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The Evolution of Immersive Sound with Wilfried Van Baelen

In an exclusive two-part interview series, Aliud Records founder Jos Boerland sits down with Wilfried Van Baelen, CEO of Galaxy Studios and inventor of the Auro 3D format, to discuss the evolution of immersive sound in the classical music industry. This conversation, which took place at the renowned Galaxy Studios in Belgium in late 2023, offers a unique insight into the world of 3D audio and its impact on music production and listening experiences.

Part 1: The Genesis of Immersive Sound

In the first segment of this enlightening discussion, Jos and Wilfried delve into the origins of Auro 3D and its significance in the world of audio technology.

Key Topics:

– The conception and development of Auro 3D in 2005
– Auro 3D’s official introduction at the AES Convention 2006
– The technical advantages of Auro 3D over other immersive formats
– Aliud Records’ early adoption of Auro 3D technology
– The importance of vertical sound layers in creating a truly immersive experience

Highlight Quote:
“Auro 3D isn’t just about surrounding the listener with sound; it’s about creating a natural, three-dimensional audio sphere that mirrors real-life listening experiences,” explains Wilfried Van Baelen.

Part 2: Aliud Records’ 15-Year Journey with Immersive Sound

The second part of the interview focuses on Aliud Records’ extensive experience with immersive sound formats and their commitment to pushing the boundaries of audio quality in classical music recordings.

Key Topics:

– Aliud Records’ portfolio of over 100 recordings in both Auro 3D and Dolby Atmos
– The challenges and rewards of producing classical music in immersive formats
– Comparisons between Auro 3D and Dolby Atmos in terms of sound quality and listener experience
– The future of immersive sound in the classical music industry
– Notable Aliud Records releases that showcase the power of 3D audio

Highlight Quote:
“Our goal at Aliud Records has always been to offer listeners the most authentic and engaging audio experience possible. Immersive sound formats like Auro 3D allow us to bring the concert hall into people’s homes,” says Jos Boerland.

About the Interviewees

Jos Boerland is the founder of Aliud Records established in 2005. With a background in music and recording technology, Jos has been at the forefront of adopting innovative audio formats to enhance the listening experience for classical music enthusiasts.

Wilfried Van Baelen is the CEO and founder of Galaxy Studios, as well as the inventor of the Auro 3D format. His work in audio technology has revolutionized the way we experience sound, particularly in the realm of immersive audio.

The Auro 3D Concept

Auro 3D is an immersive sound format that adds a height layer to the traditional surround sound setup. This creates a three-dimensional sound field that more closely resembles natural hearing. The format uses a unique speaker layout and channel configuration to achieve this effect.

Key features of Auro 3D include:

– A “Voice of God” channel for overhead sounds
– Compatibility with existing 5.1 surround sound systems
– Scalability for various listening environments, from home theaters to commercial cinemas

Aliud Records: Pioneering Immersive Sound in Classical Music

Aliud Records has been at the forefront of adopting immersive sound technologies in the classical music genre. Some notable aspects of their work include:

– Producing over 100 recordings in both Auro 3D and Dolby Atmos formats
– Consistently releasing new albums that showcase the capabilities of 3D audio
– Collaborating with renowned orchestras and musicians to create immersive classical music experiences

The Future of Immersive Sound in Classical Music

As the interview concludes, Jos and Wilfried share their thoughts on the future of immersive sound in the classical music industry. They discuss:

– The potential for new composition techniques that take advantage of 3D audio capabilities
– The role of streaming platforms in making immersive audio more accessible to listeners
– The ongoing development of home audio systems that can fully realize the potential of formats like Auro 3D

Conclusion

This two-part interview series offers a fascinating glimpse into the world of immersive sound and its impact on classical music recording and listening. As pioneers in this field, Jos Boerland and Wilfried Van Baelen provide valuable insights into the technical and artistic aspects of 3D audio, as well as its potential to revolutionize the way we experience music.

We hope you enjoy these enlightening video interviews, where you’ll have the opportunity to hear directly from these industry leaders about the past, present, and future of immersive sound in classical music.

Yael Acher releases “Nomad Imagination”

We are proud to present Nomad Imagination, the latest album from Yael Acher (a.k.a “KAT” Modiano). Yael composed most of the music on this album in autumn 2020, during the long COVID shutdown while she was in Copenhagen. Yael recalls “when we recorded the first sessions in late February 2021, we were all fresh out of isolation. In fact, I remember leading the quintet and playing the flute part on “AIR- Peng’s Flight” while trying to ignore the high fever I had from a COVID vaccination. It had to “mind over matter” during that session.”

The instrumental tracks on the album, were for Yael, a re-union with her Copenhagen based band with whom she worked with before moving to NYC in mid 2000s. Feeling the need for an additional edgy urban raw flavour that communicates the multi-layered messages, Yael reached out to her good friend, poet/MC and artist Rashad Dobbins. The electro-acoustic tracks on the album were created in July 2022, featuring Rashad MATTHEW Dobbins’s poetry and rap, with Industrial beats (made of industrial noises) created by Yael and drawing on instrumental samples from the quintet’s recording. Speaking about these tracks, Yael explained “Although we had a short deadline, creativity was abundant and flowing on an intense pulse. My electro-acoustic audio files and Rashad’s lyrics and rap going back & forth across-continents and time zone differences (Cleveland Ohio / Copenhagen, Denmark.)”

The music tells its own story differently to each listener. However, in the following paragraphs, Yael speaks about each track and the inspiration behind them.

“Blue KAT Moves” is a Funk-jazz suite, composed of contrasting parts. The ‘acapella’ interlude with multiple tracks flute and Solomon’s voices temporarily breaks down the tight structure. Another voice in this track is Mahatma Gandhi’s talking about spirituality: “for I can see, in the midst of death, life persists; in the midst of darkness, light persists; in the midst of untruth, truth persists.”

I created the industrial beats on the tracks “Modiano Carnies,” “NOMAD Multiplicities-IT” and “MATTHEW’S” initially for my album Redcar (2001), to accompany the flute, trombone and double bass. Later I used the audio sample from the beats in my electro-acoustic music for choreography, as well as for my soundtracks to Weimar era silent films. Combined with Rashad’s intense, urgent, socially critical and spiritual messages and new instrumental samples, the Industrial beats transformed yet again, adding an urban soundscape to the album.

“Modiano Carnies” resists conformity. It is the first track we started working on. Andrew Read from Aliud Records heard it and gave me the green light to continue creating tracks for this album. I can imagine performing this tune with Rashad, while wearing masks inspired by the Carnies of the Carnival. Masks are inseparable element in many of my concerts.

The consistent pulse on a deep drums and djembe in “Ritual for Peaceful Spirits” is inspired by Native American Pow Wow drum ceremonies. I enjoy the physical/mental energy resonating from a group of drummers’, all beating steadily on one large Pow Wow drum while singing, and the other participants dancing in a circle that is open for all to join. In “Ritual” the steady beat from below is like a heartbeat, while everything else transforms through different soundscapes and culminates in a rocky groove, and ends with a jazz inspired quiet phrase.

I placed “NOMAD Imagination – Root of Love,” the album’s title song in the heart of the album’s track list, meaning to take the listener to a resting place with a more contemplative soundscape. I found this fascinating story about the journey of a giant bird called Peng in a book with a collection of stories by Zhuangzi, the legendary Chinese philosopher from the late “Warring States” period (476–221 BC). Ayi Solomon’s voice tells the story and is accompanied by an open form instrumental improvisation on djembe, gongs, flute, large bansuri (Indian flute) and effects, Moog, gongs. The track also includes audio samples of cayote choir that my friend and dancer Ernesta Corvino recorded on a winter night walk outside her house in Connecticut. I edited this track as an electro-acoustic piece.

This leads to the next track, “Air- Peng’s Flight” that is inspired by the same story. I initially composed the main melody while flying from Tel Aviv to Copenhagen. I feel that the tune tells its own story, gradually growing and flying or dancing. Samples from the pre-released versions of both “Blue KAT Moves”, “Air- Peng’s Flight,” are in my recent film scores to a pair of short comedy French silent films from early 1910s. The films and sound will be released in a rare silent film collection called Cinema’s First Nast Women.

“NOMAD Multiplicities – IT” has a cooler urban fire vibe to it, almost playful. I feel that Rashad’s mysterious meanings are expressed here between the lines. The music corresponds to the text with queer funky instrumental loops and a medium tempo industrial beat pulse.

If the latter leaves you drowsy, “MATTHEW’S” however, puts you on your toes! I feel that the electro-acoustic audio blended with Rashad’s text and rap cut right through to grab your attention, only delivering a kind of relief in the Rashad’s last verse: “WHEN REFLECTION MOVES IN TUNED…” This song is about a soulful search for true limitless conscious existence. To some it might feel churchy, especially with the Hammond organ at the start and end. But it’s larger than religious orientations. When the track was completed, I named Rashad MATTHEW, for his incredible work in this album project.

“Sugar Hill” the closing track, is an instrumental love song to my beau in NYC. It is also dedicated to Sugar Hill, the neighbourhood in Harlem where I also taught and performed at different venues. The song expresses the longing to be back in my element. The bluesy part of the tune honours all the legendary jazz musicians and other creating artists who lived and performed there. – Yael Acher “KAT” Modiano.

About Yael Acher (In her own words)

My name is Yael Acher and my artist’s name, “KAT” Modiano, stems from two sources that are close to my heart. First up, “Modiano” is the old family name that my grandmother carried from her father, whose family came from Italy.

Secondly, “KAT” is my favourite person, the pivotal character in George Herriman’s masterpiece, “KRAZY KAT,” a surreal, hilarious, cartoon strip from the first half of the 20c. It raises awareness for racism, police brutality, street crime, pacifism, human/animal rights, individualism, ancient love, Otherness, gender identity, gossip, and anything that goes on between people in any community. Herriman’s non-conforming colourful or B/W visual aesthetics including Native American inspired graphic designs, is the backdrop for the dynamics between urban characters from a building in NYC who moved West to “Coconino,” a desert town in the middle of Monument Valley’s surreal landscape.