A continuous research project exploring spatial audio and ambisonics that began in 2021, sparked by a VR short film at an exhibition in Moscow that implemented head tracking and spatialized audio. This experience revealed new possibilities for storytelling and immersive live performances.

After initial experiments with mixing music in ambisonic with binaural output, the project was paused until 2024, when I built a quadrophonic array and later expanded to an octophonic system in collaboration with Hilary Cox.

We conducted two octophonic sessions at Zenner to explore audio spatialization techniques, working with diverse sound sources including analog synthesizers, microphone arrays, and virtual instruments in Ableton. Our goal was to develop a reliable, reproducible, and low-latency workflow that could serve as a framework for future concerts at the venue.

This spatial audio approach dissolves traditional boundaries between musical performance and sound system design. In a multi-channel setup, the design process becomes an integral part of the performance, transforming individual instruments into distinct entities within a virtual sound space that completely envelops the listener.