Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality

Reed L, Harries M, Hurr A, Knight M. Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality. In: AES Conference: 2019 AES International Conference on Immersive and Interactive Audio. Audio Engineering Society; 2019.pp. 105:1-5. Available from: https://aes.org/publications/elibrary-page/?id=20441

@inproceedings{Reed2019_20441,
  author = {Reed, Luke and Harries, Martyn and Hurr, Alexandre and Knight, Mathew},
  title = {{Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality}},
  booktitle = {AES Conference: 2019 AES International Conference on Immersive and Interactive Audio},
  pages = {105:1-5},
  url = {https://aes.org/publications/elibrary-page/?id=20441},
  year = {2019},
  month = mar,
  publisher = {Audio Engineering Society}
}

TY  - CPAPER
TI  - Applied Multichannel Recording of a Contemporary Symphony Orchestra for Virtual Reality
AU  - Reed, Luke
AU  - Harries, Martyn
AU  - Hurr, Alexandre
AU  - Knight, Mathew
T2  - AES Conference: 2019 AES International Conference on Immersive and Interactive Audio
SP  - 1
EP  - 5
M1  - Paper 105
PY  - 2019
DA  - 2019/03/06
UR  - https://aes.org/publications/elibrary-page/?id=20441
PB  - Audio Engineering Society
LA  - en
AB  - Capturing musical performances for Virtual Reality (VR) is of growing interest to engineers, cultural organisations and the public. The application of ambisonic workflows in conjunction with binauralisation through head related transfer functions enables perception and localisation of sound sources within three dimensional space, crucially enabling height perception. While there are many excellent examples of orchestral recordings in VR, however, few make use of the height perception and favour ‘on stage’ horizontal positioning. This engineering brief presents a contemporary symphony orchestral performance captured with multichannel spot recordings and produced in second order ambisonics in which 51 performers were individually split and positioned across five levels of the performance space. The paper looks to critically discuss the methods employed addressing the workflow through pre-production, capture and post-production.
ER  -