Microphones X-Techniques have be e n de ve lope d by R iccardo Mazza, C hie f Engine e r and Partne r of R e naissance Sound Te chnologie s, spe cifically

for the production of the R e naissance Dolby Surround Encode d Library. The re se arch has be e n addre sse d in orde r to achie ve a surround tridim e nsional re cording e ncode d on just 2 track s and the possibility to de code the re sult back on 4 channe ls using a standard Prologic de code r. In this way use rs are able to re cord on location with a norm al 2 track DAT re corde r on the fie ld and the n re build the original spatialization during the post-pro se ssions. If corre ctly balance d, X-Techniques do not ne e d to be Dolby surround e ncode d, thus com ple te ly pre se rving bandwidth and dynam ic of original re cordings. Be side s LC R S e ncoding, this application is ve ry use ful for 5.1 productions as we ll and since the e ncode d track s are ste re o com patible , it be com e s a ve ry practical task to m onitor and distribute such m ate rial using for e x am ple a standard audio C D. X-Techniques have be e n cre ate d in orde r to obtain the m ost e ffe ctive m otion along the spe ak e rs: spe cific te chnique s have be e n de ve lope d for diffe re nt k inds of situation lik e natural e nvironm e nts, m otions, city trax e tc. The de ve lopm e nt of the se te chnique s has be e n m ainly addre sse d to the e nte rtainm e nt industry and its not inte nde d for m e dical or scie ntific purpose s. So we have : - som e te chnique s that e nhance ce rtain k inds of m otions (lik e a car pass by in a city track ); - othe rs that surround the liste ne r (lik e in a rain storm ); - som e othe rs that re ally se parate the dom inance of the source s in the dim e nsional space (lik e in a natural jungle e nvironm e nt whe re you m ay he ar m aybe a bird on the back , an inse ct on the le ft e tc.).

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All the se re cording te chnique s use m any of the psychoacoustic laws to ge t m ax im um audie nce im pact.

In orde r to use X-Techniques you will ne e d som e de dicate d tools that have be e n cre ate d along with the te chnique s the m se lve s. The m ain e ncoding proce ss is m ade throught the X-Mat. X-Mat is a m atrix e d circuit that allows a m ax im um of 5 m icrophone s inputs and 2 channe l e ncode d outputs calle d Lx and Ly. X-Mat consists e ithe r in an hardware portable m ix e r and a DSP base d plug-in. The both case s final re sults are the sam e . The hardware ge ar provide s 5 high quality m ic pre -am ps at the input stage , in spite of the plug-in that ne e ds e x te rnal m ic pre -am ps. The m atrix is a double 5 input with link s on ch 1-2 and 3-4, phase switch on e ach channe l. Each of the se channe ls is inde pe nde ntly addre ssable to one or m ore of the 4 busse s. Each bus can re ve rse the phase once again and it is addre ssable at output Lx and/or Ly. Each stage of the circuit m ust be phase -corre late d and e ach sum m ing stage (link s, busse s, assign, Lx and Ly) m ust be trim m e d at nom inal le ve l othe rwise all coding will not work prope rly (thats why the software ve rsion have to be DSP base d). The DSP base d plug-in has be e n re alize d using C re am ware Scope program m ing e nvironm e nt conne cte d to a Digide sign syste m via ADAT bridge . The Prologic de coding has be e n use d with the Dolby Surround TDM plug-in and all te sting as the post pro has be e n done in the TDM e nvironm e nt as we ll. Each of the following X-Techniques ne e ds the re lative X-Mat m apping. Many othe r te chnique s are unde r de ve lopm e nt at now; the following are the one s that have be e n succe ssfully e m ploye d during the production of the R e naissance SFX library.

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