In 2015, he was hired permanently as a sound department manager by Théâtre de Chaillot, hosting two halls: Jean Vilar and Firmin Gémier. A former electro-acoustic composer, musician and sound engineer, Piéra then worked as a freelance electro-acoustic multi-diffusion consultant for prestigious French institutions like Bibliothèque Nationale, Museum national d’histoire naturelle, Théâtre de la Cartoucherie, Théâtre de la Cité Internationale… and he often specified Amadeus speakers. One of the first HOLOPHONIX systems was installed in Paris’ Théâtre National de Chaillot, under the supervision of Marc Piéra, a long-time Amadeus user. The processor also includes around 100 head-related transfer functions (HRTF), available in the SOFA file format.
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A binaural rendering algorithm is available to help engineers and producers prepare their production using a conventional pair of headphones, giving them the experience of a full 3D image of their mix, and to design sound object trajectories. The user can automatically spread multiple objects on a surface, customise an object’s appearance, and manipulate speakers on-screen to optimise their placement according to the selected spatialisation algorithm etc. Virtual objects (sources) must be created, each assigned to a physical (Dante) input and sent to spatialisation buses (up to six for each source), then output buses are affected to physical output channels. To create a HOLOPHONIX session, the first step is to position the speakers in the graphical interface, exactly as they are placed in the room. The HOLOPHONIX signal path is based on five elementary objects: physical inputs, virtual sources positioned in space on-screen, spatialisation buses using their own algorithms, direct routings to send signals to amplifier channels, and loudspeakers (spatial position is precisely documented in the software). It natively handles 128 inputs and 128 outputs in 24-bit/96kHz resolution, but can be extended to 256 or 384 inputs and outputs.
The input/output matrix of the HOLOPHONIX processor allows the user to choose the rendering mode for each of the incoming channels. HOLOPHONIX is OSC-compatible, Dante-compatible, and can also be configured on request for MADI, RAVENNA, or AES67 formats. 3D reverberation algorithms are included too. The HOLOPHONIX processor offers a quasi-unlimited number of spatialisation buses, each one able to run one of the 13 different sound algorithms available, designed at IRCAM-based STMS Lab, including: Higher-Order Ambisonics (2D, 3D) with A-format and B-format compatibility, Vector-Base Intensity Panning (2D, 3D), Vector-Base Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY and Binaural. Regular 2D venue drawings can also be imported into the GUI and shown as axonometric projections appearing to be rotated to show all three dimensions. It offers a three-dimensional visualisation of the venue, easing live monitoring and user interaction with all sound objects, speakers, and other various parameters. The HOLOPHONIX Controller application is compatible with all devices operating systems with a web browser, including iOS, MacOS, Windows, and Android-based environments. The hardware is an audio server with keyboard, mouse and monitor connectors, and is operated via a web browser graphic interface. Michel Deluc, Amadeus senior designer, worked closely with software designers Thierry Coduys, Guillaume Jacquemin (who developed the IanniX graphical sequencer) and Johan Lescure to imagine HOLOPHONIX’s graphic interface.
It was co-designed with the Paris-based IRCAM institute, an Amadeus long-time partner, and integrates many spatialisation algorithms developed there.
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