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FLUX:: SPAT Revolution

Spatial Audio Tools At ISE 2020

If you checked out last week's post, you know that this year’s ISE Show was the biggest yet. In the audio world, networking, connectivity, AV over IP, AI and VR continued to be big news. (Oh, and we saw a zillion amazing new loudspeakers.) This week, we highlight a few spatial audio tools debuting at the show. What were your favorite products at ISE? Let us know in the comments.

FLUX:: SPAT Revolution

FLUX:: showed integration of its SPAT Revolution Immersive Audio Engine with Merging Technologies’ Ovation media server and sequencer, to demonstrate how the applications can be used together to create immersive audio content, and to create cues based on OSC recording and editing. This integration also lets the Ovation mixer parameter and automation communicate with Spat Revolution Source Objects.

The Spat Revolution engine was also part of the Cast Group’s demos of the BlackTrax real-time tracking solution, which used an Adamson system to show the potential for interconnecting to Milan-ready, network-redundant loudspeakers.


Amadeus Holophonix

Amadeus Holophonix

Amadeus showed the 1.5 update of its HOLOPHONIX spatial sound processor, featuring a complete overhaul of its graphical user interface and a revised communication bridge between servers and applications, optimizing high-speed transmission of OSC messages.

Version 1.5 boasts dozens of new features, including an equalizer offering 5 PEQ plus high- and lowpass filters. The equalizer is available for each virtual source, each physical (Dante) output, and spatialization buses. Other additions include encoders and source formats that ensure compatibility with a variety of Ambisonics capture tools; a HOLOPHONIX Updater application and HOLOPHONIX Designer offline editor software, which includes a binaural pre-rendering function. The processor integrates new MicTree virtual objects and is compatible with mh acoustics’ em32 32-capsule Eigenmike microphone and the 19-capsule ZM-1 microphone from Zylia.

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Dracula/Frankenstein at New York’s Classic Stage Company.

Meyer Sound Spacemap Go

Meyer Sound previewed its Spacemap Go spatial sound design and mixing tool for the company’s GALAXY network platform: Spacemap Go can be used with up to four GALAXY loudspeaker processors in any combination; an iOS app provides an interface for multichannel panning from an iPad. (Spacemap programming and real-time operation are handled by Spacemap Go; Compass and Compass Go will continue to provide access to system parameters such as EQ and delay.)

Spacemap Go is compatible with automated and live on-the-fly workflows and will integrate fully with QLab and popular DAW; console/controller integration is in the works. The system is currently in use in Dracula/Frankenstein (above), running at New York’s Classic Stage Company.

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Aida at the Szegedi Szabadtéri open-air opera and music festival in Hungary

Out Board TiMax

Out Board showed workflow enhancements to the TiMax SoundHub software, which has been enhanced with HARDCore FPGA processing. TiMax spatial objects can be instantly auto-calculated in 3D from a venue map and readily adapted for a range of presentation and experiential spaces, stages, auditoriums, and sound system configurations.

The company also debuted the TiMax TrackerD4 Precision Stagetracking system, which offers real-time automated spatial mixing control and effects animation. TrackerD4 works with OSC, PoziStageNet, BlackTrax, and other audio, lighting, and multimedia control protocols to allow performer tracking over a wide range of applications.

Recent TiMax projects include festival-scale 3D immersive spatial audio for a staging of Aida at the Szegedi Szabadtéri open-air opera and music festival in Hungary (above).

Sarah Jones is a writer, editor, and content producer with more than 20 years' experience in pro audio, including as editor-in-chief of three leading audio magazines: MixEQ, and Electronic Musician. She is a lifelong musician and committed to arts advocacy and learning, including acting as education chair of the San Francisco chapter of the Recording Academy, where she helps develop event programming that cultivates the careers of Bay Area music makers.

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