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FletcherMachine provided a holistic spatial audio mix
“The simplicity of the user interface makes it possible to react quickly to the placement of objects and the adjustment of the mix” want. The engine knows where all the loudspeakers are, and it does the maths to create that spatial effect using time and amplitude panning methods.” FletcherMachine’s high object count meant the team could take full advantage of the complexity of the Gladiator score, by assigning nearly every element its own place in the mix – and it’s practical for touring. Despite its sophistication, FletcherMachine operates within a single piece of
software that can run on a standard laptop, and it requires minimal training. “It’s easy to get to grips with,” adds Florian Siegwald, FletcherMachine operator on the tour. “The simplicity of the user interface makes it possible to react quickly to the placement of objects and adjustment of the mix, which is essential on a tour where developed in FletcherMachine, as well as the excellent coverage achieved through use of Adamson’s S series loudspeakers, Gladiator in Concert exceeded the expectations of a traditional live sound experience. The spatial mix allowed for the celebration of each musical detail, and feedback from both audiences and engineers has been overwhelmingly positive. balance time is very limited.” With the spatial soundscape
managing up to 128 individual audio objects to 128 speaker outputs. Unlike channel-based mixing systems, where sound is routed through fixed outputs, FletcherMachine uses object-based mixing. Each sound element, be it an instrument, section of the choir or sound effect, is treated as a unique object. These objects are positioned in a virtual sound field, and FletcherMachine calculates how to distribute each one across the loudspeaker system to match the desired spatial location. “FletcherMachine offers a very accessible user experience for FOH mixers, allowing them to mix in sound objects rather than traditional stereo,” explains Denis. “Thanks to these sound objects, the spatial mix remains coherent and is identical for all spectators, whatever their position in the room, which greatly reduces the problems associated with concert hall acoustics. “It’s a different way of thinking about sound,” confirms Thevenard. “Every channel on the mixing desk becomes an object you can place wherever you
To find out more, visit adamson.ai
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