Workflows and Production Guidelines for Immersive Music

我们正处于音乐制作和消费的根本转变的开端，从一个多世纪以来占据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（如杜比全景声和MPEG-H）和沉浸式音频设备，如头戴式耳机（如苹果Airpods）和条形音箱正在引领主流应用。音乐流媒体服务也紧随其后，发布了越来越多的沉浸式曲目。因此，整个音乐生产链正被推动采用沉浸式技术和工作流程。然而，音乐产业还没有充分利用现有的技术——目前的制作工作流程仍然基于立体声，沉浸式声音被降级到后期制作。当沉浸式音频成为主要格式时，会出现许多机会，释放技术的潜力，使艺术家能够为创造性表达添加新的维度，并允许听众分享沉浸式空间。“沉浸式优先”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南和工作流程。现在是检查沉浸式和基于对象的音频的最先进的方法和工具，并影响音乐制作的下一个范例的最佳时机。因此，这个项目提出了一个问题：什么是音乐制作的最佳沉浸式音频工作流程，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?