Sonorisation spatialisée

HOLOPHONIX spatial sound technology was originally designed to break out of the stereophonic paradigm, and provide audiences with a high-resolution sound localization experience.

In traditional sound reinforcement systems, there is no way to accurately locate sound sources unless the listeners are at the center of the venue. As a result, only a few people in the “sweet spot” can hear in stereo during live performances.

With the HOLOPHONIX technology, the sweet spot disappears. Almost every seat becomes a privileged position.

A traditional ‘frontal’ stereo system consists of ‘main’ left and right loudspeakers, sometimes with an additional center loudspeaker system. In these systems, the ‘panning’ of the sound from left to right is done in the mixer.

Stereo requires the listeners to be in the center of the venue. If they are not exactly in that position, they will not be able to perceive the exact localization, because of the way our perception works.

In contrast, HOLOPHONIX-based spatial sound reinforcement systems rely on multiple loudspeakers distributed across the width of the stage for frontal reinforcement.

The spatialization of sound is performed by the HOLOPHONIX processor or app, which runs the algorithms and is controlled by a user interface that allows precise positioning and localization of sound sources.

With spatial sound reinforcement, every member of the audience is able to perceive the sound as coming from the desired direction, wherever they are placed in the venue. The sweet spot disappears, and almost every single seat becomes a privileged position.

Over the past five years, more than two million people have experienced HOLOPHONIX spatial sound technology in hundreds of creative projects and cultural venues.

HOLOPHONIX users and customers are spread across the world.

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Improving the intelligibility and localization of actors and musicians in the vast area of the Pope’s Courtyard of Honor area has been a long quest that I and my predecessors have pursued since the Festival’s inception in 1947. Thanks to the new technologies serving the performing arts, we are beginning to achieve an unprecedented level of quality and we will continue the quest and innovate as we refine the system in the future.

Michael Petit

Technical Director | Festival d'Avignon

Using HOLOPHONIX high-resolution spatial audio algorithms, combined with the proper speaker setup, results in high audiovisual correlation because the perceived sound comes from where the source is.

It also reduces the frequency masking effect that occurs in stereo and mono mixes, and helps to reduce the Sound Pressure Level (SPL) while increasing the perceived loudness.

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We selected the HOLOPHONIX technology at Paris-based Chaillot National Theater to increase artist creativity and improve audience’s experiences. This is probably the most advanced platform to date for spatial sound mixing and immersive creation.

Marc Piera

Sound Department Director | French National Theatre of Dance

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We wanted to build a system that would be able to adapt to any live show and any concert – even the most acoustically and sonically challenging.

Frederic Biessy

Director | La Scala

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Sous l'influence croissante du cinéma, le jeu des comédiens sur les scènes de théâtre a considérablement évolué au cours des cinquante ou soixante dernières années. Mais si les comédiens sont aujourd'hui presque toujours équipés de microphones, devons-nous, en tant que spectateurs, subir le son de voix dont la profondeur et les nuances spatiales semblent avoir disparu au profit d'une certaine forme de monophonie ?HOLOPHONIX, en développant de nouveaux outils de spatialisation, nous fait renouer avec le théâtre vivant – le spectacle vivant – et nous rapproche de l'intimité des comédiens.

Félix Lefebvre

Scénographe | Théâtre Vidy-Lausanne, Radio France, Opéra du Grand Avignon, Théâtre des Variétés

Directeur technique | La Grande Halle de la Villette, Théâtre des Amandiers (Nanterre), Théâtre du Châtelet (Paris)…

HOLOPHONIX features highly-advanced 2D and 3D sound algorithms developed at the Institute for Research and Coordination in Acoustics/Music (Ircam), one of the world's largest public research centers dedicated to both musical expression and scientific research.

HOLOPHONIX is the only solution that offers the ability to run and combine some of the most renowned and advanced spatial sound algorithms including Higher-Order Ambisonics (2D, 3D) Vector-Based Intensity Panning (2D, 3D), Vector-Based Amplitude Panning (2D, 3D), Wave Field Synthesis, Angular 2D, k-Nearest Neighbor, Stereo Panning, Stereo AB, Stereo XY, Binaural, and more.

The Wave Field Synthesis (WFS) technology can reconstruct a sound field over an extended area. It recreates a wavefront by superimposing secondary sound waves emitted by a loudspeaker array.

Because the WFS algorithm focuses on recreating a natural wavefront using finely computed delays and level differences, every member of the audience will perceive the sound as coming from the desired direction, no matter where they are in the venue. The sweet spot disappears, and almost every single seat becomes a privileged position.

La technologie HOLOPHONIX est compatible avec les logiciels de show control et de nombreux DAW populaires qui prennent en charge le protocole Open Sound Control (OSC) – notamment Ableton Live, Cubase, Digital Performer, IanniX, Logic Pro, Mandrin, Max, Nuendo, PureData, Pyramix, QLab, Reaktor, REAPER, Reason, Traktor — permettant aux compositeurs d'ajouter une couche de contrôle aux logiciels, matériels ou systèmes réseau existants utilisés pour des créations in situ, comme des installations ou des performances intégrant des contenus graphiques, vidéo et/ou sonores.

N'importe quel paramètre HOLOPHONIX peut être supervisé et contrôlé via le protocole Open Sound Control (OSC). Ce format de transfert de données entre ordinateurs, synthétiseurs, robots ou tout autre dispositif ou logiciel compatible est conçu pour le contrôle en temps réel. Le transfert s'appuie sur le protocole réseau UDP (User Datagram Protocol) et apporte un gain de rapidité et de souplesse par rapport au MIDI.