1st Edition
Immersive Sound Volume II The Design and Practice of Binaural and Multi-Channel Experiences
Immersive Sound Volume II: The Design and Practice of Binaural and Multi-Channel Experiences is a collection of interviews and essays providing a comprehensive guide to the history, theory, and creative applications of 3D and spatial audio across music, production, theatre, installations, and film.
Offering both foundational knowledge and practical insights into the design and implementation of immersive sound experiences, expert contributors present each topic in depth, with chapters structured for both sequential learning and standalone reference. By combining historical context, cognitive perspectives, and real-world applications, this book connects theory with practice and helps readers expand their technical, academic, and creative potential in the rapidly evolving field of spatial audio.
This is a valuable resource for all spatial audio content creators, including audio engineers, sound designers, researchers, educators, composers, performers, and students seeking a comprehensive understanding of immersive sound and its applications across different disciplines. This book serves as a companion to Immersive Sound: The Art and Science of Binaural and Multi-Channel Audio.
Introduction: Artistic Intention and Technical Considerations
Paul Geluso and Agnieszka Roginska
Chapter 1. History of Immersive Sound Experiences
Braxton Boren
Part I: Guiding Principles and System Design
Chapter 2. Hamasaki-Square, Hamasaki-Cube, and the Development of the 22.2 System
Kimio Hamasaki
Chapter 3. Early Immersive Sound and the Development of Auro 3D
Wilfried van Baelen
Chapter 4. Immersive Experience: Height, Acoustics and Emotional Impact
Wiesław Woszczyk
Chapter 5. Natural Listening, Binauralization and Recording Workflow
Hyunkook Lee
Chapter 6. Immersive Workflow: Mixing in Binaural, and Mixing for Large Space
Tom Ammerman
Chapter 7. Immersive Acoustics and Reverberation
Ralph Kessler
Chapter 8. Creating and Distributing Immersive Audio Experiences
Jean-Marc Jot, Thibaut Carpentier, Olivier Warusfel
Chapter 9. From Measurement to Immersion: Historical Acoustics and Modern Applications
Brian F.G. Katz
Chapter 10. Volumetric Sound Capture
Tomasz Żernicki
Chapter 11. From Live Sound to Virtual and Distributed Experiences
Gavin Kearney
Chapter 12. Acoustic and Perceptual Factors in Sound Design for XR
Marta Gospodarek, Olivier Warusfel, Agnieszka Roginska
Chapter 13. Take Me Out: Moving Virtual Reality Outside Academic Laboratories to Medical Clinics and Museums
Rolf Nordahl and Stefania Serafin
Chapter 14. Enhancing Museum Experiences with Real-Time, Immersive 3D Audio Technology
Kyla McMullen, Chenshen Lu, John Glass
Chapter 15. Immersive Technologies and Artificial Intelligence as Therapeutic Tools for the Treatment of Neurocognitive Diseases and Functional Diversity
Nuria Lloret Romero and Jorge Sastre Martinez
Part II: Production and Creative Practice
Chapter 16. Sound Installations: The Art and Implementation
Charlie Morrow
Chapter 17. Perspectives on Multi-Channel Compositions
Michael J. Schumacher
Chapter 18. Spatial Sound Composition - Concept and Practice
Daniel Neumann
Chapter 19. Immersive Theatre: The Emergent Edge of Storytelling with Sound and Spectacle
Rhiannon Catalyst
Chapter 20. Sound for Immersive Theater: Audio Engineering for "Sleep No More"
Gregory Hanson
Chapter 21. Cinematic Sound Immersion
Steve Schatz
Chapter 22. Make the Loudspeakers Disappear
Nathaniel Reichman
Chapter 23. Music Composing for Immersive Experiences
Piet Goddaer
Chapter 24. Immersion in 3D Audio Music Productions
Lasse Nipkow
Chapter 25. Creating and Producing Music in Immersive Audio
Justin Gray
Chapter 26. Immersive Audio Case Studies for Immersive Audio in Rock and Pop Music
Miles Fulwider and Vincent Gabriel Antonini
Chapter 27. Producing and Recording Acoustic Music in Immersive
Morten Lindberg
Chapter 28. Perspectives on Immersive Recordings
David v.R. Bowles
Chapter 29. The Vertical AB System, Content Correlation, and the David Bowie Exhibit
Gregor Zielinsky
Chapter 30. Recording and Mixing "Picturing the Invisible - Focus 1"
Jane Ira Bloom, Ulrike Schwarz, Jim Anderson
Chapter 31. Recording "Soundtrack of the American Soldier" and Remixing "Star Wars"
Leslie Ann Jones
Chapter 32. Immersive Music Production for Latin American Artists
Andres Mayo
Chapter 33. Mastering for Immersive
Michael Romanowski
Biography
Agnieszka Roginska conducts research in the simulation and applications of immersive and 3D audio including the capture, analysis and synthesis of auditory environments. Applications of her work include AR/VR/XR, gaming, and mission critical. She is the author of numerous publications on the topics of acoustics and psychoacoustics of immersive audio and is a Professor of Music Technology at New York University. Agnieszka is a Fellow of the Audio Engineering Society (AES), and a Past-President of the AES.
Paul Geluso is a New York based sound engineer, educator, and musician. He has worked professionally in many areas of sound and music production, being credited as engineer, producer, composer, and musician on hundreds of commercial releases including Grammy and Latin Grammy nominated recordings. He is a Professor of Music Technology and founder of the Tonmeister program at New York University. He has served as the Chief Sound Engineer at Harvestworks Digital Media Arts for over three decades.
