Audio Engineering Society

Conference Paper
Presented at the Conference on
Audio for Virtual and Augmented Reality
2016 Sept 30 – Oct 1, Los Angeles, CA, USA
This paper was peer-reviewed as a complete manuscript for presentation at this conference. This paper is available in the AES
E-Library (http://www.aes.org/e-lib) all rights reserved. Reproduction of this paper, or any portion thereof, is not permitted
without direct permission from the Journal of the Audio Engineering Society.

Streaming Immersive Audio Content

Johannes Kares1,2 and Véronique Larcher3
1 3D Audio Application Engineer, Sennheiser (Schweiz) AG
2 Tonmeister Student, University of Music and Performing Arts Vienna
3 Global Director Strategic Innovation, Sennheiser (Schweiz) AG

Correspondence should be addressed to Johannes Kares (johannes.kares@sennheiser.com)

ABSTRACT
”Immersion [...] is a perception of being physically present in a non-physical world.” [1] It is critical to think
about immersive audio for live music streaming because giving listeners the illusion of being transported to a
different acoustic environment makes the experience of streaming much more real. This paper describes various
approaches to enable audio engineers to create immersive audio content for streaming, whether using existing tools
and network infrastructure and delivering static binaural audio or getting ready for emerging tools and workflows
for creating immersive audio content for Cinema or Virtual Reality streaming.

1 Introduction streaming format and the tools that have to be used.

Immersive audio is the next generation of audio
experience. This exploding field comprises audio
techniques that are able to immerse a listener with
sound. They can rely on either a loudspeaker setup
with speakers all around and above the listener or
on headphone playback which typically leverages
binaural technologies. In the latter case, Head-Related
Transfer Functions (HRTF) can either be applied at
the recording stage with a dummy head microphone,
at the mixing stage with binaural panning plugins
processing spot microphones, or on the listener’s side
with binaural post- processing, potentially dynamic,
i.e. taking into account the listener’s head orientation.
The choice between these various approaches to
render immersive audio has a strong influence on the
Imagine a live streaming situation at a concert venue.
State of the art streaming workflow consists of several
cameras including operators, a live video editor and
a multi-microphone setup with close and reverberant
microphones handled by an audio engineer. The
workflow for conventional Audio/Video live streaming
was developed over the past few years and is well
understood. When streaming immersive audio, the
workflow can vary, but we will try to apply the basic
principles of stereo streaming to Immersive Audio
streaming.
What kind of equipment and infrastructure is needed
for immersive audio recording and streaming? What
format is best for transmitting this new type of content?
What kind of artistic choices can immersive content
creators make, compared to conventional stereo or 2D
Kares, Larcher
streaming events?
This paper exposes, both on a technical and an artistic
level, how immersive audio can support conventional
video streaming as well as Virtual Reality (VR)
content. For Immersive Audio listening three different
categories will be reviewed: Static binaural audio,
dynamic binaural audio and loudspeaker playback with
height.
2 Audio Formats for Streaming
Before we define the different possibilities of listening
to Immersive Audio, we should look at what categories
of transmission formats exist. To address the goal for
an immersive audio format to replicate an audio source
in all positional dimensions, these three main categories
of audio transmission formats will be considered:
• Channel-based approaches
• Object-based approaches
• Scene-based approaches
2.1 Channel-based approaches
Channel-based approaches are usually played back by
a loudspeaker system or headphones, where each audio
channel in the stream corresponds to a physical speaker
or headphone driver and the specific format implies
the exact positions of each speaker. (e.g. ITU for 2D
surround Sound) or the use of headphones.
2.1.1 Channel-based approaches with static
binaural signals
Static binaural channels consist of a stereo signal,
which has gone through HRTF filtering. There is
no decoding process and the signals are meant to be
experienced with headphones. The easiest way of
producing a static binaural stream is to record with a
dummy head microphone. On the playback side one
has to make sure that the end-user is listening to the
stream with headphones only, since in most cases the
spatial rendering and overall sound quality is degraded
when experienced over loudspeakers.
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Streaming Immersive Audio
2.1.2 Channel-based approaches for
loudspeaker playback
The difference between fully-immersive channel-based
loudspeaker approaches to earlier and well known 2D
surround sound is the additional height layer(s) of
loudspeakers, so sound can be located from all three
dimensions. Using pure channel-based loudspeaker
approaches, a decoder or a rendering engine is not
necessary, although in practice the format is often
data-compressed and delivered in a specific container.
As well, channel-based formats usually have a fixed
data bandwidth, which makes them favorable for
streaming. The downside of channel-based approaches
is the limitation to one specific listening setup,
making the intended audio experience very sensitive
to loudspeaker placement for example in the home
of end-users. There are indeed some techniques to
partially compensate for ill-placement of loudspeakers,
converting between different channel-based formats
(e.g. [2]).
2.2 Object-based approaches
Object-based approaches were invented to overcome
the limitations of channel-based approaches and
provide flexibility with the listening setup. An
object-based stream consists of many audio objects,
that are all transported to the decoding device at the
listener’s end. An audio object is essentially made of
a stream of audio data together with metadata about
its position, including azimuth and elevation, and
depending on the container, potentially distance or
width information. All the objects in a stream can be
rendered to different loudspeaker or headphone layouts
and of unlike the other immersive audio formats, object
audio transports as much of the original recording as
possible and shifts all of the spatial decoding to the
listener’s end. Object-based audio can be delivered
in various formats, such as Atmos and MPEGH-H.
The downside of object audio is the variety and
incompatibility of these different formats. As well,
an object audio format assumes that phantom sources
between loudspeakers sound the same as a single
loudspeaker sources, which is not the case and can
become especially an issue when mixing reverberant
signals. [3]
Kares, Larcher
2.3 Scene-based approaches
Scene-based approaches are best represented by the
ambisonics format. Ambisonics uses a fixed number of
channels and therefore requires a fixed data bandwidth,
but the format is encoded in a "scene-based way" using
matrixing. The easiest way to describe a 1st order
ambisonic stream is by imagining a 3-dimensional
Mid/Side signal with one omni-pattern signal and
three figure-of-eight-pattern signals each facing
towards one dimension, which is called the B-Format.
The order of ambisonics can be increased by using
more audio channels, at which point the added
channels do not correspond to first order directional
patterns anymore. Higher order ambisonics increases
localization accuracy, but the number of channels
increases quadratically.
See Table 1
Ambisonics Order Number of audio channels
1st 4 Static binaural audio describes a static stereo stream
2nd 9 that does not need any decoding and that can be
3rd 16
4th 25
5th 36
Table 1: Order of ambisonics and corresponding num-
ber of audio channels for full 3D representa-
tion for a given order l. (l + 1)2
The clear benefit of ambisonics is the easy capture pro-
cess that it requires, with different microphones already
supporting native ambisonics capture. In addition, it
is possible to alter the audio scene in creative ways in
post-production. One drawback is the loss of complete
separation between encoded source signals, which re-
sults in bleeding between channels resulting from the
decoding stage.
Although ambisonics does not store individual objects,
it still allows for an object audio approach to be used
at the mixing stage and as such, it can be considered as
a technology which fills-in the gap between channel-
based approaches and object-based approaches. The
fixed bandwidth makes it very favorable for streaming.
It can be decoded either for loudspeakers playback or
binaurally to headphones. [4]
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Streaming Immersive Audio
3 Immersive Audio Listening
Immersive audio content is already being produced
and can be experienced in different ways. This
paper describes three different categories of 3D
audio listening and their associated capturing devices,
each one addressing different formats and listening
scenarios. Table 2.
1 static binaural dynamic binaural loudspeaker
2 HD/SD Virtual Reality / Cinema /
streaming 360 Videos Home Cinema
3 Channel-based Scene-based, Channel-based,
Object-based Object-based
Table 2: Main categories of Immersive Audio (1)
with main use case (2) and common trans-
mission formats (3)
3.1 Static binaural listening
experienced with any headphone. In this case, the
spatial processing is done on the transmission side
of the signal. A binaural stream can most easily
be produced by recording with a dummy head
microphone. This technique was used in the 1970s
in radio broadcasting, when around that time audio
manufacturers like Neumann, Sennheiser and AKG
released dummy head microphones. This was possible
since the radio broadcasting network could carry
and transmit static binaural audio as a regular stereo
signal. At the time, it was a well-respected technique
but not a commercial success, mainly because most
radio content was not consumed on headphones
and the audio engineers had limited post production
capabilities with binaural audio. Today however, it
is common to augment dummy head recordings with
spot microphones, binaurally processed with dedicated
plugins at the mixing stage.
3.2 Dynamic binaural listening
Most recently, the VR industry has motivated a revival
and further developments of immersive audio technolo-
gies. Dynamic binaural listening includes all setups, at
which binaural processing is applied on the listening
Kares, Larcher
side. Through the application of HRTFs at the listening
stage, it is possible to use technologies like headtrack-
ing and individualized HRTFs. Headtracking is a major
component for a realistic immersive audio headphone
experience because it helps eliminate the well-known
front-back confusions that can occur with static binau-
ral content. [5]
At first hand, dynamic binaural listening in streaming is
mostly accomplished using ambisonic or object-based
signals. Ambisonics has the advantage of fixed data-
bandwidth, which is probably the reason, why ambison-
ics is used in major internet platforms for 360 degree
video streaming. On the other hand, object-based con-
cepts are mostly used in VR gaming, since the object
data does not have to be streamed through a network
but is created in the game itself.
3.3 Loudspeaker listening
Immersive audio for loudspeaker playback can be
defined as traditional 2D surround sound with height
information. Studies showed that the additional height
information increases the perception of Envelopment.
[6]
Loudspeaker listening can be achieved with ei-
ther channel-based, object-based or scene-based
approaches, but for now the market is dominated
by channel-based and, more recently, object-based
systems.
Since a 3D loudspeaker setup often create some
logistics challenges, for example to suspend and secure
the height loudspeakers, it is mainly found in cinemas,
both as channel-based systems, with solutions such
as Auro3D since 2005, and Atmos, relying on an
object-based codec first released in 2012. [7]. More
recently these solutions have been integrated in home
receivers, enabling end-users to experience immersive
content in their living room. Some progress has also
been made to integrate object-based immersive audio
streams like into the current streaming platforms [8]
and into broadcast [9].
4 Creating Immersive Audio content
4.1 Capturing
As the recording techniques for stereo are quite well
established, our proposed methods attempt to integrate
in the same workflow that most engineers are familiar
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Streaming Immersive Audio
with. As this is a relatively new field, our goal is to
offer a starting point for audio engineers eager to get
started with immersive audio recording and streaming.
Obviously, fellow practitioners already well versed in
this field may have developed valid alternatives.
For stereo recording, many engineers might use close
microphones only, others might use microphones for
capturing the reverberant information as well as the
overall positional balance of the various sources ("main
microphone" technique), whereas others use both kinds
of capturing techniques at the same time. The technique
chosen depends mostly on the type of content that is
created. Especially with music, the chosen recording
technique heavily depends on the genre of music. For
instance, Rock’n’Roll recordings are mostly done us-
ing close miking techniques whereas Classical Music
recordings heavily rely on main microphones (captur-
ing e.g. the whole orchestra)
At the recording stage, the basic principles used for
capturing close microphones in stereo also apply to
immersive audio. Larger difference between the two
are observed at the mixing and processing stage. When
recording with close microphones, one still has to posi-
tion the mics in order to get a nicely balanced frequency
response while minimizing bleeding from other nearby
sound sources.
However, for the ambient/reverberant recording micro-
phones, there are different capturing devices for each
category of immersive content, which are introduced
and described in the following subchapters.
4.1.1 Capturing static binaural content
The best and easiest way to record reverberant infor-
mation or a complete capture of the acoustic scene for
static binaural content is to use a dummy head micro-
phone.
Fig. 1: Neumann KU100 dummy head microphone
Kares, Larcher
A dummy head has two microphone capsules (pressure
transducers) in between its ears and delivers binaurally
processed audio as an output. Because of the head’s
shape and its ears, the signal is very close to what real
eardrums would perceive. The size and shape of the
head can be derived from an average of many people’s
heads or can replicate the head of one individual, but
of course a dummy head recording cannot be individu-
alized to the specific HRTFs of each listener.
In a recording the position of the dummy head is im-
portant. If no further processing is used, for example to
add spot into the mix, the only way to spatially design
the soundscape is by placing the dummy head at the
desired spot in the action or by moving people around
it. This practice has been perfected for instance in radio
dramas in the 1970s. For that purpose, dummy head
recording offers a very quick and effective way of cre-
ating a 3D audio stream.
Dummy head recordings only replicate the sound
present at a certain position in a given environment
and the dummy head is exceptionally good at this, but
many audio engineers wish to tweak the sound after
the recording, for example move sound sources around
and control directivity and amount of room informa-
tion. We propose a method to address this need using
a dummy head combined with close microphone tech-
niques in modern mixing workflows. (Section 4.2.1)
4.1.2 Capturing content for multi-loudspeaker
layouts
Capturing immersive content for loudspeaker playback
can be discouraging because the playback situation
heavily depends on the end-user’s setup. Of course,
channel-based formats give the content producer an
easy way to control which microphones are assigned to
which channel in playback, but there is little one can do
to anticipate what it will end up sounding like on the
end-user’s listening setup. Object-audio formats aim
at solving this issues. However, object-audio might
work best with close microphone sources as signals
with room information tend to be harder to reproduce
with some consistency across different 3D loudspeaker
layouts. Our experience indicate that a better spatial
experience is obtained by sending independent room
information signals to each loudspeaker as opposed
to sending independent room information signals
across multiple loudspeakers. Luckily existing
object-based formats enable objects to snap to the
nearest loudspeaker position so that each microphone
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Streaming Immersive Audio
signal can be played back by exactly one speaker.
This is especially useful when recording incoherent
arrays of microphones, which is a common way for
recording immersive audio content in acoustic music.
[10] To capture environment and room using a main
microphone approach, we have been perfecting the use
of microphones in a cube-shaped array, which each
microphone corresponding to one loudspeaker channel.
With this approach, we have reliably reached natural
sounding results for acoustic music.
4.1.3 Capturing content for dynamic binaural
playback
Capturing content for dynamic binaural audio is some-
thing quite new, and for 360 videos it mostly relies on
ambisonics, the immersive audio technology invented
in the 1970s. For recording reverberant information the
easiest way is to record straight in ambisonics or in a
format easily convertible to ambisonics. Microphone
arrays are available that record in various formats. For
example, the Nimbus/Halliday microphone array is of
native first-order ambisonic B-Format, consisting of
one omni-directional microphone and several figure of
eight microphones. One example of such microphone
category in a 2D configuration for horizontal capture
only is the Josephson C700S.
A very common alternative consists of capturing signals
in A-Format. Such microphone arrays consist of four
directional microphones in a tetrahedral arrangement.
Examples of this category are the Sennheiser AMBEO
VR Mic and the SoundField DSF. Easy matrixing can
convert the recorded A-Format to ambisonics B-Format
and additional filters are applied to equalize the diffuse-
field response. [11]
It is also possible to record ambisonics with high-order
ambisonics microphones, but the patterns above first-
order ambisonics are not practical to build with typical
microphone capsules. As a result, sophisticated pro-
cessing is necessary in order to convert an array of
regular pattern microphones to a high-order stream. A
representative microphone of this category is the Eigen-
mike [12].
4.2 Mixing and live processing issues
As stated above, the biggest difference in immersive au-
dio capture is the capture of room information, whereas
the close microphones are captured in a very similar
Kares, Larcher
way as in stereo. However, when creating immersive
audio content, the processing of close microphones is
very different from stereo mixing, varying much with
the format that is used at recording.
4.2.1 Mixing static binaural audio
The main goal for mixing in static binaural is to create
an externalized experience so the audio is perceived
outside of the listener’s head while minimizing color-
ing the signal. This is challenging as HRTFs alter the
frequency response to imprint spatial information in
the signal. Although listening to binaurally-processed
audio over headphones is intended to be more realistic,
switching back and forth between binaural audio and
regular stereo can lead to the impression of binaural
audio sounding altered or over-processed. Our exper-
iments with dummy head recording showed that the
output seems usually less colored than the output of
binaural processing tools, i.e. most commonly binaural
panning plugins.
A dummy head can indeed be used together with binau-
rally processed close microphones. In many situations
the actual balance of the dummy head output alone is
not perfect, but it has a great overall sound. This work-
flow enables the mixing process to be similar to mixing
in stereo with additional control over the placement and
depth of the sources. However, mixing dummy head
recording and binaurally-processed close microphones
will sound best if the dummy head’s HRTFs match the
HRTFs used in the binaural processing tool. Many bin-
aural panning plugins allow for AES69 / SOFA format
import, which enables to use custom HRTF sets in the
plugin. Furthermore, some binaural panning plugins
allow custom reflection calculation in a virtual room.
It remains to be discussed whether using artificial re-
flections on the spot microphone signals is necessary
when mixed in with the room information provided by
the dummy head.
4.2.2 Mixing dynamic binaural audio
The scope of this paper describes mixing linear VR
content using scene-based or ambisonic techniques.
Although it is possible to use object-audio mixing for
VR, it is not commonly used yet.
Mixing in ambisonics requires integrating the signals
of two types of microphones. Native ambisonic micro-
phones which usually record reverberant information
or a complete audio scene, and close microphones
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which typically record audio objects. As in stereo,
engineers may decide to use either one of the two
options or both of them, depending on the current
constraints of the scene to record and the type of
content. With native ambisonics microphones, it is
possible to alter the soundfield in many different
different ways at the mixing stage, for example
rotate, shift, change directivity, mirror and widen the
soundfield. [13] )
Close microphones can be mixed in thank to simple
ambisonic panning plugins, which usually rely on
simple matrixing appropriate for the desired ambisonic
order. Applying linear effects such as equalizers to an
ambisonic signal can be done either in B-Format or in
A-Format. For non-linear effects, such as Dynamics
effects, or to have some control over the spatial area
on which an effect should apply, it is most common to
first convert to A-Format. Overall, there is a growing
number of effects to process native ambisonic audio
(see for example the TOA Manipulators VST plugins
[14]).
4.2.3 Mixing immersive loudspeaker content
Loudspeaker content is often mixed using either
channel- or object-based approaches. For mixing
object-based audio, there does not seem to be a
common way of mixing natively in any digital audio
workstation (DAW) or mixing desk; the process
relies on external tools from the separate object-audio
licensors. In most cases, the individual objects are sent
out of the DAW and stored on a separate machine that
also stores metadata about the position of the objects.
Since many DAWs are limited to eight output channels
per track, mixing for channel-based loudspeaker setups
is also somewhat more difficult. A workaround is to
use multiple regular 2D surround sound output buses
and using them as different height layers for your 3D
mix. By using post-fader sends on the individual tracks
to the output buses, it is possible to have a channel
signal on different height layers. Third-party plugins
supporting 3D audio panning for channel-based
loudspeaker systems are available as well.
When recording with a cube-style microphone
array for reverberant information, as mentionned
earlier, integrating the array output into the mix is
non-equivocal. However when mixing the signals from
close microphones, there is more artistic freedom and
little rule of thumb apply (See 6 Artistic Aspects of
Kares, Larcher Streaming Immersive Audio

Immersive Audio) viewer would see, adding room information in the three-
dimensional space. Alternatively, they can opt instead
to use an artificial approach and distribute the different
5 Infrastructure and streaming audio elements spatially, possibly away from a realistic
perspective. This of course depends on the type and
application
genre of music, as well as personal taste. It is worth
mentioning that for audio content with multiple sound
The paper describes different ways of capturing and sources, the human brain will segregate these elements
producing immersive audio content, but additional hur- much more easily when they are located around you in
dles have to be solved to stream this content. An easy
3D space than with a typical stereo panning. Immersive
way of streaming immersive content is to use static
audio streaming therefore opens up a whole new field
binaural audio because it requires support for a stereo of audio creativity. [15]
signal only which is supported by almost all existing
streaming platforms and broadcast networks.
7 Conclusion
For the other formats, there are several factors which
differentiate them from stereo streaming. First of all,
The paper described several differnt ways of recording
the nature of the transmitted signals can vary (object-
and streaming immersive audio content. It explains
based, channel-based, scene-based) and even within
recording and streaming strategies for regular stereo
these formats, competition between license providers
content, which consist of using microphones with room
can create a difficult base of operations for both content
information and close microphones and tried to apply
creators and consumers on the listening side. Most plat-
this to immersive audio content creation. For captur-
forms provide their own listening or viewing mobile or
ing immersive content, the close microphones would
web-applications, and can handle the decoding process
be captured the same way as in stereo, whereas the
themselves. However in broadcast and cinema, this
capture of room information would be done differently.
remains a bottleneck.
For creating immersive loudspeaker content, we recom-
In addition, new hardware is required for new listening
mended to replace the room information microphones
formats. For example, in the case of dynamic head-
commonly used in stereo by a cube-shaped array of
phone playback, a separate headtracking device may
microphones. For static binaural, we recommended
be necessary when not built into VR goggles. For loud-
using a dummy head microphone as the room informa-
speaker playback, decoding hardware is most often
tion microphones. For virtual reality immersive audio
mandatory, though this might be alleviated when de-
streaming, we recommended using an ambisonic mi-
coding software is integrated in listening devices.
crophone as the room information microphone.
Finally, the processing power available on mobile de-
We showed several ways of processing the close micro-
vices is a limiting factor and so is battery life. This is
phones to mix them into the immersive audio streams,
especially applicable to the case of dynamic binaural
using either binaural panning tools, ambisonic panning
rendering.
tools, channel-based or object-based panning tools -
Luckily, there is a growing awareness in the industry
depending on the listening format.
of the need to provide easy access to immersive audio
For streaming, the easiest way to achieve immersive
to both consumers on the listening side and to creators
audio streaming today is to use a static binaural stream
on the content creation side.
because it can build on current infrastructure. With
major companies working on immersive audio for VR
6 Artistic aspects of Immersive Audio and 360 video, it probably remains only a matter of
time before ambisonic live streaming is made available
From a creator’s point of view, there are a lot of new to end-users. Object-audio streaming is being heavily
creative possibilities with immersive audio. Instead of explored, with MPEG-H and Atmos leading this effort.
having only one dimension to position sounds (usually As well, channel-based loudspeaker approached such
left to right), an audio engineer can take into account as Auro 3D are looking into further applications for
the additional dimensions of depth, front and back and live streaming.
height. They can opt for a naturalistic approach where
the localization of sound corresponds to a picture the

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Kares, Larcher Streaming Immersive Audio

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