Martin Rieger Sound

Martin Rieger Sound With my 3D Audio Matrix, I help clients to enhance their immersive production

24/05/2026

VR often mimics real experiences, like watching a concert, but it's a lesser version. Its true power lies in enabling experiences impossible in reality, like flying or deep-sea diving. This blend of real and virtual offers unique possibilities, especially by transforming underutilized spaces into immersive environments.

24/05/2026

Stop using Dolby Atmos for Apple Vision Pro.

I keep seeing people doing that. In worst case not even the multi-channel surroudn version with head-tracking, but the binaural downmix.

Here's why you shouldn't even bother touching it.

1) The narrator problem:
Play a film on Vision Pro with Dolby Atmos and head-tracking on. Move your head left. The lead vocals or narrator voice shifts - like they're orbiting around your head instead of staying centered.
This makes sense when there is a screen in front of you, like in a cinema on loudspeakers.
But for immersive media, this narrator issue breaks immersion. You hear a voice in front of you that you can't see on screen, like a ghost.

2) No head-locked stereo option
There's no setting that allows to playback a sound locked to stereo, ignore my head movement." AKA head-locked.
You can only head-track or fix the whole soundrack, not both at the same time.
For immersive video this is crucial to fix the issue of number one and strategically using mono for voice-overs and stereo for background music.

3) 6DoF support is incomplete
When you lean forward or walk around the room, spatial audio doesn't recalculate properly. The sound stays glued to where it was, not where you are. Full immersion would mean the audio adjusts to your actual position in space. Vision Pro doesn't do this.

Those are just one of the reasons why Apple decided to build their own format called Apple Spatial Audio Format. I tested it - it's dope because it puts headphones first, not loudspeakers.

Don't get me wrong, I like atmos for where it makes sense, but for VR it does not - that's why I'm said that Atmos VR wasn't continued after I beta tested it a decade ago.

When was the last time you experienced Atmos - in cinema or VR?

23/05/2026

Spatial Audio bildet unsere natürliche 3D-Hörerfahrung nach und macht digitalen Sound immersiv. Von Mikrofonen über Algorithmen bis hin zu Soundbars – die Technologie hat sich rasant entwickelt, um uns zurück zum natürlichen Hören zu bringen, wie einst in der Natur, mit Ton von vorne, hinten, oben und unten.

22/05/2026

Filme selbst gestalten – ist das noch Zukunftsmusik? Nicht unbedingt! Künstliche Intelligenz macht es möglich, eigene Filme zu erstellen, Hauptcharaktere zu ändern oder sogar Genres zu mischen. Stell dir vor: Mission Impossible mit dem Humor von Family Guy im Harry Potter-Universum. Die Möglichkeiten sind grenzenlos und die Entwicklung rasant. Was denkst du, wie wird das die Filmwelt verändern?

I've been obsessed with this mic for a decade.But now, camera guys are as well, and that's a problem.10 years ago, I wen...
21/05/2026

I've been obsessed with this mic for a decade.
But now, camera guys are as well, and that's a problem.

10 years ago, I went all in on sound for immersive video.
Ambisonics is still the best format I know for recording.
Four channels, small build, still 3D. That's efficiency.

Setting up the microphone is the easy part, so camera guys nowadays think they can place the mic and call "spatial audio" done.

I watch them mount it to a €30k Ursa Immersive rig, just like 10 years ago with self-made GoPro rigs for 360 videos.
But for sound, that's not how any of this works.

As much as I love ambisonics, the spatial audio comes out diffuse and they don't even realize.

Here's why: FOA requires post-processing + objects recorded with additional mics.
Combining those assets is the holy grail and is not easily done in Davinci Resolve, taking care of decoding, phase issues, denoise, rotation, etc.

Camera people master lights. They understand composition. I appreciate that.
But I don't buy that they suddenly master Ambisonics, let alone Apple Spatial Audio Format (ASAF).

And that's fine - but don't pretend adding an Ambisonics mic to your cam changes that.
The format is brilliant. The ex*****on is painful to watch - and to listen to.

Anybody else still recording first order Ambisonics in 2026?

I spent years being frustrated listening to other people's sounds.How could they not hear how bad it was?Then it hit me:...
19/05/2026

I spent years being frustrated listening to other people's sounds.
How could they not hear how bad it was?

Then it hit me:

How should they know if they simply can't imagine what they are missing?
They've never experienced the real thing when just do sound themselves.

Same way; I can't design. I think my stuff looks fine - until a designer has a look and does their magic.

You don't know the gap until someone shows it to you.

You can't picture what you've never heard in a good way.
It sometimes takes years of experience to notice this - can you?

What was your "Sudden Clarity" Clarence moment?

AirPods will read your brain. Apple's new patent explains how.For years, the problem was unsolvable: EEG signals from th...
17/05/2026

AirPods will read your brain.
Apple's new patent explains how.

For years, the problem was unsolvable: EEG signals from the ear are noisy. Every ear canal has a different shape. Jaw movements kill the contact. Even a tiny shift breaks everything.

Apple's solution turns a hardware problem into a software solution.

Instead of one perfect sensor, Apple designed a massive electrode array across the ear tip. The system doesn't wait for good data. It continuously scans every electrode in real time and instantly picks the best ones.

I've worked with EEG data already, and it always felt random, but if this works one use case might be: music that adapts to what you're actually thinking.

Not your mood. Your brain state. Attention drops, the mix shifts. You need focus, the frequencies change. Real-time personalization at a level that doesn't exist yet.

Do I think this ships soon? Nope. EEG is still too noisy for mainstream and I believe it when I see it

But the patent and solution seem real which means it could be coming. 🧠

Do you want earbuds that know what you think?

Most people think 3D audio is just panning in Dolby Atmos. It's a matter of hardware vs. software.Real spatial audio sta...
14/05/2026

Most people think 3D audio is just panning in Dolby Atmos.
It's a matter of hardware vs. software.

Real spatial audio starts before you open any plugin. It's a decision you make at the mic - or don't. And that choice shapes everything that comes after.

There are two completely different approaches to creating 3D audio.
One captures reality. The other builds it.

Swipe to see how both work — and why the best productions use both.

What are you? Team hardware or software?

13/05/2026

Experiencing VR can be amazing, but it drains batteries fast. Even at 100%, devices overheat and slow down, especially during calls. Pushing technology to its limits reveals its current limitations.

12/05/2026

I expected an immersive Coldplay VR concert but ended up disappointed. While the Horizon platform allowed me to find it, the setup felt more like a basic livestream with others joining. Not the magical VR experience I hoped for.

Everyone says 3D audio sounds better.We tested if people can actually tell.So I stopped talking and tested to create a p...
12/05/2026

Everyone says 3D audio sounds better.
We tested if people can actually tell.

So I stopped talking and tested to create a paper that has now made it to the proceedings of the Audio Mostly Conference.

With Edinburgh Napier University, we built a prototype pipeline. 360° video converted to 16:9 with downmixed binaural audio. Then we put it in front of 21 listeners.

What we found:
- People consistently prefer 360° over flat 2D
- Clarity, smooth transitions, sync = what makes immersion actually land
- Fast cuts trigger disorientation. Directional mismatches kill the effect.

The bigger problem isn't the audio. It's the toolchain.

Tools like Insta360 Studio don't talk to a real audio reframer. Adobe Premiere has nothing built for spatial reframing.
I had to patch it together by hand.

So most projects skip the spatial audio entirely, then wonder why their 360° film feels flat.

Big thanks to Balandino and Prof. McGregor for having me as a co-author. Link in the comments.

What’s the most common feedback you hear after a demo?

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