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</head><body text="#000000">Good point! I meant a particular
recording sounding/feeling the same to the listener as it does to the
Producer/Artist, not every recording sounding the same....;) I've
been using two tracks that were recorded live and trying various
surround panning methods on those same tracks. It's quite astonishing
how very minor changes in positioning in the 3D space can have a
dramatic effect on the sound/character of that instrument and the mix
overall. Also, how the different panners sound different. I've
always thought that remixing without the Artist/original Producer
involved was bad practice in general.....but, with immersive even more
so, it's quite easy to totally change the feel of the song. <br>
<br>
I think the biggest road block right now is the delivery format issue.
Having a standard for delivery of a final file that contains both
Binaural for headphone listening and Multi channel for Loudspeakers and
the ability for the playback device to choose the right track is missing
in my life. Will it be Mpeg-H or ? Or do we just deliver in
multi-channel and let the binaural be created downstream like
Apple/YouTube360 is doing? It seems so counter to the past where we
could proof the format before manufacture. But, I guess we have
always been subject to downstream processing..........<br>
<br>
<span>Bob Olhsson via ProAudio wrote on 4/18/21 12:26 PM:</span><br>
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<div class="WordSection1"><p class="MsoNormal">People confuse sounds
"sounding the same” with a musical performance engaging a listener the
same. </p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">A
real problem with immersive remixes is that the producer and performers
would have probably selected different performances if they had been
making their choices in an immersive format. I think this was the main
reason most attempts at creating new music release formats have failed. </p><p
class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">Bob Olhsson<o:p></o:p></p><p
class="MsoNormal">615-562-4346<o:p></o:p></p></div>
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