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Deputy Editor – Jake Young jake.young@intentmedia.co.uk


Managing Editor – Jo Ruddock jo.ruddock@intentmedia.co.uk


Commercial Director – Darrell Carter Darrell.Carter@intentmedia.co.uk


Production Executive – Jason Dowie jason.dowie@intentmedia.co.uk


Designer – Jat Garcha jat.garcha@intentmedia.co.uk


Press releases to: pressreleases@intentmedia.co.uk


© Intent Media 2014. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.


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Audio Media ISSN number: ISSN 0960-7471 (Print)


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“I felt so involved when experiencing Dolby Atmos in the home theatre. Just like the cinema, sound came alive from all directions, including overhead.”


I


want to open by thanking Jory Mackay, who moved back to his home in Canada recently, for making work on 13 issues and the website of Audio Media so enjoyable. In the editor’s comment


from last issue Jory talked about the public appeal of immersive audio, which I’m now familiar with having attended a Dolby Atmos Everywhere event and experienced Atmos for the living room at Dolby House, London in August. So how is the company bringing Dolby


Atmos from the cinema – which has real overhead speakers, lots of speaker opportunities, and massive rendering power – to the home? In short, tools to author Dolby Digital Plus and Dolby TrueHD bitstreams with Atmos spatial coding inside have been distributed to post-production and content encoding houses, and the company has also emulated ceiling speakers with up firing speakers, which – at a slight angle – aim sound up to the ceiling so that it comes down to the listening section of the room. I felt so involved when experiencing Dolby


Atmos in the home theatre. Just like the cinema, sound came alive from all directions, including overhead. Tere was a little bit more precision with the ceiling speakers, but there was more spacious diffuseness with the up firers. One was not a compromise over the other though. Tey were just different, and you’d be happy with either. We read a lot about IBC while organising


this issue, including the news that DTS will be bringing Headphone:X, its virtual surround sound technology that transforms the audio


experience on headphones, to media players. But immersive audio isn’t the only thing to look out for at the Amsterdam show. Te International Guide to Broadcast Audio starts on page 15, with its IBC Preview including some tips on making the most of your trip. Look out for more on immersive audio in upcoming issues of Audio Media. Back to this issue and it’s great to see


that distinguished recording engineer and consultant John Pellowe is to be given the Lifetime Achievement trophy at the Pro Sound Awards on 25 September. In addition, Miloco will accept the Grand Prix, which recognises a company or organisation that has built up an impressive portfolio of work, at the ceremony. Te acknowledgement comes as Paul Epworth’s Te Church Studio 2, a Miloco construction and studio, is completed. In addition the company has recently introduced new and used recording studio equipment seller and broker Miloco Gear, pro-audio equipment repairs expert Miloco Repairs, drum samples download site Drumdrops, and more. Te Pro Sound Awards closely follows


Game Music Connect, which returns to the Purcell Room at London’s Southbank Centre on 24 September. In an Interview on page 50, maestro Garry Schyman reflects on his multi award-winning score for BioShock Infinite before his ‘BAFTA Interview’ at the second annual international video game music conference. 


Jake Young, Deputy Editor, @jakeandrewyoung


www.audiomedia.com


August/September 2014 3


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