ANTOINE HURTADO: So, my name is Antoine Hurtado. I’m coming from Paris, and I have this box on the booth, and the box is a DSP box that is hosting the software that is making some computation to produce similar to channel with stereo sources. Actually there is something between the stereo and the multi-channel, and this link can be found at the listening point. So, we place ourselves at the sweet spot and we are watching what’s happening actually.

So, it’s quite easy to understand if you look at the interface. At this point we need some music, and -- well, unfortunately, soundtrack is not turned on, so we’ll wait just for a second, get this, that’s it. Over here, over there, go.

Okay. So, this is the remote control for the box, DSP box you see. I would start by taking out all the correction systems we have right here, and we’ll focus on this filtering that is really the core of the algorithm. I would put a solo on this filtering so we just listen to what’s happening here. I will put my sources together in the center and then turn my filtering up to 100%. Now what’s happening, we have all the sound coming in the front, and it’s completely played by the central channel. If I put it in solo, I have everything. If I mute it, I have nothing. Now, if turn the source around me, I will have it in the right figure or the rear left figure and so on.

so, I’m looking where the sound is coming from, and I’m having it played but the concerned loudspeaker, all right? So, I’m taking out the lead now. What I’m doing here, I would open my stereo source. Now we’ll look. Now, in the frequency domain, what’s happening? So I can find some timbres here, a flute, a flute, and another flute, and we can isolate them with solo functions. Here we have also the snare and the bass. So, we are placing the different timbres we can find in front of us. Fifty times a second, we’re going to compute the spectral shape to isolate the different sources that are placed in the stereo mix. So, once we have these different elements in front of us, we’ll go for what is uncorellated because these are going to be dry sources, and to do that we’ll go back to our stereo, that is this, and put it in the site, that is left and right, and we’ll take out what is in the center. For example here, bass and snare.

[ANTOINE HURTADO TAKES OUT BASS AND SNARE TRACK]

That’s it. No more bass and snare. Now, for the real same thing. Okay, back to the stereo, we’ll take out what is in the center that is actually bass and snare. Okay, bass and snare out, and then I will go for the tambourine here, that is on the left, with blue and green pictures. Okay. So, you cannot hear really very much through the panorama here, but Jamie will tell you about it how it sounds over there.

JAMIE ENDICK: It sounds excellent.

ANTOINE HURTADO: Okay. So now, out with the solos, and now we have to play with these two knobs. So, you will check out this around in regard to stereo. So, you’re moving and playing around stereo surround, stereo surround. You try to find out a proper way to do the conversion. Once you have it with this, you will control your dynamics in regard to the stereo, and if you work properly, you will get something so close you cannot hear the difference.

Now, if you want to hear the difference, you click on this in the mix, and as you can see it’s not very much. And in the mix, you can put it into your surround again, if you want to, in order to get something absolutely lossless converter to stereo -- sorry -- to surround, from stereo to surround. So, if somebody listens to your surround in your stereo system, it will get the original stereo. That’s what’s mainly what’s great apart from different pictures that can be used with different --