3D Audio  book cover
1st Edition

3D Audio

  • Available for pre-order. Item will ship after July 26, 2021
ISBN 9781138590069
July 26, 2021 Forthcoming by Routledge
368 Pages 117 B/W Illustrations

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Book Description

3D Audio offers a detailed perspective of this rapidly developing arena. Written by many of the world’s leading researchers and practitioners, it draws from science, technologies and creative practice to provide insight into cutting-edge research in 3D audio.

Through exploring the intersection of these fields, the reader will gain insight a number of research areas and professional practice in 3D sonic space. As such, the book acts both as a primer to gain an understanding of various aspects of 3D audio and can inform students and audio enthusiasts, but its deep treatment of a diverse range of topics will also inform professional practitioners and academics beyond their core specialisms. The chapters cover areas such as an Ambisonics, binaural technologies and approaches, psychoacoustics, 3D audio recording, composition for 3D space, 3D audio in live sound, broadcast and movies – and more.

Overall, this book offers a definitive insight into an emerging sound world that increasingly becomes part of our everyday lives.

Table of Contents

List of Figures

List of Tables

About the Editors

List of Contributors


Chapter 1: 3D Audio in Broadcasting

Chapter 2: 3D Audio for Live Sound

Chapter 3: Towards 6DOF: 3D Audio for virtual, augmented and mixed realities

Chapter 4: Gestural control for 3D audio

Chapter 5: Psychoacoustics of Height Perception in 3D Audio

Chapter 6: Ambisonics Understood

Chapter 7: Binaural Audio Engineering

Chapter 8: Contextual factors in judging auditory immersion

Chapter 9: Spatial Music Composition

Chapter 10: Sound and Space: Learning from Artistic Practice

Chapter 11: Hearing History: A virtual perspective on music performance

Chapter 12: 3D Acoustic Recording

Chapter 13: Redefining the spatial stage: Non-front orientated approaches to periphonic sound staging for binaural reproduction.

Chapter 14: Mixing 3D Audio for Film


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Justin Paterson is Professor of Music Production at London College of Music in the University of West London, where he leads the MA Advanced Music Technology. He has numerous research publications ranging through journal articles, conference presentations and book chapters, and is author of the Drum Programming Handbook. Justin is co-chair of the Innovation in Music conference series, and co-editor of its books. He is also an active music producer. Current research interests are 3D audio, interactive music and haptic feedback. Together with Professor Rob Toulson and working with Warner Music Group to release prominent artists from their roster, he developed the variPlay interactive-music format, funded by the UK Arts and Humanities Research Council. Current research – funded by Innovate UK through its Audience of the Future programme with consortium partners including Generic Robotics and the Science Museum Group – is around development of a novel music-production interface in mixed reality that utilizes haptic feedback. 


Hyunkook Lee is Reader (i.e., Associate Professor) in Music Technology and the Director of the Applied Psychoacoustics Laboratory (APL), University of Huddersfield, U.K. His recent research has advanced understanding about the psychoacoustics of vertical stereophonic localization and spatial impression in 3D sound recording and reproduction. This provided theoretical bases for the developments of several 3D microphone arrays including Schoeps ORTF-3D. His current research topics include the six-degrees-of-freedom perception and rendering of virtual acoustics, and the creation and evaluation of multimodal immersive experience for extended reality applications. From 2006 to 2010, he was a Senior Research Engineer in audio R&D with LG Electronics, South Korea, where he participated in the standardizations of MPEG audio codecs and developed spatial audio algorithms for mobile devices. He received a bachelor’s degree in music and sound recording (Tonmeister) from the University of Surrey, Guildford, U.K., in 2002 and a PhD in spatial audio psychoacoustics from the Institute of Sound Recording (IoSR) of the University of Surrey in 2006. He is a Fellow of the AES and the Vice Chair of the AES High Resolution Audio Technical Committee.