For subjective experimentation on 3D audio systems, suitable program material is needed. A large-scale recording session was performed in which four ensembles were recorded with a range of existing microphone techniques (aimed at mono, stereo, 5.0, 9.0, 22.0, ambisonic, and headphone reproduction) and a novel 48-channel circular microphone array. Further material was produced by remixing and augmenting pre-existing multichannel content. To mix and monitor the program items (that included classical, jazz, pop, and experimental music, and excerpts from a sports broadcast and a film soundtrack), a flexible 3D audio reproduction environment was created. Solutions to the following challenges were required: level calibration for different reproduction formats; bass management; and adaptable signal routing from different software and file formats.
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