WELCOME Meet the team
“We’re entering a period where the general public is starting to look at
Editor – Jory MacKay
jory.mackay@
intentmedia.co.uk
Deputy Editor – Jake Young
jake.young@intentmedia.co.uk
Managing Editor – Jo Ruddock
jo.ruddock@
intentmedia.co.uk
Commercial Director – Darrell Carter
Darrell.Carter@
intentmedia.co.uk
Production Executive – Jason Dowie
jason.dowie@
intentmedia.co.uk
Designer – Jat Garcha
jat.garcha@
intentmedia.co.uk
Press releases to:
pressreleases@intentmedia.co.uk
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I
can still remember the first time I realised the power of a stereo mix. I was 13 and had just begun playing guitar when my cousin
lent me a CD featuring a pretty famous leſt- handed guitar player. Te ‘experience’ was eye opening on a number of levels. Not only did I hear the guitar being used in a way I had never imagined, but with a set of proper Sennheiser cans (stolen from my dad’s studio) strapped tightly to my ears I heard sounds move from leſt to right, seemingly flying around and swirling through my head. I had a similar experience recently
when I visited a well-known microphone manufacturer and was treated to a performance of the New York Philharmonic recorded in DSD and played back over a 5.1 system. I performed in orchestras when I was younger and the depth and richness of this recording made me feel like I was once again surrounded by sections of violins, cellos, woodwinds, and brass, the notes taking their time and lingering in the air before naturally receding into the background. Te appeal of immersive audio experiences
is obvious. Sound in the real world moves in more than two directions, and even a 5.1 or 7.1 home stereo system can’t recreate the feeling of being inside of the action. Tere’s why we love live music. Te whole
appeal of the venue, the way sound moves around and envelops us is just an amazing
and raw experience. Yet it’s not just music that benefits from an immersive format. Look at Dolby Atmos, or Auro3D, or in the games world, the rise of VR headsets from Oculus and Sony. We’re entering a period where the general
public is starting to look at audio as something more than just the sidekick to visuals. Quality and believability matter again, and it’s an exciting time to be in the industry. But can it all be a bit too much? Te first time I tried the Oculus Riſt system I almost hurled up my lunch (I’ve never been any good on rollercoasters). And will creating these near-realistic audio and visual environments deaden our senses in the boring old real world? Will the audio technologies of the future
make that life-changing stereo mix as outdated as a black and white TV? Or will they become just another gimmick like 3D movies – a way for cinema owners to squeeze those last few pounds from your already light wallet? If you’re lucky enough to be at this year’s
Develop conference, you’ll get a few answers from Sony Computer Entertainment’s Garry Taylor (see interview on page 42) who will be talking about what 3D audio over headphones or VR means for the games industry during his keynote. If not, you and the rest of us will just have to wait and see.
Jory MacKay, Editor
audio as something more than just the sidekick to visuals.”
www.audiomedia.com
July 2014 3
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