the complexities ( and costs ) of immersive multichannel ‘ object-based ’ mixing are likely out of reach for most neighborhood churches .
Of course , I had to dig into the philosophical aspects of immersive audio a bit . Just what do we mean by immersive ? My amplified voice through a number of speakers in the TEC Track session room was arguably ‘ immersive ’, but it seems that what the term has come to mean is something much more like the grandiose rig at the MGM Sphere where numerous audio objects are placed ( and readily moved about in the sonic landscape ) and / or every location within a venue has a convincing and rich multi-channel audio experience . In short , the basic effects that we highlighted as contributing to an ‘ immersive ’ experience could / should be optimized using a stereo mix in the first place before jumping into the much more complex multi-speaker and multi-object based approach .
Ps ., Check out this article for more of my thoughts and some historical and scriptural background on immersive audio .
AUDIO NETWORKING PROTOCOLS The last discussion that warrants highlighting from this session was around digital audio networking protocols . You ’ ve likely heard of Audinate ’ s Dante platform for routing and sharing audio over a network and between compatible audio devices . Similar systems like AVB , Waves SoundGrid , MADI , AES , and proprietary network protocols ( Allen & Heath SLink / gigaACE , etc .) continue to be developed as well . While the reasons to use a standardized protocol across a given audio system were clear to all of the panelists , it also seemed that the hope for ‘ one protocol to rule them all ’ was probably futile . The competing interests of the companies behind the various technologies will stretch out the timeline for the acceptance of a common network interchange of audio at best — and prevent a single ‘ winner ’ from emerging at worst . So we all leaned to a prediction of this platform proliferation continuing into the future . The good news is that there are options
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