Immersive audio has the great potential to transform our human listening experience, captivate our imagination, and inspire our inventiveness.
Part 2 of our Immersive Audio series investigates the standards and technology that delivers the immersive audio experience. From Dolby Atmos and AC-4 to MPEG-H and DTS-UHD, we uncover the technologies that make immersive audio tick.
Stefan Meltzer, Chief Business Development Manager at the Fraunhofer Institute discusses the intricacies of MPEG-H, outlines its benefits, and explains how broadcasters implement MPEG-H into their workflows.
Continuing from this deep technical dive, industry experts Lawo, Sennheiser, and Genelec all explain their approach to immersive audio. Through a series of case studies and technical explanations, each company explains their solutions with real-world examples.
Sennheiser delivers an Ambiosonics Primer, detailing how this technology works and its implications for broadcasters. Specialist microphones and software processing are introduced, and their relevance explained.
Genelec provide and outstanding case study on the practical aspects of immersive audio infrastructure design with their case study at The Farm post-production house, London.
Lawo discusses the real-world applications of mixing immersive audio through their interview with Felix Krückels, professor for Broadcast Production and System Design at the University of Darmstadt.
This eBook Essential Guide is aimed at anybody who wants to gain a deeper understanding of Immersive Audio and its applications. This easy to understand, plain speaking Essential Guide is a must for anybody looking to improve their knowledge in this new and exciting audio genre.
Download this Essential Guide now to understand standards and compatibility in Immersive Audio.
You might also like...
In this new series John Watkinson looks at all aspects of microphones, including how they work and how they don’t work.
This is the second instalment of our extended article exploring the use of the 5GHz spectrum for Comms.
Gain control in digital audio is essentially a numerical model of the same process in the analog domain.
As broadcasters strive for more and more unique content, live events are growing in popularity. Consequently, productions are increasing in complexity resulting in an ever-expanding number of production staff all needing access to high quality communications. Wireless intercom systems are…
The advantages of digital audio for recording purposes are clear, but once in the digital domain, productions steps also need to be carried out. Recorders don’t care about the encoding method, which is instead optimized for production purposes.