Immersive Audio

Taking a chance on immersive music has paid off handsomely for producer Stan Kybert, who has reinvented himself as one of the UK’s busiest Atmos mixers.

Leading mix engineer Andy Bradfield shares some of the lessons he’s learned in getting to grips with Dolby Atmos.

We talk to the people who are creating real‑world Atmos content, starting with Canadian super‑producer Greg Wells.

David Gould, Director of Audio Content Solutions at Dolby Labs, talks to Hugh Robjohns about immersive audio and how Dolby Atmos works.

Wouldn’t it be nice if there were a simple, intuitive way to place sources in your immersive, surround or binaural soundstage? Well, now there is!

Could a small step for Logic’s version number represent a giant leap for music production?

Immersive audio has huge creative potential for music production, but it can be hard to get your head around. Here’s the explanation you’ve been waiting for!

While it’s too early to pronounce immersive music a commercial success, it would be a mistake to write it off as an attempt to repackage old ideas...

Embody offer a unique way to tailor their room‑simulation system to the individual user.

SOS Technical Editor Hugh Robjohns chats to Mirek Stiles about the Spatial Audio Forum and how everyone can get involved in creating 3D audio environments using basic recording equipment.

This debut mic from Voyage Audio combines the power of Ambisonics with the convenience of direct USB connectivity.

Immersive audio is increasingly important, and requires large multi-channel monitoring systems. Grace Design's m908 is intended to provide complete control over such a system.

Genelec's latest monitor is a flexible beast, designed for the large multi-speaker setups that are needed in VR and immersive audio. But does this versatility come at the expense of its usefulness for conventional music mixing?