{"id":21488,"date":"2026-10-29T16:36:59","date_gmt":"2026-10-29T19:36:59","guid":{"rendered":"https:\/\/solrezza.net\/?p=21488"},"modified":"2026-10-29T18:13:13","modified_gmt":"2026-10-29T21:13:13","slug":"from-next-generation-audio-to-immersive-audio","status":"publish","type":"post","link":"https:\/\/solrezza.net\/es\/from-next-generation-audio-to-immersive-audio\/","title":{"rendered":"From next-generation audio to immersive audio"},"content":{"rendered":"
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From next-generation audio to immersive audio<\/h2>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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An introduction to technologies, production workflows, and new listening possibilities.<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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Audio is undergoing a transformation that goes beyond simply improving playback quality or increasing speaker counts. Technological advances are reshaping how sound content is represented, produced, distributed, and reproduced, while opening up new possibilities for listener interaction and personalization.<\/p>

In this context, the listener begins to assume the role of a user -someone who not only receives content, but can also interact with it, adjust specific parameters of playback, and experience different modes of access and listening. This shift fundamentally transforms the relationship between content, playback systems, and the audience, presenting new challenges for sound production.<\/p>

Production is no longer focused exclusively on building a single mix tailored to a fixed speaker layout. Instead, it must account for a broader ecosystem where content adapts dynamically to diverse devices, environments, user preferences, and interaction models. This requires rethinking not just tools and workflows, but also creative decision-making, design criteria, and the way the sonic experience is conceived from its very origin.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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En este contexto,<\/span> the concept of Next-Generation Audio (NGA) emerges – encompassing a suite of technologies and systems designed to transform how sound content is produced, distributed, reproduced, and experienced. Unlike traditional approaches, NGA enables more flexible, immersive, and customizable listening experiences tailored to different devices, playback environments, and user preferences.<\/p>

The concept was developed primarily within the broadcasting sector, where the need to optimize distribution and offer new interactive capabilities drove research and development into these systems. Organizations such as the European Broadcasting Union (EBU)<\/a> highlight immersion, personalization, and greater efficiency in production and distribution workflows among its core benefits.<\/p>

However, the scope of NGA goes beyond incorporating new playback technologies. Its significance lies in a deeper transformation: the ability to conceive sound content as an adaptable experience in which production decisions, system capabilities, and user preferences function as part of a single, integrated process.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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But what does this new generation of audio truly mean?\nWhat distinguishes it from immersive audio? And why is it important to understand it beyond the technologies that simply allow us to position sounds in space?<\/h5>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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To answer these questions,<\/span> it is essential to distinguish the characteristics of a sonic experience from the technological capabilities that enable its construction.<\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Immersive audio is one of the possibilities unlocked by next-generation audio,<\/span> but NGA spans a broader scope: it encompasses new ways of organizing, describing, processing, and adapting sound content to different playback and listening conditions.<\/div>

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This distinction is fundamental. It allows us to stop viewing audio development exclusively through the lens of how an experience sounds, and begin examining how it is constructed, how it circulates, and what possibilities it offers to both creators and listeners.<\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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From multichannel sound to new ways of representing audio<\/h3>\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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To understand part of this transformation, we can begin with a technology that has been part of our experience for decades: multichannel sound.<\/p>

In a conventional 5.1 surround sound system, content is distributed across five main channels (front left, center, front right, surround left, and surround right) plus a low-frequency effects channel, identified as LFE.<\/p>

During mixing, sounds are assigned to these channels based on the creative and technical decisions of the production team. Dialogue may be centered in the central channel, music distributed across the front channels, and ambience or effects extended into the surround channels.<\/p>

This organization makes it possible to build a soundscape that envelops the listener. However, the mix remains bound to a specific representation of the content: signals are structured around fixed channels and the intended playback configuration.<\/p>

This does not mean that multichannel sound is incapable of creating complex spatial experiences, nor that it is strictly limited to a single physical setup. It means that the direct relationship between signals and channels represents just one possible way to describe and reproduce sound content.<\/p>

Other architectures make it possible to describe individual sound elements, incorporate information about their spatial attributes, or represent a soundscape using dedicated spatial models.<\/p>

Recommendation ITU-R BS.2051\/2022<\/a>, issued by the International Telecommunication Union (ITU)<\/a>, establishes advanced sound systems for production, while the Audio Definition Model (ADM)<\/a>, defined in Recommendation ITU-R BS.2076.3\/2025<\/a>, allows the structures and characteristics of content to be defined through metadata.<\/p>

The distinction lies not merely in moving from an older system to a newer one, but in having access to different methods for organizing and describing sound-each with its own capabilities, constraints, and applications.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n

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Channels, objects, and scenes: what changes in representation?<\/h3>\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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To understand the scope of NGA, it is helpful to distinguish three approaches to the representation of sound content.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n

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Channel Based Audio<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In channel-based audio, content is organized into a series of audio signals, each intended for a specific playback channel. The mix is constructed with a defined speaker layout in mind-such as stereo, 5.1, or 7.1.4- and spatial relationships are established through mixing decisions and the distribution of sound across those channels.

This model forms the foundation of much of musical and audiovisual production. Its main defining trait is that the relationship between content and speaker configuration is established during the mix. If the playback system differs from the intended layout, the mix must be adapted or rendered to fit that setup.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n

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Scene Based Audio<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In scene based audio, content is represented through a spatial description of the sound field or its acoustic characteristics, rather than relying exclusively on a fixed distribution across channels or a collection of independent objects. The objective is to encode information that allows a spatial sound scene to be reconstructed or synthesized from that description.<\/p>

Ambisonics is one of the most prominent examples of this approach. Using a mathematical representation of the sound field, it captures spatial information that can be decoded for various speaker configurations or transformed for binaural playback over headphones.
Unlike channel-based audio, the representation is not tied directly to a single speaker arrangement. And unlike object-based audio, it does not require describing each sound source as an independent element with its own position and parameters: the spatial information is encoded as a unified representation of the sound field.<\/p>

From a production standpoint, this model allows creators to work with a spatial representation that can be decoded and adapted across different playback systems. However, its potential for selective editing and interaction depends on how the content was captured, generated, or encoded.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n

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Object Based Audio<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In object based audio, content is organized into individual sound elements, each paired with its audio signal and metadata describing attributes relevant to its playback.<\/p>

This metadata can include the position and trajectory of a sound source, as well as other parameters that dictate how it should be presented within the experience.

Rather than being pre-assigned to an output channel, each object can be interpreted by a rendering engine that calculates how to play it based on the available setup. In this way, the same content can adapt to different systems -from headphones to multichannel arrays-without requiring a separate mix for each environment.

This approach also allows for adjustments to certain aspects of the listening experience, such as the placement of sonic elements or the level balance between dialogue and other components, provided the system and content support those capabilities. Production, therefore, consists not only of defining a final mix, but also of designing the attributes and behaviors of its constituent elements.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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These models are not necessarily mutually exclusive.<\/span> They can be combined within the same workflow or system, depending on the technology and the production’s purpose. The ADM accommodates channel based, object based, and scene based structures, offering a framework to describe their interrelationships.<\/p>

The distinction between these representations carries practical consequences. When content includes information that can be interpreted during playback, the system gains greater flexibility to adapt the output to different configurations.<\/p>

For example, a production may contain sound elements described in such a way that a compatible system generates a speaker array playback, while another renders a binaural version for headphones.<\/p>

This does not imply that any object-based content can be automatically played on any device, nor that adaptation guarantees identical perceptual results. Flexibility depends on the available information, system capabilities, implemented standards, and playback conditions.<\/p>

What matters is that content representation can,<\/span> in certain systems, decouple decisions about what constitutes the sound scene from decisions about how to reproduce it in a specific environment.<\/p>

This separation is one of the key elements to understanding the technological evolution associated with NGA.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Next Generation Audio and Immersive Audio represent a relationship, not an equivalence.<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Immersive audio occupies a central place in many of today\u2019s innovations,<\/span> but it should not be confused with the overall concept of Next Generation Audio (NGA).<\/p>

When we speak of immersive audio, we refer to sound experiences designed to create an enveloping and spatially organized perception. Sound can surround the listener, be placed above or below their position, shift locations, or contribute to building the sense of being inside an acoustic environment. Spatialization is one of the fundamental tools used to develop these experiences, though immersion does not rely exclusively on it: content, production choices, the listening environment, and the characteristics of the playback system also play a role.<\/p>

NGA expands this horizon by introducing new capabilities for adaptation, personalization, and interaction with sound content. The European Broadcasting Union (EBU) identifies three main areas of benefit: immersion, personalized listening, and long-term efficiencies in production and distribution workflows.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n

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  • Immersion:<\/strong>
    NGA systems can deliver spatial sound experiences that place the listener at the center of an acoustic scene. These experiences can be adapted to various playback configurations, ranging from multi-speaker setups to headphones, using the appropriate rendering techniques. Immersion is one of the possibilities offered by NGA, but it does not exhaust its scope.

    <\/li>
  • Personalization and accessibility:<\/strong>
    One of the most significant contributions is the ability for the user to intervene in certain aspects of the listening experience. For instance, they can select a language, increase dialogue levels relative to music and effects, or choose between different commentary options. These features make it possible to address individual preferences and accessibility needs without requiring the producer to generate a separate independent mix for every user. The available options depend on the content prepared during production, the system capabilities, and the interface provided to the user.

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  • Production and distribution efficiency:<\/strong>
    <\/span>NGA also allows us to rethink how content is prepared and delivered. Instead of generating multiple final versions for different devices, languages, or listening conditions, it is possible to distribute a multipurpose audio package containing the sound elements and metadata needed to generate various presentations at the receiving device. This can reduce the need to create and maintain alternative mixes and facilitate adaptation to different playback systems. This does not mean that mixing, quality control, or adaptation tasks disappear; rather, part of those decisions can be shifted to the rendering process.<\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n
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    These capabilities rely on an architecture that combines audio elements,<\/span> metadata, and encoding and rendering systems. Metadata describes aspects of the content and the intended experience; the playback system then uses that information to generate an output matched to the device’s capabilities and the options available to the user.<\/p>

    For this reason, understanding NGA requires looking beyond the spatial dimension of sound. The shift is not simply about reproducing audio in three dimensions, but about conceiving content that can adapt to different listening conditions and offer varying degrees of control over the experience.<\/p>

    From this perspective, immersive audio is one of the possibilities enabled by NGA, while personalization, accessibility, and production and distribution flexibility broaden its scope. This distinction helps clarify why this new generation of audio represents not merely an evolution in sound reproduction, but a transformation in how content is produced, delivered, and experienced.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    From content to playback<\/h3>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    To understand how these capabilities work,<\/span> it is helpful to examine the relationship between the various stages connecting a production with its final playback.<\/p>

    In a system utilizing object-based audio and metadata, for instance, sound content can be accompanied by information that describes how specific elements should be interpreted. That information can be preserved through exchange and distribution, and subsequently utilized by a compatible playback system.<\/p>

    At that point, the renderer comes into play: the component that interprets the representation and metadata, converting them into appropriate signals for the output configuration.<\/p>

    The result may vary depending on the playback environment. A multi-speaker setup, a stereo system, and a pair of headphones do not offer the same physical or perceptual conditions. The system must resolve these differences according to its capabilities and the information it receives.<\/p>

    The EBU describes precisely this capability: a multipurpose audio package can enable the receiving device to generate playback tailored to the listening environment and user preferences, reducing the need in certain workflows to create separate versions for every configuration.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    This does not eliminate the need for mixes, quality control, or specific production decisions. Nor does it imply that all platforms accept the same formats or implement the same features.<\/p>

    What changes is the set of possibilities available when content, metadata, and the playback system are designed to work together.<\/p>

    From this perspective, NGA cannot be understood solely as an improvement in acoustic output. It also requires considering how sound information is represented, how it is preserved and transported, and how it is interpreted at the playback end.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Personalization, accessibility, and interaction<\/h3>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    One of the most interesting consequences of this evolution is that the listening experience can shift from being completely fixed to supporting certain forms of adaptation tailored to the listener’s needs.<\/p>

    Let us consider an audiovisual production featuring dialogue, music, and effects. In an NGA compatible workflow, certain elements can be described and managed in a way that allows the system to adjust the balance between them during playback.<\/p>

    A viewer might, for example, increase the dialogue level relative to the music and effects, select an alternative language track, or choose among different available options, provided that both the production and the system support those features.<\/p>

    These possibilities have implications that go beyond mere convenience. They can also contribute to accessibility by making it easier for individuals to adapt certain aspects of the experience to their specific needs.<\/p>

    Personalization, however, is not an automatic property of any audio file, nor is it a universal capability of all devices. It requires the production to include the relevant elements and metadata, the system to interpret them, and the interface to allow the user to exercise those options.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    This introduces a critical dimension:<\/span> designing the sound experience is no longer necessarily limited to defining a final mix; it can also encompass deciding which aspects of that experience may be modified,<\/span> by whom, and under what conditions.<\/p>

    The creative question shifts. In addition to deciding what the audience should hear, it may also be necessary to determine which elements should remain separate, which options make sense, and what degree of user intervention remains compatible with the artistic intent.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    These transformations carry consequences for professional practice – not because every production must adopt the same technologies,<\/span> but because they expand the range of decisions to consider during project design and production.<\/p>

    In certain workflows, it may be necessary to consider from the outset how sound elements will be described, what information will accompany the content, and which playback configurations should be anticipated.<\/p>

    Mixing remains a fundamental creative stage, but it now interacts with other processes: material preparation, metadata management, interoperability, rendering, and testing across different environments.<\/p>

    Understanding the limitations of the target system also becomes essential. A flexible representation does not, on its own, guarantee that a creative intention will remain intact across all devices. Differences in playback, acoustics, system capabilities, and listening conditions continue to influence the final result.<\/p>

    This requires combining technical expertise with artistic judgment and perceptual insight.<\/p>

    Technology enables new operations, but it does not decide on its own which ones are desirable. The choice of a representation model, the spatial distribution of sound elements, the treatment of vocals, or the degree of personalization available remain decisions that must serve the objectives of each project.<\/p>

    For this reason, understanding NGA is not simply a matter of knowing new formats or learning how to use a tool.<\/span> It means understanding the relationships between production decisions, the information accompanying the content, the systems that interpret it, and the experience that is ultimately created.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    Perception: understanding that technology is not the experience.<\/h3>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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    There is one final distinction that deserves attention:<\/span> a system’s technical capabilities and the experience it produces are not equivalent.<\/p>

    A representation can precisely describe the position of a sound object, but the perception of that position will also depend on how the sound is reproduced, the characteristics of the environment, and each individual’s listening mechanisms.<\/p>

    In binaural audio, for example, signals are used\u2014whether designed or captured\u2014to replicate specific acoustic differences between both ears. Among the relevant cues for localization are interaural time and level differences, as well as spectral modifications related to the shape of the head and pinnae.<\/p>

    These cues help explain how the auditory system extracts information regarding the direction of sound sources. However, reproducing them does not guarantee that everyone will perceive an identical localization: individual anatomical characteristics, headphone frequency response, and other factors can influence the outcome.<\/p>

    Spatial perception is therefore an essential dimension for understanding the possibilities and limitations of immersive technologies. Yet it does not constitute a sufficient definition of NGA, whose scope also encompasses aspects of representation, distribution, adaptation, and personalization.<\/p>

    This distinction allows us to avoid an overly simplistic view of technological progress:<\/span> the notion that greater technical complexity automatically yields a better or more realistic experience.<\/p>

    The quality of a sound experience also depends on creative intent, playback conditions, and the relationship between what the system can achieve and what the listener actually perceives.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    There is one final distinction that deserves attention:<\/span> a system’s technical capabilities and the experience it produces are not equivalent.<\/p>

    A representation can precisely describe the position of a sound object, but the perception of that position will also depend on how the sound is reproduced, the characteristics of the environment, and each individual’s listening mechanisms.<\/p>

    In binaural audio, for example, signals are used\u2014whether designed or captured\u2014to replicate specific acoustic differences between both ears. Among the relevant cues for localization are interaural time and level differences, as well as spectral modifications related to the shape of the head and pinnae.<\/p>

    These cues help explain how the auditory system extracts information regarding the direction of sound sources. However, reproducing them does not guarantee that everyone will perceive an identical localization: individual anatomical characteristics, headphone frequency response, and other factors can influence the outcome.<\/p>

    Spatial perception is therefore an essential dimension for understanding the possibilities and limitations of immersive technologies. Yet it does not constitute a sufficient definition of NGA, whose scope also encompasses aspects of representation, distribution, adaptation, and personalization.<\/p>

    This distinction allows us to avoid an overly simplistic view of technological progress:<\/span> the notion that greater technical complexity automatically yields a better or more realistic experience.<\/p>

    The quality of a sound experience also depends on creative intent, playback conditions, and the relationship between what the system can achieve and what the listener actually perceives.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    There is one final distinction that deserves attention:<\/span> a system’s technical capabilities and the experience it produces are not equivalent.<\/p>

    A representation can precisely describe the position of a sound object, but the perception of that position will also depend on how the sound is reproduced, the characteristics of the environment, and each individual’s listening mechanisms.<\/p>

    In binaural audio, for example, signals are used\u2014whether designed or captured\u2014to replicate specific acoustic differences between both ears. Among the relevant cues for localization are interaural time and level differences, as well as spectral modifications related to the shape of the head and pinnae.<\/p>

    These cues help explain how the auditory system extracts information regarding the direction of sound sources. However, reproducing them does not guarantee that everyone will perceive an identical localization: individual anatomical characteristics, headphone frequency response, and other factors can influence the outcome.<\/p>

    Spatial perception is therefore an essential dimension for understanding the possibilities and limitations of immersive technologies. Yet it does not constitute a sufficient definition of NGA, whose scope also encompasses aspects of representation, distribution, adaptation, and personalization.<\/p>

    This distinction allows us to avoid an overly simplistic view of technological progress:<\/span> the notion that greater technical complexity automatically yields a better or more realistic experience.<\/p>

    The quality of a sound experience also depends on creative intent, playback conditions, and the relationship between what the system can achieve and what the listener actually perceives.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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    There is one final distinction that deserves attention:<\/span> a system’s technical capabilities and the experience it produces are not equivalent.<\/p>

    A representation can precisely describe the position of a sound object, but the perception of that position will also depend on how the sound is reproduced, the characteristics of the environment, and each individual’s listening mechanisms.<\/p>

    In binaural audio, for example, signals are used\u2014whether designed or captured\u2014to replicate specific acoustic differences between both ears. Among the relevant cues for localization are interaural time and level differences, as well as spectral modifications related to the shape of the head and pinnae.<\/p>

    These cues help explain how the auditory system extracts information regarding the direction of sound sources. However, reproducing them does not guarantee that everyone will perceive an identical localization: individual anatomical characteristics, headphone frequency response, and other factors can influence the outcome.<\/p>

    Spatial perception is therefore an essential dimension for understanding the possibilities and limitations of immersive technologies. Yet it does not constitute a sufficient definition of NGA, whose scope also encompasses aspects of representation, distribution, adaptation, and personalization.<\/p>

    This distinction allows us to avoid an overly simplistic view of technological progress:<\/span> the notion that greater technical complexity automatically yields a better or more realistic experience.<\/p>

    The quality of a sound experience also depends on creative intent, playback conditions, and the relationship between what the system can achieve and what the listener actually perceives.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

    \n\t\t\t\t\t\t\t
    \n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n
    \n \t\t
    \n\t\t\t\t\t\t\t\t\t

    Throughout this trajectory, we have distinguished several dimensions of the phenomenon: the methods of content representation, the technologies that enable its processing, production and distribution workflows, adaptation capabilities, and the perceptual conditions of listening.<\/p>

    These dimensions do not operate in isolation. Creative choices shape content organization; representations and metadata enable specific operations; playback systems interpret that information according to their capabilities; and the resulting experience depends on the concrete conditions under which listening takes place.<\/p>

    In turn, playback constraints can influence production decisions, while accessibility or personalization needs can alter how material is organized and delivered.<\/p>

    For this reason, Next-Generation Audio is far more compelling when understood as a set of capabilities and relationships, rather than as a single technology or a new label for three-dimensional sound.<\/p>

    Immersive audio represents an important component of this domain. Spatial audio provides techniques for representing and reproducing the spatial properties of sound. Channel-based, object-based, and scene-based architectures offer distinct approaches to content organization. Metadata, codecs, and rendering engines make it possible to connect these representations with diverse playback conditions. And personalization features unlock new possibilities for interaction between content and listener.<\/p>

    Each of these dimensions raises specific technical and creative questions. Their significance, however, stems from how they interconnect.<\/p>

    Perhaps the most meaningful shift to explore is not merely how we achieve three-dimensional sound perception, but how new frameworks for representing and managing content expand the possible relationships among sound production, playback systems, and the listening experience.<\/p>

    This perspective opens a field of inquiry that extends beyond any individual technology. It invites us to examine how tools, standards, creative processes, and listening practices evolve\u2014and what new choices emerge when sound content can adapt to different contexts.<\/p>

    Ultimately, understanding Next Generation Audio means beginning to comprehend this horizon of possibilities without confusing the technologies that enable it with the experiences they can produce.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

    \n\t\t\t\t\t\t\t
    \n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n
    \n \t\t
    \n\t\t\t\t
    \n\t\t\t\t\t\n\t\t
    \n\t\t\t

    References and bibliography<\/h4>\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t

    1. European Broadcasting Union (EBU). Next Generation Audio (NGA). https:\/\/tech.ebu.ch\/publications\/next-generation-audio<\/a><\/p>

    2. European Broadcasting Union (EBU). 10 Things You Need to Know About Next Generation Audio. https:\/\/tech.ebu.ch\/publications\/10-things-you-need-to-know-about-next-generation-audio<\/a><\/p>

    3. International Telecommunication Union (ITU-R). Recommendation BS.2051: Advanced sound system for programme production. https:\/\/www.itu.int\/rec\/R-REC-BS.2051\/en<\/a><\/p>

    4. International Telecommunication Union (ITU-R). Recommendation BS.2076: Audio Definition Model. https:\/\/www.itu.int\/rec\/R-REC-BS.2076\/en<\/a><\/p>

    5. European Broadcasting Union (EBU). Audio Definition Model (ADM). https:\/\/adm.ebu.io\/<\/a><\/p>

    6. European Broadcasting Union (EBU). ADM Implementers Group (ADM-IG). https:\/\/tech.ebu.ch\/groups\/adm-ig<\/a><\/p>

    7. European Broadcasting Union (EBU). Technical Report 061: User Experience and Interface Ideation for Next Generation Audio. https:\/\/tech.ebu.ch\/publications\/tr061<\/a><\/p>

    8. Moving Picture Experts Group (MPEG). MPEG-H 3D Audio. https:\/\/www.mpeg.org\/standards\/MPEG-H\/3\/<\/a><\/p>

    9. International Telecommunication Union (ITU-R). Recommendation BS.1116: Methods for the subjective assessment of small impairments in audio systems. https:\/\/www.itu.int\/rec\/R-REC-BS.1116\/en<\/a><\/p>

    10. International Telecommunication Union (ITU-R). Recommendation BS.1534: Method for the subjective assessment of intermediate quality levels of audio systems (MUSHRA). https:\/\/www.itu.int\/rec\/R-REC-BS.1534\/en<\/a><\/p>

    11. Sol Rezza. Immersive Audio Starter Kit. https:\/\/solrezza.net\/en\/kit-audio-inmersivo\/<\/a><\/p>

    \u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\n<\/div>\n\t\t<\/div>","protected":false},"excerpt":{"rendered":"

    From next-generation audio to immersive audio An introduction to technologies, production workflows, and new listening possibilities. Audio is undergoing a transformation that goes beyond simply improving playback quality or increasing speaker counts. Technological advances are reshaping how sound content is represented, produced, distributed, and reproduced, while opening up new possibilities for listener interaction and personalization. […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3741],"tags":[],"class_list":["post-21488","post","type-post","status-publish","format-standard","hentry","category-blog"],"_links":{"self":[{"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/posts\/21488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/comments?post=21488"}],"version-history":[{"count":132,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/posts\/21488\/revisions"}],"predecessor-version":[{"id":21625,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/posts\/21488\/revisions\/21625"}],"wp:attachment":[{"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/media?parent=21488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/categories?post=21488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/solrezza.net\/es\/wp-json\/wp\/v2\/tags?post=21488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}