|
By Dominik Steiner, Music and Video Producer from Austria Hi, I’m Dominik Steiner, a music and video producer from Austria. I’ve been in the industry for over 15 years, starting my journey when I was just 18. In this blog, I want to share how I ventured into creating videos with surround audio formats and how I discovered the ZYLIA ZM-1 for my Dolby Atmos projects.  Starting with Stereo and Transitioning to Dolby Digital Plus 5.1 In the early years of my career, I worked exclusively with stereo sound. Mixing in surround audio formats requires significant experience, which I didn’t have at the time. However, in 2018, I began working on projects using Dolby Digital Plus 5.1 surround sound. For these projects, my setup included:
I didn’t always use the LFE channel because all five other channels are full-range speakers that can handle low frequencies. Contrary to popular belief, the LFE channel is not the "subwoofer channel". Instead, your home audio system determines which frequencies from all channels are played by the subwoofer. This principle also applies to Dolby Atmos, where the LFE is primarily used for special low-frequency effects.  Discovering Dolby Atmos and Finding ZYLIA ZM-1 Last year, I decided to venture into the world of Dolby Atmos for videos and movies. Since I often work alone, filming with two camcorders—Canon XF605 and Canon XF705 (occasionally with support from my wife)—I needed a microphone solution that was efficient, easy to use, and cost-effective. That’s when I found the ZYLIA ZM-1. From the moment I saw it, I felt it was the perfect solution for my needs:
The ZM-1 offers excellent audio quality at a price point that’s truly worth it. Post-Production Possibilities with ZYLIA Studio Pro One of the standout features of the ZM-1 is its post-production flexibility. With the ZYLIA Studio Pro plugin, I can:
Dolby Atmos Concert Production: Nisi & Band On December 21, 2024, I recorded a concert by Nisi & Band in Austria. The venue was extremely crowded, leaving limited space for equipment. I mounted the ZM-1 on a stationary camera, which was dedicated to filming the entire stage. My second camera was used for close-up shots of the performers. The ZM-1’s compact setup made recording effortless. I captured the 19-channel WAV file, synchronized it with the video footage in Adobe Premiere Pro, and edited the audio in Nuendo. The ZYLIA Studio Pro plugin allowed me to balance the audio perfectly, ensuring an immersive Dolby Atmos experience. Dolby Atmos Mixing Workflow Here’s a summary of my Dolby Atmos production process:
Despite the challenges of the crowded venue, the ZM-1 and its accompanying software provided the tools I needed to deliver an exceptional Dolby Atmos mix. Final Thoughts
The ZYLIA ZM-1 has transformed the way I approach audio production. Its flexibility, quality, and ease of use make it indispensable for my Dolby Atmos projects. Whether you’re a seasoned professional or new to surround audio, the ZM-1 is a powerful tool that delivers incredible results. And let’s not forget the fantastic support from the Zylia team—they’ve been invaluable in helping me optimize my workflow. If you have a Dolby Atmos TV and system, feel free to download and experience my recorded Dolby Atmos concert!
0 Comments
 Phot. Marianna Perun-Filuś
From the quiet, final moments before sunrise to the first sounds of a waking world, Przemysław Scheller, a composer, sound designer, and graduate of prestigious institutions like the Karol Szymanowski Academy of Music in Katowice and the Conservatoire National Supérieur de Musique et Danse in Lyon, invites us on an extraordinary sonic journey. Fascinated by the psychology and perception of music, as well as acoustic ecology, Scheller created the unique sound installation Greeting the Sun, which focuses on soundscapes at dawn. In his work, Scheller not only showcases the beauty of nature but also highlights the invasive impact of human activity on the acoustic landscape. In a conversation with Kuba Biegniewski from Zylia, Przemek discussed his creative process, how ambisonic technology helped him bring his vision to life, and his unique perspective on sound and its role in life. Enjoy the read!
Kuba: What role does silence play in your life?
Przemek: Silence is probably one of the most important aspects of my life. Silence understood as freedom from noise, but also as an internal silence. It's no secret that this particular category is perhaps the most frequently explored in my artistic work – from many angles and in many aspects.
Kuba: What role does silence play in your life?
Przemek: Silence is probably one of the most important aspects of my life. Silence understood as freedom from noise, but also as an internal silence. It's no secret that this particular category is perhaps the most frequently explored in my artistic work – from many angles and in many aspects.
Kuba: Did this significant role of silence influence the creation of the Greeting the Sun project and installation? Or was it more your experience in composition and earlier sound design?
Przemek: It's hard to pinpoint one element that caused this installation to be created in this specific way. The assumptions I had when planning and even making the recordings were put to the test. Being out in the field and recording the audiosphere, I noticed that this silence was missing, even in deep forests.
Kuba: It's often said that every silence has its own character. It seems difficult to even record silence in a way that truly captures it. Every silence is a kind of noise.
Przemek: Let's start by saying there's no absolute silence. We've known this since John Cage and his artistic performances like 4′33″ and experiments in the anechoic chamber. Even when we cut ourselves off from all external noises, we start to hear our own bodies. So, we can never escape sound. Never. Of course, silence has different variations because it's never complete. We can also consider silence in metaphysical aspects.
Kuba: I'd like to move on now to immersive arts and their role in your work as a composer. Could you elaborate on that? Where does this combination of art and technology come from?
Przemek: I've always been interested in electronic music, where multichannel sound systems are commonplace. At our university, we started with quadraphonic sound. I explored these possibilities, and essentially, that beginning was purely tied to a fascination with technology and its capabilities. Later, it began to develop, and one of the big leaps that occurred was transferring the possibilities of working with and creating space from electronic music to instrumental music. This was less a technological leap and more a conceptual one. For example, I started arranging the orchestra around the audience during my performances, rather than just placing them in their traditional, designated spot. I noticed that this significantly changes the very idea of an artistic work. At that point, I started exploring the topic of immersion more deeply. I compare it to sitting in front of a TV. The viewer has their designated spot, the artist has their designated spot, and a flat, two-dimensional relationship develops between them. The alternative is to invite the audience into the entire world that art can be, and to create, through music, what we might call imagined worlds. That's what immersive art is. For example, there’s one artistic attempt to capture this phenomenon in my composition: Trace of a Waterbird. This piece was created and recorded in a specific space - a huge abandoned cement silo. When I first got there, the acoustics inside made me almost dizzy; cosmic reflections, huge reverberation... It was one of those moments when I felt a creative imperative – I simply had to go back there with the composition. Together with great musicians Wojciech Myrczek and Adam Bonk, we had to move the necessary instruments and equipment there (which was neither easy nor entirely safe). Actually, this was my first artistic use of Zylia – I recorded the whole thing with its help, and a binaural version of this composition can be heard on my Bandcamp.
Kuba: So, in a nutshell, one could say this is an attempt to combine two worlds. A break from the traditional understanding of sender and receiver in musical communication.
Przemek: Yes, it's going deeper. It's an invitation to an experience, to transport oneself into another possible world through art. It's about getting rid of a certain barrier.
Kuba: And why did you decide to use ambisonic recordings and techniques?
Przemek: It was a pretty natural progression from the concept of inviting listeners into an immersive space. Technologically, I started using more and more independent audio channels, and the audio systems I used in my pieces grew increasingly complex. Initially, I created each piece for a specific sound system, and it was only after some time that I discovered the ambisonic format, which allowed for far greater flexibility in performing the work. You can adapt it to the conditions you encounter with minimal effort. And, of course, ambisonic recording itself, which, in a way unavailable to other techniques, allows for the reproduction of the real recorded space. And that was an absolute priority for my work.
Kuba: Did you use any other ambisonic techniques as well? Or was it always live recordings, focusing on that "live" aspect and trying to capture the natural state of the audiosphere?
Przemek: Of course, I did. Among other things, I synthesized ambisonic sounds. So, I always worked in two dimensions. On one hand, I have the real recorded sound when I recreate a space I encountered somewhere, and on the other hand, I have tools to create and simulate a certain space using synthesizers, or even live performers who can also play a spatial role.
Kuba: What microphones did you use at first? Probably a four-capsule one, meaning first-order ambisonic.
Przemek: Yes, I think it was Ambeo.
Kuba: What led to the decision to change? Did the ambisonic order play a role? Was the spatiality better represented?
Przemek: I was a bit disappointed with that first attempt. It was one of my initial soundscape projects, and a few things went wrong. First: the choice of microphones. I borrowed them from the University of Silesia and recorded the soundscape in the parks of Katowice. Some people might not know this, but Katowice has a very extensive network of parks and forests. Apparently, forests even make up most of Katowice's area, which is a pretty surprising statistic. Getting back to the microphones, first-order ambisonics didn't provide a satisfactory level of directionality and spatial reproduction. It was okay, but honestly, the difference between regular stereo recordings and those made with that four-capsule microphone wasn't satisfying for me. The second thing, if we compare it to Greeting the Sun, is that those recordings were done during the day. At different times of day, birds sing completely differently; there are fewer of them at noon or in the afternoon than in the morning. On top of that, there was terrible anthropogenic noise –ambulances, cars, planes... It was really noticeable. And that's what led me to realize that if I wanted to create a project, to give people a piece of true nature, I had to go out and record before dawn, at 3 AM, deep in the forest, and then try to record that pure nature. Unfortunately, even that didn't quite work out.
Kuba: Right, because those recordings still contained some anthropogenic sounds. And what was the preparation like for those night recordings?
Przemek: After the previous failure I experienced, I decided I wanted to record the awakening of nature. So, I wanted to start from complete silence and record the first signs that nature was waking up. Of course, it also had to be springtime – that’s when most birds sing. I checked the astronomical sunrise. It turned out to be 5 AM. So, I was in the forest at 5 AM, and there was a choir at their fullest, so to speak. Perhaps the fact that birds start singing long before sunrise is obvious to someone interested in nature, but it wasn't to me back then... Because, in fact, it starts to get gray even before dawn, right? Due to diffraction, sunlight already reaches the Earth. So, I had to be earlier, meaning I got up around 3 AM and went into the forest near my home. But I also took recording equipment whenever the opportunity arose – for example, when I went to visit my in-laws in the countryside, or when I was near ponds, because I wanted diverse fauna.
Phot. Przemysław Scheller
Kuba: Were you able to record any ambient sound without human activity there?
Przemek: I never managed to record for longer than half an hour or forty minutes without some noise appearing.
Kuba: That says a lot about modern times.
Przemek: Yes, you have to realize how little it takes. For example, just one ambulance passing by, removed from the context of everyday life. It turns out you can hear it for almost ten minutes because the noise carries that far. Similarly, an airplane – you can distinctly hear its flight for ten minutes in those recordings. It's truly incredible how little it takes to ruin silence. Once, I actually managed to record the awakening of nature. That soundscape begins with a single bird. But I want to share something extraordinary that shook me. I discovered it at the moment the sun rises above the horizon, which is the astronomical sunrise. And while it's not particularly visible, because you can't see the horizon in the forest, it's an incredible thing – it’s audible. Something changes: in the air, in the atmosphere, in nature's reaction... I don't know. And it is almost metaphysical, because the sound quality actually changes. Of course, other birds also start to appear. For example, literally one minute after the astronomical sunrise. I've heard this two or three times in a row, so it can't be a coincidence. At the moment of astronomical sunrise, woodpeckers start drumming. It's amazing. And the relationship between nature and anthropogenic noise is also amazing. Birds react to noise when they are overwhelmed by it, for example, by an airplane flying over or an ambulance passing by – they quiet down. It's evident that when the noise starts to dominate, they fall silent, and only when it drops to a relatively low level do they start reacting again. This mutual relationship between humans and nature is noticeable.
Kuba: Going back to that audible moment of transformation. Sticking with the metaphysical aspect, do you think there's a real moment when yesterday changes to today?
Przemek: I wonder. I mean, on one hand, I'd like to say no: it's well-prepared because birds start singing an hour and a half to two hours before dawn. The singing develops, and it's a very fluid process. But the moment the sun appears above the horizon is a bit like a switch being flipped, where something changes, and there actually is that leap. That's the moment, the moment of the jump in that gradual process...
Kuba: And does immersive audio translate to the younger generation of students? What's their interest in such experimental recordings and immersion in general?
Przemek: Certainly, what sparks broad interest is technology in general, immersive recordings, and multichannel sound systems. I see this among composition students. Soundscape is also increasingly and more boldly making its way into Polish music academies. Acoustic ecology is already a recognized branch of science. In Wrocław, there are Postgraduate Studies in Sound and Audiosphere, where soundscape is actually being researched by the scientific community. We are an art university, so we primarily use these kinds of things to create music. We may not conduct extensive research on this topic, but students and lecturers are increasingly recognizing the possibilities that technology offers us for use in art.
Kuba: And still on the topic of technology. How do you see its future? Any insights on technological changes that might occur or are already occurring?
Przemek: I try not to predict the future, because I believe today's world is so complicated that it's hard to even say what the current state is, let alone what it might be in the future. What I do see and observe is that more and more concert halls, broadly defined, are opting for multichannel, immersive systems. In Katowice alone, we have Tonarium at the Academy of Fine Arts, of the Soundscape Foundation. At our Karol Szymanowski Academy of Music in Katowice, there are plans to open an opera hall with an immersive sound system next year. We know that this system is already in NOSPR [Narodowa Orkiestra Symfoniczna Polskiego Radia – Polish National Radio Symphony Orchestra]. So, we already have three such points in Katowice alone, and there's also such a system in Cavatina in Bielsko-Biała. So, more and more of these places are appearing on the map of Poland, and I think – and this is the only thing I'd dare to predict – that these systems will be increasingly used and accessible to artists, and thus also to audiences. And we can expect many beautiful and captivating productions utilizing them.
Kuba: Where do you see Zylia's solutions fitting into this process, then?
Przemek: When I was looking for equipment, Zylia was the only company that offered such a solution, and I think it still is. Firstly, high-quality recordings in third-order ambisonics, combined with accessibility, because Zylia works with USB, so basically, you just need a computer and Zylia, and you can make those recordings. I undoubtedly see a pioneering element in you, and I hope you will develop it, so that you will be the vanguard of immersive recordings.
Phot. Bastek Łąkas, Katowice 2024
Kuba: That's very nice to hear. Perhaps I'll go back to Greeting the Sun for a moment, but in a slightly different way. I wanted to ask if we can also expect a "sunset farewell"? Or how would you envision such a reversed idea in general?
Przemek: Yes, I admit, I've thought about a farewell too. It's a natural progression, right? But first and foremost, I consider Greeting the Sun an ongoing project. The premiere of this installation took place last year in Katowice, at the Sound Office. This year, it was presented during Musica Electronica Nova in Wrocław, and even though the concept was exactly the same, the recordings were from this year, fresher. And, of course, the sound system was also different. So, if I were to repeat this installation, it would definitely be with recordings I've been making throughout the year, because it's something I'm constantly doing. A "sunset farewell" is a natural development, but honestly, if I were to reveal my artistic ideas, I'd like to start infusing my music into soundscapes and perhaps create something I'm currently calling a "semi-synthetic soundscape." That is, to try to adapt this natural soundscape a bit to my artistic vision, rather than just conveying an observation of the existing world.
Kuba: In that case, what are your closest professional or project plans?
Przemek: For now, I'm composing music for string orchestra. I like to alternate between electronic and instrumental music. However, my next actual ideas involve primarily using soundscapes in artistic music. This is what interests me most right now, and I hope to implement it in the coming months.
Kuba: In the meantime, another, more technical question came to mind. Did the fact that they were ambisonic recordings help in transferring the installation to different speaker systems later on?
Przemek: Yes, of course. The very idea of the ambisonic format helps here. Let's put it this way: ambisonic microphones record space, and having recorded space, I can then adapt it to specific speakers, in any way, without destroying the main recording. This is a huge change from what it used to be and how I worked at the beginning. Back then, I had to create directly for the speakers, but now ambisonic recordings simplify this process and, additionally, allow for much greater realism in reproduction.
Kuba: To conclude, I'd like to ask what we can wish you for the future?
Przemek: More silence. (laughs) That's where we started – let’s end there. I'd like to wish us all greater sensitivity to silence and to learn to love it. Unfortunately, I have this sad observation that not everyone likes silence or feels comfortable in it. It's one of the most valuable resources we have, and it can be so easily destroyed. So, for us, for myself, and for all of you: as much silence as possible in life.
Kuba: Thank you very much for the conversation. Przemek: Thank you very much as well.  Phot. Marianna Perun-Filuś
Przemysław Scheller creates instrumental, vocal, and electroacoustic music, striving to delve into the nature of sound. He explores different dimensions of time and space, seeking connections between the past and present. He graduated with honors from the Karol Szymanowski Academy of Music in Katowice and the Conservatoire National Supérieur de Musique et Danse de Lyon. In 2025, he obtained a Habilitated Doctor in Art [post-doctoral title]. As a composer, he has collaborated with ensembles such as the New Music Orchestra, the City of Katowice Singers' Ensemble Camerata Silesia, Ensemble musikFabrik from Cologne, the Tychy City Chamber Orchestra AUKSO, and the Polish Radio Choir in Krakow. So far, two monographic albums of Scheller's music have been released: Ukryte światło [Hidden Light], featuring electroacoustic compositions inspired by Gregorian chant and the sound of bells, and Obumarłe ziarno [Dead Grain], with pieces for chamber orchestra.
Introducing Łukasz Szałankiewicz: A Fusion of Art and Technology in the Immersive Arts Landscape8/14/2023 In this exclusive interview, we have the privilege of introducing Łukasz Szałankiewicz, a visionary artist and the newest Brand Ambassador for Zylia. Łukasz's artistic journey embarked in the early 1990s within the vibrant realm of Demoscene, where his fascination with pushing hardware boundaries laid the foundation for his boundary-breaking approach to art. Over the years, he has seamlessly blended sound and visuals to craft immersive experiences that challenge conventional artistic norms. Now, as a Zylia Brand Ambassador, Łukasz is at the forefront of shaping the audio landscape, bridging the gap between art and technology. With a rich background in the immersive arts and the game industry, he brings expertise and insight into the importance of 3D audio for younger students. As we engage in conversation with Łukasz, he discusses the exciting prospects for the future of 3D audio recording and how Zylia's cutting-edge solutions are positioned to redefine audio production.
Zylia: What is your background? Łukasz Szałankiewicz: My journey as an artist began in the early 1990s, when I immersed myself in the fascinating world of Demoscene - a dynamic computer community focused on breaking hardware boundaries. Those formative years were truly transformative, and the multimedia nature of Demoscene had a profound impact on my artistic vision. This laid the foundation for my solo artwork, where I love to combine sound with visuals and weave them into a conceptual framework to create meaningful and immersive experiences. As my art practice has grown, I have discovered my passion for exploring music, audiovisual performances and interactive installations. This allows me to combine art and technology in fascinating ways, encouraging audiences to engage more deeply. The fusion of creativity and innovation has become a defining aspect of my work, and I continue to push the boundaries of artistic expression. Zylia: How close are you to the immersive arts and game industry? Łukasz: For many years I have taught the history of video games and audio production at the non-public University "Collegium da Vinci" in Poznan. It’s a rewarding journey, sharing industry insights with aspiring interactive media enthusiasts. Exploring game improvements and nuances in audio design is fun and satisfying. The blend of theory and real-world practice ensures that students understand the complexities of this dynamic industry. Seeing the younger generation of game professionals becoming more passionate and creative is exciting. Zylia: How important is 3D audio to the young generation of students? Łukasz: Well, when it comes to the importance of 3D audio for younger generations of students, it's a bit mixed. It depends on their specific interests, resources, and field of study. Some students may love the idea of 3D sound as an immersive experience. They understand that it can create a whole new level of impact, whether in gaming, virtual reality, filmmaking, or even music production. On the other hand, not every student may have the same access or access to the technology necessary for 3D sound. It can be a bit more resource-intensive, requiring specialized tools and software. So, while some students are up to date with the technology, others may not yet have had the opportunity to explore its potential fully. Interestingly, today's younger generation is very familiar with the technology. They are familiar with advances in audio technology and often understand the difference between traditional stereo sound and 3D sound. They see how 3D sound adds depth and realism to audio, making you feel like you are right in the middle of the action. In conclusion, the meaning of 3D sound for students varies. But one thing is for sure; they show what is possible with their passion and demonstrations as they venture into this fascinating realm of audio. Zylia: What do you think is the future of 3D audio recording? What technological changes can occur or are already taking place in the industry?
Łukasz: The future of 3D audio recording holds exciting possibilities. Immersive experiences are an important process, driven by virtual reality and augmented reality. Audio technology is advancing, producing life-like sounds. Advances in AI and machine learning will normalize audio and transform sound processing. Expect improved microphone tech and software algorithms for more accurate sound captures. Overall, the future is about blending art and technology to create engaging and immersive audio experiences. Zylia: Where do you see Zylia's solutions in this global change? Łukasz: Zylia prides itself worldwide as a leading provider of 3D audio solutions, dealing with advanced hardware and software, especially in microphones. With constant international changes, Zylia's services are available in an organized manner. With the increased demand for audio reviews, their expertise in 3D audio technology makes them a key player. With superior performance in features such as digital reality and personalized audio, Zylia's solutions are ready to shape the future of audio recording and production. Their revolutionary technology can elevate the quality of audio recordings and define a new commitment to sound, significantly impacting all areas of entertainment, art and communications. As a recognized leader in 3D audio, Zylia aims to innovate and change the global audio landscape. Zylia: What are your following career plans? What would you like to do this year? Łukasz: The upcoming months will be quite a dynamic period with a lot going on. Currently, I'm working on a lecture about the history of communication in the Polish demoscene, while also sound designing a project that showcases Poznan on the Fortnite platform. Autumn is a season of various presentations and educational work, and in December, I will most likely travel to Sydney for the Sigrapph conference, where a demoscene event is taking place. And this is just the beginning. You can follow Łukasz on TikTok: https://www.tiktok.com/@zeniallo or LinkedIn: https://www.linkedin.com/in/zeniallo Dear valued Zylia Community, We're thrilled to share that from the 1st of August, 2023, we're transitioning our email communication from @zylia.pl to @zylia.co. This change enhances our brand consistency and will make interacting with us easier.  Why This Change?
We aim to align our email addresses with our website domain, creating a unified and simplified communication experience for you. What's Changing for You? Nothing! Due to automatic forwarding, all correspondence sent to our old email addresses will still reach us. So you don't need to make any changes on your end. To Summarize We're excited about this change and appreciate your understanding during this transition. As always, feel free to reach out with any questions at [email protected] or [email protected] Thank you for being a part of our Zylia journey. Best regards, Zylia Team
RELEASE OF ZYLIA ZR-1 FIRMWARE V1.4 – New File Naming Convention and Critical Recording Fix7/4/2023 We are thrilled to announce the latest release of ZYLIA ZR-1 Firmware v1.4 in June 2023.
New features
Resolved issues
Links:
We are excited to announce the initial release of ZYLIA Studio v1.0 for iPad. This application is designed to complement the recording process not only with the ZYLIA ZM-1 microphone array but also with any other microphone device.  Here's what's new in this release:
We are thrilled to announce the release of our newest ZYLIA ZM-1 driver, version 3.0, designed specifically for iPad powered by Apple Silicon CPU (M1/M2)! At ZYLIA, we believe in listening to our customers and providing tailored solutions to meet their needs. Your feedback has driven us to develop this groundbreaking driver for iPads, ensuring that you can now enjoy the exceptional audio capture capabilities of the ZM-1 Ambisonics microphone array on your favorite Apple device.  Imagine the freedom of leaving your bulky laptop behind and immersing yourself in the great outdoors while recording pristine soundscapes. The ZYLIA ZM-1 Driver for iPads empowers you to unleash your creativity without any limitations. Whether you're exploring breathtaking landscapes, documenting wildlife, or capturing the essence of natural environments, the ZM-1 and your iPad are the perfect companions. Immerse yourself in the moment, focus on capturing the perfect audio, and let the ZYLIA ZM-1 Driver for iPads handle the rest.
We're delighted to announce the release of ZYLIA Studio PRO v2.2.0! This latest version contains some exciting updates and additions, and we can't wait for you to experience them. Here's what's new:
We remain committed to the continual enhancement of Zylia’s software, and we highly value your feedback. If you encounter any issues or have any suggestions for further improvements, please reach out to our support team. Thank you for your continued support, and we look forward to hearing about your experiences with these new features. We are excited to announce the release of ZYLIA Studio PRO plugin v2.1.0 - the latest version of our advanced VST/AU/AAX plugin designed for spatial filtering and signals separation in a DAW. With this powerful plugin, you can easily manipulate your audio recordings to achieve superior sound quality and create immersive 3D audio experiences that will captivate your audience. This release includes a highly anticipated feature – automatic source tracking. This innovative technology enables you to precisely track the location of audio sources in real-time, even if they move around the microphone during recording. This means that the plugin can automatically adjust the output to reflect the new location of the source, resulting in more accurate and realistic audio recordings. Additionally, this feature allows you to record the sources' trajectories via VST parameters, giving you unprecedented control over your audio recordings.  But that's not all! ZYLIA Studio PRO now also supports OSC, which allows you to use external software to control all the plugin's parameters and functions. This integration gives you even greater flexibility and control over your audio recordings, making it easier than ever to achieve the perfect sound. Experience the power of ZYLIA Studio PRO v2.1.0 and take your audio recordings to the next level. With our advanced plugin, you'll be able to create immersive and realistic audio experiences that will captivate your listeners and elevate your music production to new heights. The example project, which shows how to utilize this feature, is available >here< |
Categories
All
Archives
July 2025
|
RSS Feed
|
Connect with us |
|
© Zylia Sp. z o.o., copyright 2018. ALL RIGHTS RESERVED.
|