Recent advances in large-scale multichannel loudspeaker systems have enabled immersive concert formats that extend spatial control beyond conventional stereo; small multichannel configurations. High-density loudspeaker arrays (HDLAs) allow sound to be distributed across complex architectural spaces, challenging established distinctions between composition, performance,; live sound practice. In live contexts, however, the realization of spatial attributes is often constrained by system complexity, limited rehearsal time,; the lack of artist-facing spatial control interfaces. As a result, spatial realization; sound diffusion are frequently delegated to sound engineers, who translate artistic material to the acoustic; architectural conditions of the venue in real time.
This paper examines three immersive concerts presented during Sonic Days 2025 in Denmark, realized on both large-scale; small-scale multichannel loudspeaker systems. The concerts represent contrasting production contexts, including a site-specific spatial composition conceived explicitly for a high-density loudspeaker array ; performances by artists whose practices are typically oriented toward stereo or small multichannel formats. Across these cases, spatialization functioned variously as compositional material, interpretive layer,; adaptive live-mixing practice.
The paper analyzes how control over spatial attributes is negotiated between artists; sound engineers in live immersive concert settings,; how this negotiation affects the interpretation of artistic intent; audience experience. Particular attention is given to the role of sound engineers as active mediators whose decisions shape spatial form, listening perspective,; the relationship between sound; architecture. The findings suggest that immersive concert formats redistribute creative agency across artists, technicians,; technological infrastructures,; point toward the need for revised conceptual frameworks for authorship, performance,; listening in large-scale spatial audio environments.
