3D audio

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Immersive Audio Podcast – Episode 10 Jane Gauntlett & Tessa Ratuszynska (In My Shoes)


Today we have two special guests in studio, Jane Gauntlett & Tessa Ratuszynska. Jane is a writer for film and theatre. She experiments with new technologies, focusing on designing high-impact experiences with a strong narrative. In 2011 Jane founded the In My Shoes Project, an ever-expanding library of interactive experiences which use story, theatre, audio-visual technology, virtual reality and first person documentary to recreate real-life experiences.

Tessa is a documentary filmmaker, installation artist and creative producer for virtual reality and performance. She is a producer of new media documentary, with particular creative focus in virtual reality, 360 documentary and has a passion for the potential for affecting works of interactive non-fiction. In My Shoes: Intimacy was written and directed by Jane and Tessa was creative producer.

In this episode we speak about early adoption of VR, the advances in technology and keeping ahead of the curve. We discuss reaching out to younger audiences, the importance of not using technology for the sake of it and this new technology as a platform for immersive storytelling.

Listen to Podcast


Video goggles – Vuzix:



In My Shoes:


Immersive Audio Podcast – Episode 9 James Edward Marks


In today’s episode we’re joined by James E. Marks, an experimental new media provocateur. He is a creator of award-winning social video edutainment, and maker of immersive mixed and virtual reality experiences. With over 20 years of hands-on collaborations with alternative, pop culture branded and unbranded entertainment, James is Co-Founder & Chief Marketing Officer for DoubleMe, a Silicon Valley transformative tech start-up that’s pushing the boundaries of holographic mixed reality. He is also the founder of PsychFi Lab & Hackstock Festival. At PsychFi, he collaborates with the biggest social video & moving image artists, exploring immersive tech, psychology, psychedelia, sci-fi and pop culture.

In this episode we discuss the importance of sound and all senses in an immersive experience, new technology and how it has changed the approach to composing.

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MWC18 & BBC Click – Mixed Reality For Social Good:

#HackThePlanet & ComiCon VR World Record Setters:

Harry Shotta, DJ Phantasy, 24SevenTV & PsychFi Labs:

Hackstock 4.0 & LoopSpace World Premiere:

PZYK & PsychFi Top Alt Reality Experience:

PsychFi & Webby Awards:

Summer in the City:





Third Mind Productions:




1.618 Digital to join Czech VR Fest 2018

We are delighted to announce that 1.618 Digital will be attending the Czech VR Fest 2018 in Prague, Czech Republic. The Czech VR Fest is now in its second year and will be taking place from the 10th until the 12th of May. Oliver Kadel will be giving a presentation on Immersive and Interactive Audio on the 10th of May at 17.30. If you are attending the festival, be sure to drop by and say hello.

Tickets and more information about the Czech VR Fest, including a list of speakers can be found here:

1.618 Digital Team

Immersive Audio Podcast – Episode 8 Damian Murphy


Today Oliver is joined in the studio by Professor Damian Murphy. Damian is a Professor of Sound and Music Computing at the Department of Electronic Engineering, University of York, where he has been a member of academic staff since 2000, and is the University Research Champion for Creativity. He started his career in the Performing Arts Department at Harrogate College and has previously held positions at Leeds Metropolitan University and Bretton Hall College.

His research focuses on virtual acoustics, spatial audio, physical modelling, and audio signal processing. This research formed the basis of the Surrounded by Sound project that was selected for inclusion in the Royal Society’s Summer Science Exhibition in July 2001, and he was also co-author of SoundFX – Making Music with Technology, the 2004 IEE touring Faraday Lecture.

He has been principal investigator on a number of AHRC and EPSRC funded projects relating to room acoustics simulation and auralisation, and published over 130 journal articles, conference papers and books in the area. He is a member of the Audio Engineering Society, a Fellow of the Higher Education Academy, and a visiting lecturer to the Department of Speech, Music and Hearing at KTH, Stockholm, where he specialises in spatial audio and acoustics. He has held visiting researcher status at a number of universities internationally.

Prof. Murphy is also an active sound artist and in 2004 was appointed as one of the UK’s first AHRC/ACE Arts and Science Research Fellows, investigating the compositional and aesthetic aspects of sound spatialisation, acoustic modelling techniques and the acoustics of heritage spaces. His work has been presented in galleries nationally and at festivals and venues internationally and included varied collaborations with writers, photographers and interactive digital artists. He is a founding member of Geodesic Arts through which most of his more recent work has been produced.

In this episode, Damian discusses entering into academia and recreating the acoustics of environments.

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University of York:

University of York: Masters in Audio & Music Technology:

Dave Malham:

Computer Music Journal:

Professor David Howard:

University of York: Department of Music:

University of York: MA/MSc in Postproduction with Sound Design:


Alex Southern:

Geodesic Arts:

Me, Myself and MRI:

York Minster:

Louise K. Wilson:

David Chapman:

Music excerpt by AudioLab, Department of Electronic Engineering, University of York and Ebor Singers.

Immersive Audio Podcast – Episode 7 Aaron McLeran


In today’s episode Oliver was joined via Skype by Aaron McLeran, Lead Audio Programmer at Epic Games. Aaron’s first taste of audio programming was writing computer music in CSound while in graduate school at University of Notre Dame (when he was supposed to be doing astrophysics research). Realising his true calling, he left physics to study procedural and interactive computer music, audio synthesis, and audio analysis with Dr. Curtis Roads at the University of Santa Barbara. His first game audio experience was writing procedural music on Spore where he got to collaborate with Brian Eno and Maxis’ audio director Kent Jolly on writing much of the game’s truly procedural music. His next game audio gig was a sound designer on Dead Space 2 where he wrote much of the games interactive audio systems in Lua along with accomplished audio director Don Veca. He made the leap from technical sound designer to audio programmer at Sledgehammer Games where he worked on Call of Duty: Modern Warfare 3 and Call of Duty: Advanced Warfare. His next audio programming gig was at ArenaNet where he got to wrangle with the unpredictability and scale of game audio in the context of an MMO and developed some pretty cool tech around for player-created music and musical interaction. He’s currently working on a new multi-platform audio mixer backend for UE4 and developing new tech and approaches to game audio for VR.

Aaron speaks to Oliver about all things Game Audio and Procedural Audio and his unusual entry into the industry.

Listen to Podcast


Super Collider:

UC Berkeley: Centre for New Music and Audio Technologies:



Brian Eno:

Andrew Lackey:

Wabi Sabi Sound:

Kent Jolly:

EA Games:

UC Santa Barbara:

Curtis Roads:

Sledgehammer Games:

Travis Naas:


Call of Duty: Infinite Warfare:

Dave Swenson:

Epic Games:

Unreal Engine 4:

Ethan Geller:

Game Developers Conference:


Dan Reynolds:

Steam Audio:





Immersive Audio Podcast – Episode 6 Catherine Robinson


In today’s episode we are joined in studio by Catherine Robinson, Audio Supervisor at BBC Wales. Catherine has worked in radio sound for the BBC since 2001. Her specialism is sound design for radio drama, binaural audio and 3D sound for 360 video and VR. Catherine created the sound design and binaural mix for Ring, a horror radio drama for Radio 4. Following the success of that, Catherine has set up the first operational 3D sound studio in the BBC outside Research and Development, using their tools.

Some of the binaural productions that have been created in the 3D studio are: The Russell T Davies adaptation of A Midsummer Night’s Dream, which was the first ever binaural feature film; six 360 films for Planet Earth 2 using dynamic binaural sound design; and an episode of Doctor Who called ‘Knock Knock’ which is the first binaural TV drama to be made available on BBC iPlayer.

Catherine discusses her role at the BBC, the first binaural episode of a TV program available on the BBC iPlayer – Doctor Who, how content will drive immersive audio consumption and bringing immersive audio to the masses.

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Show notes

Middlesex University London:


BBC Wales:

BBC Radio Wales:

BBC Radio 4:

BBC Research and Development:

Ring – By Koji Suzuki. Adapted by Anita Sullivan:

The Stone Tapes – Peter Strickland re-imagines a classic seventies horror for Radio 4’s Fright Night:

Fright Night :

Binaural Audio at the BBC Proms:

Tom Parnell:

Doctor Who: Binaural Episode:

Darran Clement:

A midsummer night’s Dream – Classic Shakespeare play adapted for television by Russell T. Davies:

Brian Minchin:

BBC Binaural Sound:

BBC Radio 4 – Pod Plays:

Damming the Nile: Explore with 360 video:

Becky Lipscombe – BBC Africa Producer – Twitter:

BBC Radio Wales: The Sounds of Wales:

Hugh Huddy: National Institute of Blind People:

Immersive Audio Podcast – Episode 4 Sally-Anne Kellaway


In today’s episode we are joined by Sally-Anne Kellaway via Skype. Sally is the Senior Audio Designer on the Microsoft Mixed Reality – Audio and AI team, and an industry leading VR Audio Evangelist.

She has extensive experience in sound recording, editing, implementation and testing for interactive media in standard and VR/AR and has an interest in implementing true 3D spatial hearing and binaural sound in video games and other interactive experiences. She is the founder of the Virtual Reality Content Creators Network of Australia (VRCC)  which is a not for profit community for virtual reality and associated industries. The VRCC advocates for innovation and connection for all professionals working in virtual, augmented and mixed reality industries in Australia.

Previously the Creative Director at OSSIC, the leading audio technology providers active in the VR space, she has a Masters in Acoustics with a focus on psychoacoustics and spatial audio from the University of Sydney. Sally-Anne is sought after by VR and AR developers, Software and Middleware developers, Conferences, Meetup Groups and Panels to develop and consult on sound design, implementation, tutorials and presentations. She is the Founder of the Women/NB in VR Group for Australia and co-organiser of the San Diego VR community group and is on the AES Technical Committee for Game Audio (Spatial Audio) and on the Diversity and Inclusion Working group.

Sally is a vocal advocate for VR, AR and MR as the future of audio, entertainment and industry and uses her education in Sound Design, Acoustics and Psychoacoustics to rise the tide for all audio professionals passionate about the future.

In this episode, Sally-anne speaks about head-tracking, the future of Audio AR, and diversity in the industry.

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Sally-anne Kellaway:

University of Sydney:

The Virtual Barbershop:


Audio Engineering Society:

Virtual Reality Content Creators of Australia:

The Wave VR:

Zero Latency VR:

Immersive Audio Podcast – Episode 3 Michael Kelly


Michael Kelly is Senior Director, Research and Development at DTS and is responsible for spatial audio SDKs used in games, AR, VR and other media. Kelly is also co-chair of the AES Technical Committee on Audio for games and chairs the AES Audio for Games conferences. He has over 15 year’s experience in the games industry working on both the creative and technical aspects of games. Michael began his career as Lead Sound Designer at Revolution Software working on Broken Sword: The Sleeping Dragon. Following this, he was responsible for the implementation of high quality DSP effects on a number of platforms at Creative Labs and led 3rd-party audio tools and high-level library development for PS3 and Vita at Sony Computer Entertainment Europe. He has a PhD in Electronic Engineering from the University of York, specialising in 3-D audio and Audio Coding.


Listen to Podcast



Michael Kelly Linkedin:

Broken Sword:



DTS Headphone:X:


Elite Dangerous:

The International Consumer Electronics Show:

Audio Engineering Society:



Immersive Audio Podcast – Episode 2 Justin Paterson


Justin Paterson joined us in the studio for today’s highly informative episode. After leaving silicon chip design, Justin worked as a session drummer for a number of years in the 90’s playing on releases, TV and radio before moving to synthesis, production and composition. His research on many aspects of music production and audio technology has been published widely. He has written for, given tutorials to, and peer-reviewed for the AES in the UK, US and Europe. In 2014, He was awarded an AHRC grant to develop an App release-format for music albums with interactive playback, a system that is currently patent pending and undergoing further AHRC-funded commercial exploitation by the Warner Music Group. Justin also worked with the record label Ninja Tune and the band Coldcut on binaural 3-D (interactive) audio for VR. Justin also reviews books for Focal Press, and is author of The Drum Programming Handbook, and a chapter on 3-D music production in a forthcoming Routledge edition in the ‘ Perspective on Music Production’ series. He is also co-editor of a newly commissioned Routledge book on 3-D audio.

Justin is also co-chair of the Innovation in Music Conference series, and supervises PhDs related to music technology, both in LCM and externally. He is also a practising record producer with commercial releases, and has authored a number of funding proposals relating to 3-D production, that are currently under review.

As well as discussing the above, Justin explains the concepts of ambisonics, binaural audio and head related transfer function (HRTF). We talk about the academic community, immersive audio and the development of technology associated with 3-D audio. Justin speaks about his plan to create a 3D audio research network, to bring together academia and industry and define cross-industrially relevant research questions.

“Success is getting what you want, happiness is wanting what you have, and you have to be very careful not to get those two confused”


Listen To Podcast



Professor Justin Paterson: Associate Professor of Music Technology:

MA Advanced Music Technology: University of West London:

The Interactive Album App:

Daisy and the Dark: Red Planet:

Innovation in Music Conference:

Mi.Mu Gloves:


The Drum Programming Handbook: The Complete Guide to Creating Great Rhythm Tracks:

SADIE: Spatial Audio for Domestic Interactive Entertainment:

S3A: Future Spatial Audio:

The Ambisonic Motherlode:

1.618 To Join The Panel at The BVE 2018 Excel London

1.618 Digital will be taking part in a panel at The Storyteller Theatre at the BVE 2018 Expo Excel London. Oliver Kadel will be discussing the use of immersive audio in modern storytelling, covering everything from future technologies to next generation audio. We’d love to see you there!

The panel discussion takes place on the 1st of Match at 12.30. You can get your free ticket here: Ticket Registration

Check out what else is taking place at BVE 2018.


See you soon!

1.618 Team