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Live Performance
As previously mentioned, the X-Spat system's capacity to recalculate all that is necessary to reproduce the same Spatialisation each time you change the number and position of your speakers, creates new production possibilities for live use of the multi-track. Therefore the dividing line between production and performance can be made even thinner thanks to Spatialisation, which makes it easier to transfer the spectacular effect of a performance from Live to DVD. However, operative requirements are still an essential factor and they are certainly different in the two working environments. This is another reason why A&G provides two different types of software with the card. The one for live applications is IMEASY X.
IMEASY X uses various types of interactive markers to control in real time Spatialisation and MIDI as data transmission protocol, but also as control for each single node of its trajectories. So we recommend the use of this item of software, even as “slave SMPTE” of your favourite application, for your installations or multi-track audio performances.
Keep in mind that X-Spat can also simulate the virtual position of one or more audio files, not just their movement. For example, you can successfully simulate the presence of a noise on stage, even if the speakers are installed around the audience. X-Spat considers the speakers as emission points (literally, i.e. as dots: please refer to the central-middle part of the speaker to calculate its positioning). The cabinets can be placed wherever you prefer in the real environment to be spatialized. Theoretically all the speakers could be bunched together! Naturally it's best to place them around the audience and create two or more levels of positioning at different heights, for a better result with three-dimensional trajectories.
We have observed that the most advisable arrangement for live performances, using the basic version of the system in traditional environments like theatres and halls, is as follows: 4 speakers positioned at a height of 1 meter, at the corners of a square and four more in the same positions but 2 or 3 meters higher. This is just a suggestion and you may experiment to find better solutions. Each show or installation is different, but your X-Spat system will adapt to almost any situation.
X-Spat inputs can be moved manually in real time, even while play is synchronized to an exter-nal SMPTE code. However, you must consider that the tools of the sequencers controlling X-Spat require the use of the mouse, which naturally is two-dimensional. The best solution could be to use an external three-dimensional controller like A&G's •TheBat • or to use predetermined trajectories, originally two-dimensional, but modified step by step through the Z parameter.
Production of Spatialisation ™
The specific Spatialisation ™ designed for an environment can always be digitally recorded on an ADAT compatible or other similar multi-track recorders. If you are sure that all the parameters of the environment where Spatialisation ™ is being used are invariable, you can leave your X-Spat system in the studio, or pass Spatialisation ™ to others, using a simple multi-track digital support, i.e. an ADAT cassette.
Production in Surround ™
X-Spat can also be a very powerful tool for audio post-production of videos, providing new functions that had never been thought of before in Surround ™ productions, such as the use of predetermined three-dimensional trajectories and control via MIDI in real time. Obviously the use of the X-Spat system presupposes the presence of another Dolby certified system to listen and codify in Surround. In this case it will be enough to position the outputs of X-Spat following the standard specifications of the Surround ™ setting. A simple connection of the X-Spat outputs to the Dolby codifier will ensure the direct feedback of the effect resulting from the conversion of Spatialisation ™ into Surround ™.
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