Workflows and Production Guidelines for Immersive Music

我们正处于音乐生产和消费的根本性转变的开端，从一个多世纪以来占主导地位的立体声技术转向沉浸式音频。基于对象的音频技术(如Dolby Atmos和MPEG-H)以及沉浸式音频设备(如头戴式耳机(例如Apple AirPods)和音棒)是主流采用的领先者。音乐流媒体服务也在效仿，发布了越来越多身临其境的曲目。因此，整个音乐制作链都在被推动采用沉浸式技术和工作流程。然而，音乐行业还没有充分利用现有的技术--目前的制作流程仍然基于立体声，而沉浸式声音被降级到后期制作。当身临其境的音频成为主要格式时，许多机会就会出现，释放这项技术的潜力，使艺术家能够增加创造性表达的新维度，并允许听众分享这种身临其境的空间。“身临其境优先”的音乐生产链需要为艺术家、音频工程师和制作人提供新的内容创作指导方针和工作流程。现在是研究沉浸式和基于对象的音频的最先进方法和工具并影响下一代音乐制作范式的最佳时机。因此，这个项目的问题是：音乐制作的最佳沉浸式音频工作流程是什么，它们的相对优点是什么？

We are at the beginning of a fundamental shift in music production and consumption, awayfrom stereo-the dominant technology for over a century-and towards immersive audio.Object-based audio technology (e.g. Dolby Atmos and MPEG-H) and immersive audiodevices such as head-tracked headphones (e.g. Apple Airpods) and soundbars areleading mainstream adoption. Music streaming services are following suit with increasingreleases of immersive tracks. As a consequence, the entire music production chain isbeing pushed to adopt immersive technology and workflows.However, the music industry has not yet taken full advantage of availabletechnology-current production workflows are still based around stereo and immersivesound is relegated to post-production. Many opportunities arise when immersive audio isthe primary format, unlocking the technology's potential, enabling artists to add a newdimension for creative expression, and allowing listeners to share that immersive space.An "immersive-first" music production chain requires new content creation guidelines andworkflows for artists, audio engineers, and producers. Now is the perfect time to examinestate-of-the-art methods and tools for immersive and object-based audio and to influencethe next paradigm of music production. This project therefore asks: what are the opoptimalimmersive audio workflows for music production, and what are their relative merits?