“When moving from theory to practice with live immersive audio, there is a lot to learn,” he says. “It requires lower SPLs, offers cleaner, clearer sound quality and accurate localisation, delivering huge benefits for audiences. It minimises interference like comb filtering, ensuring instruments sound as much like their original source as possible. The sense of space it creates is also very reassuring for the ear/brain system, replacing the need for high SPLs from traditional systems and making for a comfortable and peaceful listening experience.”
He continues, “You will ideally have one loudspeaker for each instrument, making accurate localisation possible, even with your eyes closed. You can also let the listener’s brain do some of the mixing. If the ears can accurately localise and isolate every instrument, the brain will naturally emphasise certain sources that it likes, while minimising others.”
To prove these benefits, Pierre-André deploys the eight STAGEPAS 1K systems in a line or 180º arc, each system running independently and reproducing as few different instruments as possible to minimise interference.
“A 360° system is perfectly adequate, but extra care is needed when using rear points for music because of the obvious timing issues for different locations within a space,” he says. “But people like the immersive nature of 360º sound, even if the rear speakers are just used for things like wind noise or animal sounds, so I have tended to use those for sound effects.”