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.
