However, as with stereo recordings, no additional spatial information is added, so lacks the fully immersive experience that you get from using Ambisonics recordings. When using surround recordings in Ambisonics productions, the Facebook360 Spatial Workstation gives options for these to be part of the Ambisonics soundfield.
Alternatively, it's possible to place music and other elements in the stereo headlocked track, however, this means they don't respond to the viewer's head movement. This method works well for sounds attached to an object but doesn't provide a fully immersive sound, which can be beneficial for music or ambient sounds. The first is to place the stereo sound somewhere within the soundfield, which follows the viewer's head movements. Tools like the Facebook360 Spatial Workstation enable you to work with stereo recordings in one of two ways.
The good news is that several DAWs now support Ambisonics audio, and a growing number of plug-ins now support the format too.
In addition, there are an increasing number of VR experiences, games and apps that require immersive audio in which Ambisonics can play an important role. As a result, ambisonics audio, which has been around since the 1970s, has found a new purpose, providing immersive soundtracks to go alongside 360º video. In recent years the amount of content is being filmed with 360º cameras has been on the rise. However, before we get into the ‘how’, we and going to look at the ‘why’. We have ambience and music examples that you can both listen to and download to compare for yourself how these two upmixing plugins perform when delivering Ambisonic immersive audio files. In this article, we demonstrate how to upmix both stereo and surround examples into 3rd order Ambisonics using Penteo 16 Pro from PerfectSurround and Halo Upmix with the 3D Extension from Nugen Audio. In the past, we have covered upmixing from stereo to 5.1, 7.1 and immersive formats like Dolby Atmos.
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