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resolution October 2011

RESOLUTION AWARDS

RCAM represents one of the best known and

most respected stores of research and knowledge

in music and audio related technology. The

research department was created for composers

needing assistance in realising ideas or concepts that

could not be expressed with the technology available

on the market. Three years ago IRCAM decided to bring

its research to market with a partnership with Flux,

which resulted in a series of creative plug-ins.

SPAT, ‘The complete Room Acoustics Simulation and

Localisation Solution’, combines different technologies

in the same workﬂow and processor. A spatialisation

engine deals with, among other things, panning laws

and HRTF (Head-Related Transfer Functions) and then

the reverberation engine integrates into the source

localisation in the simulated space.

As the sources are part of the reverb with their own

dedicated early reﬂections and clusters this means

that the source localisation and the room acoustic

simulation feel and sound very realistic when moving

sources around in the space. Actually it’s one of the

three spaces as each source can be assigned to one

of three reverberation engines that interact with each

other. This makes mixing acoustics for a movie or a

theatre setup very easy when more than one room is a

part of the scene at the same time.

As SPAT was designed for surround and multichannel

use from the beginning, it offers the option to setup

output arrangements in a variety of stereo and surround

conﬁgurations (including subwoofer mix). You can

input in different formats, perform the processing and

automation for the localisation and reverberation, and

then send it to the outputs in another format. For

surround mixing, the eight inputs and outputs make

conﬁgurations up to 7.1 possible using an input/output

format setup panel.

‘SPAT is a quantum leap forward in algorithmic

localisation/room simulation plug-ins. Despite the

interface and user manual shortcomings it is still on the

must-have list of any serious postproduction or games

sound designer prepared to invest time in learning and

tweaking.’ Resolution V10.4. n

AWARDS 2011

QUALITY & INNOVATION

Winner

Plug-in

Flux IRCAM SPAT

LASP is designed to enable you to track

and overdub in the DAW with all the sonic

beneﬁts of tape using a relatively invisible

process. Designer Chris Estes came up with

the concept six years ago and the heart of the system

is a 2U that includes two microprocessors and runs

an audio switching system. This is partnered with

software in the shape of plug-ins offering bi-directional

control and the means of time-aligning the audio.

CLASP supports Pro Tools, Nuendo and Cubase

and the list of supported multitrack tape machines is

extensive and stereo and mono models also work.

To process the signal via the tape you must have the

multitrack in Record with the machine monitoring

from the Repro head. Due to the head gap, this will be

a delayed signal relative to real-time. For monitoring

during recording CLASP switches its monitoring

outputs to pick up the input signal with audio

passing straight through while it sends the delayed

tape-processed signal to the DAW. The problem of

the audio being late into the DAW is solved with

software and CLASP interacts with Pro Tools so the

recorded audio ﬁles are time-stamped with a value in

the future that compensates for the head gap. When

playing back and overdubbing everything lines up

with Pro Tools playback behaving as the traditional

sync head. CLASP sets up a buffer inside Pro Tools

using the Delay Compensation engine and the buffer

slides depending on the tape machine, tape speed and

sample rate.

‘With Pro Tools in Quick Punch mode, arming

tracks and setting the transport running in Play

or Record causes CLASP to plunge the multitrack

machine into Record, enabling seamless punch-in in

Pro Tools. On punch-in, CLASP switches monitoring

from Pro Tools playback to input signal, while all the

time feeding tape output to the Pro Tools track input,

for subsequent edit peeling. It all works smoothly,

with the tape-processed signal lining up in Pro Tools

beautifully.’ Resolution V10.4. n

AWARDS 2011

QUALITY & INNOVATION

Winner

Recorder

Endless Analog

CLASP

Contact

FLUX, FRANCE

Website: www.ﬂuxhome.com

ALSO NOMINATED: Izotope RX 2; PSP OldTimer ME;

Universal Audio Studer A800; Waves Aphex Vintage

Aural Exciter; Waves Vocal Rider.

Contact

ENDLESS ANALOG, US

Website: www.endlessanalog.com

ALSO NOMINATED: Tascam HS-P82

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