In a series of articles, PXL-Music attempts to paint a picture of immersive audio and where we stand in terms of audio in today's virtual landscape. In doing so, we look at the gaming world, streaming, the music industry, and the internet, among others. In this article, we outline how sound works in gaming and how that differs from how we typically view sound in the cultural sector. The cultural sector: common with time as a reference In the cultural sector, we have many diff

There is a clear demand in the sector for digital twins for all kinds of applications —virtual soundchecks, running simulations, creating digital extensions of a physical space, ... At PXL-Music Research, we observe that audio is always secondary in these types of applications. So we looked for the next-level audio experience in this context. Given our strength in immersive audio, it quickly became clear: an immersive digital audio twin. But how do you achieve that? Concept

Within our use cases, we developed a live show for the bands WITT and Pothamus with immersive sound and visuals. We brought the two domains together in a dynamic, often automated manner. Similarly, our digital twin for d'Hane Steenhuyse and De Kreun combined the principles of a classic game in an engine—as explained in detail in The steps to an immersive digital audio twin — with those of an audio production in a DAW. OSC clearly emerged as the best way to establish the conne

In a series of articles, PXL-Music attempts to paint a picture of immersive audio and where we stand in terms of audio in the virtual landscape of gaming, streaming, and the internet, among others. In this article, we look at immersive audio in gaming. Recently, we organized a workshop with Dolby for students at PXL-Music and Howest DAE. The use of Dolby Atmos in gaming was discussed there. Dolby confirmed what we already suspected: immersive audio is a very logical next step