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AES Sets Dates for Virtual Symposium on Machine Learning in Audio

Continuing its growing series of virtual events, the Audio Engineering Society has set dates for a two-day virtual symposium, “Applications in Machine Learning in Audio,” being presented online, Sept. 28-29, 2020. The events’ technical program, featuring a keynote address by electronic/A.I. composer Holly Herndon, will explore topics including automatic mixing, audio source separation, audio visualization and effect control, audio capture and recording, and sourcing audio data, as well as legal issues created by this new form of science and art. Registration is just $25 for AES members and $150 for non-members, the latter includes one year of complimentary AES membership and access to full member benefits and resources.

The AES 2020 Virtual Symposium on Machine Learning in Audio is led by a group of organizers with a range of experience in the world of both machine learning and audio engineering applications, including committee chair and AES President-Elect Jonathan Wyner (iZotope) and program chairs Andy Sarroff (iZotope), Christian Uhle (Fraunhofer IIS) and Gordon Wichern (Mitsubishi Electric Research Laboratories). The program, to be offered across two four-hour days to maximally accommodate participants in different geographical regions, will consist of pre-recorded presentations with live Q&A alongside parallel sessions in dedicated breakout rooms. Each day will conclude with an online social hour.

“AI and the influence of data are all around us,” shares Symposium Chair Jonathan Wyner. “Exploring the potentially disruptive and beneficial impact of these emerging technologies will be the focus of our event. Attendees will learn about how it is already present in products and workflows and where it may appear next.”

Keynote presenter Herndon personifies the depth and diversity of the Symposium’s presenter pool. She studied composition at Stanford University and completed her Ph.D. at Stanford University’s Center for Computer Research in Music and Acoustics and continues her artistic career while currently based in Berlin, Germany. The composer, on her latest full-length album, PROTO, fronts and conducts an electronic pop choir consisting of both human and A.I. voices over a musical palette that encompasses everything from synths to Sacred Harp stylings.

In addition to the scheduled technical program sessions, the event committee is currently accepting proposals for parallel breakout sessions on related topics. Accepted presenters will submit a pre-recorded video between five and 10 minutes long, which attendees of the symposium will have the opportunity to view beforehand. During the session, presenters will be online in an interactive video channel, where they may present further materials and answer questions from attendees.

For registration and further information, visit www.aes.org/events/2020/learning/.

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Michael Raine is the Senior Editor at Canadian Musician, Canadian Music Trade, Professional Sound, and Professional Lighting & Production magazines. He also co-hosts the Canadian Musician Podcast.
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