The 32nd Tonmeistertagung – Europe’s leading congress for audio professionals!
About the Tonmeistertagung 2023
The Tonmeistertagung has been influencing the pulse of the international pro audio industry for more than 70 years!
With its extensive congress programme and the associated trade fair, the event enables an intensive exchange at the highest level for participating sound professionals from a wide variety of fields.
Meet sound engineers, decision-makers, producers, artists, manufacturers, distributors, developers and scientists.
The topics range from acoustics to networked audio and video technology, from immersive audio to mastering, from research & development to live sound and theatre.
Two rooms for various immersive audio formats, a binaural room with 100 headphones and a surround room alone provide the technical infrastructure for the contributions.
A well-equipped studio with the necessary software and hardware is crucial in order to create high-quality 3D audio mixes and fulfil the technological requirements.
The congress will be complemented by an extensive exhibition area where representatives of the pro audio industry will present their latest products and technologies. In a relaxed atmosphere, there will be plenty of room for personal discussions and intensive dialogue with developers, managing directors and colleagues.
Don’t miss the opportunity to be part of this exciting event! Be there when the Tonmeistertagung 2023 paves the way for the future of sound!
What is VRTonung doing there?
Martin will be speaking on the topic of ‘learning immersive audio the right way’. He will unveil the exciting new job description ‘designer of immersive media’ and emphasise the key role of spatial sound.
In his role as an official expert for the renowned Federal Institute for Vocational Education and Training (BIBB), Martin was instrumental in defining the immersive audio content for this innovative job profile.
As a successful producer with extensive experience in 3D audio and Dolby Atmos, he emphasises the importance of planning productions for surround from the outset and highlights the challenges that can arise from inadequate planning.
But that’s not all: he has passionately created the very first video course for this fascinating training, which is already being used at various educational institutions.
This ground-breaking course will be available by the Tonmeistertagung for those interested in learning more about the incredible technical and creative possibilities.
It covers content that goes far beyond Dolby Atmos and object-based audio – from breathtaking 360-degree videos to impressive AR head tracking and interactive VR sound in game engines.
Because for Martin it’s clear: immersive audio is more than just 3D music – it’s a whole new world of sound art!
For all those interested:
Martin’s lecture will take place on Saturday, 11 November from 10:00 – 10:30 am on the Open Stage (OS). It will be curated by Ingo Weismantel and moderated by Christian Birkner.
Level of 3D Audio – Insight into the world of immersive audio production
Introduction to 3D Audio
3D audio is no longer a niche topic, but an integral part of modern audio production. Whether in music, film or virtual reality (VR) – immersive sound creates new dimensions of the listening experience and changes the way we perceive sound.
3D sound, especially through systems such as Dolby Atmos, enables the precise positioning of sound objects in space, creating an immersive sound experience.
**But what exactly is behind it? In my presentation, I will give a comprehensive overview of the various formats, production methods and technologies that make 3D audio possible.
What is immersive audio?
Immersive audio is a term used to describe various 3D surround formats that create a spatial sound experience and give the listener the feeling of being immersed in the sound in three dimensions.
In contrast to traditional stereo, which only offers two-dimensional sound reproduction, immersive audio adds a third dimension to the listening experience. This is achieved by placing sound objects in a room and distributing them across existing speakers.
The result is an immersive and realistic sound image that puts the listener in the centre of the action. Whether in music production, film or VR applications – immersive audio opens up completely new worlds of sound and revolutionises the way we perceive sound.
The history of immersive audio
The history of immersive audio dates back to the 1970s, when the first experiments with 3D surround sound were conducted. A significant milestone was the introduction of Dolby Digital 5.1 in the 1990s, which offered a commercial 3D surround format for the first time.
In 2012, Dolby then introduced Dolby Atmos, a revolutionary object-based system that places sound objects in a room and distributes them to existing speakers.
Since then, other immersive audio formats such as Auro 3D, DTS:X and MPEG-H Audio have developed, all of which aim to create an even more realistic and spatial sound experience. These developments have permanently changed audio production and set new standards.
The basics: 3DoF vs. 6DoF
A key difference in the immersive audio world lies in the so-called ‘degrees of freedom’. 3DoF (Three Degrees of Freedom) describes audio solutions that are based on 360° videos or AR applications with 3D headphones.
These are usually multichannel audio files that customise the listening experience using binaural methods.
6DoF (Six Degrees of Freedom), on the other hand, goes one step further. Here, multiple audio assets are managed in a 3D engine so that the sound changes not only horizontally, but also in depth and height – ideal for interactive VR and AR experiences.
3D audio in practice: playback and formats
Depending on the application, there are various methods of making 3D audio tangible. One option is binaural playback, which simulates spatial sound via headphones – a technology that is used in VR headsets and AR glasses in particular.
Another option is playback via speaker setups, be it via classic multi-channel systems, modern soundbars or smart speakers such as those from Apple or Sonos. Such setups have become established, particularly in the Dolby Atmos and Auro-3D area, to enable immersive sound even without headphones.
Immersive audio in the DAW with/without Dolby Atmos
Immersive audio can be created and edited in a Digital Audio Workstation (DAW) such as Nuendo or Pro Tools. These DAWs offer special tools and functions to support immersive audio formats such as Dolby Atmos and Auro 3D.
The workflow for immersive audio in a DAW is similar to that of conventional audio productions, but includes the additional step of placing sound objects in a three-dimensional space and distributing them to existing speakers.
With the right software and plugins, producers can create impressive 3D soundscapes that completely envelop the listener.
Production and mixing: From recording to post-production
There are two ways to create 3D audio: Either by direct recording with special 3D microphones or by subsequent spatialisation in post-production. Various tools and software solutions play a decisive role here.
The most important formats and renderers include Dolby Atmos, Auro-3D and Ambisonics. Dolby Atmos in particular is established as the industry standard, both in music production and in the film sector.
Tools such as the Dolby Atmos Production Suite or the Atmos Renderer are used to create Atmos content, usually in conjunction with DAWs such as Pro Tools or Nuendo.
Mixing concepts for 3d sound
Mixing concepts for immersive audio are similar to conventional audio mixes, but with the additional aspect of placing sound objects in a room and distributing them to existing speakers.
There are various approaches to creating immersive audio mixes, such as the use of microphone arrays or the targeted selection and placement of sounds.
Careful planning of the mix is crucial to overcome the challenges of spatial sound distribution and create a coherent, immersive listening experience. Producers should consider the spatial dimension of the sound from the outset.
Immersive audio setup and calibration
An immersive audio setup consists of an arrangement of loudspeakers that create a comprehensive sound image. Calibration of such a setup is crucial to ensure that the sound objects are correctly placed and distributed across the available speakers.
With the help of software tools such as the Dolby Atmos Renderer or the Auro 3D Renderer, calibration can be carried out precisely. An experienced sound engineer should accompany this process to achieve an optimal sound image and ensure that the immersive audio setup is perfectly matched to the room.
This ensures an impressive and realistic listening experience.
Linear vs. interactive audio
A decisive factor for production is the question of whether the audio is used linearly or interactively.
Linear audio** is used in classic media formats, such as films, podcasts or 360° videos. Here, the sound remains constant over time, comparable to conventional film sound mixes.
Interactive audio, on the other hand, is used in VR, AR and gaming. Here, the sound must react flexibly to user movements, which is why it is controlled via game engines such as Unity or Unreal Engine as well as middleware solutions such as Wwise or FMOD.
Challenges and criticism of current standards
Despite all the technological advances, there are also challenges. One example is the Dolby Atmos mix for concerts, which raises the question of how non-diegetic sounds such as voice-overs can be meaningfully integrated.
Traditionally, the speaker’s voice is placed in the centre channel, but this can be problematic if it is not intended to be part of the actual soundscape.
Another issue is the hype surrounding 3D audio on the internet, especially with questionable trends such as ‘8D audio’ or ASMR sound effects.
While some of these experiments offer real added value – such as virtual barbershop demos or spatialised audio plays – others are often pure marketing gimmicks without any real immersive depth.
Social VR and the Metaverse: The future of audio communication
Developments in social VR and the metaverse show that immersive audio formats are increasingly being used for everyday communication. During the coronavirus pandemic, it became clear that traditional video calls often lead to fatigue – a phenomenon that can be solved with spatial audio.
Virtual meeting rooms with 3D sound enable more natural conversations and a more realistic distribution of voices in the room.
Platforms such as Mozilla Hubs, Meta Horizon and MS Teams are already experimenting with such technologies to make virtual meetings as intuitive as possible.
Head tracking and new technologies
Another milestone in the development of 3D audio is the integration of head tracking technology in headphones. Companies such as Apple, Bose and Yamaha are increasingly using sensors in their devices that follow the user’s head movements.
This enables more realistic sound localisation, whether for gaming, film or music. Apple in particular has made spatial audio a mass product with its AirPods (3rd generation), AirPods Pro (2nd generation) and AirPods Max.
Game audio as a driver of innovation
The gaming industry has proven to be a driver for many developments in the audio sector. Audio-only games in particular, in which players have to orientate themselves in space using sound alone, are setting new standards. This is also influencing other areas such as sound design in films**, which is increasingly geared towards interactive experiences.
Conclusion: 3D audio as a key technology of the future
3D audio has developed from a specialised topic into a key technology for immersive media. Whether in music production, film, VR or gaming – the possibilities are manifold. The close integration of hardware, software and creative production methods is crucial in order to utilise the full potential of this technology.
With the increasing use of spatial audio in streaming services, VR platforms and smart devices, 3D audio will play an even greater role in the coming years – and will permanently change the way we experience sound. 🚀