Spatial Audio Workstation User Manual

Spatial Audio Workstation User Manual
Spatial Audio Workstation User Manual
Copyright ©2010-2017, Barco Audio Technologies
Spatial Audio Workstation User Manual
Version 2.3.5
last edited 31 July 2017
Contact:
Barco Audio Technologies
Phone: +49 361 511 43 670
Email: service.audio@barco.com
Barco nv | Beneluxpark 21 | 8500 Kortrijk | Belgium
Registered office: President Kennedypark 35 | 8500 Kortrijk | Belgium
RPR Gent, afd. Kortrijk | BE 0473 191 041
Spatial Audio Workstation User Manual
The information in this document is subject to change without notice and does not represent
a commitment on the part of Barco N.V.
Nuendo and VST are registered trademarks of Steinberg Media Technology GmbH.
Windows, Windows 7, Windows 8 and Windows 10 are registered trademarks of Microsoft
Corporation in the United States and other countries.
Macintosh, Mac and Mac OS are trademarks of Apple Inc., registered in the U.S. and other
countries.
Pentium and Intel Core are trademarks or registered trademarks of Intel Corporation in the
U.S. and other countries.
All other product and company names are ™ and ® of their respective holders.
Release Date: 31 July 2017
© Barco N.V., 2010-2017.
All rights reserved.
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Contents
1. Getting started
5
1.1 Introduction
5
1.2 System requirements
5
1.3 License Management
5
1.4 Installation
6
1.5 Configuration
6
1.5.1 Project settings
7
1.5.2 Preferences
9
1.5.3 Nuendo VST output configuration
11
1.5.4 Overview of the Spatial Audio Workstation window
12
2. Spatial Audio Workstation objects
15
2.1 Introduction
15
2.2 Creating objects
16
2.2.1 Channel Objects
18
2.2.2 Zone Objects
18
2.2.3 Event Objects
18
2.2.4 Upmix Objects
20
2.2.5 Group Objects
20
2.3 Objects list
21
2.4 Layers list
22
2.5 Object parameters
23
2.5.1 Object position
25
2.5.2 Auto decay
27
2.5.3 Upmix Object parameters
28
2.5.4 Group Object Parameters
31
2.6 IOSONO special parameters
3. Spatial Audio Workstation automation
32
33
3.1 Introduction
33
3.2 Creating motion paths
35
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3.2.1 Real-time automation
35
3.2.2 The Spatial Audio Workstation automation modes
36
3.2.3 Move and jump (keyframe mode)
36
3.2.4 Nuendo automation lanes
38
3.3 Anatomy of a motion path
38
3.3.1 Path selection
39
3.3.2 Motion path edit
39
3.3.3 Linear and spline motion path segments
43
3.4 Automation in Nuendo
43
3.4.1 Mono object automation
44
3.4.2 Group Object Automation
44
3.4.3 Audio track modes
46
3.4.4 Altering layers and groups with automation
47
3.4.5 Motion path visibility
48
3.5 Export Nuendo Project
49
3.5.1 Export an object-based master file
49
3.5.2 Export a channel-based master file
51
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1. Getting started
1.1
Introduction
Welcome to the IOSONO Spatial Audio Workstation. The Spatial Audio Workstation is more than
just another surround panner. Multiple sound objects can be viewed and manipulated in a
single surround editor window and multiple surround configurations can be created with the
same automation data. It allows you to move sound in ways no other panning software can.
This manual will describe how to use the Spatial Audio Workstation in creating compelling
surround sound mixes that will translate to multiple speaker configurations.
The Spatial Audio Workstation uses an object-based system to manipulate sound objects
within the acoustic space experienced by the audience. Objects can be moved around the
listening environment, regardless of the speaker configuration. The paths that objects move
on can be precisely edited. The positioning and motion of sound objects can be created in any
surround configuration and the detail of that motion will be retained on more complex
playback systems. No other software can provide this type of translation between various
speaker systems. With this ability, editors may create positioning and motion data that can be
further refined during the mixing process in whatever format is required for delivery.
1.2
System requirements
The Spatial Audio Workstation plug-in runs in Steinberg’s Nuendo DAW software on Windows
operating systems. The Spatial Audio Workstation’s sophisticated processing needs to be
tightly integrated into the DAW to provide seamless usability to the user. Therefore the Spatial
Audio Workstation is not a VST plug-in typical for Steinberg systems. It is a “program plug-in”
as defined by Steinberg and, when installed, can be found listed in the Plug-in Information
window under the Program Plug-ins tab.
Recommended system requirements
 Operating System: Windows 7, Windows 8/8.1, Windows 10
 DAW host application: Steinberg Nuendo 6.0 (32 bit) or Nuendo 7/7.1 (32 bit), no
support for 64 bit versions
 Processor: Intel Core i3/i5/i7, 2.4 GHz or faster
 Sound card: ASIO driver, at least 6 output channels for standard surround production,
64 output channels via MADI for object-based production with external IOSONO
processing
 Display: Resolution 1920 x 1080 pixels or higher, dual screen
 eLicensor USB dongle
1.3
License Management
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The Spatial Audio Workstation license key needs to be activated and stored on an eLicensor
USB dongle; preferably the same dongle that already contains the Nuendo license. Please
read the eLicensor Control Center manual for instructions on how to activate licenses.
1.4
Installation
Installation is straightforward. Just follow the instructions found in the Spatial Audio
Workstation installer download. If you have multiple versions of Nuendo installed on your
computer you must choose the correct program path. Nuendo should not be running during
installation. When installation is completed, open Nuendo’s Devices menu and go to the Plugin Information. Click on the Program Plug-Ins tab to make sure that the Spatial Audio
Workstation is listed there and is checked active.
Note: Only activate or de-activate the Spatial Audio Workstation while no Nuendo
project is open.
Figure 1: Nuendo plug-in information window
Once active, the Spatial Audio Workstation user interface is accessible from Nuendo’s Project
menu. Select Show Window and the Spatial Audio Workstation will open up. The user interface
requires a large screen area to be fully displayed without scrolling. Therefore a dual screen
setup is highly recommended. The Spatial Audio Workstation window brings its own menu bar
to organize the various functions and settings.
1.5
Configuration
The Settings menu found in the Spatial Audio Workstation window is used to configure the
software for your particular surround speaker setup. The Settings menu has two options:

Project settings
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
These settings are specific to each Spatial Audio Workstation project that you create
and are saved with the project data in the Nuendo file (*.npr).
Preferences
These settings are global and are retained regardless of what Nuendo project is
active.
1.5.1 Project settings
Depending on the license you have purchased the Projects settings dialog offers the following
options.
Figure 2: Settings Dialog
Internal processing (native rendering for legacy setups)
The Active Bus Arrangement pull-down menu offers a number of surround speaker
configurations. The selected configuration determines how the position of each sound
object in Spatial Audio Workstation is rendered to the audio output channels of
Nuendo. You can change the Active Bus Arrangement at any time without affecting the
existing object automation. The format of the related VST Connections output bus is
adjusted automatically. This allows you to work in several different surround
configurations with no need for altering panning data and automation.
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External processing (rendering on external IOSONO hardware)
Only visible for owners of Spatial Audio Workstation 2 IPC Processing license
By selecting this option the object-based sound scene created with Spatial Audio
Workstation is transmitted in real-time to an external processing hardware and
rendered to a specific 3D loudspeaker setup. Supported spatial audio processing
hardware is IOSONO CORE or IOSONO IPC 100.
Choose the appropriate scene protocol to communicate with the given spatial audio
processor and configuration.


Vertical Pan – IOSONO CORE configured with multilayer loudspeaker setup
 Vertical Pan with IPC 100 compatibility – IOSONO IPC 100 (without
support for Zone objects and auxiliary flags)
Generic 3D – IOSONO CORE configured with generic 3D loudspeaker setup
By checking the Custom venue option you can load a loudspeaker setup file (*.ls3 or
*.ls4) of a dedicated venue. If this file matches your current CORE or IPC 100
configuration you can position your sound objects in direct relation to the loudspeaker
positions. Go to Spatial Audio Workstation’s View menu and select Show speakers to
display the loudspeaker positions on the Stage view. The loudspeaker setup file will be
stored within the Nuendo project file (*.npr).
Background image
For each project you can overlay the Stage view with a background image in .png and
.svg format. This image must be centered and scaled to have the correct relationship to
the grid defined in the Spatial Audio Workstation. The background image is stored
within the Nuendo project file (*.npr) and will be visible when Show background
image is selected from the View menu.
Distant dependent volume and EQ
To create an acoustic distance effect Spatial Audio Workstation can apply automatic
volume and EQ processing depending on the object’s position from the center. The
Decay radius value determines the onset of this processing and can be displayed on
the Stage view by selecting the appropriate View setting. For an object positioned
within the Decay radius no volume or EQ processing is applied.
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For any position outside this radius the object’s distance parameters determine the
attenuation of volume and high frequencies.
Set as default
By clicking “Set as default” the chosen project settings can be set as a default for
newly created Spatial Audio Workstation projects.
1.5.2 Preferences
Go to Spatial Audio Workstation’s Settings menu and select Preferences to open the
Preferences window. There are several tabs containing a number of global settings for the
plug-in. These settings will be retained after Nuendo is closed.
General
In the General tab you can define the unit of measurement that is used in the Stage
view and parameter input fields.

GUI unit
Spatial Audio Workstation’s coordinate system can be displayed in meters or
feet. Changing the unit does not affect the operation of the Spatial Audio
Workstation or projects that were created using another unit of measurement.
It only alters how space is measured in the GUI.
Stage View
The Stage view tab allows you to customize the appearance of the GUI.
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Figure 3: The preferences Stage View tab





Colors
Clicking on any of the color swatches will bring up a color selector tool that you
can use to customize the way things look in the Spatial Audio Workstation.
Horizontal step size
The value here determines what the distance is between each horizontal line
of the grid.
Vertical step size
The value here determines what the distance is between each vertical line of
the grid.
Show axes
The axes (X, Y) define the position of the listener on the Stage. When the axes
are visible, you can reference the listening position easily.
Axes style
This pull-down menu has six choices for how the axes lines are drawn: dot line,
dash line etc.
Shortcuts
The Shortcuts tab contains a list of key commands for faster operation of Spatial Audio
Workstation. These key commands only work when Spatial Audio Workstation is the
active window in Nuendo. Otherwise, key commands will be directed to and
interpreted by the Nuendo main program.
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Note: The following tabs are only available for owners of Spatial Audio
Workstation 2 IPC Processing license.
External processing
When using external processing the object-based scene created with Spatial Audio
Workstation must be transmitted in real-time to an IOSONO processing hardware.
Object metadata is transmitted via network. Set the Scene IP address to the IOSONO
processor’s IP address and the Scene port to the default 4243 if not configured
otherwise on the processor. The related audio data for all objects is routed to output
channels of the soundcard device configured in Nuendo’s menu Devices – Device Setup
– VST Audio System. Most likely this is a multichannel soundcard with 64 channels via
MADI.
In the External processing tab select all outputs from the Available output ports list
that you want to connect to the external processing hardware and add these to the
Selected output ports list. The number of output ports determines the number of
sound objects playing simultaneously within a scene. The ordering and allocation of
output ports is done automatically by Spatial Audio Workstation.
Export
Set a Temporary files path that is needed during export of Spatial Audio Workstation
projects.
1.5.3 Nuendo VST output configuration
The Spatial Audio Workstation automatically creates its own VST Output bus. This bus is named
„SAW Internal Mix” when the projects runs in internal processing mode or “SAW External Mix“
when external processing is selected.
The “SAW Internal Mix” bus will match the configuration for the Active bus arrangement
chosen in Spatial Audio Workstation’s Project settings. The individual channels of the created
output bus must be routed to the audio device configured in Nuendo’s VST Audio System. Go
to Nuendo’s Devices menu and select VST Connections (F4) to access the routing options. If
the “SAW Internal Mix” bus is set as the Main Mix in VST Connections, you may use Nuendo’s
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control room feature to route the signals to your loudspeaker system. When completed, your
VST Connections - Outputs should look something like the figure below.
Once the VST Outputs have been configured, you are ready to start creating a scene by placing
sound objects within Spatial Audio Workstation’s Stage view.
Figure 4: VST Connections - Outputs configured for use with the Spatial Audio Workstation
(internal processing to 5.1)
1.5.4 Overview of the Spatial Audio Workstation window
The Spatial Audio Workstation window is accessible from Nuendo’s Project menu. It takes a lot
of screen real estate and should be displayed on a dedicated screen for best ergonomics.
When starting a new Nuendo project and first open the Spatial Audio Workstation window, it
will not contain any sound objects and be fairly blank except for the “Activate” button. This is
due to compatibility reasons for exchanging projects with Nuendo users who do not have the
Spatial Audio Workstation plugin on their system. The figure below shows the Spatial Audio
Workstation window populated with several different sound object types to illustrate the
components of the user interface.
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Figure 5: The Spatial Audio Workstation window
1. Stage view
This area of the plug-in window represents a top view of the sound field. A
dimensional grid details the physical position of sound objects in user-determined
increments (meters or feet). The loudspeaker setup is represented by small icons
showing their positions within the sound field.
2. Spatial Audio Workstation sound objects
There are several types of sound objects in Spatial Audio Workstation. Each one can be
manipulated and positioned independently of the others.
3. Spatial Audio Workstation toolbar
The tools collected in the toolbar provide access to automation modes, various
selection modes, allow you to edit aspects of motion paths and give you zoom
controls for the Stage view.
4. Object parameters
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5.
6.
7.
8.
The lower section of the window contains all parameters of the currently selected
sound object.
Each parameter can be automated over time just like with any other plug-in type in
Nuendo. This is how you can create dynamic motion of sound in Spatial Audio
Workstation.
Speaker Icons
When using Internal processing mode the speaker’s icons match the positions of the
chosen Active bus arrangement. When using External processing mode with a custom
venue the loudspeaker positions can be read from a loudspeaker setup file.
Objects list
Each sound object created in a project whether it is a Channel, Event, Zone or Group
objects will be listed here.
Layers list
Spatial Audio Workstation projects may get very complex. Layers are used to organize
the numerous sound objects visible on the Stage view in manageable collections
(layers) of related objects.
Motion path
A Motion path represents the route of an object visible on the Stage view as it moves
within the sound field.
Spatial Audio Workstation data
The data that is created by using the Spatial Audio Workstation plug-in is saved inside the
Nuendo project file (.npr). This happens automatically when the Nuendo project is saved. No
additional action is required to preserve this data. It is recommended that you always backup
your project data. Copying the Nuendo project folder to a secure location or using Nuendo’s
backup function from the File menu will protect your project data.
Note: Be aware of any Nuendo project that contains Spatial Audio Workstation data
should not be edited or opened while the program plug-in is not active or installed.
This may cause unpredictable behavior and possible corruption of the data.
Markers and Guides
Multiple markers and horizontal or vertical guides can be used on the Stage view to aid in
positioning and moving sound objects. Each marker and guide can be set to an individual
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color. Markers can also be named. Markers and guides may be created from Spatial Audio
Workstation’s View menu or by right-clicking on an empty area of the Stage view.
 When you select “New marker“, the dialog will allow you to enter a name and
description and choose a color for the marker. The marker will appear at the position
where you last clicked in the Stage view.
 By selecting “New guide“, the dialog offers choices of horizontal, vertical, X or Y
position, line style and color.
Once they are created markers and guides may be moved to a different position in the Stage
view simply by click and drag. When markers and guides have their final positions, they can
be locked in place, to prevent from further editing. This is done in the View menu or the Stage
view’s context menu.
Figure 6: Two markers and two guides
2. Spatial Audio Workstation objects
2.1
Introduction
In the Spatial Audio Workstation the term object belongs to the representation of a sound
source in the surrounding 3D sound field. The most obvious property of an object is the
position in x, y and z coordinates. But an object can hold even more parameters to
characterize a sound depending on the selected object type.
There are three basic types of Objects: Channel Objects, Zone Objects and Event Objects.
Channel Objects are sources of audio that may contain one or more sounds mixed together,
but coming from one location in the 3D sound field. You may think of this as a virtual
loudspeaker that may be moved around the listening area. Zone Objects also represent one
sound but instead of a free position on stage these objects assign this sound to a defined
speaker zone output (i.e. Left Wall). Event Objects are singular sounds that have a duration
with specific start and end times. An Event Object only exists for that given period of time and
can also be moved around the 3D sound field.
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All Object types can coexist in the same Nuendo project.
Group Objects contain one or more Event Objects that are linked together allowing them to be
manipulated together as a single entity. Group Objects do not have any audio signals
themselves but are used to control the positions of the Event Object members of the group.
Figure 7: Point Source, Plane Wave, Upmix, Zone and Group Object icons
2.2
Creating objects
In order to create an Object in the Spatial Audio Workstation, you must first create an audio
track or a group channel track in Nuendo. The Spatial Audio Workstation is capable of dealing
with mono or stereo tracks. Mono tracks are represented as Channel, Event or Zone Objects
with Point Source, Plane Wave or Zone Object icons. Whereas stereo tracks automatically
result in Channel or Event Objects with an Upmix Object icon. Stereo tracks cannot be
represented as Zone Objects.
After you created the track you must route its output to the SAW Internal/External Mix bus.
Then right-click on the pan control in the mixer channel (or Track Inspector) and select “Spatial
Audio Workstation“. As soon as you do this, you will see a new Channel Object appear in the
Stage view.
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Figure 8: Selecting the SAW panner in the Mixer by right-clicking in the panner area
Note: All objects are mono or stereo audio sources. Therefore only audio tracks or group
channel tracks in mono or stereo configuration can be used to create objects in the
Spatial Audio Workstation.
Audio Track Mode: Channel, Zone or Event
Newly created audio tracks that are assigned to the SAW Internal/External Mix bus and use
the SAW panner will show up in Channel mode by default. In Channel mode, each track
creates a single Channel Object. Only audio tracks are capable of being switched into Event
mode, whereby each audio event in the track creates a separate Event Object in the Spatial
Audio Workstation. A single audio track may contain many Event Objects. Event Objects are
further explained in “Event Objects”, chapter 2.2.3.
In order to change the track mode of an object from within the Spatial Audio Workstation,
click on the corresponding button in the object parameter editor. The track mode can also be
switched in Nuendo, by selecting one or more audio tracks and from the Project menu
choosing „Spatial Audio Workstation -> Switch selected tracks to … mode“. Now all selected
tracks will be in the chosen mode. If any audio events are present on those tracks, Event
Objects (one for each audio event) will appear in the stage view at their starting positions and
in the Object List. For more on the three Audio Track modes, see Audio Track modes, chapter
3.4.3.
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Note: Only audio tracks can be switched to Event mode. Group channel tracks in
Nuendo don’t have audio events and therefore can create only Channel or Zone
Objects. The event mode switching option in the Project menu will appear grayed out
for selected group channel tracks.
2.2.1 Channel Objects
Channel Objects are like virtual speakers that can move anywhere within the 3D sound field.
The sound that is coming through that audio or group channel track will be positioned where
the Channel Object is located in the Stage view. Using group channel tracks to create Channel
Objects, multiple audio sources can be routed to that group channel and the resulting mix will
be presented at the location of the Channel Object in the 3D sound field.
2.2.2 Zone Objects
Zone Objects have all properties of Channel Objects but, instead of being moved around these
objects have a fixed output speaker assigned. The assignment is done in object editor by using
the “Zone ID” drop-down menu. To ensure correct playback, the Zone IDs of all Zone Objects in
use must be assigned to at least one output speaker in the loudspeaker file. For mixing
projects using one of the legacy surround setups (Internal processing mode) or the norm stage
(External processing mode) all the pre-defined Zone IDs are already assigned. When working
with a custom venue (External processing mode), please refer to the manual of the IOSONO
CORE processor on how to assign Zone IDs to the different loudspeakers.
2.2.3 Event Objects
Event Objects are more specialized than Channel Objects since they have specific time
duration in addition to their spatial position. In order to create Event Objects you must have an
audio track routed to the SAW Internal/External Mix bus with the panner set to “Spatial Audio
Workstation” and the track switched to Event mode. Once an audio track is in Event mode, any
audio event placed or recorded in that track will create a corresponding Event Object in the
Spatial Audio Workstation. Follow these steps to create multiple Event Objects on a single
audio track in Nuendo:
1. Create a mono or stereo audio track in Nuendo and route the output to the SAW
Internal/External Mix bus.
2. Insert the Spatial Audio Workstation panner by right-clicking on the pan control in the
mixer. This will first create a Channel Object.
3. Switch the track from Channel mode to Event mode using the Project menu in Nuendo
or the buttons in the object editor.
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Figure 9: A single event object
4. Either record a portion of audio or place an audio file from the Pool onto the audio
track and an Event Object will be created in the Spatial Audio Workstation.
You will see the Event Object icon in the Stage view and associated items in the
Objects and Layers lists to the right.
5. Placing additional audio events on the same track will create more Event Objects.
A new Event Object is created by each audio event on the track. Event Objects are only
active when the cursor is between the start and end boundaries of that audio event.
Otherwise the object icon will be greyed out.
Figure 10: A second Event Object is created on the audio track
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Initially, each object for a mono track is displayed with a Point Source icon placed at the
listening position in the center of the stage view. Whereas Upmix Objects for stereo tracks
appear at the position of the center speaker. All Event Objects are independent from each
other and can be moved anywhere in the stage view.
2.2.4 Upmix Objects
Upmix Objects are created for audio or group tracks in stereo configuration. They are not
working like virtual speakers, but they represent a sound field surrounding the listener. Upmix
Objects transform a stereo input signal to the surround speaker configuration used in the
project. Just like objects created from mono tracks, the Upmix Objects can also be used in
Channel or Event mode, but not in Zone mode. For more details about Upmix Objects and their
parameters see “Upmix Object Parameters”, Chapter 2.5.3.
2.2.5 Group Objects
Once you have created more than one Event Object, you may join them together and form a
Group Object. Group Objects allow you to control the positioning and motion of more than one
Event Object relative to the center of this group. Group Objects can be moved around the
Stage view, causing all of the Event Object members to move relative to the Group Object
icon.
Creating a Group Object:
1. Select two or more Event Objects in the Stage view or Objects list.
Only Event Objects and other Group Objects can be grouped together. It is not possible
to group Channel or Zone Objects.
2. Placing the mouse over one of the selected objects in the stage, right-click and choose
“Group selected” from the context menu.
You may also choose the same option from the Edit menu of the Spatial Audio
Workstation or use the shortcut Alt+G.
Figure 11: Creating a Group Object
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3. You will see a newly created Group Object appear at the center of the Stage view.
This Group Object now controls the relative positions of the two Event Objects.
Figure 12: A Group Object with two members
When a Group Object is created the Spatial Audio Workstation adds an IOSONO Group track to
Nuendo’s track list. This track looks like an audio track, but it holds no audio only automation
data written by the Spatial Audio Workstation when moving a Group Object.
2.3
Objects list
The Objects list in the Spatial Audio Workstation displays all of the objects in the currently
active Nuendo project along with controls for the status of each object.
Figure 13: The object list
The first column in the Objects list displays the icon and name for each object. You may
double-click on the name to change it. In case of an Event Object, changing its name will also
change the description field for the corresponding audio event in Nuendo’s event display. To
the right, there are check boxes to enable or disable the status of each object as follows:

Solo
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




Mute
Automation Read
Automation Write
Lock
Visibility
Object visibility
In the Objects list the visibility status for each object can be set. There are three states of
object visibility:





2.4
Visible
When the check is light grey, the object will be shown on the Stage (assuming its
parent Group object and layer are visible as well).
Invisible
When the box is un-checked, the object will not be seen on the Stage (except for
currently selected objects, which are always visible)
Auto-visible (for Event Objects only)
When the check is dark grey, Event Objects will only be visible when active (the play
cursor is within their start and end times).
Members of Group objects will follow the visibility of the Group object unless they are
already not visible.
Visibility is also affected by the status of the layers. If a parent layer is not visible, child
objects will not be visible as well. For more information on layers, please refer to
“Spatial Audio Workstation Automation”, chapter 3.
Layers list
In Spatial Audio Workstation layers are used to organize multiple objects into sensible groups.
By default, a “Base layer” is created when you start a new Spatial Audio Workstation project.
All objects created in this project will be assigned to this default “Base layer”. New layers may
be added as needed. In contrast to Group Objects a layer of objects has no visual
representation in the Stage view.
To create a new and empty layer, choose “Add layer” from the Spatial Audio Workstation’s
Edit menu. You can also right-click in an empty region within the Layers list and choose “Add
Layer”. Drag various objects into the layer as needed. Each layer can be renamed by doubleclicking on its name in the Layers list. The arrow next to it is used to open and close the layer
(as well as groups) to reveal or hide its member objects.
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It is also possible to create a new layer by selecting one or more objects from the Layers or
Objects list and choose “Move to new layer” from either the Edit menu or right-click context
menu. This will move all selected objects to a new layer. Objects may be moved between
layers to reorganize them. Simply drag the object from one layer to another.
Figure 14: The layers tab
Each layer has check boxes for locking and visibility control in the Layers list. Locking a layer
will cause all objects in that layer to become locked. This provides a convenient way to deal
with projects that contain a large number of objects as the Stage view can easily become
crowded when many objects are visible at the same time.
2.5
Object parameters
Each object in the Spatial Audio Workstation has a set of parameters that will be outlined in
this section. Certain parameters are only associated with Event, Channel or Zone Objects while
others are associated with only Group Objects. Each of these object parameters can be used in
automation mode.
Figure 15: Object parameters for an Event Object
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Track mode
Change the object type of the associated audio or group channel track with the three
buttons in the upper left hand corner.
Object name
Below the Track mode buttons is a text field with the name of the selected object. You
can edit the name in this field.
Solo/Mute/Read/Write/Lock/Visibility
Allows you to set the status of currently selected object(s)
Volume
Adjust the playback volume of an object in the Spatial Audio Workstation. This control
is independent from other volume adjustment made in Nuendo (like track volume or
audio event volume). The object volume can be automated in real-time. The
processing is done on the rendering side.
LFE
Similar to traditional LFE controls, this slider adjusts the signal level fed into the
subwoofer system.
Spread (for Channel and Event Objects only)
This parameter determines how much of the signal is directed to all speaker channels
in the neighboring area of the object position. At 100%, the signal will be equally
distributed to all speaker channels. At 0%, the signal is directed only to the position of
the object in the stage. This parameter is not available for Group objects.
Delay
This object delay is used to delay the associated audio signal either manually or
automatically according to the distance of the object from the central listening
position. If ‘Auto’ is enabled, the Spatial Audio Workstation will determine the natural
amount of delay according to the law of speed of sound for the distance between the
object and the central listening position. As the object moves around the 3D sound
field, this delay amount will change accordingly. The automatic delay is available for
both, objects representing mono audio tracks and also Upmix Objects. In addition to
the automatic or distance dependent delay, it is also possible to set the amount of
delay manually. Since Group objects may have more than one member, only a
manual delay setting is available for each Group. The processing of the delay is done
on the rendering side.
Automatic Decay
By switching from the Delay settings tab to the Distance tab you can activate an
automatic distance dependent volume and equalizer adjustment. See 2.5.2 for more
details on these settings.
Cartesian Coordinates (X/Y)
Using grid values, an object can be positioned using X and Y coordinates for very
precise setting of its location in the 3D sound field.
Polar Position
By switching from the Cartesian tab to the Polar tab, angle and distance values can be
used to set the object position.
Height Position
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The object’s height parameter depends on the protocol used for sending the scene
data to the rendering unit (See project settings paragraph 1.5.1) In Vertical Pan mode
you will see a ‘Height’ slider next to X and Y ranging from -100% to +100%. Below
the X and Y value boxes is a display of the resulting VPan layer ID. In Generic 3D mode
the height is represented by a Z value slider and box in meters or feet. By switching
from the Cartesian tab to the Polar tab, you will see an Elevation value box to enter
the height position.
2.5.1 Object position
Objects can be positioned intuitively using the Stage view’s GUI. Simply click and drag the
object icons in the Stage view to change their position. You can position objects anywhere on
the stage within the limits of +/-50m. This includes positioning directly on the loudspeaker
array, but also inside or outside of the loudspeaker array. The X and Y coordinates will update
accordingly to reflect the position of objects in the Stage view. For practical guidance you can
overlay the Stage view with a representation of the loudspeaker setup, markers, guidelines or
even a picture map of a given venue.
Cartesian coordinates
Objects may be positioned using X and Y coordinate values. The X and Y axes are defined by
the listening position. In order to see these axes, choose Settings-->Preferences-->Stage View
and check ”Show axes“. Depending on what unit of measurement the grid has been set to in
Preferences, simply enter a value in meters or feet into the Cartesian coordinate fields to
accurately place an object anywhere in the 3D sound field.
Polar coordinates
Objects can also be positioned using the angle and radius parameters found in the Polar tab.
Angle determines the degree at which an object is placed relative to the center point of the
Stage view. A value of 0 degrees means the object is located straight in front of the central
listening position. The radius is the distance between the object and the central listening
position. As the angle and radius parameters are adjusted, notice that the X and Y coordinates
also change to reflect the new position.
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Figure 16: Polar positioning tab parameters
Height / Elevation
The availability of the Height slider (shown in the Cartesian tab) respectively the Elevation dial
(shown in the Polar tab) depends on the selected processing mode and output configuration
chosen in Spatial Audio Workstation’s Project settings.
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For projects running in Internal processing mode the Height slider is shown in its
default range from -100% to +100%, but only available for pre-production purposes
(i.e. in preparation for finalizing the mix in a facility that is equipped with an IOSONO
processor). Since all legacy loudspeaker setups, that are currently available in Internal
processing mode, do not have elevated loudspeakers, changing the height value of an
object has no audible effect in this processing mode.
For projects running in External processing mode and using the “Vertical Pan” scene
protocol the Height slider has also a default range from -100% to +100%. Working
with the ‘norm scene’ this means the lowest value of -100% equals Layer ID -1, the
value 0% equals Layer ID 0 and the upmost value of +100% results in Layer ID +2. To
change this default range a custom venue loudspeaker file must be loaded in the
Project settings. In this case the resulting range of the Height slider will be set to the
number of vertical loudspeaker layers (-n .. 0 .. +m) configured in this file. The
Elevation dial is not available for projects using “Vertical Pan”.
When running in External processing mode and the scene protocol is set to “Generic
3D” the values of the Height slider represent units of length instead of layer IDs. The
Elevation dial offers a range from -90° (downmost) to +90° (upmost). A value of 0°
means an objects position on the height = 0m plane.
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2.5.2 Auto decay
The parameters of this section provide control of volume decay and high frequency roll-off for
each object according to its position in the 3D sound field. Objects moving away from the
central listening position will be lowered in volume and damped in high frequencies to
simulate the physics of sound radiation in free space including air damping effects. The
settings are available for objects representing mono audio tracks as well as Upmix Objects.
Distance Dependent Volume
For each object you can set an automatic volume reduction by adjusting the decay factor
between 0x and 4x. If the value is set to 0x (default), the distance dependent volume feature
is effectively turned off. A decay value of 1x equals a natural sound volume drop of -6dB per
doubling of distance. A higher decay setting will lead to a faster volume reduction of the
object’s audio signal.
When active, the distance dependent volume will behave like an offset to the “Volume” and
“LFE” values for the object. Therefore the Total Volume and Total LFE of the selected object are
displayed in the top left corner of the Distance tab. It takes into account both the Volume and
LFE sliders combined with the calculated distance dependent volume, is then.
Distance Dependent EQ
You can use the distance dependent EQ in addition to the volume reduction to mimic air
absorption effects for objects moving farer away. This is done by using a distance controlled
high shelf filter. Similar to the distance dependent volume, the EQ gain will be adjusted with
the decay value set by the user. A value of 0x will turn off the function. A value of 1x equals a
gain of -6dB per doubling of the object’s distance. For fine adjustments the cut-off frequency
of the filter can be set from 250Hz to 20kHz.
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Figure 17: Automatic decay parameters
In the Project settings you can define the onset of the distance dependent processing by the
Decay radius value. For an object positioned within the Decay radius no volume or EQ
processing is applied. For any position outside this radius the object’s distance parameters
determine the attenuation of volume and high frequencies. The decay radius can be displayed
on the Stage view by selecting the appropriate View setting.
2.5.3 Upmix Object parameters
Upmix Objects can be used to create surround signals out of regular stereo tracks. The
different parameters of the upmix algorithm allow for different characteristics of the upmix,
e.g. width of the sound image, separation and control of direct and ambient signal
components, rotation of the resulting surround signal, etc.
You can control the different upmix parameters when an Upmix Object is selected.
To have a visual feedback of the current parameters, an upmix overlay can be displayed in the
Stage view. To activate the upmix overlay, click on the “Upmix stage overlay” button. You can
also activate the stage overlay by double-clicking the Upmix Object in the stage view. To hide
the upmix overlay again, use the “Upmix stage overlay” button or click outside the stage
overlay in the stage view.
Figure 18: Tool buttons with activated upmix stage overlay
The upmix algorithm extracts ambience signal components out of the stereo signal and allows
manipulating direct and ambience signals separately. The direct signals are arranged as a
configurable stage while the ambience signals are placed around the listener.
The different parameters of the upmix can be adjusted using the object parameter controls at
the bottom of the Spatial Audio Workstation window.
Upmix parameters for Direct Signal Components
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
Dry/Wet
Control the amount of ambience signal in the stage that is defined by the stage width.
Dry corresponds to a more direct signal from the stage, whereas wet corresponds to
more ambient signal from that direction.
Stage Width
Control the perceived width of the resulting stage image in degrees. A maximum
stage width of 180° is possible. Up to 90°, the width of the direct components in the
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stereo signal is adjusted, while values above 90° result in additional broadening of
the direct signal components.
Rotation
The resulting surround signal of the upmix processing can be rotated around the
central listening position. All signal components, including direct and ambient signals,
will be rotated by the same amount. The rotation can also be adjusted by changing
the position of the upmix icon in the stage view.
Divergence
This parameter controls the processing of a center signal in the stage out of the stereo
input signal. A lower value produces a stronger dedicated center signal. A higher
value spreads the center signal evenly throughout the stage.
Upmix parameters for Ambient Signal Components
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
Gain
Control the level of the ambience signal within the surrounding upmix in dB.
Front/Rear
Control the front-rear balance of the surround ambience. In order to have more
ambiences in the back than in the front, pull down this slider.
Note that the front-rear balance will be applied before the rotation, so “front” always
corresponds to the direction of the stage.
Delay
This parameter adds a delay to the ambience signal components in relation to the
direct signal extracted from the stereo input.
Low Pass
Control the frequency in Hz of a low pass filter which is only applied to the ambience.
The direct signal is not affected by this parameter.
Figure 19: Visualization of different Upmix parameters in the stage overlay
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Global Parameters
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Upmix/Original
The “Original” signal corresponds to a regular stereo panning of the Upmix Object’s
input signal, controlled just by the parameters “Stage Width” and “Rotation”. No
additional upmix processing is performed on the “Original” stereo sound. Use the
Upmix/Original slider to set the balance between the original stereo signal and the
upmix signal.
Bypass
This button can be used to compare the upmixed result with the unprocessed stereo
signal. If bypass is active, the input stereo signals are placed in the front at -30° and
+30° without any signal processing or rotation applied.
Figure 20: The controls for all upmix parameters
Parameter Sets
There are four predefined sets of upmix parameters that can be applied to the currently
selected Upmix Object (Default, Pointed, Moist, Open). These four sets correspond to different
upmix characteristics that can be applied quickly and build a starting point for further
parameter adjustments. Choose the parameter set you want to start with in the “Set
parameters” drop-down menu.
To store and restore a user defined upmix parameter set, the entries “Store user“ and “Recall
user” can be selected. The user set is global for all projects but will only be available until
Nuendo is closed. It can also be used to copy parameters to other Upmix Objects or projects.
Note that a locked parameter will not be overwritten when a parameter set is applied.
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2.5.4 Group Object Parameters
Group Objects have a slightly different set of parameters than Channel or Event Objects. While
basic positioning is handled in the same way, Group Objects have additional rotation and scale
settings to address relative positioning of the group’s member objects.
Group Objects do not have Spread and Auto-Delay settings.
Rotation
The Rotation parameter of a Group Object alters the relative positions of all member objects
around the Group Object’s center (indicated by the Group Object icon). This should not be
confused with the Group Object’s Angle parameter, which controls the position of the Group
Object around the central listening point on the stage. The figure below shows how the
rotation of a Group Object affects its member objects. The group icon also reflects the rotation
of the group by the position of the notch.
Figure 21: Group rotation with notch indicator
X and Y Scale
The X and Y Scale parameters affect the relative position of group member objects in both
axes. By adjusting the X Scale parameter, member objects will spread out or constrain
together proportionally on the horizontal axis of the stage. The same is true for the Y axis
scale parameter. This is expressed as a ratio.
Values less than 1 reduce the distance between member objects while values greater than 1
(up to 100) increase the distance between objects in this group.
By pressing the “Join” button, the X and Y Scale parameters are linked for circularly
proportional scaling of group members.
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Figure 22: When checked, the “Join” button links the X and Y Scale parameters together for
proportional scaling
For more information on these Group Object parameters, please see “Group Object
Automation”, chapter 3.4.2.
2.6
IOSONO special parameters
The following object parameters are effective only when using the Spatial Audio Workstation
with an IOSONO processing system (e.g. the IOSONO CORE or IPC100 Spatial Audio Processor).
However, you can access these parameters also in internal processing mode, in preparation of
an IOSONO mix in a studio environment using a legacy multichannel speaker system and
transfer this project to an IOSONO system later.
Figure 23: IOSONO special parameters
On screen
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The “on screen” switch is used to always keep the position of an object that is visible on the
screen consistent with the corresponding audio object.
On playback, the Spatial Audio Processor considers the real dimension and position of the
existent screen and corrects the position of the Object accordingly.
Source Type
Each Event or Channel Object representing a mono audio track can radiate sound in two ways:
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Point Source: an audio source with a constant position in space
Point Sources radiate spherically from a single point in space. For example, a car
driving into a driveway is a Point Source. As the car moves across the driveway, the
listener perceives changes in the sound. A listener in a different location on the
driveway will hear the Point Source in a slightly different way. The same is true for
processing Point Sources in an IOSONO system. Point Sources are useful when each
listener should perceive a localizable sound source. Two listeners in different parts of
the listening area surrounded by the loudspeakers will be presented with a different
sonic image of the Point Source, but both of them are able to locate the sound from
the same point in space.
Plane Wave: an audio source with a constant direction relative to each listener in the
audience area
Plane Waves appear to all listeners as if they origin from the same horizontal
direction. You could consider a Plane Wave to be a Point Source that is an infinite
distance away from the listener. Plane Waves are useful when each listener should
perceive the same directional sonic image produced by that sound. Ambient sounds
are particularly effective as Plane Waves.
Each object can be either a Point Source or a Plane Wave. Objects can change its characteristic
from Point Source to Plane Wave and back again using the automation features of the Spatial
Audio Workstation.
Dialog / Aux1 / Aux2
These flags can be used to address special rendering features in an IOSONO audio processor.
One example is a separation of a scene into individual parts. Objects flagged with Aux1 can be
exclusively rendered to a certain subset of loudspeakers in a setup with multiple loudspeaker
groups. Objects without that flag (Aux1=OFF) will be excluded from that loudspeakers and
rendered only to the main loudspeaker setup.
3. Spatial Audio Workstation automation
3.1
Introduction
Using the Spatial Audio Workstation to place individual sound objects at static positions in a 3D
sound field can be immersive and captivating. The ability to move these objects around in
real-time takes it to a whole new level. Every parameter of an object can be automated in
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real-time using the powerful automation system. Objects in the Spatial Audio Workstation can
be write- and read-enabled just like channels in the Nuendo mixer.
To write-enable an object, check the write box next to its name in the Objects / Layers list or
use the shortcut Alt+W for all selected objects. By default, Read is also enabled when you put
an object in Write mode. You can toggle the read status of an object using the check box or
shortcut Alt+R.
When a sound object is write-enabled, the red W icon appears next to the object’s icon in the
Stage view along with the green R (read-enabled) by default. Also, the “Read” and “Write”
buttons next to each object parameter light up in green and red. Individual parameters may
be read or write enabled or disabled individually by clicking on the buttons next to each
parameter. You may also lock individual parameters to maintain previous automation runs by
clicking on the padlock icon for that parameter.
Figure 24: A Channel Object in write mode
Note: The write and read status of objects in the Spatial Audio Workstation are not
reflected in Nuendo. Automation using the Spatial Audio Workstation GUI does not
need the Nuendo track to be write-enabled. In order to write automation for object
parameters, the object must be put in write mode from within the Spatial Audio
Workstation GUI window.
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3.2
Creating motion paths
Automation in the Spatial Audio Workstation is somewhat different compared to other Stereo
or Surround panning plug-ins. This is due to the fact that positioning objects is regardless of
the amount of speaker channels present in the monitoring system. It’s not simply the relative
level of audio signal in various speaker channels that is being automated. The Spatial Audio
Workstation actually renders the position of the audio signal to the current speaker
configuration as set in “Project Settings”, chapter 1.5.1.
The basic component of Spatial Audio Workstation automation is called a motion path. A
motion path is the pathway that an object follows as it moves throughout the 3D sound field.
Motion paths can be simple straight lines from A to B or complex curves that meander around
in space. Once created, Motion paths appear as yellow lines on the Stage view. There are four
ways to create motion paths in the Spatial Audio Workstation:
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Real-time automation to draw complex curved paths
Move automation to create simple straight paths
Jump automation to create instant movements
Drawing in X, Y and Z values directly in Nuendo’s automation lanes
Figure 25: A motion path in the stage
3.2.1 Real-time automation
Real-time automation is the most intuitive way to position a sound object over time. Just
write-enable the object in the Objects List, hit play and move the object icon around in the
Stage view as you desire. When you enable write mode in the Spatial Audio Workstation,
automation read is also enabled for that object. Upon playing back, the object will follow the
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exact motion you performed. Besides the position any other object parameter can be
automated in this manner.
3.2.2 The Spatial Audio Workstation automation modes
Automation modes can be switched in the toolbar of the Spatial Audio Workstation window.
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Touch
When operating in Touch mode, automation data is written when touching a
parameter control or an object in the Stage view. On release the control returns to
the previously set value.
Auto Latch
In Auto Latch mode writing of automation data starts on touching a parameter control
or an object in the Stage view and continuous until playback is stopped.
Prime Latch
This mode is basically similar to Auto Latch except that the Prime Latch enabled
parameter(s) start writing automation data instantly on playback start.
You can set a control to Prime Latch mode by toggling the “P” button next to it.
To End
When Automation “To End” is set, the object’s last position is preserved, either until
the end of the Nuendo project for Channel and Group Objects or to the end time of the
audio event for Event Objects. Of course, that automation can be amended with more
automation data. But for a single pass the object will stay at the final position in the
motion path until the end time for that object. Be aware of the potential risk to
overwrite previous automation data.
Nuendo projects using the Spatial Audio Workstation have an end time of 24 hours.
Figure 26: The SAW automation modes and the “to End” button in the toolbar
3.2.3 Move and jump (keyframe mode)
The second method of creating motion paths and automation involves a step by step process
whereby you create simple, straight motion paths and either have the object move gradually
(move) or instantly (jump) from the start to the end of the path.
Create Move Automation
Move automation allows you to have an object move smoothly from one point to another in a
straight line over time. To create a simple straight motion path using Move automation, follow
these steps:
1. Create an Event or Channel Object
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2.
3.
4.
5.
6.
7.
While Move automation works with Group Objects, it is best to start with single
objects for simplicity.
Place the object at the desired start position on the Stage view.
Using the object selection tool, drag the object to the start position.
Enter Keyframe Mode
Press the “Initialize Key frame Mode” button in the. This creates a starting keyframe
at the current time and position for the selected object.
Move the Nuendo playback cursor forward in time.
Move to the time when you would like the object to reach to its destination.
Move the object to a new destination on the Stage view.
With the object selected, press the “Keyframe Move” button in the toolbar.
This defines the end of the motion path with another control point and keyframe.
You will now see a yellow motion path that goes from the start to the end positions
similar to the figure below.
When you play back, the object moves smoothly from the start of the motion path to
the end during the specified time.
You can continue to create Move automation later in the timeline by repeating steps 4
through 7, creating new motion path segments.
Figure 27: Keyframe Tools
Creating Jump Automation
Jump automation works in much the same way as Move automation. The only difference is
that the object will jump instantly from one point to another instead of gradually. In order to
create Jump automation, follow the same steps outlined for Move automation but replace the
“Keyframe Move” button with the “Keyframe Jump” button. By following steps 4 through 6
repeatedly, you can create successive Jumps, each one having its own motion path segment.
Moves and Jumps can be mixed together in one motion path.
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Figure 28: Two motion path segments created with Move automation
3.2.4 Nuendo automation lanes
The last method of creating and altering motion paths is by direct editing of the automation
lanes in Nuendo. The position and motion of any object is represented in Nuendo by X and Y
coordinates. Each axis has its own automation lane. By drawing in automation points in these
lanes, motion paths will be changed in the Spatial Audio Workstation.
3.3
Anatomy of a motion path
Motion paths are made up of segments. Each Move or Jump automation an object performs
will create another motion path segment. These segments are connected to form a complete
motion path. Real-time motion paths are made up of many segments that create complex
curves. Each motion path can be edited to fine tune its shape and position. The Spatial Audio
Workstation tools have three modes for editing objects and their paths:
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Object Selection
This is the default mode that the Spatial Audio Workstation opens into.
Path Selection
This mode allows you to choose motion paths for editing.
Motion Path Edit
You may only enter this mode once a motion path has been selected.
Figure 29: Spatial Audio Workstation selection tools
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3.3.1 Path selection
Path selection mode allows you to define a path or a portion of a path for editing. Enable path
selection in the Spatial Audio Workstation toolbar then click on a motion path. The path will
turn blue and have black points at its start and end. The black points define what portion of
the motion path to edit. They correspond to the left and right locators in Nuendo. If you click
and drag one of these points, you will see the locator move in Nuendo’s timeline. The portion
of the motion path that remains blue is selected for editing.
Figure 30: The motion path selection with locators
3.3.2 Motion path edit
In order to edit the shape and course of the motion path, you have to select a portion of a
path and then press the “Motion Path Edit” button in the Spatial Audio Workstation toolbar.
The selected portion of the path turns from blue to dark yellow and will now display control
points at the various curves along the path.
Each turn along the motion path has its own control point. Each control point can be adjusted
freely, changing the shape of the motion path. Simply click and drag the control point to the
desired location. By moving various control points, the shape of the entire motion path can be
changed.
Note: You may move more than one control point at a time by selecting multiple
points and dragging them together.
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Figure 31: Control points can be moved to change the shape of motion paths
You can insert additional control points to further alter the shape of the path. Place the mouse
over the path where you want to create a new control point and choose „Insert control point“
from the context menu (right-click). This new control point can be moved as desired to create
a new turn.
To delete a control point, place the mouse directly over the point and right-click to choose
Delete from the context menu. You can also select more than one control point by
shift+clicking multiple points. Simply press the delete key to remove all selected control points
at once.
Control Point Handles
In addition to reposition control points, the shape of the path around the point can be
contoured. Each control point has one or two “handles” associated with it. These handles are
used to change the shape of the motion path segment around the selected control point. The
curvature of the motion path changes by adjusting these handles.
In order to access these handles, two or more control points must be selected. White points
will appear on top of the control point. These can be moved to change the path shape.
Experimentation is the best way to get a feel for how this works. The figure below shows
handles that have been moved in such a way as to create a smooth curve around a control
point.
When a control point is in the middle of a motion path, it will have two handles associated
with it. Each handle controls the shape of the line on either side of the control point.
The way that the two handles interact with one another (control point interpolation) can be
set in three ways:
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Corner
Smooth
Symmetric
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Figure 32: Handles modify the shape of the motion path around a control point
In order to change the interpolation of handles, first select one or more control points. Then
press one of the “Control Point Interpolation” buttons found in the Spatial Audio Workstation
toolbar.
Figure 33: “Control Point Interpolation” buttons in the tools palette
Corner Interpolation
Corner interpolation allows each handle to be manipulated independently. This can create a
sharp corner or a smooth curving turn as the path passes through the control point.
Figure 34: Corner interpolation of handles
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Smooth Tangent Interpolation
Smooth interpolation forces the handles to remain opposite of each other around the control
point, creating a smooth path through the point. However, each handle can be stretched
independently, allowing varied curves on either side of the control point.
Figure 35: Smooth interpolation
Symmetric Tangent Interpolation
Symmetric interpolation is much the same as Smooth except that the handles are linked
together in direction and length, resulting in symmetric motion path shapes around the
control point.
Figure 36: Symmetric interpolation
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3.3.3 Linear and spline motion path segments
Each motion path segment can have either a linear or a spline shape. By default, all motion
path segments are created as spline segments. Spline segments allow the curving shape as
defined by the handles for each control point. A linear segment is a straight line between
points. Linear segments do not have control point handles.
In order to change a segment from spline to linear, you must select both the starting and
ending control points that define a segment. Then use the “Linear Segment Interpolation”
button from the toolbar. You will notice that the handles for those control points disappear in
the Stage view.
To change back to a spline, use the “Spline Segment Interpolation” button and the handles
will return. This may be done for several contiguous segments if all the associated control
points have been selected.
Figure 37: The “Linear” and “Spline Segment Interpolation” buttons will change the segment’s
shape between two control points
3.4
Automation in Nuendo
All three modes of Spatial Audio Workstation automation (Real-time, Jump and Move) create
automation data that can be viewed and edited in Nuendo. Once you have created the
automation, right-click on the track in the Nuendo project window and choose “Show All Used
Automation”. This shows all the Spatial Audio Workstation parameters with automation data
in the track timeline. When using Nuendo’s Automation Panel (F6), you can press the “Show
Used” button to display all automation lanes currently active for the Spatial Audio
Workstation.
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Figure 38: Show Used automation function on Nuendo’s Automation Panel
3.4.1 Mono object automation
The position of any object in the Stage view is represented in Nuendo as X, Y and Z
coordinates. Each axis has its own automation lane showing the position of that object over
time. In addition, all other object parameters have individual automation lanes in Nuendo.
For Event and Channel Objects associated with mono audio tracks the available parameters in
Nuendo are:












Volume
LFE
Delay (manual and auto)
Spread
Distance Dependent Volume Decay
Distance Dependent EQ Decay
Distance Dependent EQ Cutoff Frequency
X-axis value
Y-axis value
Z-axis value
Source Type (point source/plane wave)
special parameters like OnScreen, Dialog, Aux (depending on the actual configuration)
Upmix Objects have additional automation lanes for dedicated upmix parameters:








Dry/Wet
Stage Width
Divergence
Ambience Gain
Ambience Front/Rear
Ambience Delay
Ambience Low Pass
Upmix/Original
3.4.2 Group Object Automation
Group objects have a slightly different list of automation parameters.






LFE
X-axis value
Y-axis value
Z-axis value
Rotation
Scale X
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


Scale Y
Volume
Delay (manual only)
The Scale X and Scale Y parameters start with a default value of one (1) and represent a ratio
of scaling. Values below 1 constrain the member objects closer to the Group Object while
larger values spread the member objects apart. X and Y scaling has a range of 0-100.
Note: In Nuendo, a scale value of one (1) is very close to the bottom of the
automation track in the project window. It may look like a minimum value at first
glance but if you draw in automation points that go to the bottom of the track, all the
group members will be constrained to the center of that axis.
Nuendo ignores the status of joined X and Y scales in the Spatial Audio Workstation. If
the X and Y scales are joined, editing the scale value of one axis directly in Nuendo’s
automation lane will not cause the other axis to follow the same changes.
The Rotation parameter has a default value of 0 degrees (up or north). As that value
increases, the members of the group rotate around the center in a clockwise fashion until 180
degrees whereupon the values become negative and continue from -180 back to zero.
Please note that as the rotation of a Group Object changes, so do the angles of the scaling
axes (X and Y). The next figure illustrates how the X and Y axes are relative to the notch seen
on the Group Object and not to the stage area itself.
Figure 39: The X and Y axes of a Group Object rotate along with the member objects of the
group as the rotation parameter is adjusted. Scaling of each axis will be relative to the
rotation degree of the Group Object
Motion Paths of Group Members
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When objects are joined together with a Group Object, their motion on the Stage view is
governed by both their individual motion paths and the motion of the Group Object, including
Rotation and Scaling. If you dissolve a Group Object that contains automation data, a dialog
will ask if you wish to keep the automation for all the group’s members. If you choose to keep
the automation, the motion paths of each member object will be updated to reflect the
compound motion of both the Group Object and member object to the new path. Even if no
automation is written but the group changes the static position of the members, the dialog
will pop up when dissolving the Group Object.
If you choose not to keep the Group Object automation data, each member will revert to its
own motion path and position.
3.4.3 Audio track modes
By default, newly created audio tracks in Nuendo are in the Channel Mode, thus creating a
single Channel Object in the Spatial Audio Workstation. You may choose to switch this to Event
Mode if you want to have multiple Event Objects instead. When switching from Channel to
Event mode, all motion paths and other automation for the Channel Object is converted into
Event Object automation for each event on the audio track.
Note: Before you convert Channel Object automation into Event Object automation,
you must first have audio events on the track. If there are no audio events on the
track when you change modes, all automation will be lost! Any part of the timeline
that does not contain audio events will have no automation present when in Event
Mode.
Conversely, you can change an audio track from Event to Channel mode. By doing so all Event
Objects and automations will be converted into one single Channel Object with the same
automation data. Since Event Objects can also be members of Group Objects, any group
automation that affects the Event Objects will be consolidated into the new Channel Object
automation, retaining the correct motion path and position for each audio source.
To change the mode of one or more audio tracks, follow these steps:
1.
2.
Select one or more audio tracks that are routed to an IOSONO output bus.
Only Spatial Audio Workstation enabled tracks can have their mode changed.
Choose the option under the Project menu, “SAW: Switch selected tracks to Event
mode” or use the appropriate buttons on the GUI.
All automation that was applied to the Channel Object will now be applied to the
events contained in the Audio track.
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Figure 40: These options allow you to change the mode of selected Audio tracks
3.
Check automation lanes to ensure that all automation was transferred correctly.
If there are no audio events on an audio track that is switched to Event mode,
previous automation data written in Channel mode will be lost. Parts in between
audio events will not have automation.
When switching back to Channel mode, only automation from each audio event will be
transferred.
3.4.4 Altering layers and groups with automation
When altering the composition of layers and groups in the Layers list using the drag and drop
method, automation data will be affected if an Event Object is moved out of its parent Group
Object. For example, if an Event Object is moved from within a Group Object on one layer to a
new layer, a dialog will appear asking if you would like to transfer the Group Object
automation data including the static position of that Event. Transferring this group data will
alter the Event’s motion path to reflect any changes made by the Group Object’s static
position, rotation, scaling and motion path. Additionally, the Group Object’s volume, LFE level
and delay will be added to the Event Object’s values in the transfer.
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Figure 41: Group automation transfer dialog
3.4.5 Motion path visibility
With many motion paths, the Stage view can quickly become overcrowded and confusing.
Therefore the visibility of motion paths can be controlled in four ways:



Path overall visibility
Available from the menu View - Path visibility, this option will turn off the visibility for
all motion paths.
Path playback visibility
This option makes paths only visible when Nuendo’s transport is stopped. During
playback, all motion paths disappear.
Individual path visibility check box in the Layers list
You can make an individual motion path invisible by un-checking it in the Layers list.
Each motion path is listed in the Layers list and has both locking and visibility check
boxes.
Figure 42: Motion path check boxes in layers list

Motion Path Fading
Motion path fading allows the Spatial Audio Workstation GUI to only display the
portion of the motion path that corresponds to the horizontal zoom level (visible part
of the timeline) in Nuendo’s project window.
Figure 43: The “Path fading” button (right most) in the toolbar
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Motion path fading is a convenient way to focus on a portion of a complex motion path using
the horizontal zoom function in Nuendo’s project window.
By enabling motion path fading with the button in the toolbar only the portion of a motion
path in between the left and right boundaries of the project window will be displayed. When
the cursor continues past those points, the motion path will fade as seen in the figure below.
Figure 44: Motion path fading at zoom level
3.5 Export Nuendo Project
When a mixing project created with Spatial Audio Workstation is finished, export to several
output master formats in channel-based or object-based configurations is possible.
3.5.1 Export an object-based master file
In case the Spatial Audio Workstation is used in a 3D mixing facility or venue equipped with
an IOSONO CORE or IPC 100, the plugin is normally working in External Processing mode. Here
the common method is to export (or print) the mix to IOSONO’s object-based 3D audio format
(ICF, IMF). These files can be transferred to an IOSONO CORE or IOSONO ONE audio processor
for standalone playback.
ICF – IOSONO CONTENT FILE is the standard export file and combines object audio streams (AAC
encoding) with meta data. For larger files choose the 64-bit extension.
IMF – IOSONO MASTER FILE is the advanced export file and combines object audio streams
(transparent 48kHz, 24Bit) with meta data.
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To export an ICF or IMF follow these steps:
1. Make a selection (Locator L and R) in the timeline of Nuendo’s Arrangement window.
This part of the mix will be exported.
2. Choose Export as ICF/IMF from Spatial Audio Workstation’s File menu
3. Decide for Mastering (IMF) or Standard (ICF) format
4. Set a name for the Project (displayed in the playlist on the IOSONO audio processor)
5. Set a name for the File (displayed in your file browser)
6. Set an output path
7. Start export
Figure 45: Export object-based audio files
Figure 46: Export settings for object-based audio files
Note: When using the export function for the first time you’re asked to set a Temporary files
path. Go to Preferences in Spatial Audio Workstation’s Settings menu. Open the Export tab and
set the path.
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3.5.2 Export a channel-based master file
A mixing project created with Spatial Audio Workstation can be delivered as a channel-based
master (Stereo, 5.1), as well. In this case the project settings must be set to Internal
Processing mode with the appropriate output assignment.
To export the master file follow these steps:
1. Make a selection (Locator L and R) in the timeline of Nuendo’s Arrangement window.
This part of the mix will be exported.
2. Go to Nuendo’s File menu, choose Export and Audio Mixdown.
3. In the Channel Selection area select the SAW Internal Mix bus.
4. Set file name and file path.
5. Choose a file format (i.e. WAV)
6. Set Samplerate and Bit Depth under Audio Engine Output
7. Click Export
Figure 47: Export Channel-based audio files
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The channel order follows the settings of the SAW Internal Mix bus. See VST Connections under
Outputs (shortcut F4).
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