3D immersive audio is increasingly becoming a format of choice in professional recording, mixing and listening. The composer, producer, and musician Simon Franglen, well known for his work on the films Titanic, Avatar, and most recently Spectre, commented: Every time I do an immersive mix, I notice how much more clearly I can hear what's going on within a track. The extra playback area allows individual voices and instruments room to breathe in a way that the flat plane of a stereo mix can never hope to accomplish. 3D audio gives a completely new experience to the listener. Not only are they inside the music, but they get the opportunity to really hear the detail and the arrangement that the musicians, arrangers and producers put into the recordings. Even as a professional, I have listened to tracks that I have thought I knew intimately to discover so much more than the stereo or mono mix was able to give me. Once you hear this, music changes forever.
AMBEO 3D Audio Listening Experience
Show visitors will experience AMBEO 3D Audio firsthand in the booth's dedicated 9.1 listening room. Here, Sennheiser's expert tonmeister Gregor Zielinsky is presenting original 9.1 recordings and remixes of legacy music for the 9.1 format. To bring this experience to every day music listening, visitors are invited to bring their own stereo sound material, have it upmixed via Sennheiser's proprietary upmix algorithm and replayed in stunning 9.1 sound quality.
EDEN VR Game
Sennheiser's expertise in 3D audio technology is also being featured by gaming specialist, Soulpix, which has drawn on the audio specialist's long experience in the field for its virtual-reality game, EDEN. Through a proprietary Sennheiser algorithm, the sounds in the game are easily localizable and transport the listener to an imaginary yet utterly realistic soundscape. CES visitors can experience this in the demo area. The Sennheiser 3D sound rendering engine used in EDEN allows a smooth transition between real-life sounds and virtual audio sources, explained Andreas Sennheiser. Such an engine will be the future of 3D sound in augmented reality applications.
Virtual reality mic
Another part of the 3D audio experience zone is dedicated to a virtual reality microphone. Designed with VR content producers, including VR production company Visualise, whose content will be featured, the unobtrusive mic captures high quality audio in four quadrants. The VR microphone will be a staple tool in any live action VR production and will launch in the third quarter of 2016, followed in 2017 by a bundle with the same mic and a software plug-in for post-production of VR content.
Venue Modeling
A further highlight in the 3D audio section is the Venue Modeling software. The demo version features the room characteristics of several clubs, such as Mighty in San Francisco, and the Rex Club in Paris, and enables DJs to experience their sets as if they were in the middle of their audience.
The Venue Modeling technology will be a milestone in virtual room acoustics replication. Unlike other reverb tools and plug-ins, this VST plug-in lets ambitious DJs, PA artists and EM producers experience their audio tracks in the location they want to perform in. The plug-in helps to tailor the audio to any desired room atmosphere, and a growing venue database connected to the plug-in will offer DJs an ideal source to prepare for their show. The VST plug-in will become available in mid-2016.
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3D immersive audio is increasingly becoming a format of choice in professional recording, mixing and listening. The composer, producer, and musician Simon Franglen, well known for his work on the films Titanic, Avatar, and most recently Spectre, commented: Every time I do an immersive mix, I notice how much more clearly I can hear what's going on within a track. The extra playback area allows individual voices and instruments room to breathe in a way that the flat plane of a stereo mix can never hope to accomplish. 3D audio gives a completely new experience to the listener. Not only are they inside the music, but they get the opportunity to really hear the detail and the arrangement that the musicians, arrangers and producers put into the recordings. Even as a professional, I have listened to tracks that I have thought I knew intimately to discover so much more than the stereo or mono mix was able to give me. Once you hear this, music changes forever. 
