1. Spectrogram style audio forensics with real-time FFT.2. Mono, stereo, and surround sound cleaning and mastering.3. RX8 comes in three flavors, Elements, Standard and Advanced. Standard and Advanced also contain RX based AU, VST and AAX plugins for performing sound cleaning and mastering in 3rd party DAWs.
Last but not least, it loads up to 255 VSTs in Rack as FX-chains (with re-ordering, mute/solo function) open/save FXB/FXP which is a HUGE advantage for flexibility. It allows any kind of non destructive sound design and processing. None of the other free editors can beat this one on this aspect of edition I believe. It makes mastering tasks a breeze and super fast.
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Surround sound is a technique for enriching the fidelity and depth of sound reproduction by using multiple audio channels from speakers that surround the listener (surround channels). Its first application was in movie theaters. Prior to surround sound, theater sound systems commonly had three screen channels of sound that played from three loudspeakers (left, center, and right) located in front of the audience. Surround sound adds one or more channels from loudspeakers to the side or behind the listener that are able to create the sensation of sound coming from any horizontal direction (at ground level) around the listener.
Though cinema and soundtracks represent the major uses of surround techniques, its scope of application is broader than that, as surround sound permits creation of an audio-environment for all sorts of purposes. Multichannel audio techniques may be used to reproduce contents as varied as music, speech, natural or synthetic sounds for cinema, television, broadcasting, or computers. In terms of music content for example, a live performance may use multichannel techniques in the context of an open-air concert, of a musical theatre performance or for broadcasting;[3] for a film, specific techniques are adapted to movie theater or to home (e.g., home cinema systems).[4][5] The narrative space is also a content that can be enhanced through multichannel techniques. This applies mainly to cinema narratives, for example the speech of the characters of a film,[6][7][8] but may also be applied to plays performed in a theatre, to a conference, or to integrate voice-based comments in an archeological site or monument. For example, an exhibition may be enhanced with topical ambient sound of water, birds, train or machine noise. Topical natural sounds may also be used in educational applications.[9] Other fields of application include video game consoles, personal computers and other platforms.[10][11][12][13] In such applications, the content would typically be synthetic noise produced by the computer device in interaction with its user. Significant work has also been done using surround sound for enhanced situation awareness in military and public safety application.[14]
Commercial surround sound media include videocassettes, DVDs, and SDTV broadcasts encoded as compressed Dolby Digital and DTS, and lossless audio such as DTS HD Master Audio and Dolby TrueHD on HDTV Blu-ray Disc and HD DVD, which are identical to the studio master. Other commercial formats include the competing DVD-Audio (DVD-A) and Super Audio CD (SACD) formats, and MP3 Surround. Cinema 5.1 surround formats include Dolby Digital and DTS. Sony Dynamic Digital Sound (SDDS) is an 8 channel cinema configuration which features 5 independent audio channels across the front with two independent surround channels, and a Low-frequency effects channel. Traditional 7.1 surround speaker configuration introduces two additional rear speakers to the conventional 5.1 arrangement, for a total of four surround channels and three front channels, to create a more 360 sound field.
Most surround sound recordings are created by film production companies or video game producers; however some consumer camcorders have such capability either built-in or available separately. Surround sound technologies can also be used in music to enable new methods of artistic expression. After the failure of quadraphonic audio in the 1970s, multichannel music has slowly been reintroduced since 1999 with the help of SACD and DVD-Audio formats. Some AV receivers, stereophonic systems, and computer sound cards contain integral digital signal processors or digital audio processors to simulate surround sound from a stereophonic source (see fake stereo).
The first documented use of surround sound was in 1940, for the Disney studio's animated film Fantasia. Walt Disney was inspired by Nikolai Rimsky-Korsakov's operatic piece Flight of the Bumblebee to have a bumblebee featured in his musical Fantasia and also sound as if it was flying in all parts of the theatre. The initial multichannel audio application was called 'Fantasound', comprising three audio channels and speakers. The sound was diffused throughout the cinema, controlled by an engineer using some 54 loudspeakers. The surround sound was achieved using the sum and the difference of the phase of the sound. However, this experimental use of surround sound was excluded from the film in later showings. In 1952, "surround sound" successfully reappeared with the film "This is Cinerama", using discrete seven-channel sound, and the race to develop other surround sound methods took off.[17][18]
In 1957, working with artist Jordan Belson, Henry Jacobs produced Vortex: Experiments in Sound and Light - a series of concerts featuring new music, including some of Jacobs' own, and that of Karlheinz Stockhausen, and many others - taking place in the Morrison Planetarium in Golden Gate Park, San Francisco. Sound designers commonly regard this as the origin of the (now standard) concept of "surround sound." The program was popular, and Jacobs and Belson were invited to reproduce it at the 1958 World Expo in Brussels.[19]There are also many other composers that created ground-breaking surround sound works in the same time period.
The 5.1 version of surround sound originated in 1987 at the famous French Cabaret Moulin Rouge. A French engineer, Dominique Bertrand used a mixing board specially designed in cooperation with Solid State Logic, based on 5000 series and including six channels. Respectively: A left, B right, C centre, D left rear, E right rear, F bass. The same engineer had already achieved a 3.1 system in 1974, for the International Summit of Francophone States in Dakar, Senegal.
The Ambisonics form, also based on Huygens' principle, gives an exact sound reconstruction at the central point; however, it is less accurate away from the central point. There are many free and commercial software programs available for Ambisonics, which dominates most of the consumer market, especially musicians using electronic and computer music. Moreover, Ambisonics products are the standard in surround sound hardware sold by Meridian Audio. In its simplest form, Ambisonics consumes few resources, however this is not true for recent developments, such as Near Field Compensated Higher Order Ambisonics.[22] Some years ago it was shown that, in the limit, WFS and Ambisonics converge.[23]
There are many alternative setups available for a surround sound experience, with a 3-2 (3 front, 2 back speakers and a Low Frequency Effects channel) configuration (more commonly referred to as 5.1 surround) being the standard for most surround sound applications, including cinema, television and consumer applications.[2][25] This is a compromise between the ideal image creation of a room and that of practicality and compatibility with two-channel stereo.[26] Because most surround sound mixes are produced for 5.1 surround (6 channels), larger setups require matrixes or processors to feed the additional speakers.[26]
In 5.1 surround, phantom images between the front speakers are quite accurate, with images towards the back and especially to the sides being unstable.[25][26] The localisation of a virtual source, based on level differences between two loudspeakers to the side of a listener, shows great inconsistency across the standardised 5.1 setup, also being largely affected by movement away from the reference position. 5.1 surround is therefore limited in its ability to convey 3D sound, making the surround channels more appropriate for ambience or effects.[25])
The LFE channel is a source of some confusion in surround sound. It was originally developed to carry extremely low sub-bass cinematic sound effects (e.g., the loud rumble of thunder or explosions) on their own channel. This allowed theaters to control the volume of these effects to suit the particular cinema's acoustic environment and sound reproduction system. Independent control of the sub-bass effects also reduced the problem of intermodulation distortion in analog movie sound reproduction.
The term stereo, although popularised in reference to two channel audio, historically also referred to surround sound, as it strictly means "solid" (three-dimensional) sound. However this is no longer common usage and "stereo sound" almost exclusively means two channels, left and right.
Ambisonics is a recording and playback technique using multichannel mixing that can be used live or in the studio and which recreates the soundfield as it existed in the space, in contrast to traditional surround systems, which can only create illusion of the soundfield if the listener is located in a very narrow sweetspot between speakers. Any number of speakers in any physical arrangement can be used to recreate a sound field. With 6 or more speakers arranged around a listener, a 3-dimensional ("periphonic", or full-sphere) sound field can be presented. Ambisonics was invented by Michael Gerzon. 2ff7e9595c
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