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

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 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 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 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

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

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

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

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

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

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

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

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

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

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

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

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 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 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 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 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

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

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 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

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

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

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

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

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 :

Kim Planert
Friday September 13, 2019

Kim Planert, Los Angeles, USA, originally from Germany, award winning composer and producer working with writing and scoring for TV and Film, with over 230 episodes of prime-time television shows, feature films and indie features.

“Currently I’m scoring a documentary about the Planetary Society’s Lightsail Mission with the “Science Guy” Bill Nye. The LightSail Satellite is a crowdfunded solar sail project that aims to become the first spacecraft in Earth orbit propelled solely by sunlight.”

“Another project I’m working on right now is the writing of new neo-classic music for string ensemble, which will first be heard live in intimate concerts in LA.”

“I was involved as an associate producer, and I wrote the score for passion project” Skid Row Marathon”, an award winning feature length documentary that follows the inspiring story of a Los Angeles judge who starts a running club on Skid Row, giving members a second chance at life as they battle addictions. “

“Pure Analyzer is always integral to my process from the beginning of a composition to the master, and as I always work in 5.1, the Nebula color coding does a great job telling me exactly what’s going on in the space, there’s no other tool giving that much insight in one single window.”

Prior to Los Angeles, Kim collaborated with several legendary music producers and musicians in the UK including Craig Armstrong, Capercaillie, Secret Garden, John McLaughlin (FIVE), BBC Scottish Symphony Orchestra and the Scottish Ensemble.

As a UK sound engineer and producer he recorded and mixed more than 40 albums and soundtracks for several films including American Cousins, The Bone Collector, and the TV show Crowdie + Cream – won a BAFTA award for “Best Soundtrack” and “Best Theme”.

Recently Kim released his first solo album SKYLIGHT inspired by his love for wing suiting and skydiving.

“An ambient, spiritual hybrid sound mixing orchestra with synthesizer, melodic string lines reminiscent of Elgar with the minimalism and emotional depth of Craig Armstrong and Michael Nyman, combined with the cutting edge synth programing of Daft Punk and epic synthpad’s a la Vangelis, bridging the gap between song and film music.”

Skylight – Notes from a Logbook: smarturl.it/d0hwty

www.kimplanert.com

https://www.facebook.com/kimplanertmusic/

https://www.instagram.com/kimplanert/

https://www.youtube.com/user/kimplanert/

https://twitter.com/kimplanert/

https://pro.imdb.com/name/nm2780879/

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Jamie Smith
Friday August 30, 2019

Composer, Sound engineer, owner of St. Mary’s Space, recording studio and arts space in the magical West Highlands of Scotland.

My work happens at the intersection between experimentalism, improvisation and left-field rock and pop, which has allowed me to collaborate with many amazing artists, musicians, filmmakers, dancers and performers, including Akram Khan, Gavin Bryars, Kathryn Joseph and Misterlee.

For the last few years I have been working almost exclusively ambisonically, that is to say, recording, synthesizing and mainly authoring into a spherical soundfield, which in the end is decoded for the required speaker layout.

There are very few tools for this kind of pioneering work, allowing for the 16 channel wide tracks required by Third Order Ambisonic, Evo Channel is one of the best, allowing easy manipulation of several key components of a sound source; EQ, dynamics, and maintaining the vital phase relationship between channels, in one simple to use interface.

I use Evo Channel a lot and I am generally impressed with the sound quality and workflow, it’s been invaluable for me on my current project, ‘Notes from a Tremulous Hand’, a sonic novel full of grotesque characters and mysterious sonic anomalies, ‘pataphysics’ and the long neglected theories of Marconi -listen out.

Notes from a Tremulous Hand is available soon across several formats including an immersive binaural version (with or without head-tracking).

www.stmarys.space

www.facebook.com/stmarysspace
www.twitter.com/StMarysSpace
www.pinterest.co.uk/charliefait0093/st-marys-space-recording-studio-elopement-venue-cr/

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Flux Feature: Andrew Roth Of Roth Audio Design
Wednesday May 15, 2019

Iconic audio designer Andrew Roth of San Francisco based Roth Audio Design has been creating immersive sound experiences for over two decades. His work runs the audio gamut. Working hand in hand with museums and theme parks, he designs, builds and installs immersive systems that create a life-changing audio experience. He also creates, records and mixes the audio content for these attractions. Beyond the museum and theme park work, he is often involved in audio work for film, television, radio, games, and web media where he often finds himself working in the rapidly growing field of immersive 3D audio experiences including interactive AR (augmented reality) and VR (virtual reality) as well as object oriented mixing. He provides sound design and mix services for all audio configurations including stereo, binaural, Ambisonic, 5.1, 7.1, and 7.1.4. With such a wide variety of audio work, it’s no surprise that SPAT Revolution is an integral part of his workflow.

SPAT Revolution, currently the most comprehensive real-time 3D-audio mixing engine available, provides its users the ability to control the position and add room effects to an audio-source in a three-dimensional sonic atmosphere. The results can be sent to a loudspeaker configuration or a pair of normal stereophonic headphones or the results can be exported as audio stems to be used within other audio engines such as Pro Tools or Cubase.

In discussing his current work, Mr. Roth explains, “It’s all over the map. There’s a lot of post-production. I’m in a studio where, you know, I do a lot of film and television. I used to do more games and things like that but I’ve gotten a lot more into installation work like theme parks, exhibits, museums and a lot into the binaural world as well which I’ve been interested in at least twenty years.” Roth actually began using an early version of SPAT back in the 90’s when a computer that was considered state of the art at the time had to struggle to keep up with the software application.

After pouring his heart into an audio design project making sure that every sound is exactly right and the mix has been meticulously tweaked, it only makes sense that he sees the project through the installation ensuring that there is no compromise made along the way even if that means disguising speakers in plants and/or burying cables in the installation. “While I like the comfort of the studio and the family life it affords me, I’ve found myself enjoying getting down and dirty. Some of the places I’ve been doing exhibits involve plants and dirt, you know, in the ground kind of cable running so that’s a nice change from the clean studio.” He continues, “With installations, one thing I found is when I would do audio for say a small theme park or something, I didn’t have any say in what I was designing for. They would say well this is the equipment, this is where the speakers are, these are the limitations. I’m still the sound designer at heart, but I like being able to bring the hardware installation as well because I can put in exactly what I know I want from beginning to end.”

Mr. Roth’s lifelong love of audio began as a child. He explains, “I’ve been interested in audio and sound in some form since before I was ten years old. There was a reel-to-reel machine in our house, in the basement, that was unused with a bunch of tape that was unused, stuff my father had bought before he had a kid and it had just been abandoned in the basement. So when I was nine or ten years old I started playing with that. I guess the immersive part just led me into the natural sounds world. I would stick friends and family members in a self-made sound chamber out of a tent and blankets with multiple speakers and I would play things like natural environments on records and cassettes and pump in music and just try to create environments in the dark.”

College paved the way for Mr. Roth’s passion for audio to expand, “It’s funny because I went to college at Oberlin, which is a conservatory and a regular liberal arts college in the Midwest so I could be near music and I studied eco-musicology and history and stuff like that. Sound was always just something I was sort of doing. I didn’t study it specifically.” A college internship at Earwax Productions (a sound design studio) eventually led to full time employment. Mr. Roth remained on board with Earwax for about five years until the dot com bust in 2001 or so and that was the birthing point of Roth Audio Design.

SPAT has become a necessity for Mr. Roth’s workflow as it allows him to audition his work in progress before actual installation has even begun. Wearing headphones for extended lengths of time can become fatiguing. SPAT resolves this by allowing Mr. Roth to recreate a binaural sound space in his 7.1.4 room recreating the binaural experience without wearing headphones allowing him to accurately mix for a binaural experience with or without headphones.

Mr. Roth is currently working on an installation in Golden Gate Park for the holidays that incorporates over seventy independent channels of audio across six rooms. SPAT allows Mr. Roth to virtually build each of the six rooms to utilize during the design process. “I can set up each of these rooms and can demo the design as it comes along. I can bring in the director of the museum and they can come to the studio and get an idea about the sound before it’s finished.” He goes on to say, “In those places where I recreate rainforests there are speakers in the ceiling, there are speakers in the floor for frogs and in the floor and birds in the ceiling and things around the horizon level. So I can demo that in the studio.”

Mr. Roth describes his utilization of SPAT Revolution, “What I’ve been hired to do a lot of is to do these immersive, very detailed and accurate historical recreations. I call them ‘audio-archaeology,’ where I try to take all the elements and put them together into a 3-D environment and I’ve done that with other binaural programs over the years. One thing that’s really cool about working with SPAT, and I’m about to do this for a museum in Sydney, Australia, is that it’s not bound to binaural. If I create a really detailed 3D recreation of say, San Francisco in 1906 with cable cars and all that, in the past it was a real pain to try and take that session then say remix it for a multichannel installation. Whereas now I kind of have this 3D environment and it’s not bound to its end mix. I can repurpose it much more easily.”

The Enchanted Domain

from a San Francisco Museum of Modern Art show on the painter Magritte (This audio clip is encoded in Binaural and requires headphones)

https://www.flux.audio/wp-content/uploads/2019/05/The_Enchanted_Domain-from-a-San-Francisco-Museum-of-Modern-Art-show-on-the-painter-Magritte..mp3

SPAT Revolution’s flexible and powerful feature set help keep Andrew Roth and Roth Audio Design at the top of their field. Keep an eye on what they’ll do next at http://rothaudiodesign.com.

#Empowercreativity #SpatRevolution #Immersive

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All Software Now Supporting 2 ILok Authorizations
Monday February 4, 2019

From today all our software is supporting 2 simultaneous iLok authorizations, this includes all current existing licenses as well.

To access the second authorization for your already existing license, simply open the iLok license manager and click on the license, should the second authorization not be available, you then may need to deactivate the license, and then activate it again, then the second authorization will be available.

The post All Software Now Supporting 2 iLok Authorizations appeared first on Flux::.

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Spat Revolution With Jean-Michel Caron In Cirque’s New Production – BAZZAR
Friday December 21, 2018

Together with the amazing audio-team; Patrice Langlois, Nicolas Michel and Emmanuel Puginier, Sound designer Jean-Michel Caron kicks off the world premiere of Cirque’s new production Bazzar in Mumbai, India, running there until December 9th, and in Delhi between December 25th and January 6th.

BAZZAR is an eclectic lab of infinite creativity where a joyful troupe of acrobats, dancers and musicians craft an mind-blowing spectacle. Lead by their maestro, they band together to invent a whimsical one-of-a-kind universe. In a place where the unexpected is expected, the colorful group reimagines, rebuilds and reinvents vibrant scenes in an artistic, acrobatic game of order and disorder.

Avid VENUE S6L and Flux:: Spat Revolution Immersive audio engine are proudly part of this fabulous tour, and the BAZZAR production is comprised of Dual Avid S6L Shared IO system with 24 fader control surface together with Avid E6L-144 engine and remote Stage 16 I/O boxes distributed in strategic locations. Spat Revolution is handling multi virtual room for various artistic intend.

“The use of Spat Revolution for BAZZAR allowed us to integrate immersive audio content in the show, with travelling audio sources, and at a fraction of what we normally would need to invest to achieve something like this.”, says Jean-Michel Caron.

A single virtual room using VBAP panning method is handling 5.1 surround beds delivered to 3 audience zones that gets immersed in the show. A secondary ‘’room’’ is using a selection of loudspeaker (selected arrangement) for the all-around surround experience for virtual source movements and artificial reverberation.

A third ‘’room’’ using all available loudspeakers in a arbitrary configuration is as well deployed with KNN panning method to provide the ability to position virtual sources anywhere in the space while keeping the ability to define how many virtual speakers each virtual sources will spread to.

“Spat Revolution does require experimentation time with the various possible source and room parameters and its flexible configuration, but the results we are able achieve using this makes it entirely worthwhile.”, says JMC

Primary and Secondary Mac mini computers are used to execute QLab Cue System and Spat Revolution software on each machines via RME Madi interfaces. While QLab audio cues are played back to console and OSC network cues to Spat , console is sending audio sources to Spat Revolution for real time immersive audio processing and rendered output of the speaker arrangements are then returned to console for distribution to the various FOH Matrix outputs and the various loudspeakers.

“The addition of Spat Revolution in the audio chain was totally transparent, and I am definitely ready to push this integration further on my future projects”, says JMC

While AVB audio is used for the Stage I/O distribution and the integration of Pro Tools in 128ch mode integration for virtual soundcheck and recordings, MADi interfaces are used on the consoles to patch to the expanded network.

The expanded distribution and routing is delivered via Auvitran AVB Toolboxes frames where AES3, Dante and MADI cards are used. Various AVB Toolbox are spread out the big top.

#empowercreativity

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Spat Revolution Is Coming To Paris…
Wednesday November 14, 2018

On November 27th and 28th, together with Flux:: French partner Freevox, the Flux:: Spat Revolution team makes a stop in Paris for a series of presentations.

We welcome you all to join us and participate in our presentations of the Spat Revolution Immersive Audio Engine. Daily presentations on the 27th and 28th at 11.00 and 15.00.

More information and registration found here (in french)

Furthermore, in collaboration with SAE Paris, AES France and Merging Technologies, Flux:: is participating and presenting in a discussion about the latest audio tools and workflows for live shows – Audio for live shows : November 27th at 19.00.

Audio for live shows – New needs, new tools, new applications
The live show is constantly evolving with new challenges for the stage setup, made possible by the contribution of sound engineers and new technology.

Program
19.00 – Opening
19:30 – Presentation of Ovation and the workflow of theme parks, by Maurice Engler – Merging Technologies
20:15 – Presentation of Spat Revolution in live event environments, content creation and its usage in large scale live productions, by Hugo Larin – Flux:: Audio
21.00 – Ending

More details found here (in french)

Audio for live shows – Registration
https://colloque-audio-spectacle-vivant.eventbrite.co.uk/

The 2018 edition of JTSE will be held at Pharmacy Porte de la Chapelle, Paris (Subway “Porte de la Chapelle”), with over 140 national and international exhibitor companies from the main areas of stage technologies presenting their unique know-how, within; machinery, lighting, sound, stagecraft, rigging, fabrics, seating, accessories, safety gear and training.

JTSE 2018 – Registration
http://www.jtse.fr/en/demande-badge/
http://www.jtse.fr/en/

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Spat Revolution Real Time Live Engine
Tuesday November 13, 2018

Did you ever wonder about the processing behind the Spat Revolution Immersive Audio Engine? How latency is handled, or how Spat is handling speaker alignment to achieve smooth spatialization? Or are you interested in getting to know more about how Live Theatrical show setups can be done using Spat Revolution?

A blog read by Hugo Larin, Business Development for Spat Revolution

POWERING THE SPAT ENGINE, THE AUDIO INTERFACE AND THE SYSTEM LATENCY

Spat Revolution is a real time stand-alone software application for processing immersive audio, and regarding the processing behind it; although some immersive audio solutions will come with dedicated hardware with fix capacities, Spat doesn’t run on any specific hardware. The power of today’s modern computers have proven us what can be achieved, instead Windows and MacOS is supported, with hardware recommendations provided, a solid graphic card, sufficient amount of ram and multi core processing, in order to achieve good results.

The ability to run a generic hardware also means that a vast pool of audio interfaces are available for the system setup. You could obviously then feel like asking what the actual latency of the system is. In Spat Revolution the latency is defined by the audio hardware components (local audio interface or network AVB, Dante or AES67 virtual audio entities) and the buffer size. The system actually shows the total latency in a status window in the software, combining the OS reported latency of the audio component and the Spat buffer setting. The actual Spat setup and configuration (number of sources, rooms and such) don’t have impact on the latency. It’s predictable and fixed.

Figure 1: Hardware IO and Devices in Spat Revolution

When latency is critical we do have the option of a very low buffer size setting (again, taken the hardware qualification into account). Spat has been tested for In Ear Monitor scenarios, so this is a good example of how low latency can be achieved, as we know latency will be critical if delivering binaural content to a vocalist or musician.

Figure 2: Latency report in Spat Software

Multiple Rooms, Panning Techniques, Dealing with Speaker Setup for Live

SPEAKER ARRANGEMENT ALIGNMENT PROVIDED IN EACH SPAT ROOM

Although Spat is not intended to replace the loudspeaker management for tuning, it does offer the ability to compute each speaker output gain and delay in order to compensate for the location compromises that may need to be done because of physical limitations. The auto compute will make a delay and gain calibration to the central ref. point, when trying to provide extremely smooth transition and when your sources are actually moving in the soundscape all the time. Note that the actual panning computing will use the compensated speakers, the Virtual Speaker, resulting in very smooth feeling when moving the sources.


Figure 3: The Speaker Config window and the ability to ”Computer” Gain and Delay.

See physical location of speaker in grey and the virtual speaker in orange

More information on custom speaker arrangement available from the following Custom Speaker Configuration article

HOW USERS ARE DEPLOYING SPAT WITHIN LIVE AND THE ‘’VIRTUAL ROOM’’ SPEAKER ARRANGEMENTS

Spat Revolution is becoming more and more used in live theatrical shows, and many of these systems have common workflows. QLab is often used as the playback and show control system, while for live sound console the Avid VENUE S6L is often the console of choice. The Spat Send plugin is used, for example, in these scenarios to provide the mixing engineer with the ability to access the source parameters on the control surface, and for automating source parameter changes via the snapshot system. Something that can be done using generic OSC commands with other mixing system providing that ability, such as the Digico SD consoles.

That said, a common scenario is, using the QLab network cues to change any parameters of sources, rooms and reverb in Spat. This includes making 2D moves of sources in the soundscape. QLab is very common for show control, where their network and midi cues gets used to drive a variety of systems simultaneously. An interesting point of using QLab and Spat in the off location creation process is how you can start the show creation and move to separate computers and add audio mixing console in the equation.

The subject of remote control in itself will deserve a new blog!

The common integration varies from using 32, 64 or more console post fader channel audio feeds sent via MADI or Network audio to Spat, feeding the sources. Speaker outputs then either get returned to the desk in order to feed the various matrix of the mixing system, or are picked up directly by MADI or Network audio and sent to the loudspeaker management system.

In a recent big top production, Spat was dealing with a circular stage positioned at the center of the four big top masts. The audience was sitting on three of the faces, while the last face was the actual backstage. Each of the three audience spaces where covered from a L and R speaker cluster position on the mast, while a third speaker position was in the center at a higher elevation. A single behind stage L and R speaker cluster position was used as well (L and R when facing the main front face).

All around the big top was 6 rear ‘’surround’’ speakers, that were positioned in a way that each pair of 2 speakers where covering an audience space as rear speakers.

The multi-room concept was deployed for this. A first virtual room consisting of 5 outputs (L, C, R and 2 rears) similar to a surround was used to create a multichannel bed that was delivered to the 3 audience spaces. This allowed for delivery of an immersive base mix to each of the spaces using a VBAP panning technique.

While the rears were used for the base surround bed, a separate virtual Virtual room using the 6 surround speakers was deployed in order to be able to do rear effects to the complete audience, for example, when wanting to spin a sound around the big top. This virtual room included as well the backstage L and R speakers and the gain and delay alignment of Spat aligned all speakers to their virtual position. The key of adding the two backstage speakers was to give a feeling of sound coming from behind the stage or spinning behind the stage, and again, a VBAP panning technique was used for this virtual room.

Another Spat Room was using all single and cluster loudspeakers, this time with a KNN panning technique in order to allow to position a source anywhere in the audience, in order to really give the feeling that source was emanating from where the designer wanted or where the action was.

To complement this, some sources were able to be patched in a binaural room which became a feed that could be sent to recorders and to provide an spatial experience on headphones.


Figure 4: All Speaker with a KNN Pannings


Figure 5: 5.1 Soundscape deliver to multi zones


Figure 6: Various different Speaker Arrangements and Panning Types used simultaneously in one and the same project

Another theatrical project include the strategy of sending the 12 artist microphone post fader feeds to a Room for doing a real time tracking of these artists (actors on stage). Spat’s ability to integrate with the tracking system allowed for the attachment of tracking devices (know as beacons) to source actors. For this a DBAP panning technique was chosen, as no assumption could be made as too where the audience would be sitting and a central listening point didn’t exist. This provided a good signal distribution while offering some localisation, as the actors were being tracked on this very wide stage. A portion of the speaker rig was used for this one, where the 7 front clusters and their delays were used only. Another Room for a different effect and using a different set of loudspeakers was used too, which received sources from a fix number of console aux buses (send buses to the SPAT immersive audio software)

Spatially Yours!

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The post Spat Revolution Real Time Live Engine appeared first on Flux::.

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Custom Speaker Configuration
Tuesday November 13, 2018
Custom Speaker Configuration in the Spat Revolution Immersive Audio Engine

A blog read by Hugo Larin, Business Development for Spat Revolution

When you find yourself working on a custom multi-channel speaker arrangement, the Speaker Configuration editor is where a model of the sound diffusion system can be defined and stored into the list of speaker configuration presets. From the below image you can see that the current config (a system predefined config) can be, a Duplicate (a copy will be generated for editing) or a New config can be created.


Figure 1: The speaker configuration window showing a pre-defined 13.1 Auro 3D speaker arrangement

Managing the Speaker Configuration includes the ability to delete a config, rename a config, export configuration(s) to a file, or import configuration(s) from a file. Note that Spat Revolution’s pre-defined speaker arrangements can’t be deleted or renamed, but duplicating them (making a copy) will allow you to edit the arrangement thus starting from an existing configuration. The Normalize feature is there to rapidly scale down the speaker arrangement to have the furthest away speaker distance set to 2M only. This helps reduce the virtual room environment size to facilitate working with the parameters range when working with very large speaker setups.

Figure 2: Editing a speaker configuration showing a copy of a 13.1 Auro 3D speaker arrangement

Once editing a speaker configuration, you can either + Add, – Del, Move Up or Move Down speakers in the list. Note that the total number of channels in your arrangement is denoted above the list. Your speaker system contains a Low Frequency LFE channel where you want the ability to send audio to it like on an aux system? Simply adding a channel (or channels), called LFE, will do the magic for you here directly. This particular channel won’t be fed from the virtual room panning, but by the LFE Send on each of the sources that will be available on rooms containing an LFE. Obviously without the room reverberation.

Speaker Position

Position information of the loudspeaker can be entered as X, Y, Z in meters or with Azimuth degree, Elevation degree and Distance in meters. Delay and Gain can be used to manually align the physical speaker location to a virtual one, essentially creating a virtual speaker.

Wondering what the Compute and Reset is all about? Spat Revolution can use the measurements you put into that speaker arrangement to calculate (and apply) the delays and gains for rendering spatial audio on a speaker physical configuration that may not have speakers located in ideal locations. This is a technique preconized when using panning methods that are sweet spot centric such as VBAP and VBIP. The methods will provide very smooth panning on arrangements that have all speaker equidistant to the optimum listening position. So this is what the compute will do for you when desired and using such panning method. You don’t need to move the speakers, Compute the delays and gain for optimal panning experience. Note that it is preferable to do this in Spat Revolution instead of external processing as Spat will use the computed speaker locations (the virtual speakers) for actually spatializing afterward. This is an advanced speaker management technique made easily accessible by a single press of the Compute Speaker Alignment button.

In some cases, creating speaker setups in an editor is not the most efficient way, primarily when such information is available as a list and was exported by an acoustic and design simulation software like those used with loudspeaker companies. So the speaker config work was already done onced. Although an advanced technique to be used with precaution, a Custom Speaker Arrangement file template is available from the Flux:: Support team that can allow you to enter your Speaker arrangement configuration along with the different speakers location in it. This methods allows to input speaker configuration (FromCartesian) raw data, Polar (FromSpherical) data, or by creating speaker layers with specific angles. All this can be quite practical for some larger more complex setups.

Spatially Yours!

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Tonmeistertagung Meet-up In Cologne – November 14-17th
Tuesday November 13, 2018

The Tonmeistertagung meet-up in Cologne, Germany, is a yearly congress and exhibition providing an extensive overview of the latest trends in the pro audio industry, gathering leading experts and professionals from the; broadcast, recording, theatre, film and television industry to share their experiences.

This year Flux:: is represented by the live sound engineer & S.E.A product specialist; Jonas Gehrmann, talking about the possibilities Immersive Audio currently offers, and how to create and build an Immersive sound experience for the audience using the AVID VENUE | S6L console and the Spat Revolution Immersive Audio Engine.

The Immersive Audio demonstrations are taking place in the AVID & S.E.A demo room; 2-Demo-H, setup for full on immersive audio integration demonstrations with the AVID S6L.

Daily 11.00, 13.00, 15.00 & 17.00 (Saturday only 11.00 & 13.00)

Tonmeistertagung 2018
https://tonmeistertagung.com/en/2018/

For the second time, the Student 3D Audio Competition for high-quality productions in Ambisonics 3D Audio is facilitated by the Tonmeistertagung. During the show, the jury presents the nominee productions in an ideal 3D audio listening environment, announce the winners, and hand out the awards.

Student 3D Audio Competition 2018
https://tonmeistertagung.com/en/2018/competition/

The post Tonmeistertagung Meet-up in Cologne – November 14-17th appeared first on Flux::.

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InterBEE 2018 Tokyo
Tuesday November 13, 2018

Come and visit us at the International Broadcast Equipment Exhibition 2018 in Tokyo, November 14-16th, where you will find us together with our partner and distributor, Media Integration.

International Broadcast Equipment Exhibition, “The Professional Show for Audio, Video and Communications”, is a 3-day event being held from 14th November to the 16th November 2018 at the Makuhari Messe in Chiba, Japan.

This year at InterBee Flux:: founder and lead developer, Gaël Martinet, together with our Japanese partner, Media Integration (Hall 2 / 2115), will be presenting Spat Revolution Immersive Audio Engine and its unique features, high degree of create freedom, routing and transcoding capabilities, as well as Dolby Atmos, Ambisonics, NHK 22.2 and many of the additional formats supported by Spat Revolution.

The latest immersive audio workflow using Spat Revolution and ProTools will be presented at the Main Stage of Avid Japan – Everyday at 15:20

Together with Avid Live Sound partner Audio Brains, further presentations will focus on Avid VENUE S6L integration with the Spat Revolution Real Time Live Audio Engine. The presentations will discuss the integration of virtual source control in Avid S6L console and the power of the snapshot system to create automation with timing interpolation parameters.

Avid VENUE S6L integration with Spat Revolution at Audio Brains – Everyday at 14:00

More details can be found here (In Japanese)
https://connect.avid.com/InterBEE2018_JP.html#Boothmap

Media Integration at InterBee
https://www.inter-bee.com/en/forvisitors/exhibitor_info/detail.php?exhibitor_id=8277

The post InterBEE 2018 Tokyo appeared first on Flux::.

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Flux:: @FluxAudioTools Friday July 5, 2019
@arca1000000 Thanks for contacting us! Please contact our technical support directly from our website… https://t.co/Fhyt2LIyWK
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Flux:: @FluxAudioTools Friday July 5, 2019
Hello, https://t.co/Dabbf4gLtZ is back online. Our apologies for this momentary degradation. Good weekend to all. Flux team
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Flux:: @FluxAudioTools Friday July 5, 2019
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Flux:: @FluxAudioTools Wednesday July 3, 2019
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Flux:: @FluxAudioTools Friday June 21, 2019
@benhurzz Thanks for the heads-up Ben, happy to hear we could help you out!
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FluxAudioTools
Flux:: @FluxAudioTools Wednesday May 1, 2019
🔥LAST CALL - Ending Today!🔥 🇫🇷 French Days Special 🇫🇷 Studio Session Pack, Evo Channel, Solera, Syrah, Pure Compres… https://t.co/9MXtDlOuoe
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 30, 2019
IRCAM TRAX v3 - Time Limited Offer! The Next Generation Voice and Sonic Processing Tools ⚡Now Only $249 / 219€⚡… https://t.co/CVc4eHADrs
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 30, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/ODUQwAfBmn
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 30, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/DCkYz5xyFh
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 30, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/gx7L4r1g0a
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 30, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/R0StK5dagl
FluxAudioTools
Flux:: @FluxAudioTools Monday April 29, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/QVC4eWBrDv
FluxAudioTools
Flux:: @FluxAudioTools Monday April 29, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/tHt63qNkyJ
FluxAudioTools
Flux:: @FluxAudioTools Monday April 29, 2019
🇫🇷 French Days Special 🇫🇷 The French Days sale continues today with new special offers all available until May 1st.… https://t.co/YsP5XYEdWz
FluxAudioTools
Flux:: @FluxAudioTools Friday April 26, 2019
🇫🇷 French Days Special 🇫🇷 Bonjour! Today the yearly French Days sale is starting, with special offers and discoun… https://t.co/spQ2a3kC5x
FluxAudioTools
Flux:: @FluxAudioTools Thursday April 25, 2019
Thank you @root_itled! #PureAnalyzerEssential #PureAnalyzerSystem https://t.co/AnjXKZCpNV
root_itled @root_itled
if you need an audio visualizer, @FluxAudioTools is very good with a great support (thanks again felix) https://t.co/4BNiwCPF8g
FluxAudioTools
Flux:: @FluxAudioTools Friday April 19, 2019
Flux:: Plug-ins officially supported on AVID VENUE S6L We are happy to announce that AVID now officially supports… https://t.co/GSKBY3cNn5
FluxAudioTools
Flux:: @FluxAudioTools Monday April 8, 2019
@root_itled Thanks for the heads-up!!
FluxAudioTools
Flux:: @FluxAudioTools Tuesday April 2, 2019
🔥🔥🔥LAST CALL - Ending Today!🔥🔥🔥 SPRING SALE \\\Take Control Over Your Mix/// Elixir v3 True Peak Limiter - $99 / 89… https://t.co/G9DjuPDoHn
FluxAudioTools
Flux:: @FluxAudioTools Friday March 29, 2019
🔥SPRING SALE - Last Days🔥 ⚡Time Limited Offer! - Ending April 2nd⚡ \\\Take Control Over Your Mix/// with Elixir v3… https://t.co/9BcDqB3hs0
FluxAudioTools
Flux:: @FluxAudioTools Wednesday March 20, 2019
SPRING SALE Take Control Over Your Mix with Elixir v3 True Peak Limiter & BitterSweet Pro v3 Frequency Dependent Tr… https://t.co/Lg0YZXvOHm
FluxAudioTools
Flux:: @FluxAudioTools Monday March 4, 2019
🔥🔥🔥LAST CALL - Ending Today!🔥🔥🔥 Pure Analyzer System - Time Limited Offer! The Pure Analyzer System is the most com… https://t.co/ywjrrQ9l5M
FluxAudioTools
Flux:: @FluxAudioTools Friday March 1, 2019
🔥LAST DAYS!🔥 Pure Analyzer System - Time Limited Offer! The Pure Analyzer System is the most comprehensive real-tim… https://t.co/r10vQcCzuk
FluxAudioTools
Flux:: @FluxAudioTools Thursday February 28, 2019
@Chi_Breezi Thanks for the headsup! We're happy to hear that you have good use of our software!
FluxAudioTools
Flux:: @FluxAudioTools Friday February 22, 2019
⚡Last 10 days ⚡ Flux:: Pure Analyzer System - Analyze This! https://t.co/tYH5FWWslm via @YouTube 👉 More Informati… https://t.co/coZOUPXLgI
FluxAudioTools
Flux:: @FluxAudioTools Wednesday February 13, 2019
Pure Analyzer System - Time Limited Offer! ANALYZE THIS! The Pure Analyzer System is the most comprehensive real-ti… https://t.co/sJaNU0QOYB
FluxAudioTools
Flux:: @FluxAudioTools Wednesday February 13, 2019
Merovee, Composer and Sound Artist - 2018 Lights Festival of the City of... https://t.co/SyFZQjvivY via @YouTube… https://t.co/oS8kh0LmVM
FluxAudioTools
Flux:: @FluxAudioTools Monday February 4, 2019
All Software Now Supporting 2 iLok Authorizations From today all our software is supporting 2 simultaneous iLok aut… https://t.co/aHy7Muion7
FluxAudioTools
Flux:: @FluxAudioTools Monday February 4, 2019
Merovee, Composer and Sound Artist - 2018 Lights Festival of the City of... https://t.co/AMLXDUfvvl via @YouTube… https://t.co/BB8xqOH0tK
FluxAudioTools
Flux:: @FluxAudioTools Friday December 28, 2018
#SpatRevolution The User Guide available at https://t.co/NFgt1uvVnb is written for practitioners already working i… https://t.co/8D1gfPIlqv
FluxAudioTools
Flux:: @FluxAudioTools Wednesday December 26, 2018
🤩 WINTER SALE!! 🎁 IRCAM STUDIO 🎁 The Next Generation Studio Effects - A creative toolbox with effects ⚡Now Only $… https://t.co/847wUWg13v
FluxAudioTools
Flux:: @FluxAudioTools Monday December 24, 2018
@aqissiak Hi last day available for the promotion is January 15th.
FluxAudioTools
Flux:: @FluxAudioTools Tuesday December 18, 2018
🤩 WINTER SALE!! 🎁 FULL PACK 2.2 All The Flux You Need - The complete range of Flux:: plug-ins in one big bundle wi… https://t.co/eE6R1OPKTc
FluxAudioTools
Flux:: @FluxAudioTools Thursday December 13, 2018
@coachingmichael Dear Michael, The order reference mentioned is not corresponding to the order numbers in our datab… https://t.co/RPaNlTZJ5A
FluxAudioTools
Flux:: @FluxAudioTools Friday December 7, 2018
FLUX:: SPAT Revolution - JTSE 2018 with Freevox: https://t.co/BW5gcrCWQ1 via @YouTube

Facebook page from Flux :

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 :

  • Afghanistan
  • Aland Islands
  • Albania
  • Algeria
  • American Samoa
  • Andorra
  • Angola
  • Anguilla
  • Antarctica
  • Antigua And Barbuda
  • Argentina
  • Armenia
  • Aruba
  • Australia
  • Austria
  • Azerbaijan
  • Bahamas
  • Bahrain
  • Bangladesh
  • Barbados
  • Belarus
  • Belgium
  • Belize
  • Benin
  • Bermuda
  • Bhutan
  • Bolivia
  • Bosnia And Herzegovina
  • Botswana
  • Bouvet Island
  • Brazil
  • British Indian Ocean Territory
  • Brunei Darussalam
  • Bulgaria
  • Burkina Faso
  • Burundi
  • Cambodia
  • Cameroon
  • Canada
  • Cape Verde
  • Cayman Islands
  • Central African Republic
  • Chad
  • Chile
  • China
  • Christmas Island
  • Cocos (keeling) Islands
  • Colombia
  • Comoros
  • Congo
  • Congo
  • Cook Islands
  • Costa Rica
  • CÔte D'ivoire
  • Croatia
  • Cuba
  • Cyprus
  • Czech Republic
  • Denmark
  • Djibouti
  • Dominica
  • Dominican Republic
  • Ecuador
  • Egypt
  • El Salvador
  • Equatorial Guinea
  • Eritrea
  • Estonia
  • Ethiopia
  • Falkland Islands (malvinas)
  • Faroe Islands
  • Fiji
  • Finland
  • France
  • French Guiana
  • French Polynesia
  • French Southern Territories
  • Gabon
  • Gambia
  • Georgia
  • Germany
  • Ghana
  • Gibraltar
  • Greece
  • Greenland
  • Grenada
  • Guadeloupe
  • Guam
  • Guatemala
  • Guernsey
  • Guinea
  • Guinea-bissau
  • Guyana
  • Haiti
  • Heard Island & Mcdonald Islands
  • Holy See (vatican City State)
  • Honduras
  • Hong Kong
  • Hungary
  • Iceland
  • India
  • Indonesia
  • Iran
  • Iraq
  • Ireland
  • Isle Of Man
  • Israel
  • Italy
  • Jamaica
  • Jersey
  • Jordan
  • Kazakhstan
  • Kenya
  • Kiribati
  • Korea-north
  • Korea-south
  • Kuwait
  • Kyrgyzstan
  • Lao
  • Latvia
  • Lebanon
  • Lesotho
  • Liberia
  • Libyan Arab Jamahiriya
  • Liechtenstein
  • Lithuania
  • Luxembourg
  • Macao
  • Macedonia
  • Madagascar
  • Malawi
  • Malaysia
  • Maldives
  • Mali
  • Malta
  • Marshall Islands
  • Martinique
  • Mauritania
  • Mauritius
  • Mayotte
  • Mexico
  • Micronesia
  • Moldova
  • Monaco
  • Mongolia
  • Montenegro
  • Montserrat
  • Morocco
  • Mozambique
  • Myanmar
  • Namibia
  • Nauru
  • Nepal
  • Netherlands
  • Netherlands Antilles
  • New Caledonia
  • New Zealand
  • Nicaragua
  • Niger
  • Nigeria
  • Niue
  • Norfolk Island
  • Northern Mariana Islands
  • Norway
  • Oman
  • Pakistan
  • Palau
  • Palestinian Territory
  • Panama
  • Papua New Guinea
  • Paraguay
  • Peru
  • Philippines
  • Pitcairn
  • Poland
  • Portugal
  • Puerto Rico
  • Qatar
  • Reunion
  • Romania
  • Russian Federation
  • Rwanda
  • Saint Barthélemy
  • Saint Helena
  • Saint Kitts And Nevis
  • Saint Lucia
  • Saint Martin
  • Saint Pierre And Miquelon
  • Saint Vincent And The Grenadines
  • Samoa
  • San Marino
  • Sao Tome And Principe
  • Saudi Arabia
  • Senegal
  • Serbia
  • Seychelles
  • Sierra Leone
  • Singapore
  • Slovakia
  • Slovenia
  • Solomon Islands
  • Somalia
  • South Africa
  • South Georgia & The South Sandwich Islands
  • Spain
  • Sri Lanka
  • Sudan
  • Suriname
  • Svalbard And Jan Mayen
  • Swaziland
  • Sweden
  • Switzerland
  • Syrian Arab Republic
  • Taiwan
  • Tajikistan
  • Tanzania
  • Thailand
  • Timor-leste
  • Togo
  • Tokelau
  • Tonga
  • Trinidad And Tobago
  • Tunisia
  • Turkey
  • Turkmenistan
  • Turks And Caicos Islands
  • Tuvalu
  • Uganda
  • Ukraine
  • United Arab Emirates
  • United Kingdom
  • United States
  • United States Minor Outlying Islands
  • Uruguay
  • Uzbekistan
  • Vanuatu
  • Venezuela
  • Viet Nam
  • Virgin Islands, British
  • Virgin Islands, U.s.
  • Wallis And Futuna
  • Western Sahara
  • Yemen
  • Zambia
  • Zimbabwe
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