Issue link: https://digital.copcomm.com/i/1524863
audio is integrated and mixed for 'traditional channel-based' playback (from stereo to 7.1) sometimes does not translate well when playing back in 3D audio, which in the context of PlayStation 5 is 5th order Ambisonics, as well as audio objects. Inversely, I've found that a good 3D audio mix translates generally well to traditional channel-based outputs sans a few tweaks that can be done in bussing. What I find to be the biggest differential between the two is the use of 3D-positioned stereo files. In channel-based output, a 3D-positioned enemy roar asset in stereo sounds great—it sounds big and wide. However, in 3D audio, you feel the roar is coming from the sides of the creature now and not the creature itself. Also, if reverb is baked into the asset, it becomes much more apparent and 'flat' as the reverb is now coming from these pseudo 'phantom' left and right positions relative to the creature and not all around you like you'd expect in a reverb. To address this issue, we've had to author content in mono and dry and rely on well- made and well-mixed in-game aux sends to replicate the size these types of sounds. Layering of additional multichannel assets is often used, but I find a mono asset to anchor the position of an object is vital and sounds great in all playback formats. As for Atmos, creating gameplay content and mixing for 3D audio translates well to Atmos, so things 'just worked' for the most part. All the decisions to have sounds play more specifically and dynamically in 3D game space rather than relying on 'baked' location pays off here. For example, the decision to play thunder from