This paper explores the requirements and best practices of recording, mixing, and streaming broadcasts of live music performances in binaural and ambisonics formats. We outline the optimal workflows for incorporating and executing 3D audio streams with existing in-house infrastructure, as determined from our experience gathered testing and broadcasting public concert events in partnership with Moods jazz club in Zurich, Switzerland, and Vienna State Opera in Vienna, Austria. In addition, this paper discusses the current technological barriers for immersive audio content creation and consumption, areas for growth and improvement, and future projections for 3D immersive audio technology.
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