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Orlando, FL\u2014February 2020\u2026<\/b> Acclaimed audio engineer and sound designer Dan Scott<\/strong> has helped create Emmy award-winning television programs, as well as films, rides, and Broadway-caliber theater shows in venues around the world. A member of the Orlando-based Ty Fy Studios<\/strong> team since 2007, Scott has worked for such elite clients as LucasFilm, Cartoon Network, Fox, Walt Disney Entertainment, and Walt Disney Imagineering. Since 2016, he has relied on FLUX:: Immersive\u2019s Spat Revolution<\/strong> real-time 3D audio mixing software to create realistic immersive virtual audio environments.<\/p>\n \u201cThe first show that I used Spat Revolution<\/strong> on was for a cruise line,\u201d<\/em> recalls Scott. \u201cThe ship had a new, large-scale theater show with a lot of immersive technologies. They were putting time and money into making the show look brilliant, with a ton of new video technology. They used small set pieces and a giant 6K-resolution curved LED video wall with shading and mapping that tracked the set, so the video reacted to what was happening onstage. There were projections on the floor and on the walls, and the scenes were dynamic and changing. They did a great job of changing the feel of the room for every scene. It was really beautiful.\u201d<\/em><\/p>\n Scott wanted to scale up the show\u2019s audio technology to complement the high-end video but the theater had a conventional audio infrastructure. \u201dWith Spat<\/strong> I was able to use every individual speaker to create a virtual room instead of just panning between matrixed speaker clusters. I used Spat<\/strong> to spatialize dialog, effects, and music without any additional hardware.\u201d<\/em><\/p>\n In theme park and cruise line productions, setting the mood is crucial to the experience, Scott observes. \u201cFrom the moment they walk into the venue, you need to take the guests away from the thousands of people they\u2019ve been surrounded by all day and transport them into the story you\u2019re telling. The preshow walk-in for this specific show was an ambient soundscape to put the audience inside a craftsman\u2019s workshop, including torches projected on the walls along the aisles, conveniently right on top of the speakers,\u201d<\/em> he describes. \u201cThose were my favorite ambient elements of the scene. With Spat<\/strong> I was able to put different subtle crackling on every torch, and as you walked by each one you heard the torches\u2019 sound go by. Spat gave us the ability to make it truly immersive and different for each person in the audience.\u201d<\/em><\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/www.flux.audio\/wp-content\/uploads\/2020\/02\/preview-lightbox-FLUX-Ty-Fy-Dan-Scott_03-copy.jpeg” _builder_version=”4.0.11″][\/et_pb_image][et_pb_text _builder_version=”4.0.11″]<\/p>\n During the walk-in, Scott was able to give audience members the effect of some elements coming from outside the walls of the workshop, in addition to the sounds coming from within, before the actor arrived onstage. \u201cYou hear him get up and walk, his chair scrapes, and it sounds as if he were backstage, even though we\u2019re just using normal line array speakers up front,\u201d<\/em> Scott observes. \u201cSpat Revolution<\/strong> placed everything so well that it sounded like he walked across the stage, wound a music box, and listened to a song play for a few moments; then he\u2019d walk the other way and try one of his other music boxes. When the show started, we placed the sound right where the actor came up on a lift holding one of the music boxes we had just heard.\u201d<\/em><\/p>\n Panning audio in a multi-speaker system is not new, Scott points out, \u201cbut Spat<\/strong> glues everything together so it doesn\u2019t feel like you\u2019re just panning from speaker to speaker. The virtual room adds reflections, and you\u2019re localizing sources in the room by using every individual speaker to help create the environment, instead of just changing the volume percentage across the speakers.\u201d<\/em><\/p>\n \u201cI love that Spat<\/strong> automation is controlled by, and saved directly within, our Pro Tools sessions,\u201d<\/em> Scott continues. \u201cWe\u2019ve used it in shows set outdoors in the countryside, dungeons, race tracks, you name it. It\u2019s awesome to create what we want each space to sound like and grab automation snapshots to recall through the timeline of the show. Then anything we throw into that room feels like it\u2019s in the right space for the scene. And it\u2019s not just a sound coming from a speaker. You\u2019re virtualizing the entire environment and utilizing every speaker in the system.\u201d<\/em><\/p>\n Spat Revolution<\/strong> also enables the Ty Fy team to develop abnormal room layouts. \u201cThat\u2019s big in theme parks,\u201d<\/em> Scott adds. \u201cI worked on a Halloween attraction in Hong Kong where there were segments with multiple connected rooms, and I was able to easily move sounds realistically between them. The main sound source was placed in one room but you would hear the ambience in the next room over, so you get a sense of what\u2019s coming. This was all set in a giant castle that was made of styrofoam and wire, so it didn\u2019t have a natural acoustic ambience that matched the visual\u2014but we could create an ambience that made the space feel much bigger than it actually was. It\u2019s a lot more realistic with Spat<\/strong> than with previous methods, and it\u2019s a lot more achievable because it\u2019s faster and less expensive.\u201d<\/em><\/p>\n Scott just finished a 360-degree film that was mixed in Dolby Atmos. \u201cWe were using the Dolby setup but I knew I could achieve some elements better in Spat<\/strong> because I could virtualize the entire space,\u201d<\/em> he notes. \u201cAtmos is great and gives you access to a large number of speakers but it\u2019s only discrete panning; it\u2019s not filtering or adding ambience. It\u2019s so great to be able take my sources into Spat<\/strong>, quickly design a room layout using either a CAD drawing or some quick laser measurements for accurate speaker locations, and source the outputs through the Atmos system. With Spat<\/strong> it was easier and faster to get more believable sounding movements.\u201d<\/em><\/p>\n Scott has used Spat<\/strong> so successfully that clients specifically ask for it. \u201cThe reaction has been unanimously positive,\u201d he reports. \u201cSpat gives us more options and frees us. It opens up the creative process.\u201d<\/strong><\/em><\/p>\n<\/div>\n [\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_sidebar _builder_version=”4.4.3″ hover_enabled=”0″][\/et_pb_sidebar][\/et_pb_column][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Orlando, FL\u2014February 2020\u2026 Acclaimed audio engineer and sound designer Dan Scott has helped create Emmy award-winning television programs, as well as films, rides, and Broadway-caliber theater shows in venues around the world. A member of the Orlando-based Ty Fy Studios team since 2007, Scott has worked for such elite clients as LucasFilm, Cartoon Network, Fox, […]<\/p>\n","protected":false},"author":3,"featured_media":13620,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[69,143,186,51,40,66],"tags":[43,44,53,67,68],"class_list":["post-13619","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-immersive","category-spat-revolution-user","category-community","category-user-stories","category-spat-revolution","tag-spat-revolution","tag-ircam","tag-ircam-tools","tag-empowercreativity","tag-immersive"],"yoast_head":"\n