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AES 2019: ZYLIA ZR-1 portable recording device
Old 16th October 2019
  #1
News Desk Editor
 
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AES 2019: ZYLIA ZR-1 portable recording device


Zylia today unveiled its new ZYLIA ZR-1 portable recording device at AES New York 2019. Designed for professional users of the innovative ZYLIA ZM-1 microphone system, the powerful ZYLIA ZR-1 offers a convenient laptop replacement for outdoor and ambient sound recordings, 3rd order Ambisonics recording, and 360-degree recording.

ZYLIA ZR-1 Portable Recorder is designed for professional users of the innovative ZYLIA ZM-1 microphone array. The powerful ZYLIA ZR-1 offers a convenient laptop replacement for outdoor and ambient sound recordings, 3rd order Ambisonics recording, and 360-degree recording.

The ZYLIA ZR-1 supports the recording of audio from any ZYLIA ZM-1 microphone connected via USB. Equipped with an SD memory card (up to 2 TB) and powered either by 8 AA batteries or an external 5V power source, the ZYLIA ZR-1 allows users to record over 220 hours of 19-channel 48kHz/24-bit PCM audio. Stored files can be easily transferred to laptop and further processed with dedicated ZYLIA software.

Main features of the recorder: ​
  • Portable recording device for ZM-1 microphone array
  • SD card recording - storage up to 2 TB
  • Remote control via Bluetooth with mobile application
  • Live monitoring via headphones
  • ZM-1 gain control
  • ZM-1 LED ring control
  • On-board stereo playback
  • Powered with 8 AA batteries or with external DC power supply (microUSB)

Link : https://www.zylia.co/zylia-zr-1-portable-recorder.html
Attached Thumbnails
AES 2019: ZYLIA ZR-1 portable recording device-unnamed.jpg  
Old 2nd November 2019
  #2
Gear Guru
 

I checked this out at the show and I was very impressed

the microphone is a "ball" that has 16 elements giving a full 3-D surround pickup. The 16 channels are recorded together as one "thing". Then there is a software that analyzes and extracts information from the array.

That is to say, you do not sit there and "play" with 16 microphone channels to get your mix. Instead it creates a 3 dimensional model of what is happening in the space. Then you tweak those parts using that mathematical model. This shows up as a plug-in in your DAW.

In the demo, they had placed this one mic in front of a string quartet in a cathedral. There is a single USB out from the mic. Set levels, hit record. That's all you have to do.

Then they were able to extract each violin, viola, cello and bass etc as individual elements. The instruments sounded "soloed" as if they were close miked in a dead, dry room. They did not sound like someone has simply turned on the "one" of sixteen mics that was most aimed at the violin. There was hardly any ambience in the soloed instrument.

The way the software worked, it reminded me a little bit of the separation software tools like ADX and Izotope have. It was really 'extracting' the information.

In one mix, they had the 4 "soloed" instruments, and if you were to leave it at that, you would have the feeling they were in a dead treated studio. The cathedral sound was eliminated. Then they brought in the 'main pair' which sounded like an ORTF from where the mic actually was - about 10 feet in front. A little more spacious. Then they brought in various aspects of the room sound in the church. You could totally play with these balances.

As I said, it was very impressive feat of "new technology", but beyond that, the final recording was lovely. It was IMO, better than what most people could get with an ambient pair, a full set of close mics and 2 sets of room mics. And with a much simpler setup and much more "control" in post. If you wanted to, you could make it sound like you were in a small dry room. Even traditional close mics would have some "cathedral" bleed on them. The potential isolation was astounding. But when everything was brought back together, there were no weird artifacts.
Old 4 weeks ago
  #3
Gear Guru
That's high praise indeed! I wonder if just for recording would be good, seem to be ideal for someone in a great room.
Old 4 weeks ago
  #4
Gear Guru
 

Quote:
Originally Posted by ardis View Post
That's high praise indeed! I wonder if just for recording would be good, seem to be ideal for someone in a great room.
The demo was recorded in a cathedral. He had some photos and it was immense. Giant stone room, marble floor, and you know how high the ceilings are in those places. I actually preferred the less-than full mix without all the room.

But the impressive part was how 'dry' the software could get the isolated instruments. It was drier than if he just "soloed" the one-of-nineteen mics that was pointing 'at' the violin, let's say. IMO, it was drier than a close-mic in that same space. Even a traditional close mic inches away from the violin would get some room. When he played the four string players "isolated" they sounded like they were in a 1970's type studio. He could have stopped right there and added some reverb plugin of a different space if he wanted to.

I don't pretend to understand it, the owner of the company is a math PhD. My crude grasp is that it can calculate all the arrival times and positional cues to distinguish between what is room and what is violin. What is violin and what is cello.

I would love to try it out on a bluegrass band in a smaller space, or even a rock band in a club. It would also be interesting to combine the results with "normal" close mics and DI'ed instruments.
Old 4 weeks ago
  #5
Lives for gear
 

I heard the Zylia a year ago, but the demo wasn't very impressive at the time. I'd definitely like to hear it again with the new material. One of the cool things with ambisonics is that once you're into 3rd order, there are a bunch of free pieces of software to manipulate the soundfield in different ways (Blue Ripple, IEM, aalto SPARTA, Kronlachner's ambiX suite, etc.). The best recordings I've heard are from Professor Angelo Farina, done with a 32 channel Eigenmike, then processed and decoded with his own custom software. He's also built clyindrical arrays and is currently working on a custom array using DPA capsules.

http://pcfarina.eng.unipr.it/Ambisonics.htm
Old 1 week ago
  #6
Here for the gear
 

Zylia demo form AES2019

I think that this demo reflects what they've shown during AES.
Church recordings can be very tricky and you need to spend some time on setting your gear. It is very impressive when it comes to recording with one mic in front of musicians and the second one to get more ambient.
Blog post - https://www.zylia.co/blog/how-to-eas...lassical-music

demo - https://www.youtube.com/watch?v=R42pBCB7Swc
Old 1 week ago
  #7
Lives for gear
 
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Quote:
Originally Posted by joeq View Post
The impressive part was how 'dry' the software could get the isolated instruments. It was drier than if he just "soloed" the one-of-nineteen mics. IMO, it was drier than a close-mic in that same space. Even a traditional close mic inches away from the violin would get some room. When he played the four string players "isolated" they sounded like they were in a 1970's type studio. I would love to try it out on a bluegrass band in a smaller space, or even a rock band in a club.
Yes! this device should really solve problems and allow improved recordings of live performances simply. Congrats to the company, and thank you for your info about it
Old 1 week ago
  #8
Gear Guru
Hey anyone tried this further?
Normally I’d think that it might be a cool thing to try. Joe’s review makes me think there’s much more than that...
Digital tech at its finest....
Old 1 week ago
  #9
Here for the gear
 

There is a ProSound News review, sounds nice - https://www.prosoundnetwork.com/gear...cording-system
Old 1 week ago
  #10
Here for the gear
 

And from what I see they are developing this system in 6DOF audio direction. So using multiple ZM-1 mics to record 3D audio (live performances) and providing navigable audio in 3D space!!! That sounds like a future...
There is an interesting interview with co-founders in audioXpress -https://audioxpress.com/news/exciting-and-feature-rich-october-2019-edition-of-audioxpress-now-available
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