5 Tips for Mixing Ambisonics | 360° | VR | Spatial Audio | Part 5/7 | Berklee Online

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In this video, John Escobar, a professor in the Music Production and Engineering department for Berklee College of Music, uncovers five smart tips for mixing ambisonic sound. Tips include what is needed, such as a DAW that’s capable of handling multichannel tracks, such as Reaper and Pro Tools, a variety of plug-ins, a format converter, and a playback converter, to monitor what you’re hearing. One of the reasons immersive audio works so well is that it gives us the ability to replicate psychoacoustic cues similar to the way we hear naturally. When working in virtual reality, headtracked audio allows the viewer to explore the environment depending on your position as you move, which gives you a more realistic sense that you’re physically in the space you’re seeing. Escobar’s tips also include AB conversion, mixing workflow, monitoring while working, and output delivery format options.
About John Escobar:
John Escobar is a producer, engineer, multi-instrumentalist, and educator, teaching several courses in the Music Production and Engineering department for Berklee College of Music. He has worked with a wide range of artists, including Grammy-winning folk artist Sarah Jarosz, jazz guitar virtuoso Larry Coryell, violinist Joshua Bell, and many others. He has also taught at Harvard, Boston University, University of Southern California, and Northeastern University.
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Music Production | Ambisonic Sound | Ambisonics | Surround Sound | 360-Degree Sound | Microphones | Mixing | Recording | Mastering | Microphones | Digital Recording | Signal Calibration | AB Conversion | Mic Placement | Monitoring | Documentation | Ambient Recording | John Escobar | Berklee | Berklee Online | Berklee College of Music

[@jmfs3497]

After 40 year journey through radio, video, live event lighting, music production, animation, and "communications", I just got a job in immersive media due to my audio and animation skills. I'm diving into sound design for VR literally today and I've already turned around OK proof of concept results for a project, I really hope to learn how to finesse spatial audio by the end of this project. I think I have the ear for the creative part, but need to learn to maximize the tools so that I can pinpoint sounds exactly where I want them. I'm excited about this. Maybe work will pay for Berklee Online!

[@BillVincent]

This is great information on a subject that is still cloudy for a lot of mixers. I am experimenting with doing Ambisonics music mixes, and it is challenging to find good standards information. Thank you for providing, Berklee!

[@Berklee_Online]

Thank you!

[@jhallcomposer]

Thanks for these, looking forward to part 6 and 7! I'm currently experimenting with ambisonics for creating contemporary art music intended solely for VR. I recently recorded and (filmed in 360) two flutists with a Zoom H2n in spatial audio mode. I think I put the hand recorder in the wrong direction in relation to the camera (the camera seem to disagree with me on which of the lenses is the front facing one). The problem is that the resulting ambisonic recording is so unclear in directionality that it's hard to tell which direction the sounds are coming from. I was thinking that I might have to use spot mics on the instruments and this notion was confirmed in that you recommended doing so for 1st order ambisonics.

[@ProdbyTrehnt]

Love this man! Does this have the same characteristics as the Apple Music introducing spatial audio?? I’d love to start mixing records with it in some way

[@leoyurchenko866]

Can you tell what's that track playing during pauses?

[@ju5tinjame5]

Is there other solutions to Mux'ing video and audio with both ambisonic audio and stereo head locked that isn't the FB360 encoder? I am currently mixing a documentary that my company shot in full 360 in Africa. We have gotten to a great place but when we encode the audio with video using the FB360, the playback has many bugs, but when I use FFMPEG to mux the audio and video, it works flawlessly except the code I am using for FFMpeg only allows me to Mux ambisonic audio with no code to do ambisonic and stereo. I like the feature of having stereo head locked with ambisonic with the FB360 encoder but have many issues with playback (Clicks and pops which sound like denormalization). Any thoughts?

[@Digitalmixes]

Two leading DAWs are Reaper and Pro Tools...not sure I can take this seriously now...Nuendo is a leader for sure