Peter J. Moore Name

GPS-Audio

GPS-Audio

GPS-AUDIO STATEMENT

GPS was created out of frustration with existing 5.1 simulator / converters.

The consumer demand for 5.1 release of classic material places extreme pressure on our clients (Record Labels and Film Studios). They are faced with two options:		  

Option 1:
  • Scour the archives for the original multitrack sources (if even available)
  • incur restoration cost of said tracks
  • and pay for the remixing into 5.1, all the while hoping the new mix is faithful to the original which the consumer is familiar with and would be offended if it is not.
Option 2:
  • Run the original mono or stereo tracks through a 5.1 simulator or a propietary process and be at the mercy of an unpredictable outcome.
The methods of present day devices and custom processes are nothing more than sophisticated modern DSP's performing antiquated studio tricks (adding reverb, delays, phase anomalies, or even re-recording a mono speaker in a room). They can be compared to the early attempts at colorization of black & white films, a chapter in our entertainment history we would like to forget.

Every "magic box" on the market failed to meet the professional criteria we established at GPS. They all suffer from instability of surround playback, program dependency, phase distortion of the original signal, and the adulteration of the original mix.

We at GPS feel that maintaining the Artist's/Director's original intent is instrumental in generating our 3D surround field from either a mono or stereo source. This is paramount both in a commercial marketing sense as well as a profound respect for the classic title we've all grown to love.

We developed an Algorithm on a proprietary system to satisfy our above criterion. The Algorithm was meticulously coded after an exhaustive analysis of vaious mono and stereo audio sources.

The GPS process has the unique ability of decoding directional queues, even in Mono sources. This results in an uncanny canopy effect (a 3D or aptly described by test subjects as holographic) in the surround field whereby original reflections from the source material become more apparent. Any dynamic manipulation evoked by the sound effects recordist/editor or the original mixer, either through panning, delays, or reverb etc. are faithfully represented in the surround field. In the case of film titles, there is a remarkable enhancement of sound effects, music track, foley, and room ambience. In the case of music titles, there is an exciting enhancement of drum transients, bass definition, guitar/violin/horn/piano dynamics, synth pads, background vocals, etc. Unlike 5.1 systems with momo panning, GPS places you in the middle of the existing source material.

For more information, contact:
GPS-Audio Logo
GPS-AUDIO
"Generating Perfect Surround"
Contact: Peter J. Moore
vox: 416-533-1749
fax: 416-533-4834
info@peterjmoore.com
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