[et_pb_section fb_built=”1″ specialty=”on” module_class_1=”article” _builder_version=”3.22″ custom_padding=”0|0px|54px|0px” custom_css_main_element=”font-size: 17px !important;”][et_pb_column type=”2_3″ specialty_columns=”2″ module_class=”article” _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_row_inner _builder_version=”3.25″ custom_padding=”0|0px|29.6833px|0px”][et_pb_column_inner saved_specialty_column_type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_post_title title=”off” author=”off” categories=”off” comments=”off” _builder_version=”4.0.11″ custom_css_post_title=”position: absolute;||background: white;||right: 0;||top: 40px;||padding-left: .5em;||font-size: 30px;||font-weight: bold!important;||max-width: 350px;” custom_css_post_image=”max-width: 90%;”][\/et_pb_post_title][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”4.0.11″ width=”90%”][et_pb_column_inner saved_specialty_column_type=”2_3″ _builder_version=”4.0.11″][et_pb_text _builder_version=”4.3.4″]<\/p>\n
Berlin, Germany\u2014April 2020\u2026<\/b><\/p>\n
Given his background mixing front-of-house for rock bands, it\u2019s no surprise that when Sphereo<\/strong> sound designer and 3D audio operator Jonas Gehrmann<\/strong> discusses immersive audio, he focuses a lot on music use cases. \u201cIn the end, immersive audio for concerts should be about music and not about technology<\/em>,\u201d he insists. \u201cIf you make an immersive concert mix where stuff is flying around, after two minutes it\u2019s boring. We might use FLUX:: Immersive\u2019s SPAT Revolution<\/strong> to create a more 360 degree image of the stage from the viewers position, so you are standing next to the guitar player and you hear the drums and guitar from there. We can use it to create a space for the in-ear monitors, where you usually wouldn\u2019t hear the onstage sound. We create an immersive experience on the stage, but it\u2019s still within the music; it\u2019s not a rollercoaster ride.<\/em>\u201d<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/www.flux.audio\/wp-content\/uploads\/2020\/04\/FLUX-Sphereo3-copy.png” _builder_version=”4.3.4″][\/et_pb_image][et_pb_text _builder_version=”4.3.4″]<\/p>\n Gehrmann uses SPAT Revolution to create immersive environments in a variety of venues<\/strong>, ranging from concert and theater venues such as Berlin\u2019s historic Friedrichstadt-Palast theater, where he is a member of the sound designers\u2019 team, to planetariums and other settings. \u201cWhen you\u2019re providing an immersive experience, every sound has to reach every point in the audience,<\/em>\u201d he observes. \u201cWhen you do that with regular level panning, if you make it loud enough to hear in some places, it\u2019s much too loud in other places. With SPAT, it\u2019s possible to do an immersive experience where the mix is very accurate everywhere in the theater. We use SPAT to give the audience a natural sound; the people should think there\u2019s nothing on the PA. What I do and what Fabian [Gehrmann\u2019s Sphereo partner, room acoustic engineer Fabian Knauber<\/strong>] does has to be about music and to involve natural hearing.<\/em>\u201d<\/p>\n Another advantage of SPAT is that it\u2019s scalable and can be used in venues of varying sizes and with different loudspeaker systems<\/strong>. \u201cFor the immersive planetarium shows I did with pianist Kai Schumacher, we did 15 shows at 6 different planetariums over a couple of years,<\/em>\u201d Gehrmann recalls. \u201cEvery planetarium was different. Sometimes the people just sat in rows or in a circle because the stage is the dome. Schumacher is playing the piano live, and the sound goes to speakers in the roof. We had a 12-, a 16-, and a 24-speaker setup that we carried around to cover the various planetariums and other venues. With SPAT, we were able to provide a great sounding immersive experience in all of them.<\/em>\u201d<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/www.flux.audio\/wp-content\/uploads\/2020\/04\/FLUX-Sphereo1-copy.png” _builder_version=”4.3.4″][\/et_pb_image][et_pb_text _builder_version=”4.3.4″]<\/p>\n That\u2019s not to say it\u2019s always easy adapting to different speaker systems. \u201cEach type of loudspeaker gives you different results because of the loudspeaker\u2019s design, so you have to account for that,<\/em>\u201d notes Gehrmann. \u201cCompression, distortion, and phase issues can affect your results. Older halls where you have a a combination of different types of speakers can be especially challenging. We\u2019ve worked in spaces where the differences between speakers weren\u2019t correct for the room, some speakers were an odd shape, and we had totally weird problems. But SPAT makes those issues much easier to deal with than other immersive systems<\/strong>.<\/em>\u201d<\/p>\n To date, all of Gehrmann\u2019s projects have been for stationary audiences but he is eager to try new things. \u201cI want to do an installation with SPAT where people can move around,<\/em>\u201d he muses. \u201cOne of our ideas is to put audio on headphones for people in an audience and track their positions as they move around. The sound will change along with their position.<\/em>\u201d<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/www.flux.audio\/wp-content\/uploads\/2020\/04\/FLUX-Sphereo4-copy.png” _builder_version=”4.3.4″][\/et_pb_image][et_pb_text _builder_version=”4.3.4″]<\/p>\n SPAT is a professional tool, Gehrmann emphasizes, and to get the best results, you need to understand what you\u2019re doing. \u201cIt\u2019s not a trial-and-error tool for people who aren\u2019t willing to learn how it works,<\/em>\u201d he asserts. \u201cYou have to know about room acoustics and which features will do what you want. But once you learn how to use it, it\u2019s a powerful creative tool<\/strong>. SPAT gives you ideas and inspiration for new things you can try because it can do so much. It\u2019s a big playground. And if you suggest a good idea to the people at FLUX:: Immersive, they will implement it, so you can directly influence the product. That\u2019s very different from other companies.<\/em>\u201d<\/p>\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″][\/et_pb_sidebar][\/et_pb_column][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Berlin, Germany\u2014April 2020\u2026 Given his background mixing front-of-house for rock bands, it\u2019s no surprise that when Sphereo sound designer and 3D audio operator Jonas Gehrmann discusses immersive audio, he focuses a lot on music use cases. \u201cIn the end, immersive audio for concerts should be about music and not about technology,\u201d he insists. \u201cIf you […]<\/p>\n","protected":false},"author":3,"featured_media":13850,"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-13853","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