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.
Come and join the FLUX:: team at the ISE 2024 exhibition in Barcelona. This will be the official first outing of FLUX:: with Harman International, Hall 3 – 3F300, demonstrating their SPAT Revolution Immersive software engine.
The demonstration will include many of the newly introduced features such as media recording, object group function, EASE (AFMG) XLD import with orientation, a range of new 3D view options and speaker arrangement categories for Apple and MPEG-H.
Discover the power of SPAT Revolution for immersive audio production, and how it integrates with major host environments like Avid Pro Tools, Nuendo, and QLab, providing comprehensive immersive audio mixing for live and prepared content with increased spatial resolution.
Register Now and get your ticket for Free
Harman International, Hall 3 – 3F300
About SPAT Revolution
SPAT Revolution is a state-of-the-art real-time immersive audio mix engine software, redefining the art of object-oriented and perceptual mixing. This makes it possible to intuitively position audio-sources in space, letting the acoustic signature of the room build the desired depth, independently from the output format. Designed to integrate into virtually any workflow, and with full automation of the spatialization parameters, SPAT Revolution offers a wide range of possibilities, empowering artists, sound-designers, and sound-engineers virtually unlimited possibilities to design, create and mix an outstanding immersive experience.
The post Experience SPAT Revolution with FLUX:: at the ISE 2024 in Barcelona appeared first on FLUX:: Immersive.
Read More
PRESS RELEASE
December 11, 2023
HARMAN Professional Solutions Completes Acquisition of FLUX SOFTWARE ENGINEERING
NORTHRIDGE, Calif. — HARMAN Professional Solutions, the global leader in audio, lighting, and video and control technologies, announced today it has completed the previously announced acquisition of FLUX SOFTWARE ENGINEERING (“FLUX::”). The purchase includes FLUX::’s immersive, processing, and analysis solutions across live production, installation sound, content creation, and post-production.
The acquisition broadens HARMAN Professional’s offerings across multiple applications with world-class immersive technology, in addition to establishing a foundation for future innovation by bringing together FLUX::’s team with the hardware and software engineers of HARMAN Professional.
“With the growing demand from our customers for immersive audio solutions, we are thrilled to welcome the FLUX:: team to the HARMAN family,” said Brian Divine, President, HARMAN Professional Solutions. “The FLUX:: team is made up of a very passionate group of people who have dedicated their careers to creating exceptional audio experiences. We are excited to work together to create new products that push technological boundaries and create culturally significant experiences.”
“We are extremely honored to join the HARMAN brand portfolio, and work alongside the teams from some of the most legendary brands in the audio industry,” said Gaël Martinet, Founder and CEO of FLUX SOFTWARE ENGINEERING. “We look forward to continuing our work developing immersive audio solutions with the significant investment, infrastructure and support that HARMAN will provide.”
France-based FLUX:: was founded in 2006 by then seasoned sound recording engineer and current CEO, Gaël Martinet, for the purpose of creating intuitive and innovative audio software tools. Now, the portfolio of nearly 20 products is used globally by talented professionals across many applications.
For more information on FLUX::, visit flux.audio.
ABOUT HARMAN PROFESSIONAL SOLUTIONS
HARMAN Professional Solutions engineers and manufactures audio, lighting, and video & control products for entertainment and enterprise markets, including live performance, audio production, large venue, cinema, retail, corporate, education, government, hospitality, broadcast and more. With leading brands including JBL Professional®, AKG®, Martin®, AMX®, Soundcraft®, BSS Audio®, Crown®, dbx Professional®, and Lexicon Pro®, HARMAN Professional delivers powerful, innovative and reliable solutions that are designed for world-class performance. HARMAN Professional Solutions is a Strategic Business Unit of HARMAN International, a wholly-owned subsidiary of Samsung Electronics Co., Ltd. For more information, visit http://pro.harman.com/.
ABOUT HARMAN
HARMAN (harman.com) designs and engineers connected products and solutions for automakers, consumers, and enterprises worldwide, including connected car systems, audio and visual products, enterprise automation solutions; and services supporting the Internet of Things. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson® and Revel®, HARMAN is admired by audiophiles, musicians and the entertainment venues where they perform around the world. More than 50 million automobiles on the road today are equipped with HARMAN audio and connected car systems. Our software services power billions of mobile devices and systems that are connected, integrated and secure across all platforms, from work and home to car and mobile. HARMAN has a workforce of approximately 30,000 people across the Americas, Europe, and Asia. In March 2017, HARMAN became a wholly-owned subsidiary of Samsung Electronics Co., Ltd.
GLOBAL
David Glaubke
Director, Global Corporate Communications
HARMAN Professional Solutions
+1 (818) 895-3464 O
+1 (818) 470-7322 M
© 2023 HARMAN International Industries, Incorporated. All rights reserved. Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson are trademarks of HARMAN International Industries, Incorporated, registered in the United States and/or other countries. AKG is a trademark of AKG Acoustics GmbH, registered in the United States and/or other countries. Features, specifications and appearance are subject to change without notice.
The post HARMAN Professional Solutions Completes Acquisition of FLUX SOFTWARE ENGINEERING appeared first on FLUX:: Immersive.
Read MoreAre you ready to record?
We are delighted to release SPAT Revolution 23.11, build 50341 – A free SPAT Revolution upgrade to all users (requires 22.9 license).
Available now in FLUX:: Center – For download and installation of the 23.11 version, the latest version of FLUX:: Center is required, available from the FLUX:: download page (login required).
Highlights SPAT Revolution 23.11
And as always, a range of maintenance bug fixes, including some important updates for the Nuendo VST3 automation.
AVAILABLE NOW IN FLUX:: CENTER
Need to upgrade to 22.09? Visit the My Upgrade Options section in your FLUX:: account.
The post SPAT Revolution 23.11 – Available Now: New Record feature, New 3D View options, and more appeared first on FLUX:: Immersive.
Read MoreLes 29 et 30 novembre l’équipe de FLUX :: est heureuse de vous retrouver au salon JTSE à Paris. Au-delà de notre stand, où nous présenterons les derniers développements du moteur audio immersif SPAT Revolution, nos derniers outils, et notre prochaine mise à jour du FLUX Analyzer, des démonstrations quotidiennes seront disponibles dans une configuration studio spécialement conçue pour l’occasion.
Dock Haussmann, Studio Experience Mezzanine #014
Courtes présentations quotidiennes
Mercredi : 11:30, 13:30, 15:30, et 17:30
Jeudi : 11h30, 13h30, et 15h30
Mercredi 29 november 11:30 et 15:30, et jeudi 30 novembre 13:30
SPAT Revolution pour la reproduction avec synthèse de front d’ondes (WFS).
Mercredi 29 november 13:30, et jeudi 30 novembre 11:30
Création et rendu de masters Dolby Atmos à l’aide de SPAT Revolution
Mercredi 29 november 17:30, et jeudi 30 novembre 15:30
Production de musique électronique avec SPAT Revolution et Ableton Live
La 27ème édition des JTSE se tiendra les 29 novembre (de 9h30 à 20h) et 30 novembre (de 9h30 à 18h) aux Docks de Paris Porte de la Chapelle avec une vaste gamme d’exposants dans les différents domaines de l’industrie : rigging, éclairage, audio, scénique, supports, sièges, etc.
Votre pass visiteur gratuit est disponible ici
The post FLUX:: Immersive vous attend pour la 27ème édition du JTSE à Paris appeared first on FLUX:: Immersive.
Read MoreNovember 29th and 30th the FLUX:: Immersive team is happy to meet up with you at the JTSE show in Paris. Beyond our booth, where we will present the latest developments of SPAT Revolution Immersive Audio Engine, our upcoming Analyzer update and latest tools, daily demonstrations are available in the nearby studio set up specifically for the occasion.
Dock Haussmann, Studio Experience Mezzanine #014
Daily short presentations
Wednesday 11.30, 13.30, 15.30, and 17.30
Thursday 11.30, 13.30, and 15.30
Wednesday 29th at 11.30, 15.30 and Thursday 30th at 13.30
SPAT Revolution in live reproduction using Wave Field Synthesis (WFS)
Wednesday 29th at 13.30 and Thursday 30th at 11.30
Dolby Atmos masters authoring and rendering using SPAT Revolution
Wednesday 29th at 17.30 and Thursday 30th at 15.30
Electronic music production & performance with SPAT Revolution and Ableton Live
The 27th edition of JTSE will be held November 29th (from 9.30 to 20.00) and November 30th (from 9.30 to 18.00) at the Docks of Paris Porte de la Chapelle (Subway “Porte de la Chapelle”) with a vast range of exhibitors in the various fields of the industry including; rigging, lighting, audio, scenic, fabrics, stands, seats, and more.
Free visitor pass available here
The post FLUX:: Immersive welcome you all to the 27th Edition of JTSE in Paris appeared first on FLUX:: Immersive.
Read MorePRESS RELEASE
November 9, 2023
HARMAN Professional Solutions To Acquire FLUX SOFTWARE ENGINEERING
Pioneers in Audio Processing, Audio Analysis, Immersive and Performance Audio Technology, FLUX:: will Advance HARMAN Professional’s Portfolio in Live Production, Installed Audio, and More.
NORTHRIDGE, Calif. — HARMAN Professional Solutions, the global leader in audio, lighting, and video and control technologies, announced today it has entered into an agreement to acquire FLUX SOFTWARE ENGINEERING (“FLUX::”), pioneers in immersive audio production, audio processing plug-in design, and audio analysis.
The acquisition will broaden HARMAN Professional’s offerings across multiple applications with world-class immersive technology, in addition to establishing a foundation for future innovation by bringing together FLUX::’s team with the hardware and software engineers of HARMAN Professional. When closed, the purchase will include FLUX::’s immersive, processing, and analysis solutions across live production, installation sound, content creation, and post-production.
“The FLUX:: acquisition is part of a technology investment HARMAN Professional is making to bring outstanding immersive experiences for live and recorded productions,” said Brian Divine, President, HARMAN Professional Solutions. “From creation to real-time immersive delivery, we aim to empower artists, designers, and engineers with a comprehensive product offering across the entire system. The foundational technology developed by the talented FLUX:: team opens many opportunities for future integration with our portfolio of brands.”
France-based FLUX:: was founded in 2006 by then seasoned sound recording engineer and current CEO, Gaël Martinet, for the purpose of creating intuitive and innovative audio software tools. Now, the portfolio of nearly 20 products is used globally by talented professionals across many applications.
FLUX:: SPAT Revolution is a powerful object-based and perceptual immersive mixing solution providing artists, sound-designers, and sound-engineers the tools to design, create, and mix outstanding real-time immersive experiences.
FLUX:: Analyzer is a modular RTA-system providing an extensive range of analyzer options for any audio analysis and measurement application.
FLUX:: Processing includes a comprehensive suite of plugins including channel strips, EQs, dynamics processing, and more.
“The future integration of our software technology with HARMAN’s industry leading brands make for exciting opportunities not only for touring applications, but for installed audio where spatial audio will play an increasingly important role,” said Gaël Martinet, Founder and CEO of FLUX SOFTWARE ENGINEERING. “We’ve been pioneering and engineering immersive audio solutions for many years and to be among these HARMAN brands, namely JBL, which developed some of the earliest loudspeakers, is very compelling for our team and for customers.”
Closing of the acquisition is anticipated before the end of 2023. For more information on FLUX::, visit flux.audio.
ABOUT HARMAN PROFESSIONAL SOLUTIONS
HARMAN Professional Solutions engineers and manufactures audio, lighting, and video & control products for entertainment and enterprise markets, including live performance, audio production, large venue, cinema, retail, corporate, education, government, hospitality, broadcast and more. With leading brands including JBL Professional®, AKG®, Martin®, AMX®, Soundcraft®, BSS Audio®, Crown®, dbx Professional®, and Lexicon Pro®, HARMAN Professional delivers powerful, innovative and reliable solutions that are designed for world-class performance. HARMAN Professional Solutions is a Strategic Business Unit of HARMAN International, a wholly-owned subsidiary of Samsung Electronics Co., Ltd. For more information, visit http://pro.harman.com/.
ABOUT HARMAN
HARMAN (harman.com) designs and engineers connected products and solutions for automakers, consumers, and enterprises worldwide, including connected car systems, audio and visual products, enterprise automation solutions; and services supporting the Internet of Things. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon®, Mark Levinson® and Revel®, HARMAN is admired by audiophiles, musicians and the entertainment venues where they perform around the world. More than 50 million automobiles on the road today are equipped with HARMAN audio and connected car systems. Our software services power billions of mobile devices and systems that are connected, integrated and secure across all platforms, from work and home to car and mobile. HARMAN has a workforce of approximately 30,000 people across the Americas, Europe, and Asia. In March 2017, HARMAN became a wholly-owned subsidiary of Samsung Electronics Co., Ltd.
GLOBAL
David Glaubke
Director, Global Corporate Communications
HARMAN Professional Solutions
+1 (818) 895-3464 O
+1 (818) 470-7322 M
© 2023 HARMAN International Industries, Incorporated. All rights reserved. Harman Kardon, Infinity, JBL, Lexicon and Mark Levinson are trademarks of HARMAN International Industries, Incorporated, registered in the United States and/or other countries. AKG is a trademark of AKG Acoustics GmbH, registered in the United States and/or other countries. Features, specifications and appearance are subject to change without notice.
The post HARMAN Professional Solutions To Acquire FLUX SOFTWARE ENGINEERING appeared first on FLUX:: Immersive.
Read MoreBerlin, October 2023
The latest release of AFMG’s EASE Focus now supports export of reproduction system arrangements to the SPAT Revolution real-time spatial audio mixing engine from FLUX:: Immersive.
Being one of the most popular acoustic simulation and optimization tools worldwide, EASE Focus 3 is increasingly employed also for the design of immersive sound systems. Its intuitive and fast workflows as well as its universal loudspeaker database of about 150 brands and almost 1000 models make it the obvious choice for creating, refining, and documenting loudspeaker setups.
Now another major milestone has been reached with the latest release of EASE Focus (version 3.1.220), adding support for exporting reproduction system arrangements for import into third-party software such as SPAT Revolution (version 23.08), the established real-time spatial audio mixing engine developed by FLUX:: Immersive.
The new interface allows transferring position and orientation information as well as model numbers and EQ settings. Workflows for immersive designs are greatly simplified as users of EASE Focus and SPAT Revolution can switch directly between the two software solutions. The combination of the two tools forms the ideal platform for evaluating, tuning, and running sophisticated spatial audio applications using all kinds of sound systems, from leading brands to innovative startups.
Hugo Larin, Business Director of FLUX::Immersive, states: “We are delighted that SPAT Revolution 23.08 now supports XLD import from EASE Focus, to map speaker positions. This implementation is also the first to support orientation from the modelling / prediction software, something key to Wave Field Synthesis deployments. From the design model to the system ´as built’ update, we can simply pass the final speaker configuration to the immersive SPAT Revolution engine to define the arrangement to use for the desired reproduction technique.”
Stefan Feistel, Managing Director of AFMG, comments: “Given the increasing number and quality of immersive sound applications worldwide, it is a major step forward for us to provide our users with an interface to leading rendering software like SPAT Revolution. This development goes along with the more advanced immersive design tools that have been incorporated into the latest updates of EASE 5. Therefore we really appreciate the innovative collaboration – at FLUX and at AFMG, we are all in for better sound!”
https://www.afmg.eu/en/ease-focus
Company Contacts
AFMG Technologies GmbH
Customer Success Team
Borkumstr. 2
D-13189 Berlin
Germany
Email: info@afmg.eu
Tel: +49 30 467 092 – 30
Fax: +49 30 467 092 – 27
FLUX:: Immersive
Hugo Larin, Business Director FLUX:: Immersive
press@flux.audio
FLUX:: Software Engineering
31 rue des Marais
45130 Meung-sur-Loire
France
The post EASE Focus goes Immersive with SPAT Revolution! appeared first on FLUX:: Immersive.
Read MoreIn the realm of audio production, the transition from the controlled studio environment to the variety of live setup deployment choices poses a pivotal challenge. This challenge becomes particularly significant when working with SPAT Revolution and its ability to deliver to various speaker arrangement formats with various techniques. A paramount concern is ensuring a seamless translation of the carefully designed spatial composition, including positioning and automation, from the studio to a live environment.
Defining the reproduction strategy (Speaker system & panning technique)While this article does not aim to delve deep into the subject of system design, it is worth discussing a significant challenge behind the ‘From Studio to Live’ journey. In essence, it’s about content creation, taking place in an ideal monitoring ‘sweet spot’, and live deployment, which invariably involves compromises and spread out audience coverage area. Notably, this discussion touches on the reproduction strategy to adopt, where the position-based family of panning techniques such as DBAP, KNN, and the more sophisticated WFS are our best friends for such live reality.
It is tempting to suggest, ‘Let’s surround our audience with a large number of speakers,’ and indeed, increasing the number of loudspeakers has the potential to enhance ‘resolution’, or, if you prefer, the accuracy of soundscape reproduction. However, for everyone to fully experience this heightened accuracy, we must ensure that each loudspeaker or loudspeaker array offers adequate coverage and sound pressure level (SPL). Ultimately, a reproduction strategy aligned with the artistic intent but conditional to a capable system stands as the key to achieving success.
The Role of Transcoders in SPAT Revolution:Contemplating the use of transcoders, such as master transcodes, in SPAT Revolution for converting between speaker arrangements prompts inquiry. It’s crucial to note that these transcoders primarily facilitate the transcoding of ambisonic stream formats to channel-based speaker setups. Channel-based to channel-based transcoding serves as a matrix tool only, not a medium for down/up mixing from one speaker setup to another.
The construction of a SPAT Revolution soundscapeUnderstanding the components of the soundscapes in SPAT unveils essential elements to understand for a successful transition across systems:
Source Object (Position and parameters)The foundation of the soundscape you are building is about manipulating all the source object properties. The efficacy of panning techniques and the reproduction system determines the experiential outcome. Adapting speaker arrangements and techniques in SPAT Revolution facilitates easy migration to diverse systems. This can be pretty much done ‘on the fly’.
Source Object Attenuation ModelThe model, relying on source distance from the center reference point, influences amplitude and air absorption simulations. When employed, the protection zone establishes a pivotal threshold where our processing initiates the ‘simulated’ distance attenuation, influencing both amplitude and spectrum in the case of air absorption (minor high-frequency roll-off). This simulation aims to replicate our natural hearing experience in relation to distance. Overlooking this aspect while ‘scaling’ a mix can notably influence the resultant mix quality. By default, SPAT standard normalized arrangements set the distance threshold at 2 meters, aligned with the speaker line and typically extended to the farthest speaker in larger or non-normalized systems. Thus, this distance, spanning from the center reference point (0) to the protection zone’s boundary, defines the threshold. To illustrate, if this threshold is set at 10 meters and your source is 20 meters away, the distance has doubled, resulting in a loss of 6 dB per the physics principles. The drop factor ratio, a key source parameter, governs this 6 dB reduction. Notably, this concept adheres to a spherical nature and isn’t contingent on the speaker setup’s geometry. Consequently, appropriately scaling this factor in tandem with session setup alterations proves pivotal. This adjustment will impact the ‘direct/reverb omni ratio’ when utilizing SPAT’s room reverb engine.’
The Room’s Reverberation Model:When applied to some or all audio source objects, the ‘room’ reverb settings play a central role in tailoring the mix to achieve the desired room ambiance. This adjustment typically occurs on-site, allowing you to mold the mix’s sonic character. However, challenges arise when transitioning from a rather acoustically inert or ‘dead’ room to a space with pronounced reverberation. In such instances, careful consideration is needed to either harmonize the reverb model with the new environment or judiciously omit or limit its use. A good starting point is typically changing the first reflections settings (Early and Cluster) and the overall reverb gain. Relocating from a studio setting to an open outdoor space presents a comparatively simpler scenario, as it offers a higher degree of control over acoustic characteristics.
Bringing It All TogetherNow, having meticulously crafted your mix or artistic creation within the confines of the studio, the pivotal moment arrives: the transition to the live venue. Throughout the creative process, you’ve been fine-tuning your mix on a specific speaker monitoring setup, utilizing a set protection zone that emulates distance, and potentially crafting snapshots and automation using tools like DAWs or remote control applications such as QLab. As you establish a new speaker arrangement tailored to the venue, the transformation begins. The instant you actually apply this new arrangement into your mix session, SPAT Revolution springs into action, automatically initiating a scaling process. An alert marked ‘NEW SPEAKER ARRANGEMENT’ is announced, advising you that the selected new arrangement speaker distance differs from the previous one. Consider this: if your studio’s farthest speaker sat at a distance of 5 meters, and the new venue configuration extends it to 25 meters, SPAT Revolution will propose a scaling factor of 5. When accepted and applied, this factor cascades across multiple facets:
And there you have it – a seamless integration of the new arrangement. This methodology seamlessly synchronizes with direction-based techniques, as it fundamentally maintains the consistency of angles that these techniques rely upon. Additionally, the protection zone, enriching the mix with its attenuation model, undergoes appropriate scaling. Consequently, all automation, snapshots, and remote communications harmoniously adapt to the new system’s scale, thanks to the dynamic scaling fostered by the distance scaling factor within the room output section.
Navigating Challenges and ConclusionWhile the automated scaling works seamlessly with direction-based techniques, such as vector-based methods, it might not serve as a panacea for position-based approaches. In other words, this automatic scaling may not wield an all-encompassing solution if you’re employing position-based techniques, such as DBAP or the Wave Field Synthesis reproduction approach. The intricacies arise due to the unique geometry of the speaker arrangement, rendering it more complex than a mere distance-based scale factor. The alteration in the spatial relationship between the speakers and sources, as dictated by the new setup, can yield substantially different outcomes. It’s essential to note that this doesn’t imply a breakdown but signifies a distinct rendition of the audio.
In such cases, it may be strategic to consider the pre-production environment, and the in-studio monitoring system to be more aligned in reproduction technique and speaker setup geometry to the future venue system, such as with a scaled-down version.
The post Navigating SPAT Revolution – From Studio Creation to Live Deployment appeared first on FLUX:: Immersive.
Read MoreIn this article, we will look at different methods to handle subwoofer and bass extension when dealing with Ambisonics in SPAT Revolution. Specifically, we will investigate solutions at the reproduction stage as well as the creation stage.
Initially, it’s important to clarify that we shouldn’t confuse the primary role of the LFE (Low Frequency Effect) channel with the function of subwoofers. While the LFE bus is specifically used for low-frequency effects, subwoofers not only handle these effects but also assist with bass management to complement our main speakers, especially considering their limited low-frequency range. Whether it’s in a mixing/monitoring system, an in-venue system, or even certain home systems, there should be provisions to accommodate this. Additionally, some of the methods mentioned are tailored for unique subwoofer content, deviating from traditional approaches.
Ambisonic GeneralitiesAmbisonics is often described as a scene-based spatialization technique. Audio channels do not refer to a specific speaker in space, but rather to a part of the space. To make it work, ambisonics has to be decoded to a certain speaker layout. So if you are creating an ambisonic format mix (encoding) or simply want to audition an ambisonic source from a recording, it will need to be decoded to a layout.
Ambisonic panner rarely gives access to some kind of aux sends to feed a Low Frequency Extension bus. Equivalently ambisonic decoders rarely directly support subwoofers or bass management. This article will discuss three ways to handle such use cases in SPAT Revolution.
Reproduction WorkflowsReproduction workflows suppose that you have an ambisonic mix you want to decode on an existing speaker layout. We are then looking for a bass management solution over the ambisonic stream.
Omni Sub SendThe initial case we’ll address involves scenarios where spatialization in the subwoofer isn’t desired or necessary. In these situations, we can directly route the W channels from the ambisonic stream to the subwoofer channel.
Extracting the W channel to feed a subwoofer
By following the setup shown in the screenshot above, you can then change the send level to the subwoofers by using the gain of the ‘W to Sub’ master block.
You can download this template to test this approach.
If you wish to have a sense of spatialization in the low-end, you could use a second ambisonic decoder that specifically targets the speaker layout formed by the subwoofers. Here, it is often preferred to use the ‘in-phase’ decoding strategy, as it will make sure that no out-of-phase signal will be generated. It comes at the price of a worse sound localization experience, which should not be too much of an issue in this spectrum region.
InPhase decoding mode for low-end content
See this template for further information.
It is possible to create an ‘LFE send’ kind of workflow that is independent for each source. The idea is to create a second room dedicated to the subwoofers. In a first approach, this room should be set to mono, and have the reverb muted. You can then use the room-specific as a ‘send to LFE’ control.
Example with a mono room acting as a LFE bus
To easily see the gain parameter related to the LFE room, you can use the search field in the parameters section. For example, strict: RoomGain2only displays the specific gain of the second room.
Example of control filters to only display the gain of the second room
Download this template to get more detail on this setup.
To extend this concept, you could use a second HOA room instead of a channel based mono room. Such an ambisonic room should be set in 2D mode, as a 3D subwoofer arrangement seems like a non-existent use case, and may also use a lower order than the main room. This will then give you two ambisonic streams, one dedicated to full range speakers, and one only to subwoofers.
Dedicated Ambisonic Room for LFE management. Note the use of dedicated HOA output for recording purpose.
See this template for further details.
It is also possible to combine both a dedicated room for LFE content and a bass management strategy to cover most of the playback situations you may encounter.
ConclusionIt is possible to handle subwoofers in Ambisonics reproduction by:
If you are at the content creation stage, and are already working with a HOA room, you could use a second HOA room to replicate a ‘send to LFE’ type of workflow.
The post Ambisonics: How to Handle Subwoofers and Low Frequency Effect appeared first on FLUX:: Immersive.
Read More
The recently released SPAT Revolution (version 23.08) now supports the new Audio-Technica BP3600 immersive audio microphone, allowing for the capture and mixing of a truly three dimensional audio image.
The microphone has eight compact capsule assemblies with excellent high-frequency characteristics integrated into the body while remaining compact and lightweight enough for single-operator usability and easy setup. This practical, state-of-the-art broadcasting solution captures realistic sound that will bring the recording location directly to listeners without the need for extensive equipment.
The BP3600’s eight microphone modules extend from the body to form a cube with 15cm (5.9 inches) between each microphone assembly. Each microphone assembly in the eight-channel near-coincident array is equipped with a 12mm (0.47-inch) hypercardioid capsule to produce ideally separated, discrete signals and deliver immersive audio experiences with ample spaciousness.
SPAT Revolution is a state-of-the-art real-time immersive audio mix engine, in which incoming source objects – such as the Audio-Technica BP3600 capture – can be positioned in space using an intuitive graphical interface. Designed to integrate into virtually any workflow and with full automation of the sources and all spatialisation parameters, SPAT Revolution offers a wide range of possibilities empowering artists, sound designers and mixing engineers with virtually unlimited possibilities to design, craft and mix an outstanding immersive experience.
SPAT Revolution is the result of a partnership between FLUX:: Immersive and the French research institute Ircam (information below), created to bring the vast research in acoustics and music performed at Ircam available to the market.
Audio-Technica’s David Walters said “FLUX’s SPAT Revolution stands as the first-choice tool for immersive production among professionals and creatives. It serves as the perfect bridge for integrating our BP3600 microphone seamlessly into highly complex immersive audio setups. So I am very excited for the full-fledged support of the BP3600 within SPAT Revolution – users can now readily experience the benefits of its advanced features and enhance their immersive audio production endeavors with these two great tools.”
FLUX:: Immersive’s Hugo Larin said “We are excited to support the new three-dimensional Audio-Technica BP3600 channel base microphone, making it incredibly easy to capture and create an immersive soundscape in SPAT Revolution. This is a powerful addition to the rapidly growing world of immersive audio productions, giving sound designers and other creatives in this field new ways to capture the action.”
About FLUX:: Immersive
FLUX:: Immersive has established a reputation as a leader in the creation of audio processing software, with the core idea to design inspiring technically innovative tools for sound engineers, with no compromise of the audio quality.
The company has always been in the forefront of the development of software solutions for the professional audio industry, supporting multichannel processing – which for over a decade has been frequently used for multichannel surround recording – movie post-production, immersive live and installation sound and in various other applications.
About Ircam
Ircam (the Institute for Research and Coordination in Acoustics/Music), is one of the world’s leading public research institutes in the fields of musical expression, science of music, sound and acoustics.
Over several decades, the institute has been of significant importance to the world of avant garde and electro-acoustic art music, with its groundbreaking scientific and technological innovations, including numerous concepts for electronic music and audio processing.
About Audio-Technica
Founded in Tokyo with the philosophy of “quality audio for all” more than 60 years ago, Audio-Technica is a leading innovator in transducer technology, renowned for designing and manufacturing microphones, headphones and mixers for all applications within the audio industry. Audio-Technica microphones are used at some of the world’s largest global events including MotoGP™, and users of Audio-Technica microphones and headphones include Royal Blood, James Bay and Enter Shikari.
https://www.audio-technica.com/en-eu/bp3600
Press Images: Download (Zip Archive)
Company Contacts
Audio-Technica
Alexandra Bischof, Marketing Manager Distributed Brands EMEA
abischof@audio-technica.eu
Audio-Technica Ltd
Unit 5, Millennium Way
Leeds LS11 5AL
Tel: +44 (0) 113 277 1441
Press Contact
Alison Clarke
Red Pepper Communications Ltd
Tel: +44 (0) 1371 877716
alison@redpeppercommunications.com
FLUX:: Immersive
Hugo Larin, Business Director FLUX:: Immersive
press@flux.audio
FLUX:: Software Engineering
31 rue des Marais
45130 Meung-sur-Loire
France
The post Audio-Technica’s BP3600 Microphone And FLUX:: Immersive Deliver Powerful Hardware/Software Solution For Immersive Audio appeared first on FLUX:: Immersive.
Read MoreFlux:: 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.