For your enjoyment:
Digitally Controlled Analog Surround Sound Panning
Presentation:
Circuit Explination:
Presentation documents:
0 – TPJ – Technical Presentation
0 – TPJ556-FINAL report DCASSP-COMPLETE
0 – TPJ556-FINAL report DCASSP-SCHEMATICS V1
Project Source Code:
I was lucky enough to get to visit the new Atmos mix room at Deluxe Toronto. This was the deadest big room I’ve ever been in. It was impressive to hear the system. Being a part of the AES gave me an incredible experience of A/B-ing the new IMAX mix room at Technicolor and the Atmos room at Deluxe. In my opinion the ideas of IMAX immersive technologies translate much better. The guys at IMAX got it right.
Martin Pilchner did an amazing job.
They had a guy from dolby explaining a little about how Atmos renders… very interesting how it translates from room to room.
More information from the Dolby Site:
Imax – The Next generation of IMAX sound – 12 Channel configuration – and LASER projectors, about time!!
Had a fantastic experience with the new IMAX sound system at the AES meeting held at Technicolor.
The “Upper Quad” ceiling speakers really bring it together.
VBAP is going to need some work… and a HUI
I walked away asking: “If it were truly immersive, there would never be idle speakers” Cory said: “Backgrounds are the first thing to go…” I think those will become crucial.
I also walked away wanting a dozen U87s…
Of course you could hear the birds chirping and running away WHILE the rocket was launching…
Check out Jörg Wuttke, Understanding Microphones
Jörg Wuttke was born in Berlin in 1942. He studied electronics and telecommunications at Karlsruhe University, specializing in acoustics, and was teaching assistant to professor Günther Kurtze, the inventor of the shotgun microphone. He joined Schoeps GmbH as a research engineer in 1970, became its chief engineer in 1972, and is now its technical director.
Mr. Wuttke has been an active member of the Audio Engineering Society for many years, including publishing in the AES Journal and presenting papers and chairing workshops at conventions. In1993 he was awarded an AES Fellowship. Since 1972, he has been a member of the DIN standards committee on microphones and headphones. He maintains an avid interest in listening to music and recording live concerts.
The Linear Traveling Potentiometer presented at AES Toronto meeting Sept 24, 2013
The Math Project that inspired the FivePointNone
there is a demo below… check it out in cans
The Spatial Sound Card App is a software based, virtual sound card. It provides speakers for stereo and surround monitoring for the computer with standard headphones.
Professional monitoring of audio content usually requires complex, high-quality speaker installations, for which both budget and space are needed. The Spatial Sound Card enables monitoring of stereo and surround up to 7.1 with a standard headphone on the computer.
The Spatial Sound Card is a virtual sound card that is inserted between software, operating system and audio hardware. The room virtualizations originate from a constantly growing number of high end studios and dub stages like the ARRI Stage One, MSM Munich and others. The technology used in the SSC was used on major Blu-Ray releases (e.g. The Expendables I and II).
To optimize the virtualization the SSC provides parameters to customize the frequency curve of the used headphones. Presets for a lot of well-known headphone models are included, more will follow soon.
The Spatial Sound Card works with all applications that support multichannel audio output. These include media players like VLC and FLAC-Player as well as video and audio workstations. The SSC is recommended for media professionals from the audio, video or games area as well as for agencies and companies with workstations that need high quality audio monitoring.
For now the Spatial Sound Card runs on MacOS 10.6.x and above, a version for Windows will come within the third quarter of this year.
