10 Practical Guidelines to Best Prepare for an Immersive Audio Performance

The opportunity to write an article for this platform comes as I’m reaching the 10-year mark as the director of INTORNO LABS, the studio and company I co-founded with my late partner Luigi Castelli in Barcelona.

For those of you who may not know our background, here’s a brief summary: Our early days were hardcore R&D. We developed and patented a new 3D audio rendering algorithm called "delta-cues-system," along with a suite of proprietary spatialization tools which now include VST plugins, interactive apps, AI-driven software and hardware controllers.

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Parallel to our R&D efforts, we began working as a boutique production studio – consulting, designing, and deploying immersive audio solutions for live events, installations, and festivals but also collaborating closely with artists, composers, and creatives from various fields, on a project-by-project basis.

This ‘dual DNA’ has given us a unique perspective – from the engineering lab to the live stage, over and over. Years later, there’s hardly anything we haven’t seen, tried or heard when it comes to immersive audio.

And that is the kind of knowledge that’s hard to capture, share, and teach. For a new piece of software, you can always go watch an online tutorial. But it’s the hands-on experience, the countless hours, the tricks of the trade, the big lessons, the small details and the common patterns that often make a huge difference. 

When I was offered to pick a topic for this article, I saw it as an opportunity to share some of this hard-earned knowledge to the ever-growing community of artists and performers (but also sound operators) that are facing the challenges of preparing an immersive audio performance. May this ‘essential toolkit’ help you maximise your next show, regardless of the music style, the sound system or spatial technology being used.

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Disclaimer: It should go without saying, but much of what makes any gig successful boils down to professionalism, respect, clear communication, and common sense. Know your stuff but stay open to suggestions. Come with your material prepared and a bulletproof setup. Show up on time and instill a healthy sense of urgency.

1. First of All, Stay Alert: It’s Still the Wild West

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The idea of delivering an “immersive sound experience” is an ancient art but still a relatively new, fragmented industry.

It’s unfortunate that our community has yet to establish a proper collective vocabulary for the sector – ideally backed by some form of objective, measurable validation.

These aren’t simple concepts to begin with, and the careless misuse of terms like ambisonics, beamforming, binaural, wave field synthesis (WFS) and acousmatic along with the ambiguous interchangeability of terms like immersive sound, spatial audio, 360 audio, surround and 3D audio, has only made things worse over the years. Even seasoned pro audio professionals often get it wrong! 

Now that the sector has become more valuable and commercially competitive, I’m afraid it’s not in anyone’s interest to resolve that anytime soon. Ambiguity is an asset in a market where no one agrees on definitions.

Consider this: no one can sue me for claiming my venue offers a “true 360-audio system” when, in reality, I’ve just added a few speakers in the back of the room. Why? Because nobody really knows what that’s supposed to mean or what to expect compared to other systems. Similarly, claims of “eight-dimensional sound” on your headphones or smart speakers promising “compact immersive sound for your home” are rampant because no one has established the ground rules for these words.

In consumer electronics, buyers are (mostly) provided with transparent information about product features and performance. You can’t legally put a sticker on a TV that says “native 4K” if it’s merely upscaling to 4K– you see the analogy here? 

So, if you think you’ve attended a “true immersive 3D audio” event before, think twice. Ask more questions. Demand clarity. Stay alert.

2a. Learn the Basics of Object-Based Mixing

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For some, this may be obvious; for others, less so. Most immersive audio solutions today rely on an object-based mixing workflow. I strongly recommend getting a solid grasp of this concept. 

Simply put, any discrete audio signal you feed into a spatial audio rendering system becomes an individually controllable object within that spatial environment – and that is completely decoupled from a specific output or rendering format.

An immersive system can process the same set of object characteristics (usually positional data + perceptual data) and render them according to the desired output – whether as a 2-channel binaural virtualization over headphones or as an arbitrary multichannel stream intended for a room with strategically placed loudspeakers. 

Forget for a moment whether your source material is mono or stereo. Even if you feed a single monophonic signal into an immersive system, one or more speakers in the space will engage to acoustically amplify and render that sound in the room. 

Don’t stress too much about how these systems achieve this – focus instead on the principle that the more discrete channels you provide, the more objects you’ll have available in your spatial environment. And “in theory” this means more creative possibilities (more on this in Point #6).

2b. However, Be Ready for Poor Interoperability and Scalability

Point 2a sounded way too simple, didn’t it? Well, here’s the catch: the characteristics and parameters of sound objects are heavily dependent on the brand and technology you’re working with.

For one project, you might need to plug into a d&b Soundscape system. For the next, an L-ISA system. Another might provide you with a SPAT Revolution license or require a Dolby Atmos format. And yet another could involve working with our INTORNO system. While all these systems deliver immersive audio and, in principle, adopt object-based workflows, their underlying rendering technologies are so different that object parameters are essentially incompatible.1

Moreover, many pro audio companies now offer fully integrated solutions tied to their own hardware. As much as these companies want you to believe their system is “the answer,” the reality is that the market is so fragmented, it’s very difficult to bring the same show to different venues without heavy tweaking – or, in most cases, a complete rework. 

To survive this mess, structure your content and setup to be as independent as possible from specific software or hardware (more on this in Points #5 and #7). The more independent and nimble your setup is, the fewer changes you’ll need to make, the more experienced you’ll become across different situations, and ultimately the more consistent your content will sound across iterations. Do extra planning beforehand, and don’t get lost in the format frenzy that dominates today’s industry.

3. Focus on What You Hear. Then Let the Tech Take You There.

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If you’ve read Points #1 and #2b, my best advice is this: use simple, universal words to describe what you want to hear or achieve artistically.

Think in broader, intuitive terms  –  above, sides, corners, movement, fast, slow, scattered, jumpy, smooth, localized, spread-out, and so on. Stick to conversational and descriptive language. 

While each system might have its own set of technical terms, a phrase like, “I want this sound very localized in the upper-right corner of the room, then moving across the stage and ending on the left wall in a more scattered way,” should be universally understood by any sound engineer or technician.

Don’t waste time trying to master the endless proprietary parameters and jargon of immersive systems – those are often just placeholders designed to sound cooler than the competition.

Instead, focus on the role each sound plays and how you want it to feel in the space. 

Think in an abstract, agnostic way, and let the technology serve your artistic vision – not the other way around.

4. Evolve Your Tech Rider into a “Sound Rider”

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Take the time to refine your tech rider. While stage managers and production teams need to know the basics, preparing for an immersive gig requires more than just a channel list or setup diagram. 

Here are two major points of emphasis:

4.1. – Maximize Discrete Output Channels

First of all, in any immersive audio context, discrete multichannel signals are a precious resource. If you’re familiar with the concept of object-based mixing (see Point #2a), you’ll know that each sound element you’re able to connect from your setup to an immersive system as an independent discrete channel unlocks the ability to control that element spatially and independently from the others.

Avoid unnecessary signal summation – such as routing all instruments through a small stage mixer simply because it’s your usual workflow, rather than a necessary step for processing. In most cases, making a few minor adjustments to your routing can significantly enhance your ability to control more objects and fully maximize the potential of an immersive audio system (more on this in Point #6).

4.2. – Provide More Context for Each Element

Secondly, if your rider states that an analog sampler is assigned to channels 7–8 of an immersive system, the person responsible for spatializing the sound (if they’re actually going to spatialize anything at all) will likely need more context:

• What kinds of sounds are coming from the sampler?
• What role do these sounds play in your overall performance or song?
• Are these sounds closely related to other elements you’ve brought on stage that share a similar purpose?

Run this analysis for every other element you bring on stage and write down the answers. By including this additional level of detail in your rider, you’ll make the job easier for the sound technician or spatial audio operator and greatly increase the chances of achieving a better result. I know this is a bit more work, but it’s a mental and creative process that ensures your setup is cohesive and intentional. This extra effort will go a long way – trust me.

5. The 1-2-3 Ratio

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When spatializing and organizing sound elements for an immersive audio setup, it’s easy to feel overwhelmed. If you’re unsure how to structure or place everything in space, here’s a simple and effective rule of thumb to get started: the 1-2-3 Ratio.

1. Start with the foundation
   Define one set of elements that should act as the sound bed – a layer that envelops the room and is heard everywhere. This anchors the soundscape, giving it cohesion and presence. 
2. Extend the soundscape
   Choose up to two distinct elements that will be more localized and positioned in opposite parts of the space for balance. For example, one sound could only come from the ceiling (if available) and another from the front, or you could position the two elements left/right or front/back. 
3. Go spatial
   Add up to three “crazy” elements – sounds that typically serve secondary or tertiary roles in your songs. These could move dynamically around the room or be perceived as ultralocalized at pinpoint locations. Use these sparingly to avoid overwhelming the audience. 

This 1-2-3 setup provides a balanced, rock-solid starting point for any sound spatialization effort. If we assume stereo material is being fed to each spatial cluster, here’s how it might look in terms of channels (or objects) assignments:

• 1–2: Your main sound bed | main melody, voice, or rhythmic base.
• 3–4 and 5–6: Two sets of localized elements for spatial balance | secondary melodies, reverbs, and delays.
• 7–8, 9–10, and 11–12: Your ultra-localized, dynamically moving elements | sound design elements, return FX, or sporadic sounds. 

That’s a total of 12 channels (or objects) – more than enough.

6. Less is (Actually, Always and Forever) More

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They say, “Art is knowing when to stop.” Nowhere is this more true than in immersive audio.

Multichannel audio inherently brings a lot of complexity to the table, and it’s very easy to get carried away – with the number of speakers, objects, instruments, moments, movements, automations, plugins, and effects. 

It’s like cooking: do you really need 14 ingredients to make a dish taste amazing? Of course not. Besides, preparing and combining 14 ingredients is far more difficult than just 4 or 5.

The same principle applies to spatial audio. Consider the essence of your performance – what you’re truly trying to communicate – and then ask yourself: what’s the minimum amount of resources required to effectively deliver that to your audience?

Here are a few practical examples:

• “Purpose over quantity” in loudspeaker setups. Don’t obsess over the number of speakers in the room. I’ve heard incredible performances on modest setups with fewer than 10 channels, and I’ve also experienced painfully cheesy ones on mega-multichannel-setups with over 100 loudspeakers. Use the space and layout you have to your advantage – be practical. (Go back to Point #3 if needed, or jump to Point #9 for more context) 
   
• Beware of object overload. If you’re an artist and find yourself quickly approaching more than 30–40 objects for your spatialization performance, it’s probably time to pause and revisit the fundamentals. Ultimately, it’s not about how much you can squeeze into the mix; it’s about how effectively the elements you have stand out within it. (For a refresher, see Point #4.)

7. Scale Up to Improve, Scale Down for Peace of Mind

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If you’re just starting out with immersive audio formats, begin by mastering 4- or 8-channel speaker setups. These configurations are straightforward and offer plenty of creative potential. Learn to maximize what these setups can do before expanding your ambitions.

Not only are these setups manageable, but they’re also quite affordable. With just a soundcard featuring 4/8 analog outputs and 4/8 studio monitors, you can start creating immersive audio in your own space. Start small, refine your skills, and scale up as your creative vision grows. 

On the flip side, arrange your material so it’s relatively easy for you to downscale to a 4- or 8-channel configuration (if needed). Even when working with smaller systems, your performance should still deliver a cohesive and engaging experience.

This level of fundamental compatibility ensures your setup remains adaptable, reliable, and coherent, even under high-pressure scenarios with major last-minute changes. It can quite literally save a gig.

8. Spatial Audio-Friendly Gear

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Here’s a short list of essential tools to consider for immersive and multichannel audio setups:

Networked Audio: Your Best Friend

Audio-over-Ethernet protocols have revolutionized the pro audio sector over the past 10–15 years, enabling multichannel digital audio rigs to operate over standard CAT5 cables. These protocols are now standard in professional gigs and events, offering unmatched flexibility and scalability for modern setups.

If you’re working entirely "in the box" on your computer, investing in a Dante DVS license is a nobrainer. It’s an affordable solution that ensures seamless compatibility with Dante networks. For more demanding setups where ultra-low latency is critical, consider a Dante-compatible digital interface like the RME Digiface Dante.

Bring Your Own Soundcard (with Multiple Outputs)

No networked audio? No problem. A soundcard with at least 8 analog outputs remains an essential piece of gear. It offers the flexibility to scale down to a dependable 8-channel stream when the venue’s system doesn’t align with your setup or preference (refer to Point#7 for more context).

One more thing: always bring your own soundcard to every gig.  Avoid risking time-consuming issues with firmware or audio driver compatibility, especially in high-pressure situations. 

Mixers for Stage Use

For live instruments, the good old Mackie VLZ1604 is still a solid and affordable choice, widely available in rental inventories. With 8 direct outs and 4 subgroup outputs, it provides all the flexibility you need for immersive setups.

When exploring other mixers, always prioritize models with direct outs – they are extremely useful for routing and managing discrete audio channels (objects) effectively. 

Color Tags, Tape, and Sharpies

I know this has become known as a sound engineer’s obsession or even a fetish, but truly, organization is king, especially in the chaotic world of live performances. Whether it’s labeling cables with tape or digitally renaming and color-tagging tracks in your DAW, keeping your project and setup meticulously organized is crucial – particularly when working with multichannel audio. Your future self – and the technicians – will thank you.

9. Practice Critical Analysis and Think Holistically

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Immersive audio is supposed to be one of the elements that contribute to the overall experience. While this may sound like a cliché, you need to approach your performance holistically.

Too often, I’ve seen talented artists underestimate the circumstantial factors of an event, struggle to define their core aesthetics, or fail to strike a balance between spatial audio practices and traditional musical priorities.

Here are three major areas for critical analysis:

9.1. Analyze the Context and Environment

Consider all the elements that contribute to your performance: the visual aspect, the time of day, the lighting fixtures, the stage setup, the architectural characteristics and layout of the space, the demographics of the audience, and so on…

Ask yourself:

• What are you doing on stage? Are you playing an instrument? Multiple instruments? Acoustic or electronic?
• Are you sitting behind a table, standing, or moving around?
• Can/should the audience appreciate what you do on stage?
• Are you positioned at the center of the room or on a front-facing stage?
• What’s the context of your performance? Is it a festival, an exhibition, an intimate listening session, or a nightclub?
• Are there massive LED screens behind you, or is the performance entirely in the dark?
• Should the audience lie down and close their eyes, jump and dance, or sit and engage in critical listening?

Reflecting on these factors is crucial.

9.2. Find Your Aesthetic Intent

Also, think deeply about what you want to convey:

• Are you creating or recreating real worlds (e.g., playing an acoustic instrument, reproducing field recordings, or concrete music)?
• Or are you exploring new abstract worlds, deconstructing or reinterpreting reality? 

Your aesthetic intent will serve as the foundation for how you design and present all aspects of your performance.

9.3. Balance Spatial Effects with Musical Intention

Decide when spatial effects should take “centre stage” and when to hold back.

Remember, it’s the delta – the change – that creates impact. Even if everything is constantly "flying around" the room (figuratively speaking, of course), it can become boring and predictable within seconds if it doesn’t lead to moments of contrast or stillness. 

Leverage contrast and variation to create surprising and dynamic moments, blending traditional musical intent with spatial techniques and nuances.

10. DIY Speaker Positioning: A Golden Rule

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If you’re a freelance sound operator or an independent artist and you need to set up a multichannel speaker system on your own, you may not always have the time or expertise for precise measurements and design… And as is often the case, there’s simply no extra budget to rely on an external team of immersive audio professionals to assist you.

So, what options do you have?

You can always fall back on trusted XIX-century classic formats like quad (corner placement), octophonic (circular), or 5.1. But these layouts don’t always align with modern creative needs or adapt well to irregular rooms. So, here’s a battle-tested rule of thumb for quick, effective speaker placement:

1. Start with defining the boundaries of your room:
   Consider the audience and listening areas, not just the physical architectural boundaries. This will help you focus on where the sound matters most. But also, consider the practicalities of where loudspeakers can realistically be placed or hung. This defines “your room”. 
2. Then measure the room’s shortest side
   Measure the length of the shortest side of the room and divide it by four. This gives you a distance, X. 
3. Place speakers evenly using X
   Use X (or multiples of X) as the spacing guideline for speaker placement around the room. This ensures that your system is adapted to the room’s proportions. 
4. Aim for symmetry
   If possible, place the speakers symmetrically to create a balanced listening experience. This might mean mirroring speaker placement on opposite sides of the room or aligning placements relative to the audience area. 

This method is quick, flexible, and adaptable to most room shapes and sizes without the need for complex calculations.

It allows you to avoid arbitrary placements and ensures a balanced coverage when using most commonly found types of loudspeakers.

Keep it simple, stay symmetrical, and you’ll achieve a reliable spatial audio setup in no time.

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  Yes, there are some attempts to bridge this gap, like the ADM (Audio Definition Model) protocol or other DIY solutions such as OSC translators, which convert proprietary object data (e.g., positional coordinates) between systems. But let’s face it: if all this seems unnecessarily complicated and far removed from your responsibilities as an artist or performer – that’s because, unfortunately, it is.