Revolution Virtual Surround is in the shop!

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JoshuaPhilgarlic
Posts: 389
Joined: 16 Jan 2015
Location: Munich/ Germany

19 Feb 2015

Gaja wrote:From what I understand, standards like dolby or thx are maainly money making machines. Basically if you want your movie to be in surround, that's not a big deal. If you want it to be dolby surround, ten you'll have to use the dolby plugins for measuring and so on, but that's not all. Of course you have to send the mix to dolby, because tey have to check it before they put their seal on it. Yes of course that costs money. Basically it's the same with thx. But it doesn't mean, that a surround mix that is not dolby is worse in any way. Don't buy into it too much. These labels don't mean anything really...
Well, of course companies like Dolby or THX like to make money - like every other company. Nothing wrong. But those companies also are essentiel for all movie sound concerns. Dolby invented analog and digital encoding that make movie sound as we know it today even possible. 5.1, 7.1 or Atmos wouldn't exist without the innovations of Dolby. If you watch 5.1 movies in TV there's probably Dolby E involved. And by the way: mixes don't need to be "sent to Dolby". Sometimes there's a Dolby consultant present for the mix, but if they trust your studio, you don't see them for years. And speaking about surround licensing: for TV surround, there's no license needed, and there are other plugin manufacturers like Neyrink providing compatible encoders/decoders, so no need to use Dolby at all.

Flandersh
Posts: 126
Joined: 17 Jan 2015
Location: Norway
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19 Feb 2015

pushedbutton wrote:Does it work better than this..?
http://www.peff.com/reason/download/cmb ... ySpace.zip
Was thinking the same....

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raymondh
Posts: 1776
Joined: 15 Jan 2015

20 Feb 2015

Awesome, I'll need to check this out.

I've always been fascinated by virtual 3D sound - ever since Madonna's Immaculate Collection which used QSound, and Deep Forest's "Deep Forest" album which used Roland Sound Space. :)

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dvdrtldg
Posts: 2386
Joined: 17 Jan 2015

20 Feb 2015

I've just spent two hours with a simple tabla loop in Dr Octo Rex, routed through two Revolutions in parallel, moving everything around via CV (Revolution #2 receiving the inverted mirror image of signals going to #1). One tabla loop, two hours. Loving this RE.

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Gaja
Posts: 1001
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Location: Germany
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20 Feb 2015

Gaja wrote:From what I understand, standards like dolby or thx are maainly money making machines. Basically if you want your movie to be in surround, that's not a big deal. If you want it to be dolby surround, ten you'll have to use the dolby plugins for measuring and so on, but that's not all. Of course you have to send the mix to dolby, because tey have to check it before they put their seal on it. Yes of course that costs money. Basically it's the same with thx. But it doesn't mean, that a surround mix that is not dolby is worse in any way. Don't buy into it too much. These labels don't mean anything really...
JoshuaPhilgarlic wrote: Well, of course companies like Dolby or THX like to make money - like every other company. Nothing wrong. But those companies also are essentiel for all movie sound concerns. Dolby invented analog and digital encoding that make movie sound as we know it today even possible. 5.1, 7.1 or Atmos wouldn't exist without the innovations of Dolby. If you watch 5.1 movies in TV there's probably Dolby E involved. And by the way: mixes don't need to be "sent to Dolby". Sometimes there's a Dolby consultant present for the mix, but if they trust your studio, you don't see them for years. And speaking about surround licensing: for TV surround, there's no license needed, and there are other plugin manufacturers like Neyrink providing compatible encoders/decoders, so no need to use Dolby at all.
Edit: sorry, this is really off topic and a terrible rant. It delivers nothing constructive to the topic at hand and should probably be ignored.

I'm not trying to say the effort involved in creating these standards wasn't important, only that it is less important now to actually have dolby on your mix, mainly because of the standards they set. But it is an obvious pattern. Atmos is only the next logical step in trying to not be obsolete. But really, where in Germany can you watch atmos? In 16 cinemas. Out of how many? Thousands. Getting your theatre to that latest standard is expensive and people think twice about spending that kind of money, only to have a dolby consultant come in and say it's all wrong do it again. They don't seem too eager to actually help wit a good sound. Like when we got our dolby license, the dude was six months late. We weren't allowed to use the dolby logo (which we had paid for) because the room wasn't properly measured yet. Dolby doesn't care about the work involved in setting up a listening environment and they provide next to no help with setting it up according to dolby standards. Well they do say things like "your ceiling treatment is shit!" But no info on how to make it better. Sry for the rant...
We've never had a dolby consultant present in our studio (except for when he measured the room). So yes we've had to send movies to dolby for them to check. Maybe it's because we're a really young company, and dolby doesn't "trust us" yet, but still we had to do this at least once.
But essentially you're right.
There's no inherent need to use dolby at all, unless the customer asks for it specifically.
Cheers!
Fredhoven

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raymondh
Posts: 1776
Joined: 15 Jan 2015

20 Feb 2015

Well I insta-buy'd this and having great fun. It works for me, both with headphones and my monitors.

Adding some reverb certainly helps, and in using Antidote for the source, turn off any reverb/delay used in a patch so it goes into Revolution dry, then add FX back afterwards.

Great job DLD technology - I'll definitely be using this little unit!!



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Ocean of Waves
Posts: 231
Joined: 16 Jan 2015

21 Feb 2015

Last night I tried on a song with -normally- two 72% panned guitars, left and right. I replaced the panning on both tracks with Revolution with 65 degrees angles and it sounded very different than normal panning, very open and spacious. Mixed in with the normal panned ones made a very nice tone for left and right guitars.

Maybe Normen can post his findings, if he tried it on guitars.

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normen
Posts: 3431
Joined: 16 Jan 2015

21 Feb 2015

Ocean of Waves wrote:Last night I tried on a song with -normally- two 72% panned guitars, left and right. I replaced the panning on both tracks with Revolution with 65 degrees angles and it sounded very different than normal panning, very open and spacious. Mixed in with the normal panned ones made a very nice tone for left and right guitars.

Maybe Normen can post his findings, if he tried it on guitars.
Yes, I like to use this kind of panning for "wall of sound" guitar setups or choirs. Especially when people send me stems with so many guitar tracks that I don't know where to put them in the stereo field anymore ;)

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Ocean of Waves
Posts: 231
Joined: 16 Jan 2015

21 Feb 2015

I'm putting this RE on the top of my 'to buy' list, it doesn't do the special fx I was hoping for but it does something that I could use in every song!

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NMRosta
Posts: 113
Joined: 20 Jan 2015

03 Mar 2015

Hmmm... I think i will buy this Revolution virtal surround. I love working with left & right and using wet reverb to simulate the distans. But i wounder if this surround will bring anything new to the sound surrounding feeling that im use too or if it just is a easier way to work with the sound L & R instead of working with them all togheather in one final mix of difrent L & R

WHat im trying to say is... is it really worth it? Or is this something i can whait for until they have their next 80% RE? Because last time i bought this expensive RE TSAR1(that i love) they had this super 50% offer or something just one month later and that just made me cry.
Image

What do you guys think about this RE? is it ok? 1-10? worth the price?


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dvdrtldg
Posts: 2386
Joined: 17 Jan 2015

03 Mar 2015

IMO it's worth the $40

I love being able to place sounds (or move them around) within the stereo field that goes beyond the parameters of L/R/wide/narrow. It's easy & fast to use, low on CPU and great for use in dense, complex mixes. Plus automation can give pleasingly weird results if that's your thing.

You could wait for a sale, but at that price, the usual sort of RE discount isn't going to save you much. Even a 50% off sale would only save you twenty bucks. Just buy it and enjoy.

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Ocean of Waves
Posts: 231
Joined: 16 Jan 2015

09 Mar 2015

Bought, must have

J.Sharp_Seattle
Posts: 1
Joined: 30 Sep 2016

30 Jul 2017

I really dig this rack extension, and it was *easily* worth the purchase price. But does anyone know if the conditions during the recording of the audio for the impulses would be close to an assumption of dry air at ~sea-level & 20°C (68°F) for a speed of sound of 343 meters per second?

Since the distance (delay) values are given in *only* distance (built in conversion options would've been sweet!), I need a speed of sound as accurate as possible to help perfect some of my more OCD uses of this rack extension. ;-)

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Gaja
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Location: Germany
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31 Jul 2017

J.Sharp_Seattle wrote:I really dig this rack extension, and it was *easily* worth the purchase price. But does anyone know if the conditions during the recording of the audio for the impulses would be close to an assumption of dry air at ~sea-level & 20°C (68°F) for a speed of sound of 343 meters per second?

Since the distance (delay) values are given in *only* distance (built in conversion options would've been sweet!), I need a speed of sound as accurate as possible to help perfect some of my more OCD uses of this rack extension. ;-)
Sounds quite obsessive indeed.
I'm not sure why you or anyone would need this kind of subtlety, unless they're some kind of government financed agent, trying to brainwash acousticians to believe they were in a certain position of a certain space they know really well...
Cheers!
Fredhoven

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sublunar
Posts: 507
Joined: 27 Apr 2017

31 Jul 2017

I grabbed this based on the youtube video demonstration but I still haven't been able to achieve the same interesting 3d type of sound as in the video. I end up with stereo left/right panning with a doppler effect which is an unpleasant warped tone to the sound as it goes to the front or back. Where's the trick to getting the right in front of me "3d" sound? Not really getting what I thought I'd get out of this.

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selig
RE Developer
Posts: 11685
Joined: 15 Jan 2015
Location: The NorthWoods, CT, USA

31 Jul 2017

J.Sharp_Seattle wrote:I really dig this rack extension, and it was *easily* worth the purchase price. But does anyone know if the conditions during the recording of the audio for the impulses would be close to an assumption of dry air at ~sea-level & 20°C (68°F) for a speed of sound of 343 meters per second?

Since the distance (delay) values are given in *only* distance (built in conversion options would've been sweet!), I need a speed of sound as accurate as possible to help perfect some of my more OCD uses of this rack extension. ;-)
Speed of sound is affected chiefly by air temperature. I would guess they used 20° C (68° F) since that's the standard. BTW, it doesn't matter if it's sea level or if the air is dry or humid as far as I've learned.

Would be cool to see a "temperature control" for the more OCD uses! ;)


Sent from some crappy device using Tapatalk
Selig Audio, LLC

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jonheal
Posts: 1213
Joined: 29 Jan 2015
Location: Springfield, VA, USA
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31 Jul 2017

selig wrote:
31 Jul 2017
J.Sharp_Seattle wrote:I really dig this rack extension, and it was *easily* worth the purchase price. But does anyone know if the conditions during the recording of the audio for the impulses would be close to an assumption of dry air at ~sea-level & 20°C (68°F) for a speed of sound of 343 meters per second?

Since the distance (delay) values are given in *only* distance (built in conversion options would've been sweet!), I need a speed of sound as accurate as possible to help perfect some of my more OCD uses of this rack extension. ;-)
Speed of sound is affected chiefly by air temperature. I would guess they used 20° C (68° F) since that's the standard. BTW, it doesn't matter if it's sea level or if the air is dry or humid as far as I've learned.

Would be cool to see a "temperature control" for the more OCD uses! ;)


Sent from some crappy device using Tapatalk
I feel really uncomfortable doing this, but for the sake of scientific purity, I will say that the speed of sound does change with altitude.

http://www.fighter-planes.com/jetmach1.htm

I think humidity has a slight effect since it adds a small number of water molecules to the medium increasing it's density a bit.

It is also interesting to me that while sound's speed increases with the density of the medium, light's decreases. I know sound and light aren't the same thing, but they do both follow the rules of wave behavior.

Of course, most people aren't recording at 30,000 feet. You'd be reaching for the oxygen level, not the master fader level. :)

EDIT: Nope. I think I am wrong. Even the chart I linked to shows it is exclusively temperature dependent. The temps from 30,000 to 60,000 stay the same and so do the speeds, even though there is obviously less air at 60,000 than 30,000. Then why does sound travel faster through the ground than through air? It does, doesn't it??

EDIT, EDIT: It's complicated:

https://en.m.wikipedia.org/wiki/Speed_of_sound
Last edited by jonheal on 02 Aug 2017, edited 1 time in total.
Jon Heal:reason: :re: :refill:Do not click this link!

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Hoyos
Posts: 69
Joined: 05 Jan 2017

31 Jul 2017

It's simpler than you think. Sound is the result of particles colliding with each other, the closer the particles the faster the collision and therefore faster travel speed.
If a sound source happens to be very far away from you but you still manage to get the sound there are many things that can happen to such sound such as phase cancelation, doppler effect, filtering, etc; the most accurate way to evaluate a system is using an impulse response. this can tell you transient and frequency responses but this is engineering now so I dont want to get into detail. I just wanted to share.

EdGrip
Posts: 2343
Joined: 03 Jun 2016

01 Aug 2017

Off topic, but interesting: on 35mm cinema film prints, the Dolby surround audio is encoded optically as a tiny QR-type barcode between the sprocket holes:

Image

Image

There are 96 of these per second, containing all the digital audio.

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Exowildebeest
Posts: 1553
Joined: 16 Jan 2015

05 Sep 2020

I wanted to get this RE. Hope it returns to the shop soon...

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joeyluck
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Joined: 15 Jan 2015

05 Sep 2020

Exowildebeest wrote:
05 Sep 2020
I wanted to get this RE. Hope it returns to the shop soon...
In the meantime, definitely check out some of these free VST options:

viewtopic.php?f=48&t=7502563

I would like to see more REs like this.

Arjanders
Posts: 131
Joined: 30 May 2019

05 Sep 2020

O what happened? Why isn't it in the shop anymore?

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Electric-Metal
Posts: 667
Joined: 10 Dec 2015
Location: Landstuhl, Germany

05 Sep 2020

Arjanders wrote:
05 Sep 2020
O what happened? Why isn't it in the shop anymore?
viewtopic.php?f=7&t=7519102
:?: The question is - Who cares :?:

Arjanders
Posts: 131
Joined: 30 May 2019

05 Sep 2020

Electric-Metal wrote:
05 Sep 2020
Arjanders wrote:
05 Sep 2020
O what happened? Why isn't it in the shop anymore?
viewtopic.php?f=7&t=7519102
Thanks (:

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Exowildebeest
Posts: 1553
Joined: 16 Jan 2015

05 Sep 2020

joeyluck wrote:
05 Sep 2020
Exowildebeest wrote:
05 Sep 2020
I wanted to get this RE. Hope it returns to the shop soon...
In the meantime, definitely check out some of these free VST options:

viewtopic.php?f=48&t=7502563

I would like to see more REs like this.
Ooh, thanks for that Joey :)

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