Flux:: sound and picture development was founded in the 1990’s during the early days of digital audio software workstations, collaborating with Merging Technologies in the creation of Merging’s now well renowned products.

        

23 Products by Flux :

Flux Alchemist V3

Alchemist V3

Be it a serious problem with the dynamics in a mix, a delicate mastering assignment, or a situation with complicated dynamics, Alchemist provides everything you need...
Flux BitterSweet Pro

BitterSweet Pro

BitterSweet Pro is the result of the improved algorithms found in Flux’s acclaimed transient processor freeware, BitterSweet that has been used by hundreds of...
Flux Elixir V3

Elixir V3

Elixir is a novel kind of program limiter carefully designed to accomplish a truly pure natural sounding result without altering the nature of the audio material and...
Flux Epure V3

Epure V3

Epure is a state-of-the-art five-band equalizer designed to provide the absolute finest audio quality within the domain of digital audio processing. It is carefully...
Flux Evo Channel

Evo Channel

The Evo Channel is an adaptable module-based channel strip plug-in comprised of 5 highly innovative audio processing modules that include Drive, Phase, EQ, Compressor,...
Flux EVO IN

EVO IN

Two of the most important factors for taking control of the input signal, both for studio and live sound. EVO IN provides a Unique, Precise, Arbitrary and Linear Phase...
Flux Ircam HEar V3

Ircam HEar V3

HEar provides faithful reproduction of a stereo or surround mix with a pair of conventional stereo headphones. It relies on proven technology to model the various...
Flux Ircam Verb Session

Ircam Verb Session

VERB Session is based on the same fine technology used in the acclaimed IRCAM VERB algorithmic room acoustics and reverberation processor, with a modular construction...
Flux Ircam Verb V3

Ircam Verb V3

An algorithmic room acoustics and reverberation processor built in a modular way, with a recursive filtering based reverberation engine reproducing and synthesizing...
Flux Junger Audio Level Magic Multichannel

Junger Audio Level Magic Multichannel

As a result of a joint engineering venture, Jünger Audio and Flux:: are pleased to announce Level Magic for the first time in a software format. Developed and enhanced...
Flux Junger Audio Level Magic Stereo

Junger Audio Level Magic Stereo

As a result of a joint engineering venture, Jünger Audio and Flux:: are pleased to announce Level Magic for the first time in a software format. Developed and enhanced...
Flux Pure Analyzer Essential

Pure Analyzer Essential

The Flux Pure Analyzer System is a network-driven modular RTA-system providing an extensive range of analyzer options for any imaginable audio analysis and measurement...
Flux Pure Analyzer Live Option

Pure Analyzer Live Option

The Pure Analyzer Live provides the elements needed to assist the live sound engineer in speaker array calibration tasks, a delay finder, level, meter, transfer...
Flux Pure Analyzer Metering Option

Pure Analyzer Metering Option

The Pure Analyzer Metering provides an extensive set of measurement tools well adapted for Broadcast and Post Production facilities, presenting the metering tools for...
Flux Pure Analyzer Multichannel Option

Pure Analyzer Multichannel Option

The Pure Analyzer Multichannel provides a vast range of measurement tools for the most demanding multichannel environment. In addition to standard spectrum analyzer...
Flux Pure Compressor V3

Pure Compressor V3

The Pure Compressor Plug-in offers everything you would expect from a compressor, ranging from clean transparent subtle processing to classic heavy pumping. In...
Flux Pure DCompressor V3

Pure DCompressor V3

Pure DCompressor V3 provide the tools for restoring the original dynamics of the audio material. The dynamics processing algorithms are designed to automatically...
Flux Pure DExpander V3

Pure DExpander V3

Pure DExpander V3 is carefully designed to de-expand the audio material by magnifying the space information and enhancing the low levels of the material by amplifying...
Flux Pure Expander V3

Pure Expander V3

Pure Expander is a powerful versatile processor capable of anything from mild expansion to hard noise gating, perfectly suited for soft downward expansion. It can...
Flux Pure Limiter V3

Pure Limiter V3

Pure Limiter makes transparent limiting easy. A dramatic increase of the average audio level can now be accomplished without damaging the perceived audio quality. The...
Flux Solera V3

Solera V3

The Solera V3 dynamic processor combines the power of a compressor, expander, de-compressor and de-expander, all four available direct through the user interface,...
Flux SPAT Revolution

SPAT Revolution

The Audio industry is undergoing a profound evolution and Flux:: Spat Revolution is here to tackle it. Total immersion is the future of the gaming and entertainment...
Flux Syrah V3

Syrah V3

Syrah V3 handles the dynamics in a way that allows you to be creative, without a complicated user interface. Syrah is a next generation dynamics processor that uses...

5 Bundles by Flux :

Flux Full Pack 2.2

Full Pack 2.2 Bundle

This complete range of all the Flux plug-ins provides you with the best tools around for processing audio with the possibility of 8 channels for surround applications...
Flux Ircam Studio

Ircam Studio Bundle

The IRCAM Studio bundle includes products which are the result of over twenty years of research in the realm of music related digital signal processing. Ircam and...
Flux Ircam Trax V3

Ircam Trax V3 Bundle

A suite of three ingenious processors using technology, developed during many years, by the sound analysis/synthesis team at IRCAM with the objective to provide signal...
Flux Mastering Pack

Mastering Pack Bundle

The Mastering Pack contains four high-end dynamics processors: Solera, Epure, Elixir, Pure Limiter. It offers the best digital tools for mastering with up to 8...
Flux Studio Session Pack

Studio Session Pack Bundle

The Studio Session Pack contains 8 plug-ins : Pure Analyzer, Bittersweet Pro, Pure Compressor, Epure, Pure Expander, Pure Limiter, Syrah, and Ircam Tools Verb...

Latest News from Flux :

Seoul’s Jibet Center Brings Immersive Learning With SPAT Revolution
Monday February 22, 2021

Seoul, Korea – March 2021

Teaching religion and spirituality to young people has always been a challenge, and even more so with the limited attention spans of todays’ media-savvy youth. Korea’s Presbyterian Association aims to address the challenge head on with the opening of the new Jibet Center in Seoul.

Occupying the entire third floor of the new 100th Anniversary Memorial Hall, the Jibet Center teaches the tenets of Christianity via an interactive environment that includes immersive audio via FLUX:: Immersive SPAT Revolution.

Myungsung Nano Systems has created an immersive system implementing a 12.1 channel audio setup designed by Dohyung Kim, with music and sound designed by electronic musician Joonha Kim.

The space includes four-sided interconnected walls of video and immersive audio, designed for flexibility and versatility. Adjacent the main space is a fully equipped recording studio, and students are encouraged to create and contribute their own content as well.

” There are always challenges in live situations, but SPAT is really the best solution for this installation, and adapts to our needs easily. It is a powerful tool that can bring out my creativity. I have used it to try some new arrangements of my music for binaural or immersive shows, and it always inspires me to try new things. ”

Early adopters of immersive audio, Myungsang Nano Systems have been behind a number of projects on the Korean peninsula, including the recent Dolby Atmos system at Sungkyul University’s Department of Arts.

As Dohyung Kim explains, the selection of SPAT Revolution for the Jibet Center project was a logical one.

“SPAT’s integration with multiple DAW platforms, OSC, and MIDI, and its powerful flexibility were of paramount importance for an environment like this one, where children create multimedia content for immediate implementation. SPAT enabled us to program a system where azimuth can be programmed to interact directly with, for example, an external synthesizer’s LFO controls, or to enable the pitch control to move the Y-axis position. We were able to preconfigure speaker arrangements, panning, and routing to make it easy for the children to come in and use the system.”

“There are always challenges in live situations, but SPAT is really the best solution for this installation, and adapts to our needs easily. It is a powerful tool that can bring out my creativity. I have used it to try some new arrangements of my music for binaural or immersive shows, and it always inspires me to try new things.”

The post Seoul’s Jibet Center Brings Immersive Learning with SPAT Revolution appeared first on FLUX:: IMMERSIVE.

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South Bend Symphony Orchestra Brings The Audience Onstage With FLUX:: Immersive
Monday February 22, 2021

South Bend, IN – February 2021

In the city of South Bend, one production company has found a unique solution to get artists and crew back to work, and bring music and shows to audiences hungry for arts and culture, creating an immersive environment using SPAT Revolution from FLUX:: Immersive.

Employing an innovative 8-channel setup and a lot of creative imagination, the South Bend Symphony Orchestra has created an immersive performance experience that not only brings the listener into the symphony hall, but right up onstage with the orchestra.

The project began life as an inquiry from Halle McGuire with the South Bend Symphony. The Symphony wanted to know if it would be possible to create an installed sound system that could accurately reproduce the experience of listening to an orchestra, but could be set up in a space where people could walk through and maintain social distancing.

“For us, the challenge was to think outside the box and find a way to make music and employ musicians safely, and bring music to an arts-deprived audience,”

explains Eric Friedlander, Sound Designer for the Octet and Production Manager for the Festival.

“We had some discussions about potential concepts, and after identifying the boundaries of the project – prospective spaces, sizes of ensembles we could safely record, etc. – I suggested a semi-portable circular sound system where each recorded instrument would be assigned to a loudspeaker. I had already seen a demo of SPAT at an Infocomm show, and I kind of had the idea in my back pocket of creating this 3D experience using SPAT. This seemed like the perfect opportunity.”

After presenting proof of concept and getting signoff from the Symphony, the next step was building a semi-portable system, comprising eight JBL CBT50 speakers on tripods. Friedlander utilized the WAVES LV1 platform to record the octet, enabling him to easily import and export to and from Pro Tools using Soundgrid and run SPAT as inserts.

“It gave me a ton of flexibility. We routed each instrument through its own output and the result is a small scale immersive experience that will allow you to hear eight musicians playing in an octet in a way that no one has really been able to experience before.”

“When you’re in the audience, you’re separated by the stage, and the musicians are all on stage,” McGuire observes.

“You get the whole sound coming at you but you never get to feel like you’re onstage.”

Friedlander agrees. “People will be able to walk around and they’ll kind of be able to mix it themselves. They can walk around and hear the interplay between various instruments, stand in the center, and essentially create their own experience.”

“Mixing to SPAT was a blast,” Friedlander enthuses.

“It was so exciting to be able to take my flat mix, tuned the way we wanted it, and just expand that out into an immersive and engaging 3D space. I made good use of the timbre controls in SPAT, as it was a really neat way to fine tune the sound of the instrument in the immersive space, without necessarily changing EQ and the overall sound that we’d achieved pre-immersive mix. It just was a great way to really polish the mix we had and better fit it into the space to get the realism we wanted.”

Using SPAT and other mobile tools to build an immersive, object-based mix enabled us to do things that wouldn’t have been possible in a traditional mix environment, and give the symphony and the arts community something they can use to provide a new and totally different experience in the future.

Friedlander also gave high marks to the reverb engine in SPAT.

“It was a total gamechanger. Having the very clear, very direct sound of each instrument, it gave us a lot of leeway to decide how to best apply the reverb engine and think about what space we wanted to put people in as they were listening. It also really glued the mix together to put everything in the same ‘space’.”

For the Symphony, the promise of this immersive experience goes well beyond merely a temporary solution for coping with the shutdown. As McGuire explains,

“This is something really special that we can give to our community in a time when we can’t give them a traditional live performance, but it’s not only relevant during the pandemic; it’s something we can continue to use. It’s completely portable, so we can take it into a school, to a library, we can set it up in a hospital. We can make live symphonic music available to everyone.”

“I’m really pleased not just with the experience we were able to create, but the fact that we were able to create it at all,” Friedlander concludes.

“Using SPAT and other mobile tools to build an immersive, object-based mix enabled us to do things that wouldn’t have been possible in a traditional mix environment, and give the symphony and the arts community something they can use to provide a new and totally different experience in the future.”

The post South Bend Symphony Orchestra Brings the Audience Onstage with FLUX:: Immersive appeared first on FLUX:: IMMERSIVE.

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Spat Revolution And Dolby Atmos Workflow
Thursday January 28, 2021

Spat Revolution and Dolby Atmos workflow
Many users have asked us about the major differences between FLUX:: Immersive Spat Revolution and the Dolby Atmos Production Tools. Particularly with Dolby’s increased focus on music and emphasis on online distribution services for independent artists, questions regarding comparing the two platforms often arise.

Can both these production tools be compared, and what are the Advantages?
This article focuses on Spat Revolution, a standalone application (with its integration plugin suite) and how it differs from the Dolby Atmos Tools. Hopefully some of the information in this article will help demystify the hype – The object-based immersive production hype!

Workflow
At the base Dolby Atmos is a proposed workflow and a specific deliverable for Dolby Atmos speakers arrangements. One thing we need in immersive productions is good intuitive workflows. The current boom in immersive productions has triggered a greater need for well designed and efficient workflows – multiple creation and diffusion tools working in unison.

Dolby offers integration with selected DAWs, while Spat Revolution endeavors to offer wider options with more plugin formats supported. That said, Dolby offers the ability to create an ADM master, a recognized proposed standard agnostic of the actual format (the object base mix itself). More on this later.

The proposal
Dolby (and others) are offering commercial solutions where much has to do with licensing, for example, the streaming/distribution services for delivering Dolby content. (e.g., Dolby Atmos theatre venues). Sony Music has their approach here as well for delivering Sony 360 content on various platforms. This is a key spin on these proposals.

Some differences
A number of differences can be found between Spat Revolution and Dolby Atmos production tools. While we won’t directly compare something as subjective as sound quality, Ircam’s 30 years of research and expertise have made Spat a very high-level technology. With regard to format possibilities, spatialization technologies, adding room simulation, flexible workflows, adapting to various industry domains and deliverables, the two are simply different beasts. They are different but as well can be very complementary.

Object-mixing rendering and formats
Dolby Atmos Production Tools is ultimately an object mixing renderer that outputs a specific speaker arrangement family (Atmos), while Spat offers a wide range of pre-defined common arrangements as well as custom ones. This simply means that you can create for a wide range of configurations for various deliverables, up to a custom immersive installation.

Monitoring on your speaker arrangement or on headphones
Monitoring your object-based mix in a different environment than the deliverable is easy with Spat Revolution; this is great for those situations where you have a smaller or larger monitoring setup. For example, you can monitor on your available system, using a separate virtual room with a different format but with the same object mix, while in parallel rendering your actual deliverable (including an Atmos mix or any other format). Using Spat’s binaural monitoring, also makes it possible to virtualize any speaker arrangement on headphones.

Binaural for headphones
We can highlight possibilities with binaural overall in Spat Revolution, like dealing with HRTF libraries, personalized HRTF, various binaural modes, some not around HRTF, such as Snowman and Spherical models. Dolby does offer some binaural implementation too and has lately worked on this front facing the reality of our audience being isolated on headphones more than ever.

Panning and technologies
In terms of panning algorithms, Dolby utilizes a layer-based approach (LBAP in Spat) which is more forgiving, as opposed to Vector based panning (VBAP), which can sometimes be challenging with non-uniform systems. In all cases, a wide variety of panning options are available in Spat, where Dolby is a fixed panning model. I might mention that both layer-based approaches may not be *exactly* the same. This panning is a good way to work with a speaker elevation layer. The .4 for example that complements your base 7.1.

Acoustic simulation (reverberation)
While Dolby is primarily a panning tool, Spat Revolution brings room acoustic simulation (reverberation) to the virtual spaces where the object mix is done. Much of immersive audio is dependent on how sound is perceived in the real world, and the room effect of Spat helps to reinforce the localization and other aspects.
Consider the possibility of localizing the simulated early reflections of each source object; It brings a huge sense of reality. We can say that Spat goes deeper in source/object properties overall (Many options beyond object position such as perceptual parameters). You can use as little or as much as wanted.

Deliverables
Ultimately, Spat will allow you to create any deliverables, including Atmos, Sony, DTS, or custom sound installation. And it works in stereo too. In fact, Spat can deliver even a scene-based ambisonic mix (agnostic of the speaker system), to be decoded down the line. In addition, Spat Revolution can decode Ambisonic as well.

Regarding agnostic deliverables (channel-based or renderer agnostic), Dolby supports exporting an ADM master from your audio creation workflow. This means, for example, that you can import this object-based mix (ADM BWF.wav audio file with metadata) into a tool such as the Ircam ADMix player and render the various formats with the various technologies. The OSC integration in this player makes it possible to drive the dynamic and static objects in the external renderer. We in our team have done this with Spat Revolution acting as that external renderer.

ADM-OSC – Production tools and how they can be complimentary
Thanks to FLUX::’s involvement in the ADM-OSC initiative, some DAWs now support the optimal integration of external renderers by mapping their panner bidirectionally instead of via plugins. This was added by Nuendo and Merging Technologies at the end of last year, with others expected to follow.

With this, the renderer, such as Spat Revolution, offers a nice integration with the DAW, and since some DAWs can import ADM masters, you end up with an object-based mixing environment that is renderer format agnostic (even if the original creation was made in the Dolby environment).

This shows how a project can start with a creator or mixing in Dolby atmos workflow, but where the production needs to render other formats later. You can think of the opposite scenario where Spat Revolution is creating some audio, 7.1 or 7.1.4, beds with acoustic simulation, and that the prints then get inserted in a complete Dolby production workflow.

The ADM-OSC initiative mentioned above started for the live production side of the immersive wave – From audio capture to live broadcast workflow (where OSC is the main protocol in this industry already)!

Building ecosystems from creators to the distribution and diffusion!

The post Spat Revolution and Dolby Atmos workflow appeared first on FLUX:: IMMERSIVE.

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RFI Labo Takes Medicine Man Orchestra Immersive With SPAT Revolution
Friday January 22, 2021

Orleans, France – January 2021

Medical professionals and spiritual healers alike have long acknowledged the healing powers of music. For the Medicine Man Orchestra, it’s the basis of their music, their performance, and their mission.

Born out of a collaboration between French producer Mathieu Insa and Beninese Griot Seidou Barassounon, Medicine Man Orchestra takes their style from the tradition of the Griot, the storytellers and poets and musicians of West Africa. But while the Griot are known for traditional instruments like the kora, goje, and balafon, Medicine Man Orchestra mixes it up, bringing in the synth orchestrations of Alissa Sylla from Senegal along with UK guitarist Justin Adams to blend with percussion from Mélissa Hie and Wura Samba, and the Griot storytelling of frontman Barassounon.

On the visual side, Nicolas Ticot’s XLR Project cranks out stunning graphics to enhance the show, while France Médias Monde and RFI Labo create an immersive audio experience via binaural technology using SPAT Revolution from FLUX::Immersive.

It was a chance meeting at Midem in 2019 that connected the dots between the Medicine Man Orchestra and immersive audio via RFI Labo.

The company has a long history with 3D multimedia, including an ongoing series of productions with their France Médias Monde group. “Mathieu Insa came to our booth at Midem to listen to our SessionLab program where we present artists’ binaural mixes,” recounts RFI Labo Director Xavier Gilbert.

“He told us about his company, Aribo Production, and about the project he was working on with West African Griots music therapy. We knew immediately that Medicine Man Orchestra was a perfect fit for RFI Labo, with its combination of Griot culture and Electronic Music, and with people who were as passionate about their work as we are.”

As composer Alissa Sylla explains, immersive audio is a perfect complement to the troupe’s music and performance. “In the teachings and the culture of the Griot, physical space is a critical factor. The songs, the incantations, the dances, are designed for the outdoors – we could hardly enclose this music and these traditions in a room. Thanks to the immersive audio created by the RFI Labo team and FLUX::Immersive, we are able to begin to recreate that space, to immerse the viewer in a space that is more tangible than a typical stereophonic space.”

“The Medicine Man Orchestra’s music is ideally suited for an immersive mix,” confirms Benoit Le Tirant, 3D audio sound engineer with RFI Labo.

“The balance between the acoustic sources and synthesizers can sometimes be a challenge, and being able to refocus them within the 3D field helps them to be heard yet not stand out from their intended place in the mix.”

” Depending on the song, between 50 and 70 tracks per song are distributed according to their group – harmony, rhythm, percussion, vocals – into four or five binaural rooms within SPAT ”

For live performance, the SPAT Revolution system is coupled with a single PC running Pyramix software. “Depending on the song, between 50 and 70 tracks per song are distributed according to their group – harmony, rhythm, percussion, vocals – into four or five binaural rooms within SPAT,” Le Tirant explains.

“This enables us to have a quick view of each group of instruments, and makes the mix more intuitive and more precise.”

Le Tirant also points to SPAT’s object-oriented approach as a critical part of the workflow. “Being able to link and unlink objects really changes my way of mixing in movement. The visual interface ideal for immediately putting the intent and result of the mix into perspective.”

As with any leading-edge technology, the company is also a critical choice, observes RFI Labo’s Gilbert. “Before choosing a tool, we choose the company behind it. At every point in our productions, we need knowledgeable and responsive help from people who understand the purpose of our artistic work. The strength of SPAT Revolution is the FLUX:: team.”

“With much of what is called ‘World Beat’ music, there is a very dynamic component that is often very electronic and highly produced,” observes Producer Mathieu Insa.

“With Medicine Man Orchestra, we wanted to restore the relationship between the modern and traditional. The use of immersive audio highlights the elegance of Alissa Sylla’s electronic sounds with the spectral griotic aura of Seidou Barassounon. In short, immersive audio is precisely the right platform to reinforce the sacred content of the project. More than fusion, I would call it almost a magic osmosis”

“Immersive audio can be applied to all styles of music – you just need to ask yourself the right questions,” offers Le Tirant. “What do we want to convey to the listener? With MMO, we have the added dimension of music therapy. Immersive audio is perfect for this application, where the music must immerse the listener within the music and its movements.”

“Especially in these very challenging times, the Medicine Man Orchestra project, which is created around the idea of being therapeutic and calming, is surely quite appropriate,” concludes Sylla.

“These therapies are very important in the face of issues of anxiety and isolation.”

Medicine Man Orchestra’s album will be released February 5, 2021 on all major streaming platforms, uniquely in binaural.

The post RFI Labo Takes Medicine Man Orchestra Immersive with SPAT Revolution appeared first on FLUX:: IMMERSIVE.

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SPAT Revolution Helps UQAM University Professor Bring Immersive To Life
Friday January 22, 2021

Montreal, Canada – February 2021

Founded in 1969, the University of Quebec at Montreal (UQAM) is one of the largest French-language universities in the world, enjoying worldwide recognition for its academic excellence and its innovation in the arts. One of UQAM’s more popular courses of study is its Media School, where students can major in all facets of audio and media production.

The school was one of the first in the country to offer courses in multimedia and immersive audio, and has been building a state-of-the-art multichannel facility and research center, Hexagram, with immersive technology provided by SPAT Revolution from FLUX:: Immersive.

Professor Simon-Pierre Gourd oversees the Media School’s Sound Creation and Experimental Media labs, and has a long history working with immersive audio. A founding member of the Institut Universitaire des Nouveaux Médias, Gourd reflects on the rapid evolution of immersive audio.

“In the early days of immersive audio, we started out experimenting with an old Tascam console, using the cue outs and direct outs to create an 8-channel mix,” he explains.

“Eventually we moved on to ADAT and then DAW. Needless to say, it was all fairly primitive, and it was always a struggle to achieve the environment I had in my head with the tools we had to work with. I call it the Technological Tango – the dance between what your tools are designed to do, and what you want to make them do.”

The introduction of FLUX:: Immersive software profoundly changed the equation, says Gourd.

“Object-based mixing is a completely different approach to immersive audio. Sounds are no longer related to a channel. Now, each sound can be an object in a virtual space.”

One of the most impressive aspects of immersive audio is also one of its biggest challenges: that is, the almost limitless range of possibilities. Artists are not restricted in channel counts or configurations, and that can mean that a composition created for a 16-channel circular arrangement might end up being played back in a 36-channel immersive dome environment. As Gourd explains, this can easily become problematic.

“There are a lot of composers working in dome-type environments with widely varying channel counts and different speaker placements, which require different angles. We’ve done a number of events where we’ve featured multiple composers and multiple configurations, including both immersive and binaural. In one case, we had a guy deliver a piece done in 22.2; our system has 32 channels, with speakers in much different locations. We were able to load the project into SPAT and easily reconfigure it. About an hour of tweaking and fine-tuning and everything worked.”

Unlike many other immersive platforms, SPAT also enables users to create systems using the speakers and hardware of their choosing. “A lot of the systems available today are closed architecture,” Gourd offers.

“You have to buy their speakers and their processors, and that can be restrictive and expensive. With SPAT, we can remain hardware-agnostic, choosing whatever loudspeakers we prefer and working within different platforms.”

” We have something like 60 researchers here, working in film, video, artificial intelligence, and other forms of media. Some of us work in Pro Tools, some with Max or other software. With SPAT we can accommodate everyone’s systems and everyone’s workflow. ”

That flexibility is ideal for a university environment with multiple departments and disciplines.

“We have something like 60 researchers here, working in film, video, artificial intelligence, and other forms of media. Some of us work in Pro Tools, some with Max or other software. With SPAT we can accommodate everyone’s systems and everyone’s workflow.”

For UQAM students this also enables them to dabble in a wide range of experiences.

“Our students have the opportunity to try pretty much everything having to do with audio and media production. Whether it’s sound design, audio for games, or experimental media, we are able to provide them the environment to sample different disciplines and see what appeals to them. SPAT allows us to create any type of production environment.”

For Simon-Pierre Gourd, SPAT Revolution has marked a paradigm shift in his approach to immersive mixing.

“SPAT’s object based mixing has been a complete game changer. After so many years of fighting with the technology, we now have an interface that enables me to create the concepts I had in my head.”

The post SPAT Revolution Helps UQAM University Professor Bring Immersive to Life appeared first on FLUX:: IMMERSIVE.

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Spat Revolution Major Release Coming Soon – A Huge Leap In Power And Performance!
Friday October 23, 2020

In beta now and about to be released soon, the biggest and most comprehensive release of Spat Revolution since it was released. We couldn’t resist but give you a quick preview of some of the new features and workflow improvements, including snapshot system, setup wizard, drag and drop tool, new speaker arrangement imports and transformations, new reverb presets, new panning and spatial technologies, OSC refactoring and support of ADM-OSC, and more processing resources, like never before, with a new multithreading algorithm, and a lot of other things.

Spat Revolution is, to say it straight – The most adaptable Immersive mixing tool ever created

Setup Wizardry – Easy creation of your configuration – Like never before Thursday November 5th – 9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris
  • A new Setup Wizard helping you to build any kind of session from scratch
  • New drag and drop connect and move support
  • New input naming & bulk renaming
  • New templates for DAW integration
  • ReaVolution and Pro Tools track presets


Join us for a Live Stream Webinar Presentation on all the new System Setup features on Thursday November 5th

9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

https://www.flux.audio/spat-revolution-feature-presentation-live-webinars

Dealing with speaker arrangements – Like never before Thursday November 12th – 9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris
  • Enhancements and New Import speaker arrangement options for Speaker Configuration
  • Import speaker arrangements from simulation softwares
    • Nexo NS-1
    • Adamson Blueprint AV
    • d&B ArrayCalc
    • EASE export
    • Ease RAW data
  • Modify your speaker arrangement with a transform function to normalize, Move the XYZ reference, Rotate the arrangement, and much more…


Join us for a Live Stream Webinar Presentation on all the new Speaker Arrangement features on Thursday November 12th

9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

https://www.flux.audio/spat-revolution-feature-presentation-live-webinars

Managing and Manipulating your Object-based mix with Snapshots and Source Transformation Thursday November 19th – 9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

Using Spat Revolution in standalone and you want to recall a snapshot manually, or via OSC to change your audio mix scene? A new snapshot system with interpolation recall time is now presented.

Need to do a transformation to move all your sources? Use the new source transform feature to move the objects with an interpolation time!


Join us for a Live Stream Webinar Presentation on Managing and Manipulating your Object-based mix with Snapshots and Source Transformation on Thursday November 19th

9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

https://www.flux.audio/spat-revolution-feature-presentation-live-webinars

New panning and spatial technologies with newer acoustic simulation presets Thursday November 26th – 9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

Now we’re Adding Layer Based Amplitude panning (LBAP) and Dual Band Vector Based Panning (DualBandVBP) to our channel-based panning option. We will be previewing support of our upcoming Wave Field Synthesis WSF

Three new methods of binaural audio; NearField Binaural, Snowman Model, and Spherical Head Model. Furthermore, new acoustic simulation presets are available inside the virtual room.


Join us for a Live Stream Webinar Presentation on New Panning and Spatial Technologies with new Acoustic Simulation presets on Thursday November 26th

9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

https://www.flux.audio/spat-revolution-feature-presentation-live-webinars

OSC refactoring and ADM-OSC support Thursday December 3rd – 9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

Time for OSC refactoring with 8 new OSC slots, OSC presets for input and output configuration to common third party devices, OSC transform for dealing with normalization and scaling.

First release for the support of ADM-OSC, an industry initiative led by FLUX:: and peers to the standardization of a common language in live production.

ADM OSC is an extension of ADM where OSC is the proposed protocol for connecting next-generation audio systems and the live production workflow of object-based audio. From live performance to the broadcast serialized ADM.


Join us for a Live Stream Webinar Presentation on the Spat Revolution OSC refactoring and ADM-OSC support on Thursday December 3rd

9.00 AM Los Angeles / 12.00 PM Montreal / 6.00 PM Paris

https://www.flux.audio/spat-revolution-feature-presentation-live-webinars

The post Spat Revolution Major Release Coming Soon – A Huge Leap in Power and Performance! appeared first on FLUX:: IMMERSIVE.

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Mixing Immersive With Spat Revolution At Qatar’s New National Museum
Thursday October 22, 2020

Doha, Qatar – October 2020

Even in a skyline as futuristic as Qatar’s, the new National Museum of Qatar stands out as visually stunning. Designed by renowned architect Jean Nouvel, the museum’s modernistic exterior, adorned with 539 massive disks that lend it an almost other-worldly character, is home to more than 86,000 square feet of state-of-the-art exhibit space, with multiple interconnected galleries offering towering walls of video and immersive, multi-dimensional audio created using Flux::Immersive’s Spat Revolution.

The museum’s groundbreaking immersive audio design was created by Basel, Switzerland-based Idee und Klang, a pioneering multimedia agency acclaimed for their unique approach for integrating sound scenography with immersive audio design. The company has been working in immersive audio for more than 15 years, and as company founder Ramon De Marco explains, the Qatar project was unique on many levels.

“The museum itself is a very large and unusual space, with each of the galleries having its own architectural and acoustical character,” he offers.

“Each gallery has its own theme, with different video presentations and of course, different audio accompanying that, each one created by different composers and sound designers.”

With multi-channel sound and essential aspect of each gallery’s presentation, the complexities of producing and mixing multiple channels of audio for each space was just the beginning.

“We specified 64 channels for each gallery – almost 700 speakers in all,” reports audio scenographer and designer Daniel Teige. Meyer Sound provided the loudspeakers for the project, which was mixed using Spat Revolution.

Placement of the loudspeakers was also an issue, adds De Marco.

“The architects were adamant that they did not want to see any speakers. They originally wanted speakers only on the ceiling, which was about 20 meters high. Achieving any kind of directionality would have been pretty much impossible, and eventually we were able to lobby for locating some speakers at the bottom of the walls, where we had about eight centimeters of clearance. Meyer Sound had a compact speaker, the UP4slim, that we were able to implement in that limited space.”

Creating an immersive audio experience for even a single space can be a challenge, but creating multiple environments for adjoining spaces is an order of magnitude more complex.

“A lot of sound scenography is about understanding spaces, and how sound behaves in a space,” Teige observes.

“Using Spat, we were able to create a concept of how to deal with the sound, and adapt it to the theme of each gallery.”

” We compared several different immersive software programs, and Spat was really the most intuitive, as well as the best sonic quality. It’s far more than just a surround panner – it’s a room simulation tool that offers many opportunities to choose different algorithms ”

In addition to the sonic issues of overlap from adjacent galleries, De Marco points to the project’s sheer diversity as another challenge.

“We worked with each of the composers to create style guides, determine what sounds they would use, and how it would all be configured,” he observes.

“Most of the composers were more experienced in composing for TV documentaries, and not necessarily accustomed to creating for multichannel immersive environments. We worked with them not only in terms of what kind of sounds they would use, but also the material they would deliver, so we were able to adapt it to 50 or 60 channel mixes. Instead of receiving one or two WAV files, we were getting 50 or 60 files to orchestrate into a space.”

Consistency was also a factor, he adds. “We received everything from perfectly assembled multichannel sessions to some rather challenging ones. In some cases, we did a big part of the sound design ourselves, because the material we received was simply not enough.”

Composer Stratis Skandalakis has a long history of creating immersive compositions for exhibitions, including travelling globally to gather field recordings for his work. Skandalakis worked with a wide array of composers and circumstances, mixing each of the projects using Spat Revolution.

“It was pretty challenging at times,” he reports.

“Some of the composers had no previous experience with multichannel mixing, and were not accustomed to having a conversation about for example, where to place a sound in a 360-degree space. Often I would be working with a director on my left, and a sound designer on my right, and dealing with a very complex mix with maybe 50 channels, explaining why it takes time for the additional sound design.”

Skandalakis points to working with Spat as key to addressing the widely diverse range of material the team had to work with.

“It was a first for me to work with multiple formats at the same time,” he observes.

“With Spat we were able to take stereo, mono, ambisonic, 5.1, and throw them all together. It was a great tool for sound design and for special effects as well. You can make very fast movements, really play with the object based mixing.”

Particularly with the compressed timeframe, there was not a lot of opportunity for long involved mixing sessions. Staging and designing the systems in advance was key to making it work, and much of the planning and acoustic modeling was begun at the Idee und Klang studios in Basel.

Working with Spat Revolution was a tremendous time-saver, says Teige, enabling the team to create the initial sound design quickly and efficiently before taking it to the actual galleries for fine tuning.

“You have an idea and you want to implement it quickly,” says Teige.

“Spat’s object based mixing is really intuitive to work with, and that enabled us to stay in the creative space and work fast and efficiently.”

For De Marco and the Idee und Klang team, this was their first experience working with Spat Revolution.

“We compared several different immersive software programs, and Spat was really the most intuitive, as well as the best sonic quality,” he observes.

“It’s far more than just a surround panner – it’s a room simulation tool that offers many opportunities to choose different algorithms. And the people at Flux were great to work with. Gaël and the others were really supportive. Any time we ran into an issue, we would call and right away, we would have a new update. Spat is really the only software I would choose for a project like this one.”

The post Mixing Immersive with Spat Revolution at Qatar’s new National Museum appeared first on FLUX:: IMMERSIVE.

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China’s First Immersive Orchestral Concert Comes Alive With Spat Revolution
Friday October 16, 2020

Jinan, China – October 2020

When China’s Jinan Olympic Center Donghe Stadium opened its doors to the public on September 16, the Ministry of Culture and Tourism and the Shandong Provincial People’s Government co-sponsored a remarkable symphonic presentation, treating the audience of 2000 to the region’s first immersive orchestral performance.

The “Yellow River Flowing Into the Sea” concert featured an orchestra of nearly 160 pieces, as well as an 800-person chorus and guest appearances by nearly a dozen famous singers. The massive event utilized the power of Flux:: Immersive Spat Revolution to bring the audience inside the music.

FOH engineer Yong Xu mixed the show on an SSL L500 with L100 sidecar, integrated with dual Spat Revolution workstations running dedicated 8-core i9 computers, while OB engineer Wenzhao Ma ran a DiGiCo SD7 Quantum, also using dual Spat Revolution system. MADI connectivity via MGB devices ensured full redundancy.

“We used Spat on both the live and OB production,” reports systems engineer Wenzhao Ma.

“We divided the orchestra into 15 stereo stems and one mono stem to the FOH desk, and then flowed it into Spat using MADI. For the OB mix, I tried to put all the inputs into Spat, including functional channels like background music, ambient and audience mics. I did not use reverb tails on those elements, but but I used the acoustic simulation in Spat’s room effect to leave a little bit of early reflections, to give a sense of space.”

We divided the orchestra into 15 stereo stems and one mono stem to the FOH desk, and then flowed it into Spat using MADI.

The object-based FOH mix consisted of more than 20 stems from the SSL console, with Spat Revolution rendering the mix to the LCR system to provide imaging and acoustic simulation. At the OB position, a mix of 21 stereo stems and two mono stems from the DiGiCo console utilized Spat to render stereo, 5.1 surround, and full binaural synthesis mixes.

For Wenzhao, the show was his first experience working with Spat, and he was more than impressed.

“The functions are powerful, and the sound is amazing,” he enthuses.

“I really like the flexibility to be able to work in any configuration, even on headphones. Immersive and spatial audio is more than just a technical ‘trick’ – it enables us to improve and enhance the sound and the performance by adding dimension. Spat gives me the flexibility to show the composers what surprises are possible with their creations.”

As Wenzhao explains, the stadium required a fair amount of preparation for the event.

“The Jinan Donghe Stadium is a normal sporting venue, not really designed for music events. We had to build a stage and create special rigs to hang the LCR loudspeaker system from a wire.”

Each column comprised six d&b Audiotechnik GLS8 and two GSL12 boxes. Twelve SL-SUBs were stacked in front of the stage.

“We really wanted to hang the subs as well, to avoid too much low-frequency build-up in the front rows, but the weight restrictions prevented us from doing that,” adds Wenzhao.

Two groups of sidefills utilizing SE Audiotechnik M-F3a units were processed in mono.

I will be presenting this recording to some of our clients, and I will be changing it to a 5.1 or 7 channel mix. With Spat, that is so easy to accomplish.

The live recording of the event also added to the challenges, Wenzhao reports.

“The event was being recorded for Blu-Ray, and the recording engineer Mr. Jakob Handel had specified using DPA4099 mics on the strings. We were a bit concerned about capturing a good sound on the strings, as the mics also picked up much of the sound of the brass. But then we found that using Spat to add some natural depth and dimension to the strings solved the problem perfectly; I didn’t even need to any EQ to the strings.”

Wenzhao also gives high marks to the Flux:: Immersive team for their support.

“I think I have read almost an entire e-book from Mr. Hugo Larin and the rest of the team,” he quips. “They really helped us a lot through a challenging setup.”. “One thing that I love about Spat is the ability to easily reconfigure the channel setup,” observes Wenzhao.

“I will be presenting this recording to some of our clients, and I will be changing it to a 5.1 or 7 channel mix. With Spat, that is so easy to accomplish.”, “The show was a great success,” reports Wenzhao.

“I will most certainly be using Spat Revolution for future projects. Our team had the first application of Spat in China, and it is just the beginning. We have a studio in Beijing, and we will create a Spat setup there. I have plans to use it for many upcoming projects.”

The post China’s First Immersive Orchestral Concert Comes Alive with Spat Revolution appeared first on FLUX:: IMMERSIVE.

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Sabino Cannone Dives Deep Into Immersive With Spat Revolution
Friday September 11, 2020

Milan, Italy – September 2020

To say that Sabino Cannone is a busy man is like calling the Nile River a small stream. Cannone likely has more entries in his calendar in a typical week than most of us have in several months. He moves seamlessly from engineering to mixing and mastering, sound design, consulting, and a dizzying range of other projects, clearly loving every minute of his busy schedule.

Cannone is also no stranger to new technology, including being an early adopter of immersive audio.

“I started with the first 5.1-compatible version of Pro Tools, 20 years ago,” he reveals.

“I mixed the show Pinocchio in Italy, which was the first musical in Europe to use surround. It was a big show – we did a 6.1 mix, as well as a live band – in a large theater; it was a very complex production. The show is still running, and still using the music I did 20 years ago. They did a run on Broadway three years ago, and I also mixed the soundtrack recording in 5.1 surround.”

Several other musicals in surround would follow, as well as a number of installations for visual artists in Italy, Portugal, and Spain. As immersive audio evolved to encompass an ever-widening realm of potential formats, Cannone continued to dive deeper, dabbling in soundscapes for movies, games, and exhibitions. Recently this has included a number of projects using Spat Revolution from Flux:: Immersive.

Cannone’s introduction to Spat Revolution came at the tail end of a project with long-time collaborator David Kahne, creating an immersive sonic environment for National Geographic Encounter: Ocean Odyssey, an installation in New York’s Times Square. As he explains, it was toward the end of the National Geographic project that he first encountered Spat Revolution.

” With Spat Revolution I can do a mix in 5.1 and it will work in 7.1, or in 20.2, it can really adapt to whatever format I need. That’s not just a huge time saver for me, but it also makes it easy for me to explore new creative ideas – It’s a great tool! ”

“In the National Geographic project, we had lots of different environments, with different formats and channel counts. David was the head of the project, and I worked with him in the sound development, creating multichannel soundscapes, as well as the final immersive mix in New York. We both worked in Nuendo, and I also used Pro Tools for the sound development.

We were pretty much done with the mixes when the Flux guys asked me to check out the very first version of Spat Revolution. I started using it for the last part of the soundscape development, and I was blown away with how powerful it was. You were free to create whatever format and channel count you wanted – it was absolutely portable to any setup. I could mix multiple stereo sources to create soundscapes in any format. I created several 5.1 and 7.1 libraries, and used it on some final mixes. I decided right then that I would use it on my next project too.”

That versatility, and the ability to adapt each mix to virtually any multichannel format, was a major factor in his enthusiasm for the program.

“The Ocean Odyssey exhibition is spread over several different rooms,” he observes. “Each room and environment uses several different speaker combinations. The possibility to not have to redo the mix for each venue on installations like this one is a big value for us.”

Spat’s object based protocol was a new concept, Cannone explains.

“This was my first time working in object-based mixing, and I will admit it took some getting used to. For me, the focus of the sound is the most important factor. With object based mixing, you have a lot more freedom in movement of sounds, but with that freedom it becomes more challenging to maintain focus. It was a challenge at first, but once I understood how to manage objects, it was amazing how much easier it was. I think it was good for me that my first experience was using it on a very complex project, with so many options, because it really pushed me to learn about how to keep things in focus.”

Maintaining focus and balance in the mix is important in any format, but even more so when working in immersive, says Cannone.

“I think before you can understand working in immersive, you have to understand balance. All the sounds have to sit nicely in a stereo field before you can spread them to a surround field. And even before stereo, the mix must work in mono. I work a lot in mono – that’s another thing I learned from David Kahne. It’s funny – if you listen to those old Motown recordings, they were all done in mono, and yet they almost sound like stereo, because of the space and the balance. It all goes back to the way the brain perceives sound.”

Needless to say, Cannone is still enthralled with working in immersive audio, and enthused to explore the potential of working with Spat Revolution.

“We have come very far from the early days of immersive,” he points out.

“Years ago, when you did a mix in 5.1 surround, it was only for 5.1. With Spat Revolution, I can do a mix in 5.1 and it will work in 7.1, in 20.2, it can really adapt to whatever format I need. That’s not just a huge time saver for me, but it also makes it easy for me to explore new creative ideas. It’s a great tool.”

Sabino Cannone’s MoReVoX Studio

The post Sabino Cannone Dives Deep Into Immersive with Spat Revolution appeared first on FLUX:: IMMERSIVE.

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FOH Engineer Johnny Torchy On Advancing The Wavefront Of Neko Light Orchestra With Spat Revolution
Monday September 7, 2020

Toulouse, France – August 2020

Veteran live sound engineer Johnny Torchy has spent many years mixing shows across his native France and the rest of Europe. He’s also known as an early adopter, and isn’t afraid to try out new tools and technologies in his work.
Most recently Torchy has been driving the faders for French melodic rockers Neko Light Orchestra.

In celebration of the band’s eight anniversary, Neko Light Orchestra booked the 800-seat Le Bascala, in the Bruguières district of Toulouse, for their “Marathon Musical Festival,” featuring eight concerts in 12 hours. As if that wasn’t enough of a challenge, the decision was made to present the show in an immersive environment.

Torchy says the goal was to recreate the location of the various musicians on stage – up to 13 members – while creating a sense of depth using advanced room acoustics simulation. To meet the challenge, Torchy chose object-based immersive mixing via Spat Revolution and Wave Field Synthesis technology.

“Part of the challenge was that WFS typically calls for a large number of loudspeakers to create reliable results,” Torchy observes.

“But in fact, for this project I’ve used only seven line array sources, all in front of the audience. The results were very impressive.”

Torchy’s system utilized seven clusters of four L-Acoustic KARA loudspeakers facing the audience, with seven stacks of two KIVA cabinets on stage lip for front fill. Driving the mix was a Yamaha CL5 console equipped with a Rio 3224D I/O box bringing in 60 inputs. System connectivity was via a Dante DVS network, with a MacBook Pro running FLUX:: Immersive Spat Revolution.

“Most of the sources were sent post-fader to Spat Revolution, except for a few of the more complex instruments using multiple microphones, like piano, harp, and string sections, where we sent summed stems.” Torchy explains.

” Whatever the placement of each musical object, I was able to use Spat Revolution WFS to create the image I had created in the studio. I don’t know of any other system that can do this over such a wide audience area. ”

Using Spat Revolution’s advanced reverb engine enabled Torchy to perform advanced acoustic simulation, recreating perceived dimension and space in ways traditional consoles and PA systems cannot achieve.

“I was shocked,” Torchy reports.

“The sensation was simply incredible. You could literally make the source disappear. Of course there’s still sound coming from the loudspeakers, but the speakers themselves literally become transparent, with the actual wavefront of the source objects dominating. It’s no longer the same as mixing at a console with left and right channel. Its more like mixing in a virtual room, created in Spat Revolution.”

Torchy had previously built a smaller seven-speaker setup to test the system and do preproduction, but the impact in a live setting was simply remarkable.

“With Spat and WFS, I’m able to transmit the imaging and the artistic emotion not just to 15 or 20 percent of the audience that’s seated in the middle, but to the entire audience,” he enthuses. “Whatever the placement of each musical object, I was able to use Spat Revolution WFS to create the image I had created in the studio. I don’t know of any other system that can do this over such a wide audience area.”

For Torchy, this was an experience he will not soon forget.

“It was beyond any other setup I’ve ever deployed. It will be hard to go back to anything less.”

The post FOH Engineer Johnny Torchy on Advancing the Wavefront of Neko Light Orchestra with Spat Revolution appeared first on FLUX:: IMMERSIVE.

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In the previous video, we looked at numerous different types of equalization. In this video, we'll be concentrating on dynamic treatment, using the Pure Compressor, the Pure Expander, the Bitter Sweet Pro as well as the Syrah. 🌐 https://flux.audio/project/studio-session-pack #Mastering...
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HOW TO MIX WITH THE STUDIO SESSION PACK #1 : Balance & EQ Jul 9, 2020
The Studio Session Pack is a bundle of plug-ins by FLUX:: Immersive that contains some of the most essentials tools for Mixing and Mastering. This first part will be devoted to levels as well as EQs. 🎛 Learn More: https://www.flux.audio/project/studio-session-pack 🎛 Shop Now:...
TUTO BITTERSWEET PRO : ADVANCED FEATURES Video
TUTO BITTERSWEET PRO : ADVANCED FEATURES Jun 26, 2020
In this video, we will see the advanced features and in particular, take a detailed look at how the filter stage works. By Jean-Loup Pecquais, Sound Engineer. https://www.flux.audio/project/bittersweet-pro/ #FluxImmersive #EmpowerCreativity #Mastering Stay Tuned with FLUX:: Visit our website:...
HOW TO SET UP SPAT REVOLUTION WITH NUENDO Video
HOW TO SET UP SPAT REVOLUTION WITH NUENDO Jun 12, 2020
How to configure NUENDO and the SPAT Revolution by using the Local Audio Path mode in the context of a studio mix? The Local Audio Path mode is the simplest way to connect the SPAT Revolution and NUENDO when running them both from the same machine. This mode enables the exchange of audio and...
SPAT REVOLUTION : Preparation of an Immersive concert Video
SPAT REVOLUTION : Preparation of an Immersive concert Jun 9, 2020
From preproduction to a live concert at the 360 Music factory venue in Paris. Listen to sound engineer Jean-Loup Pecquais talk about mixing immersive for Akagera at the 360 Music factory venue in Paris and the preparation steps in advancing the show. This video covers how he used the in-house...
TIPS : SIDECHAIN FUNCTION Video
TIPS : SIDECHAIN FUNCTION May 29, 2020
In this video tips we take a look at how to use the sidechain function on the Flux:: PURE series, Solera and Alchemist dynamics plug-ins using Cockos Reaper. #Immersiveaudio #mastering #Plugin Stay Tuned with FLUX:: Visit our website : https://fluximmersive.com Follow us on Social Media...
TUTO BITTERSWEET PRO : TRANSIENT DESIGNER Video
TUTO BITTERSWEET PRO : TRANSIENT DESIGNER May 15, 2020
BITTERSWEET PRO V3 is a Transient Designer. In this video we will see the basic functions of the BITTERSWEET PRO V3. How to process transients and play on the energy sensation of a sound source. *Due to COVID-19, this video was shot in unusual conditions. Be safe and stay creative! By Jean Loup...
TIPS : Preset Manager & Morphing Slider Video
TIPS : Preset Manager & Morphing Slider Apr 27, 2020
In this video, we will see how to load the Presets and how to use the Morphing Slider. The preset manager and the Morphing setting can be found in the Pure Series, Solera V3, Alchemist V3, Syrah V3, Elixir V3, IRCAM Studio and Evo channel. They form an integral part of the Flux DNA....
Introduction to Spat Revolution – Online Training Session #2 Video
Introduction to Spat Revolution – Online Training Session #2 Apr 10, 2020
#FluxImmersive #SpatRevolution #EmpowerCreativity Stay Tuned with Flux:: Visit our website : https://fluximmersive.com Follow us on Social Media Facebook : https://facebook.com/FluxImmersive Twitter : https://twitter.com/FluxImmersive Instagram : https://www.instagram.com/fluxImmersive...
Introduction to Spat Revolution – Online Training Session #1 Video
Introduction to Spat Revolution – Online Training Session #1 Apr 10, 2020
#FluxImmersive #SpatRevolution #EmpowerCreativity Stay Tuned with Flux:: Visit our website : https://fluximmersive.com Follow us on Social Media Facebook : https://facebook.com/FluxImmersive Twitter : https://twitter.com/FluxImmersive Instagram : https://www.instagram.com/fluxImmersive...
HOW TO SET UP SPAT REVOLUTION WITH PRO TOOLS Video
HOW TO SET UP SPAT REVOLUTION WITH PRO TOOLS Apr 3, 2020
How to configure PRO TOOLS and the SPAT Revolution by using the Local Audio Path mode in the context of a studio mix? The Local Audio Path mode is the simplest way to connect the SPAT Revolution and PRO TOOLS when running them both from the same machine. This mode enables the exchange of audio...
HOW TO SET UP SPAT REVOLUTION WITH REAPER Video
HOW TO SET UP SPAT REVOLUTION WITH REAPER Apr 1, 2020
How to configure REAPER and the SPAT Revolution by using the Local Audio Path mode in the context of a studio mix? The Local Audio Path mode is the simplest way to connect the SPAT Revolution and REAPER when running them both from the same machine. This mode enables the exchange of audio and...
HOW TO SET UP SPAT REVOLUTION WITH PYRAMIX Video
HOW TO SET UP SPAT REVOLUTION WITH PYRAMIX Mar 27, 2020
How to configure Pyramix and the SPAT Revolution by using the Local Audio Path mode in the context of a studio mix? The Local Audio Path mode is the most simple way to connect the SPAT Revolution and Pyramix when running them both from the same machine. This mode allows the exchange of audio...
TUTO SYRAH : Creative Compression Video
TUTO SYRAH : Creative Compression Mar 25, 2020
SYRAH V3 is a unique tool conceived and used for more creative dynamic treatment, combining a Compressor and a De-Expander. How to use SYRAH plugin in several different applications, on drums, vocals as well as an entire mix?* *- 4'01: Start of Sound examples - By Jean Loup Pecquais, Sound...
TIPS IRCAM VERB : Width Effect Video
TIPS IRCAM VERB : Width Effect Mar 11, 2020
How to create a realistic stereophonic width effect on mono sources with the IRCAM VERB V3 plugin? By Jean Loup Pecquais, Sound Engineer. More Information: https://www.flux.audio/project/ircam-verb-v3/ #FluxImmersive #EmpowerCreativity #AudioPlugin Stay Tuned with FLUX:: Visit our website :...
TIPS : Stereo Mixing with SPAT Revolution Video
TIPS : Stereo Mixing with SPAT Revolution Feb 24, 2020
How to mix in stereo with the SPAT Revolution and achieve a sound scene easily by manipulating the sources in a perceptual way. With the help of the SPAT Revolution, the sound scene comes to life. By Jean Loup Pecquais, Sound Engineer. More Information:...
TUTO ELIXIR : Using a True Peak Limiter in Mastering Video
TUTO ELIXIR : Using a True Peak Limiter in Mastering Feb 7, 2020
How to use the Limiter True Peak ELIXIR V3 as the last mastering step to obtain the desired sound level while preserving the integrity of your mix. By Jean Loup Pecquais, Sound Engineer. More Information: https://www.flux.audio/project/elixir/ #FluxImmersive #EmpowerCreativity #AudioPlugin Stay...
TIPS EPURE : Hipass filter vs Bell Filter Video
TIPS EPURE : Hipass filter vs Bell Filter Jan 29, 2020
Equalization Tips with EPURE V3: Comparison of phase effects induced by high pass filters and bell filters and their implications in a mixing context. By Jean Loup Pecquais, Sound Engineer. More Information: https://www.flux.audio/project/evo-in/ #FluxImmersive #EmpowerCreativity #AudioPlugin...
TUTO EVO.IN : Phase Treatment Video
TUTO EVO.IN : Phase Treatment Jan 16, 2020
How to optimize the sound recording by manipulating the phase instead of manipulating the time with the EVO IN plugin. By Optimizing recording, we retrieve a sound richer and therefore simple to manipulate in the rest of our mix. By Jean Loup Pecquais, Sound Engineer. More Information:...
FLUX:: SPAT REVOLUTION: Preparation of a live immersive tour with AKAGERA Video
FLUX:: SPAT REVOLUTION: Preparation of a live immersive tour with AKAGERA Dec 6, 2019
Please put on headphones for a binaural immersive 3D-audio experience. AKAGERA is a unique acoustic jazz trio. Creating a landscape alternating Jazz, Trumpets, Balafons, and a variety of African Percussion instruments, French group AKAGERA explore savannas, deserts and deep forests in a sensible...
CLOSE TALKER - Immersion : A silent concert in binaural audio Video
CLOSE TALKER - Immersion : A silent concert in binaural audio Oct 8, 2019
CLOSE TALKER, an Indie Rock band from Saskatchewan in Canada, has always strived to push their craft toward new uncharted territories, here the band is taking the silent disco concept up a notch with their latest live show Immersion using binaural audio and headphones for the audience. In this...
FLUX:: AES New York 2019 Video
FLUX:: AES New York 2019 Oct 8, 2019
CLOSE TALKER - A band from Saskatchewan, Canada, has always strived to push their craft toward new uncharted territories, now they are taking the silent disco concept up a notch with their latest show Immersion, a silent binaural show, created with AVID S6L, Pro Tools and SPAT REVOLUTION using...
FLUX:: Studio session with AKAGERA Video
FLUX:: Studio session with AKAGERA Sep 5, 2019
FLUX:: with AKAGERA - A unique Jazz experience in binaural Please put on headphones for a binaural immersive 3D-audio experience. Creating a landscape alternating Jazz, Trumpets, Balafons, and a variety of African Percussion instruments, French group AKAGERA explore savannas, deserts and deep...
FLUX:: Subscription Licensing – Get Instant Access Now! Video
FLUX:: Subscription Licensing – Get Instant Access Now! Jul 26, 2019
With our subscription plans you’re getting access to all the software you need, at the same fixed price every month or year, and without any additional cost for future new software releases or versions. Simply choose your bundle, select a plan, and get instant access now!...
SPAT REVOLUTION and AVID S6L with EAW and Robert SCOVILLE at InfoComm 2019 Video
SPAT REVOLUTION and AVID S6L with EAW and Robert SCOVILLE at InfoComm 2019 Jun 27, 2019
SPAT REVOLUTION and AVID S6L with EAW and Robert SCOVILLE at InfoComm 2019 presenting an Immersive frontal experience using ADAPtive systems adapting the system performance to produce asymmetrical output to the defined coverage area for a unique Immersive experience. #FluxImmersive...
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.4 Video
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.4 Apr 26, 2019
In this fourth and last video, Hervé Déjardin talks about mixing adapted to the conditions of the utilization, the new paradigm in the audio universe, quality objectives that are at heart of the Radio France system, and about the evolution of the sound engineer profession and new perspectives of...
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.3 Video
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.3 Apr 26, 2019
In this third video, Hervé Déjardin talks about software adapted for a specific use in a production, the immersive project he led with Romain Delahaye (aka Molécule) at the Rex Club and his experience of the SPAT Revolution, and about spatialization software and mixing and creation....
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.2 Video
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.2 Apr 26, 2019
In this second video Hervé Déjardin tells us about Immersive sound for the Radio, the technological evolution during the last ten years, and what spatialization offers in terms of new perceptions, new emotions and new ways of being creative. #FluxImmersive #EmpowerCreativity #SpatRevolution...
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.1 Video
Interview Hervé Déjardin, Sound engineer / Studio 112, Radio France (Paris) - Part.1 Apr 26, 2019
Hervé Déjardin works at the department of quality and innovation at Radio France. Being a Spatial and Immersive sound specialist, he receives us at Studio 112 in the Radio France facility and tells us a little about his career and professional endeavors. #FluxImmersive #EmpowerCreativity...

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FluxImmersive
FLUX:: Immersive @FluxImmersive Wednesday March 3, 2021
Want to read the full article? 📰 https://t.co/riGDkwHaxi #SPATREVOLUTION #IMMERSIVEAUDIO https://t.co/qDcfl9plq8
FluxImmersive
FLUX:: Immersive @FluxImmersive Tuesday March 2, 2021
“We’re using both ancient and new technology to create a rich tapestry of frequencies and overtones and harmonics t… https://t.co/kRChVNgFB9
audiomusicadigi
Audio Música Digital @audiomusicadigi (retweeted by @FluxImmersive) Monday March 1, 2021
La Orquesta Sinfónica de South Bend lleva a la audiencia al escenario con @FluxImmersive #audiomusicadigital… https://t.co/e4vXVpL4Ji
FluxImmersive
FLUX:: Immersive @FluxImmersive Monday March 1, 2021
SHOW US YOUR #SPATREVOLUTION 😍 📸 https://t.co/XBLCzI7ufn 🎛️ https://t.co/t6WcToD0K0 https://t.co/ZCPXKn001I
FluxImmersive
FLUX:: Immersive @FluxImmersive Sunday February 28, 2021
FluxImmersive
FLUX:: Immersive @FluxImmersive Saturday February 27, 2021
SHOW US YOUR #SPATREVOLUTION 😍 📸 https://t.co/H4phBqffnd 🎛️ https://t.co/t6WcToUBBy https://t.co/lUaYCF0Efp
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Friday February 26, 2021
Introducing ReaVolution ReaVolution is a Script Package made by FLUX:: for the DAW Reaper from Cockos and has for… https://t.co/vKUtnnqVkr
FluxImmersive
FLUX:: Immersive @FluxImmersive Friday February 26, 2021
Introducing ReaVolution ReaVolution is a Script Package made by FLUX:: for the DAW Reaper from Cockos and has for… https://t.co/vKUtnnqVkr
FluxImmersive
FLUX:: Immersive @FluxImmersive Thursday February 25, 2021
Looking for a place where you can engage with other FLUX:: Immersive users? Join the User Group! ▶️… https://t.co/8MhOIMHAFd
FluxImmersive
FLUX:: Immersive @FluxImmersive Wednesday February 24, 2021
Looking for some interesting User Stories around the #SPATREVOLUTION and the #FLUXANALYZER? We have some really aw… https://t.co/C8HFX72Zqd
FluxImmersive
FLUX:: Immersive @FluxImmersive Tuesday February 23, 2021
Did you know that all the FLUX:: products are also available as subscriptions? ▶️ https://t.co/IXh00Z1whp https://t.co/KfMRcsiTwL
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Monday February 22, 2021
🎧 Please use headphones 🎧 Really interesting use of the #SPATREVOLUTION, go check jYun out! 👇 📸… https://t.co/abFXDKDz0q
FluxImmersive
FLUX:: Immersive @FluxImmersive Monday February 22, 2021
🎧 Please use headphones 🎧 Really interesting use of the #SPATREVOLUTION, go check jYun out! 👇 📸… https://t.co/abFXDKDz0q
FluxImmersive
FLUX:: Immersive @FluxImmersive Sunday February 21, 2021
SHOW US YOUR #FLUXANALYZER 🤩 📷 https://t.co/skafttCnSU 🎛️ https://t.co/6xijsWhm09… #fluximmersive #music… https://t.co/3zgOqXcGEU
FluxImmersive
FLUX:: Immersive @FluxImmersive Saturday February 20, 2021
SHOW US YOUR #SPATREVOLUTION 🤩 📸 https://t.co/4pYuwYSOKE 🎛️ https://t.co/t6WcToD0K0 #xpujilalbum #madetomeasure… https://t.co/ysNZm6AoVg
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Friday February 19, 2021
Did you catch last week's video❓ 📺 https://t.co/gtB7ip2bTv #voice #ircam #voicechanger #voicemod… https://t.co/2I3Y3qBz3x
FluxImmersive
FLUX:: Immersive @FluxImmersive Friday February 19, 2021
Did you catch last week's video❓ 📺 https://t.co/gtB7ip2bTv #voice #ircam #voicechanger #voicemod… https://t.co/2I3Y3qBz3x
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Sunday February 14, 2021
SHOW US YOUR #FLUXANALYZER 😍 📸 https://t.co/cy2jONMju5 🎛️ https://t.co/x3JNmpTopG #fluximmersive #pureanalyzer… https://t.co/s2R2KiXLd5
FluxImmersive
FLUX:: Immersive @FluxImmersive Thursday February 18, 2021
Want to learn more about the WFS? Which is one of the most promising features coming to the #SPATrevolution 🗞️… https://t.co/dohdFbC9S2
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Wednesday February 17, 2021
The #SPATREVOLUTION course is still going at the office! Want to learn more about the SPAT Revolution? ▶️… https://t.co/xtxg9OS5ly
FluxImmersive
FLUX:: Immersive @FluxImmersive Wednesday February 17, 2021
The #SPATREVOLUTION course is still going at the office! Want to learn more about the SPAT Revolution? ▶️… https://t.co/xtxg9OS5ly
FluxImmersive
FLUX:: Immersive @FluxImmersive Tuesday February 16, 2021
Made with #SPATrevolution 🎧 You can still watch or re-watch the Binaural Livestream Concert from Elephantmat at le… https://t.co/0SPNe4JSsR
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Monday February 15, 2021
The second session of the SPAT Revolution course just started, and this time the course is happening directly in th… https://t.co/FKfK6tqaDW
FluxImmersive
FLUX:: Immersive @FluxImmersive Monday February 15, 2021
The second session of the SPAT Revolution course just started, and this time the course is happening directly in th… https://t.co/FKfK6tqaDW
FluxImmersive
FLUX:: Immersive @FluxImmersive Sunday February 14, 2021
SHOW US YOUR #FLUXANALYZER 😍 📸 https://t.co/cy2jONMju5 🎛️ https://t.co/x3JNmpTopG #fluximmersive #pureanalyzer… https://t.co/s2R2KiXLd5
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Saturday February 13, 2021
SHOW US YOUR #FLUXANALYZER 🤩 📸 https://t.co/biTbGY8EQw 🎛️ https://t.co/x3JNmpTopG #fluximmersive #pureanalyzer… https://t.co/5CZubp3d91
FluxImmersive
FLUX:: Immersive @FluxImmersive Saturday February 13, 2021
SHOW US YOUR #FLUXANALYZER 🤩 📸 https://t.co/biTbGY8EQw 🎛️ https://t.co/x3JNmpTopG #fluximmersive #pureanalyzer… https://t.co/5CZubp3d91
FluxImmersive
FLUX:: Immersive @FluxImmersive Friday February 12, 2021
📺 New Video on the FLUX:: Immersive YouTube Channel‼️ ▶️https://t.co/gtB7ip2bTv #voice #ircam #voicechanger… https://t.co/LagLToi5pO
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Thursday February 11, 2021
"The SPAT system provides virtual rooms for various stream types, formats, and technologies (WFS, Ambisonic, Binaur… https://t.co/aU01b2knKB
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Thursday February 4, 2021
Time for a throwback!! 2️⃣ years ago we had the chance of releasing this video featuring the talented Merovee This… https://t.co/tb9pMOJgvq
FluxImmersive
FLUX:: Immersive @FluxImmersive Thursday February 11, 2021
"The SPAT system provides virtual rooms for various stream types, formats, and technologies (WFS, Ambisonic, Binaur… https://t.co/aU01b2knKB
FluxImmersive
FLUX:: Immersive @FluxImmersive Wednesday February 10, 2021
The Medicine Man Orchestra has given us an incredible show a few weeks ago, and they just released their album. C… https://t.co/yCC2W5VMR6
FluxImmersive
FLUX:: Immersive @FluxImmersive Tuesday February 9, 2021
Discover the fabulous work of Wenzhao Ma with the #SPATREVOLUTION ▶️ https://t.co/XcJFpgp4Pp #fluximmersive… https://t.co/EyNvXNpuAV
FluxImmersive
FLUX:: Immersive @FluxImmersive Monday February 8, 2021
🕘 Tonight at 9 pm ( Paris Time ), Elephantmat, with the collaboration of Capture Livestream and Dessonsanimes, will… https://t.co/y1FRMTsvOI
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Friday February 5, 2021
For once the studio at the office is being used for something else than testing! #fluximmersive #ableton #psiaudio… https://t.co/cTxAifkgi9
FluxImmersive
FLUX:: Immersive @FluxImmersive Saturday February 6, 2021
SHOW US YOUR #FLUXANALYZER 😍 📸 https://t.co/H7LFogjE9F 🎛️ https://t.co/pKCYxC1WGP #fluximmersive #avid #mixing… https://t.co/UIwJhPHOlc
FluxImmersive
FLUX:: Immersive @FluxImmersive Friday February 5, 2021
For once the studio at the office is being used for something else than testing! #fluximmersive #ableton #psiaudio… https://t.co/cTxAifkgi9
FluxImmersive
FLUX:: Immersive @FluxImmersive Thursday February 4, 2021
Time for a throwback!! 2️⃣ years ago we had the chance of releasing this video featuring the talented Merovee This… https://t.co/tb9pMOJgvq
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Wednesday February 3, 2021
If you haven't already, we have a very interesting new article to read on our Website! 👇 🗞️… https://t.co/pLbbS3K0GC
FluxImmersive
FLUX:: Immersive @FluxImmersive Wednesday February 3, 2021
If you haven't already, we have a very interesting new article to read on our Website! 👇 🗞️… https://t.co/pLbbS3K0GC
LSAOnline
L&SA Magazine @LSAOnline (retweeted by @FluxImmersive) Monday February 1, 2021
SPAT Revolution Helps UQAM Professor Bring Immersive to Life https://t.co/JgSDcgVAqY @FluxImmersive #SPATREVOLUTION… https://t.co/6vmGygC2eo
LSAOnline
L&SA Magazine @LSAOnline (retweeted by @FluxImmersive) Tuesday February 2, 2021
RFI Labo Takes Medicine Man Orchestra Immersive with SPAT Revolution https://t.co/tBtxa2hi7i @FluxImmersive
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Tuesday February 2, 2021
Learn more about the limitless possibilities of the SPAT Revolution here: 🌐 https://t.co/t6WcToD0K0… https://t.co/ulFSrJi2O9
FluxImmersive
FLUX:: Immersive @FluxImmersive Tuesday February 2, 2021
Learn more about the limitless possibilities of the SPAT Revolution here: 🌐 https://t.co/t6WcToD0K0… https://t.co/ulFSrJi2O9
mondodr
mondo*dr @mondodr (retweeted by @FluxImmersive) Monday February 1, 2021
The University of Quebec at Montreal builds a state-of-the-art multichannel facility and research centre, Hexagram,… https://t.co/nGEghrsISu
FluxImmersive
FLUX:: Immersive @FluxImmersive Monday February 1, 2021
SHOW US YOUR #FLUXANALYZER 🤩 📸 https://t.co/HOOL3BquJX 🎛️ ⁠https://t.co/x3JNmpTopG #mixing #mastering… https://t.co/nLZsm7sfPe
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Sunday January 31, 2021
SHOW US YOUR #FLUXANALYZER 😍 📸 https://t.co/stkUBxJLaq 🎛️ ⁠https://t.co/x3JNmpTopG #fluximmersive #avid #mixing… https://t.co/QBzzsRns76
FluxImmersive
FLUX:: Immersive @FluxImmersive Sunday January 31, 2021
SHOW US YOUR #FLUXANALYZER 😍 📸 https://t.co/stkUBxJLaq 🎛️ ⁠https://t.co/x3JNmpTopG #fluximmersive #avid #mixing… https://t.co/QBzzsRns76
FluxImmersive
FLUX:: Immersive @FluxImmersive (retweeted by @FluxImmersive) Saturday January 30, 2021
Last day to get your hands on the Analyzer with the Metering & Multichannel addons for free‼️ 🛒… https://t.co/DrM5QqN4mZ
FluxImmersive
FLUX:: Immersive @FluxImmersive Saturday January 30, 2021
Last day to get your hands on the Analyzer with the Metering & Multichannel addons for free‼️ 🛒… https://t.co/DrM5QqN4mZ

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About Flux :

Flux:: sound and picture development was founded in the 1990’s during the early days of digital audio software workstations, collaborating with Merging Technologies in the creation of Merging’s now well renowned products.

In 2007 Flux:: started releasing their own exquisite audio software product line tailored for demanding sound engineers, and has since then been focused on creating intuitive and technically innovative audio software tools, used by sound engineers and producers in the professional audio, broadcast, post production and mastering industry all over the world.

We're distributing Flux in the following 245 countries :

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