© Resolution Magazine

© Resolution Magazine

“What we are doing is specifically addressing an ongoing —and, until now, unsolved — challenge faced by object-based formats, such as Atmos, MPEG-H, and DTS-X,” he explains. “The object-based paradigm requires new approaches to audio production, and, until now, there have been no automated tools to extract objects either in terms of the content or the location.”

Using any microphone configuration, SALSA automatically tracks and identifies on-pitch sounds, controls mixing console fader movements, and creates what is described as an “augmented sound experience”. The result, it is said, is that SALSA can automatically devise an immersive mix for both conventional linear and non-linear broadcast, and for more sophisticated object-based distribution…

SALSA Initiative Looks To Automate Live Audio Mixing Process

At NAB 2016, SALSA was demonstrated as part of a complete outside broadcast production workflow, from capture to reproduction. SALSA-identified objects were shown being extracted from the mix by the 3DAW system in Fairlight’s EVO.Live mixing console, and packaged into a linear MDA bitstream for contribution over SDI.

Fairlight has collaborated DTS.Inc. and the University of Salford to develop a new approach to assist sound engineers with live sports productions. The Spatial Automated Live Sports Audio (SALSA) solution is a real-time automated mixing process that identifies the location of specific sound events from a grid of pitch microphones. The algorithm, developed by the University of Salford, identifies the …