Reference class spatial audio rendering system
Reference class spatial audio rendering system
Introduced in 2022, the powerful FletcherMachine object-based immersive mixing solution has established a loyal following thanks to its unparalleled audio quality, the intuitive user interface, and integrated reverberation and trajectory engines. Version 2 continues to build on this no compromise approach with ample new features, further enhancing the capabilities and workflow of the system.
The FletcherMachine was developed with artistic emotion in mind. Superior audio quality, accurate localization, and a highly intuitive workflow make it the first choice for any immersive application in even the most demanding environments, allowing you to position sound objects in a way you never dreamed of before.
At the heart of the FletcherMachine is a powerful object-based rendering engine, using both amplitude and time localization algorithms to replicate sound sources more accurately in a performance space. The approach enhances the listener’s ability to perceive both the direction and distance of sound sources, resulting in a drastically improved engaging experience. Besides a comprehensive set of onboard tools, the FletcherMachine can also be controlled from a mixing console, an audio workstation, a real-time tracking solution, or other interfaces using standard communication protocols.
The FletcherMachine provides simple and efficient sound spatialization tools. It offers the highest degree of versatility and can be easily scaled for use with various loudspeaker setups. From plain frontal to complex 3D surround applications, in small- or large-scale venues, for touring and permanent installation projects. Elevate the sonic experience of concerts, corporate events, in theme parks, museums, and many more…
Harvey Fletcher, the “father of stereophonic sound”, revolutionized audio reproduction through his research, laying the foundation of modern spatial sound systems. The FletcherMachine builds on this legacy and has become a leader in immersive audio.
Very precise rendering, offering a high degree of spatial unmasking. The music becomes easier to mix, requiring less dynamics processing and EQ. Listening fatigue is reduced.
Depending on the size and shape of the room even small frontal setups will already enable correct localization for virtually the entire audience. Sources are perceived at their correct position, providing more space for instrumentation and movement, creating a more engaging listening experience.
The newly developed premium reverberation processor offers up to three autonomous engines, allowing the creation of beautiful acoustic spaces and astonishing effects.
The coverage pattern of sub array configurations can be adjusted per object, allowing to individually optimize the trade-off between opening angle and loss of impact based on the low frequency content of each source.
Mixes are quickly and efficiently translated from frontal stages to surround to full 3D configurations with multiple elevation layers. Fill systems and delay lines are integrated with ease. Positional information of the loudspeaker deployment is imported directly from ArrayIntelligence and Blueprint. Additional mixes in any channel-based format cen be created and integrated binaural rendering with head tracking allows to use the FletcherMachine even without loudspeakers.
Three alternate rendering modes can be selected individually per object and layer. By default, minimum delay will apply zero delay to the nearest loudspeaker from an object and time align further active speakers to this position. Alternatively, full Delay rendering will take account for the full propagation delay from an object to each active speaker. And in no delay mode only the distance-based amplitude offsets are applied. Finally, a full matrix with manually adjustable delay and gain at each object to speaker crosspoint is provided for even greater flexibility.
Quick, simple and highly efficient tools are provided to position and move objects within the acoustic space, including trajectories, which can be designed and recalled individually for each object. At the same time interfacing with mixing consoles or digital audio workstations to control objects positions, snapshot recall or parameter automation is just as easy. Standard protocols allow connecting with external controllers and tracking systems. Timecode can be generated or received to synchronize the show.
| SYSTEM | VIRTUAL | TRAVELER LITE |
TRAVELER | STAGE | STAGE EXTENDED |
|---|---|---|---|---|---|
| GENERAL | |||||
| Form Factor | Software (*) (MacOS, Windows) |
SFF (1) | SFF (1) | 19'' / 3U | 19'' / 3U |
| Touch Display | - | - | - | ✔ | ✔ |
| Audio Interface | - | Dante™ or AVB / MADI (2) | Dante™ or AVB / MADI (2) | Dante™ or AVB / MADI (3) | Dante™ or AVB / MADI (3) |
| Redundant Engine Mode | - | - | - | AVB / MADI only (4) | AVB / MADI only (4) |
| Sample Rate (kHz) | 44 / 48 / 88 / 96 | 44 / 48 / 88 / 96 | 44 / 48 / 88 / 96 | 44 / 48 / 88 / 96 | 44 / 48 / 88 / 96 |
| Latency @ 48 & 96 kHz (ms) | 12 | 1.33 | 1.33 | 1.33 | 1.33 |
| Number of Inputs | 24 | 32 | 64 / 48 / 32 | 96 / 64 / 32 | 128 |
| Number of Outputs | 12 | 32 | 32 / 48 / 64 | 32 / 64 / 96 (5) | 128 (5) |
| Reverb Engine | |||||
| Number of Engines | 1 | 1 | 1 | Up to 3 (6) | Up to 3 (6) |
| Generator based | ✔ | ✔ | ✔ | ✔ | ✔ |
| Convolution based | - | ✔ | ✔ | ✔ | ✔ |
| Frontal / Surround / 3D | Surround only | ✔ | ✔ | ✔ | ✔ |
| Speaker Processing | |||||
| Number of Layers | 2 | 4 | 6 | 8 | 12 |
| Aux | |||||
| Pre / Post Fader Aux Sends | 0 | 4 | 4 | 4 | 4 |
| VCA | |||||
| VCA Controllers | 8 | 8 | 8 | 8 | 16 |
| Remote Control | |||||
| FM Remote (Mac, Win) | ✔ | ✔ | ✔ | ✔ | ✔ |
| VST / AU plugin (7) | ✔ | ✔ | ✔ | ✔ | ✔ |
| VST / AU plugin (7) | ✔ | ✔ | ✔ | ✔ | ✔ |
| Console plugin (7) | ✔ (8) | ✔ (8) | ✔ (8) | ✔ (8) | ✔ (8) |
| Tracking System (7) | ✔ (9) | ✔ (9) | ✔ (9) | ✔ (9) | ✔ (9) |
| External Protocol (7) | ✔ (10) | ✔ (10) | ✔ (10) | ✔ (10) | ✔ (10) |
| Timecode (7) | ✔ (11) | ✔ (11) | ✔ (11) | ✔ (11) | ✔ (11) |
| Power Supply | |||||
| 100-240 VAC, 50-60 Hz | - | ✔ | ✔ | Redundant, hot swap | Redundant, hot swap |
| Max. power consumption | - | 300 W | 300 W | 550 W | 550 W |
| Weight & Dimensions | |||||
| W x D x H (mm) | - | 102 x 215 x 263 | 102 x 215 x 263 | 482 x 527 x 132 (12) | 482 x 527 x 132 (12) |
| W x D x H (in) | - | 4.02 x 8.47 x 10.36 | 4.02 x 8.47 x 10.36 | 18.98 x 20.75 x 5.20 (12) | 18.98 x 20.75 x 5.20 (12) |
| Weight (kg) | - | 4.5 | 4.5 | 13.2 | 13.2 |
| Weight (lbs) | - | 9.9 | 9.9 | 29.1 | 29.1 |
FletcherMachine offers a user friendly interface, that was thought of much like a mixing desk. Object positioning is facilitated with a touchscreen based interface. It includes an easy to use yet complete set of mixing functionalities, including object Eq, compressor, auxiliary sends, adjustable distance attenuation and atmospheric absorption, easy to set, synchronize and recall individual trajectories, continuous or discrete position jitter, object grouping and functions linking, 8 VCA-style faders, up to 12 layers, loudspeaker positioning in 3 dimensions with ArrayIntelligence / Blueprint import, output Eq, delay, crossover and many more.
