Using Localization Cues in Immersive Mixing

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Using Localization Cues in

Immersive Mixing
Whether you’re mixing for film in 5.1 surround or Dolby Atmos, it’s important to
consider a key element of human auditory perception: localization. Localization is
the process by which we identify the source of a sound. We may not realize it, but
each time we sit down to watch a movie or TV show, our brains are keeping track of
where the sound elements are coming from or headed towards, like spaceships
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These are subtle differences, but the size and shape of our heads impacts how
these cues differ between high and low frequencies. Higher frequencies with
shorter wavelengths can move around our heads to reach our ears, causing
differences in sound pressure levels between each ear, and allowing us to
determine the source’s location. However, lower frequencies with larger
wavelengths are not impacted by our heads in the same way, so we depend on
interaural time differences to locate low frequencies instead. Although levels and
panning are great tools for replicating our perception of high frequencies in space,
mixers can take advantage of these cues with mixing low end too, which we
usually experience as engulfing the space around us. A simple adjustment to a
low-end element with a short 15-40 millisecond delay can make a subtle change
to that element’s location, and offer more space for simultaneous elements like
dialogue.
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them. When mixing sound elements in an immersive environment to seem like they
are above the head, emphasizing any frequencies above 8000 Hz with an EQ or
high-shelf can more accurately emulate how we experience elevation in the real
world. Making these adjustments along with panning the elevation can make a bird
really feel like it’s chirping above us in a scene.
See how the pinna acts as a “filter” for high frequencies arriving laterally versus
elevated.
The Cone of Confusion

A psycho-acoustical limitation to avoid occurs at the “cone of confusion,” an
imaginary cone causing two sound sources that are equidistant to both ears to
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This demonstrates where problems can occur when locating two equidistant sound
sources.
With these considerations, mixers can maintain the integrity of our auditory
perception and make a film’s sound feel even more immersive.
Written by Zanne Hanna

Office Manager, Boom Box Post
This blog originally was published on Boom Box Post
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Collaborating With Another Producer
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Approaching Acoustic Mixes
Designing With Lead Vocals
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About the Author
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Zanne Hanna is an indie artist, songwriter, producer, and engineer. She graduated
from Berklee College of Music with a dual degree in Music Production and
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Engineering and Electronic All SoundGirls
Production Contributors
Design and completed two minors in
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Using Localization Cues in Immersive Mixing | SoundGirls.org https://soundgirls.

Empowering the Next Generation of Women in Audio