AES Show 2024 NY

3D audio has enormous potential to emotionally touch the audience: The potent effect occurs when the auditory system is given the illusion of being in a natural environment. When this is the case with impressive music, everyone gets goosebumps. Psychoacoustics forms the basis for remarkable results in music productions.
In the first part, Konrad Strauss explains the basics of psychoacoustics in the context of music production:
• How immersive differs from stereo
• Sound localization and perception
• The eye/ear/brain link
• Implications for recording and mixing in immersive
• Transitioning from stereo to immersive: Center speaker, LFE, working with the diffuse
surround field and height channels.
In the second part, Lasse Nipkow introduces the quasi-binaural spot miking technique he uses to capture the beautiful sound of acoustic instruments during his recordings. He explains the strategy for microphone placement and shows, using stereo and 3D audio sound examples, the potential of these signals for immersive productions.
This first contribution is linked to a second, subsequent presentation by Lasse Nipkow and Ronald Prent: ‘Tools for Impressive Immersive Productions’.