50 SOUND & COMMUNICATION
One of the reasons I am
so excited about spatial audio is because of the change it brings to the audience’s experience
The WPI D64 (left) and choice to host a concert in a planetarium (bottom left) are both exciting steps in spatial audio
now possible in live venues. “It is mind- blowing, the potential for canvases. The tools and the ability of what you can do inside a soundscape as a creative artist are now at a whole new level.” Jovanović, however, believes one underlying issue is that some of the people behind these creative choices are at an age when they are not willing to experiment, and opt to play it safe instead. “Especially if they are involved in touring with productions, they would rather avoid the risks of experimenting,” he says. “We do have companies now offering new technologies and telling artists it’s nothing to be afraid of, but it takes time because it’s a massive shift.” Wharfedale Pro recently launched its Wharfedale Pro Immersive system. Jovanović oversaw the project, having been involved in its development since inception. The company has showcased the system in demanding environments, like the Dongting Lake Museum, which uses WLA systems for immersive 5D theatre applications, and large outdoor festivals like the Lauberhorn ski event.
example is Wharfedale Pro, which has been developing loudspeaker systems aimed at making immersive audio more accessible across a wide range of environments. Marko Jovanović serves as immersive audio systems designer and application and systems engineer at IAG Group. He is currently developing an inspiring, new immersive audio direction for the Wharfedale Pro brand. “One of the reasons I am so excited about spatial audio as a technological development is because of the change it brings to the audience’s experience,” he begins. “For a good 30 years or so, we didn’t have any major technological breakthrough in audio that would have had an impact on the experience of the audience.” He points to the introduction of line array systems in the nineties as the last major shift in large-scale deployment. “The line arrays changed how sound is covered throughout the room, and they massively improved the coverage and quality of sound,” he says. “But they are still stuck with the stereo problem.”
Lighting, video and visual work in live production have, by comparison, all advanced massively since then. “I am personally a huge fan of the big, old analogue mixing desk, which had real heart and soul in its wires. They sounded great, but it’s just more convenient for productions and venues to run things in digital now. For me, spatial audio, breaking 2D space and breaking the boundary of stereo is the biggest change in this experiential sense.” When Jovanović hears the word soundscape, he explains it brings to mind imaginary space in your head. “It is not something defined by physical reality. For me, it’s like Narnia.” Sound, according to Jovanović, is all about timing. “If things come to you at the wrong time, the frequencies are not aligned,” he explains. “Our brain does not know what is wrong, but we feel something is off. It’s blurry, it doesn’t sound realistic and that invisible speaker feeling only comes from a completely authentic phase response.” With recent advances in technology, Jovanović argues 360° coverage is
“I am very happy to be part of something new,” says Jovanović.
“There are use cases everywhere and you don’t have to break your budget. Besides the obvious use cases of live shows and theatre productions, we are seeing lots of investment in houses of worship. Religious experiences can be emphasised and augmented by the technology as well.” SONIC ORBIT While manufacturers like Wharfedale Pro are advancing the tools that make immersive audio more accessible and scalable, the true creative potential of these systems becomes most apparent in specialised environments. Spaces designed without the constraints of traditional stage-front audio, such as planetariums, offer a glimpse into what fully realised spatial sound can achieve. Founded in 2012 by Grammy- nominated immersive audio producer Tom Ammermann, the company New Audio Technology develops audio and music production/reproduction tools for next-generation audio applications. One of its latest projects involves immersive live mixing in 49.1 at the
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