Practical examples for orchestra recording in stereo or surround were relatively easy to obtain. Whereas, it was found that recording practice in immersive audio is relatively limited. This paper is intended to share the experience of the immersive recording process for a wind orchestra recording at McGill University. There were concerns that needed to be considered before planning the concert recording, problems encountered during the planning, and lastly the solutions to these issues. In conclusion, the discussions about the final result and the approach will be described.
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