SAE Magazine 12-2

F or the past 12 years, I’ve focussed on the subject of surround production because I couldn’t help myself! The acoustic possi- bilities I imagined had such an effect on me that I immediately converted our studio, with the kind agreementofmycolleagueIvoVossen.Havingsaid that, ‘extended’would be a better description in or- der to be prepared for what might have happened and what seemed possible. Some key technical da- ta: five Genelec 1032a plus subwoofers, Pyramix DAW by Merging, two M6000 by TC, complete plug-in package by Vincent Burel and we were set… This doesn’t have much to do with SAE yet, but the references and experiences I gathered and the new paths I followed on this route certainly do, as, after all, this knowledge is the reason why I’m now a guest tutor at SAE. It’s been a long time since I worked as a typical music producer, but exactly this was the reason why I recently had a meeting with Björn Mohr and Hannes Kruse at SAE Hamburg, one which turned out to have far-reaching consequences. By this I mean not just my leaving the room as a brand new guest tutor in surround production for film, music and games, which I’m very happy about, but also as I fulfilled a very old dream of mine. I had dem- onstrated a new software program to Björn and Hannes which I had just developed and it wasn’t long before the room fell silent. This software al- lows you to not only mix surround, but also 3D au- dioandtopositionsoundsourcesnotonlybelowbut also above the listener. The best thing about this is that the DAW structure isn’t important. Even Stu- dio One, which is known for being a purely stereo production environment, can create surround and Having this possibility and being able to share this vision was an old dream of mine. 3D mixes without any restrictions with the plug- in! Having this possibility and being able to share this vision was an old dream of mine. And that was exactly what happened that evening as the three of us sat together and I presented my software to Björn and Hannes, a vision become reality. I’ve never been too interested in what others think of my ideas and visions. So in early 2000, I sat in my newly equipped surround studio and started tinkering. Of course I also read a few things but mainly I just randomly produced stuff. Of course this didn’t always go smoothly. The knowledge I’ve gathered today from experience could certain- ly have saved my nerves, time and money too. But back then everything, if it was at all documented, and not just shrouded in myth, was difficult to find and often seen more from a film or scientific point ofview.Surroundmixingwasreallysomethingthat was just done live. Having said that, there were a couple of cool 5.1 mixes by Ronald Prent at the time. ➤ Luna Studio Hamburg – 2D 82 Production & Know How // Tom Ammermann Index

SAE Magazine 12-2

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