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.
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 welcome you all to come and meet Flux:: at the AES in New York this year, stop by for a nice cup of coffee and experience the Spat Revolution – Book your tickets now!
17 – 20 OCTOBER 2018 – BOOTH #402
Flux:: will be represented by Media Integration at the AES 2018 International Conference on SPATIAL REPRODUCTION ‘Aesthetics and Science ‘, Tokyo, Japan – 2018, August 7th-9th.
All informations on Media integration Stand (Japan Only):
All programs of the AES 2018:
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Cervantes famous fictional knight is the character in the Live Cinema Performance, Under the skin of Don Quixote by La Cordonnerie, Lyon, France, where a modern-day Don Quixote preoccupied with the year 2000 bug takes himself for a wandering knight prepared to fight for the ideals of justice, and to rescue the widow and the orphan.
In this Live Cinema Performance, now on tour in France and abroad, the ensemble with two musicians and three actors takes us on a journey between southern Spain and Picardy in France, between the Middle Ages and the beginning of the third millennium, with the music, sound effects and the voices performed live on stage to the movie, mixed and processed in 9.1 using Spat Revolution.
We had the privilege of meeting up with Adrian Bourget, Sound Designer from Paris/Lyon, France, working for La Cordonnerie with the sound design and mixing of Under the skin of Don Quixote.How did you begin your career?
“ I have been recording since I was 12 years old, and when I studied percussion at the university I started recording with other students and teachers, lucky enough to have access to my father’s recording studio. I started my career in the studio where I hosted a lot of other sound engineers and sound designers and became friends with some, like Jean-Pierre Spirli (Benjamin Biolay, Decouflé, The Wampas) and Adrian Shivers (Real World Studios) and learned a lot from them. I started to work live with different bands, as well as with theater groups like La Cordonnerie, and today I have a recording studio and I share my activity between live sound and the studio. ” So what is your main focus, live sound or studio work?
“ Innovation and experimentation is kind of the foundation of my work, I like creating sound in places with original acoustics, and in addition to my own studio I also work in different studios. If possible, I think that leaving the formal framework and the comfort of the studio can enrich the performance of a “supplement of soul” which will reveal unsuspected emotions. I often experiment with new techniques, and my work in the studio and live are complementing each other and allowing me to build bridges between the two to go even further in the creation of sound universes. I also have the honor to work in a very privileged place between Lyon and Grenoble; The Artscène Studio, with 3 sound recording rooms that can accommodate up to 10-12 musicians where the acoustic is alive without being invasive, and a mixing room in full daylight. “ Tell us what Under the skin of Don Quixote is?
“ It is a silent film projected on the stage, with musicians, actors and noisemakers performing live on the stage in front of the screen, creating the sound universe for the film using a multitude of musical instruments and other objects, so it’s kind of like post production applied live on stage instead of in a recording studio. “And how is Spat Revolution integrated in your work with the show?
” I have been using Spat Revolution for about a year now, and it has improved and streamlined my workflow significantly when managing spatialization, and the intuitive interface makes it so much faster and more realistic when creating automation for sound movements in the space, which normally requires a lot of time to program. It also makes it really easy to adapt the existing sound design to different system installations and rooms when we perform the show in other theaters, and the way the room reverberation is handled makes it easy to assign and use a good deal of natural reverberation as well. I use Spat Revolution live a lot and I find it really stable with virtually no latency introduced at all, which makes me feel really comfortable using it. Since January 2018 we have given more than 50 performances of the show and I have so far never experienced any problems or crashes. ” What can you tell us about the rest of your setup?
“ In the studio I use a lot of analog equipment (Neve, Manley, Urei, Studer, AMS, EMT) and many vintage microphones (Neumann U47, U67, Schoeps) together with Logic Pro and an RME MADI system. For my Live work, the goal is to take advantage of the creativity of the digital studio tools (including plugins) to supplement and enhance my work on any type of console. I use a standalone configuration on my laptop which I interface with the console (usually a Yamaha CL5 or Midas). This allows me to constantly evolve the design between shows without necessarily have the console on hand. I use spatialization, quadraphonic or surround as often as it’s possible, in order to create a more immersive universe and enrich the textures of the sound. My goal is not necessarily to use Hollywood-style spatialization, but rather to expand the space and organize the mix to give more life and amplitude to each element “
References, Adrian Bourget
– Sylvain Rifflet – Mechanics: studio and live sound (recording-mix of Mechanics album – Winner of “Jazz 2016” (best album category)
– Magnetic Ensemble: studio recordings, live sound/sound design
– Compagnie La Cordonnerie (Cinema Performance Shows): Sound design in multi-diffusion shows (more than 1000 dates in 5 years, France, Brazil, USA, China, Canada)
– Anne Quillier: studio recordings, live sound/sound design (6tet, duet, trio) (laureate of the competition: Jazz à la Défense 2013)
– Mix of TV movies for France Télévision, for example “Le Chalet” and “Les Dames”
– Mazalda: studio recordings, live sound/sound design
– Album recorded and mixed for many Artists: Carina Salvado, Bruno Tocane, ICSIS, Hasse Poulsen, Patrick Ingueneau, Emmanuel Scarpa, Gregory Sallet, Romain Baret …
Personal Highlights, Adrian Bourget
– Album: Mechanics by Sylvain Rifflet (Winner of “Jazz 2016”)
– Sound design for the shows of the shoemaking (big tours in very beautiful rooms)
– Sound work with the Magnetic Ensemble.
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The concert was recorded and originally mixed in stereo for the radio, and based on the recording Pascal Besnard and Hervé Déjardin, both sound engineers at Radio France, has created a 3D-audio mix of five tracks from the concert using the SPAT Revolution.
Listen in Binaural with HeadphonesObject Oriented Mixing The mixing technique used in SPAT Revolution is based on the concept that each sound element is an object that can be located in a three-dimensional space, and where each object is associated with a range of different parameters; position, displacement, reverberation and many more, providing the possibility to create different independent mixes based on the same set of objects. This means that the mix can be mixed on a full 22.2 system, and at the same time be rendered in 5.1, stereo, or any other format, without having to perform any specific explicit mixing for the different output formats. In addition, the binaural rendering technology from IRCAM used in the SPAT Revolution is based on the latest and most prominent research within its field, and offers a very convincing immersion in a pair of standard stereo headphones. Jean-Michel Kajdan It started with Pascal Besnard suggesting to Jean-Michel Kajdan to do a 3D-audio mix of the Steely Dan Tribute concert, as the two of them had already worked together on a 3D-audio project in 2015 when Pascal made a binaural mix of one of Jean-Michel’s pieces. This time the idea was to take things a little bit further and create a 22.2 version of five of the tracks from the concert.
First of all, the multitrack recording was meticulously cleaned up from all crosstalk with good help of Hervé Déjardin, who is specialized in the field of object mixing and experienced with the 22.2 format. Pascal tells us: ” Having no experience in this kind of mixing but the knowledge how to operate a workstation in general, I worked with Hervé as a rally co-driver, giving instructions to him who then controlled the software (SPAT Revolution and Steinberg Nuendo). In a way it was very similar to the role of an MMO (Musician Metteur en Onde – The artistic directors of the concerts at Radio France). “
Pascal Besnard (left) and Hervé Déjardin (right) in the studio 112The 22.2 format and Binaural rendering As the name suggests, the 22.2 format requires 24 speakers, which maybe isn’t suitable for the general public, Pascal explains: “I didn’t choose 22.2 expecting people to go get this kind of setup in their homes, it just turned out to be the best because of the binaural rendering, creating the most accurate representation that I know of. The fact that you can mix in 3D on three levels of loudspeakers give things an astounding subtlety, impossible to obtain in standard 2D formats. The binaural rendering engine in SPAT Revolution allowed us to provide this quality to anyone with a pair of standard headphones, which is why it became a great solution. In addition, this format allowed me to create a realistic and detailed mix without any obvious demonstrative effect. In the end, even though it may not be obvious, it adds a great value to the experience when listening to the concert like this. Finally, the other advantage of 22.2 is that it adapts very well to 2D formats in mixdown, and in 8.0 or 5.1 everything works and sounds really good with no need to create a new explicit mix for each format. Those who are equipped with a multichannel surround home cinema will be able to enjoy a really convincing experience and truly perceive the subtleties of this work. “ Original French Article By: Jules Négrier
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Last week the first SPAT Revolution full day workshop took place together with our French partner Freevox in Paris, France. The group of invited participants from the French audio, television, media and entertainment industry as well as engineers, sound designers and artists from Live sound, Theaters and Amusement parks, were during a full day introduced to the SPAT Revolution and how to setup and use it.
The workshop started with a full walk through of the SPAT Revolution with Gaël Martinet, founder and Lead Engineer at Flux:: who is behind the design and creation of the SPAT Revolution. It was followed by a hands on down to the core session where the participants were introducing their requirements and needs for an immersive 3D-audio solution, with Gaël then presenting possible solutions using the SPAT Revolution.
If you have an interest in a SPAT Revolution workshop in your part of the world, please contact us now.Search for: Recent Posts
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Avid has introduced a number of highly anticipated workflow enhancements to their snapshot automation technology designed specifically for theatrical and live sound. Full control of SPAT Revolution via industry-standard AAX DSP plug-ins enables full tactile control via the S6L’s surface knobs as well as integration into the console’s VENUE software and snapshot automation, delivering powerful control over multichannel surround and immersive 3D audio environments, with support for virtually any loudspeaker brand and configuration.
SPAT Revolution offers the most powerful and comprehensive real-time immersive 3D and multichannel audio control available on any platform, providing highly advanced positioning and automation of spatialization parameters, regardless of output format and speaker configuration. With its modular, object-based design, SPAT Revolution seamlessly integrates into any mix environment, delivering unlimited input/output channels, sources, and transcoders (dictated only by system hardware), support for major hardware and software interfaces, and network support via Open Sound Control-all within a flexible, efficient, and creatively inspiring workflow design.
SPAT Revolution offers a range of additional features to simplify workflow integration, including OSC support, Real-Time Tracking integration, multiple 3D views, and full Python script support. AU, VST, and AAX plug-in compatibility makes it easy to integrate with major DAW platforms, as well as QLab live show control, and other applications supporting standard plug-ins.
“While most real-time Immersive 3D Audio engines are designed for specific spatialization parameters and output formats, we’ve created SPAT Revolution to deliver complete flexibility, allowing the user to easily move between different loudspeaker environments while maintaining the integrity of the immersive experience,” remarked Gaël Martinet, Flux:: Founder and CEO. “From experience creation to delivery, SPAT Revolution is the dream come true for every sound designer!”
“Avid is very excited to be working closely with Flux:: to integrate their groundbreaking SPAT Revolution with our flagship VENUE | S6L live sound system,” added Al McKinna, Director of Live System Product Management at Avid. “By leveraging S6L’s AAX DSP plug-in architecture, Avid and Flux:: are able to deliver comprehensive hands-on control of SPAT’s parameters directly from the control surface and provide engineers and sound designers with deep VENUE software programming for this powerful immersive audio environment.”
Read More about this on AVID Blogs
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Spat Revolution is now capable of integrating with the BlackTrax Real Time Tracking system, with the ability to listen to the BlackTrax tracking protocol for sending positional data between BlackTrax and Spat systems. This integration allows for the infrared leds and BTBeacon tracking positional data to be sent to audio source, thus attaching sound to the real time tracking of persons and objects, a preview of this was showcased at the ProLight & Sound in Frankfurt 2018.
BlackTrax is the leading provider of real time tracking systems and provides the ability to capture and pass positional 3D (X,Y,Z) and 6D rotation (yaw, pitch, roll) data to automation controllers using the open source Real-time Tracking Protocol (RTTrP), a suite of protocols developed to transmit tracked motion information between systems, which makes it easy to create custom integrations with other automated systems.
Spat Revolution real-time 3D-audio mixing engine, is the most comprehensive software environment for advanced positioning and automation of audio-sources in a multichannel surround or immersive 3D-audio environment. It allows for unlimited number of inputs and outputs supporting virtually any type of loudspeaker setup.
Built around a modular object based concept with the ability to specify and automate the spatialization parameters independently of the output format, Spat Revolution supports different types of hardware and software inputs/outputs together with networked automation (using Open Sound Control). Spat is designed to integrate with any kind of existing workflow and provides a flexible, efficient and creatively inspiring working environment to preserve emphasis on simplicity and ergonomics for the user.
Spat Revolution – The Immersive Audio Revolution
BlackTrax – The leading provider of real time tracking systems
Flux:: is a proud BlackTrax development partner integrating the open source RTTrP protocol
http://blacktrax.cast-soft.com/customsolution/ Search for: Recent Posts
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Flux:: and LS Media (Flux:: Canada) were invited by the GRMS Sound Media Research Group and the international Hexagram Network, at the University of Québec in Montréal (UQAM) in Canada, to host an Immersive Sound and Spatialization workshop.
The presentation took place at the GRMS multiphonic laboratory in their new 32-speaker hemispheric diffusion dome, with hands-on participation for all the participants running SPAT Revolution direct on the own laptops during the workshop.Simon-Pierre Gourd, Professor at the UQAM says:
“As Hexagram researchers, It’s a great pleasure for the GRMS Sound Media Research Group to have this opportunity here at our facility, with the mezzanine as the laboratory of the group and the hemispheric diffusion dome for the Immersive Sound experience during the workshop.” ESPACE – Multiphonic Concert
The same evening after the workshop, the ESPACE Multiphonic Concert took place, in collaboration with Centro Mexicano para la Musica y las Artes Sonoras (CMMAS), the Groupe de Recherche en Médiatisation du Son (GRMS) and Hexagram UQAM.
With this concert the GRMS launched their new 32-loudspeaker hemispheric dome system at the Agora Hydro-Québec du Coeur des Sciences.
https://hexagram.ca/index.php/eng/hidden-future-events/318-espace-multiphonic-concert About the Hexagram Network
Hexagram is an international network dedicated to research-creation in the fields of media arts, design, technology and digital culture consisting of over eighty members working from Université du Québec à Montréal (UQAM) and Concordia University, with additional researchers from l’Université de Montréal, l’École de technologie supérieure, l’Université du Québec à Chicoutimi and McGill University.
https://hexagram.ca/index.php/eng/ Search for: Recent Posts
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“In 2002 when Warner pulled out and sold all of their recording and mixing facilities we started a new company, Teldex -same people, same facilities, in order to honor and continue our heritage. Since then, we are a full service company providing all types of recording services mainly based around the centerpiece of our facilities, the 450 sqm acoustic live room in which we can manage the dimensions of the room to fit anything from a single piano to a full size symphony orchestra.
With the change in business model from formerly being the service institution for one label, evolving to a free, full studio services provider, we now do pretty much all kinds of projects here, with a strong focus on classical music as this is the field all of us here originates from education-wise; chamber music, orchestral music, film scoring, as well as on-location mobile recordings.” It sounds (and looks) like a fantastic facility!
“Yes, it is indeed amazing, and a great pleasure to work with, we’ve been very lucky!“ How did you begin your professional career in the recording industry?
“I studied at the Tonmeister program at the Berlin University of Arts, and by the end of my studies I started working as an assistant engineer here back when Warner owned the studio, doing things like setting up and preparing the studio for sessions, driving the truck, operating the machines and a lot of other things.
From there I was assigned more and more recording work, and all in all, this became a really nice transfer from the university world to the professional world. Looking back at it now, I understand how lucky I’ve been to get the opportunity of this smooth transition, so I think it’s safe to say that I am where I am thanks to this studio.” Tell us about some of the projects here at Teldex?
“We have the honor of having a very close and long lasting collaboration with the French classical label “Harmonia Mundi”, who are doing quite a big share of their work in our studio and out on the road together with us, ranging from chamber music to Mozart operas. In this context I feel I have to mention the well renowned conductor René Jacobs, with who we have had the great privilege to record a whole series of Mozart operas in sessions here in the studio!
Then we have the big orchestras, obviously the Berlin Philharmonic Orchestra, Staaskapelle Berlin, Deutsches Symponie-Orchester, as well as the Vienna Philharmonic Orchestra, to mention a few.
With the later we have had the privilege for over 15 years now to produce the CD production of the New Years Concert in Vienna. It’s a big collaboration with the Austrian Radio, that evidently does the live television and radio broadcast of the concert. We work close together, split signals, and then we do the mixing and post-production in really quick turnaround times.
Another very interesting project, both from the musical side and from the technical side, was a recording of Bach’s St. Mattheus’ Passion, in studio sessions in our studio here in Berlin with Rene Jacobs, Akademie für Alte Musik and RIAS Kammerchor. The St. Mattheus’ Passion is a piece for two choirs and two orchestras and ideally with the full sets of soloists. The problem with this piece in a standard stereo recording is always how to fit this big apparatus left to right in the stereo image.
So we decided to try something new, as the production was to be released on SACD, and we had all possibilities to take advantage of multichannel surround, we ended up placing one orchestra more in the front, and the other one more in the back, which in the end gave the effect that the second choir felt like it was quite far in the back, which would have been the case if this was setup in a church with two opposing organ balconies having the choirs on one organ balcony each.
Looking at what we did there, it’s a very interesting strategy for how to translate the surround approach to stereo, and I really think we quite succeeded with this, and in the end we were Grammy-nominated for Best Surround-Sound Recording, and we also won an Echo (German music award) for Best audiophile surround-sound recording.“ What can you tell us about your workflow?
“These days we are doing all recording and mixing mostly, and here I’d say about 90% of the time, in the box, and for this we are of course dependent on the tools, the plug-ins.
One of the tools in my toolbox that I use for everything I do is the Flux:: Pure Series dynamics processors, I’m especially pleased with the Pure Limiter which I think is one of the best limiters I’ve worked with simply because it’s almost completely inaudible.
Another tool that I use in almost every mix here is the Solera, which I find extremely flexible, it’s a tool that certainly has all the options and possibilities needed for dynamic processing, a true natural sound and not the least, very low latency, as does in my experience all of the Flux:: tools, especially the Pure Series processors, I would say.
The latency is of great importance to us, as you can imagine, when we are working with 50+ tracks filled up with plug-ins and realizing that with all these buses inside the workstation it sums up really quick!” What is the most challenging and interesting project you’ve done?
“Of course the St Mattheus’ Passion project mentioned before was a really great challenge, however, I have to admit, even though routine and experience is something very important, if you somehow can maintain this “first time feeling” for every production and ask yourself “why am I recording this, what is there really in this project”, then I think you can get a true challenge out of every project, no matter if it’s a piano recording or a big orchestra or anything in-between.
That’s what I like so much about this job – no two recordings are alike, instead you just have to look out for the challenge in the project you are working on and try to make something special out of that moment, for every moment!” Is this your advice to new upcoming young talents?
“Absolutely, this is the key to keep doing great stuff and having fun at the same time –no two recordings are alike…” We thank you René for taking your time with us and sharing your experiences.
“Thank you too, and thank you for the great tools you supply us engineers with, I really look forward to see what you have up your sleeve for the future!“ Search for: Recent Posts
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