Birds in the trees, frogs in the water, lightning in the distance should all be coming from their sources. This leaves stereo and even surround sound in the dust, and we need to extend sound to individual objects in the 3D space. In order to accomplish this, we need to have an audio experience that would be indistinguishable as well. Perhaps the ultimate goal of XR is to create a reality indistinguishable from our normal, objective reality. I like to think of VR as a 100% digital experience, whereas AR and MR are some mixture of digital and objective reality, roughly 50% of each. XR is, of course, shorthand for the 3 new types of reality – AR, VR and MR. It covers the basics, but also does a very deep dive into the technical aspects of creating, recording and implementing audio in real 3D spaces that are brought to us in XR. The book is an extremely comprehensive and also highly approachable volume on the dark arts of XR spatial audio. In this post, both Stephan and Chanel answer a wide range of detailed questions about the nature of VR audio and some novel approaches to this young and exciting field. I also spoke with Chanel Summers, Vice President of Creative Development at VRstudios, who wrote an informative section of the book about location-based VR audio and story telling with audio. I had the chance to catch up with Stephan Schütze and his wife, Anna Irwin-Schütze, co-authors of this pioneering text, at GDC this year.
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