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.
Orleans, France – May 2021
FLUX: : Immersive à récemment présenté une série d’ateliers sur les concepts de l’audio spatialisé et sur le déploiement de SPAT Revolution, en collaboration avec le centre de formation professionnelle agréé par l’AFDAS, Whiti Audio,
Les ateliers, ouverts aux concepteurs sonores, ingénieurs du son et à toutes personnes intéressées par l’audio multicanal, offrent une étude détaillée du mixage perceptif et orienté objet, explorant des techniques de création sonores immersives avancées. L’objectif est d’approfondir les connaissances et la compréhension des participants sur les technologies audio 3D, notamment HOA, WFS, binaurales et autres, ainsi que sur la perception spatiale auditive, l’acoustique des salles et le traitement de la réverbération.
Commençant par un aperçu historique de la production audio spatialisée, les ateliers couvrent la perception sonore et les techniques de spatialisation avancées, ainsi que la simulation d’acoustique et la gestion des espaces virtuels au sein de l’architecture de l’IRCAM, les formats de rendu orienté canal et scène et les méthodologies de positionnement et de panoramique.
Des modules supplémentaires présentent SPAT Revolution et les méthodes de production associées, allant de l’utilisation d’un unique ordinateur à des systèmes proposant l’utilisation de stations de travail différentes pour la lecture de l’audio et pour sa spatialisation. Des exercices pratiques permettent aux participants d’écouter le moteur orienté objet dans différents formats, comme le binaural et sur différents arrangements de haut parleurs. Enfin, les cours comprennent une étude approfondie des outils d’intégration tiers, des méthodes de travail avec une STAN pour le séquençage de l’audio aux contrôleurs utilisant l’Open Sound Control (OSC).
“Nous vivons littéralement un changement de paradigme, impliquant une nouvelle approche du mixage qui immerge nos spectateurs et apportent un nouveau sens de profondeur”, a fait remarquer Hugo Larin, directeur du développement commercial de FLUX: : Immersive.
“Aider notre communauté professionnelle à comprendre ces nouveaux outils et à se sentir à l’aise avec ceux-ci est la clé de leur mise en œuvre. Le son immersif est souvent perçu comme un outil élitiste et complexe à déployer, alors qu’il est en réalité totalement accessible: les outils sont déjà là et faciles à utiliser. Pour beaucoup, une fois qu’ils l’ont essayé, il n’y a pas de retour en arrière”.
“La connaissance, c’est le pouvoir, et, un élément clé dans l’adoption de l’audio immersif est la connaissance”, conclut M. Larin. “Chez FLUX: : Immersive, nous travaillons sans relâche pour apporter cette connaissance aux professionnels de l’audio du monde entier.”
La formation SPAT Revolution est disponible en partenariat avec les centres de formation et d’enseignement, et propose aux participants de se plonger dans le monde du mixage objet et perceptif pour ainsi savoir comment mettre en place et déployer des solutions sonoressonore spatialisées en utilisant SPAT Revolution.
Pour plus d’informations, visitez le site:
À propos de SPAT Revolution
Spat Revolution est le fruit d’années de recherche de l’équipe Espaces acoustiques et cognitifs de l’Ircam, combinée à l’expertise en matière de produits innovants du créateur français de logiciels pro-audio FLUX::Software Engineering.
A propos de FLUX::
FLUX: : a acquis une réputation bien méritée de leader dans la conception de plug-ins audio. Choisi par les studios d’enregistrement, les studios de cinéma et les diffuseurs de radio et de télévision les plus prestigieux du monde, FLUX: : a su rester à l’avant-garde du développement de solutions permettant aux professionnels de l’audio d’obtenir des résultats impeccables.
Formations à venir chez Whiti Formation
Coût : 1680 Euro HT. Soutenu par : Afdas, Uniformation, pôle emploi…
3 au 7 mai 2021 à Orléans (COMPLET)
28 juin au 2 juillet 2021 à Paris / RegieTek
(Quelques places encore, date limite d’inscription 27 Mai)
25 au 29 octobre 2021 à Orléans (date limite d’inscription, 10 septembre)
The post Offre de formation sur la spatialisation sonore de FLUX:: Immersive appeared first on FLUX:: IMMERSIVE.Read More
Orleans, France – May 2021
FLUX:: Immersive presents a series of workshops on Spatial Audio Concepts and SPAT Revolution deployment training in collaboration with AFDAS accredited professional training Center, Whiti Audio, in France.
The workshops, open to sound designers, audio engineers, and others with an interest in multi-channel audio, offer a detailed study in perceptual audio and object-based mixing, exploring advanced techniques for creating high-quality spatial audio productions. The goal is to deepen participants’ knowledge and understanding of 3D audio technologies including HOA, WFS, binaural, and more, as well as auditory spatial perception, room acoustics, and reverberation processing.
Beginning with a historical overview of spatial audio production, the workshops cover auditory perception and advanced spatial audio techniques including acoustic simulation and virtual spaces within the IRCAM architecture, channel-based and scene-based rendering formats, and position and direction panning methodologies.
Additional modules introduce SPAT Revolution and production workflows, ranging from a single computer to dedicated spatial rendering engines and playback workstations. Hands-on exercises enable attendees to audition object-based mixing in a binaural setting, as well as an overview of various speaker arrangements. The courses also include a deep dive into third-party integration tools, from DAW workflow and audio sequencing to show controllers and hardware using Open Sound Control (OSC).
“We are literally living through a paradigm shift, with new approaches to mixing that immerse our audiences and bring a new sense of depth via immersive audio cues,” remarked Hugo Larin, Business Director for FLUX:: Immersive.
“Helping our professional community to understand and feel comfortable with these new tools is key to their implementation. Immersive is often perceived as elite and complex to deploy, but in truth it is totally approachable, and the tools are already here and easy to use. For many, once they’ve tried it there is no turning back.”
“Knowledge is power, and a key element in the adoption of immersive audio is knowledge,” Larin concludes.
“At FLUX:: Immersive, we are working tirelessly to bring this knowledge to audio professionals around the world.”
The Spatial Audio Concepts and SPAT Revolution training is available for education and training centers, and offers participants to dive into the world of object-based and perceptual mixing, and how to set up and deploy Spatial Audio solutions using Spat Revolution.
For more information, visit:
About SPAT Revolution
Spat Revolution is based on years of research by the Acoustic and Cognitive Spaces Team at the French audio research institute; Ircam, combined with the innovative product expertise of French pro-audio software creator FLUX::Software Engineering.
FLUX:: has gained a well-deserved reputation as a leader in audio plug-in design. Chosen by the world’s most prestigious recording studios, film sound stages, and radio and TV broadcasters, FLUX:: attention to sonic quality and performance has kept the company at the forefront of developing solutions for audio professionals to deliver impeccable results.
Paris, France – March 2021
Alors que les performances audio immersives connaissent un nouvel essor en cette année de concerts virtuels, le producteur de musique électronique français Éléphantmat (l’alter-ego de l’artiste/producteur/ingénieur Mathieu Rossier) crée depuis plusieurs années des événements live en 3D sonore.
Décrivant sa musique comme “une techno organique et sans étiquette, à la frontière de la tribe, de la psyché et du prog”, Éléphantmat fait partie d’une poignée d’artistes qui se produisent intégralement en audio immersif.
Mathieu Rossier est également le fondateur du studio Des Sons Animés, lieu dédié à la spatialisation sonore sur 32 canaux, depuis lequel il anime des concerts immersifs en direct via sa page Facebook, en diffusant son écran Ableton Live et sa prestation musicale.
“Des Sons Animés” est l’un des tout premiers studios privés en France à utiliser la synthèse par champs d’ondes (WFS) dans des applications musicales en direct. Le studio est conçu pour virtualiser un large éventail de configurations, y compris l’orienté objet, Dolby Atmos, 5.1, 7.1, MPEGH, ambisonic, Auro-3D et plus encore. L’un de ses outils indispensables est SPAT Revolution de FLUX: : Immersive.
La plupart des salles étant fermées, Des Sons Animés s’est associé au promoteur BNK pour créer CAPTURE, une série d’événements immersifs diffusés en direct et enregistrés dans des lieux du patrimoine national.
Pour l’un des récents événements CAPTURE, l’équipe Des Sons Animés de Rossier a installé un système immersif à 18 canaux dans le célèbre Grand Palais, où Éléphantmat a présenté en direct une performance spatialisée de deux heures et demie.
Des Sons Animés a enregistré le multipiste au format objet et a remixé la bande sonore en utilisant l’encodage binaural de SPAT Revolution. L’événement a été diffusé en direct sans public.
“Nous avons placé 16 haut-parleurs en cercle autour de moi à un diamètre de 8 mètres, avec deux subwoofers à l’extérieur du cercle”, explique Mathieu.
“Sans public, nous n’avons pas eu à nous préoccuper du traitement acoustique de l’espace, qui était bien trop grand pour être vraiment abordé. La distance entre les enceintes m’a permis de bénéficier d’un bon niveau de monitoring et de placement.”
” Pour le mixage du Grand Palais, SPAT m’a permis de créer une version binaurale qui était fidèle à l’intention spatiale de ma partition. J’ai pu gérer chaque objet individuellement et utiliser tous les outils internes pour optimiser le rendu ”
Éléphantmat a envoyé des séquences depuis Ableton Live directement aux objets de SPAT Revolution.
“Pour ce projet, je savais que je n’aurais pas d’élévation, puisque toutes les enceintes étaient montées au même niveau, j’ai donc utilisé une partition spatiale 3D, incluant l’élévation, que j’ai ensuite monitorée en 2D sur la configuration du Grand Palais.”
“SPAT nous a permis de créer deux flux de mixage, un pour le monitoring du studio et un pour le rendu binaural dédié à la diffusion en ligne. Une fois de retour au studio Des Sons Animés, il ne me restait plus qu’à envoyer la session enregistrée dans SPAT, avec l’audio et les données en OSC, et à utiliser le rendu binaural de SPAT pour en faire un mixage à deux canaux pour la vidéo.”
Partisan de longue date de l’audio immersif, Mathieu tient à partager cet art avec d’autres. En plus de ses propres performances, Des Sons Animé propose des programmes de résidence aux artistes qui souhaitent intégrer l’audio 3D dans leur travail.
“Pour moi, travailler en stéréo devient presque préhistorique une fois que vous avez composé et mixé en 3D”, explique-t-il.
“Une fois que l’on a goûté au monde du son spatialisé, il y a une addiction immédiate. On peut jouer avec l’espace, la profondeur et l’élévation, donner de la vie aux instruments, les animer avec des mouvements et des trajectoires. La partition gagne en intelligibilité et le potentiel créatif est considérablement augmenté. C’est fou – chaque artiste devrait pouvoir s’essayer à cette approche créative.”
Mathieu désigne SPAT Revolution comme un outil indispensable à la création de contenu immersif.
“SPAT est un outil idéal pour l’audio immersif. Il répond à tous les défis de mixage que je rencontre, et me permet de mixer dans de multiples configurations.”
“Pour le mixage du Grand Palais, SPAT m’a permis de créer une version binaurale qui était fidèle à l’intention spatiale de ma partition. J’ai pu gérer chaque objet individuellement et utiliser tous les outils internes pour optimiser le rendu. Le mixage respire, la définition spatiale est superbe et la dynamique est précisément préservée. Les résultats sont tout simplement merveilleux. Il n’existe aucun autre outil sur le marché capable de gérer ce type de projet avec ce degré de stabilité et de qualité sonore.”
PHOTO CREDIT: Louis Lefranc
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Orleans, France – April 2021
FLUX:: Immersive, pioneers in audio plug-in design, analysis and immersive technologies, is proud to announce the introduction of SPAT Revolution Essential – The power of SPAT Revolution for everyone.
With immersive audio creating a new standard for the entertainment industry, SPAT Revolution has become the leading platform for immersive audio production. With this in mind, FLUX:: Immersive has introduced SPAT Revolution Essential, a long-awaited solution for an accessible immersive creation tool, empowering the needs of artists, creators, sound-designers, sound-engineers, and the world of education, to design, create, and deliver an outstanding real-time immersive experience.
SPAT Revolution is a powerful, state-of-the-art real-time Immersive audio mix engine that is redefining the art of mixing with object-based and perceptual approaches, making it possible to intuitively position audio sources in spaces, real or virtual, and let the acoustic signature of the room build the desired depth, with full automation of the spatialization parameters independently from the output format.
SPAT Revolution Essential is a stand-alone software designed for real-time processing supporting standard ASIO and Core Audio audio interfaces, with low latency options, as well as networked audio, and includes standard audio plug-ins for communication with all major DAWs supporting AAX, AU and VST. Offering easy integration with virtually any DAW workflow with up to 96kHz sample rate, SPAT Revolution Essential includes integration templates for a wide range of third-party tools and workstations and supports OSC integration for external controllers.
SPAT Revolution Essential is available now, for perpetual and subscription licensing starting at $199. Educational licensing offers available with eligibility requirements, and a new license program containing license bundles specifically designed for educational institutions, class labs, etc. will also be available.
The post FLUX:: Immersive introduces SPAT Revolution Essential appeared first on FLUX:: IMMERSIVE.Read More
Available as perpetual, subscriptions and educational license offersBring a sense of space and depth to your mix
A revolutionary object and perceptual immersive mixing tool where you intuitively position source in spaces and let the acoustic signature of the room build the desired depth.Configure your Immersive audio session without a fuss
Rapidly deploy and manage your object-based mix session with up to 32 audio channels to a virtual room and render in binaural, up to 12 output in channel-based (ex: Atmos 7.1.4) or up to 3rd order Ambisonic such as AmbiX.Integrate with virtually any DAW software or hardware I/O
Use your physical or virtual audio interface of choice as your hardware I/O or vastly expand your DAW’s capabilities using SPAT plugin suites and the audio pipe technology for software audio routing and parameters automation.Take advantage of ReaVolution, a Reaper package for SPAT Revolution
A complete immersive audio creation and production package facilitating the setup, integration, and workflow of SPAT Revolution in Reaper and 100% Freeware. ReaVolution improves the workflow for Immersive sound production, helps quickly create source-objects and return routes to and from SPAT Rendering and much more.Full Press Release See Product Page
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Paris, France – March 2021
While immersive audio performances have taken on a new popularity during this year of virtual concerts, the French electronic music producer ÉléphantMat (the alter-ego of artist/producer/engineer Mathieu Rossier) has been creating live events in 3D audio for several years.
Describing his music as “organic and unlabeled techno, at the border of tribe, psyche, and prog,” ÉléphantMat is among only a handful of artists who perform fully in the 3D realm.
Rossier is also founder of Des Sons Animés, a 32-channel spatial sound studio where he hosts live 3D spatialized audio streams via his Facebook page, streaming his Ableton Live screen and his live performance.
Des Sons Animés is among the very first private studios in France to utilize wave field synthesis in live musical applications. The studio is designed to virtualize a wide range of configurations, including Object-based, Dolby Atmos, 5.1, 7.1, MPEGH, ambisonic, Auro-3D and more. One of his indispensable tools is SPAT Revolution from FLUX:: Immersive.
With most venues shut down, Des Sons Animés teamed with promotors BNK to create CAPTURE, a series of livestreamed immersive events performed and recorded in national heritage locations.
For one recent CAPTURE event, Rossier’s Des Sons Animés crew installed an 18-channel immersive system at the renowned Grand Palais, where ÉléphantMat presented a live two-hour spatialized performance piece. Des Sons Animés recorded the multitrack audio in object-based format, remixing the soundtrack using binaural encoding with SPAT Revolution. The event was streamed live without an audience,
“We placed 16 speakers in a circle around me at a diameter of 8 meters (26 feet), with two subwoofers outside the circle,” Rossier explains.
“Without an audience, we didn’t have to concern ourselves with acoustic treatment for the space, which was far too large to really address. The distance from the speakers provided me with a good level of monitoring and placement.”
” SPAT is an ideal tool for immersive audio. It responds to every mixing challenge I encounter and enables me to mix in multiple configurations. For the Grand Palais mix, SPAT allowed me to create a binaural version that was faithful to my score’s spatial intention. I was able to manage each object individually and use all the internal tools to optimize the rendering.”
Rossier sent sequences from Ableton Live directly to objects within SPAT Revolution.
“For this project, I knew I wouldn’t have any elevation since all the speakers were mounted at the same level, so I used a 3D spatial partition, including elevation, which I then monitored in 2D on the Grand Palais setup. SPAT enabled us to create two mixing streams, one for the studio monitoring and one for the stream’s binaural rendering. Once back in the Des Sons Animés studio, all I had to do was send the recorded session into SPAT, with audio and data in OSC, and use SPAT’s binaural rendering to lay it down to a two channel mix for the video.”
Long a proponent of immersive audio, Rossier is keen to share the art with others. In addition to Rossier’s own performances, Des Sons Animé offers residency programs to artists looking to integrate 3D audio into their work.
“For me, working in stereo becomes almost prehistoric once you have composed and mixed in 3D,” he offers.
“Once you’ve tasted the world of spatialized sound, there is an immediate addiction. One can play with space, depth, and elevation, add life to instruments, animate them with movement and trajectories. The score gains in intelligibility, and the creative potential is dramatically increased. It’s crazy – every artist should be able to try this creative approach.”
Rossier points to SPAT Revolution as an indispensable tool in immersive content creation.
“SPAT is an ideal tool for immersive audio. It responds to every mixing challenge I encounter and enables me to mix in multiple configurations. For the Grand Palais mix, SPAT allowed me to create a binaural version that was faithful to my score’s spatial intention. I was able to manage each object individually and use all the internal tools to optimize the rendering. The mix breathes, the spatial definition is superb, and the dynamics are precisely preserved. The results were simply wonderful. There is no other tool on the market that can manage this kind of project with this degree of stability and sonic quality.”
PHOTO CREDIT: Louis Lefranc
The post SPAT Revolution Helps ÉléphantMat Bring Immersive to Grand Palais appeared first on FLUX:: IMMERSIVE.Read More
“Our purpose in designing Black Hole was to create an environment where people can both create and experience immersive audio content in ways that are not possible with more typical audio technologies presently available for home, headphones, or cinema.
Los Angeles, CA – March 2021
With immersive audio rapidly coming into its own as an innovative and in-demand medium, forward-thinking venues have been looking at ways to update their sound systems to accommodate multichannel playback and performance. But for Black Hole, immersive is not an add-on or an update – it’s the basis of the studio’s design.
“Despite the growing popularity of immersive audio, few venues exist that are purpose built for, and dedicated to the medium,” observes Micah Silver, founder of Black Hole and author of Figures in Air, a study on sound art and immersive audio.
Silver, who in his own words, has worked in immersive audio “since before I knew it was called immersive audio,” has designed the non-profit Black Hole cooperative as both a production facility and an exhibition space.
The room is outfitted with 16 Meyer Sound MM-4 loudspeakers, as well as Meyer and K-Array subs, with spatialization provided by SPAT Revolution. As Silver explains, SPAT Revolution has been key in helping to realize the room’s multi-use intent.
In addition to being a vehicle for productions created by Silver’s Polytope Agency, Black Hole functions as an exhibition space for artists to showcase their immersive sonic creations.
“One of the biggest challenges in immersive audio is that people create works that are uniquely configured and therefore not portable to any other space. For traditional venues, you need to set up a unique sound system for every performance, and that’s simply beyond the scope of most venues. Using SPAT Revolution, we’re able to easily and quickly configure the room for a wide range of immersive content.”
The ability to recreate and reconfigure the system with SPAT to accommodate an array of environments is equally important for artists working in the immersive genre.
“For artists who are doing this kind of work, there really is no rendering facility for it,” Silver offers.
“For sound designers, people creating works for exhibitions, theme parks, people working in acoustic design, we’ve created a space where they can realize their projects in a multi-channel environment. Someone could come here and mix in an ATMOS format, or in a 5.1 format, or a 16.1 format, and the space can adapt to their needs.“
While object-based mixing was one aspect that initially drew him to SPAT Revolution, Silver has found it to be an ideal platform for Black Hole.
“Our purpose in designing Black Hole was to create an environment where people can both create and experience immersive audio content in ways that are not possible with more typical audio technologies presently available for home, headphones, or cinema. Whether it’s composing, refining, and mixing an immersive sonic creation, or opening the space for an artist in residence to share their work, SPAT Revolution enables us to offer Black Hole as a facility for people in Southern California to share in immersive audio content.”
Micah Silver is the co-founder of audio scenography company Polytope Agency, and facilitates the listening space Black Hole in Los Angeles, California, USA.
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Orleans, France – March 2021
FLUX::Immersive has announced ReaVolution, a complete Immersive Audio creation and production package built to simplify the setup and integration of Spat Revolution Immersive software and Reaper DAW software.
At the basis of ReaVolution is the acclaimed DAW software Reaper, developed by digital audio technology company Cockos, widely acknowledged as a reliable full-featured DAW with extensive customization possibilities. With its high track and channel count capabilities and support for a wide range of speaker configurations, Reaper is ideally suited for immersive audio creation.
The default configuration of Reaper is something of a blank slate when it comes to working with Immersive sound workflows. ReaVolution provides a starting point and customization for successful customization of Reaper and Spat.ReaVolution Main Objectives
The ReaVolution package includes macros (scripts), customized toolbars, and system behaviour preference enhancements. The goal of ReaVolution is to address some of the most common issues by offering a new set of functions dedicated to Immersive audio production, and to provide a more cohesive starting point for users coming from other DAWs.
ReaVolution comes with a set of actions that automates requirements for sending audio from Reaper to Spat Revolution, and works in pairs with the Audio Stream library to support any channel configuration. It uses the Audio Stream library to support any kind of channel arrangement and provide full compatibility with an Immersive sound workflow.
This library is the core of ReaVolution, designed to provide a way to overcome Reaper’s limitations on track formats. By default, Reaper limits track channels to even numbers. But in the real world, there are numerous audio streams that come in odd channel numbers, mono being the really obvious one.
The library combines a JSFX called “Audio Stream” along with some other scripts. This JSFX is present on every track and is used to store and display the stream type to the user. It supports the same stream formats as Spat Revolution: Channel-based, HOA, Ambisonics, Binaural and Transaural.Download and Install
Before installing ReaVolution, we recommend reading the documentation.
Download the latest version of Reaper
Download the latest version of ReaVolution via FLUX:: Center
FLUX:: Center Download
Components ReaVolution consists of an additional function library containing approximately 80 new scripts created by FLUX:: team member Jean-Loup Pecqais.
ReaVolution is built using the following Reaper extensions:
The post Introducing ReaVolution – Integrating SPAT Revolution with Reaper appeared first on FLUX:: IMMERSIVE.Read More
Seoul, Korea – March 2021
Teaching religion and spirituality to young people has always been a challenge, and even more so with the limited attention spans of todays’ media-savvy youth. Korea’s Presbyterian Association aims to address the challenge head on with the opening of the new Jibet Center in Seoul.
Occupying the entire third floor of the new 100th Anniversary Memorial Hall, the Jibet Center teaches the tenets of Christianity via an interactive environment that includes immersive audio via FLUX:: Immersive SPAT Revolution.
Myungsung Nano Systems has created an immersive system implementing a 12.1 channel audio setup designed by Dohyung Kim, with music and sound designed by electronic musician Joonha Kim. A total of 12 HMH 6-inch loudspeakers cover the room, along with a single HMH subwoofer. The loudspeakers are placed along two walls, with SPAT localizing the sound for a wide range of immersive performances.
“With the network configuration, we are able to run audio and OSC transmission at once, making it easy to configure the system, as well as sending and receiving high-quality multichannel signal,” observes Dohyung Kim.
“It’s also interesting to find the optimal transmission protocol depending on each location. With about 32 sources, we were able to operate with only two MacBook Pros, a playback and processing application. This enabled me to mix and perform various other tasks through a single LAN terminal, and interact directly with 360-degree video during pre-production.”
The space includes four-sided interconnected walls of video and immersive audio, designed for flexibility and versatility. Adjacent the main space is a fully equipped recording studio, and students are encouraged to create and contribute their own content as well.
” There are always challenges in live situations, but SPAT is really the best solution for this installation, and adapts to our needs easily. It is a powerful tool that can bring out my creativity. I have used it to try some new arrangements of my music for binaural or immersive shows, and it always inspires me to try new things. ”
Early adopters of immersive audio, Myungsang Nano Systems have been behind a number of projects on the Korean peninsula, including the recent Dolby Atmos system at Sungkyul University’s Department of Arts.
As Dohyung Kim explains, the selection of SPAT Revolution for the Jibet Center project was a logical one.
“SPAT’s integration with multiple DAW platforms, OSC, and MIDI, and its powerful flexibility were of paramount importance for an environment like this one, where children create multimedia content for immediate implementation. SPAT enabled us to program a system where azimuth can be programmed to interact directly with, for example, an external synthesizer’s LFO controls, or to enable the pitch control to move the Y-axis position. We were able to preconfigure speaker arrangements, panning, and routing to make it easy for the children to come in and use the system.”
“There are always challenges in live situations, but SPAT is really the best solution for this installation, and adapts to our needs easily. It is a powerful tool that can bring out my creativity. I have used it to try some new arrangements of my music for binaural or immersive shows, and it always inspires me to try new things. With SPAT, anyone can build a system at a reasonable cost, and expand the scope of your work to reach your imagination.”
The post Seoul’s Jibet Center Brings Immersive Learning with SPAT Revolution appeared first on FLUX:: IMMERSIVE.Read More
South Bend, IN – February 2021
In the city of South Bend, one production company has found a unique solution to get artists and crew back to work, and bring music and shows to audiences hungry for arts and culture, creating an immersive environment using SPAT Revolution from FLUX:: Immersive.
Employing an innovative 8-channel setup and a lot of creative imagination, the South Bend Symphony Orchestra has created an immersive performance experience that not only brings the listener into the symphony hall, but right up onstage with the orchestra.
The project began life as an inquiry from Halle McGuire with the South Bend Symphony. The Symphony wanted to know if it would be possible to create an installed sound system that could accurately reproduce the experience of listening to an orchestra, but could be set up in a space where people could walk through and maintain social distancing.
“For us, the challenge was to think outside the box and find a way to make music and employ musicians safely, and bring music to an arts-deprived audience,”
explains Eric Friedlander, Sound Designer for the Octet and Production Manager for the Festival.
“We had some discussions about potential concepts, and after identifying the boundaries of the project – prospective spaces, sizes of ensembles we could safely record, etc. – I suggested a semi-portable circular sound system where each recorded instrument would be assigned to a loudspeaker. I had already seen a demo of SPAT at an Infocomm show, and I kind of had the idea in my back pocket of creating this 3D experience using SPAT. This seemed like the perfect opportunity.”
After presenting proof of concept and getting signoff from the Symphony, the next step was building a semi-portable system, comprising eight JBL CBT50 speakers on tripods. Friedlander utilized the WAVES LV1 platform to record the octet, enabling him to easily import and export to and from Pro Tools using Soundgrid and run SPAT as inserts.
“It gave me a ton of flexibility. We routed each instrument through its own output and the result is a small scale immersive experience that will allow you to hear eight musicians playing in an octet in a way that no one has really been able to experience before.”
“When you’re in the audience, you’re separated by the stage, and the musicians are all on stage,” McGuire observes.
“You get the whole sound coming at you but you never get to feel like you’re onstage.”
Friedlander agrees. “People will be able to walk around and they’ll kind of be able to mix it themselves. They can walk around and hear the interplay between various instruments, stand in the center, and essentially create their own experience.”
“Mixing to SPAT was a blast,” Friedlander enthuses.
“It was so exciting to be able to take my flat mix, tuned the way we wanted it, and just expand that out into an immersive and engaging 3D space. I made good use of the timbre controls in SPAT, as it was a really neat way to fine tune the sound of the instrument in the immersive space, without necessarily changing EQ and the overall sound that we’d achieved pre-immersive mix. It just was a great way to really polish the mix we had and better fit it into the space to get the realism we wanted.”
” Using SPAT and other mobile tools to build an immersive, object-based mix enabled us to do things that wouldn’t have been possible in a traditional mix environment, and give the symphony and the arts community something they can use to provide a new and totally different experience in the future. ”
Friedlander also gave high marks to the reverb engine in SPAT.
“It was a total gamechanger. Having the very clear, very direct sound of each instrument, it gave us a lot of leeway to decide how to best apply the reverb engine and think about what space we wanted to put people in as they were listening. It also really glued the mix together to put everything in the same ‘space’.”
For the Symphony, the promise of this immersive experience goes well beyond merely a temporary solution for coping with the shutdown. As McGuire explains,
“This is something really special that we can give to our community in a time when we can’t give them a traditional live performance, but it’s not only relevant during the pandemic; it’s something we can continue to use. It’s completely portable, so we can take it into a school, to a library, we can set it up in a hospital. We can make live symphonic music available to everyone.”
“I’m really pleased not just with the experience we were able to create, but the fact that we were able to create it at all,” Friedlander concludes.
“Using SPAT and other mobile tools to build an immersive, object-based mix enabled us to do things that wouldn’t have been possible in a traditional mix environment, and give the symphony and the arts community something they can use to provide a new and totally different experience in the future.”
The post South Bend Symphony Orchestra Brings the Audience Onstage with FLUX:: Immersive appeared first on FLUX:: IMMERSIVE.Read More
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.