AES Europe 2026

This paper presents the production of a fully volumetric
audiovisual music composition with six degrees of
freedom, featuring a dance performance. The project
realizes the artistic potential enabled by recent
technological
advancements in volumetric video capture; spatial audio
rendering. The interdisciplinary production team
consisted of music composers, dancers, sound engineers,;
experts in 4D Gaussian Splats. An existing 3D body
scanner consisting of 112 cameras was used to capture a
dance performance in high definition video. For the
visual scene, custom 4D Gaussian Splat algorithms were
developed; employed to create the dynamic model.
Additional static 3D Gaussian Splats were captured with the
same scanner; integrated into the scene in Unity.
The acoustic scene is dynamically binauralized via SPAT
Revolution, depending on the position of the listener
in the virtual space. Audio; video scenes are run on
separate PCs, synchronized via OSC; presented via
commercially available head-mounted displays (HMDs).
Audiences report a high level of immersion at the initial
presentation at an exhibition event. A detailed evaluation
is planned in the near future. Furthermore, a unified
application for both visual; audio scenes is planned in
order to reach a wider audience.

3D audio allows music to be experienced as an immersive
spatial environment. By distributing musical elements
around the listener, the perception of width, depth, and
presence is enhanced, allowing individual sounds to have a
greater emotional impact.

In this workshop, Lasse Nipkow presents a creative concept
in which recordings of acoustic instruments are used to
create a virtual sound space via 3D audio. The workshop
illustrates how spatial hearing, auditory fusion, and
perceptual grouping allow multiple tracks of a single
instrument to be perceived as a coherent sound. Different
instruments located at the same position in space merge
into a new, unified sound, while perceptual grouping
organizes similar sounds into a spatially coherent
connection. Lasse Nipkow clearly explains the
psychoacoustic principles and demonstrates how the ear
integrates distributed sound sources into a unified musical
experience.

Compelling listening examples are presented during the
workshop, both as complete 3D audio mixes and as groups and
individual tracks. This allows participants to understand
how the distribution of sounds in space, fusion, and
grouping work together in immersive music production.

The Zylia ZM-1 (19 MEMS capsules, spherical array, 88 mm
diameter, 3rd-order); Harpex Spcmic (84 MEMS capsules,
planar array, 230 mm diameter, 5th-order capable) represent
two distinct geometrical approaches to higher-order
Ambisonics capture. Despite widespread adoption in research
; production, systematic comparison of their performance
in real-world recordings remains absent from published
literature. This case study presents a controlled
comparison through simultaneous recordings of piano
recitals in the same concert hall.

Two arrays—Zylia ZM-1; Harpex Spcmic—were mounted on a
single stereo bar (17 cm apart) ensuring acoustically
identical capture positions. Recording sessions occurred in
Aula Politechniki Gdańskiej (370-seat hall, RT60 = 1.97 s)
on two dates: August 15, 2024 (Franck: Prélude, Choral et
Fugue; Prokofiev: Piano Sonata No. 4, 35.6 minutes
total); April 30, 2024 (Ginastera: Sonata No. 1, Op. 22,
15.4 minutes). Both arrays recorded simultaneously; files
were processed through manufacturer A-to-B conversion
software; peak-normalized to −0.5 dBTP. The Spcmic was
encoded to both native 5th-order; truncated 3rd-order
formats for direct comparison with the ZM-1.

Four metrics were analyzed: (1) W-channel spectral
response, (2) integrated loudness (LUFS-I per ITU-R
BS.1770-5), (3) spatial energy distribution across
Ambisonics orders,; (4) first-order directional
component ratios.

Spectral analysis reveals the ZM-1 exhibits 5–8 dB
elevation at 200–600 Hz relative to the Spcmic. Loudness
measurements show the Spcmic 3rd-order yields 2.3–3.3 dB
higher LUFS-I than the ZM-1 despite identical peak
normalization.

The primary finding concerns spatial energy: the ZM-1
exhibits 27.4 dB attenuation from 0th to 3rd order, while
the Spcmic shows only 8.4 dB—a 19 dB difference despite
both producing "3rd-order Ambisonics" format. Analysis of
both recording sessions confirms consistency across
different repertoire (romantic, 20th-century,
contemporary). Directional analysis shows the Spcmic
exhibits stronger first-order components (X/Y/Z ratios
0.68–0.83) versus the ZM-1 (0.42–0.55).

Results demonstrate that nominal Ambisonics order
inadequately characterizes spatial resolution in real
recordings. The substantial higher-order energy deficit in
compact spherical arrays has implications for reproduction
quality, decoder design,; archival standards. Arrays
with steeper rolloff may require order-dependent gain
compensation to match spatial impression of larger systems.

This case study complements existing anechoic validation by
demonstrating performance differences in authentic
recording conditions. Recordings are part of a publicly
available HOA corpus (Gdańsk University of Technology
repository).

Historically, music has developed primarily as a frontal
phenomenon, thus limiting the expressive; perceptual
potential related to sound space. The recent development of
immersive audio systems opens new creative possibilities by
expanding the artistic action space from a narrow frontal
area to a complete sphere around the listener. The
Ambisonic system (Scene-Based Audio), together with
Object-Based formats; hybrid solutions, represents
fertile ground for creative experimentation; the
redefinition of workflows in the field of spatialized sound.
In this new context, what is the role of the sound
engineer, as an electroacoustic interpreter, in immersive
musical artistic creation?
The research is based on a multidisciplinary analysis that
combines an in-depth study of current immersive audio
technologies; their performance, with observations of
existing compositional; production approaches.
Additionally, a comparative study is conducted on the
design choices of the sound engineer as an interpreter,
investigating workflows, emerging musical semantics,
available tools,; the recovery of the historical
repertoire.
Particular attention is paid to the experiment aimed at
investigating a correlation between the position of a sound
; an emotional trigger in the listener.
New directions emerge in the creative role of the sound
engineer, who goes beyond the mere technical aspect to
become an integral part of the compositional;
interpretative process, harmonizing the relationship
between technique; art.

The low-frequency performance of cross-talk cancellation
(CTC) systems is fundamentally limited by the condition
number of the plant matrix, which indicates the robustness
of the inverse system in the absence of regularisation.
This condition number, in turn, depends on the relationship
between loudspeaker spacing, listener distance,;
acoustic wavelength.
This paper derives a simple approximate expression for the
low-frequency limit of CTC performance, defined for a given
maximum affordable condition number as a function of these
parameters. The increase in condition number is also shown
to be directly related to the increase in array effort
relative to the minimum achievable array effort. The
formulation is derived for a centered listener; can be
extended to the case of off-center listener positions,
demonstrating the method's applicability to
listener-position-adaptive cross-talk cancellation systems.

Kimio-san designed NHK’s 22.2 audio system and the
Hamasaki-cube, which is brilliant at capturing spatial
qualities of a concert hall. Attendees are treated to a
selection of high resolution 3D recordings from glorious
Japanese concert halls.

This masterclass series, featuring remarkable recording
artists, is a chance to hear 3D audio at its best; as we
discuss qualities that make it truly worth the effort.

In each masterclass, we explore the new spatial
possibilities in recording and production, detailing also
this specific listening room, regarding ITU-R BS.1116
compliance and auditory envelopment (AEV) transparency.
Seats are limited to keep playback variation at bay.

Most contemporary immersive audio production workflows are
centered on discrete channel-based loudspeaker formats such
as 7.1.4. These formats are rarely experienced by most
consumers and listeners, particularly in music playback. In
practice, spatial audio is predominantly delivered via
binaural reproduction. Beyond headphones, head-tracked
loudspeaker array systems now enable convincing binaural
reproduction in a practical, listener-centric manner,
unlocking spatial audio over loudspeakers for ordinary
listeners. This positions binaural reproduction not as a
secondary translation, but as the core delivery format for
immersive audio consumption.

Creating primarily for fixed speaker layouts can impose
creative and technical constraints often resulting in
restrained spatial design when content is later rendered
binaurally. This workshop advocates a binaural-centric
approach to spatial audio creation, treating binaural as
the main deliverable, while preserving compatibility with
discrete channel-based systems. Through discussion and
practical examples, we will explore how designing with
binaural in mind enables more expressive, perceptually
robust, and immersive experiences across both headphone and
loudspeaker-based binaural playback, without relying on
traditional 7.1.4-centric production models.

Dynamic range controllers, or compressors, have long been
central to music production. The loudness standards now
adopted by major streaming platforms have further
heightened the importance of skilled and intentional
compression in both mixing and mastering. Pop and rock
productions with extremely limited dynamic range are
routinely attenuated during playback, while highly dynamic
material—such as classical orchestral works and film
scores—risks gain and possibly undesirable soft clipping
being applied when delivered masters are normalized.
This panel will address best practices for the use of
compression across a wide range of applications, from
individual instruments to full-program material, in both
stereo and immersive formats. Panelists will present
established methodologies alongside innovative techniques
drawn from their current professional workflows. Different
types of compression will be examined and compared,
including their application in mastering for vinyl release.
Audience engagement is an integral component of the
workshop, and ample time will be reserved for questions and
discussion with conference attendees.

The MPEG-I Immersive Audio standard for Virtual;
Augmented Reality (VR/AR) audio with six degrees of freedom
(6DoF) was completed in November 2025 by the MPEG Audio
group (ISO/IEC JTC 1/SC 29/WG 6)). It offers compressed
representation of virtual audio scenes as well as an
efficient; acoustically sophisticated rendering to both
head-tracked binaural headphones; loudspeaker setups.
The latter is a unique feature among VR/AR audio
specifications; enables convincing reproduction of
conventional stereo, surround; 3D material with a large
sweet area in home entertainment setups for a single
tracked user, without the need for a head-mounted
display. This paper describes the technology of MPEG-I
Audio listener-tracked loudspeaker rendering as a
stand-alone application with a special focus on practical
considerations for optimal room calibration.

Sound plays a critical role in virtual reality (VR),
shaping attention, narrative comprehension, emotional
engagement,; experiential plausibility under conditions
of embodiment; user agency. Although a growing body of
research addresses VR audio techniques, perceptual effects,
; sound taxonomies, existing approaches remain fragmented
; largely descriptive. In particular, they do not provide
a unifying, VR-specific account of how sound meaning;
emotional intent are operationally linked to user agency
; non-linear narrative progression. This paper presents a
narrative review of selected literature spanning game audio
frameworks, immersive sound design, narrative theory,;
plausibility-related research in games; VR. Through
synthesis of these perspectives, the review identifies a
conceptual gap in current research, namely the absence of a
VR-specific, agency-coupled sound design framework for
structuring sound meaning; emotional intent in support
of experiential plausibility as users actively shape events
in interactive VR environments.

Binaural audio is fundamental to delivering immersive
spatial audio, however traditionally playback has been
limited to headphones. A combination of cross-talk
cancellation (CTC) technology and beamforming allows for
binaural audio playback over loudspeaker arrays by focusing
sound exactly at the listener’s ears. This enables binaural
audio to be reproduced using just compact loudspeaker
arrays in front of the listener.

The approach relies upon accurate knowledge of the
listener’s instantaneous head position, thus combining a
head-tracking system with position-adaptive loudspeaker
beamforming. This workshop explores CTC-based spatial audio
as a system: introducing the theory of CTC-based binaural
audio reproduction, and the practicality of introducing
head-tracking into such a system. The workshop will include
a live-demonstration of head-tracked binaural audio
delivery over loudspeakers using a soundbar.

The making of the Chopin Residue Project: From inception to release.
 
The process of creating an immersive release requires planning, and many components to achieve the desired creative results. Especially when designing a new project from scratch, like this ambitious reimagination of Chopin soundscapes with electronic textures, accompanied by world-class musicians.
 
Mariusz Szypura, Jacek Gawlowski, Morten Lindberg and Michael Romanowski will walk through the production stages, from conception to release, describing what each role brings to the final album’s presentation for the listener, while playing hi-res examples from the album, and describing the thought process behind.

Most of music contents available are stereo which cause
inadequate spatial treatment; listeners feel
disconnected from the music, failing to transport them into
the intended sonic environment. Insufficient separation
between instruments can lead to an unbalanced mix, where
certain elements dominate others; disrupt the overall
harmony. Instruments may appear flat; confined to a
narrow area, reducing the sense of dimensionality in the
mix. Stereo audio offers limited spatial information,
restricting its adaptability to immersive sound
environments. This research presents a novel approach for
converting stereo audio into a personalized immersive
experience by leveraging object-based audio rendering,
sound stage of listener; surround speaker capability.
The proposed system separates audio signals into individual
objects (such as instruments or vocals); dynamically
maps these objects to specific speakers based on
personalized preferences; spatial configurations. This
method improves audio localization; enhances the
listener's engagement by delivering a tailored auditory
experience.

George plays high resolution stereo, 5.1 and 3D recordings
from his fabulous back catalogue, commenting on production
tools and techniques, including his own excellent dynamics
processor.

This masterclass series, featuring remarkable recording
artists, is a chance to hear 3D audio at its best; as we
discuss qualities that make it truly worth the effort.

In each masterclass, we explore the new spatial
possibilities in recording and production, detailing also
this specific listening room, regarding ITU-R BS.1116
compliance and auditory envelopment (AEV) transparency.
Seats are limited to keep playback variation at bay.

Imagine that you just finished designing and are now
managing your dream immersive audio mix room for a client
with an array of 64 speakers and it functions beautifully -
then CoVid19 wreaks global havoc. You find yourself
suddenly isolated in a new country, forced into retirement
with its budgetary restrictions, and your dream studio has
become an early victim to the pandemic. What would be your
next move?

In this real-life story, follow the adventures of an
intrepid audio engineer and his quest to build a personal
version of that immersive studio that was lost – all within
a fixed-income retiree’s budget.

In this tutorial, an immersive studio design and
construction will be described including:

Inspiration from prior work by the author and colleagues
Room design goals
Equipment choices
Custom electronics design
Speaker design considerations
Speaker support and position alignment
Construction steps
VBAP, Ambisonics, and WFS approaches
Test mixes

Immersive mix examples will be demonstrated.

Hyunkook describes his fine, compact 3D mic array, used for
outdoor and indoor capture of 3D atmosphere and music.
Attendees are treated to examples from the excellent ECHO
project, and to a selection of new high resolution
recordings.

This masterclass series, featuring remarkable recording
artists, is a chance to hear 3D audio at its best; as we
discuss qualities that make it truly worth the effort.

In each masterclass, we explore the new spatial
possibilities in recording and production, detailing also
this specific listening room, regarding ITU-R BS.1116
compliance and auditory envelopment (AEV) transparency.
Seats are limited to keep playback variation at bay.