Essential Guide: Immersive Audio Pt 3 - Immersive Audio Objects

July 24th 2019 - 01:00 PM
Paul MacDonald, Writer, Professional Broadcast Audio

Immersive audio transforms the listening environment to deliver a mesmerizing and captivating experience for a wide range of audiences and expansive group of genres.

Part 3 in our immersive Audio series examines object audio and the core technology that empowers producers and sound engineers to deliver compelling auditory experiences.

We start with defining the key differences between traditional channel-based mixing and object programming. Spatially defined objects must be described using meta-data to allow us to fully create the immersive experience and how we record and express these must be understood. We investigate the methods available for this.

Using the blockbuster film Gravity as an example, we analyze and uncover the object methods used within the production context. Listener orientation is a key component in creating an effective mix and the psychological impact is further considered.

In their case study, Sennheiser provide an outstanding description of how to deliver location recording and mixing for production. They discuss the specialist microphones needed to truly enhance the immersive experience by recording the most optimal object audio possible.

With an in-depth description of object reproduction, Genelec Senior Technologist Thomas Lund uncovers the best strategies and requirements for loudspeaker placement to deliver accurate immersive audio. He digs deep into the standards and answers the age-old question “can I monitor using headphones?”

Lawo’s Christian Scheck discusses the functions available for immersive audio production. He looks at advances in technology and what we should expect for the future. Scheck goes on to discuss new methods of the user interface and how object monitoring solutions are being designed to deliver the best immersive sound possible.

This Essential Guide, part 3 of the series, continues our journey through immersive audio and object sound, and its applications in broadcast television.

Download this Essential Guide now to better understand immersive audio and object sound.

Part of a series supported by

You might also like...

Improving Comms With 5GHz - Part 1

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…

Digital Audio: Part 9 - Representing Data

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.

Digital Audio: Part 8 - Sampling Rates

The best sampling rate for digital audio is easily established by considering the requirements of the human auditory system (HAS), which is the only meaningful arbiter. Provided that the bandwidth of a digital audio system somewhat exceeds the bandwidth of…

Digital Audio: Part 7 - Debunking The Myths Around Hi-Fi Audio

It’s interesting to compare the quality that can be obtained using digital audio with legacy media such as the vinyl disk and magnetic tape.

Object-Based Audio Mixing: A New Way To Personalized Listening

With the advent of immersive audio mixing using codecs like Dolby Atmos and DTS:X (the successor to DTS HD) professionals now have the ability to create interactive, personalized, scalable and immersive content by representing it as a set of…