Recently I contributed to an article which discussed how today’s sound designers are working with spatial audio tools, and how they feel about this relatively new technology. It was published by the Association for Sound design and production for their industry magazine, The Echo.
For me, the advent of Spatial audio techniques marks an exciting time for both live performance, theatre and immersive. For Immersive experiences, it can bring a level of atmosphere, and reality to an environment that would be harder to achieve with traditional techniques.
There are lots of different systems out there, but for me the question is always which one fits the budget, is it possible to run some of these systems at the lower end of the financial budget and are they always necessary. For me spatialising the rooms in Gunpowder Immersive really sold the realistic situation the audience found themselves in. Using a mix of foley, narrative audio storytelling and spatialising the sound, really sold the idea that dangerous, real characters were just outside the doors the audiences were hiding behind.
