Best audio tool for sound spatialization PRIVATE BETA — RELEASE Q4 2026

SMART SOURCES

Every input format, one source model

Mono, stereo, multichannel, ambisonic or direct-to-output — every input runs through a single source model, with the same parameters and the same spatialization. Multichannel sources spread automatically around their position, and B-format or HOA streams (up to 3rd order, 16 channels) decode straight to your layout with spherical-harmonic beamforming and A/B-format conversion — plug an AMBEO or Zylia mic directly in. A direct-to-output source bypasses spatialization entirely, routing straight to the channels you choose.

Stereo gets particular care. Since almost all music is still stereo, RIPL upmixes it with our proprietary HSR algorithm — a time-domain method that extracts the spatial image actually encoded in the mix and unfolds it across the speakers the source is assigned to, preserving energy and timbre with no phase artifacts. Not two mono objects panned apart, but the real space inside the stereo, mapped onto that object's own outputs.

EASY ONBOARDING

Up and running in minutes

Getting set up is immediate: create sources in a few clicks, or pull them straight from your DAW. RIPL opens Ableton Live (.als) and Reaper (.rpp) sessions natively — tracks become named, colored sources, DAW groups become RIPL groups, markers become timecoded snapshots. No Send/Return chains to wire.

Connect a Yamaha console (CL, QL, RIVAGE, DM7) over RCP and names, colors, faders and mutes sync both ways, with auto-discovery on the network. And to stay as open as possible, import and export with the other spatialization platforms is on the way — so your work moves freely between systems.

LAYOUT, RIG & FIXTURES

From a 7.1.4 bed to a full dome

Start from the layouts you actually use: a 7.1.4 immersive bed for Atmos-style mixing, a frontal array for concerts and performance halls — where the sound stays in front of the audience — or a full dome for 360° three-dimensional coverage. Place whole speaker sets in seconds with Point, Line and Surface rigs: set a start, an end and a count, RIPL positions and orients every box; move the rig and they all follow. In all, RIPL drives up to 64 speakers, depending on your version.

Just like in lighting, fixtures save a configuration once and let you reuse it everywhere — both its geometry and each speaker's parameters: coverage & per-speaker DSP. Build your fixture library and recall it from project to project, on any brand of loudspeaker.

GROUPS = BUSES

Mix groups like on a console

No separate bus matrix: a speaker group is a bus — gain, mute, auto or manual delay computed from the actual topology. Each source routes to one or several groups with independent gain per crossing. You can create an unlimited number of groups.

Speaker management, rethought

The crossover lives in the source, not in a bus

Each source carries its own crossover. It splits into up to 4 ways — SUB, LF, MF, HF — and every band then routes on its own, with independent gain, delay and polarity.

From there you decide exactly which frequencies reach which speakers: sub management and system distribution live inside the source itself, source by source, for the most precise control possible.

THREE REVERB MODES

Unlimited reverbs, three distinct characters

Convolution — to adapt venues that already exist: a proprietary convolution engine with early reflections computed from each source's real position. Load a measured space, and play inside it.

Parametric — to bring realism to virtual sources: shape the reverb precisely like a studio unit (RT60 from Sabine or manual override), designed from the ground up for spatial distribution.

Digital — the creative one: the most iconic, colorful reverb characters of the last 50 years — plates, halls, nonlinear, spring — brought up to date for multi-speaker systems and spatialized through spherical harmonics.

MONITORING

Binaural monitoring, tuned to every ear

At the heart of it is BSE (Binaural Sound Engine) — our proprietary binaural algorithm. Where others rely on a fixed, generic HRTF, BSE is fully parametric: it adapts to each listener’s own ears to get as close as possible to how they actually hear. You can still import and export SOFA profiles — and even build your own custom version.

Use it to audition your sources on headphones; in pre-production, to hear the real venue and its speakers from any position; or in transaural, to recreate the full spatial environment on a plain pair of loudspeakers.

The same engine powers monitoring for performers: each musician hears the sound scene from their own point of view, on their own monitor — up to 16 — each with its dedicated mix matrix.

SELF-CONTAINED SOURCES

Plugins and players, inside the spatializer

8 VST3 / Audio Units slots per source: your EQs, compressors and effects directly in the spatialization chain. For simple shows, no DAW needed at all.

Each source also has its own disk player — WAV/AIFF with in/out points, loop, automatic crossfade, sample-rate conversion, waveform and metering in the interface. Thisallows RIPL to be autonomous for installations.

ADM → RIPL

From Dolby Atmos to physical spatialization

A complete ADM player (BW64, ITU-R BS.2076): import ADM masters like Atmos— beds, objects and all position/gain/width automation — route them automatically to RIPL sources, with per-object metering and LTC sync for video.

ADM-OSC v1.0 runs both ways live: receive positions from Reaper or Nuendo, send source states back, auto-create sources from incoming objects. Mix in Atmos on a standard workflow, then re-spatialize it in WFS on the real system.

Beyond ADM, RIPL stays open all the way: OSC and MIDI carry every parameter both in and out, and LTC timecode runs in and out too — so it drops into any DAW, console or show controller, with nothing locked in.

BUILT FOR THE SHOW

Snapshots, trajectories, timecode, Link

Full-scene snapshots with parameterized crossfades; trajectory keyframes with smooth interpolation, triggered by timecode or jumps; LTC encode/decode for video sync.

Ableton Link opens RIPL to electronic live, DJ sets and performances — territory where classic spatializers barely exist. Complete OSC control from QLab, Chataigne, Millumin or any show controller.

PER-SPEAKER DSP

A full processor in every speaker, plus interference canceling

Every speaker has its own integrated processing chain: EQ/FIR Filter, compressor & limiter. For small and mid-size systems, that replaces the external speaker processor. With GLL & CLF integration you can optimise your speaker for your system & your room. Combined with ASIM, you can calculate the optimal configuration of your speaker for your venue.

With ICS — exclusive to RIPL, from our OEM R&D — tracks up to 28 interfering source pairs per speaker and applies inverse comb filters in real time, measurably reducing the coloration every other spatializer lives with.