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Ambisonic sound production is significantly different from channel-based audio like conventional stereo, 5.1 surround, 22.2 multichannel audio and so on. Special microphones and tools are required for recording and mixing, and devices with decoders, renderers and position tracking sensors are required on the viewer side. We have tried to make several VR contents in ambisonics format which were directly related to broadcasted programs. In this paper, sound-making techniques in VR contents, including microphone arrangements, sound design and mixing are explained. We also considered what has strongly affected the quality of immersiveness of audio in the process of the production.
Author (s): Nishiyama, Tomoyuki; Nagata, Takanobu; Ogata, Shinichirou; Hasue, Tetsuya; Kashiwagi, Mina
Affiliation:
Japan Broadcasting Corporation (NHK), Tokyo, Japan
(See document for exact affiliation information.)
Publication Date:
2018-07-06
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Session subject:
ambisonics; spatial audio; immersive audio; cinematic VR; mixing; foley recording; sound design; head-locked track
Permalink: https://aes2.org/publications/elibrary-page/?id=19644
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Nishiyama, Tomoyuki; Nagata, Takanobu; Ogata, Shinichirou; Hasue, Tetsuya; Kashiwagi, Mina; 2018; Recording and Mixing Techniques for Ambisonic Sound Production [PDF]; Japan Broadcasting Corporation (NHK), Tokyo, Japan; Paper EB1-4; Available from: https://aes2.org/publications/elibrary-page/?id=19644
Nishiyama, Tomoyuki; Nagata, Takanobu; Ogata, Shinichirou; Hasue, Tetsuya; Kashiwagi, Mina; Recording and Mixing Techniques for Ambisonic Sound Production [PDF]; Japan Broadcasting Corporation (NHK), Tokyo, Japan; Paper EB1-4; 2018 Available: https://aes2.org/publications/elibrary-page/?id=19644
@article{nishiyama2018recording,
author={nishiyama tomoyuki and nagata takanobu and ogata shinichirou and hasue tetsuya and kashiwagi mina},
journal={journal of the audio engineering society},
title={recording and mixing techniques for ambisonic sound production},
year={2018},
number={EB1-4},
month={july},}