In today's era, 3D audio enables us to craft sounds akin to how composers have created sonic landscapes with orchestras for centuries. We achieve significantly higher spatial precision than conventional stereo thanks to advanced loudspeaker setups like 7.1.4 and 9.1.6. This means that sounds become sharper, more plastic, and thus plausible – like the transition from HD to 8K in the visual realm, yielding an image virtually indistinguishable from looking out of a window.
In the first part of his contribution, Lasse Nipkow introduces a specialized microphone technique that captures instruments in space as if the musicians were right in front of us. This forms the basis for capturing the unique timbres of the instruments while ensuring that the sounds remain as pure as possible for the mix.
In the second part of his contribution, Nipkow elucidates the parallels between classical orchestras and modern pop or singer-songwriter productions. He demonstrates how composers of yesteryear shaped their sounds for concert performances – like our studio practices today with double tracking. Using sound examples, he illustrates how sounds can establish an auditory connection between loudspeakers, thus creating a sound body distinct from individual instruments that stand out solitarily.
Since 2010, Lasse Nipkow has been a renowned keynote speaker in the field of 3D audio music production. His expertise spans from seminars to conferences, both online and offline, and has gained significant popularity. As one of the leading experts in Europe, he provides comprehensive... Read More →
Thursday May 22, 2025 10:45am - 11:45am CEST C4ATM Studio Warsaw, Poland
This tutorial proposal presents a comprehensive exploration of spatial audio recording methodologies applied to the unique challenges of documenting Eastern Orthodox liturgical music in monumental acoustic environments. Centered on a recent project at the Church of the Assumption of the Blessed Virgin Mary and St. Joseph in Warsaw, Poland, the session dissects the technical and artistic decisions behind capturing the Męski Zespół Muzyki Cerkiewnej (Male Ensemble of Orthodox Music) “Katapetasma.” The repertoire—spanning 16th-century monodic irmologions, Baroque-era folk chant collections, and contemporary compositions—demanded innovative approaches to balance clarity, spatial immersion, and the venue’s 5-second reverberation time. Attendees will gain insight into hybrid microphone techniques tailored for immersive formats (Dolby Atmos, Ambisonics) and stereo reproduction. The discussion focuses on the strategic deployment of a Decca Tree core augmented by an AMBEO array, height channels, a Faulkner Pair for mid-depth detail, ambient side arrays, and spaced AB ambient pairs to capture the room’s decay. Particular emphasis is placed on reconciling close-miking strategies (essential for textual clarity in melismatic chants) with distant arrays that preserve the sacred space’s acoustic identity. The tutorial demonstrates how microphone placement—addressing both the choir’s position and the building’s 19th-century vaulted architecture—became critical in managing comb filtering and low-frequency buildup. Practical workflow considerations include: Real-time monitoring of spatial imaging through multiple microphone and loudspeaker configurations Phase coherence management between spot microphones and room arrays Post-production techniques for maintaining vocal intimacy within vast reverberant fields Case studies compare results from the Decca/AMBEO hybrid approach against traditional spaced omni configurations, highlighting tradeoffs between localization precision and spatial envelopment. The session also addresses the psychoacoustic challenges of recording small choral ensembles in reverberant spaces, where transient articulation must coexist with diffuse sustain.
This presentation focusses on side and rear channels in recordings in Dolby Atmos. At present, there is no standardised placement for side or rear speakers. This can result in poor localisation in a major portion of the listening area. Sometimes, side speakers are at 90° off the centre axis, sometimes up to 110° off axis. Similarly, rear speakers can be anywhere 120°-135° degrees off axis; in cinemas those can be located directly behind the listener(s). However, an Atmos speaker bed assumes a fixed placement of these side and rear speakers, resulting in inconsistent imaging. Additionally, placing side and rear speakers further off-axis results in a larger gap between them and the front speakers.
These inconsistencies can be minimised by placing these objects at specific virtual locations, whilst avoiding the fixed speaker bed. This ensures a listening experience which represents better what the mix engineer intended. Additionally, reverb feeds can also be sent as objects, to create an illusion further depth. Finally, these additional objects can be fine-tuned for binaural rendering by use of Near/Mid/Far controls.
Mr. Bowles will demonstrate these techniques in an immersive playback session.
David v.R Bowles formed Swineshead Productions, LLC as a classical recording production company in 1995. His recordings have been GRAMMY- and JUNO-nominated and critically acclaimed worldwide. His releases in 3D Dolby Atmos can be found on Avie, OutHere Music (Delos) and Navona labels.Mr... Read More →
Thursday May 22, 2025 2:45pm - 3:30pm CEST C4ATM Studio Warsaw, Poland
The field of audio production is always evolving. Now with immersive audio formats becoming more and more prominent, we should have a closer look at what possibilities come with it from a technical but most importantly from an artistic and musical standpoint. In our Workshop, "Unlocking New Dimensions: Producing Music in Immersive Audio," we demonstrate how immersive audio formats can bring an artist's vision to life and how the storytelling in the music benefits from them. In order to truly change the way people listen to music and provide an immersive experience, we must transform how we write and produce music, using immersive formats not just as a technical advancement but as a medium to create new art. In this session, we will explore the entire production process, from recording to the final mix, and master with a focus on how one can create a dynamic and engaging listening experience with immersive formats like Dolby Atmos. We believe that immersive audio is more than just a technical upgrade—it's a new creative canvas. Our goal is to show how, by fully leveraging a format like Dolby Atmos, artists and producers can create soundscapes that envelop the listener and add new dimensions to the storytelling of music.
Philosophy
Artists often feel disconnected from the immersive production process. They rarely can give input on how their music is mixed in this format, leading to results that may not fully align with their artistic vision. At High Tide, we prioritize artist involvement, ensuring they are an integral part of the process. We believe that their input is crucial for creating an immersive experience that truly represents their vision. We will share insights and examples from our collaborations with artists like Amistat, an acoustic folk duo, and Tinush, an electronic music producer known for his attention to detail. These case studies will illustrate how our method fosters creativity and produces superior immersive audio experiences.
New workflows need new tools
A significant pain point in current immersive productions is the tendency to use only a few stems, which often limits the immersive potential. This often happens because the process of exporting individual tracks and preparing a mixing session can be time-consuming and labor-intensive. We will address these challenges in our presentation. We have developed innovative scripts and workflows that streamline this process, allowing us to work with all available tracks without the typical hassle. This approach not only enhances the quality of the final mix but also retains the intricate details and nuances of the original recordings. Our workshop is designed to be interactive, with opportunities for attendees to ask questions throughout. We will provide real-world insights into our ProTools sessions, giving participants a detailed look at our Dolby Atmos mixing process. By walking through the entire workflow, from recording with Dolby Atmos in mind to the final mix, attendees will gain a comprehensive understanding of the steps involved and the benefits of this approach to create an engaging and immersive listening experience.
