With four built-in microphones, the H2 captures 360° sound into two stereo WAV files. Until now, there was no easy way for H2 owners to share their unique surround recordings with the world.

IMR’s Vortex Zoom Encoder converts the H2’s unique dual-stereo recordings into standard formats you can share as DTS, Binaural, or 5.1 WAV.

Additional details on the output formats:

• DTS WAV is the easiest surround-sound format to author: Users simply drag the 44.1kHz, 16-bit, 2-channel WAV files to any CD-burning program and burn a CD as normal. They then play this special CD through the S/PDIF output on a CD player, computer, or Sony PlayStation 3 into a DTS-compatible home theater system. The signal automatically expands back into glorious 5.1-channel surround sound.
• Binaural WAV employs IMR’s proprietary ImmersiveStereo™ technology to convert surround-sound recordings into a dramatically real headphone experience. Users can transfer the resulting two-channel WAV files to portable players, burn them to audio CD, or convert them to compressed formats such as MP3 for more portability.
• 5.1 WAV is a six-channel, 44.1kHz interleaved WAV file. Users can drop these files into the free Fraunhofer MP3 Surround Encoder(http://www.iis.fraunhofer.de/EN/bf/amm/mp3sur/index.jsp). MP3 Surround files are completely backward compatible: They play like normal stereo MP3s in standard players, but expand into 5.1 channels in MP3 Surround players such as Winamp. These 5.1 WAV files also load into many DAWs and video editing programs.

Vortex Zoom Encoder runs on Mac OS X and Windows XP/Vista. The program operates in full-featured mode for 30 days and then reverts to a free player for Zoom H2 surround files, allowing users to hear their four-channel recordings through four speakers. Users can unlock and restore DTS, Binaural, and 5.1 WAV encoding for $25.

The Sound Guy has released ReSpatializer, an advanced panning, surround sound and spatialization plug-in. ReSpatializer supports up to eight input channels, each of which can be individually positioned.

Features:

• Selection of angle, spread and spin for each source
• LFE (low-frequency effect) tools
• 16 different output formats
• Host tempo sync for source rotation

ReSpatializer is available in VST and Audio Unit formats. The cost is US $99.

Details:

The panning is presented in an easy-to-use heads-up display with access to positioning, channel gain, mute/solo selection, and spreading. Other special processing includes variable-rate source rotation that can synchronize to the host tempo, low-frequency effect (LFE) tools for monitoring or bouncing to disk, and a large variety of output speaker formats (up to eight channels, DTS, Dolby, ITU, Film and others).

ReSpatializer also offers simulated surround sound through headphones. After mixing your tracks for various surround formats, you can create a binaural headphone mix. This simulation is achieved by utilizing precise measurements of the pinnae, head, and torso to realistically localize a sound source through two channels. ReSpatializer can also create a mix for stereo speakers.

System Requirements:

• Mac OS X 10.4.x or later (Universal Binary) or Windows 2000/XP/Vista
• 1 GHz or faster processor
• VST or Audio Unit compatible host program

Mix 51 is a set of 5.1 surround panning and mixing RTAS plug-ins that allow you to take advantage of any Pro Tools system with six or more outputs such as Mbox 2 Pro, Digi 002/003, or M-Audio interfaces such as the Delta 1010 or FireWire 410.

5.1 Surround Panning

Insert an unlimited number of Mix 51 Surround Panner plug-ins on mono or stereo tracks to pan and mix to the Mix 51 Surround Mixer plug-in busses. Each panner can mix to one 5.1 bus and to one quad effect send bus.

Each panner has its own volume, mute, solo, and send controls so you can create a professional, automated mix using Pro Tools plug-in automation. The panner features X and Y position controls, a center % control, divergence controls, and LFE level control. Each panner also features a quad-channel effect send that follows the main pan control for easy-to-set-up surround reverb and effects panning.

5.1 Surround Mixing

The Mix 51 Surround Mixer plug-in provides three independent 5.1 busses so you can manage submixes such as dialog, music, and FX. It also provides three independent quad effect send busses that make it easy to set up surround reverb and effects. Each bus features fully automatable volume, mute, and solo controls for flexible monitoring and mixing.

Surround Effect Sends

Mix 51 provides three, quad-channel effect send busses so you can set up surround reverb and delay effects using stereo Pro Tools plug-ins in pairs. The Mix 51 send busses conveniently appear as inputs on aux tracks organized as stereo front and rear pairs, allowing you to mix them into your final outputs.

Pro Tools Integration

Mix 51 is designed to smoothly integrate into Pro Tools LE by using the “auxiliary outputs” feature of Pro Tools. All Mix 51 Surround Mixer outputs appear as selectable mono and stereo inputs on Pro Tools tracks, allowing you to process and mix the busses with Pro Tools plug-ins and Pro Tools mix automation. Simply create three stereo auxiliary tracks, set their inputs to the desired Mix 51 Surround Mixer source, group them, and you have a 5.1 bus that you can EQ, compress, limit, and process with all your stereo plug-ins.

Mix 51 is compatible with Pro Tools HD so you can move your project to premier mixing facilities worldwide. Mix 51 is completely functional in Pro Tools HD so you can simply open the session and continue using Mix 51. Alternatively, you can migrate a Mix 51 based session’s automation tracks to Pro Tools native panning and mixing automation tracks by using the “special” copy and paste automation features of Pro Tools. Mix 51’s pan and volume controls use the same panning and volume tapers as Pro Tools HD so that you can copy and paste the automation and start using the powerful surround mixing capabilities of Pro Tools HD.

Requirements and Availability

Mix 51 is compatible with Pro Tools 7.0 and later on both Mac OS X and Windows XP systems. A fully functional 14-day trial demo can be downloaded at www.neyrinck.com. The download package includes a Pro Tools session using Mix 51 to demonstrate a 5.1 surround mix for a television commercial from director Evan Jacobs. Mix 51 can be purchased online at store.neyrinck.com and from professional audio dealers worldwide for $189 MSRP.

Designed for computer-based field and studio broadcast and recording applications, the SPS200 offers software plug-in A-Format to B-Format conversion, plus stereo and surround sound decoding and manipulation in place of an outboard control unit.

The most affordable of the SoundField Technology product range, the relatively lightweight SPS200 A-Format microphone uses the same established SoundField multi-capsule technology as the high-end models and offers many of the mpressive features of the company’s more expensive microphones. The SPS200 provides the ability to capture 5.1, 6.1, 7.1-channel audio and simultaneous stereo with variable width and to continuously vary the effective polar pickup pattern and orientation without moving the microphone.

The SPS200 comprises four low-noise, studio grade condenser capsules and weighs-in at less than 8 ounces (220 grams). Offering standard 48V phantom power, compatibility with all equipment is ensured through a provided short breakout cable that offers four line level outputs on balanced XLR connectors.

The first SoundField microphone to not require an accompanying outboard control unit, the SPS200 A-Format microphone relies on software for all format conversion, decoding and manipulation. The SoundField Conversion Lounge plug-in handles A to B-Format conversion and the SoundField Surround Zone plug-in looks after all aspects associated with stereo and surround sound decoding and manipulation. The software is compatible with Digidesign Pro Tools|HD and all PC and Mac DAW platforms that support VST Multichannel, including Nuendo, Cubase and Soundscape.

In addition to A-Format to B-Format conversion, the software supports many other features, for example allowing for 360-degree rotation and ±45-degree tilt control. A Zoom function gives the effect of zooming in or out from the sound source while End Fire re-orients the mic for end fire use rather than the more standard side address. An Invert function maintains the correct three-dimensional perspective in both surround and stereo when the SPS200 is suspended upside down above the sound source.

The software offers six modes for surround sound applications, including three 5.1 presets plus 6.1, 7.1 and 8-channel presets, with variable control of the front and rear width and rear polar patterns. In stereo mode, the software offers adjustment of polar patterns, stereo width and a high-pass filter as well as a Mid/Side (M/S) encoder.

Soundfield did not include pricing in its announcement.

Wave Arts has introduced Universal Binary versions of TrackPlug 4, MasterVerb 4 and WaveSurround 4 in the VST and Audio Unit formats, “Due to popular demand”.

We’re not sure about this, but we figure “due to popular demand” means that no one will buy your Mac software if it doesn’t run on any current Mac.

TrackPlug is a comprehensive, CPU-efficient channel strip featuring 10 band EQ, compressor and gate.

MasterVerb is an easy-to-use, silky smooth hall reverb.

WaveSurround is a 3D spatialization/stereo enhancer plug-in with sophisticated HRTF and crosstalk canceling technology.

Many users have found situations where they enjoy the simplicity of using the older version 4 counterparts, compared to our more fully-featured version 5 lineup.

The update is free to existing v4 customers, and can be found on the Wave Arts Downloads page.

Davis started his career as a tape op back in 1983, recording early demos with Tears For Fears for Polygram. He moved to Air Studios and then Westside where he became chief engineer. After going freelance he engineered Mike And The Mechanics’ The Living Years LP, which was the start of a long relationship with Genesis.

“I’ve just kind of stayed within the family,” he says. “Once they find people they like to work with they stick with them. I’ve done some of their live albums and produced a couple of their later albums. They decided to remix the catalogue in 5.1 and it’s been a fantastic project, albeit one that’s been almost three years in the making!”

The Remastering Process

“Various members have been more or less involved,” Davis continues. “Tony Banks very much so. He’s come in and heard every mix and helped me finish them off. Mike [Rutherford] has heard about 20-30%. Steve Hackett has been very good on the stuff he’s on and Peter Gabriel has been very good too. Phil Collins has probably been the least involved and has just let us get on with it. He trusts us not to f*ck it up!”

Nick’s idea was to keep the new processing in keeping with the original recordings so he didn’t bring in too much digital processing, choosing instead a host of analog gear including a Focusrite ISA215 EQ.

Towards the end of the mix process, Nick took delivery of a Liquid Mix which helped in some of the more unusual areas of the project.

“I used the Liquid Mix for some rarity stuff and bootleg material that came in from various sources around the world. One of them was this interview Genesis did for an American chat show in the 70’s and the sound on it was terrible, so I used the Liquid Mix to EQ and compress that for the DVD. I do like having so many compressors and EQs on hand to switch between, and I love the fact that the processing is on board. It is a big selling point that the box doesn’t drain your computer processing power.”

So how does Nick feel about the project as he listens back to the masters?

“It is fantastic,” he says. “I know I would say that as I’m working on it, but I’ve just been listening back to And Then There Were Three. It’s not my favourite album but it does sound fantastic. Some of the big moments are very exciting.”

And what does he have planned for the future?

“Who knows, nothing’s released yet so no one knows what I’ve done! I’ve always been into Genesis and Pink Floyd as I grew up with them. If someone asked me to do Floyd’s Wish You Were Here I think I might take them up on it!”

Nick’s 5.1 Mix Philosophy

“A lot of it is finding the tapes, preparing and copying them. It’s not just about the mixing. And now we’re into the mastering stages it’s listening to the masters and checking that there are no errors on them. Once you take all of that into consideration it’s probably two to three months work per album.”

“I try and avoid doing anything gimmicky. It’s great with Genesis because they have these big moments and you can just get a load of stuff out of all the speakers but I generally don’t like stuff flying around too much. For example I would usually have the drums at the front or half way but never all the way behind you. The other thing with 5.1 is if you spread it too much you actually lose the power. It’s a bit like people saying mono sounds more powerful than stereo because with mono it’s concentrated in one area. So if you start spreading it too much in 5.1 you sometimes lose the power because it’s the way that it sticks together that makes it sound as powerful.”

Originally developed for TC Electronic’s flagship System 6000 high definition processor, UnWrap facilitates smooth and fast stereo to 5.1 up-conversions when there is no time to do a conventional 5.1 mix or multitrack source material is non-existent. The UnWrap plug-in is available for PowerCore VST at EUR 950 retail ex. VAT and for Pro Tools|HD Accel at EUR 1250 retail ex. VAT. The Mac version of UnWrap is optimized for both PowerPC and IntelMac based systems.

UnWrap offers an array of parameters to convert stereo and LtRt sources to 5.1, while remaining faithful to the original mix’s width, timbre, spaciousness and other significant factors. Because of this approach the 5.1 output can be subsequently down- mixed to stereo again with no sonic penalties.

UnWrap includes customized up-conversion presets for film production and music mastering. The default presets include the capability to widen or narrow the image, specify envelopment, control the amount of center and LFE channels to be used, and several other aspects for dealing well with a wide variety of sources.

UnWrap uses 48 bit processing, has sample precision aligned outputs, and is capable of running at any sample rate between 44.1 and 96 kHz.

NAMM: Denon Professional announced the new DN-A7100 A/V Surround Preamplifier.

Designed specifically for surround sound decoding in installed sound, house of worship, broadcast, conference and studio monitoring applications, the DN-A7100 provides a flexible array of features suited for fully balanced 5.1 and 7.1 surround playback. This dedicated professional quality surround preamp was developed based on feedback from leading industry contractors and system integrators to incorporate the most sought-after features needed for today’s high-definition multi-channel formats.

The DN-A7100 is equipped with 7.1 unbalanced line inputs, 2 stereo balanced XLR inputs and 8 balanced XLR line outputs for ultimate quality and ease of integration whether used with multi-amped line array speaker systems, small boardroom installations, or active home theater/boardroom monitoring systems. All XLR connections are +4 dB/-10 dB switchable for added signal compatibility. Four Optical and two Coaxial digital inputs are also included. Additional HDMI 2-source video switching capability is included and employs integrated Convert to Component adaptability for transforming composite and/or S-video sources to component video without compromising video quality.

Featuring 192 kHz/24-bit Crystal DAC’s for all 8 channels and 32-bit digital surround processing chipset architecture, the DN-A7100 supports the latest in surround sound format playback options including Dolby Digital EX, Dolby Digital, DTS ES (Discrete 6.1, Matrix 6.1, Neo:6) Decoding, Dolby Pro Logic IIx (Movie, Music, Game) and Circle Surround II (Movie, Music, Mono). The DN-A7100 additionally features an AM/FM tuner, serial RS-232C remote capabilities for AMX/Crestron and other third party integrated control systems, HDCD decoding capabilities and XM Satellite Radio compatibility.

The Denon Professional DN-A7100 A/V Surround Preamplifier represents a complete solution for any surround sound application requiring superior sound quality and signal integrity, without the use of quality-degrading adapters or cumbersome consumer components not well suited for the job. Utilized as the main control interface for any surround monitoring system, the new DN-A7100 offers a practical and cost-effective approach to multi-channel audio distribution and playback.

The Denon Professional DN-A7100 A/V Surround Preamplifier ships February 2007 with a U.S. MSRP of $1099.99.

NAMM: beyerdynamic introduced the Headzone, a portable surround mixing system.

Using DSP technology, Headzone provides headphone-based 5.1 surround sound reproduction and is ideal for a variety of applications including studio, mobile recording and post-production.

For use with Headzone, beyerdynamic has added “Headtracking” technology to its popular DT 800 PRO headphones. This ultrasonic-headtracking system locates the orientation of the listener’s head with respect to the source material and adjusts the audio accordingly. An engineer recording with Headzone can move around while the source material remains fixed in position as if they were in a 5.1 control room.

“Headzone’s portability and small size offers an affordable, flexible and space-saving alternative to mix surround sound in live situations,” explains Paul Froula, Pro Audio Business Manager. “It eliminates the need for six or seven speakers set up in the proper locations in a room in order to do a live surround mix. You just connect the Headzone to your Mac, PC or analogue inputs and instantly are ready to monitor in surround.”

The system features a 5.1 digital firewire input and 6 discreet analogue inputs. In addition to being compatible with Logic and Pro Tools, Headzone also comes equipped with an advanced room simulation software, which allows the users to create an ideal auditory space within which to monitor the surround audio and, therefore, provide the optimal “sweet spot.” Users can adjust the parameters of their room for size, ambiance level and distance their head is away from the loudspeakers. The software also allows for adjustment of the surround channels and overall mix.

Five additional plug-ins handle common surround mixing tasks:

• Rotator moves a 6-channel mix in a circular fashion – allowing the point of view to follow the on-screen action.
• ReRoute changes the output channels of the audio to match the system’s internal routing.
• FoldDown gives you the ability to check your surround mix in stereo, with center channel and surround channel gain reduction.
• ReBalance is a simple set of level controls for each of the surround channels.
• LFE-6chan is a low-frequency generator/adjustor.

These tools are not intended as a replacement for a skilled engineer. When used as part of an engineer’s toolkit, however, they can aid in the creation of a deep, immersive mix. UpMix promises to be a new kind of tool that increases productivity and ease in professional surround production.

Price and Availability: UpMix will be available in the first quarter of 2006 from Cycling ‘74 and its dealers and distributors. US suggested retail price is $495.

More information is available at the Cycling ‘74 site.

MP3 SX enables listening to two-channel content in surround and guarantees playback with a stable localization of vocalists and solo instruments even off the sweet spot. Additionally, MP3 SX presents the feeling of envelopment by using the ambience sounds already present in the stereo source.

Traditionally, surround sound has been primarily limited to loudspeaker setups in living rooms or theaters. With the Ensonido technology, the individual listening experience through portable MP3 Surround players and stereo headphones is enhanced. To achieve this, an acoustic model simulates the natural transmission of multi-channel sound from the loudspeakers to the human ear.

MP3 Surround enables high-quality surround sound at bit rates comparable to those currently used to encode stereo MP3 material. It is backwards compatible to stereo MP3; a legacy MP3 device plays back MP3 Surround as high quality stereo.

MP3 Surround was developed by Fraunhofer IIS in collaboration with Agere Systems, introduced in December 2004 and is licensed by Thomson, co-inventors of the MP3 codec.

Demo software of these two new enhancements to the MP3 Surround technology are now available and can be downloaded for free at www.all4mp3.com.

Features:

• Integrated 640×480 high-resolution color LCD touchscreen
• Two touch-sensitive joysticks with associated Punch buttons
• Two touch-sensitive rotary encoders with 15-segment LED rings
• Six Mode buttons for each panner
• Direct control over panning and divergence via touchscreen, joysticks, or encoders
• Custom Assign mode for controlling non-pan-specific parameters with the touchscreen and joysticks
• AutoGlide automated panning features
• Touchable on-screen speaker icons to place sounds at discrete sources and “snap” automation moves

Multiple Panning Options

Developed for mixing in all surround formats, the Surround Panner provides post and music mixing professionals with multiple, ergonomic methods for moving sound throughout the surround field. ICON operators can use the high-resolution color LCD touchscreen to enter snap automation moves or place sounds with touchable on-screen speaker icons. Surround Panner also includes two touch-sensitive joysticks and two encoders, which feature 15-segment LED rings. Meanwhile, a cluster of hardware and software buttons make accessing parameters and assigning targets easy.

Pro Tools Integration

Surround Panner works with Digidesign Pro Tools software to deliver robust capabilities for automated panning. A new AutoGlide function pans sounds automatically from one position to the next, helping to move sound in time. Direct support for new glide automation functionality enables precise off-line automation as well.

Custom Assignments

Custom assignments of non-pan-related controls make Surround Panner a useful tool for post mixers, sound designers, and music mixing engineers alike. For example, the operator can assign gain and frequency of an EQ to X and Y axes on the Surround Panner to achieve dramatic filter sweeps with a finger tip.

The Surround Panner will work with Digidesign Pro Tools TDM 6.9.3 software and higher. Macintosh systems require Mac OS X 10.4.

Absynth 3 is the latest reincarnation of what is one of today’s most creative and capable synthesizers. Absynth 3 is now fully surround-enabled, offering the most comprehensive and versatile multi-channel implementation of any available synthesizer. Powerful new oscillator functions and additional integrated effects further expand its sonic capabilities, while a versatile live input function turns Absynth 3 into a superlative real-time sound mangling tool.

The Absynth 3 demo is now available as a free download for Windows and Mac OS X on the NI Absynth website.

Symbolic Sound

Using a Wacom Tablet as a 3-D Sound Control Surface

Sound designers can use a Wacom pen and tablet to perform creature voices or match SFX to picture. Musicians can quickly and intuitively explore the parameter space of a patch or even perform the tablet as a new musical instrument.

“Our goal is for sound designers and musicians to be able to shape sounds with their own hands. The human hand is virtually a direct connection to the human brain,” said Symbolic Sound president Carla Scaletti. “Using your ear and your hand, you can explore and refine sound design patches with incredible speed.”

With the Wacom Intuos3 or Graphire3 pen tablets, sound designers and musicians can use the eraser-end of the pen to simultaneously control up to 8 sound parameters using pen position plus (on the Intuos) pen tilt. You can map any sound parameter to pen orientation by using the Pen Status window.

By flipping the pen over, musicians can use the tablet as a continuous microtonal musical keyboard, sending KeyDown, KeyPitch (left/right), KeyVelocity (up/down), plus an additional key event called KeyTimbre (front/back). Sounds designed for the Continuum Fingerboard are fully compatible with Sounds designed for the Wacom tablet in keyboard mode (and vice versa).

New Oscillator Flavors

The new Kyma Oscillator generates the full range of sound, from a single impulse, to a formant-shifted tone, to the classic continuous waveform oscillator. By giving you control over the duty-cycle of any waveform (independently of the fundamental frequency), this new oscillator can be used to synthesize anything from granular pops and pulses to the familiar continuous analog waveforms.

A new CrossFadingMulticycleOscillator allows you to smoothly interpolate between any two waveforms over the course of a single cycle.

Inspired by revolutionary composer/architect Iannis Xenakis, the XenOscillator lets you define a waveform by adjusting any number of “breakpoints” and interpolating between them with straight lines, curves, or if you prefer, “raw” with no interpolation at all. You can even use the Wacom pen to redraw the waveform of the oscillator while it is playing.

Sound Parameter Vector Spaces

Using the new PresetSpace module, you can define a 1, 2 or 3 dimensional subspace by placing the presets of a Sound on the vertices of a line, a square, or a cube. You can then move through that space by interpolating between those endpoints.

A related module, InterpolatePresets, treats any number of presets as points in an n-dimensional space and then allows you to travel along a line connecting those points. In effect, you are controlling any number of faders with a single master fader that interpolates between presets. Use this module to perform your patches live on stage, sequencing through them in order or jumping from one patch to another as you improvise with other performers.

Combining these spatial modules with the Wacom tablet control opens up a whole new way of performing, composing, and improvising with sound. The tablet can detect the pen through a sheet of paper, so you can even create your own 2-dimensional scores or maps for improvisation, lay them on the tablet, and perform them live.

Timeline Controller Overlays and other additions

In the Timeline you can now view multiple automated controllers from multiple Sounds, allowing you to more easily coordinate controllers with each other.

Pricing & Availability

Kyma X.1 is available as a free upgrade to registered Kyma X owners.

Wacom Graphire3 and Intuos3 tablets are available direct from Wacom and can also be found in most computer and electronics stores (both physical and on line). Registered Kyma X owners can purchase an Intuos3 4X5 pen tablet and wireless mouse directly from Symbolic Sound.

Tablets ordered from Symbolic Sound include a special plastic overlay providing an XYZ grid, polar coordinates, and the halfstep markers for a two octave continuous pitch keyboard.

If you already own a Graphire3 or Intuos3, you can print and laminate a copy of this template from PDF files supplied by Symbolic Sound (or use these templates as a starting point for designing your own personalized overlays and grids).

Kyma X.1 runs under Macintosh OS X, Windows XP, and Windows 98/ME/2000 and Macintosh OS 9.2. Wacom Graphire3 and Intuos3 USB versions are supported under OS X and Windows XP operating systems only (no support for OS 9 or Windows 98/ME/2000).

For more information, visit the Symbolic Sound site.

MP3, the world’s most popular audio compression format, goes multi-channel. Scientists and engineers from Fraunhofer Institute for Integrated Circuits IIS, who developed MP3 together with their colleagues from Thomson, the exclusive licensing representative for their MP3 patents, and Agere Systems, have joined to launch MP3 Surround into the consumer and commercial markets. This technology will enable 5.1 channel surround sound for a broad spectrum of applications including web-based music distribution, broadcasting systems, PC-related audiovisual or gaming applications, consumer electronics and automotive systems

MP3 Surround supports high-quality multi-channel sound at bit rates comparable to those currently used to encode stereo MP3 material, resulting in files half the size of common compressed surround formats. At the same time, the new format offers complete backward compatibility to any existing MP3 software and hardware devices.

Attracting attention at several recent events and fairs, the new MP3 Surround format has become eagerly anticipated by the vast MP3 user community. The web site www.mp3surround-format.com now provides users immediate download access to free MP3 Surround evaluation software, demo samples and detailed technology information

Thomson, which has partnered with Fraunhofer IIS since the launch of MP3 in 1992, is adding Fraunhofer Institute’s new MP3 Surround technology to its licensing program.

“The free MP3 Surround evaluation software will enable everyone to test the latest feature of the digital audio standard. We encourage music artists, engineers and producers to experience this new multi-channel audio format and realize the benefits of its portability and backward compatibility,” said Henri Linde, Vice President, Growth Initiatives, Audio & mp3 program of the Intellectual Property and Licensing unit for Thomson

The evaluation encoder enables the creation of MP3 Surround material out of five or six channel “.wav“ files. The Fraunhofer IIS MP3 Surround player is capable of decoding and playing back the surround format’s files as well as stereo MP3 material. This software-only solution runs on any standard PC with multi-channel audio capabilities.

MP3 Surround was developed by Fraunhofer IIS in collaboration with Agere Systems. Using a psychoacoustic technique called binaural cue coding, MP3 Surround captures the spatial image information of multi-channel sound. This method is critical in achieving the compact file size that MP3 users expect.

“We are delighted to advance MP3 into the area of multi-channel audio, with the help of Agere Systems. As surround sound is increasingly gaining importance in the marketplace, we are confident that MP3 Surround will attract the attention of music production professionals and consumers alike,” comments Juergen Herre, Chief Executive Scientist at Fraunhofer IIS.

“Together, Fraunhofer IIS and Agere are developing technology that will contribute to the delivery of a compelling compressed multi-channel audio solution,” said Peter Kroon, chief multimedia architect for Agere’s Mobility business. “This work is part of Agere’s overall commitment to provide advanced multimedia technology that enables consumers to stay connected.”

The evaluation period of the MP3 Surround encoder will expire on the 31st of December 2005, while the Fraunhofer IIS player will continue to remain fully functional. The use of the software is allowed for personal and non-commercial purposes only. Professionals can license MP3 Surround from Thomson at www.mp3licensing.com.

http://www.iis.fraunhofer.de/amm/download/mp3surround/pressrelease.html