Active acoustics systems are becoming more commonplace in the modern concert hall, allowing smaller spaces to reverberate with a bigger sound. Increasing constraints on the finances and footprints have venues turning to microphones, speakers, and digital signal processing as an alternative to physical space. Meanwhile, recording studios have undergone a similar, if not more pronounced, physical decline. Specialty recording spaces such drum rooms or reverb chambers have fallen by the wayside, and the use of bedroom production techniques are at an all-time high. But what have we lost, in the long march towards the vocal booth? And how might virtual acoustics help us get it back? This research explores what musicians experience in acoustic environments, how a room may have its own agency in musical performance, and finally, how a virtual acoustic space fits into studio production techniques and workflows.  

Percussion Ensemble piece recorded in 5.1.4 with Decca 3D spatial audio mic array, mixed for Dolby Atmos, playback available through Dolby ADM, 7.1.4, 5.1.4, or Binaural. Paired with 360 video playback via VR headset

The demo uses one of my original compositions as the audio stimuli and I did the Dolby Atmos mixing for a 7.1.4 setup in the research lab. The piece blends ambient electronic textures with traditional Chinese instruments such as the Xiao and Guqin, alongside cinematic sound design elements. I also have the Binaural Version of the piece, which I can show to the audiences.

This song is a 7.1.2 music mixing for short film Evening Song