport method where input, not limited to speech, has the capability to inform the output in some meaningful way, enabling an end user to integrate multiple products without having to rely on a proprietary solution, and enabling new capabilities that can improve the user experience
Explores unintended/unofficial use of music production tools and other technologies that form a creative output
Defines the future opportunity spaces for seamless, environment-to-environment, human like, voice cognitive, affordable, voice interfaces in the home
Defines what an acoustic sensor is today and what it might be in the future, identifies opportunities in various market segments, and investigates challenges
Discusses methods that can be used to make a compelling argument to an internal or external stakeholder for a new audio feature, innovation, or quality improvement
Describes a “next level” listening experience in which there is feedback between listeners and the artist/event, and presents the design of an abstract system model that supports an ongoing feedback and processing loop, creating a generative experience based on real-time collective group input
Presents a compelling case for the creation of a new, audio first, ad hoc network standard, and describes use case scenarios/market opportunities
Discusses immersive music creation and music listening experiences that utilize audio objects (located in 3D space), describes the attributes of these audio objects, and presents new capabilities that creation tools will need
The Smartest Person in the Room is the Room: Applications for Virtual and Augmented Music Production
Discusses the impact and opportunities presented by Virtual Reality and Augmented Reality in regards to music and sound creation, performance, education, and experience.
Examines and makes recommendations for security, privacy, interoperability and collaboration/cooperation considerations for audio aspects of the Internet of Things.
Presents the case for, and details of, adding the concept of “clockspace” (a description of the time relationships between code and data within a particular hardware clock domain) to programming languages.
A ten-year plan for increasing safety and improving comfort and user experience via audio implementations in vehicles.
Discusses the issue of hearing damage caused by headphone/earbud use and steps that can be taken to minimize it while providing the best possible listening experience for users, regardless of their hearing profile and listening environment.
Presents short-term and long-term recommendations, and identification of opportunites, for the flow and preservation of metadata through Production, Transmission, Render Device, Monitor Device, Browser, and Application.
Argues for the replacement of analog audio connectors with USB-C in order to overcome current limitations and foster innovation, and provides details on the specification features.
Addresses the problem that it is currently difficult or impossible for parties external to specific products to develop and release IP that can take advantage of integrated or external audio DSPs (Digital Signal Processors), and details some of the primary elements that are key to having a successful Open Audio DSP architecture.
Addresses the barriers currently in place for the creation and distribution of interactive music by making recommendations for improvements in tools and workflow, and presenting a description of the end user experience and potential business opportunities.
Discusses compelling audio-related applications within Smart Homes and the technical issues surrounding them that need to be considered.
A discussion of, and recommendations for, next-generation networked audio in regards to the creation of a standardized solution to enable all networked audio devices to interoperate.
A presentation of use cases highlighting the current deficiencies in audio capture on multi-purpose devices such as tablets and smart-phones, and a proposed full-platform design approach to improve quality and fidelity.
A description of the anatomy of a musical instrument that can be used as a guide in designing modern instruments that use new technologies to make more expressive, accessible, and better sounding musical instruments.
A detailed exploration of fusing audio and many non-audio sensors to significantly improve the user experience of audio applications.
An exploration of the use cases that justify the need for the additional engineering effort, expense, and implementation of audio hardware offloading.
Explores the use external input/data to improve the capture and/or rendering of audio and voice streams on small and thin consumer devices.
Presents preliminary recommendations for extending existing standards to support the added functionality of smart microphones and speakers, and describes a new phyisical interface.
Describes form factors for audio enabled wearable computing devices, how they will be connected to each other, and the kinds of data will they receive, record, and transmit.
Defines a system that collects subjective data about users” hearing and audio environments in order to create personalized presets which are used to enhance the audio experience for each individual in their current environment and with their specific hardware.
Describes a glove that can provide haptic feedback to a musician performing on glass tablet instruments.
Explores and addresses the challenges of the audio architecture that is emerging due to the convergence of portable computing devices.
Describes a scalable audio spatialization system that preserves the original artistic intent and supports authoring, transmission and rendering of audio that adapts to the environment, the listener(s), and the hardware.
Proposes a cooperative gathering of key players in the mobile audio space to generate a flexible framework (as opposed to a standard implementation) for mobile audio design.
Presents a multi-layered system for transparent delivery of music to consumers via cloud services.
Explores audio quality in terms of experience and presents 6 metrics that attempt to revitalize the definition of “quality audio” by focusing on consumer experiences.
Describes and discusses an online, connected service to defragment the experience of listening to music and other audio material across diverse media sources, devices and contexts.
An approach to compelling audio product design that looks at “magical” experiences in theater and life and how they map onto various audio scenarios.
Descriptions of various design ideas for add-ons to existing portable devices to augment and/or enhance their audio performance and capabilities.
Examines the evolution of mobile audio and what opportunities are available for developing hardware and software
The search for a breakthrough rather than an incremental improvement in stand alone VOIP application
Addresses the over-all lack of efficient and effective methods to collaborate across multiple devices and resources
Investigates possible remedies to limitations in operating system and standardized audio hardware and external audio interconnect standards
An examination of benefits and hurdles regarding the incorporation of high quality DSP algorithms (such as reverb, EQ, compression, etc) into runtime environments.
Provides guidance for developers considering products that facilitate an evolution from experiencing music to creating music.
Promotes the creation of a centralized game audio education resource and provides initial information on game audio education in the U.S. and Canada.
Proposes the creation of a new form of acoustic monitoring for the PC space that can be used to improve user experience with minimal user interaction.
Looks at music creation and sharing trends.
Investigates how an audio professional can create beautiful music and compelling soundtracks while surrounded by accounting spreadsheets and nervous lawyers.
“PRAGMA” Rebooted (pet rocks and game music alliance) A Project Bar-B-Q 2008 rogue group updating a Project Bar-B-Q 2004 rogue group
Promotes game consoles and controllers as music creation and performance instruments.
Identifies, examines, and prioritizes based on urgency and importance, approximately 40 audio problems facing the PC today.
A look at social, cultural and technical developments molding the next major evolution of audio products and communications technologies.
A detailed look at the current state of interactive audio for games and a discussion of what can be done to accelerate the evolution and adoption of advanced interactive audio techniques and greater range of expression.
Examines some existing audio metadata schemas, identifies their shortcomings, and proposes a solution based on a highly distributed metadata.
Presents game audio concepts and guidelines for the development process that game designers and producers should use in early stages of product development in order to fully integrate music and sound into their creative design and project plan.
An exploration of designs for a non-intrusive UI extension to existing interfaces and instruments, resulting in the description of The Hand-Aid – a hand shaped band-aid like muscle & motion detector, which adheres to the back of the hands.
Proposes a totally configurable interface designed to replace the standard input devices, such as the QWERTY keyboard and mouse.
Proposes a solution to the problems of excessive latency, obsolescence, and plug-in incompatibility in PC based audio.
A discussion of ways to greatly reduce the technology and complexity barriers which impede the consumer’s ability to properly configure his/her audio system.
Presents a different technological method of addressing the needs of music consumers and rights holders.
A proposal for a consumer-friendly quantifiable metric for audio systems that can help provide a great listening experience for the user, as well as generate market growth through increased awareness of the value of quality components.
A discussion of and guidelines for creating PC alert sounds that enhance rather than disrupt the user’s work experience.
Proposes a high-level system that identifies the audio content developer and consumer end points and ties them together, based on artists’ and users’ intentions and/or capabilities.(only the preliminary report is available at this time)
Discusses methodologies for facilitating both synchronous and asynchronous music collaboration.
Discusses the complexities of mixing audio for interactive applications such as games and proposes a central repository in the form of a Wiki for current knowledge and future research in this field.
A technical discussion of how a PC will be used for audio in the near future and what is needed (including identification of several new types of metadata) to evolve the PC into a device that is as simple as consumer electronics devices without losing the flexibility inherent in the PC.
A discussion of designs for an interactive audio production and auditioning system that could be marketed to a wide audience in order to provide financial motivation to audio software developers to create these tools.
A description of how the form factor and operation of the Living Room PC must change in order to sell to the mass market by making the device extremely easy to operate while at the same time offering all the expandability, functions and features of the standard PC.
Puts forth a proposed course of action to allow consumers to access premium content stored in different rooms in their homes on different devices while maintaining the ability of the consumers to choose from a range of manufacturers and content providers.
Discusses how adaptive user interfaces can be used in computer audio and music production systems to address the needs of a wide variety of users with various skill levels and backgrounds thus greatly reducing user intimidation, frustration, confusion, and interruption of artistic flow.
A description of seven product ideas that represent potential successful audio technologies that are both disruptive in some way (disruptive to current business models, disruptive to society [status quo], or in some other way) and also fun for the user.
Documents problems to be avoided and successful practices to be applied to the development and implementation of mobile phone audio based on the history of audio development for game and web applications.
Outlines a testing framework for PC original equipment manufacturers (OEMs) and original device manufacturers (ODMs) to use to help them develop better audio implementations that raise the bar for the overall user experience.
Explores what it is about so many digital instruments that makes them painful and frustrating to use, and discusses what it is about the few instruments that rise above this morass to become the standards for usability, musicality and fun.
Describes a marketing approach to creating new musicians that includes outreach programs to musicians, industry executives, audio content developers, hardware and software developers, retailers, and educators.
Making the world a better place by selling music & audio things to as many people as possible so they can create great art and bring enjoyment and satisfied smiles to the faces of children of all ages everywhere.
Provides a workable outline of a possible rollout plan for the rapid adoption of the Interactive XMF file format standard by the interactive audio community.
Provides a definition of Interactive Audio and a definition of an Interactive Audio System, with examples of current systems, a list of potential future uses, and a justification for using Interactive Audio.
Considers the likely scenarios for the future of CD (and other) audio playback on computers and consumer electronic products, including Digital Rights Management, and its effect on relevant stakeholders, with recommended likely solutions
Discusses the creation of an economic driver towards DRM-enabled music/media distribution based on a stock market model.
Explores the availability of quality audio applications in the interactive entertainment industry with the aim of effectively communicating the benefits of the experience to the consumer in order to increase the demand for quality audio applications and subsequently drive industry revenues.
Addresses the problems of unacceptably high levels of latency (delays in responsiveness), difficulty in synchronizing media playback, and interoperability, as well as delineating the possible negative affect of DRM on synchronization.
A path to zero connections and automatic configuration of home entertainment and computer systems.
Identifies basic usability guidelines, user-interface requirements, and existing technologies that could potentially form a framework for developing the necessary mapping and control protocol.
A document that illustrates audio practices that create value, raises awareness of what constitutes good audio, and highlights factors which contribute to a compelling and interactive audio experience.
A strategy outline for standardizing networked audio device communications. This document, which highlights the requirements of the standard, is the first step in the process.
A basic design pointing the way to an XMF-based, nonproprietary interactive audio framework.
Addresses issues to improve PC audio for both OEMs and consumers. To accommodate new CE connectivity and compatibility, the proposed solution is a new audio bus.
Empowering the game audio community by providing resources, education, and recognition for its members.
Product Concept: “E-Jam”, the music-making system for the living-room console
Identifies problems and offers approaches for the development of computer audio appliances
An outline of a “write-once, deliver anywhere,” platform independent, format-agnostic approach to 3D interactive multichannel audio delivery from authoring through to the final consumer experience.
New audio IP business models that address consumer concerns, business concerns, and artist concerns.
An example outline of the type of topics and required features that the IA-SIG and MMA should consider for inclusion in a new specification, white paper, recommended practice, or other similar document defining the necessary or recommended components of a well-designed audio system for any device or system that is expected to provide interactive audio applications.
Making powerful interactive audio easy: Games – A case study.
Examines sustainable business models, enabled by new digital music technology, that grow the market overall and enable new, expanded, extended, or unique commerce opportunities.
New audio products and the technological and cultural hurdles that make it difficult for us to capitalize on new opportunities and new ways to improve our collective lives with better audio experiences.
Encouraging content providers and equipment manufacturers to provide high-quality computer audio and promoting awareness among media and consumers of the benefits of it.
Addresses creation of content for 3D worlds, bridging the diverse view points of geometrical vs. parametrical, preserving scalability, and putting power of sound control into designer’s hands.
MIDI 2 issues and recommendations
A discussion of the appropriate way for the audio subsystem to handle the mixing of multiple input formats to various output formats.
A look at the basic issue of what motivates a consumer to purchase a product at a given time and a proposed system that would allow one to take a new product concept and be able to test it’s relevance and potential appeal to consumers at some point in the near future.
A vision-quest to see what an audio appliance might be in the next 5 years.
The minimum acceptable specifications for high quality computer audio and a baseline platform definition.
Enabling DLS on the PC platform in the absence of a DLS API from Microsoft.
Increasing consumer demand and developer support for good quality audio.
The goal of Project Bar-B-Q 1996 was for four integrated groups of individuals consisting of computer hardware developers, computer software developers, audio engineers, and composers to answer “The Question”: What do you want to see in hardware and software for music on computers in the next five years?