The age of immersive music production has begun and is noticeably picking up speed. Around 75% of the Apple Music Top 100 Global Charts are already available in Dolby Atmos and even numerous catalog releases are gradually being transferred to modern formats. In parallel, supply and demand for XR applications and metaverse experiences are increasing, also increasingly demanding musical 3D content.
Fortunately, the necessary tools are becoming easier and more accessible, the distribution and playback challenges that 3D audio creators have faced in recent years have begun to fall, and as a result, more and more musicians and producers are inclined to finally express their creativity in all three dimensions.
To exploit the full potential of 3D audio, it is advisable to consider the possibilities of the larger stage already during production and recording. For example, it can be interesting to place elements behind or above the listening position, which sometimes has a clear influence on the arrangement of a piece.
Also, from a sound perspective, instead of a one-dimensional axis (stereo), the move to immersive sound formats has given us 2 spatial axes at once, and thus significantly more “canvas” on which our music can take place. With this post, I’d like to leave mixing aside and instead give you some guidance on how to record a musical event in 3D.
By the way: If you don’t have an immersive speaker setup at your disposal, all formats (Dolby Atmos, Sony 360 RA, Auro 3D, Ambisonics, etc.) can actually be listened to binaurally on standard headphones.
Direct microphones
Just because we’re producing an immersive piece of music, of course doesn’t mean we’re throwing everything overboard we have learned so far! On the contrary,………………
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