![]() It works very well in headphones because each ear receives different information and therefore our brain can build a perfectly believable 3D sound image, much in the same way that 3D lenses work in the movie theatre. It is one of the most popular forms of immersive audio, consisting of an apparently traditional stereo mix (because it has two channels, L and R) but the content has been spatialised in 360 degrees via phase manipulation software. What is binaural audio and what can it be used for? Could be well worth attending (for both of us!) I’ll also add it to the news and events forum here. But I want to say that Andrew Mayo and a colleague are giving a major talk on how to mix in Binaural. Tom, you’re on the bleeding edge of practice and way ahead of me. What pitfalls should I be looking for here other than phasing issues which are obvious There’s a fine line between innovation and a total mess and I’m hoping I don’t look behind me and see that line □ I’ve done some preliminary trial and error and had surprisingly good results, but I’m NOT doing this with a room mic BA capture, like the Jazz club Bob mentions, but instead individual BA parts of specific instruments. My goal, as crazy as it sounds, is to try to bury BA signals in the stereo mix (say for guitars, and vocals, and maybe drum overheads) that when played on headphones “comes alive” but otherwise, like most BA in stereo …the effect isn’t really noticeable. Now if I didn’t have that…would it be possible to MAKE a BA signal by playing back the guitar track, panned to the left, and use the BA mics to record the playback from a listening position where the guitar sound is on the left…sort of like reamping a track. In my first thought, during the individual instrument tracking, if we had the cabinet mics on a guitar and had the BA head in a listening position where the guitar was on the left… then the signals are more straightforward and related. I think that’s really the crux of the issue is how the BA (binaural) track was made. PERHAPS it would allow me to take the close stereo piano mikes and move them to virtual positions to integrate with the soundstage that the main binaural microphone picked up. I also own “Virtuoso”, which can take a stereo or immersive mix originally intended for loudspeaker reproduction, and produce a convincing picture of loudspeakers or perhaps even performers in space - to be played in binaural on headphones! That tool works very well for its intended purpose…. I know that Flux SPAT can output a mix into various formats, including binaural. I have the full set of close mikes available to me, provided by the club owner, but have not yet had the time to investigate the tools needed to”mix in” the close mikes with specialized manipulation to end up with a convincing binaural picture. but of course the balance is a bit awry… the piano is too far away and the vocal is pretty much lost. I have a wonderful binaural recording I made with a dummy head in a jazz club…. It’s not just “blending”… there’s a lot of necessary manipulation to make it sound convincing. How was the binaural track made? “Blending” in binaural with a multi-miked stereo mix is an art that I would like to learn myself.
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