Soundfield Surround Zone
Surround Sound and Stereo Production Plug-In
Soundfield > Software > Plug-Ins for Music & Post£ POA
Stock: 2-3 days
The Surround Zone brings all the control and innovation of SoundField's surround and stereo processing to the digital domain. It combines the hardware features of both the SP451 Surround Processor and MKV System and is designed to accept B-Format generated by any of the SoundField microphone models. B-Format is the core of SoundField Technology and is based on the principle that all acoustic events are represented by four basic elements. These are 'X' which is front/back information (depth); 'Y' which is left/right information (width); 'Z' which is up/down information (height); and 'W', the central point from which the other three elements are referenced.
The most unique advantage or 'insurance' that SoundField Technology offers is a second opportunity to change all microphone parameters after the performance has occurred. Once again, the microphone may be repositioned across three dimensions and new polar patterns and stereo angles created. Recording can be made less or more ambient by use of the polar Pattern, Tilt, Zoom and End Fire controls. Previously off-axis sounds can now become on-axis by use of the Rotate control and further space and width obtained with the Angle control. This incredible level of control, both live and in post, affords the mixing engineer the ability to create the ideal 'sonic' perspective under the controlled conditions of the production studio - rather than forcing a decision during the original recording session that may later prove to be less than ideal.
The stereo section provides the user with highly flexible and configurable stereo outputs. Features include variable stereo width and polar pattern control, which are visually represented on the Stereo page. Also provided is a fully variable high-pass filter (20Hz to 250Hz), an M/S decoder and the SoundField controls, ROTATE, TILT and ZOOM.
The Stereo Angle control allows the user to set the angle between the coincident stereo pair either ‘live’ or after the recording has taken place. For example a small stereo angle can be utilised to emphasise a soloist, where as a wide angle can be used to create a wide stereo image such as that required for an orchestra. The Polar Pattern control is continuously variable ranging from Omni through Sub-Cardioid, Cardioid, Hyper-Cardioid to Figure- of-eight and sets the polar patterns used for the stereo pair. Both parameters are reflected in real-time in the visual representation window.
The surround sound section has six different surround sound modes plus an info page for each of these six modes, referred to as the ARRAYpages. The six modes include three 5.1 presets, a 6.1, a 7.1 and an 8 channel preset.
The most unique advantage or 'insurance' that SoundField Technology offers is a second opportunity to change all microphone parameters after the performance has occurred. Once again, the microphone may be repositioned across three dimensions and new polar patterns and stereo angles created. Recording can be made less or more ambient by use of the polar Pattern, Tilt, Zoom and End Fire controls. Previously off-axis sounds can now become on-axis by use of the Rotate control and further space and width obtained with the Angle control. This incredible level of control, both live and in post, affords the mixing engineer the ability to create the ideal 'sonic' perspective under the controlled conditions of the production studio - rather than forcing a decision during the original recording session that may later prove to be less than ideal.
The stereo section provides the user with highly flexible and configurable stereo outputs. Features include variable stereo width and polar pattern control, which are visually represented on the Stereo page. Also provided is a fully variable high-pass filter (20Hz to 250Hz), an M/S decoder and the SoundField controls, ROTATE, TILT and ZOOM.
The Stereo Angle control allows the user to set the angle between the coincident stereo pair either ‘live’ or after the recording has taken place. For example a small stereo angle can be utilised to emphasise a soloist, where as a wide angle can be used to create a wide stereo image such as that required for an orchestra. The Polar Pattern control is continuously variable ranging from Omni through Sub-Cardioid, Cardioid, Hyper-Cardioid to Figure- of-eight and sets the polar patterns used for the stereo pair. Both parameters are reflected in real-time in the visual representation window.
The surround sound section has six different surround sound modes plus an info page for each of these six modes, referred to as the ARRAYpages. The six modes include three 5.1 presets, a 6.1, a 7.1 and an 8 channel preset.
Stereo Page
• Real time graphic display of polar patterns, stereo angles and other parameters
• Continuously variable mono/stereo polar patterns and angles
• 360° mic Rotate, Tilt and Zoom
• Variable High Pass filter
• End Fire and Invert modes
5.1 Surround Page
• Choice of 5.1 arrays with variable Front Width, Rear Width and Rear Pattern
• 6.1 and 7.1 arrays
• 360° mic array Rotate, Tilt and Zoom
• Independent bargraph metering, Mute and Solo on every channel
• End Fire and Invert modes
• Real time graphic display of polar patterns, stereo angles and other parameters
• Continuously variable mono/stereo polar patterns and angles
• 360° mic Rotate, Tilt and Zoom
• Variable High Pass filter
• End Fire and Invert modes
5.1 Surround Page
• Choice of 5.1 arrays with variable Front Width, Rear Width and Rear Pattern
• 6.1 and 7.1 arrays
• 360° mic array Rotate, Tilt and Zoom
• Independent bargraph metering, Mute and Solo on every channel
• End Fire and Invert modes
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