![]() Just as CGI can create huge visual scenes that would not be possible or not cost-effective, with Sound Particles we can do these kinds of tricks with audio. With Sound Particles, you can do just this. What if we could do this with audio? What if we could create an army from a handful of sound files. Even though sci-fi is an obvious candidate for CGI, enabling the creative team to bring the imaginary worlds to life, CGI has also found its way into all kinds of film genres to create backgrounds etc. What We Think About Sound Particles 2.1įor many years now, we have experienced what CGI has done for film production, enabling scenes to be created that were either too costly or just impossible to create. You can now choose either monthly subscription, starting at $16.90 per month, or a one-off perpetual license purchase, starting at $299. Sound Particles 2.1 introduces licensing options designed for everyone, from multiroom facilities and film productions, through to independent professionals and home audio enthusiasts. This follows the 2.0 update released in February 2019, which included CGI Integration, Real-time Rendering, Binaural Monitoring, both macOS and Windows Support, Ambisonics, and surround file import. New Licensing Options With Sound Particles 2.1 Enhanced automation features have been added and Sound Particles have fixed a number of bugs. Include any number of tracks or microphones that you wish to reuse frequently.Īdditional Features - Users can now enable and disable modifiers and audio files. User Templates – Save sessions as templates. Sound Particles have included over 100 of their own presets to help get you started. With just two mouse clicks quickly save or apply any track preset. You can create and save an infinite number of track or microphone settings and recall them whenever you want. Track Presets – You can now be even more productive by using track presets. ![]() Sound Particles will render these files in the background so that you can focus on your next project. ![]() You can use different audio files for each render and several variations of the random parameters. New Audio Engine – Completely rewritten 3D audio engine, optimized for smoothness, efficiency and maximized sonic precision.īatch Processing – Render hundreds of variations of your session with just a few clicks. Our conclusion – there’s a lot of development still happening in the field of binaural but it’s an exciting new technology available to us now and it’s only going to get better over time.Following the release of 2.0 earlier in 2019, Sound Particles 2.1 adds a number of feature updates… Some digital music stores are strongly encouraging the take-up of this technology and you may get featured more prominently by releasing your tracks as Dolby Atmos mixes. However, while you may not be able to hear music as the mix engineer fully intended, with only a select few listeners getting the full benefit, you can still get a sense of immersive audio with some tracks working better for you than others. You can receive a ‘head-related transfer function’ scan (HRTF) but it’s an expensive process and one that is currently being addressed by a number of different developers (possibly by offering switchable binaural settings so that we can select frequencies more attuned to our own personal build). There are still issues with binaural however – it’s a developing technology and not everyone will be able to hear the full benefits of a binaural mix without personalised settings suited to their own ears and head shape. Some DAWs now have this rendering technology built in, for others you’ll need to download the plug-in from the Dolby website. However with the introduction of the binaural rendering plug-in by Dolby, we can get a basic immersive mix in our headphones straight from our DAWs and export as a standard. We’re still at the early stages of being able to mix and monitor immersive formats in headphones, so if you want a true immersive mix, you’re better off buying an audio interface and kitting out your studio with matching speakers. While immersive audio has been used by Cinema, TV and Game composers for some time, it’s the addition of Binaural Rendering that makes this format really exciting for the music industry.
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