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Silicon Valley Video Summit 2026
AES SF has partnered with Silicon Valley Video Summit to bring you a half day of audio for video workshops on Tuesday, January 27, 2026. And the best part? The show is free for AES members! Don’t miss this opportunity to enhance your skills and knowledge.
AES Sessions
| Time | Room | Description |
| 9:45 am | Boole | AES: Higher Order Audio Capture
Discussion around solutions for live-event multi-channel audio capture (sporting, concerts, etc.) Detailed discussion on multi-channel audio capture with feeds sent in real-time to broadcast mixers who can then make decisions on creating the listening environment to match the visual experience. David will discuss multiple, currently available, product solutions to facilitate the audio capture. This session is ideal for audio professionals providing real-time mix engineering along with capture for later post-production purposes. Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios |
| 10:15 am | Boole | AES: Eclipsa Audio Format for Streaming and Sound Design
Eclipsa Audio is a new open source spatial audio format based on the IAMF (Immersive Audio Model and Formats) specification, available under a royalty-free license from the Alliance for Open Media. Eclipsa Audio is designed to enable high-quality, immersive audio experiences across various devices and platforms, including streaming, gaming, and virtual reality. The IAMF specification is codec-agnostic and allows for flexible rendering and mixing, making it adaptable to different playback environments.Eclipsa Audio streaming and upload support has launched on YouTube. Join this tutorial session to learn more about the IAMF specification and to listen to creators talk about how to do sound design for Eclipsa Audio format. Learn about sound design differences and similarities for factual, animation & high end narrative content. Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios |
| 10:45 am | Exhibits | Networking Break |
| 11:30 am | Boole | AES: Cleaner Audio, Faster Decisions: Real-Time Separation for Modern Broadcast Workflows
AudioShake, the leading audio isolation and separation tool for media and entertainment, today announced the launch of its first streaming-capable SDKs designed specifically for real-time music detection and copyright-safe audio cleanup. The SDK enables broadcasters, sports leagues, and media creators to automatically detect and remove copyrighted music from live and post-production content—helping them avoid takedowns, fines, muted audio, and distribution delays. Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios |
| 12:00 pm | Boole | AES: Architecting Next-Generation Immersive Audio: Advanced Spatial Audio Formats and Codecs
The rapid evolution of immersive experiences, particularly in Extended Reality (XR) applications like Virtual Reality (VR), Mixed Reality (MR), and Augmented Reality (AR), presents significant challenges for delivering compelling and perceptually accurate spatial audio. Traditional audio formats and rendering techniques fall short of meeting the requirements of these environments, leading to a need for novel approaches to audio representation, encoding, and delivery. Using the Apple Spatial Audio Format (ASAF) and its underlying Apple Positional Audio Codec (APAC) as a case study, we will examine how a unified framework can natively support a diverse array of immersive audio representations, including object-based audio, High Order Ambisonics (HOA), channel-based audio, and binaural rendering. Moderator: BT Gibbs, Skyline Entertainment and Publishing and Tool Shed Studios |
| 12:30 pm | Boole | AES Sessions: All Speaker Q&A
Presenters from the previous sessions will participate in a Q&A session moderated by Brian Gibbs and Jean‑Marc Jot. Moderators: |
AES Presenters
David Bowles David v.R Bowles formed Swineshead Productions, LLC as a classical recording production company in 1995. His recordings have been GRAMMY- and JUNOnominated and crucially acclaimed worldwide. All releases are available as high-resolution paid downloads. Those in Dolby Atmos streaming audio format can be found on Avie, Delos and Navona Records. In collaboration with New York University’s Music Technology programme at Steinhardt School of Music, Mr. Bowles researches and teaches 3D audio recording for their Tonmeister Seminar. He has sat on panels at several AES conventions (with colleagues from NYU, Dolby, Huddersfield University and Sennheiser), and presented his papers on 3D height gathering at AES conferences in New York, San Francisco, São Paulo and Warsaw.Mr. Bowles is also a guest lecturer at the Royal Danish Academy of Music and Peabody Recording Arts and Sciences (John Hopkins University). He was Visiting Professor of Recording Arts at Indiana University’s Jacobs School. Mr. Bowles is a member of the AES (Audio Engineering Society): he’s served twice on the Board of Governors, and is Western Regional VP (United States and Canada, 2023-26). He is also a voting member of NARAS (National Academy of Recording Arts & Sciences) and active in their Producers & Engineers Wing. |
Jan Skoglund Jan Skoglund leads a team at Google in San Francisco, CA, developing speech and audio signal processing components for capture, real-time communication, storage, and rendering. These components have been deployed in Google software products such as Meet and hardware products such as Chromebooks. After receiving his Ph.D. degree at Chalmers University of Technology in Sweden, 1998, he worked on low bit rate speech coding at AT &T Labs-Research, Florham Park, NJ. He was with Global IP Solutions (GIPS), San Francisco, CA, from 2000 to 2011 working on speech and audio processing, such as compression, enhancement, and echo cancellation, tailored for packet-switched networks. GIPS’ audio and video technology was found in many deployments by, e.g., IBM, Google, Yahoo, WebEx, Skype, and Samsung, and was open-sourced as WebRTC after a 2011 acquisition by Google. Since then he has been a part of Chrome at Google. Jan is the vice chair of AES Technical Committee on Coding of Audio Signals. |
Jessica Powell Jessica Powell is the CEO and co-founder of AudioShake, a sound-splitting AI technology that makes audio more editable, accessible, and useful, powering new creative use and monetization across broadcast, film, TV, and music. Powell spent over a decade at Google, where she sat on the company’s management team. She is also an award-winning author whose work has been published in the New York Times, TIME, WIRED, and elsewhere. |
Deep Sen Proven industry leader with senior management positions at Apple & Qualcomm with stints in Academia and a Bell Labs alumni. Technical leadership and direction in Audio Signal Processing, Immersive Media, Broadcasting, Codecs, Machine Learning, Hearing Aids and Cochlear Prosthetics. Multiple publications & granted patents. |
Brian Gibbs Brian (Bt) “Gibbs”, principal at Skyline Entertainment and Publishing (www.SkylineEP.com) and Tool Shed Studios is a producer and engineer whose credits include assistant engineer on the 2015 GRAMMY winning album “Realidades” (Los Tigres del Norte). The studio, located in Morgan Hill California produces over 50 record credits annually. Committed to helping our SF Chapter make a difference for music creators.Gibbs a graduate of Berklee College of Music B.M. (Jazz Composition) is engaged in a number of organizational, networking and educational initiatives. |
Jean-Marc Jot Globally recognized audio technology innovator in consumer electronics and pro markets, currently focusing more particularly on immersive audio, hearing personalization and music technology innovation. I founded Virtuel Works to help accelerate the development and deployment of audio, voice and music computing technologies that will power immersive experiences. Previously, I initiated and drove the development of novel sound processing technologies, platforms and standards for virtual and augmented reality, gaming, broadcast, cinema, and music creation – with Magic Leap, Creative Labs, DTS / Xperi, and iZotope / Native Instruments. Before relocating to California in the late 90s, I conducted research at IRCAM in Paris, where I created the Spat software library for immersive music creation and performance. Fellow of the Audio Engineering Society, regular speaker in industry and academic events. Authored numerous publications and patents on digital audio signal processing. |