Immersive Audio

The processor provides 128 audio inputs and outputs at 48 kHz. Depending on the system configuration, audio connectivity is provided via MADI or Dante/AES67.

The processor provides 96 matrix inputs, 128 object paths and up to 24 Source Areas. In addition to the object and Source Area levels, a direct matrix is available for quickly connecting inputs and outputs. Gain and delay for each individual crosspoint can be freely configured for maximum flexibility.

This makes it possible, for example, to quickly integrate a production talkback microphone, a guest mixing console or early reflections from a virtual orchestra shell, even in complex setups.

Internal sources such as matrix, objects, Source Areas, Reverbs and Cue Player are automatically summed across 128 output paths. The output paths are equipped with EQ and limiters and can be freely routed to the physical outputs.

VIVACE.fx supports 3D audio and directional sound reinforcement within a shared workflow. For object-based mixing, the objects renderer provides five different 3D algorithms.

The venue view enables visual control of the positions of objects and source areas. For better orientation, custom virtual rooms can be imported. An extensive OSC implementation supports creative and application-specific workflows.

For full control over all audio signals, the input and object paths provide gain, EQ and a dynamics module.

Source areas are used for directional sound reinforcement and are positioned in 3D space. The assignment of an object to a source area is determined by the rendering algorithm and the object position. An algorithm optimised for sound fidelity and directional localisation defines level and delay in a source area matrix. The transition characteristics of objects between source areas can be adjusted.

Decades of experience in electronic room acoustics meet immersive audio technology in VIVACE.fx. Up to eight Reverb Engines are available simultaneously. A selection of more than 30 convolution algorithms ranges from short rooms and concert hall characteristics to churches and artificial, non-natural reverberation types.

The plug-in-style operation of the engines is simple and intuitive, while still allowing very precise parameter settings. The source position of each engine can be freely defined in 3D space.

The audio sources feeding the Reverb Engines can be selected from input channels, objects and Source Areas.

An ADM-compatible cue player plays WAV files with up to 128 channels and renders object and bed data to any loudspeaker setup.

Automatic file transfer between the processor and the control software ensures that audio data remains reliably available.

The user interface is designed for fast, reliable operation and can be adapted to the different workflow stages of a production.

The main menu buttons provide access to all sections of the processor, each of which can also be displayed individually in external windows. Large, permanently accessible master faders ensure direct access to the overall level as well as to key sections of the system.

The mixer view provides fast access to all signal paths and gives an overview of level, mute and solo status. A support window provides notes and guidance for the currently selected functions.

VIVACE.control can be used offline without hardware, for example to prepare project files.

Project files are stored and managed in the control software. The processor does not have its own storage system. All project parameters are saved in the project file.

For fast parameter changes, a flexible scene memory is available, which can affect either all parameters or only selected parameter areas. Individual parameters, such as filter settings, can be quickly transferred within the system using the snapshot function.

The OSC protocol is extensively integrated into VIVACE.fx and enables flexible connection to external control systems.

The commands are largely based on the Dolby ADM standard for object control and have been extended with system-specific commands such as scene control and master faders. This allows mixing consoles, digital audio workstations, tracking systems and creative software tools to be quickly integrated into the workflow.