Looking Back at the AES Warsaw Convention 2025
We were delighted to see the European AES convention back in friendly Warsaw, and the region’s ATM film and video studios – a mere ten kilometres from the city centre – played host. Hundreds of audio aficionados and a good number of local students gathered from all over the world to take part in this truly enjoyable three-day event.
The busy programme in Warsaw featured a wealth of papers, tutorials and workshops, and we built a Genelec 3D reference listening room with seven 8351Bs, two 7370 subs and four 8341As specially for the occasion. As the listening distances were short and the room packed with listeners high and low, Genelec The Ones SAM™ Monitors were the ideal system solution, delivering a truthful listening experience – despite the challenges. The room was in such demand that limits were placed on attendance, so we apologise to those who missed out. Please be sure to catch us at future events!
Three masterclasses with remarkable recording artists, Kimio Hamasaki, Morten Lindberg and Florian Camerer, described 3D recording of auditory envelopment in concert halls, churches and outdoors, while reviewing its reproduction in that particular listening room. See the photo captions below for details about some of the other excellent presenters and 3DJs. In addition, we opened up our reference room to a number of great student critique sessions. Throughout, Genelec expert Anders Nyman captained the bridge steadily, ensuring correct, lossless playback at checked sound levels – no small feat on such a tight schedule.
Madalina Nastasa presented a fascinating study on analysing standing waves in rooms, a topic immensely important to low frequency reproduction indoors, and I gave a talk on monitoring with headphones, which included details from a recent subjective test by Force Technology. All in all, we felt we created many more fond memories in Warsaw. A very warm thanks to everyone who joined in! Let’s hope it will be less than 10 years before the convention returns to the city again.
If you’d like to learn more about Genelec immersive solutions, please visit
www.genelec.com/immersive-hub
Kimio Hamasaki explaining capturing performance and sensation at the magnificent Tokyo Opera,
TOC. Three 8351B and two 8341A frontal monitors can be seen, and one of the subs.
Morten Lindberg describes his 3D recording techniques, used to touching effect here in last year’s Christmas present, the Yule album, which delivered an emotional journey into medieval Scandinavian music.
Morten with Anders Nyman, “captain” of the Genelec 3D reference room at the event.
Kseniya Kawko played and explained an excellent mix of 3D recordings, including live music from
jazz club Unterfahrt in Munich, and from Musikverein.
The 3D reference room also hosted very engaged student critique listening sessions. Here the fine winners Maria Siskova, Guillermo Rodriguez, Karolina Gródek (and Ian Corbett).
Florian Camerer detailing his brilliant 3D outdoor microphone array, the “double Ufix”, and
capturing good envelopment, without making the array larger than necessary.
Stefan Bock making a surprise announcement of a new 3D lossless streaming format, Pure Audio
Streaming, and playing magnificent examples of his and Hans-Martin Buff’s mixes.
Richard King explaining recording and mixing techniques from his excellent, composite 3D productions, giving listening examples from e.g. Yo-Yo Ma and Eric Clapton.
David Bowles explaining and exemplifying some of his excellent classical music recordings. David also gave a talk on placement of side and rear channels in 3D reproduction.
Myself talking about use of headphones in monitoring, especially personally experienced timbre and auditory envelopment in relation to standardised in-room monitoring.