Spatial Composition and What It Means for Immersive Audio Production

Dobos J. Spatial Composition and What It Means for Immersive Audio Production. In: Express Paper. Audio Engineering Society; 2025.pp. 378:1-. Available from: https://aes.org/publications/elibrary-page/?id=23052

@inproceedings{Dobos2025_23052,
  author = {Dobos, Julius},
  title = {{Spatial Composition and What It Means for Immersive Audio Production}},
  pages = {378:1-},
  year = {2025},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=23052}
}

TY  - CPAPER
TI  - Spatial Composition and What It Means for Immersive Audio Production
AU  - Dobos, Julius
SP  - 1
M1  - Paper 378
PY  - 2025
DA  - 2025/10/14
UR  - https://aes.org/publications/elibrary-page/?id=23052
PB  - Audio Engineering Society
LA  - en
AB  - Immersive audio technologies such as ambisonics and spatial audio are primarily used in the recording, mixing and mastering stages of music production. Such technologies are typically applied during music production; after the music creation but before the exhibition phases, with spatial decisions typically made during the mixing process, often in absence of a spatial-musical concept. Here we propose the consideration of space as a compositional element of music and production. Composers utilize melody, harmony, rhythm, and occasionally timbre, as intrinsic qualities of notes and sound. Such conceptual tools can be expanded with spatial location, area, position and movement. Would such space-derived decisions about notes, timbres and the roles of musical parts be the same if they were made at the time of composition, rather than during audio production? Would spatial decisions made during the composition process have a bearing on the resulting composition itself? This peer-reviewed paper explores how various spatial environments can shape compositional design and how such a change to the production pipeline effects the role and responsibilities of the audio engineer. We have utilized an elaborately conceptualized and documented test process, based on the analysis of stereo and spatial compositions, and the evaluation of feedback from eight focus group sessions of 160 listener impressions. We discuss the consequences of using immersive technologies in the earliest phases of music production and recommends best practices to maximize spatial-musical expression. We conclude with the advantages and drawbacks of using space as a compositional element and propose effective spatial production approaches.
ER  -