Over the last decades there’s been a lot of research devoted to figuring out how to record a sound event and exactly reproduce the original sound field in a different location. So far, this has not been possible to achieve for sound reproduction in a consumer environment with a reasonable number of loudspeakers. However, recently we have seen a lot of innovation in spatial sound reproduction, with applications ranging from TV and cinema, to games and VR.
Our flagship automotive technology Dirac Unison uses our most advanced signal processing methods, enabling speakers within a system to work together to optimally reproduce each input channel–something which was previously impossible in digital room correction. While it’s a product we’ve always been proud of, up until January this year, the prototype tuning tool that came with it was not. It definitely worked, and offered all the required settings. But it was hard to maintain, and far from user-friendly.
Ever since humankind started creating music, the means, or equipment, for doing so have often been prohibitively bulky. True, there exists many small musical instruments, but the ones that can produce sound of sufficient strength and volume are typically really, really large; and an ensemble playing multiple instruments at once requires a lot of space indeed.
Dirac Research has been heavily involved in the automotive industry since the early days. As a research and software company, our mission is to deliver outstanding tuning algorithms and tools that are second to none. In order to live up to this goal, it’s of utter importance that we reflect on and understand the role software plays in the tuning process: What are the expectations for a tuning tool? And who will use it?