Flux

The national harvest festival Vendimia in Mendoza, Argentina, is one of the world’s most important events in viticulture this year. Being the first post-pandemic edition of the festival the expectations were set high, not the least for the music and entertainment performances during the festival.

We had the opportunity to talk with Sebastian Wanzo, responsible for the Vendimia festival sound design and owner of the system integration and rental company, Wanzo Producciones.

“As a sound designer for this year’s edition I proposed the incorporation of an immersive audio processing system to support and provide realism for all audio-visual effects on the different festival stages”, said Sebastian Wanzo.

To accommodate the technical requirements for the immersive audio processing, SPAT Revolution Ultimate, with its recently released WFS add-on option, was running the set up and processing of the Vendimia immersive system, a Clair Brothers system provided by Merino Productions with four Avid Venue S6L consoles provided by Vasco Hegoburu and Wanzo Productions.

“With a stage over 80 meters wide and with no possibility to mount any front systems beyond the front fills systems, a 6.1 system was defined and set up using the Clair Brothers system”, said Wanzo.

The routing and configuration was kind of a hybrid setup, where one of the S6L consoles was dedicated to the orchestra and delivered a stereo bed, and another S6L took care of all the effects, the effect automatizations, and dealt with the immersive feed for all the sound towers. A third S6L handled all the monitoring for the orchestra, and the fourth S6L was dedicated to the streaming of the mixes.

“In 2019 we had an experience together with DB Technologies and with the Argentine designer of the ISSP Immersive Sound System Panning software, Ianina Canalis, which was decisive in understanding that the future of our industry was going in this direction”, added Wanzo.

“Prior to the pandemic, we did a lot of productions with traditional multichannel audio systems (opening ceremonies of airports, stadiums, etc.), but in the end it was during the times of the pandemic we deepened our use of immersive audio processing systems, including SPAT Revolution, for shows via streaming and a few traditional live shows with reduced audience. This was how we discovered the potential and the infinite possibilities offered by SPAT Revolution”, said Wanzo.

The system design for the festival, presenting a diversified musical program, and a large area to cover with a significant distance between the clusters, and no possibility to set up a cluster front, definitely gave Wanzo and the team some real challenges.

“Throughout time we have been testing the different panning techniques offered by SPAT Revolution, but the one we used the most for live ended up being the WFS. FLUX:: included us early on in a beta tester team of this soundfield synthesis processing technology, which has worked out really well, even in situations such as Vendimia where we had very distant clusters”, said Wanzo.

“Understanding the artistic potential SPAT Revolution provided us, gave us the possibility to achieve an impressive and consistent result in the end”, added Wanzo.

With Wanzo’s experience in sound design and immersive systems, for the Vendimia festival system, with four S6L consoles all handling different parts of the workload, there were still a lot of strings to tie together in the end.

“Already from the beginning when we started using the software, we experienced the support to be very good, and defined the creation of a series of demonstrations with a 9.1.4 system, giving producers, musicians and people associated with the technical production the possibility to hear it in action and give their opinion. The positive return from all these people embarked on preparing the system for the large-scale show they expected for the Vendimia festival”, said Wanzo.

“The possibility of controlling the SPAT Revolution with the Avid S6L surface was very important here”, added Wanzo.

Talking about Wanzo’s creative approach for sound design with immersive audio and the Vendimia setup, the conversation continued in a discussion about the future in live audio, and the advantage of immersive audio in live productions.

“From a strictly technical perspective, the best options for coverage and overlap is using multiple systems, as this allows us to reduce the size of our speakers and increase the headroom of the system, without the need to use a lot of equalization to place the sources in the frequency spectrum”, said Wanzo.

“The creative possibilities are infinite and puts us in a situation where we are achieving realism in the reproduction and creation of sound landscapes never before achieved. It is the beginning of a new path, and I weigh the immersive audio system as one of the outstanding elements of the Vendimia festival”, added Wanzo.

“We are really grateful, and I want to thank all the people who supported us in this project, especially the people from FLUX:: Immersive who’ve been supporting us throughout the process. We have great projects ahead of us in the future, and SPAT Revolution, with all its evolution, is definitely staying as our main tool for this”, continued Wanzo.

The International Organization of Vine and Wine, OIV (Organization Internationale de la vigne et du vin), the foremost international organization in global viticulture, has granted a unique recognition to the National Harvest Festival Vendimia (Fiesta nacional de la Vendimia) in Mendoza, Argentina, as an anthropological festival and one of the main attractions of the world in the field of wine tourism.

Vendimia 2022 – Mendoza Argentina
https://vendimia.mendoza.gov.ar/

Vendimia 2022 Crew
General direction: Vilma Rupolo and Federico Ortega
Musical direction: Mario Galvan and Pablo Budini
Lead audio designer, Engineer: Wanzo Producciones, Sebastian Wanzo
Sound staff:
Co sound design: Daniel Wanzo
Foley assistance: “Chino” Osorio
Monitors: Emanuel Acuña
Orchestra: Emiliano Abraham
Streaming: Pablo Garay

Wanzo Producciones
http://wanzoproducciones.com/

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Meung-Sur-Loire, France – Mai 2022

FLUX:: Immersive et son partenaire de longue date, Merging Technologies, exposent ensemble à l’ISE 2022 sur le stand 7-P190. Les deux sociétés y présentent comment un contenu simple peut être préparé pour des événements en direct. La popularité croissante des contenus audio immersifs sous toutes leurs formes pousse à créer ou à réaffecter des programmes pour une multitude de contextes différents. Rendre ce processus simple pour la communauté créative est un objectif partagé par les deux sociétés.

SPAT Revolution, qui s’est déjà imposé comme un outil de spatialisation très polyvalent et particulièrement flexible pour les contenus en direct et en différé, peut être simplement intégré au système de playout et de contrôle de spectacles Ovation de Merging. SPAT Revolution a été au cœur de nombreuses installations et événements immersifs qui ont tous exigé un mixage audio précis et une spatialisation précise.

Plus récemment, la conception sonore basée sur le mix à l’objet a favorisé l’utilisation de nombreux haut-parleurs pour mieux toucher le public. Le principal avantage de SPAT Revolution est sa capacité à gérer toutes les dispositions de haut-parleurs et techniques de reproduction. Avec le logiciel de conception sonore Ovation et la station de travail audio numérique Pyramix, ils forment une suite logicielle unique de création et de rendu. Pyramix permet un mixage précis basé sur des objets et la préparation de bandes sonores qui peuvent être glissés dans Ovation, qui est à son tour intégré à SPAT Revolution.

Ce qui est totalement nouveau, c’est la possibilité d’importer des fichiers ADM dans Pyramix et d’ajuster immédiatement ces fichiers pour les adapter à la production. La popularité de Dolby Atmos pour la musique augmentant de jour en jour, il n’est pas surprenant qu’il existe de nombreux mixages déjà réalisés qui peuvent être adaptés à d’autres fins. Quel que soit l’équipement utilisé pour créer la piste originale, ce fichier ADM peut être importé avec toutes les métadonnées dans Pyramix. Une fois transféré dans Ovation, l’intégration avec SPAT Revolution via le protocole ADM-OSC, dont FLUX:: et Merging ont contribué au développement, permet de contrôler à distance le moteur spatial.

Grâce à l’ADM-OSC, les flux de travail ADM sont désormais possibles. En connectant les créateurs de contenu et les ingénieurs des systèmes de reproduction audio immersifs, il désormais possible d’échanger et de collaborer. Ce flux de travail – DAW -> Atmos ADM -> Pyramix -> Ovation <-> ADM-OSC <-> SPAT Revolution sera démontré par les représentants de Merging et FLUX:: Immersifs.

“Maintenant que nous voyons de plus en plus de contenu produit avec des mix basés sur l’objet, avoir la possibilité de partager les métadonnées des intentions créatives vers d’autres écosystèmes de rendu et formats tels que celui des installations audio spécifiques est très puissant”, a déclaré Hugo Larin, FLUX:: Immersive.

Compte tenu de la demande actuelle pour que le divertissement immerge complètement le public et pour produire une image sonore stable dans toute la zone d’écoute, FLUX:: Immersive a récemment lancé une option supplémentaire pour son moteur de mixage audio SPAT Revolution, qui offre la technique WFS (Wave Field Synthesis) pour la reproduction audio spatiale. L’option WFS permet le déploiement de l’approche distinctive Wave Field Synthesis sur des systèmes de haut-parleurs co-linéaires (ligne de haut-parleurs dans une configuration frontale) et avec des arrangements qualifiés de haut-parleurs 2D/3D entourant le public.

A propos de SPAT Revolution
SPAT Revolution est un logiciel de pointe de mixage audio immersif en temps réel, qui redéfinit l’art du mixage orienté objet et perceptuel. Il permet de positionner intuitivement les sources audio dans l’espace, en laissant la signature acoustique de la pièce construire la profondeur souhaitée, indépendamment du format de sortie. Conçu pour s’intégrer à pratiquement n’importe quel flux de travail et doté d’une automatisation complète des paramètres de spatialisation, SPAT Revolution offre un large éventail de possibilités, permettant aux artistes, aux concepteurs sonores et aux ingénieurs du son de concevoir, créer et mixer une expérience immersive exceptionnelle.

SPAT Revolution est le résultat d’un partenariat fructueux entre FLUX:: Immersive et l’IRCAM (Institut de Recherche et de Coordination en Acoustique/Musique). L’objectif était de créer et de mettre à disposition ces décennies de recherches innovantes menées à l’IRCAM sous la forme d’un logiciel adapté aux flux de travail de l’industrie de la musique et de l’audio numérique.

À propos de ADM-OSC – https://github.com/immersive-audio-live/ADM-OSC
ADM-OSC : Une nitiative de l’industrie visant à standardiser les données de positionnement de l’audio basé sur l’objet (OBA – Object Based Audio) dans les écosystèmes de production en direct, en implémentant ADM (Audio Definition Model) sur l’OSC (Open Sound Control).

A propos de Flux:: Immersive
FLUX:: Immersive s’est forgé une réputation de leader dans la création de logiciels de traitement audio avec l’idée maîtresse de concevoir des outils techniquement innovants et inspirants pour les ingénieurs du son, et sans compromis sur la qualité audio. La société a toujours été à l’avant-garde du développement de solutions logicielles pour l’industrie audio professionnelle, prenant notamment en charge le traitement multicanal depuis plus d’une décennie. Ses produits sont fréquemment utilisés pour l’enregistrement surround, la post-production de films, le son immersif en direct et en installation, et dans diverses autres applications.

A propos de l’IRCAM
L’Ircam, Institut de recherche et de coordination en acoustique/musique, est l’un des principaux instituts de recherche publics au monde dans les domaines de l’expression musicale, de la science de la musique, du son et de l’acoustique. Au cours des dernières décennies, l’institut a joué un rôle important dans le monde de la musique d’avant-garde et de l’art électroacoustique, grâce à ses innovations scientifiques et technologiques révolutionnaires, dont de nombreux concepts de musique électronique et de traitement audio.

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Meung-Sur-Loire, France – May 2022

FLUX:: Immersive and long-term partner Merging Technologies are exhibiting at ISE 2022 together in stand 7-P190 where the companies are demonstrating how simple content can be prepared for live events. The increased popularity of immersive audio content in all its forms is driving the need to repurpose or create programs for use in a host of different environments. Making this process simple for the creative community is a goal shared by the two companies.

SPAT Revolution is already established as a very versatile and flexible spatialization tool for live and prepared content and can be simply integrated with Merging’s Ovation playout and show control system. SPAT Revolution has been at the core of many immersive installations and events where all have increasingly demanded more advanced audio mixing and increased spatial resolution.

More recently, object-based sound design has been the key to managing how multiple speakers can be used to better impact the audience. The key advantage of SPAT Revolution being the ability to deal with any speaker arrangements and reproduction techniques. Packed with Ovation sound design software and Pyramix digital audio workstation they form a unique creation and rendering software suite. Pyramix allows precise object-based mixing and soundtrack preparation that can be dragged across to Ovation, which in turn is integrated with SPAT Revolution.

What is completely new is the ability to import ADM files into Pyramix and to immediately adjust those files to suit the production. Since the popularity of Dolby Atmos for Music is growing daily, it is not surprising there are many mixes already completed that can be adapted for other purposes. Regardless of what equipment was used to originate the original track, that ADM file can be imported with all the metadata into Pyramix. Once transferred to Ovation, the integration with SPAT Revolution via the ADM-OSC protocol, which FLUX:: and Merging are part of and have implemented, allows remote control of the spatial engine.

Thanks to the ADM-OSC, ADM workflows are now possible connecting content creators and engineers of immersive audio reproduction systems which can now interchange and collaborate. This workflow – Any DAW -> Atmos ADM -> Pyramix -> Ovation <-> ADM-OSC <-> SPAT Revolution will be demonstrated by Merging and FLUX:: Immersive representatives.

“Now that we are seeing more and more content being produced with object-based audio in mind, having the ability to share the metadata of the creative intentions to other rendering ecosystems and formats such as the one for specific audio installations is very powerful”, said Hugo Larin, FLUX:: Immersive.

With today’s demand for the entertainment to completely immerse the audience in the experience, and for producing a stable soundscape image throughout an entire audience listening area, FLUX:: Immersive recently released an add-on license option for their SPAT Revolution audio mix engine software providing WFS, Wave Field Synthesis, technique for spatial audio reproduction. The WFS add-on option allows the distinctive Wave Field Synthesis approach deployment on co-linear speaker systems (line of speakers in a frontal setting) and with qualified 2D/3D speaker arrangements surrounding the audience.

About SPAT Revolution
SPAT Revolution is a state-of-the-art real-time immersive audio mix engine software, redefining the art of object-oriented and perceptual mixing. This makes it possible to intuitively position audio-sources in space, letting the acoustic signature of the room build the desired depth, independently from the output format. Designed to integrate into virtually any workflow, and with full automation of the spatialization parameters, SPAT Revolution offers a wide range of possibilities, empowering artists, sound-designers, and sound-engineers virtually unlimited possibilities to design, create and mix an outstanding immersive experience.

SPAT Revolution is the result of a successful partnership between FLUX:: Immersive and the French research institute Ircam, created to bring the vast research performed at Ircam available to the market.

About ADM-OSC – https://github.com/immersive-audio-live/ADM-OSC
ADM-OSC: An industry initiative to standardize Object Based Audio (OBA) positioning data in live production ecosystems, by implementing the Audio Definition Model (ADM) over Open Sound Control (OSC).

About FLUX:: Immersive
FLUX:: Immersive has established a reputation as a leader in the creation of audio processing software, with the core idea to design inspiring technically innovative tools for sound engineers, with no compromise on the audio quality. The company has always been at the forefront of the development of software solutions for the professional audio industry, supporting multichannel processing, which for over a decade has been frequently used for multichannel surround recording, movie post-production, immersive live & installation sound, and in various other applications.

About Ircam
Ircam, Institute for Research and Coordination in Acoustics/Music, is one of the world’s leading public research institutes in the fields of musical expression, science of music, sound and acoustics. The institute has for the last decades made significant importance to the world of avant-garde and electro-acoustical art music, with its groundbreaking scientific and technological innovations, including numerous concepts for electronic music and audio processing.

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Meung-sur-Loire, France – April 2022

Immersive sound for live performances has been a hot topic in the Korean audio industry for the last decade, with the Chord GPC-1 processor being one of the leading immersive production solutions.

Chord, a sound integration company in Seoul, South Korea, founded by Seungbeom Yong together with Dohyung Kim and Joonha Kim, has since the company’s establishment in 2020, been focusing on delivering high-quality immersive sound solutions for live sound productions, exhibitions, and post-production with their GPC-1 Immersive Processor running SPAT Revolution.

Chord’s GPC-1 immersive rendering processor is built using industrial server-grade equipment taking into account the various different situations and requirements for Immersive sound production and is based on FLUX:: Immersive SPAT Revolution to create a truly versatile and robust solution.

“With the GPC-1 there’s no need for a fixed system configuration; instead, it outlines a solid foundation customized for user needs and prerequisites. Any venue or performance can implement a user-centred Immersive sound solution”, said Seungbeom Yong, founder of Chord.

“We’ve been thinking about immersive sound solutions that can show optimal performances at live sound sites, and the only answer is GPC-1. We’ve seen brilliant performances in collaboration with the New Sound Church for the play ‘Time We Didn’t Know Each Other’ at The Culture Tank in Seoul, by simply adding the GPC-1 and some surround speakers to their existing equipment without installing any specific and expensive equipment“, said Joohna Kim.

The GPC-1 immersive processor and SPAT Revolution have turned out to make a powerful and versatile solution, and Chord will continue to supply immersive systems at a reasonable price facilitating immersive sound, not only in religious facilities but also in spaces with limitations in the budget, including small and medium-sized venues and government offices.

“We discuss what Immersive effects the customer needs, and provide complete solutions from designing, deploying, and on-site training, helping users to fully adopt and utilize Immersive sound from the ground up”, added Kim.

Another recent project was the collaboration with Sungkyul University in Anyang, South Korea, where Chord created an immersive sound studio based on the GPC-1 and SPAT Revolution utilizing the 7.1.4 Dolby Atmos format. The system was deployed using JBL speakers by Harman International Industries.

Chord GPC-1 (In Korean)
https://drive.google.com/file/d/1I-z8kGsiPFRpnzXhdxQIbffW3ayixRQZ/view?usp=sharing

Video (In Korean)
https://www.youtube.com/watch?v=qSPNNOmuX3s

The post Chord brings Immersive Solutions with GPC-1 Processor based on SPAT Revolution to South Korea appeared first on FLUX:: Immersive.

Meung-sur-Loire, France – April 2022

We had the pleasure of meeting with Matthew Lien, world music singer-songwriter, producer, and sound-designer from Canada, for an interesting conversation about immersive audio production, and about a multi floor immersive installation created by Matthew and his team from the SOUND AND VISION COLLECTIVE, for the BCIT campus in Vancouver.

The designers of the new 4-floor building on the BCIT campus wanted an innovative visual and audio installation in the public space of the building, presenting the natural ambience of the area. Each of the four floors features photographic images along with sounds, which would be experienced at that elevation level, starting with whales and waves on the first floor, up to wind and soaring gulls on the fourth floor.

Matthew Lien was chosen to join the sound design team for the 32-channel BCIT installation, working with renowned Academy Award winning sound designer/audio engineer Jeff Wright. The team designed a 4-level soundscape, seamless across each level of eight speaker channels, to breathe sonic life into the large scale photographic installation by team leader Daniel Fox.

“When BCIT contacted us for ideas, we settled on a four-level life-size soundscape of an offshore outcropping where waves crashed on the rocks below and birds nested in the trees above. There would be 8 discreet ceiling speakers installed in each of the walkways of the 4 floors overlooking public space, for a total of 32 speaker channels.”, said Lien.

“To accommodate the complexity of a sonic environment existing within 32 speaker channels on 4 levels, we relied on the SPAT Revolution software from FLUX:: Immersive. Our ultimate goal was for the sound to be spacious and true to life where observers experience the atmosphere, but not the speakers.”, Lien added.

Matthew has been exploring the realms of spatial audio since the beginning of his career, working with transaural processing using systems such as Roland’s RSS and Desper’s Pro Spatializer, and later incorporating those technologies into surround sound mixing.

“I began experimenting with binaural recording many years ago when earphones became a dominant playback platform, breaking new ground using binaural impulse responses and publishing my research and results with the Audio Engineering Society.”, said Lien.

The SPAT software has been in Matthew’s toolkit for several years already, starting with the design of non-typical speaker array sound-art installations, including a 24-channel “sound dome” called Surroundings for the opening of a new park in Taiwan, and a 16-channel installation called Consonance, which features a unique form of Bunun aboriginal singing, permanently installed in the National Museum of the Republic of China.

“I believe, when creating multi-channel audio designs, that the listener should never hear a speaker, but rather a sound-field. Therefore, stereo and multi-channel imaging, and bleed between audio zones is very important to fully immerse the listener in the audio experience, rather than presenting what sounds like a bunch of speaker points.”, said Lien.

“SPAT Revolution is the ultimate tool for this type of work, as there is practically no speaker array which can not be virtually realized within the software. The extremely flexible routing, processing, and even panning methods combined with object based mixing and automation, makes SPAT Revolution an invaluable tool for designing new soundscapes for non-typical playback systems.”, Lien added.

The BCIT project was managed by Daniel Fox of FEEL THE WILD VR, who reached out to Jeff and Matthew, as they formed the SOUND AND VISION COLLECTIVE about a year ago and were looking for interesting and unusual projects to engage in together.

“Once Daniel selected a visual reference, Jeff and I selected audio assets to feature in the production. Working in my Yukon-based studio, I was able to model the entire 32-channel / 4-floor speaker array in SPAT Revolution to sketch out the audio scenes — complete with cross-bleed from speaker to speaker, and from floor to floor — using binaural playback for headphone monitoring. Jeff was then able to play back and recommend changes, from his multi-channel studio in Toronto.”, said Lien.

“In my experience, either when designing complex audio installations or when processing simulated binaural in parallel with native binaural sound design, SPAT Revolution is incredibly helpful, enabling me to accomplish challenging tasks while inspiring new ideas. I often find myself sitting back on playback, feeling a sense of accomplishment and amazement mixed with a good dose of gratitude for the designers that make this software possible.”, Lien added.

The BCIT installation is a massive project with no lack of challenges for the three audio and visual visionaries, a team with extensive experience and dedication to the creation of groundbreaking immersive content using innovative methods such as VR, 360 high resolution video, and Ambisonic Spatial sound.

“My vision for the BCIT commission was to create an immersive nature experience that would bridge the campus to the wilderness. In the atrium, on the giant open wall, spanning over 4 floors (25m x 25m), a life-scale image of an iconic Pacific Northwest landscape would visually transport the viewer, while a 32-speaker sound installation would immerse their audio sensory.”, said Fox.

“The challenge was not only in mixing this complicated soundtrack but even moreso, to add a 3D-sound element in it by having the sound characters move across and in/out, as if the scene was fully alive and unpredictable. SPAT Revolution turned out to be the best tool to execute the installation without compromising the vision.”, continued Fox.

“When we faced this challenging mix situation, necessitating multiple outputs within a specific environment, we were able to utilize SPAT Revolution’s intuitive room construct capabilities and customize it entirely to our needs. I’m not sure if any other software would have been able to handle our requirements with such ease. Thanks, SPAT Revolution!”, added Wright.

“The only real challenges we ran into with SPAT Revolution was due to the advanced options within the software. But thanks to the support at FLUX: Immersive, we quickly overcame any issues and were working within a perfect virtual model of the installation within a short period of time.”, added Lien.

As with most large scale construction projects, the BCIT building construction is behind schedule, the opening date is sometime later this year (2022).

SOUND AND VISION COLLECTIVE

DANIEL FOX – https://danielfox.co

Daniel is a professional photographer, founder / creative director of FEEL THE WILD VR, the author of FEEL THE WILD, a Sony – Arc’teryx – Sandisk ambassador, and solo wilderness explorer. Daniel’s work is supported by Insta360, Sennheiser, and Klean Kanteen.

JEFF WRIGHT – https://hughqelliott.com/jeffwright/Jeff_Wright

A veteran sound engineer specialized in recording voice for Academy, Gemini, and Emmy winning films, series and music, Jeff has worked on projects like MTV’s Undergrads, Angela Anaconda, BraceFace, Arthur, Franklin, Family Guy and The Nut Job. His clients include Warner, EMI, and Sony, and bands Jellystone, Kardinal, Dean Brody and the Breit Brothers.

MATTHEW LIEN – https://matthewlien.com

Matthew is a Yukon-based multi-platinum recording artist, producer and sound designer. His first release “Bleeding Wolves” became a multi-platinum legend in southeast Asia, where he’s since won the region’s Grammy and Emmy equivalents. In Canada, he’s received the Yukon University Innovation Prize, and the Best Artist award plus two nominations at the Western Canadian Music Awards, in addition to Canada’s Parliamentary Certificate of Honour. His works include 20+ studio albums, award-winning soundtracks and documentaries.

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Orléans, France – Février 2022

Pour répondre à la demande actuelle des spectacles proposant une expérience immersive au public, et pour produire une image sonore stable dans toute la zone d’écoute, FLUX:: Immersive annonce la sortie d’une licence optionnelle fournissant la technologie WFS (Wave Field Synthesis) pour la reproduction audio spatiale.

Le module optionnel WFS s’intègre au moteur de mixage audio de SPAT Revolution et permet de déployer la technique spécifique de la synthèse de front d’ondes sur des systèmes de haut-parleurs colinéaires (ligne de haut-parleurs dans une configuration frontale) et avec des arrangements qualifiés de haut-parleurs 2D/3D entourant le public.

“Nous avions l’intention d’offrir une approche flexible de la technique WFS pour les systèmes qui n’ont pas la densité ou l’espacement typique entre les haut-parleurs. Nos essais sur le terrain ont simplement prouvé que l’utilisation de cette technique, même dans une configuration non classique,pouvait donner des résultats supérieurs dans la qualité de la restitution du champ sonore”, déclare Gaël Martinet.

La synthèse de front d’ondes est une technique de reproduction audio spatiale caractérisée par la création d’environnements acoustiques virtuels. Elle produit des fronts d’onde artificiels synthétisés par un certain nombre de haut-parleurs, dans le but de reproduire les véritables attributs physiques d’un champ sonore donné sur une zone d’écoute étendue. Contrairement aux techniques de spatialisation traditionnelles, telles que l’approche a la direction (Angular, VBAP, VBIP, LBAP), la localisation des sources virtuelles dans le WFS ne dépend pas des sources sonores fantômes et de la position de l’auditeur. La position reste stable pour un seul auditeur se déplaçant.

Il ajoute : “Nous avons été enfermés avec d’anciens paradigmes auditifs tels que les principes stéréophoniques et l’illusion acoustique qu’ils créent. Maintenant, cette approche WFS permet une contribution complètement différente des haut-parleurs au système et à l’ensemble de la zone d’audience qu’ils couvrent.”

Grâce à la licence optionnelle WFS de SPAT Revolution, les sessions SPAT Revolution Ultimate v22.02 peuvent désormais utiliser la technique WFS comme option de panoramique dans les configurations de room utilisant des canaux discrets (channel based room) au sein même de l’application SPAT Revolution.

Dans le but d’accompagner au mieux le déploiement de SPAT Revolution et des systèmes WFS, FLUX:: Immersive met à disposition son équipe de spécialistes et propose désormais des services de consulting nécessaires à la réalisation de tous projets. De la recommandation des meilleures pratiques aux fichiers de configuration du système.

Plus d’informations ici

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Orléans, France – February 2022

With today’s demand for the entertainment to completely immerse the audience in the experience, and for producing a stable soundscape image throughout an entire audience listening area, FLUX:: Immersive announces the release of an add-on license option which provides WFS , Wave Field Synthesis technique for spatial audio reproduction.

The SPAT Revolution audio mix engine software WFS add-on allows the distinctive Wave Field Synthesis approach deployment on colinear speaker systems (line of speakers in a frontal setting) and with qualified 2D/3D speaker arrangements surrounding the audience.

“We intended to deliver a flexible WFS technique approach for systems that don’t have the typical density / speaker element spacing. Our field testing simply proved that employing this even in a non classical setup, potentially rendered superior results to the quality of the restitution of the soundfield.” states Gael Martinet

WFS is a spatial audio reproduction technique characterized by the creation of virtual acoustic environments. It produces artificial wavefronts synthesized by a number of loudspeakers, aiming to reproduce the true physical attributes of a given sound field over an extended area of the listening room. Contrary to traditional spatialization techniques, such as the directional based approach , the localization of virtual sources in WFS does not depend on phantom sound sources and the listener’s position. The position remains stable for a single listener moving around.

Martinet added ”We have been locked with old hearing paradigms such as stereophonic principles and the acoustical illusion it creates. Now, this WFS approach allows for a completely different loudspeaker contribution to the system and the entire audience area it’s diffusing to”

With the SPAT Revolution WFS add-on license option, SPAT Revolution Ultimate v22.02 sessions can now use the WFS technique as a panning option in channel based room setup using the SPAT Revolution software application.

In the effort to ensure a system driven approach and the best deployment of SPAT Revolution and the WFS systems, FLUX:: Immersive system integration experts are available to provide the consulting services required for any projects. From best practices recommendation to system configuration files.

More information here

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Orleans, France – January 2022

FLUX: : Immersive, leader dans la création de logiciels pour la production audio immersive, est fier d’annoncer la sortie du FLUX:: Session Analyzer v22.01 qui intègre à présent le support du Loudness – LUFS Metering et le support des E/S physiques.

FLUX:: Session Analyzer

Support du Loudness – LUFS Metering et support des E/S physiques

L’analyse des statistiques nous aide à prendre de meilleures décisions concernant tous les aspects de l’audio, les niveaux et la dynamique, le contenu fréquentiel réel, la façon dont l’image stéréo est présentée, et bien d’autres choses qui affectent le résultat du mixage final.

La mesure de l’intensité sonore est cruciale dans la production et la distribution de tout type de formats audio, et elle est essentielle lors de la production de contenu pour la musique, les podcasts et le streaming, la télévision et la diffusion en direct.

FLUX : : Session Analyzer inclut désormais la mesure du loudness avec des modes de mesure préconfigurés pour les normes standards type ITU-1770 et EBU-R128, et pour les plateformes de streaming telles que Spotify, Apple, YouTube, Apple, Netflix, etc…

Mesure de l’intensité sonore (Loudness)

• LUFS – EBU R128 / PLOUD
• Statistiques de mesure en temps réel (dans les présentations Spectre, Spectrogramme et Scope)
• Modes de mesure du loudness selon diverses normes pour les plateformes de streaming, notamment : Spotify, Apple, YouTube, Apple, Netflix, etc.
• Mesures entièrement configurables, y compris l’option Dolby Dialogue Intelligence™.

Prise en charge des E/S physiques

• Prise en charge complète des E/S matérielles via ASIO et Core Audio, en plus du plugin SampleGrabber, avec jusqu’à 2 canaux (mono/stéréo) et prise en charge de fréquences d’échantillonnage jusqu’à 384 kHz (DXD), notamment : 44,1, 48, 88,2, 96, 176,4, 192, 384 DXD.
• E/S physiques – ASIO / Core Audio
• Plugin SampleGrabber (disponible dans tous les formats de plug-in standard)

Prix
Offre limitée dans le temps – 49$ / 42€
PRIX DE VENTE CONSEILLÉ – 149 $ / 125€

Offre valable du jeudi 20 janvier au dimanche 13 février (inclus).

Disponibilité

FLUX:: : Session Analyzer est disponible dès maintenant auprès de FLUX:: Immersive et ses revendeurs.

Le Session Analyzer v22.01, avec le support du Metering et du Hardware I/O, est une mise à jour gratuite pour tous les propriétaires actuels du Studio Session Analyzer.

De plus, le FLUX:: Analyzer Essential v22.01, qui inclut désormais toutes les fonctions de mesure et d’intensité sonore de l’ancien module optionnel Metering/Loudness, est une mise à niveau gratuite pour tous les propriétaires actuels de l’Analyzer Essential.

FLUX:: Analyzer
https://www.flux.audio/project/flux-analyzer/

A propos de FLUX:: Immersive

FLUX:: Immersive s’est forgé une réputation de leader dans la création de logiciels de traitement audio avec l’idée maîtresse de concevoir des outils techniquement innovants et inspirants pour les ingénieurs du son, et sans compromis sur la qualité audio. La société a toujours été à l’avant-garde du développement de solutions logicielles pour l’industrie audio professionnelle, prenant notamment en charge le traitement multicanal depuis plus d’une décennie. Ses produits sont fréquemment utilisés pour l’enregistrement surround, la post-production de films, le son immersif en direct et en installation, et dans diverses autres applications.

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Orleans, France – January 2022

FLUX:: Immersive, leader in creation of software tools for immersive audio production, is today proud to announce the release of FLUX:: Session Analyzer – Now with Loudness – LUFS Metering and Hardware I/O support.

FLUX:: Session Analyzer

Now with Loudness – LUFS Metering and Hardware I/O support

Analysing the stats is helping us make better decisions regarding all aspects of the audio content, the levels and dynamics, the actual frequency content, for how the stereo image is presented, and for many other things that affect the result of the final mix.

Metering Loudness is critical in production and distribution of any type of audio, and it’s essential when producing audio content for everything from music, podcasts and streaming, to television and live broadcast.

FLUX:: Session Analyzer now includes loudness metering with pre-configured metering modes for norms following the ITU-1770 and EBU-R128 standards, and for streaming platforms such as; Spotify, Apple, YouTube, Apple, Netflix, and more.

Loudness Metering

• LUFS – EBU R128 / PLOUD
• Real-time metering statistics (In the Spectrum, Spectrogram and Scope Layouts)
• Loudness Metering Modes with various standards for streaming platforms including; Spotify, Apple, YouTube, Apple, Netflix, and more
• Fully configurable meters including Dolby Dialogue Intelligence™ option

I/O Support

Now with full support for standard hardware I/O using ASIO and Core Audio, in addition to the SampleGrabber plugin, with up to 2 channels (Mono/Stereo) and support for sample rates up to 384 kHz (DXD), including; 44.1, 48, 88.2, 96, 176.4, 192, 384 DXD.

• Hardware I/O – ASIO / Core Audio
• SampleGrabber plugin (available in all standard plug-in formats)

Price
Time Limited Offer – $49 / 42€
MSRP – $149 / 125€

Offer available from Thursday January 20th to Sunday February 13th (included)

Availability

FLUX:: Session Analyzer is available now from FLUX:: Immersive and their resellers.

The Session Analyzer v22.01, with Metering and Hardware I/O support, is a free upgrade for all current owners of the Studio Session Analyzer.

In addition, the FLUX:: Analyzer Essential v22.01, now includes all Metering and Loudness features from the previous Metering/Loudness add-on, and is a free upgrade for all current owners of the Analyzer Essential.

FLUX:: Analyzer
https://www.flux.audio/project/flux-analyzer/

About FLUX:: Immersive

FLUX:: Immersive has established a reputation as a leader in the creation of audio processing software with the core idea to design inspiring technically innovative tools for sound engineers, with no compromise of the audio quality. The company has always been in the forefront of the development of software solutions for the professional audio industry, supporting multichannel processing, which for over a decade has been frequently used for multichannel surround recording, movie post-production, immersive live & installation sound, and in various other applications.

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Elixir Essential – Détails du produit

Orleans, France – December 2021

Il y a quelques semaines, nous avons publié une toute nouvelle version de notre True Peak Limiter, Elixir Essential, avec le support de 16 canaux pour la production audio immersive et une nouvelle interface utilisateur entièrement revue.

Comme si cela ne suffisait pas, notre incroyable équipe de développement nous a réservé quelques surprises pour les fêtes de fin d’année…

Une nouvelle version est maintenant disponible, offrant jusqu’à 12 étages de traitement simultanés, améliorant considérablement la qualité du rendu et maintenant la transparence du matériel audio, même dans les conditions les plus extrêmes.

Qu’est-ce que le traitement multi-étages ?

Les surprises de la saison des fêtes ne s’arrêtent pas là car le mode de traitement audio 64 bits à virgule flottante a été activé afin de permettre un traitement audio 64 bits de bout en bout avec les DAWs/Logiciels qui le supportent.

L’offre de lancement d’Elixir Essential se poursuit jusqu’à la fin de l’année, que ce soit pour le plugin Elixir Essential individuellement, ou pour le tout nouveau bundle de plugins dédié à la production immersive : Immersive:: Essentials.

Offre de mise à niveau
Pour tous les propriétaires actuels de l’ancien Elixir v3, et des bundles de plugins le contenant, une offre de mise à niveau est disponible dans la boutique en ligne de FLUX::.

Comment puis-je bénéficier de cette offre de mise à niveau ?

Elixir Essential – Mettez votre mix immersif à niveau !
Elixir Essential est basé sur le même algorithme ultra transparent que l’ancien Elixir v3, conçu méticuleusement pour obtenir un résultat sonore véritablement naturel préservant le timbre naturel du matériel audio. Pour rappel, Elixir est utilisé par les ingénieurs d’enregistrement et de mastering depuis presque une décennie.

Il prend désormais en charge jusqu’à 16 canaux, se conforme aux normes ITU-R et de EBU et dispose de préréglages pour les plates-formes de streaming, notamment Apple Music, YouTube, Netflix et Spotify, ainsi que d’une nouvelle interface utilisateur remaniée offrant une mise à l’échelle pour s’adapter aux différentes résolutions d’écran.

L’Elixir Essential est sorti il y a quelques semaines, si vous avez manqué le lancement : Lire la suite ici.

A propos de FLUX:: Immersive
FLUX:: Immersive s’est forgé une réputation de leader dans la création de logiciels de traitement audio avec l’idée maîtresse de concevoir des outils techniquement innovants et inspirants pour les ingénieurs du son, et sans compromis sur la qualité audio. La société a toujours été à l’avant-garde du développement de solutions logicielles pour l’industrie audio professionnelle, prenant notamment en charge le traitement multicanal depuis plus d’une décennie. Ses produits sont fréquemment utilisés pour l’enregistrement surround, la post-production de films, le son immersif en direct et en installation, et dans diverses autres applications.

The post Elixir Essential – Première mise à jour majeure, intégrant 12 étages de limiteur et un traitement en 64 bits à virgule flottante appeared first on FLUX:: Immersive.