The following projects have been approved by subcommittees of the AESSC and assigned to Working Groups as shown. If you have an interest in helping to develop these standards projects, please go to the AES Standards Web site at www.aes.org/standards and click on “Standards Development” to learn more
If you have information on other standards, or standards projects, with similar scopes to these projects, please contact the AES Standards secretariat.
Updates and revisions to project details will be shown in the status of AESSC projects.
INITIATION DATE
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WHO BENEFITS?
WHY AES?
2018-06-01
AES-X248, AES Standard: Assessment of Acoustic Annoyance
This effort identifies practices for estimation of annoyance of man-made sounds in the presence of background sounds, for automotive/aircraft, consumer, professional and land use planning applications. It includes intentionally generated sounds such as music and sporting events, and unintentional sound such as transportation system noise. It is to include auditory masking, not only integrated sound pressure. It considers relative disturbance but does not set thresholds for acceptability. It does not consider health impacts of sound.
Standard
Generators of “nuisance” sounds, and policy makers, need an objective measure of the disturbance created, which depends on their amplitude, frequency distribution and dynamics. While overall “annoyance” often includes non-acoustic components, audibility of a sound over an acoustic background can be objectively assessed, and the likelihood of audibility is thought to be a suitably objective measure of relative annoyance.
Designers of sound systems, operators of audio and musical equipment, designers and operators of transportation and other mechanical systems.
AES standards and technical committees enjoy participation of experts in auditory perception which will be critical to useful standards in this area.
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2017-11-17
AES-X246, AES Standard: Audio over quad twisted pair
This standard documents 8C8P (RJ45) pin-outs commonly used in analog and digital professional audio applications, including channel/link order, signal polarity and phantom power compatibility. Conformance with this standard will identify mutually compatible devices, enabling users to avoid problems when employing equipment from multiple manufacturer.
Standard
The RJ45 – 8P8C connector and quad twisted pair cable has become ubiquitous throughout the datacom (data communications) industry for Ethernet connections. This high-volume usage has greatly reduced costs, making the hardware attractive for other applications. In typical installations, it is necessary to connect multiple signals from one location to another. Consequently several manufacturers have developed schemes to connect 4 balanced analog audio signals or 4 balanced AES3 connections using this hardware. Unfortunately equipment from different manufacturers is often incompatible. This standard identifies the commercially available variants and specifies a labeling scheme so users may select compatible equipment or takes steps to alleviate the problems
Manufacturers and users in production, post production and broadcasting.
The AES membership spans the full range of users and organizations likely to use and beneift from the recommendations.
INITIATION DATE
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WHY AES?
2018-09-21
AES-X248, AES Standard: Assessment of Acoustic Annoyance
This standard specifies requirements for the termination, within audio equipment, of the shields of cables supporting interconnections with other equipment, taking into account measures commonly necessary for the preservation of EMC (electromagnetic compatibility) at both audio and radio frequencies.
Standard
It clarifies misleading information in the existing version of AES48
Manufacturers implementing equipment conforming to AES48.
AES has members who are expert in this area.
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2017-10-21
AES-X244, AES RP: Loudness Guidelines for Over the Top Television and Online Video Distribution
This AES document addresses OTT and OVD Loudness challenges by leveraging already established Over-the-Air Television practices, providing guidelines focused on the Loudness and Content Dynamic Range for connected set-top and mobile devices.
Standard
When followed, these guidelines will:
• Provide consistent Loudness across different Programs, service providers and advertising Content
• Provide appropriate playback Loudness Range for different devices and listening conditions
• Prevent excessive Peak Limiting or other processing from degrading the audio quality
• Preserve the artistic intent of wide Dynamic Range content (movies, drama, live music)
• Improve the listening experience
Content creators, and engineers in production, post production and broadcasting.
The AES membership spans the full range of users and organizations likely to use and beneift from the recommendations.
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WHY AES?
2017-10-21
AES-X243, AES70 Recommended Practice for AES67 Connection Management
Publish a document that describes the preferred way to implement AES70-CM3 connection management for AES67 unicast and multicast connections.
Information Document
AES70 includes a comprehensive stream connection management feature set that can support a variety of media transport methods over a standard (albeit customizable) control interface. By having a single, powerful control interface, AES70 connection management will alleviate current issues of AES67 interoperability, while at the same time facilitating the use of AES67 in conjunction with other standard and proprietary media transport schemes. The result will maximize interoperability without overcomplicating system controllers.
Manufacturers, specifiers, and purchasers of network interfaced audio equipment.
The members of AES SC-02-12 have extensive knowledge of networked audio, AES67 and AES70 technology
INITIATION DATE
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WHO BENEFITS?
WHY AES?
2017-10-21
AES-X242, Streaming audio metadata over IP networks
To define a standardized method for transporting metadata associated with audio in an AES67 stream. The audio metadata shall be transported in a separate stream that is sent in parallel to AES67 streams rather than part of the AES67 stream. The standard shall define synchronization between the audio metadata transport and the associated AES67 transport. The transmission method shall be low latency and have a level of network performance equivalent to AES67. Within the scope is formatting of the streaming audio metadata for transport. Suggested is an open standards based framework that supports both static and dynamic, time synchronous metadata that is optimized for live workflow applications. The standard shall consider all use cases for metadata associated with AES67, support existing AES audio metadata standards, and be extensible for future metadata requirements. The standard will consider binding between the audio metadata transport and the associated AES67 transport.
Standard
AES67 does not include a standardized method of transporting time synchronous audio metadata associated with the audio carried in AES67. AES41 is a standard method for conveying audio metadata that may be used with AES67, however it has limited capacity that may not be sufficient for all applications, particularly those requiring large amounts of metadata (e.g. object based audio formats). AES67 applications would benefit from a new metadata transport mechanism that is not bandwidth constrained and which supports the rich metadata sets future AES67 audio applications require.
Manufacturers, specifiers, and purchasers of network interfaced audio equipment.
The members of AES SC-02-12 have extensive knowledge of networked audio technology and are an ideal group to add metadata capability to the existing AES67 technology.
INITIATION DATE
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WHY AES?
2017-03-19
AES-X241, End of Line Testing for Production Loudspeaker Drivers
To specify parameters and methods of measurement required for end-of-line quality control tests performed on loudspeaker drivers manufactured for automotive, consumer and professional applications. It includes requirements for mechanical setup. It does not consider measurements of loudspeaker systems or multi-driver arrangements.
Standard
The audio industry needs a standard that identifies critical parameters and values that verify that production loudspeaker characteristics fall within a set of tolerance criteria. Specifically, automobile and loudspeaker system manufacturers need a standard that aligns loudspeaker production capability with feasible tolerances that can be achieved by loudspeaker suppliers at a reasonable cost.
Manufacturers, specifiers, and purchasers of loudspeaker drivers.
The AES standards committees enjoy participation of both loudspeaker driver manufacturers and end users in consumer, pro & automotive markets.
INITIATION DATE
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SCOPE
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WHO BENEFITS?
WHY AES?
2015-03-15
AES-X238, Media network directory architecture
To develop a statement of requirements for a directory service architecture, possibly including an automatic network discovery mechanism, suitable for professional media networks of all scales, from tabletop to intercontinental.
A directory service is the software system that stores, organizes and provides access to information in a directory. In a network, a directory service defines the namespace for the network. Discovery is a set of directory functions that automate directory updating.
Further steps to identify systems capable of meeting these requirements are expected subsequently.
Report
A complete media network solution requires a comprehensive directory based on a rigorous namespace specification that is independent of the underlying network topology.
An automatic network discovery mechanism working in concert with the directory is desirable in some applications.
The first step in developing such a solution will be to develop a consensus on requirements.
Infrastructure development community; Professional audio community, Professional video community; IT industry
A standardized directory architecture suitable for professional media is critical for the development of audio infrastructures, and is important for AES members.
Audio networking requirements familiar to the AES community should be taken into account in any future standardization efforts in this area. Availability of the report should help accomplish this.
INITIATION DATE
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WHY AES?
2015-03-24
AES-X230, Control data for microphones in AES70
To specify control data sets in OCA (AES70) for wired and wireless microphones.
Information document
AES70 (OCA) offers a framework to control devices in networks. To gain maximum interoperability between different manufacturers, standard parameter trees with common parameter names, types and ranges are required. This framework should include both wired and wireless microphones.
Professional audio community
A standardized control protocol for microphones is critical for the development of professional audio.
INITIATION DATE
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WHY AES?
2014-10-02
AES-X223, Loudspeaker driver comparison chambers
To consider factors affecting the interchangeability of measurement data from simple loudspeaker comparison chambers.
Information document
In the manufacture of loudspeaker drivers, a frequent final test places each driver into a relatively-compact test chamber, measures its acoustic response to a set of test signals, and compares them with stored values derived from a reference sample. This does not provide the full performance measurements that would require a full-sized anechoic chamber, however it can identify deviations from the expected performance set by the reference.
Such test chambers are typically built only to meet local needs. As a result, the figures derived from one cannot be compared with figures derived from another.
This report will set out some relevant issues and suggest designs and construction methods to achieve measurement figures that will be comparable between different testing sites.
Manufacturers and users of loudspeaker drivers.
The AES represents key manufacturers and users of loudspeaker drivers.
INITIATION DATE
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WHY AES?
2014-01-29
AES-X214, XML Implementation of ADL
To create a set of XML elements and a schema that fully represents AES31-3 ADL documents; and to provide an XSLT style sheet for reformatting the XML document in plain-text EDML format.
Standard
EDML is an idiosyncratic format not widely supported. XML is a widely adopted encoding format which can have format restrictions placed upon it via DTD or schema documents which can aid in instance document validation. Converting EDML into an XML representation opens the use of the documents up to any tool that can parse XML. It also allows for multi-byte encodings such as UTF-8, surpassing the limitation of the ASCII-US encoding of EDML.
Backwards compatibility to EDML may be achieved via a style sheet through an XSLT transformation.
Developers and users of audio editing software who need stable long-term playability; Audio archivists.
This work will build on an established AES standard and open new areas of practical utility.
INITIATION DATE
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2013-11-04
AES-X224, Metadata integrity in audio files
To create a guide for manufacturers of audio hardware, software and computer platforms describing best practices for the management of metadata embedded in audio files.
Information Document
With increasing use of embedded metadata, consisting of descriptive, technical, rights and more, a corresponding importance and reliance are being placed on it. It is important to recognize the current issues with metadata management within the ecosystem that makes up the audio industry and the way this can affect the reliable communication of metadata.
We look to the photo industry as a great example of metadata management throughout the program chain from originators to aggregators and users of content.
This document would not take a stance on any specific metadata standards or initiatives. Neither does it take a stance on the virtues of using embedded metadata or not. It will simply provide guidance on how to properly manage embedded metadata so that it performs reliably.
Audio software developers; originators and users of recorded audio material.
Reliable metadata will be vital for the on-going development of audio engineering systems.
INITIATION DATE
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WHY AES?
2013-10-28
AES-X222, New audio data connector
To specify basic dimensions and application details for two- and four-contact circular connectors including a circumferential shield, used for balanced interconnections of sound system components for professional audio, commercial, recording, broadcast and similar applications, carrying either analog or digital signals.
Standard
The professional audio community has been searching for an alternative to the XLR type connector that nowadays is considered bulky. The alternative should exhibit the same robustness, reliability and handling capabilities at a smaller size.
Miniature XLR-type connectors cannot provide the same degree of robustness as XLR-type connectors do, and other small-scale connectors as used in or derived from consumer and IT equipment (USB, for example) cannot meet the requirements of professional applications.
A new connector system is proposed that addresses the key issues indicated above. It consists of a continuous system (that is, two different types for each free and fixed connector). Each connector houses two signal contacts (an extension to 4 contacts is planned) in a housing which incorporates an internal circumferential shield. Like the XLR type the system has a positive locking mechanism.
Professional audio community, designers of equipment needing pro-audio connections but with limited panel space.
Successful standardization of a new audio connector would directly benefit AES members.
INITIATION DATE
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WHY AES?
2013-03-04
AES-X219, Method of measurement for frequency and impulse response of sound systems in auditoria
To specify a method of measurement for frequency and impulse response of sound systems in auditoria.
Standard
The audience experience of sound reproduced through loudspeakers in an auditorium can vary greatly. In many applications where sound is reproduced in auditoria, a predictable performance is valued. While a number of different electro-acoustic and acoustic parameters contribute to this experience, a standard method of measuring the frequency & impulse response of the sound as presented to the audience by the loudspeaker system(s) will be a necessary part of any more general solution.
Sound system designers, specifiers, and installers.
AES has the extensive electro-acoustic measurement expertise necessary to address this issue.
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WHY AES?
2013-03-04
AES-X218, Measurement and calibration of sound systems in rooms
To document relevant parameters affecting the audience experience of a sound system in a generalized room, and identify appropriate objective methods of measurements to quantify them. The intent is to identify tools and procedures for a technician to measure the performance of a loudspeaker system in a room, and then support accurate and reliable calibration of this system to a specified performance.
Information Document
Measurement of sound systems in rooms, including but not limited to cinema B-chains, currently relies on empirical measurement techniques developed in the 1970s. Modern methods and equipment should offer simpler and more accurate ways to calibrate rooms with greater precision. This project will review the parameters that affect the audience experience in these rooms, and the objective methods of measurement necessary to quantify them. This will provide a basis for more detailed standardization for measurements and calibration protocols for controllable parameters.
Sound system designers, specifiers, and installers.
AES has the extensive electro-acoustic measurement expertise necessary to address this issue.
INITIATION DATE
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WHY AES?
2013-03-04
AES-X217, Audio Analog-to-Digital Converter Test Method and Performance Specification for Archiving and Preservation Applications
To specify sets of measurement methods and performance criteria to characterize the performance of audio analog-to-digital converters (ADCs) used in archiving and preservation workflows. This standard considers the production of files using the highest-quality ADC devices.
Standard
This standard would provide a test method and performance specification to be used by organizations digitizing analog sound recordings for preservation. The quality of the digitization is critically dependent on the quality of the analog-to-digital converter (ADC) that is used.
It is generally understood that commonly-published performance metrics are of little value in selecting or specifying a suitable ADC. AES17 provides test methods for ADCs but no performance requirements.
The International Association of Sound and Audiovisual Archives (IASA) has published a set of performance specifications in TC 04: Guidelines on the Production and Preservation of Digital Objects, 2nd ed., 2009. However, the alignment between the AES-17 test method and IASA TC-04 performance specifications is poor, making it impractical for use. Furthermore, a study undertaken by FADGI found that the IASA TC-04 performance specifications are likely in need of adjustment.
This project will produce a set of tightly integrated specifications that will provide relevant organizations with the ability to:
b) measure and test ADCs for selection, acquisition and integration into preservation systems;
a) include quality requirements in statements of work to vendors being hired to perform digitizing services;
c) perform routine test and measurement of ADCs being used in digitizing workflows to confirm integrity.
This project also aims to provide test and measurement solutions that are a) cost effective, and b) able to be used by technicians who are not measurement specialists.
Commissioning bodies and providers of services for archival digitization of audio.
The AES is understood to be the relevant authority on measurements in this field.
INITIATION DATE
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WHY AES?
2013-03-04
AES-X216, Liaison with SMPTE project on Calibration Pink-Noise Standard and Test File
This project will liaise with SMPTE TC-25CSS in their project to “Create a pink-noise Standard, and a reference pink-noise file available in a digital audio file and DCP formats that conform to the description of the pink noise in ST 202:2010 and RP 200-2012 and for which the time domain (mean, standard deviation, skew, kurtosis, etc) and frequency domain (energy per bandwidth, bandwidth, etc) characteristics are defined. Specify the algorithm used to generate the pink-noise file.” The project will consider comments as appropriate for communication to SMPTE.
Liaison
Pink noise generators on the market have measurable differences that can create calibration differences between cinemas. The creation of a stand-alone pink-noise Standard and reference file (with known statistics and characteristics) will eliminate an important variable in the calibration process.
Cinema installation technicians, cinema customers
Complementary to other work proceeding in SC-04
INITIATION DATE
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WHY AES?
2013-03-04
AES-X215, Liaison with SMPTE project to codify current procedures to calibrate the Cinema B-Chain
This project will liaise with SMPTE TC-25CSS in their project to Codify current procedures as used by skilled theater technicians to calibrate the Cinema B-Chain. The project will consider comments as appropriate for communication to SMPTE.
Liaison
Current standards for B-chain calibration include SMPTE ST202 and ISO 2969 which have been used since the mid 1970s, however the effectiveness of this calibration still varies widely. Measurement equipment and technology has evolved since these standards were made. No standardized procedure exists for using modern technology (such as dual DFT-based transfer-function technology) to calibrate cinema theater B-chain systems.
Cinema installation technicians, cinema customers
Complementary to other work proceeding in SC-04
INITIATION DATE
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WHY AES?
2012-11-04
AES-X213, MADI over twisted-pair cabling
To add twisted pair connectivity to AES10 in addition to the current connectivity options.
Standard
A twisted-pair interconnection should lead to further simplification of multichannel audio connectivity and significant cost reductions.
Professional audio users who would have greater range of connectivity options.
Developers of audio systems who could add connectivity features at lower cost.
This would be a natural extension of the existing AES10 MADI standard
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AES-X193, Sound source modeling – Array and cluster polar radiation measurements
The standard will specify how the angular measurements of polar radiation data for arrays or cluster arrangements of loudspeakers shall be made and documented. This acquired data is suitable for application in room acoustic, electro-acoustic, and sound system predictions, and loudspeaker data sheets.
Standard
Multiple loudspeakers may be used from the same or different manufacturers to create an array or cluster of loudspeakers. There are additional requirements necessary for these measurements beyond those spelled out in the existing AES56 standard. It is important that these requirements be standardized in order to enable the use of this data in room acoustic, electro-acoustic, and sound system predictions.
Designers, contractors, installers and operators of loudspeaker arrays and clusters
A critical view of the work by a group of experts in the field of Audio Engineering for professional audio devices, and hence its subsequent enhancement for application to such devices.
INITIATION DATE
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WHO BENEFITS?
WHY AES?
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AES-X170, Integrated Control, Monitoring and Connection Management for Digital Audio Networks
To create and standardize:
1. A set of structured Internet Protocol-based messages that can be used to control single parameters or groups of parameters, and to monitor these parameters. The parameters are associated either with typical signal processing functionality within audio devices, synchronization between such devices, or connections between such devices.
2. A mechanism for grouping of device parameters, and messages required to implement such grouping.
3. A mechanism for the control of latency within networks of audio devices, and a specification of the messages and parameters required for the control of such latency.
4. Parameter modifiers, and the messages required to create and configure such modifiers.
5. Security levels, and the messages required to set and get such levels.The standard will specify how the angular measurements of polar radiation data for arrays or cluster arrangements of loudspeakers shall be made and documented. This acquired data is suitable for application in room acoustic, electro-acoustic, and sound system predictions, and loudspeaker data sheets.
Standard
There is currently no universally adopted specification for transmitting control, monitoring, and connection management information across audio networks. This project aims to create such a specification, and in so doing enable comprehensive control, monitoring, and interconnection of networked audio devices. Because the messaging within this specification is based on the Internet Protocol, it will be useable within networks that use various physical layers.
Sound engineers, who will have more comprehensive and faster control over the signal processing and connection capabilities of devices.
Installation companies, who will have a unified approach to device interconnection and signal processing.
Equipment manufacturers who will be assured of interoperability with devices from other manufacturers, as well as a standard approach to access the capabilities of their own devices, either from the device or via a workstation.
A critical view of the work by a group of experts in the field of Audio Engineering for professional audio devices, and hence its subsequent enhancement for application to such devices.
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WHO BENEFITS?
WHY AES?
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AES-X155, Production recording metadata set (iXML)
To specify an XML-based metadata set to communicate file-based and project-based metadata between various stages of audio workflow in production, telecine, editorial, and post production. Production may include recordings made in studios and on location.
Standard
Fragmentation within the industry means that production sound recordists now have little opportunity to communicate with post-production editors and mixers working on the same project. At the same time, the complexity of the work is increasing to handle stereo and surround-sound projects while time and resources for traditional documentation are vanishing. Items that need documenting include: scene, take, slate, channel allocation, stereo and multi-channel groupings, channel status, etc.
An agreed metadata set – automatically generated wherever possible – will help to pass consistent information through the production chain. An XML-based structure is chosen to be widely compatible with other metadata systems.
Such an agreed metadata set will also complement the metadata embedded within Broadcast Wave files (see also AES31-2)
Directly: production sound recordists, postproduction editors and mixers.
Indirectly: producers of audio, television or film material, manufacturers of equipment, librarians and archivists.
AES members have the necessary expertise to understand and develop the use of metadata in an audio production and post-production environment, and to encourage its use worldwide.
