Henrik Oppermann

With the progress of technology in video, we find ourselves in an immersive world of 360 Video and 3D Sound. This enables the use of existing technologies, like stereoscopic images and ambisonics. Ambisonics is the way to go to accompany the 360 Video-Sphere, because it is its equivalent in audio. 3D sound in VR solves storytelling problems. It enables you to guide the audience through audio cues. But it also introduces questions about our current approach for mixing music.

We produced a few music experiences at Visualise and worked with bands such as Kasabian and Imagine Dragons. My approach to live music recording when it is meant to go with 360 video is the usage of the AMBEO VR mic and additional tracks recorded from the mixing desk.

The combination of the two enables me to generate any listening position within the performance space. I use the VR Mic as the ambience mic and the single tracks as spatialized sound-sources. This is important for multiple camera angles, which can be based within the audience or on stage to create an experience that is unique to VR.

On productions of this scale you will usually find a mixing desk with a recording option to get the single tracks.

The VR Mic is giving you a highly flexible option within the post process. You can turn the sphere to the angle you need and also move emphasis to directions that you want to feature. With the right plugins you can even EQ differently for any part of the sphere.

The approach with the VR Mic + Stems enables you to create mixes that translate to any medium. Be it regular stereo sound, dynamic binaural for headphones or speaker rigs of any kind.