The FLUX:: Team are excited to announce the SPAT Revolution 25.12 update, delivering powerful new features and refinements to enhance your immersive workflow.

This release introduces among other things:

• New SPAT Send Plugin with an intuitive UI for streamlined routing and control
• Expanded snapshot recall scope with safe matrix handling for greater flexibility
• Sum, Delay, Gain, and Polarity controls in both Master and Transcoder matrices
• Restructured 3D View preferences for improved visualization and customization

The SPAT Revolution 25.12 Service Release is a free update for all users with a valid perpetual license or an active subscription plan and is available now in FLUX:: Center.

Release Notes

New Features

New SPAT Send Plugin with UI

Welcome a complete user interface to the SPAT integration plugin, SPAT Send. This new plugin version features the SPAT Source object parameters on a beautifully crafted interface that can be focused on the basic positional parameters or expanded to include advanced parameters. The UI size is now customizable like all other FLUX plugins and the Configuration for LAP (Local Audio Path) and OSC is streamlined together with RX (Receive) and TX (Transmit) data indication. 

New deep snapshot recall scope and safe matrix.

While previous version of SPAT Revolution allowed a user to scope the parameter category (source, room and masters) for each snapshot recall, this new deep snapshot advancement allows the user for a deeper scope of recall with a deeper level of parameter granularity that can be applied global or per snapshot. The new global recall safe can allow the same level of granularity, but specific to specific parameters to never be recalled.

Sum/Delay/Gain/Polarity in Master and Transcoder Matrix

Beyond a fresh look for any matrix in SPAT Revolution, the Master and Transcoder block module now allows for a complete summing, delay, gain and polarity control on the input to output routing making it the most practical tool for summing channels together, or routing a spatial “speaker pan” position output to multiple physical loudspeaker outputs at different delay and gain values. 

Additional New Features

• 3D View preference restructure
  3D view is the main environment window, looking at the source object soundscape. The view preference options have drastically increased over the development of SPAT Revolution. This major improvement restructure Source, Speaker, Nebula visualization and other generic view preferences in 4 distinctive panels.
  
  
• Advanced parameters for metering, with peak hold and meters control, as well as improved UI for high channel count
  
  
• New UI for input/output matrix
  
  
• Import of snapshots from other sessions 
  
  
• New option to copy the reverb parameter from one room to another with right click 

Improvements

• Add KNN parameters – Exponential for distance and max distance
  
  
• Snapshot page – Revamp of some controls on version history and inspector panel 
  
  
• SPAT Send – Enable OSC automation with LAP
  
  
• Source – Source radius is no longer supported 
  

In addition to this the 25.12 update provides maintenance and bug fix updates, more information available in the Release Notes.

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As one of Lisbon’s most respected cultural institutions, Culturgest sought to expand the creative potential of its flagship Emílio Rui Vilar Auditorium, a 612-seat performance space known for its detailed wood architecture and refined acoustics. The venue, located in the Caixa Geral de Depósitos headquarters, already featured a high-quality cinema surround speaker system, but its engineering team aimed to evolve that infrastructure into a flexible, immersive audio environment capable of supporting live concerts, theatrical productions and experimental performances.

In collaboration with Audium and FLUX::, Culturgest became the first venue in Portugal to implement a fully immersive live sound system using FLUX:: SPAT Revolution. The system integrates a SPAT Revolution engine running up to 64 channels from the mixing console, routed via Dante and AES67 to the house speaker systems. Thirty-six surround speakers from the existing setup were reconfigured to handle rear, top and side channels, while the LR system used for traditional events was integrated into the immersive configuration. The entire setup was tonally matched to ensure transparent performance and cohesion between operation modes.

FLUX:: engineers worked closely with Audium and Culturgest’s in-house team to commission the system and provide extensive onsite training. The configuration supports multiple modes for live productions, including up to 32 active audio objects or reverberation-only simulations for acoustic performances. “Culturgest asked for an immersive system, and after a thorough analysis of the available options, FLUX:: SPAT Revolution was the main choice for this demanding venue,” said Tiago Laires of Audium. “In the end, and although we had a high level of expectation for SPAT, both Culturgest and I were blown away by the impressive result.”

The integration of SPAT Revolution has transformed Culturgest’s live production capabilities, allowing artists and engineers to explore new spatial soundscapes and audience experiences. “The expectations were high, but I can say that, after almost a year using SPAT Revolution, the expectations were largely exceeded,” said Ricardo Guerreiro, Culturgest’s In-House Sound Engineer.

Since installation, Culturgest has hosted a range of performances using the immersive setup—from orchestral concerts to experimental electroacoustic works. Artist and Composer Suse Ribeiro credited SPAT Revolution with unlocking new artistic freedom, noting that it allowed her to move beyond her initial design concepts to achieve exceptional technical and creative results.

Through precise integration, advanced networking and deep collaboration between FLUX:: and Audium, Culturgest has emerged as a leader in immersive live audio in Portugal, setting a new standard for how technology and artistry converge in contemporary performance venues.

https://www.culturgest.pt/en/

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HO CHI MINH CITY, VIETNAM — HARMAN Professional Solutions, in collaboration with AV integration partner Ba Sao Audio, recently deployed one of the region’s first large-scale spatial audio deployments for live theater. The production CHÀO celebrates Vietnamese heritage through traditional music, narrative design and immersive technologies, all powered by a fully integrated HARMAN Professional Solutions system across the brand portfolio, including JBL Professional, FLUX::, BSS, and others.

Conceived by Nguyễn Khắc Anh, CEO of Ba Sao Investment, with technical direction by Vũ Hữu Thắng, CHÀO reimagines Vietnamese heritage through a compelling fusion of traditional music, dynamic visuals, and immersive sound design. The performance features an original orchestral suite with 30 traditional Vietnamese instruments, supported by a massive 150-square-meter LED screen and synchronized lighting.

From a technical standpoint, CHÀO posed a unique challenge. The performers and the audience occupy a shared acoustic environment, with no stage monitors or in-ear systems. This required precise spatial mixing and system tuning to maintain instrument fidelity while avoiding feedback. Ba Sao Audio deployed a 20.4-channel immersive sound system to deliver a fully three-dimensional sound experience, anchored by FLUX:: SPAT Revolution to provide precise spatial positioning and real-time control of sound sources throughout the venue.

“This collaboration has enabled us to create a powerful and engaging experience for audiences,” said Vũ Hữu Thắng, Technical Director, Ba Sao Audio. “Working with HARMAN’s integrated solutions allowed us to meet the technical demands of the production while supporting its creative goals.”

The immersive system was supported by 20 JBL AC18/95 loudspeakers for full-range coverage and four JBL STX818S subwoofers for powerful, well-controlled low-frequency response. Crown CDi Drivecore 4|600 and MA9000i amplifiers handled power and system control while 49 AKG microphones, including the C214, C519M, C411PP and C451B models, were chosen for their ability to capture the detail and texture of traditional Vietnamese instruments. Mixing and routing were managed using a Soundcraft Vi2000 digital mixing console paired with a 64-channel Dante stagebox. System processing and spatial audio rendering were handled by BSS Soundweb BLU-806 and BLU-BOB2 processors together with the SPAT Revolution real-time Immersive audio engine.

“This project exemplifies how our end-to-end solutions can elevate cultural storytelling,” said Amar Subash, VP & GM, Professional Solutions, APAC, “CHÀO is a model for how immersive technologies can preserve and amplify tradition in a way that’s both modern and moving.”

The result was a seamless fusion of tradition and innovation, setting a new benchmark for immersive cultural performance through integrated AV systems. Audiences were fully enveloped in sound and story, experiencing Vietnamese culture in a way that was both emotionally resonant and technologically groundbreaking.

ABOUT HARMAN PROFESSIONAL SOLUTIONS

HARMAN Professional Solutions (pro.harman.com) engineers and manufactures audio, lighting, and video and control products for entertainment and enterprise markets, including live performance, audio production, large venue, cinema, retail, corporate, education, government, hospitality, broadcast and more. With leading brands including JBL Professional®, AKG®, Martin®, AMX®, Soundcraft®, BSS Audio®, Crown®, dbx Professional®, and Lexicon Pro®, HARMAN Professional delivers powerful, innovative and reliable solutions that are designed for world-class performance. HARMAN Professional Solutions is a Strategic Business Unit of HARMAN International, a wholly-owned subsidiary of Samsung Electronics Co., Ltd.

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Absolute vs. Relative OSC messages

Traditionally, OSC messages require users to specify the desired value for a parameter. This approach is ideal for scenarios like setting precise trajectory values. For example, to set a parameter to a specific value, we historically used an Absolute OSC message:

/room/1/gain/ -10

In contrast, Relative OSC messages allow users to define an offset rather than a specific value. This means you can adjust parameters incrementally, such as increasing room gain by +3dB or decreasing source distance by -2m. This flexibility is amplified when you don’t have bidirectional integration, as the parameter current value is unknown, and can simplify the interaction with SPAT Revolution.

How Relative OSC messages work

Relative OSC messages follow the same structure as standard OSC messages, with the addition of a path keyword. For instance, to offset the room gain by +3db, you would use:

/room/1/relative/gain 3

This consistency ensures that the OSC path structure remains unchanged, allowing users to utilize wildcards to target multiple objects or add interpolation timing. For example, to offset the distance of all sources by 2 meters over 5 seconds, you would use:

/source/*/relative/dist 2.0 5.0

Getting started with Relative OSC messages

To assist you in leveraging this new feature, we provide a QLab5 template with examples of Relative OSC messages. This resource will guide you through your initial steps and help you explore the full potential of Relative OSC.

You can find all available controls in the updated OSC table, which includes all available OSC commands in SPAT Revolution.

QLab 5 Relative OSC Template

We encourage you to try out this new feature and share your template and use cases with us!

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SHIGA, JAPAN – The esteemed Biwako Hall in Shiga Prefecture, Japan, celebrated for hosting some of the country’s premier opera and classical performances, has become the first performing arts venue in Japan to install the cutting-edge SPAT Revolution Wave Field Synthesis immersive audio system powered by HARMAN’s FLUX:: technology. This revolutionary system enables an auditory experience that positions sound precisely on stage, creating a fully immersive environment that enhances the audience’s engagement, regardless of seating location.

Located 20 minutes from Kyoto on the shores of Lake Biwa, the 1,848-seat Biwako Hall is renowned for its diverse programming and its unique acoustics tailored to classical performances. The installation of the SPAT Revolution reflects Biwako Hall’s commitment to innovation in the performing arts. The system upgrade enhances the hall’s Front of House (FOH) package, introducing five main frontal sound points and a front-fill system to the space.

“This project represents a significant advancement in immersive audio for Japan’s live performance spaces,” said Hugo Larin, Senior Business Development Manager for FLUX::, HARMAN Professional Solutions. “The integration of SPAT Revolution in Biwako Hall demonstrates HARMAN’s commitment to elevating the audio experience in premier cultural venues, aligning cutting-edge technology with Biwako Hall’s esteemed legacy in the performing arts.”

The integration of the SPAT Revolution immersive engine enables Biwako Hall’s sound engineers to create a lifelike audio experience by positioning sound sources, such as performers and instruments, as objects in a virtual space. Sound outputs are then distributed through both the proscenium speakers and an array of eight front-fill speakers, creating the sensation that sound emanates directly from specific stage positions. The immersive system, controlled via a tablet PC, allows for seamless management and adjustment of sound objects and acoustics from anywhere in the hall, optimizing the mixing process beyond the FOH console integration to SPAT Revolution.

“Biwako Hall has long been known as a leader in Japan’s opera and classical music scene, and the addition of SPAT Revolution solidifies its standing as a cutting-edge performance venue,” said Mr. Masahito Oshitani, Audio Technical Manager, Biwako Hall. “This installation not only exemplifies our commitment to immersive sound solutions but also provides audiences with an unparalleled sensory experience, underscoring Biwako Hall’s dedication to artistic excellence.”

With the SPAT Revolution now in place, Biwako Hall is positioned to deliver an exceptional audio experience, setting a new benchmark in Japan’s live performance industry. The addition of this immersive audio system underscores Biwako Hall’s reputation as a pioneer in the performing arts and reinforces HARMAN’s dedication to transforming the auditory experience for live events worldwide. Furthermore, this installation showcases the cross-brand compatibility and seamless integration capabilities of HARMAN’s immersive audio technologies, laying the groundwork for future enhancements.

ABOUT HARMAN PROFESSIONAL SOLUTIONS

HARMAN Professional Solutions engineers and manufactures audio, video, lighting and control (AVLC) products for entertainment and enterprise markets, including live performance, audio production, large venue, cinema, retail, corporate, education, government, hospitality, broadcast and more. With leading brands including JBL Professional®, AKG®, Martin®, AMX®, Soundcraft®, BSS Audio®, Crown®, dbx Professional®, and Lexicon Pro®, HARMAN Professional delivers powerful, innovative and reliable solutions that are designed for world-class performance. HARMAN Professional Solutions is a Strategic Business Unit of HARMAN International, a wholly-owned subsidiary of Samsung Electronics Co., Ltd. For more information, visit http://pro.harman.com/.

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This accolade not only celebrates the company’s innovative approach to immersive sound design but also signifies a pivotal moment in the ongoing evolution of audio technology.  By pushing the boundaries of how sound is experienced in space, FLUX:: Immersive continues to set new benchmarks for creativity, innovation, and technical excellence in the audio industry.

This recognition marks a bold step forward in the evolution of sound – The future of audio is immersive – and it’s happening now.

The PALM Sound & Light Awards honors individuals and organizations for their unmatched contribution to the events entertainment industry by rendering outstanding services in the field of stage, sound and light.

Over the past years the awards have generated much expectation from the body of live event organizers, rental companies and industry professionals like sound engineers, set designers, stage production companies and light designers.

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The MiRA 25.04 release is a free update for all users with a valid MiRA perpetual license or active MiRA subscription plan and is available now in FLUX:: Center.

IO Setup
We’ve added an in-app help feature to the IO setup page. This helpful toolbar will guide you through configuring input and output settings for three typical use cases: studio, live show, and system tuning. Additionally, when modifying the input reference number of channels, an automatic offset for additional channels is now applied.

Live and Capture
We’ve made numerous optimizations to enhance your experience:

• Drag and drop captures between sessions
• Improved transfer function with octave phase smoothing
• Frequency-dependent thresholding and auto-pause display
• Enhanced robustness of the analysis

SampleGrabber
The robustness of the MiRA SampleGrabber has been significantly improved, particularly in the following cases:

• Handling loops in DAWs
• Reconnection stability
• LUFS measurement reliability
• IO setup configuration

Complete Release Notes
In addition to these key updates, we’ve focused on improving the overall stability and consistency of the software.

For detailed information, please refer to the full release notes here:
https://shop.flux.audio/en_US/page/mira-release-notes

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The SPAT Revolution 25.01 release contains important new features, including ADM-OSC v1.0 compatibility, relative OSC, and support for FLUX:: MiRA, as well as maintenance and improvement updates. It is a free update available now in FLUX:: Center for all users with a SPAT Revolution perpetual license or an active subscription plan.

ADM-OSC V1.0 compatibility  

Following the ADM-OSC v1.0 recently introduced at AES New-York, SPAT Revolution is fully compliant with this new standard with the 24.12.50436 build.  

OSC relative message  

This new feature brings the possibility of acting on a parameter without knowing its current value. The syntax is the same, just adding a keyword on the OSC pattern to make it relative. 
 

MiRA integration

Following the release of MiRA, our new analyzer software release, the send from SPAT to it has been improved and updated. 

  
Full release notes: 

New Features  

Add OSC relative support. Example: “/source/1/gain -10.0” will set the gain to –10, while “/source/1/relative/gain -10.0” will decrease the gain OSC pattern. 

Add full compatibility with ADM-OSC v1.0, including modified ADM-OSC presets with new port numbers, reviewed OSC transformations with some new parameters, and a new way to edit the maximum distance of the ADM-OSC normalized value. 

MiRA integration

Improvements 

Improve support of high-channel-count soundcards  

Reduce CPU consumption of inputs and outputs  

Support of ASIOSTInt32LSB24  

Mac Intel – Performance improvements 

Bug fixes  

App - Core Audio headphones and loudspeakers  

Core - Fix crash when deleting a snapshot 

Core – If the number of output channels of the device is below the number of channels of the output blocks, some channels are not outputed   

Item page - Changing delay in meter or feet does not work  

New preferences path is not added to the default Python path list  

OSC – Message /global/project/dump is not working  

OSC – -1 does not consider the room distance scaling  

rttrPM - Position is sluggish while receiving rttrPM  

Setup page - Can’t distinguish the difference between both the ‘record audio’ buttons in a transcoder  

Known Issues 

Most Important  

– App – Bad GUI initialization on Windows with intel graphics chipsets  

– PI – AAX - Renaming the send track in Pro Tools cuts the audio if verb switches are not the default one.  

– S6L integration - SPAT Send track name is not retained properly and sent every time the UI opens (erasing your SPAT Source name).  

– SPAT Send - Renaming an instance cut the audio in Pro Tools / Windows10. Have to re-enable the LAP to fix  

Important  

– App – A process still running after quitting SPAT Revolution when ASIO4ALL is used as audio driver on Windows  

– Automation parameter issue when entering a value manually in Nuendo  

– Display issues when OS display scaling is under the default resolution  

– On reverb preset density change, sound is cut  

– SPAT Plugins – Crash on reloading mixer with Pyramix versions earlier than 14 & Ovation versions earlier than 10  

– SPAT Plugins – Tail reverb is not reported to the plugins in LAP when IO devices are “None” in SPAT Revolution  

– SPAT plugins – The second OSC output status is not retained in AAX / AAX VENUE after a reboot or an AAX host rack reset 

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CHICAGO – At its Spring 2024 opening, Flyover in Chicago became the newest of Flyover Attractions’ immersive indoor flying rides, joining existing installations in Las Vegas; Vancouver, Canada; and Reykjavik, Iceland, that transports guests to the planet’s most epic places through exhilarating flying journeys. Located within Chicago’s landmark waterfront Navy Pier, the multi-sensory experience, which incorporates leading drone technologies along with impressive aerial shots and first-person narratives, showcases the city from perspectives never seen before.

Flyover’s signature Chicago journey will be shown on an impressive 65-foot spherical screen with flight motion seats engineered to swoop, dip and turn, giving guests the feeling of flight. The attraction will transport 61 guests at a time, with complete sensory immersion using wind, mist and scents, as fliers hang suspended.

The breathtaking ride employs a massive number of audio sources, which are controlled and dynamically spatialized by the advanced audio object and Wave Field Synthesis features of FLUX:: SPAT Revolution immersive audio software, then played through a highly customized system of JBL loudspeakers in a nearly spherical configuration.

The FLUX:: software and JBL Professional loudspeakers are supplemented with Crown amplifiers, BSS loudspeaker processing, and control systems from HARMAN Professional, who also supplied extensive support and expertise to the project. Designing and building an attraction like Flyover is a highly complex undertaking, so the thrilling sonic world of Flyover Chicago is the work of a team of experts from several companies working closely together.

Immersive Entertainment
An extensive presentation occurs primarily in its own immersive theatre, which features a 10-foot diameter, circular “lollipop” screen in the center (serving guests on both sides), plus an elliptical screen wrapping 360 degrees around the audience. Sound designer/mixer Tim Archer of Masters Digital programmed SPAT Revolution to control the soundtrack, which plays through a system designed by Wels, Austria-based Kraftwerk Living Technologies (KLT), who also designed the main flight ride audio system.

Speakers are placed behind the perforated screens, with each side of the venue featuring the same speaker configuration: eight JBL COL800 column loudspeakers inside the lollipop facing out (for a total of 16 cabinets), and six JBL AC18/26 compact two-way loudspeakers behind the wraparound screen (for a total of 12). Low- frequency support is provided by four ceiling-mounted JBL ASB6115 subwoofers.’

Crucially, these are not arrays in which every loudspeaker receives the same signal; SPAT Revolution sends a discrete signal to each loudspeaker in order to implement Wave Field Synthesis and other reproduction techniques. Still, A source such as dialogue may need a large contribution of speakers for coverage or perceived sound size reasons, a situation which can create its own problems.

“When you’ve got eight speakers that are not in a simple array and all are receiving the same content, how do you get away with not having comb filtering?” asks Archer. “The answer is that you run the signal through SPAT. I pop one track of dialogue into SPAT and WFS spreads it across the eight columns. And you can be almost around the side of the lollipop before you lose the character of the sound; it’s extremely wide. WFS is killer. It’s a game changer.”.

A ring of 10 more AC18/26s mounted above the audience (five on each side of the room) acts as the primary source for presenting the music from composer Elliott Wheeler.

The Main Flight Ride
For the flight ride, guests are seated on one of three separate moving platforms which are vertically “stacked” in the room. Presenting realistic, well-balanced sound to every guest was the biggest challenge facing both Archer and KLT’s Philipp Hartl, responsible for Sales | Lead Audio System Design & Optimization.

“There’s three platforms, and that’s critical. We’re talking about people above, in the middle, and below,” reveals Archer. “That is probably the main thing that makes this mix so unique: traditionally, we are all based in the idea that the person mixing is on the same plane as the rest of the audience. You normally don’t have people located on three different planes.“

“But at Flyover Chicago you do, so the guests are having three different experiences. Since everybody’s not got the same visual perspective, they should not get the same audio perspective.” Complicating things further was the sheer number of moving elements, which defined a massive mix process. “I am sitting down with just over a thousand tracks, about 600 for music and about four hundred and change for sound effects,” Archer reports.

With the platforms in constant motion, object audio was the only way to place a source and have each person hear it properly. Two guests viewing the same visual element from different platforms need separate mixes that accurately localize the sound for their positions…while the platforms continue to move. Traditional multichannel mixes simply cannot accomplish this. For this reason, localization in SPAT Revolution is not viewed in terms of routing sounds into loudspeakers, but, rather, sending them to “pan points” or virtual speakers to synthesize artificial wavefronts.

What’s more, some musical events relate to visual elements, necessitating moving music sources through space, too. “I’ve got a trumpet player on top of the Wrigley Building, and when the camera flies by him, his trumpet sound has got to whip past us,” Archer details. “Every single thing in the mix moves.” To facilitate this, composer Wheeler and his engineer went to the trouble to deliver the music to Archer already in the form of a SPAT Revolution session.

In his sound system design, Hartl faced the same issue of trying to supply sound appropriately to three continuously moving platforms. “As a practical matter, it’s not possible to achieve the exact same coverage at every seat on each platform,” Hartl explains, “so one of the really tricky things was to find a middle way to tune the speakers that minimized the amount of compromise made at any individual seat.”

Hartl used 34 JBL AM7215-series high power two-way loudspeakers, deployed in four different vertical layers, plus four JBL ASB7128 dual 18-inch subwoofers to furnish prodigious amounts of low-frequency effects. As in the pre-show theatre, SPAT Revolution rendered a different signal feed for each loudspeaker. To ensure clear rear localization, a pair of JBL Control 23-1 ultra compact speakers is mounted on each seat back. Once the content was generated and the system tuned, the presentation was implemented in a show control system for playback by Miami-based Smart Monkeys.

Teamwork is Key
Bringing such an immensely complex project to a successful conclusion involves plenty of tweaking and problem-solving. As a central contributor to the project, HARMAN gave close support to all the teams involved, with Flux’s Hugo Larin being particularly deeply involved in the design and programming of the immersive audio. “Hugo’s involvement was what got the show across the line,” compliments Eric Sambell, Flyover’s Global Director of Construction and Entertainment. “He was knowledgeable and really jumped in, even with issues that weren’t directly involved with SPAT, like some aspects of design and workflow. It was a really great
value-add.”

Teams from Flyover and all of the vendors reported tremendous cooperation and support from all parties, which made a difficult, stressful project actually fun. “It was great to see the different companies work together and not against each other, which was the case at Flyover,” enthuses Hartl. ”We learned from each other, and that was the best thing which could have happened there.” Archer was just as impressed.’ “The spirit of collaboration started right with the management of Flyover, who assembled teams of people that could and would work together.”

In the end, of course, the effort is not about the sophisticated systems or even the teams, but providing the guests an amazing experience, as Sambell highlights. “The technology has to be so good that it disappears, like it isn’t even there, so that guests enjoy a seamless experience from the moment they walk in the door to when they walk out afterwards,” he asserts. “We don’t want guests thinking about the technology or where they are, we just want them to be present in what’s happening.”

From Construction to Immersion

The magic of Flyover is made possible through planning, collaboration and massive amounts of hard work. In this episode, Flyover’s construction and integration team explore how an old IMAX theater on Navy Pier became a one-of-a-kind immersive experience.

Connect with your curiosity, amplify your senses and feel inspired to explore. Our flight journeys transport you over iconic global destinations, so you can experience the world from a whole new perspective. Sit suspended in front of a massive spherical screen and feel the unmistakable thrill of flight, while mists, winds and scene-setting scents deepen your immersion.  

Harman Pro Case Studies – Flyover in Chicago, USA

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This SPAT Revolution 24.08 release is a feature update release providing support for the JBL Venue Synthesis 3D acoustic simulation software models, and is a free update for all users with a SPAT Revolution perpetual license (from v22.09) or an active subscription plan.

Release Notes

JBL Venue Synthesis Support

Venue Synthesis .vsyn files (from v1.1) can now be imported directly into SPAT Revolution’s speaker editor on version 24.08 and above, and includes speaker arrangement optimization (layering tolerance, elevation correction) for the various loudspeaker elevations.

A SPAT Revolution Reference tool has been added to the Venue mode tool bar (Venue > Add > SPAT Revolution Reference). This new tool adds a user-adjustable reference position known as the SPAT Revolution reference to position the loudspeakers.

This new feature accelerates system design and simplifies the creation of immersive systems using Venue Synthesis and SPAT Revolution.

JBL Venue Synthesis
Venue Synthesis is JBL’s next-generation 3D acoustic simulation software, designed from the ground up to allow system designers and engineers to accurately predict the acoustical and mechanical performance of JBL sound systems.

https://jblpro.com/en/products/venue-synthesis

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