Just a week ago, Pyramind Studio in San Francisco played host to a wonderful workshop put on by the G’Audio team. Seats were sold out, highlighting the explosive interest in creating immersive sound experiences. Some friendly opening networking was accompanied by terrific catering. Then, bellies full, we explored challenges the industry is facing when it comes to immersive VR sound, and examined how the G’Audio team is tackling them head on.
Thought-provoking discussion gave way to meaningful and practical exposure, as attendees sat down to individual workstations to open Pro Tools and play with G’Audio Works. From inserting the plugin to spatializing tracks on the Master window, all hands-on activity was guided step by step. When participants placed positional data to sound tracks right on the 360 video and listened through a pair of headphones, the surprise and captivation on faces around the room was staggering. And it didn’t end there. Hearing the same sound through G’Audio Sol astonishingly amplified those same reactions. The demos were played on Gear VR and included a fully spatialized version of that sample project among others, illustrating the uncanny accuracy of sound source location and convincingly immersing the users in a scene.
Panel discussion was top-notch, and the insights that were shared could only have been developed from those who are infatuated with this industry and have learned hard lessons through trial and error. We were grateful to have Greg Gordon, CEO and creative director at Pyramind Studios, as our moderator. Greg himself believes that Pro Tools and its plugins are vital instruments for creative professionals, a topic that led the discussion. Marco d’Ambrosio followed next, leaning on his experience as the sound designer/audio producer at MarcoCo. Studios. He shared his ideas about delivering immersive music, a passion of his since before it rose to its current prominence. Ixrael Zavalza, audio engineer at G’Audio Lab, covered live recording in 360 video and shared his expertise on using object sound and Ambisonics together. Travis Fodor, sound designer at AltVR, rounded out the panel, and explained terminologies like HRTF as well as shared his unique views on sound for interactive and social VR contents.
The G’Audio team is always thrilled to hear feedback, and this event was no exception. “The UI and workflow are really easy to use,” “This workshop cleared up a couple questions I had about G’Audio Works,” and “Fantastic demos!” were just a few of the comments we got afterward. The attendees had incredibly diverse backgrounds, from directors of sound studios and multimedia producers to VR filmmaking instructors and musicians, and we were thrilled that they came with different opinions that reflected their experience. That means they also brought a wealth of unique questions that allowed us to dive into a variety of areas in a highly individualized way.
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