Immersive audio has experienced significant growth in recent years. As this field continues to evolve, so do digital audio workstations (DAWs). Choosing the right DAW for each project is a crucial aspect of the workflow.
The selection of a DAW should not be based solely on habit or familiarity. While many platforms share similar structures, each one offers a particular logic for organizing, processing, and spatializing sound. These differences become especially relevant when working with immersive formats, where modes of representation and spatial control have a direct impact on the listening experience.
This article provides a comparative overview of some of the most widely used DAWs in immersive audio production, detailing their main features, technical limitations, and usage criteria.
The information is based on the versions available as of June 2025. Since these environments are frequently updated, it is always recommended to verify the specific version in use and consult the official documentation for accurate and up-to-date technical information.
| Name of the DAW | Immersive audio compatibility | Advantages | Disadvantages | Ideal uses |
|---|---|---|---|---|
| Reaper | Ambisonics (via plugins like IEM, SPARTA), Dolby Atmos export (not native), ReaSurround/ReaSurroundPan, OSC/MIDI control, external integration | Very flexible, affordable, active immersive user community | Interface not very intuitive for beginners | Multichannel installations, VR/360, experimental projects |
| Pro Tools Ultimate | Native Dolby Atmos (certified), integrated Dolby Atmos Renderer, HDX support for DSP, advanced in film post-production | Industry standard in film and post-production, advanced automation tools | High cost, requires additional hardware for some functions | Film, TV, Atmos mixing |
| Logic Pro | Native Dolby Atmos (since v10.7), Apple Spatial Audio with binaural and head-tracking. | User-friendly interface, Mac integration, Atmos 7.1.4 support | Mac-only, less routing control compared to other DAWs | Music in Atmos, spatial music production |
| Ableton Live | Ableton Live allows routing and mixing up to 7.1, but it does not have native support for advanced immersive formats like Atmos or Ambisonics. | Real-time creativity, ideal for performance | Does not natively support channels beyond stereo | Performance installations, binaural pieces, live sets |
| Nuendo | Native Dolby Atmos, ADM BWF, 3D object editing, advanced tools for film, VR, and video games | Full support for immersive post-production, 3D object editor | High price, steep learning curve | Film, VR, video games, advanced post-production |
| Bitwig | Binaural (via plugins), OSC, modular integration, no native multichannel support (requires external routing for immersive) | Modular creativity, advanced automation | No native multichannel or Atmos support | Experimental composition, integration with modular hardware |
| Ardour | Ambisonics (via plugins), robust multichannel support (up to 7.1+), JACK, OSC | Open source, customizable. (Only source code is free) | Less polished interface, some features limited compared to commercial DAWs | Projects using free software, multichannel installations in Linux environments |
| Bidule | Advanced native multichannel support (up to 7.1+ and custom setups), binaural (plugins), modular architecture for custom design | Modular, ideal for real-time processing | Not a traditional DAW, complex interface for conventional production | Real-time processing, sound installations, projects with complex routing |
| Cubase | Supports multichannel surround (5.1, 7.1), VST 3 spatial audio plugins compatibility, no native Dolby Atmos authoring | Professional MIDI/audio integration, good spatial plugin support, flexible routing | No native Dolby Atmos authoring, learning curve | Music production, surround sound projects, spatial audio experiments |
| Cakewalk by BandLab | Multichannel support (5.1, 7.1, custom setups), supports VST spatial audio plugins, flexible routing, no native Atmos | Free and powerful, flexible routing and mixing console, good plugin compatibility | No native immersive format authoring, Windows-only | Multichannel installations, music production, immersive audio experiments |
| Pure Data (Pd) | Ambisonics and binaural (via libraries/externals), highly customizable, requires programming, not conventional VST/AU | Open source, highly flexible, ideal for interactive environments | Steep learning curve, not timeline-oriented | Sound art, interactive installations, research |
Main DAWs I Currently Use: Brief Description
Reaper allows the creation of tracks with up to 64 channels and an extremely versatile routing system, making it ideal for creating works in multichannel formats such as 5.1, 7.1, Ambisonics, 12 channels, or custom systems.
Additionally, the routing matrix is highly flexible, enabling precise and personalized audio distribution in immersive environments.
Compatibility with Spatial Audio Plugins
Reaper is compatible with a wide variety of plugins, such as:
IEM Plugin Suite
SPARTA plugins
Blue Ripple Sound
Sound Particles plugins
SPAT Revolution (Flux) — Reaper can be used as a DAW host and send audio via ReaRoute or JACK.
Built-in tools for spatial positioning
- ReaSurround: A native Reaper plugin designed for multichannel panning. It allows you to position sound sources within a virtual space based on the number of speakers you use.
ReaSurroundPan: While offering fewer controls, it remains effective for basic surround projects. It is more focused on simple horizontal panning and is not recommended for Ambisonics or complex 3D environments.
Integration with External Systems
You can use Reaper alongside environments such as:
Max/MSP or Pure Data: For custom real-time spatial processing, generating and controlling source movement in multichannel or even binaural environments.
Unity or Unreal Engine: If you’re working with virtual reality or interactive environments, you can synchronize audio from Reaper or control spatialization from within the game engine. Ideal for interactive installations or immersive games.
L-ISA Controller (L-Acoustics): While direct integration is more optimized for DAWs like Nuendo or Pro Tools, you can still send signals from Reaper using protocols like ReaRoute, JACK, or Loopback, depending on your operating system.
Dolby Atmos Renderer (or Dolby Production Suite): It’s possible to work in Reaper using pre-assigned stems and export them as multichannel files for mixing later in a Dolby Atmos environment (such as the Dolby Renderer or Nuendo with built-in Atmos support). There’s also a community extension called ReaAtmos that allows experimentation with Atmos workflows inside Reaper, although it is not a Dolby-certified solution.
Visualization and Control
Although Reaper doesn’t include advanced spatial visualization tools (like a Soundfield Viewer), you can complement it with:
IEM Scene Rotator and IEM Energy Visualizer
OSC tools to control parameters from tablets or other devices (TouchOSC, Lemur)
ReaPack – A script and extension manager that can expand functionalities for control, automation, and spatial audio visualization.
Precise Automation and Real-Time Control
Reaper allows for highly detailed automation, which is essential when working with spatial movements:
Automation of spatial plugin parameters
Real-time control via MIDI, OSC, or physical control surfaces
Immersive Rendering
You can render your project in multiple customized formats:
Export individual stems by channel or group
Render in intermediate formats for later decoding (e.g., Ambisonics B-format)
With scripts or tools like ReaSurround / ReaJS, you can adapt mixes for different playback environments.
Pro Tools Ultimate is a digital audio workstation primarily used in professional post-production, film, and broadcast environments. It is one of the DAWs officially compatible with the Dolby Atmos ecosystem, allowing the creation, editing, and mixing of spatial audio in formats such as 5.1, 7.1, Ambisonics, Dolby Atmos, and custom configurations through the use of advanced buses and routing matrices.
Compatibility with Spatial Audio Plugins
Pro Tools Ultimate is compatible with a wide range of certified plugins and specialized tools for immersive audio.
Pro Tools Ultimate works with third-party interfaces, but HDX hardware is mandatory for certain DSP tasks (e.g., low-latency tracking):
Dolby Atmos Production Suite / Dolby Renderer
SPAT Revolution
Blue Ripple Sound plugins
Sound Particles plugins
AU/VST plugins via Blue Cat’s PatchWork or Vienna Ensemble Pro for bridging non-native AAX formats when needed.
Native tools for spatial positioning
Pro Tools Ultimate includes professional tools for managing immersive environments:
Integrated Dolby Atmos Renderer: Allows monitoring, automation, and object-based mixing for Atmos directly within the Pro Tools session, without additional hardware (when used with the Dolby Production Suite).
Advanced 3D Panners: The built-in panner lets you move objects in a three-dimensional space with precise automation and supports up to 128 simultaneous output channels.
Surround Panner: Native for 5.1, 7.1 sessions, etc., with full support for automation and real-time visual tracking of source positions.
Integration with External Systems
Pro Tools Ultimate is the industry standard for film and integrates efficiently with:
Dolby Atmos Mastering Suite: For certified workflows and deliveries in cinema, streaming, and broadcast.
L-ISA Controller (L-Acoustics): Direct compatibility via AAX or routing protocols like MADI or Dante, depending on system setup.
SPAT Revolution: Integration through auxiliary buses and multichannel routing protocols (AVB, Dante, MADI).
Unity or Unreal Engine: While not the most direct option for interactive development, it can be integrated using pre-mixed soundbanks controlled by events from the game engine.
Dante / MADI / Audio IP Networks: Full support through Avid hardware or compatible interfaces, ideal for complex multichannel installations.
Visualization and Control
Pro Tools Ultimate includes advanced tools and allows expansion through hardware:
Dolby Atmos Panner and Visualizer: Integrated directly in the interface, providing real-time object visualization.
S6 / S4 Consoles: For immersive mixing with physical control over objects and buses.
EuControl / Avid Control App: Enables remote control from tablets.
Compatible with OSC and MIDI.
Precise Automation and Real-Time Control
One of the strongest points of Pro Tools Ultimate is its detailed automation capability:
Full real-time automation of any plugin parameter or 3D panning.
Detailed visual editing of curves across multiple automation lanes.
Compatible with physical control surfaces and protocols like EUCON.
Immersive Rendering
Pro Tools Ultimate enables professional export in a wide variety of formats for industrial deliveries:
ADM/BWF export for Dolby Atmos.
Multichannel rendering in formats such as 7.1.4, 9.1.6, or custom configurations.
Stem export by objects or groups, ideal for film post-production.
Compatible with offline rendering workflows in Dolby Renderer or tools like SPAT Revolution for custom encoding.
Logic Pro, developed by Apple, has traditionally focused on stereo and surround production. However, in recent versions, Logic Pro includes native support for Dolby Atmos, enabling object-based audio management within an immersive workflow.
The internal mixing engine can handle multichannel configurations up to 7.1.4, facilitating content production for cinematic, audiovisual, and other immersive formats.
Logic Pro’s built-in binaural rendering is full-featured for Apple Spatial Audio, including head-tracking for AirPods Pro.
Compatibility with Spatial Audio Plugins
Logic Pro is compatible with plugins in the AU (Audio Units) format. This includes various spatialization tools, although the environment is more closed compared to DAWs like Reaper:
Dolby Atmos Renderer (natively integrated since Logic Pro 10.7)
SPAT Revolution (via external routing using software like Loopback or BlackHole)
Sound Particles plugins (AU)
IEM Plugin Suite and SPARTA plugins (require wrappers or bridge environments, as they are not directly available in AU)
Native Tools for Spatial Positioning
Since version 10.7, Logic Pro includes specific tools for spatial audio:
Integrated Dolby Atmos Plugin: Allows assigning each track as an object in 3D space and automating its movement.
Surround Panner: For 5.1, 7.1, etc. tracks, enables positioning on the horizontal and vertical planes.
3D Object Panner: Available on tracks configured as Atmos objects. Allows automation of spatial trajectories in a three-dimensional environment.
Integration with External Systems
Dolby Atmos Renderer: Logic includes a built-in renderer for monitoring mixes in binaural or 7.1.4 systems. It also allows exporting ADM BWF files for post-production.
BlackHole or Loopback (Rogue Amoeba): These enable audio routing between Logic and other environments like Max/MSP, Unity, or SPAT Revolution.
Apple Music / Spatial Audio: Logic is directly linked to Apple Music’s spatial audio requirements, making it easier to export in the appropriate format for distribution.
Visualization and Control
Although Logic does not include advanced spatial visualization tools like IEM Visualizer or Ambisonics viewers, it allows for:
Graphical automation of object spatial positioning
Visual interface for the integrated Atmos renderer
Control via physical surfaces (Logic Remote app, iPad, MIDI controllers)
Precise Automation and Real-Time Control
Logic allows detailed automation of spatial parameters:
Movement of Atmos objects in XYZ coordinates
Automation of reverbs, panning, distance
Real-time control via iPad, MIDI, or external devices using Logic Remote
Immersive Rendering
Direct rendering to Dolby Atmos-compatible formats
Export of stems by object or bed channel
Export in ADM BWF (Broadcast Wave Format) for distribution or mastering in Dolby Atmos Production Suite
Ableton Live is a digital audio workstation primarily designed for music production in live performance settings and for working with stereo and basic multichannel formats. Its architecture allows for the creation of tracks with multiple channels and offers a flexible routing system, enabling the implementation of customized configurations for multichannel projects, although it does not offer native support for complex immersive formats.
Compatibility with Spatial Audio Plugins
Ableton Live internally handles configurations of up to 7.1 for monitoring and mixing, although it does not have a native engine specialized in immersive formats. While it lacks Atmos integration, users can route audio to external renderers.
Ableton is compatible with plugins in VST3, VST2, and AU formats (on macOS). This includes a wide variety of spatialization plugins, thanks to its open and flexible ecosystem:
SPAT Revolution (via external routing using software such as Soundflower, BlackHole, or Loopback)
DearVR PRO, Waves Nx, Ambisonic Toolkit, Sound Particles plugins (VST/AU)
IEM Plugin Suite and SPARTA (usually integrated through wrappers or together with external hosts for ambisonic handling)
Native tools for spatial positioning
Ableton Live does not include a native plugin dedicated exclusively to spatial audio or Dolby Atmos by default, but its modular and flexible architecture allows for:
Use of return and send tracks to simulate spatial positioning through external plugins
Use of Max for Live to develop or integrate custom devices for spatialization and real-time control
Multichannel audio routing to external interfaces and systems for immersive mixing and binaural monitoring
Integration with External Systems
Ableton can connect to software like SPAT Revolution through virtual audio routing for advanced control of objects and beds in 3D environments.
With applications like Max/MSP, it is possible to create custom systems for live spatial manipulation.
Compatible with multichannel interfaces for monitoring in 5.1, 7.1, and immersive setups, although the configuration may require additional steps.
Visualization and Control
Ableton Live does not offer native advanced spatial visualizers, but it allows integration with MIDI controllers, touch surfaces, and Max for Live to design custom visual interfaces and controls.
The graphical automation is powerful and flexible, including any parameter from external spatialization plugins.
Automation and Real-Time Control
Allows detailed automation of spatial plugin parameters: XYZ position, reverberation, panning, distance, etc.
Remote and live control using MIDI controllers, Ableton Push, or Max for Live devices.
Export and Rendering
Ableton Live can export multichannel stems for post-production in specialized environments such as Dolby Atmos Production Suite.
It does not have native direct export in ADM BWF formats, so final immersive creation usually requires additional processing outside of Live.
Nuendo, developed by Steinberg, is a professional DAW widely recognized in the audiovisual and post-production industry. Its focus has always been on multichannel audio production and immersive formats, with very advanced native support for Dolby Atmos and other spatial audio systems.
Compatibility with Spatial Audio Plugins
Nuendo offers a powerful mixing engine that handles multichannel configurations of up to 22.2 channels and full support for immersive formats such as Dolby Atmos and Ambisonics. This makes it one of the most comprehensive tools for surround and spatial sound production.
Nuendo is compatible with plugins in VST3, VST2, and VST formats, facilitating the integration of multiple spatialization tools:
Dolby Atmos Renderer (natively integrated since Nuendo 10)
SPAT Revolution (compatible via external routing and VST plugins)
Sound Particles plugins (VST)
IEM Plugin Suite and SPARTA (compatible via VST and ambisonic setups)
Built-in tools for spatial positioning
Nuendo includes, in its recent versions, a complete set of native tools for immersive production:
Integrated Dolby Atmos Authoring Tools: Allow assigning tracks to objects and beds within a 3D environment, with detailed automation of spatial paths and movements.
3D Object Panner: Graphical interface for positioning objects in three-dimensional space with real-time control.
Surround Panner: For mixing in 5.1, 7.1, 9.1, and higher configurations.
Ambisonics Support: Tools for producing and manipulating ambisonic audio integrated directly into the DAW.
Integration with External Systems
Nuendo includes a built-in Dolby Atmos Renderer for monitoring in binaural, 7.1.4, and more complex immersive setups.
It allows direct export in ADM BWF formats, optimized for post-production workflows and Dolby Atmos distribution.
Compatible with audio routing tools like BlackHole, Loopback, or multichannel physical interfaces for integration with environments such as Max/MSP, Unity, or SPAT Revolution.
Direct integration with the Dolby Atmos Production Suite for mastering and valida
Visualization and Control
Nuendo features advanced visualization for spatial audio, including 3D graphical views of object and bed positioning.
It allows control through physical surfaces, MIDI controllers, and advanced automation systems.
Includes support for remote control via external devices and specialized applications.
Precise Automation and Real-Time Control
- Detailed automation on the XYZ axes for Atmos object movements.
- Control of spatial parameters such as reverberation, panning, distance, and sound envelopment.
- Support for real-time automation using external hardware and MIDI controllers.
Immersive Rendering
Direct rendering in Dolby Atmos–compatible formats.
Export of stems separated by objects or bed channels for mixing and post-production workflows.
Export in ADM BWF for professional distribution or mastering in Dolby Atmos Production Suite
Bitwig Studio, developed by Bitwig GmbH, is a DAW focused on modular flexibility, sonic experimentation, and integration with external control systems. Although it does not offer native support for Dolby Atmos or immersive spatialization tools like Logic or Nuendo, its open architecture allows for advanced spatial audio setups through plugins and external routing.
Compatibility with Spatial Audio Plugins
Bitwig is primarily designed for stereo production, although it supports multiple audio outputs and configurable buses. It does not offer native support for multichannel configurations such as 5.1 or 7.1.4, but it does allow audio routing to external systems for immersive processing.
Bitwig uses the VST (2 and 3) format, which allows compatibility with various spatialization plugins. Thanks to its modular environment and flexible routing system, it can be integrated with external tools:
SPAT Revolution (via external routing with Loopback, BlackHole, or multichannel interfaces)
Sound Particles plugins (VST)
IEM Plugin Suite and SPARTA plugins (VST3 compatible)
HOA Tools and ambisonic tools (using VST plugins and manual configurations)
Built-in tools for spatial positioning
Bitwig does not include specific native tools for immersive audio or 3D objects, but its modular environment allows users to build custom spatialization systems using:
The Grid (modular synthesis and processing environment): Enables the design of multichannel panning systems, envelope processing, spatial reverb, or real-time dynamic processing.
Basic surround simulations: Achievable through combinations of panners, delays, filters, and multiple output channels.
Integration with External Systems
Although Bitwig does not include an Atmos renderer or direct support for ADM BWF export, it can integrate with external systems for immersive work:
BlackHole, Loopback, Jack, or multichannel physical interfaces: Allow sending signals to SPAT Revolution, Max/MSP, SuperCollider, Unity, etc.
ReaRoute (via Reaper): An alternative to integrate Bitwig into environments where Reaper acts as a spatial mixer.
OSC/MIDI/Modulators: Bitwig offers full control via OSC and MIDI, ideal for interacting with external engines or interactive installations.
Visualization and Control
- Bitwig does not include advanced spatial visualization tools, but it allows for custom visualization within The Grid.
- Real-time control through MIDI devices, custom controllers, and touchscreens.
- Possibility to build interactive visual interfaces using Max/MSP, TouchOSC, or Lemur connected via OSC.
Precise Automation and Real-Time Control
- Flexible automation of any parameter using Bitwig’s internal modulation system.
- Simulated spatial movement (coordinates, distance filters, panning) through modulators such as LFOs, Envelope Followers, Steps, or Randoms.
- Real-time control with MIDI control surfaces, OSC, or custom scripts.
Immersive Rendering
- Does not include a Dolby Atmos renderer or native support for ADM BWF export.
- Multichannel rendering is possible through multiple outputs and capture with external DAWs like Reaper or Nuendo.
- Export of stems or submixes for external mastering or immersive post-production.
Ardour is an open-source DAW, widely used in Linux and cross-platform environments, focused on professional recording, editing, and mixing. Although its development does not include native support for Dolby Atmos or specific integrated tools for immersive audio, its flexible architecture and compatibility with VST, LV2, and LADSPA plugins make it suitable for advanced spatialization work through external solutions.
Compatibility with Spatial Audio Plugins
Ardour supports multichannel mixes and custom configurations, including 5.1, 7.1, and more channels, thanks to its internal mixing engine that allows complex routing and configurable multichannel buses. This facilitates production for cinematic, audiovisual, and other immersive applications.
Ardour is compatible with several plugin formats, primarily VST (Windows/macOS), LV2, and LADSPA (especially on Linux), which opens the door to integrating a wide variety of spatialization tools:
Dolby Atmos Renderer (via external routing and bridging software, not native)
SPAT Revolution (using external routing software like Jack, PulseAudio, or PipeWire)
Sound Particles plugins (VST)
IEM Plugin Suite and SPARTA plugins (LV2 and VST, depending on the operating system)
Native tools for spatial positioning
Ardour does not have native tools specifically for handling 3D audio or immersive objects, but it allows:
Flexible multichannel routing to create custom panning and spatialization configurations.
Parameter automation to position signals in surround or multichannel mixes.
Use of third-party plugins for spatial control and manipulation of sound objects.
Integration with External Systems
Ardour is highly compatible with external systems for immersive production thanks to its support for:
Jack Audio Connection Kit (on Linux/macOS), which enables real-time interconnection with software such as SPAT Revolution, Max/MSP, or immersive audio engines.
PulseAudio and PipeWire (on modern Linux systems) for advanced routing.
Multichannel physical interfaces for monitoring in 5.1, 7.1, and higher systems.
Export of multichannel stems for immersive post-production in specialized DAWs or suites like Dolby Atmos Production Suite.
Visualization and Control
- Ardour includes basic level and panning visualizers but does not have specialized visualizers for Ambisonics or 3D audio.
- It offers full graphical automation for any parameter within the session.
- Control via MIDI and external controllers for real-time manipulation.
Precise Automation and Real-Time Control
- Ardour allows precise automation of panning movements, volume, effects, and other spatial parameters.
- It is compatible with MIDI controllers and control surfaces for adjusting parameters during performance or mixing.
- Supports plugins that enable automation of trajectories and positioning in three-dimensional space.
Immersive Rendering
- Multichannel export of mixes, stems, and buses for integration into immersive workflows.
- Does not offer native rendering to specific formats like Dolby Atmos ADM BWF, but allows exporting tracks for further processing in dedicated software.
- Ideal for collaborative workflows in postproduction and spatial audio mastering environments.
Bidule, developed by Plogue, is a highly flexible modular audio environment that allows creating custom setups for audio processing, mixing, and spatialization. Although it is not a traditional DAW, Bidule stands out for its ability to handle multichannel audio and its integration with numerous plugins and external systems, making it a powerful tool for immersive and spatial audio projects.
Compatibility with Spatial Audio Plugins
Bidule natively supports multichannel configurations, allowing work with individual channels, buses, and complex multichannel routings. Its modular architecture facilitates designing custom signal flows for formats such as 5.1, 7.1, and even more advanced setups, making it ideal for immersive production and 3D audio environments.
Bidule is compatible with multiple plugin formats, including VST, VST3, AU (on macOS), and ReWire. This allows it to work with a wide range of spatialization and spatial processing tools:
Dolby Atmos Renderer (used via external routing and in combination with bridging software)
SPAT Revolution (can be integrated through internal or external audio routing using software like Loopback or Jack)
Sound Particles plugins (VST/AU)
IEM Plugin Suite and SPARTA plugins (VST, AU, or LV2, with integration through wrappers or bridges)
Native tools for spatial positioning
Bidule does not include specific native tools for Dolby Atmos or 3D audio, but its modular flexibility allows you to:
Create and automate multichannel routings with dynamic panning and custom spatial positioning.
Incorporate external modules and specialized plugins for controlling sound objects in space.
Design spatialization and processing algorithms using internal programming modules (Bidule Script).
Integration with External Systems
Bidule stands out for its ability to connect with other applications and systems in real time through:
ReWire for synchronization and audio transfer with compatible DAWs.
Loopback, Jack, or BlackHole for audio routing between Bidule and other platforms such as Max/MSP, Unity, or SPAT Revolution.
Support for multichannel audio interfaces and hardware for monitoring in 5.1, 7.1, and higher systems.
Export of multichannel tracks and stems for immersive post-production in specialized platforms.
Visualization and Control
- Bidule offers basic level and signal path visualization but does not include specialized visualizers for Ambisonics or 3D audio.
- It allows full graphical automation of any parameter within the modular environment.
- Real-time control is possible via MIDI and compatible control surfaces.
Precise Automation and Real-Time Control
- Bidule allows detailed automation of any parameter, including effects, spatial positioning, and multichannel mixing.
- Compatible with MIDI controllers for live manipulation and dynamic adjustment.
- The flexibility of the modular environment enables designing custom control interfaces to manage complex spatial parameters.
Immersive Rendering
Flexible export of multichannel stems for immersive mixes and spatial audio.
Does not have native direct rendering to Dolby Atmos ADM BWF formats, but can be integrated into workflows involving specialized software for postproduction and mastering.
Ideal for experimental projects, installations, and environments that require maximum adaptability and customization in spatial audio.
Cubase, developed by Steinberg, is a professional DAW widely used in the music and audiovisual industry, recognized for its powerful support for multichannel formats and advanced workflows in immersive audio.
Cubase allows creating tracks with up to 64 channels and offers a highly flexible routing system, ideal for projects in formats such as 5.1, 7.1, Ambisonics, Dolby Atmos, and custom configurations. Its advanced routing matrix enables precise and customized audio distribution in immersive environments.
Compatibility with Spatial Audio Plugins
Cubase is compatible with a wide variety of plugins specialized in spatial audio, including:
IEM Plugin Suite
SPARTA plugins
Blue Ripple Sound
Sound Particles plugins
SPAT Revolution (Flux) — Cubase can act as a host DAW and send audio through protocols such as ReWire, Dante, or multichannel audio interfaces.
Built-in tools for spatial positioning
Cubase includes advanced native tools for multichannel work:
Surround Panner: A multichannel panner that allows positioning sound sources in surround configurations such as 5.1 or 7.1 with intuitive controls.
3D Audio Tools (in Cubase Pro): For mixing in Ambisonics and Dolby Atmos formats with native support for sound objects and beds.
VST MultiPanner: A flexible tool to control positioning in complex 3D environments.
Integration with External Systems
Cubase integrates seamlessly with external tools and environments for immersive production:
Max/MSP and Pure Data: For real-time spatial processing and movement control of sources in multichannel or binaural environments.
Unity and Unreal Engine: Cubase allows exporting stems or integrating audio streams for virtual reality projects and interactive installations.
L-ISA Controller (L-Acoustics): Optimized integration especially in Nuendo, but compatible via routing with Cubase for control in L-ISA environments.
Dolby Atmos Renderer / Dolby Production Suite: Cubase Pro has native support for mixing and exporting projects in Dolby Atmos, facilitating professional workflows with stems and sound objects.
Visualization and Control
Cubase offers advanced visualization and precise control for immersive audio:
Sound field visualization and surround maps.
Compatibility with OSC controllers and MIDI control surfaces for real-time manipulation.
Built-in tools for detailed automation of spatial parameters.
Precise Automation and Real-Time Control
Cubase allows highly precise automation of all parameters related to spatialization:
Automation of plugin parameters and multichannel panners.
Real-time control via MIDI, OSC, and physical control surfaces.
Ability to link automation with external controllers for live performances or interactive installations.
Immersive Rendering
Cubase facilitates exporting projects in multiple formats for different environments and platforms:
Exporting individual stems by channel or groups.
Rendering in intermediate formats for later decoding in Ambisonics or Dolby Atmos.
Preparing projects for immersive playback environments with maximum flexibility.
Cakewalk by BandLab is a robust digital audio workstation (DAW) for Windows which, although historically recognized for its focus on traditional music production, also offers capabilities that can be adapted to multichannel and spatial audio projects with the right tools and configurations.
Compatibility with Spatial Audio Plugins
Cakewalk allows working with multichannel tracks, especially in configurations such as 5.1 and 7.1. Although its design is not centered on immersive production like other specialized DAWs, it is possible to create surround mixes with some customization:
Multiple sends per track allow routing audio to dedicated buses for each channel.
Native support for 5.1 surround, with the possibility of expansion through external VST plugins.
Custom channel assignment in buses for non-standard configurations (such as 8.0, 7.1.4, or specific installation systems).
Cakewalk is compatible with VST3 and VST2 plugins, allowing the use of tools for immersive processing, including:
IEM Plugin Suite (some tools may require custom routing)
SPARTA plugins
Blue Ripple Sound
Sound Particles (VST versions available)
SPAT Revolution (via external routing using tools like JACK or virtual audio interfaces)
Built-in tools for spatial positioning
Although it does not include advanced native tools for 3D positioning, Cakewalk allows the integration of multichannel panning plugins to create immersive soundscapes:
Insertion of panning tools such as ReaSurround (if using ReaPlugs)
Routing to multichannel buses to simulate spatial movement
Use of plugin parameter automation to control movement in space
Integration with External Systems
Cakewalk can be integrated into hybrid workflows, especially through the use of virtual interfaces or standard protocols:
Max/MSP and Pure Data: Communication via Rewire or virtual audio interfaces.
Unity or Unreal Engine: Although there is no direct integration, it is possible to export stems or rendered sounds for use in interactive environments.
SPAT Revolution / L-ISA Controller: Audio can be sent using tools like Voicemeeter, Loopback, ASIO Link Pro, or JACK.
Visualization and Control
Although it does not include advanced spatial visualization, you can complement the working environment with:
Visualization plugins such as IEM Energy Visualizer (with limitations)
Remote control via TouchOSC or MIDI controllers
Support for CAL scripts or external scripting tools to expand functionality
Precise Automation and Real-Time Control
Cakewalk has a detailed automation system, making it useful for precisely defined spatial movements:
Automation of panning parameters or source positioning
Real-time control via physical surfaces or MIDI controllers
OSC compatibility through third-party solutions
Immersive Rendering
Cakewalk allows exporting in multiple formats, including:
Exporting multichannel stems for external mastering
Rendering specific buses for encoding in Ambisonics or Atmos on other platforms
Preparing files to work in environments such as Dolby Atmos Renderer or SPAT Revolution
Pure Data, developed by Miller Puckette, is a visual programming environment focused on real-time audio processing and interactive synthesis. Although it is not a traditional DAW, Pd is highly flexible and allows the design of fully customized systems for audio spatialization, interactive interfaces, and immersive rendering from the ground up.
Compatibility with Spatial Audio Plugins
Pd allows working with multichannel configurations using objects such as [dac~], [throw~], [catch~], and custom audio matrices. The number of available channels depends on the audio hardware and operating system, enabling the design of setups like 5.1, 7.1, 8.0, 16.0, or higher.
Pd does not use VST/AU plugins in the traditional sense, but it supports integration with external libraries, custom objects, and communication with other applications:
IEM Plug-in Suite (can be used via OSC/MIDI communication between Pd and host software like Reaper or Max)
SPAT Revolution (integration through audio routing using Jack, Loopback, or rtpMIDI)
Sound Particles (not directly integrated, but can communicate via OSC or offline rendering)
Ambisonic externals: Libraries such as iem_ambi, HoaLibrary (via Pd-extended or Purr Data)
PD externals: A wide range of third-party objects for spatialization exist, such as [vbap~], [ambipan~], [hoa.map~], etc.
Built-in tools for spatial positioning
Pd allows the creation of custom spatialization tools using objects and libraries:
VBAP (Vector Base Amplitude Panning) using objects like [vbap~]
First- and second-order Ambisonics via libraries such as iem_ambi
Custom graphical interfaces for XY or XYZ positioning using [hslider], [vslider], [canvas], [data structures], etc.
Dynamic control of panning, distance, elevation, and user-defined spatial trajectories
Integration with External Systems
Pd is highly interoperable with other environments and professional rendering systems:
Jack, Loopback, or Soundflower/BlackHole: For audio routing to DAWs or other rendering engines
OSC and MIDI: Real-time communication with external engines such as SPAT Revolution, Unity, Unreal, or Max/MSP
Reaper + IEM Suite: Pd can function as an interface or spatial data source for external rendering engines
Visualization and Control
Although Pd does not include advanced spatial visualization tools by default, it is possible to:
Design custom graphical interfaces to control and visualize spatial positioning
Implement basic 2D/3D visualizations using GEM (Graphics Environment for Multimedia)
Use OSC to send data to environments such as TouchDesigner, Processing, or Unity for advanced visualization
Precise Automation and Real-Time Control
Pd allows detailed automation and dynamic control of all parameters:
Generation and modulation of trajectories in real time using objects like [line~], [phasor~], [env~], [metro], etc.
External control via MIDI controllers, sensors, OSC devices, or custom graphical interfaces
Automation of spatial effects, reverb, panning, rotation, and distance in multichannel systems
Immersive Rendering
Pd does not have a native Dolby Atmos rendering engine, but it can be integrated into complex workflows:
Generation of stems or individual channels for immersive mixing in software like Reaper, Nuendo, or SPAT Revolution
Binaural rendering using external libraries or multichannel export for later mixing
Export of spatial data (trajectories, coordinates, events) for synchronization with 3D visual or acoustic engines
| Software | Max Native Channel Count | Certified Format Compatibility | Export Options | Latency & Live Performan |
|---|---|---|---|---|
| Reaper | Up to 64 channels | Ambisonics (via plugins), no Dolby Atmos certified native support (ReaAtmos is experimental and not Dolby-certified) | Multichannel stems, plugin formats (VST/AU), OSC/MIDI control | Low latency, flexible for live use, depends on setup |
| Pro Tools Ultimate | Up to 128 channels (hardware-dependent) | Dolby Atmos (native certified), MPEG-H (via third-party) | ADM BWF, multichannel stems, Dolby Renderer integration | Low latency with HDX hardware, industry standard for live tracking |
| Logic Pro | Up to 24 channels internally (supports Atmos up to 7.1.4) | Native Dolby Atmos support (since v10.7), binaural with head-tracking | ADM BWF export, stems, Apple Music spatial audio format | Low latency, optimized for Apple hardware, good for live with compatible interfaces |
| Ableton Live | Up to 7.1 for monitoring/mixing internally | No certified immersive format (no Dolby Atmos or MPEG-H native) | Multichannel stems, plugin formats (VST/AU), OSC (via Max for Live) | Low latency, designed for live performance, moderate spatial audio support |
| Nuendo | Up to 128 channels | Native Dolby Atmos, Ambisonics (via plugins), MPEG-H | ADM BWF export, stems, Dolby Renderer | Moderate latency, strong post-production focus, used live with setups |
| Bitwig Studio | Stereo and routing to external multichannel | No certified formats native | Multichannel stems, plugin formats, OSC | Moderate latency, experimental live performance use |
| Ardour | Up to 64+ channels | Ambisonics (via plugins), no certified formats native | Multichannel stems, plugin formats (LV2, VST) | Moderate latency, depends on hardware, live possible but less optimized |
| Bidule | Up to 64+ channels | No certified formats native, binaural via plugins | Multichannel stems, plugin formats | Moderate latency, modular design good for live experiments |
| Cubase | Up to 32 channels native | No native Dolby Atmos certification, supports multichannel surround (5.1, 7.1), VST3 spatial plugins compatible | Multichannel stems, supports export in common surround formats (WAV, AIFF) | Low to moderate latency, optimized for studio but can be used live with proper hardware |
| Cakewalk by BandLab | Up to 64 channels native | No native certified immersive formats, supports multichannel routing and plugins | Multichannel stems, plugin formats (VST), WAV export | Low latency, optimized for Windows, usable in live contexts with good setup |
| Pure Data (Pd) | Unlimited (software-defined) | Ambisonics and binaural via externals (not certified) | Custom export depending on patches, no native ADM | Variable latency, highly customizable, used in live experimental setups |
