(Maybe even it could open your own floodgates there.) Add some free devices to Live, and you can improvise with space, hear the results through headphones, and scale up to as many speakers as you want, or deliver to a growing, standardized set of virtual reality / 3D / game / immersive environments.Īnd that could open the floodgates for 3D mixing music. Looking at something like Envelop’s new tools for Live 10, you see something like the equivalent of those first pan pots. Stereo only happened because tools made its use accessible to musicians. But those delivery mechanisms are fast evolving for 3D, and not just in terms of proprietary cinema setups.īut stereo audio also required something else to take off: mixers with pan pots. So, what’s holding us back? Well, stereo sound required a chain of gear, from delivery to speaker. Sound is already as ephemeral as air (quite literally), and so, too, is 3D sound. You don’t need to don weird new stuff on your head, or accept disorienting inputs, or rely on something like 19th century stereoscopic illusions. Intuitively, 3D sound seems even more natural than visual counterparts. So it really feels like the time is right to add three dimensions to the experience of music and sound, personally and in performance. Space is everything.Īnd just as in the leap from mono to stereo, space can change a musical mix – it allows clarity and composition of sonic elements in a new way, which can transform its impact. The way that actually works is complex – the Wikipedia overview alone is dense – but close your eyes, tilt your head a little, and listen to what’s around you. It’s how you hear naturally with two ears. Listening to sound in three dimensions is not just some high-tech gimmick. What is spatial audio?įirst, let’s back up. Now, the nonprofit, directed by artist Christopher Willits, has released a set of free spatial sound tools you can use in Live 10.
Envelop began life by opening a space for exploring 3D sound.
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