1st Edition
Immersive Sound Volume II The Design and Practice of Binaural and Multi-Channel Experiences
Introduction: Artistic intention and technical considerations
PAUL GELUSO AND AGNIESZKA ROGINSKA
1 History of immersive sound experiences
BRAXTON BOREN
PART I Guiding principles and system design
2 Hamasaki-Square, Hamasaki-Cube, and the development of the 22.2 system
KIMIO HAMASAKI
3 Early immersive sound and the development of Auro-3D
WILFRIED VAN BAELEN
4 Immersive experience: Height, acoustics and emotional impact
WIESLAW WOSZCZYK
5 Natural listening, binauralization, and recording workflow
HYUNKOOK LEE
6 Immersive workflow: Mixing in binaural and mixing for large space
TOM AMMERMAN
7 Immersive acoustics and reverberation
RALPH KESSLER
8 Creating and distributing immersive audio experiences
JEAN-MARC JOT, THIBAUT CARPENTIER, AND OLIVIER WARUSFEL
9 From measurement to immersion: Historical acoustics and modern applications
BRIAN F.G. KATZ
10 Volumetric sound capture
TOMASZ ŻERNICKI
11 From live sound to virtual and distributed experiences
GAVIN KEARNEY
12 Acoustic and perceptual factors in sound design for XR
MARTA GOSPODAREK, OLIVIER WARUSFEL, AND AGNIESZKA ROGINSKA
13 Take me out: Moving virtual reality outside academic laboratories to medical clinics and museums
ROLF NORDAHL AND STEFANIA SERAFIN
14 Enhancing museum experiences with real-time, immersive 3D audio technology
KYLA MCMULLEN, CHENSHEN LU, AND JOHN GLASS
15 Immersive technologies and artificial intelligence: Therapeutic tools for the treatment of neurocognitive diseases and functional diversity
NURIA LLORET ROMERO AND JORGE SASTRE MARTINEZ
PART II Production and creative practice
16 Sound installations: The art and implementation
CHARLIE MORROW
17 Perspectives on multi-channel compositions
MICHAEL J. SCHUMACHER
18 Spatial sound composition: Concept and practice
DANIEL NEUMANN
19 Immersive theatre: The emergent edge of storytelling with sound and spectacle
RHIANNON CATALYST
20 Sound for immersive theater: Audio engineering for Sleep No More
GREGORY HANSON
21 Cinematic sound immersion
STEVE SCHATZ
22 Make the loudspeakers disappear
NATHANIEL REICHMAN
23 Music composing for immersive experiences
PIET GODDAER
24 Immersion in 3D audio music productions
LASSE NIPKOW
25 Creating and producing music in immersive audio
JUSTIN GRAY
26 Immersive audio case studies for immersive audio in rock and pop music
MILES FULWIDER AND VINCENT GABRIEL ANTONINI
27 Producing and recording acoustic music in immersive
MORTEN LINDBERG
28 Perspectives on immersive recordings
DAVID V.R. BOWLES
29 The vertical AB system, content correlation, and the David Bowie exhibit
GREGOR ZIELINSKY
30 Recording and mixing Picturing the Invisible: focus 1
JANE IRA BLOOM, ULRIKE SCHWARZ, AND JIM ANDERSON
31 Recording Soundtrack of the American Soldier and remixing Star Wars
LESLIE ANN JONES
32 Immersive music production for Latin American artists
ANDRES MAYO
33 Mastering for immersive
MICHAEL ROMANOWSKI
Biography
Agnieszka Roginska conducts research in the simulation and applications of immersive and 3D audio including the capture, analysis, and synthesis of auditory environments. Applications of her work include AR/VR/XR, gaming, and mission critical. She is the author of numerous publications on the topics of acoustics and psychoacoustics of immersive audio and is Professor of Music Technology at New York University. Agnieszka is a Fellow of the Audio Engineering Society (AES) and a Past President of the AES.
Paul Geluso is a New York-based sound engineer, educator, and musician. He has worked professionally in many areas of sound and music production, being credited as engineer, producer, composer, and musician on hundreds of commercial releases including Grammy and Latin Grammy nominated recordings. He is Professor of Music Technology and founder of the Tonmeister program at New York University. He has served as Chief Sound Engineer at Harvestworks Digital Media Arts for over three decades.
