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February 2011

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Audio Innovations NEYRINCK Paul Neyrinck, founder of Neyrinck (www.neyrinck.com) in San Francisco, cre- ated his company by using his vast knowl- edge of plug-in architecture gained from working at Digidesign. As a result, Neyrinck developed his own line of software plug-ins for Pro Tools — encoding and decoding a variety of surround sound formats. What we do falls under the product name of SoundCode,” says Neyrinck. “SoundCode products are used to encode and decode for various broadcast tech- nologies, such as SoundCode for Dolby Digital, SoundCode for DTS, SoundCode Stereo Lt/Rt, Sound Code for Dolby E and SoundCode Exchange. One of our big sell- ing points is our products are compatible with tape-based and file-based workflows. By contrast, hardware-based encoding products are not compatible with file- based workflows.” Neyrinck applied his understanding of plug-ins in a way that had never been done before.“When I got started, the first prod- uct I did was SoundCode for Dolby Digital in 2005. I wasn’t really thinking that I would make surround encoding easier by making it software only, since there were already a lot of pre-existing software tools for Dolby Dig- ital. I asked myself if the world needs an- other one? Yes, it needs one that is really easy to use with Pro Tools.” Because he worked on so many products at Digidesign, he had a deep understanding of how the plug-in architecture worked and all the possi- bilities of it.“When I went to do my plug-in, I utilized Pro Tool’s Audio Suite fea- ture in a way that no one had done before with plug-ins.That is what made Dolby Digital encoding possible. Also, things like getting a selection to know the timecode start of an encode and having a punch in and out feature were things no one had ever done before with a plug-in. “Highlighting the audio selection would enable it to punch in and out automatically. That’s why the number one distinguishing feature of our products is Pro Tools integration, which make it a lot easier to use than other software or hardware applications.” Neyrinck’s thinking does not stop at audio alone. He envisions a much broader workflow for audio and video applications.“I am filling the void for encoding technology integrated with Pro Tools, and now we are moving into Final Cut Pro.The demand has been there because FCP is integrated with Apple’s Compressor. So by design, this lends itself better to file-based workflow deliver- ables. FCP is really a great application for managing video and audio together, unlike Pro Tools. Pro Tools is an audio-centric pro- gram, but customers need to deal with both video and audio. Pro Tools has too many lim- itations when you look at it that way. FCP is an all-in-one solution.” He says that an “FCP system is more likely to have a high-end videotape machine connected to it such as the D-5 or the HDCAM SR.There are tons of Pro Tools systems out there, but not all of them have high-end decks hooked up to them. Audio studios often have to rent these machines because Pro Tools is not always the program used for the final layback. Final Cut or Media Composers are more likely to be hooked up to these high-end VTRs, therefore it makes sense for them to do the laybacks. That’s why FCP needs a software-based en- coding solution for surround sound.” This type of broad creative thinking has lead to Neyrinck to develop a completely new area for his company.“I have new prod- uct out now that is not a SoundCode prod- uct at all.We just introduced it at AES in Symbolic’s Carla Scaletti:“We are always learning by working with our customers.” Users include sound designers, music creators and even researchers who study speech disorders, she says. 32 Post • February 2011 www.postmagazine.com

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