Audio Vivid: A New Destination for Immersive Audio

What is Audio Vivid? A New Destination for Immersive Audio Over the past several years, immersive audio has evolved from a niche production consideration into an established part of modern music production. Dolby Atmos has led that transformation, bringing object-based mixing into recording studios of every size and making immersive music available to millions of listeners through streaming services, home theaters, and headphones.

As immersive production has matured, so have the tools engineers rely on to create it. Symphony I/O Mk II introduced Monitor Workflows, making it easy to switch between stereo, surround, and immersive monitoring configurations with independent speaker level trims for each workflow. Building on that foundation, Symphony Studio further simplifies immersive monitoring with integrated bass management, room EQ, speaker delay compensation, and seamless switching between stereo, surround, and immersive monitoring configurations.

Today, immersive audio continues to grow, and with it, new delivery ecosystems are beginning to emerge. One of the newest is Audio Vivid.

The good news is that Symphony I/O Mk II and Symphony Studio already support Audio Vivid production workflows. Because Audio Vivid shares the same object-based production concepts familiar to Dolby Atmos users, the monitoring environment you've already built-from stereo to immersive speaker layouts-remains directly applicable. Whether you're creating immersive content for Atmos, Audio Vivid, or future object-based formats, Symphony provides the monitoring flexibility and precision required throughout the production process.

Familiar Concepts, New Destination The easiest way to understand Audio Vivid is not as a replacement for Dolby Atmos, but as another object-based immersive ecosystem. Like Atmos, Audio Vivid combines:

Audio beds

Independently positioned objects

Spatial metadata

A renderer that adapts playback to the listener's system

Whether the final mix is experienced over headphones, a soundbar, an automotive system, or a full 7.1.4 or 9.1.6 loudspeaker array, the renderer is responsible for recreating the immersive sound field as accurately as possible. For engineers already working in Atmos, these concepts should feel immediately familiar.

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Already Mixing in Atmos? You're Most of the Way There One of the biggest misconceptions surrounding Audio Vivid is that it requires learning an entirely new production workflow.

It doesn't.

If you're authoring immersive mixes in Pro Tools today, your session structure, object placement, automation, monitoring, and creative decisions remain largely the same. In many cases, preparing a project for Audio Vivid is simply a matter of selecting a different renderer, validating the resulting mix, and exporting in the appropriate format.

The skills you've developed building immersive mixes don't suddenly become obsolete because another delivery format exists.

If anything, Audio Vivid demonstrates that object-based production has matured into a workflow that can support multiple delivery ecosystems. Rather than replacing Dolby Atmos, it expands the ways immersive content can be delivered to listeners.

Why Audio Vivid Exists? So if the workflow is so similar, why introduce another immersive format?

The answer has less to do with how immersive audio is created and more to do with how it's delivered.

Streaming services continue to bring immersive audio to larger audiences across an increasingly diverse range of playback devices. That presents new challenges: reducing bandwidth, minimizing storage requirements, and delivering immersive experiences efficiently across mobile devices, televisions, automobiles, and home entertainment systems.

Audio Vivid was designed with those challenges in mind.

One of its distinguishing features is an AI-assisted coding architecture that helps compress immersive audio more efficiently for distribution while preserving the spatial information that makes immersive mixes convincing.

Importantly, this AI isn't involved in creating or mixing your music. It operates during the encoding process, after the creative work is complete.

From the engineer's perspective, the mix remains the priority. The codec simply becomes another method of delivering that mix to listeners.

What This Means for Symphony Users Both Symphony I/O Mk II and Symphony Studio are ready for Audio Vivid production today. Because Audio Vivid builds on the same object-based production concepts as Dolby Atmos, the immersive monitoring environment you've already created continues to serve as the foundation for this emerging workflow.

Whether your final deliverable is Dolby Atmos today, Audio Vivid tomorrow, or another object-based format in the future, the engineering challenges remain remarkably consistent.

You still need to:

Monitor accurately across multiple speaker layouts

Trust your loudspeaker calibration

Verify translation between stereo and immersive playback

Move quickly between monitoring formats without interrupting your workflow

Symphony I/O Mk II makes it easy to move between stereo, surround, and immersive monitoring configurations using Monitor Workflows.

Symphony Studio builds on those capabilities

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