#BINAURAL AUDIO SPOOKY HOW TO#
How to listen to Fright Night in binaural Immersive audio will become an essential element of this content and I’m very excited to see it develop in this direction." I think there will be a desire to create content on these devices in the future, content recorded on 360 camera rigs. Not only that but we are hurtling towards the release of virtual reality headsets for gamers. It could even be a special headphone immersive mix responding to those watching on their tablets. This technology is incredible used on the right production and I would really like to see an immersive mix available for a television programme, perhaps available on the red button. The whispering in the ears gave a chill up my spine and there were moments when the mix sounded so real that I thought it was happening in the room I was sat in. I think we did get some extremely good results with the binaural effects on the abstract sound design moving around you. The stereo version is more intimate and grounding. The end result gives the overall feel of a much more realistic space which is a great effect but the sound is taken somehow beyond your head. The space put around the sounds revealed things we couldn’t hear before which were masked in the stereo mix. The binaural mixing process had an unexpected impact for me on the mix. This particular drama was very sound design heavy and rich in action. When we got to the edit we knew that the drama had to work in stereo as well as in the binaural mix so we concentrated on the getting the stereo right but keeping in mind that the streams needed to be arranged separately in preparation for the immersive mix.
They now had to move and vocalise their actions on the spot which felt unnatural at first. The main hurdle I had to get over during the recording process was to get the actors to work in such a different way when they have been used to working and moving to a stereo pair. I also borrowed the Neumann binaural dummy head which was useful in achieving very close whispering in-ear effects. But for this project it was preferable to get the actors on separate mono mics so the movement could be created using the binaural software, giving greater control. Usually, when I record drama in stereo I would arrange the actors around a stereo pair and they would move quite naturally in the space to exploit the sense of space and movement within the stereo image. From the outset I was guided by Frank and Chris in R&D. The genre of ‘Ring’ is horror which I felt would be a good genre to experience immersive audio. This was very different however, a fabricated binaural process created from many objects or sounds. I called them sound postcards and I really loved the immersive experience of popping my headphones on, playing back my recordings, closing my eyes and I was instantly transported back to that place. The only other experience I have had with binaural audio was recording soundscapes with in-ear binaural microphones on my travels. "I’ve been very excited about the immersive audio research and work that has been going on in BBC R&D so I jumped at the chance to mix an immersive radio drama with Chris Pike, Frank Melchior and the object-based audio technology. There are also some elements in the mixes that are still in stereo or even mono, for example in The Stone Tape when recordings are played back on the Nagra reel-to-reel recorder.Ĭatherine Robinson talks about her experience of mixing Ring in binaural with BBC R&D. We used a few additional recordings that were made on location with a dummy head microphone, as shown in the picture below from Tony Churnside.
We took the completed stereo productions and remixed them into 3D sound scenes using our binaural processing software. They both feature amazing sound design, which has been great to work with. The two plays are quite different in style and the differing approaches to recording and mixing them reflect that. This is an exciting moment for our binaural research project and a great opportunity to put our binaural production tools to the test.
We've extensively worked on evaluating tools and techniques for creating binaural sound, as well as developing some of our own technology. The BBC is very interested in the technology because it gives a chance to enhance the sound of our programmes for those listening on headphones, which is more common than ever thanks to the use of mobile devices. Binaural sound gives more creative possibilities for sound scenes by recreating the cues we use in natural hearing, particularly binaural cues i.e.
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