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aXPlugins – Apple Silicon Native Update

Pro Tools 2023.3 provides native support for Apple Silicon which looks like it provides some seriously impressive performance improvements. I am also happy to announce that all of the aXPlugins now also run natively on Apple Silicon. If you are an existing customer you can download the updates from the Downloads section of your account.

The plugins have been compiled as Universal Binary 2. That means that you can now run aXPlugins on your M1 or M2 Mac. Or if you use an Intel Mac you’ll still be able to use the most up-to-date version. So whether you’re using Intel or Silicon, Reaper or Pro Tools, for your spatial audio you can get the best performance for your machine.

As an additional update, I have been working on some major updates to the whole set of plugins. Those updates are taking a while but will be worth the wait. However, I am planning some smaller updates to the plugins in the near future. Keep an eye out for them in the weeks and months to come!

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Tonnerre et Cavalcade: Spatial Audio in a Garden

The Château de Fontainebleau is hosting an outdoor contemporary art exhibition and I had the honour and pleasure of contributing to one of the installations.

The installation is called Tonnerre et Cavalcade and was conceived by sound artist Sébastien Jouan. It is a 15 minute multichannel composition that augments the natural sound field and is linked to the physical surroundings (such as a lightning-struck tree!). It is the only sound installation out of the many pieces being hosted!

I worked on the spatialisation of the piece along with various other elements of technical support, working with Sébastien to create a sense of immersion and a spatial narrative.

Grandeur Nature is currently open to visitors and runs until 17th September. Visit the Grandeur Nature page for more information on how to visit.

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Urbanozoo – Street Art and Spatial Audio

This month the Incursions Sauvages (Wild Incursions) exhibition opened at the Musée de la Chasse et de la Nature (Museum of Hunting and Nature) in Paris. This exhibition, which runs from 11th April to 12th September 2022, includes the work of seven street artists whose visual works blur the line between nature and city, bringing animals right into the museum. These are worth seeing on their own but Incursions Sauvages has the added bonus of incorporating an immersive audio artwork!

I had the great opportunity to work with acoustician and sound artist Sébastien Jouan on the Ambisonic sound installation. Urbanozoo!, by Sébastien, was composed the piece to echo the images in two of the visual artworks (by war! and Jussie TwoSeven) with which it shares a space. Urbanozoo! uses urban and wild sounds to create a unique narrative in which the urban sonic environment is drowned under the sound of a stampede and the cries of animals.

My part in the project was to spatialise Sébastien’s composition, as well as to take care of the technical playback side. For the spatialisation, Sébastien and I worked together to place and balance the sounds so that they told the story of his composition and matched the visuals of the street art. The audio was mixed in first-order Ambisonics for playback over a square of loudspeaker. In addition to the artistic work, we had the technical challenge of ensuring that audio was wireless, since we could not run cables along the floor.

The final result stands on its own but the experience is heightened when listening in the museum, surrounded by the works of war! and JussieTwoSeven. If you are in Paris, I highly recommend that you visit the museum to hear Urbanozoo! for yourself.

You can read more about it on the museum’s website (in English and French).

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Recreating Notre Dame’s Acoustics

Earlier in the year I was part of a team carrying out a preliminary study on a system that can be used to place musicians in virtual spaces in order to study the impact of acoustics on performance. This was part of the Experimental Virtual Archaeological-Acoustics (EVAA) research umbrella project led by Brian FG Katz at Sorbonne University, Paris.

The study used a bespoke plugin I developed that allows for the directivity of the source to be modelled, including its orientation in real-time. This lets the musician perform and interact in as realistic way as possible with the acoustic space. We had several singers who had experience singing in Notre Dame de Paris before the fire of 2019, placed them in a virtual Notre Dame and asked them to sing so we could have feedback on the quality of the reproduction (from mic-ing, DSP and loudspeaker/headphone playback). It was quite something to have private performances of wonderful singers in “Notre Dame”.

The study was run with Nolan Eley, Sarabeth Mullins and Brian FG Katz. You can read the paper (open access) here. There’s also a nice video presentation of the work by Nolan available on YouTube.

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25% Discount September 2020

A short post to announce that I am running a 25% discount on all plugins and bundles for the rest of September 2020.

You can pick up any of my plugins with maximum spatial resolutions of 1st-, 3rd- or 7th-order, depending on your requirements. For example, if you’re working with 1st-order microphone recordings you don’t need the higher order plugins for processing.

And, as usual, you can get all the plugins for a particular order in one of the bundles that already have a large discount compared to buying all plugins individually.

Stay safe out there,
Peter

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Plugin Updates and New Plugin (Beta)

All of the plugins in aXPlugins suite have been updated with new features, stability, and bug fixes. Here is a summary of the biggest or most interesting changes.

  • All plugins – All plugins can now have their license deactivated so you can move it to another computer. Simply hit the “SSA” logo at the bottom of the GUI and click to deactivate the plugin. If you are using Offline activation you will need to connect to the internet in order to deactivate your plugin.
  • All plugins – the number of activations available per license has increased to 5. One license still covers only a single user.
  • All plugins – the plugins are now installed using installers so you no longer have to copy the files to the plugin folders. All plugins are now automatically installed in the recommended system folders depending on their type (AAX/AU/VST3) and the operating system (Win/Mac).
  • All plugins – the Mac .pkg installers are now Notarized by Apple meaning the plugins should install without any warnings from Gatekeeper on Catalina (macOS 10.15). Please get in touch if you have any issues.
  • aXRotate – Yaw, pitch and roll can now be received via OSC messages. Select your desired port number (double click to enter) and click Connect. Click Show More to see the message format expected by the plugin as well as the incoming messages to your selected port.
  • aXDeesser – Some bug fixes.
  • aXEqualizer – Fixed a bug where changing a filter band at low frequency could cause the plugin to become unstable. Fixed another bug where loading a preset from the DAW would cause the UI markers to become unlinked from the audio.

To get the updated version of your plugin just head over to the Downloads section of your account page.

Please note: Because the updates now use installers, you should manually remove any previous versions of the plugins from you DAW plugin path, especially if you have used custom paths in the past.

New Plugin Beta Release

If you have bought one of the plugin bundles then you will find a beta version of a new plugin with the download from your account – aXLimiter! As the name suggests, this is an Ambisonic limiter with input gain, ceiling, look-ahead and release time (with option for auto).

Anyone who has bought a bundle will get aXLimiter for free when it is officially released.

The display shows the peak across all Ambisonic channels for the output (blue) and the input with gain applied (red). The amount of gain reduction over time is shown in white and in the meter to the bottom right.

I would be very happy to hear your thoughts and experiences using it, especially if you run in to any bugs.

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New Plugin: aXDeesser

Today I am happy to announce a new plugin: aXDeesser. As the name suggests, it is a de-esser made specifically to be used on Ambisonic signals. It is available in VST3 format (Windows and Mac), AAX (Windows and Mac) for Pro Tools | Ultimate, and AudioUnit (Mac).

As with the other plugins in the aX range, the aXDeesser is available in first-order, third-order and seventh-order variations. You can pick the one that fits your needs. The introductory price is 50% of the standard price. It costs 10€ for first-order, 20€ for third-order and 40€ for seventh-order (excluding VAT/sales tax).

You can also get the aXDeesser in the aXBundles. If you have bought any of the bundles in the past then you can head over to the downloads section of your account to get it for free! Just download the latest bundle and you will find the aXDeesser with your other plugins.

Why an Ambisonic De-esser?

Processing Ambisonic signals has to be done carefully to avoid changing or destroying the spatial properties of the sound field, so you need a de-esser that is designed with this in mind.

The aXDeesser also takes advantage of the spatial information provided by Ambisonics to allow you to focus on specific regions of your sound field in order to trigger the de-esser processing, giving you even more control over your processing. Effectively, you use the virtual microphone as a side-chain signal to activate the de-essing processing on the full signal.

Who needs an Ambisonic de-esser?

You can use the aXDeesser on any Ambisonics stream, but it is most useful if you are processing signals recorded with Ambisonic microphones. Anyone working on complete mixes where access to mono-encoded sources are no longer available will also find it useful.

If you have a recording made with a first-order microphone, such as the TetraMic or Sennheiser AMBEO VR mic, then the a1Deesser will fit your needs. The a3Deesser will allow you to de-ess recordings from the OctoMic or Zylia microphone. The a7Deesser is overkill for recordings made with an Ambisonic microphone, but can be used on full mixed scenes or if used creatively.

So, if you have a recording made with an Ambisonic microphone then the aXDeesser is the perfect tool for de-essing. You can tame excessive sibilance, at the same time preserving spatial fidelity.

How does it work?

The plugin has two modules – a virtual microphone and the main de-esser module. The virtual microphone captures a signal that is used to feed the de-esser’s detection algorithm. When the microphone signals activates the de-esser, the processing is applied to the whole sound field.

You can control the direction of the virtual microphone, along with the focus. The focus essentially controls how directive the microphone is, with the maximum directivity depending on the Ambisonic order of the signal received by the plugin. The incoming signal order is shown in the bottom left of the plugin GUI. A focus of 0% gives an omnidirectional microphone response. Focus of 100% gives a cardioid response for a first-order signal and the beam narrows as the input order gets higher. The meter on the left of the GUI shows the level of the virtual microphone signal.

The de-esser has all of the usual controls you would expect to find. You can set the frequency, the bandwidth, level, compression ratio and attack and release times. The meter on the right of the GUI shows the gain reduction being applied to the sibilance band.

Interested?

Does all of that sound like something that could be useful to you? If so, head over to the shop by clicking below. By buying from this website you will be helping support independent development of spatial audio tools. Thanks for your support!

aXDeesser – Ambisonic De-Essing Plugin

The aXDeesser is a de-essing plugin that can be used on any AmbiX-format (SN3D/ACN) Ambisonic signal. It allows the signal within a particular band to be compressed and can be driven by the signal from a virtual microphone with user-defined direction.

20.00€ – 80.00€ excl. VAT
Shop now
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New Prices and Plugin Updates

It has been a while but now I have plenty of news to share!

New Prices

First up (as you probably saw in the big image at the top!), if you head over to the shop, you will see that all of the plugins have new, lower prices. I think you’ll find them quite attractive. By buying a plugin you will be supporting the independent development of spatial audio tools. The more interest there is in the plugins, the more time I can spend making improvements, adding new features and developing new plugins.

Offline Activation

All plugins can now be used offline. You just need to be connected to the internet the first time you activate the plugin. Then, from that point on you should not need an internet connection to use the plugin. Easy! A lot of users requested this, so I am really glad to be able to release it.

You can finally work with your spatial audio projects on the plane!

Plugin Updates

I am always working to try improve the plugins in any way I can. Here are a few of the improvements:

  • VST to VST3 – The plugins are now available for VST3 instead of VST. VST3 is now the only format supported by Steinberg, so I wanted to make the move early. After polling users, it appears that most are using the VST3-supporting Reaper as their main spatial audio DAW. The VST3 plugins should automatically replace the VST versions in old projects but I cannot guarantee this, so you should not delete the older versions of the plugins that you might need.
  • aXEqualizer
    • improvements to the filter algorithm for less CPU use.
    • GUI now displays the pre- and post-EQ spectrum.
  • Performance improvements – I have added small performance improvements to most of the plugins. This is an ongoing project so I hope to be able to speed things up even more in the future.
  • GUI – All plugins have had the way they display the measurement units updated. These are now included alongside the parameter value, rather than in the label.

Coming Up…

I have a few new plugins coming up of various complexities. One is quite simple and the others are more ambitious and exciting. The simple plugin will be out sooner rather than later. The other will require some beta testing. If getting your hands on some plugins early is something you are interested in, get in touch in the comment section or send me an email.

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New Research: Adapting to HRTFs

I spend most of my time working on my plugins or developing new tools for clients to use in their projects and products. But sometimes I have the chance to be involved in fundamental research.

A paper I co-authored with Brian Katz (Sorbonne Université, Paris) and Lorenzo Picinali (Imperial College London) was published earlier this year in Scientific Reports by Nature. If you want to read the paper, head over here – it’s Open Access so you can read it for free!

The title is: Auditory Accommodation to Poorly Matched Non-Individual Spectral Localization Cues Through Active Learning.

The paper looked at how well people can adapt to an HRTF over time with training. We then looked to see if, over time and without training, they would retain the localisation abilities they had gained. The “twist” was that we gave subjects an HRTF that was initially badly rated for them. We did this in order to investigate the worst-case scenario for content distributed without HRTF choice.

Studies like this are important for spatial and immersive audio because it still seems like it will be a while before consumers can have customised HRTFs. This means there will always be some people listening through an HRTF that is not well suited to them. If we can find ways to adapt users to these HRTFs then we can go some of the way to alleviating this problem.

Reference

Stitt, P., Picinali, L., & Katz, B. F. (2019). Auditory Accommodation to Poorly Matched Non-Individual Spectral Localization Cues Through Active Learning. Scientific reports, 9(1), 1063.

Abstract

This study examines the effect of adaptation to non-ideal auditory localization cues represented by the Head-Related Transfer Function (HRTF) and the retention of training for up to three months after the last session. Continuing from a previous study on rapid non-individual HRTF learning, subjects using non-individual HRTFs were tested alongside control subjects using their own measured HRTFs. Perceptually worst-rated non-individual HRTFs were chosen to represent the worst-case scenario in practice and to allow for maximum potential for improvement. The methodology consisted of a training game and a localization test to evaluate performance carried out over 10 sessions. Sessions 1–4 occurred at 1 week intervals, performed by all subjects. During initial sessions, subjects showed improvement in localization performance for polar error. Following this, half of the subjects stopped the training game element, continuing with only the localization task. The group that continued to train showed improvement, with 3 of 8 subjects achieving group mean polar errors comparable to the control group. The majority of the group that stopped the training game retained their performance attained at the end of session 4. In general, adaptation was found to be quite subject dependent, highlighting the limits of HRTF adaptation in the case of poor HRTF matches. No identifier to predict learning ability was observed.