RECORDING November 2022 - 61

Combined with understanding how various materials absorb or reflect sound,
we've got everything we need to plan our acoustic treatment accordingly. This isn't
particularly complicated, although it can ratchet up when you think about sound as
waves (comb filtering, bass build-up, room modes, etc.). Even then, though, we still
talk about them as if they travel in one linear direction.
But this is not how sound works. Sound is more accurately thought of as a spherical
phenomenon. Take a sound source (like your face) and picture a spherical waveform
ever-expanding outward in all directions at once.
Thinking of audio in this way underpins many exciting new directions in audio-
eerily accurate instrument/room modeling, spatial audio, and fancy soundbars and
binaural earbuds that can emulate surround and spatial audio.
This cutting-edge technology will then, most likely, affect how we treat our rooms--
now it's a chicken and egg scenario.
More Spatial Immersion
Surround sound isn't new. Movies have been coming out in 5.1 since before many
of our readers were born. Music is also mixed for that format, but it's not particularly
common. Many labels have released popular albums in 5.1 surround, but it hasn't
replaced stereo.
This is partly because earbuds are the primary way most people listen to music
today. But the new formats emerging use spatial and binaural audio--Dolby Atmos
and Apple Music being the major players--that can be reproduced in headphones.
This means mix engineers have a new reason to explore mixing for these growing
immersive formats. After all, if anyone and everyone can experience your spatial mix
in a pair of enhanced AirPods, that's quite the market push.
Not to mention virtual reality (VR) and the gamer set. VR is also an immersive format,
relying on headphones for the audio component. And while most VR mixes are
still stereo, some are done binaurally. With Meta aggressively campaigning to launch
the Metaverse, immersive audio could have more and more reason to exist.
New Spaces
How we build studios may shift, especially for mixers who never mix in headphones.
And when you're considering a three-dimensional array of sound, you need
to treat the room differently.
Still, don't count on bleeding edge audio formats to replace stereo just yet. If you're
doing well mixing in stereo and you don't care about creating immersive experiences,
you don't need to tear down your studio. But if you're fascinated, there are plenty of
opportunities to take advantage of spatial audio now. It's included in many DAWs
such as Pro Tools, Cubase, Nuendo and Logic. Logic even allows you to create binaural
mixes for Apple music.
Fundamentals Still Lead the Way
At the end of the day, how we use acoustic science in music is changing, primarily
by expanding. Stereo is not going away, and you'll always need to check your mixes
in mono. Well-built stereo mix rooms are still relevant and will remain so. And while
we may be tapping into more of what we know about sound, nothing we've been
using is wrong or rendered obsolete.
The most exciting thing right now is that anyone can achieve a professional mix with
enough education and diligence, and there are more ways than ever to skin that cat.
Treat a room and fix shortcomings with room correction. Use room emulation in headphones.
Or just save money and record at Abby Road. Whatever cooks your goose.
But we are definitely on the cusp of some amazing new ways to make and experience
recorded music-all thanks to the continued evolution of acoustic science.
Aaron J. Trumm was the least sciency member of the class of 2006 in Stanford's
famed CCRMA program in Music, Science and Technology. He has treated many
rooms and would love to talk about it on social media @AaronJTrumm.
RECORDING November 2022 61
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RECORDING November 2022

Table of Contents for the Digital Edition of RECORDING November 2022

Fade In
Fast Forward
Focal Sub6, Focal Sub One and Focal Sub12
Neumann NDH 30
A Family of Amphion Monitors Compared
Plugin Outlet: BABY Audio IHNY-2
KRK S10.4 Studio Subwoofer
A Space for Creative Inclinations: An Interview with David Crowder
Plugin Outlet: KIT Plugins Blackbird Mo-Q
Inside the Studio with Mark Hornsby: Paragon Studios 2.0
IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
Inside the Box with Joe Albano: Virtual Studio Modeling
ddrum NIO Percussion Pad
Yorkville Sound YSM5 Series II
Session Log with Marc Urselli: A Brief History of EastSide Sound
GIK Acoustics Sound Blocks
State of Acoustics 2022
Thermionic Culture The Fat Bustard II
Readers' Tracks
Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Intro
RECORDING November 2022 - Cover1
RECORDING November 2022 - Cover2
RECORDING November 2022 - 1
RECORDING November 2022 - 2
RECORDING November 2022 - 3
RECORDING November 2022 - Fade In
RECORDING November 2022 - 5
RECORDING November 2022 - 6
RECORDING November 2022 - 7
RECORDING November 2022 - Fast Forward
RECORDING November 2022 - 9
RECORDING November 2022 - Focal Sub6, Focal Sub One and Focal Sub12
RECORDING November 2022 - 11
RECORDING November 2022 - 12
RECORDING November 2022 - 13
RECORDING November 2022 - Neumann NDH 30
RECORDING November 2022 - 15
RECORDING November 2022 - A Family of Amphion Monitors Compared
RECORDING November 2022 - 17
RECORDING November 2022 - 18
RECORDING November 2022 - 19
RECORDING November 2022 - 20
RECORDING November 2022 - 21
RECORDING November 2022 - 22
RECORDING November 2022 - 23
RECORDING November 2022 - Plugin Outlet: BABY Audio IHNY-2
RECORDING November 2022 - 25
RECORDING November 2022 - KRK S10.4 Studio Subwoofer
RECORDING November 2022 - 27
RECORDING November 2022 - A Space for Creative Inclinations: An Interview with David Crowder
RECORDING November 2022 - 29
RECORDING November 2022 - 30
RECORDING November 2022 - 31
RECORDING November 2022 - 32
RECORDING November 2022 - 33
RECORDING November 2022 - 34
RECORDING November 2022 - 35
RECORDING November 2022 - Plugin Outlet: KIT Plugins Blackbird Mo-Q
RECORDING November 2022 - 37
RECORDING November 2022 - Inside the Studio with Mark Hornsby: Paragon Studios 2.0
RECORDING November 2022 - 39
RECORDING November 2022 - 40
RECORDING November 2022 - 41
RECORDING November 2022 - IK Multimedia iLoud Precision MTM, Precision 5 & Precision 6
RECORDING November 2022 - 43
RECORDING November 2022 - 44
RECORDING November 2022 - 45
RECORDING November 2022 - Inside the Box with Joe Albano: Virtual Studio Modeling
RECORDING November 2022 - 47
RECORDING November 2022 - 48
RECORDING November 2022 - 49
RECORDING November 2022 - ddrum NIO Percussion Pad
RECORDING November 2022 - 51
RECORDING November 2022 - Yorkville Sound YSM5 Series II
RECORDING November 2022 - 53
RECORDING November 2022 - Session Log with Marc Urselli: A Brief History of EastSide Sound
RECORDING November 2022 - 55
RECORDING November 2022 - 56
RECORDING November 2022 - 57
RECORDING November 2022 - GIK Acoustics Sound Blocks
RECORDING November 2022 - 59
RECORDING November 2022 - State of Acoustics 2022
RECORDING November 2022 - 61
RECORDING November 2022 - Thermionic Culture The Fat Bustard II
RECORDING November 2022 - 63
RECORDING November 2022 - Readers' Tracks
RECORDING November 2022 - 65
RECORDING November 2022 - 66
RECORDING November 2022 - 67
RECORDING November 2022 - 68
RECORDING November 2022 - 69
RECORDING November 2022 - 70
RECORDING November 2022 - 71
RECORDING November 2022 - Fade Out: Studio Thoughts from Allen Sides
RECORDING November 2022 - Cover3
RECORDING November 2022 - Cover4
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