Join our host Oliver Kadel and guest presenters, in conversation with industry thought leaders, practitioners, artists, academics and entrepreneurs discussing all aspects of this rapidly evolving industry from art, science and business to practical insights and project case studies. We aim to inform, educate, explore and unite the community. Immersive Audio Podcast is produced by 1.618 Digital Ltd.
Episode 129 Eric Lyon & Tanner Upthegrove (The Cube - A High Density Loudspeaker Array)
Host Monica Bolles interviews composer Eric Lyon and Immersive Audio Engineer Tanner Upthegrove about the Cube, a high-density loudspeaker array for spatial audio experiences.
19 Jun 2026TRANSCRIPT
Episode 128 Zack Settel (Walk Through Music)
Host Oliver Kadel interviews musician Zack Settel about his three-decade journey in spatial audio and the creative challenges of six degrees of freedom music.
22 May 2026
Episode 127 Katia Sochaczewska (ECHO Project)
We’re excited to announce the sixth instalment of the Immersive Audio Podcast Masterclass series. As always, the sessions are designed to enhance your practical learning experience and are delivered by world-class experts. We’ll be providing video demonstrations, spatial audio playback and an exclusive opportunity to interact with our expert guests.
We proudly present the senior technical consultant for audio and visual applications at HHB Communications - John Johnson. In this session, we’ll explore the Sony 360 Virtual Mixing Environment. We’ll cover all steps of the process, from capturing personalised HRTF in person to novel studio workflow strategies.
360VME is an innovative sound technology that uses headphones to reproduce the sound field environment of the studio with high precision. 360VME supports music, post-production, game audio creators, consumers and enthusiasts by reproducing the sound field of a multi-channel studio with headphones so that they can create spatial sound content from virtually anywhere. HHB has been selected by Sony Europe as the first and exclusive partner for the UK. The Technical Support team has been fully trained on providing the measurement process to creators across the country.
We’re looking forward to seeing you there!
Event Sign Up Page
https://www.eventbrite.com/e/immersive-audio-podcast-masterclass-with-sony-360-vme-tickets-1988312228399
In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by music producer and immersive audio researcher - Katia Sochaczewska. We discuss Katia’s journey into spatial audio and her involvement with a wide range of research projects on psychoacoustics, accessibility, and perceptual evaluation of binaural rendering.
For extended show notes and more information on this episode, go to www.immersiveaudiopodcast.com
This episode was produced by Oliver Kadel, Monica Bolles and Emma Rees and included music by Rhythm Scott.
How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our page on Patreon - www.patreon.com/c/immersiveaudiopodcast. The sessions are designed to enhance your practical learning experience and are delivered by world-class experts. The livestream contains video demonstrations and spatial audio playback with live Q&A.
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Inside a recent episode
Episode 129 Eric Lyon & Tanner Upthegrove (The Cube - A High Density Loudspeaker Array)
Published 19 Sept 2026 · Transcript excerpt
[…] And I was thinking that that really seemed like it could have a future in computer music. And I had heard some really quite interesting quadraphonic music when I was at UC San Diego as a graduate student. And I distinctly remember a very interesting project by Gordon Mumma. So Gordon was a visiting professor. professor at the UCSD Music Department in 1986-87. And he was working on a piece with Randy Begalt. And Randy has published a book on 3D audio, but he was a music PhD at UC San Diego in the late 80s. And he was doing his research on HRTFs. had related transfer functions and so we were all his guinea pigs and Gordon made a piece called Begalt's Meadow working with Randy and what was so striking about this piece was a quadraphonic piece and Gordon used only one sound source for the entire piece and that was a 50 millisecond burst of white noise. […]
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