Immersive Audio

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

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?

Rode’s new Soundfield mic brings the benefits of Ambisonic recording to everyone, whether you’re working with 360‑degree audio or old‑fashioned stereo.

When it comes to making virtual reality convincing, sound has a vital role to play — especially when you’re creating a virtual rock gig!

The challenge: to remix 10 Depeche Mode albums in surround — while recreating the signature sounds created by the band and some of the worlds greatest producers. As Mute Records Head Engineer Kevin Paul explains, it was never going to be easy!