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30 Mar 2026

Episode 125 Jack Reynolds (BBC R&D)

By Immersive Audio Podcast

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel is joined by the musician, sound engineer, microphone designer and immersive media producer – Jack Reynolds from London, UK.

We discuss Jack’s extensive career in music and spatial audio, the subsequent move to BBC R&D, UCL, and his own company, Reynolds Microphones. We talk about the importance of ambisonics for location sound and immersive documentary production.

Jack Reynolds founded Reynolds Microphones in 2016, following a diverse and accomplished journey through the music and audio industry. He began as a performer, composer, mix engineer, producer, and studio owner. At just 20, he achieved major label success with the band Jocasta, signed to Sony Music in 1996. Their single Go was A-listed by BBC Radio 1, followed by appearances at major festivals worldwide.

Alongside his musical career, working with artists such as Kieran Hebden (Four Tet) and others, Jack studied music production at Islington Music Workshop. He also worked as a recording engineer, producer, guitarist, and composer at Wendyhouse Studios, collaborating with bands including Geezers of Nazareth, Lowfinger, Human, Dempsey, and many others. This led to roles as a recording engineer for EQ Studios and Fire Records, before he went on to design and build his own facility, Jack In The Box Studios in North London, in 2008.

In 2010, he launched Opal Microphones Ltd, his first venture into developing recording equipment, including the acclaimed OM7 multipattern valve microphone. His growing interest in the science of sound led him to pursue a degree in Electronic and Electrical Engineering at University College London, where he won the Advanced Entrepreneurathon, a milestone that led directly to the founding of Reynolds Microphones.

In parallel, Jack founded Soho VR Audio Ltd in 2016, delivering spatial audio productions for clients including Sky VR, Google, and Nokia, while also completing the BBC Research and Development Graduate Programme.

Today, Jack leads the development of innovative sound capture technologies at Reynolds Microphones, where each product is hand-built in Hertfordshire with a strong focus on precision and quality. Inspired by pioneers such as Georg Neumann, the company has developed a range of high-end microphones, including the R-Type valve series, RM1-V condenser models, and the latest ambisonic A-Type range. Designed for immersive sound capture in virtual reality, 360 video, post-production, and field recording, the A-Type microphones are pushing the boundaries of spatial audio and have become an essential tool for many professionals. Upcoming releases include the O-Type and C-Type miniature omni and cardioid condenser microphones, as well as the S-Type spaced arrays.

Alongside running the company, Jack is also a Senior Lecturer in Spatial Audio Production at University College London, where he contributes to research in immersive audio, live performance in the metaverse, and next-generation sound production, helping to inspire the next generation of audio practitioners. All of this is balanced alongside his role leading immersive media production as Development Producer for BBC R&D’s FWD Team, including recent projects such as The Portal, a series of live volumetric video music experiences for BBC Radio 1’s New Music Show.

Show Notes

Jack Reynolds LinkedIn

Reynolds Microphones Official Website

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Immersive Audio Podcast Masterclass

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our Patreon.

The sessions are designed to enhance your practical learning experience and are delivered by world-class experts. The livestream contains video demonstrations and spatial audio playback with live Q&A. Keep up to date with our upcoming events, announcements and industry news by subscribing to our newsletter.

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Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

27 Feb 2026

Episode 124 John Wills (POSITIVE AMBISONICS)

By Immersive Audio Podcast

Announcement

We’re excited to share that we’ll be presenting “Audible Dimensions: Expanding Story Through Spatial Audio” at SXSW 2026 in Texas.

As storytelling expands into extended reality media, such as immersive films, VR, MR, AI glasses and location-based installations, spatial audio is emerging as one of the key narrative forces. With today’s advanced head-mounted display technology, audiences expect not just 3D visuals but equally rich immersive sound that conveys presence, space and movement. This panel explores the latest innovation in immersive sound technology and practical application from three different perspectives: software and hardware capabilities of hosting platforms, the spatial audio formats and content production workflows that bring these experiences to life.

See you soon in Austin!

Summary

In this episode of the Immersive Audio Podcast, Monica Bolles is joined by the musician, sound engineer, educator – John Wills from Tayvallich, Scotland.
We discuss John’s initiative, Positive Ambisonics, a non-formal creative and educational residency programme focused on developing practical skills in recording and working with spatial audio.

John has been experimenting with sound recording from an early age. Starting with a family reel-to-reel tape recorder, before moving on to multitracking and looping cassettes on several machines. He spent the summer of 1978 at The Slade School of Art, helping his friend to make soundscapes for his finals with a VCS 3 synth and an eight-track recorder and was hooked. In the early 80’,s he discovered Eno’s ambient speaker system and recreated it with thirty car speakers for a very early spatial installation in London. He is also a musician and has toured internationally with two art noise bands on the Beggars Banquet label (Loop and The Hair & Skin Trading Co.), achieving top 40 albums. In 2017, John went to Orkney to work with BBC sound recordist Chris Watson, creating a quadraphonic piece for the Orkney Festival at St Magnus Cathedral in Kirkwall. During this time, Chris introduced John to ambisonic recording, and since then, he’s specialised in spatial sound production, working on spatial installations. During the COVID lockdown, he presented The Great John Cage Project Podcast, playing 4:33-minute recordings that people sent in of their environment. He co-created with Pinkie Maclure a live musical, ambisonic performance for eight speakers involving audio capture and manipulation performed four times as part of her three-month exhibition at the Centre for Contemporary Arts in Glasgow. Now he has created a small eight-speaker ambisonic studio called +VE on the fringe of the Scottish rainforest in Argyll, inviting artists of different disciplines to record in the studio and on location to experiment with spatial production techniques. Future projects are in Arctic caves and Irish bogs.

Show Notes

John Wills LinkedIn

Positive Ambisonics Official Website

Listen to Podcast

Immersive Audio Podcast Masterclass

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our Patreon. The sessions are designed to enhance your practical learning experience and are delivered by world-class experts. The livestream contains video demonstrations and spatial audio playback with live Q&A. Keep up to date with our upcoming events, announcements and industry news by subscribing to our newsletter.

Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

24 Dec 2025

Episode 123 Dan Barry (Spatial Audio & AI)

By Immersive Audio Podcast

Announcement

We’re excited to share that we’ll be presenting “Audible Dimensions: Expanding Story Through Spatial Audio” at SXSW 2026 in Texas.

Our panel will be moderated by the creative lead at Resonant Interactions and Immersive Audio Podcast co-host, Monica Bolles, and will feature special guests: The Director of Content Creation & Distribution Solutions at Dolby Laboratories, David Gould. The Director of Immersive Media at Meta – Eric Cheng. Senior Sound Technologist for Immersive Media at 1.618 DIGITAL – Oliver Kadel. As storytelling expands into extended reality media, such as immersive films, VR, MR, AI glasses and location-based installations, spatial audio is emerging as one of the key narrative forces.

With today’s advanced head-mounted display technology, audiences expect not just 3D visuals but equally rich immersive sound that conveys presence, space and movement. This panel explores the latest innovation in immersive sound technology and practical application from three different perspectives: software and hardware capabilities of hosting platforms, the spatial audio formats and content production workflows that bring these experiences to life.

See you soon in Austin!

Summary

In this episode of the Immersive Audio Podcast, Monica Bolles is joined by the software engineer and researcher – Dan Barry from Dublin, Ireland. We discuss Dan’s work and research in digital signal processing, data analytics and AI machine learning for projects centred around spatial psychoacoustics and sound source separation for music.

Dan is a 4-time startup founder with a PhD in audio signal processing. Throughout his career, he has focused on translating academic research into products, spinouts and licenses. In 2006, he established the Audio Research Group in the Dublin Institute of Technology and served as the manager there until 2011. The group grew to 12 researchers and produced a wide body of published work in music, speech, and audio signal processing, including several patents. In 2007, he licensed his audio source separation patent to Sony for use in the popular game Singstar on the PlayStation 3.

In 2011, he co-founded the music education startup, Riffstation, where he served as CEO until 2015, when it was acquired by Fender, where he served as Vice President of Research and Development. In 2018, he left Fender and co-founded the spatial upmixing company, VRX Audio.

He returned to academia in 2020 and took up a research position at QxLab within the Insight Centre for Data Analytics at UCD. During that appointment, he designed and delivered Go Listen, an online subjective listening test platform which has been widely adopted by academia and industry. In 2021, he co-founded another startup, GuitarApp, which now provides free online guitar lessons and tools to over 350,000 visitors monthly.

Show Notes

Dan Barry LinkedIn

Go Listen!

Binamix: A Python Library for Generating Binaural Audio Datasets.

BINAQUAL: A Full-Reference Objective Localisation Similarity Metric for Binaural Audio.

Binaspect: A Python Library for Binaural Audio Analysis, Visualisation & Feature Generation.

Systematic Evaluation of Time-Frequency Features for Binaural Sound Source Localisation.

EgoMusic: An Egocentric Augmented Reality Glasses Dataset for Music.

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Immersive Audio Podcast Masterclass

Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

12 Dec 2025

Episode 122 Justin Gray (IMMERSED)

By Immersive Audio Podcast

Announcement

We’re excited to share that we’ll be presenting “Audible Dimensions: Expanding Story Through Spatial Audio” at SXSW 2026 in Texas.

Our panel will be moderated by the creative lead at Resonant Interactions and Immersive Audio Podcast co-host, Monica Bolles, and will feature special guests: The Director of Content Creation & Distribution Solutions at Dolby Laboratories, David Gould. The Director of Immersive Media at Meta – Eric Cheng. Senior Sound Technologist for Immersive Media at 1.618 DIGITAL – Oliver Kadel.

As storytelling expands into extended reality media, such as immersive films, VR, MR, AI glasses and location-based installations, spatial audio is emerging as one of the key narrative forces. With today’s advanced head-mounted display technology, audiences expect not just 3D visuals but equally rich immersive sound that conveys presence, space and movement. This panel explores the latest innovation in immersive sound technology and practical application from three different perspectives: software and hardware capabilities of hosting platforms, the spatial audio formats and content production workflows that bring these experiences to life.

See you soon in Austin!

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the award-winning bassist, composer, producer and engineer – Justin Gray from Toronto, Canada.

We do a deep dive into Justin’s recently Grammy-nominated album IMMERSED, and what it takes to produce an album in spatial audio from the ground up, starting from the preproduction, writing, arranging, recording, editing, mixing, mastering and of course marketing and distribution.

Justin Gray is a leader in immersive audio, he has mixed and mastered thousands of songs in Dolby Atmos, collaborating with artists, producers, and labels worldwide. His credits as an immersive engineer include Olivia Rodrigo, Snoop Dogg, The Tragically Hip, Brandy, Mother Mother, Blue Rodeo, Arkells, Jann Arden, Karan Aujla, Mae Martin, Marcin, Lola Brooke, and Josh Ross.

Justin’s latest release, Immersed, is a cinematic visual album composed, recorded, and produced specifically for immersive audio. Featuring 38 musicians from around the world, the project places the listener at the centre of a global orchestra, with instruments and voices surrounding them from all directions. Each piece was written to unfold around the listener, evolving across a three-dimensional soundscape.

A spatial vision guided the recording process; every sound was performed and captured with its place in the immersive field in mind. The result is an experience in which the Dolby Atmos mix isn’t a translation of the music; it is the music.

A Juno Award winner and lifelong student of Indian classical music, Justin’s work reflects a deep commitment to cross-cultural collaboration and a desire to reimagine how music can be created, shared, and experienced.

Show Notes

Justin Gray Sound Website

IMMERSED Album Trailer

Justin Gray YouTube

Justin Gray LinkedIn

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Immersive Audio Podcast Masterclass

Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

03 Oct 2025

Episode 121 Ceri Thomas (IMMERSV)

By Immersive Audio Podcast

Announcement

We’re excited to announce the fifth instalment of the Immersive Audio Podcast Masterclass series. As always, the sessions are designed to enhance your practical learning experience and are delivered by world-class experts.

We proudly present our guests for this session: the Professor of Audio Technology at Chalmers University of Technology – Jens Ahrens, the sound designer and co-founder of DELTA Soundworks – Ana Monte, and the technical lead and co-founder of DELTA Soundworks – Daniel Deboy.

This masterclass will focus on “Spatial Audio – Practical Master Guide”, the first Acoucou Courseware programme where technology meets art. This free course blends the technical intricacies of spatial audio with the creative skills needed to craft compelling content. With extensive cross-references to other engineering modules where learners gain a broad understanding of how everything connects.

🔗 https://spatial-audio.acoucou.org/

We’ll cover the structure of the course, history of spatial audio and evolution of sound aesthetics, psychoacoustics of stereophony, and different applications of spatial audio and delivery formats. Please sign up with the link below.

We’re looking forward to seeing you there!

Event Sign Up Page

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the immersive audio workflow engineer Ceri Thomas from LA, US. Ceri shares his personal and professional journey that led him to working with Dolby and Apple at a pivotal moment when spatial audio began to enter the mainstream. He also discusses his latest consultancy venture, IMMERSV. This week’s hot topic was about the critical balance between quality and mass adoption of immersive audio in music.

Ceri Thomas is a leader in immersive audio and workflow innovation whose career spans film, VR, music, and product development. Beginning in London during a period of rapid change in post-production, he enabled creative teams to work without technical barriers as the industry transitioned from tape to disk, RADAR to Pro Tools, and analogue to audio-over-IP.

At Soundelux, Danetracks, and Todd-AO, he was deeply involved in the early rollout of theatrical Dolby Atmos, exploring its potential and limitations. He later joined Wylie Stateman’s Twenty Four Seven Sound, creating collaborative technical infrastructure and building an “Immersive Lab” for early-stage Atmos editorial, which led to Dolby recruiting him for its VR audio initiative.

At Dolby, he worked to make VR audio tools more accessible and then spearheaded the global adoption of Dolby Atmos for music, establishing delivery standards, room design guidelines, and integrating Atmos into top studios worldwide. His collaborations include projects with Manny Marroquin, Josh Gudwin, John McBride, Ann Mincieli, and George Massenburg.

In 2022, Ceri joined Apple Music as Spatial Audio Technology Lead, where he built the Spatial Audio QC process, redefined listening room and studio configurations, produced documentation for creation and broadcast workflows, and advised on immersive audio specifications internationally. In 2025, he founded IMMERSV, an independent consultancy working with consumer electronics manufacturers, DSPs, and broadcasters to deliver studio design, product development input, and workflow solutions for immersive audio.

Show Notes

Ceri Thomas LinkedIn

IMMERSV

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Immersive Audio Podcast Masterclass

Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

15 Aug 2025

Episode 120 Angela McArthur (UCL)

By Immersive Audio Podcast

Announcement

We’ve just submitted our panel proposal for SXSW 2026: “Audible Dimensions: Expanding Story Through Spatial Audio” We’ll explore how spatial audio is more than a technical enhancement but a powerful storytelling tool. From shaping emotion and perspective to guiding audience engagement, we’ll discuss how designing for immersive media means writing for space as well as time. As platforms like Meta, Apple Vision Pro, and Android XR raise audience expectations, spatial audio is becoming indispensable to immersive storytelling.

Please cast your vote and support our session here.

Thank you!

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the spatial sound artist and academic Angela McArthur from London, UK. We dive into the IKO, 3D inside-out playback speaker system developed by Sonible, IEM, which offers unique characteristics, making the space architecture part of the sound presentation.

Dr. Angela McArthur leads an interdisciplinary (art/ science) MA in spatial sound in the Dept of Anthropology at University College London. Her work centres around underrepresented onto-epistemologies, ocean environments, and intersecting sites of artistic practice. She works with the IKO loudspeaker and other spatial systems. She champions diversity in access and representation in sound and beyond.

Show Notes

Angela McArthur LinkedIn

Angela McArthur Academic Profile

Computer Music Multidisciplinary Research (CMMR) Symposium 2025

IKO

UCL

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Immersive Audio Podcast Masterclass

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our Patreon.

\The sessions are designed to enhance your practical learning experience and are delivered by world-class experts. The livestream contains video demonstrations and spatial audio playback with live Q&A.

Keep up to date with our upcoming events, announcements and industry news by subscribing to our newsletter.

Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

08 Aug 2025

Episode 119 Tim Archer (Audio for Giant Screens & Themed Attractions)

By Immersive Audio Podcast

Immersive Audio Podcast Masterclass

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our Patreon.

Keep up to date with our upcoming events, announcements and industry news by subscribing to our newsletter.

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the production sound mixer, sound designer and mixing engineer – Tim Archer from Victoria, Canada. We discuss Tim’s approach to creating an immersive experience for giant screens and theme attractions, from location sound to sound design, final mix and speaker system design at the installation venues.

Tim Archer is a Canadian-based audio production and post-production designer, specialising in sound design and installation for Giant Screen films (IMAX), Fulldomes, Science Centres, FlyOvers and Themed Attractions. With over 40 years’ experience, Tim is experienced in all aspects of audio production and post-production, from multi-channel location recording to sound design to “in-theatre” mixing. As well as hardware design and installation for special venues and themed attractions. Tim’s approach to hardware design comes from more of a creative rather than technical direction. With over 4 decades of experience creating and mixing multi-channel projects in venues of all different sizes, shapes and configurations, he strives to achieve the best sounding experience within the physical space. Recent projects include, Britannia Mine Museum, Great Bear Rainforest IMAX film, Pier D Vancouver International Airport multimedia installation, Flyover Chicago, Cape Breton Miner’s Museum and the newly constructed exhibits at the Lowell Observatory. At present, Tim is at the early stages of launching a self-funded, personal endeavour, “The Just Listen Project”, creating multi-channel and binaural sound stories around the world to help introduce people to Soundscape Ecology and to encourage the lost art of listening.

Show Notes

Tim Archer LinkedIn

Official Website

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Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

11 Jul 2025

Episode 118 Julian Treasure (The Forgotten Skills of Speaking and Listening)

By Immersive Audio Podcast

Immersive Audio Podcast Masterclass

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our Patreon.

Keep up to date with our upcoming events, announcements and industry news by subscribing to our newsletter.

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the international speaker, author and communication expert – Julian Treasure, from Orkney, Scotland.

Julian Treasure is a top-rated international speaker on sound and the critical communication skills of listening and speaking. Collectively, Julian’s five TED Talks have been viewed over 150 million times. How to Speak So That People Want to Listen is the sixth most-viewed TED talk of all time. In live or virtual keynotes, or in bite-sized appearances via ThinkersOne, Julian delivers engaging, entertaining and transformational content, and is equally potent and effective with live or virtual delivery. ‍ His talks enhance business effectiveness, particularly for those in sales or leadership roles, as well as enriching relationships at work and at home. His presenting skills and innovative use of sound make his talks visceral and potent experiences that are always highly rated by delegates. In addition to keynote speeches, Julian can also arrange structured training or workshops for your company.

In this episode, we dive deep into the fundamentals of human communication, discussing the profound importance of listening and powerful speaking and its universal impact on our lives.

Show Notes

Julian Treasure LinkedIn

Official Website

Listening Society

Sound Affects: How Sound Shapes Our Lives, Our Wellbeing and Our Planet

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Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

29 May 2025

Episode 117 Jeremy Dalton (Reality Check)

By Immersive Audio Podcast

Announcement

We’re excited to announce the fourth instalment of the Immersive Audio Podcast Masterclass series. As always, the sessions are designed to enhance your practical learning experience and are delivered by world-class experts. We’ll be providing video demonstrations, spatial audio playback and an exclusive opportunity to interact with our expert guests.

We proudly present our expert guest from Nomono, the lead audio engineer and head of content – Ruben Åeng. Nomono is a portable spatial audio recording system paired with a powerful cloud-based processing for content creators with different needs. In this session, we’ll cover recording location sound and dialogue in 3D, post-production and authoring using the Nonomo spatial sound recorder and software.https://nomono.co/spatial-audio-with-nomono

Event Sign Up Page

How to access the content from our Immersive Audio Podcast Masterclass series? Head out to our page on Patreon www.patreon.com/c/immersiveaudiopodcast. The sessions are designed to enhance your practical learning experience and are delivered by world-class experts. The livestream contains video demonstrations and spatial audio playback with live Q&A.

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the author of Reality Check, advisor to FOV Ventures, and a global speaker on the subject of innovation and business – Jeremy Dalton, from London, UK.

Jeremy Dalton has delivered emerging technology solutions and insights for the Fortune 500, startups, NGOs, and government clients worldwide. He established PwC’s immersive technologies team globally and served as an expert on the topic for the World Economic Forum. His work has featured in the Financial Times, the Economist and the BBC, and has been cited by industry leaders including Google and Microsoft. He is currently focused on the cutting-edge integration of XR with AI and other emerging technologies, implementing convergent solutions to help businesses deliver even greater impact.

In this episode, we discuss the emerging technology and convergence between XR and AI, along with its impact on the creative industries.

Show Notes

Jeremy Dalton LinkedIn

Official Website

Get a copy of the new edition of Reality Check (40% off with code SALE40 until 31 May)

VR vs video conferencing study

In My Shoes

FOV Ventures

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Survey

Credits

This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott.

17 Apr 2025

Episode 116 Fränk Zimmer (Sounding Future)

By Immersive Audio Podcast

Announcement

We’re excited to announce the third instalment of the Immersive Audio Podcast Masterclass series. As always, the sessions are designed to enhance your practical learning experience and are delivered by world-class experts. We’ll be providing video demonstrations, spatial audio playback and an exclusive opportunity to interact with our expert guests.

We proudly present our guests from Amadeus, the Co-Founder and CEO – Fabio Kaiser, and the Co-Founder and CTO – Volker Werner. Amadeus developed solutions for acoustic enhancement for live music and speech in multi-purpose venues, concert halls or theatres. Amadeus Immersive Audio provides 3D sound source spatialisation and rendering with accurate localisation and envelopment for indoor and outdoor venues. https://amadeus-acoustics.com/

In this session, we’ll do a deep dive into the science of active acoustics and cover tools and workflows featuring the newly released ART platform.

Event Sign Up Page

Summary

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the media artist, curator, and founder of Sounding Future – Fränk Zimmer from Graz, Austria.

Fränk Zimmer is a media artist, curator, and festival organiser. Originally trained as a communications engineer in Luxembourg, he later studied musicology in Graz and Vienna. His work combines open-source software and hardware in sound and media installations, both in public spaces and artistic contexts. Zimmer also works as a producer and co-curator of ORF musikprotokoll, a festival for contemporary and experimental music. In recent years, his focus has shifted to 3D audio and the development of interactive, web-based listening environments. In 2024, he launched Sounding Future, an online platform dedicated to exploring current technical and artistic innovations in music and audio art.

In this episode, we bring the spotlight on Sounding Future 3D music streaming service, along with an online platform aimed at providing educational resources for composers and spatial sound community.

Show Notes

Fränk Zimmer LinkedIn

Sounding Future Official Website

3D AudioSpace for Streaming

3D AudioSpace Press release

Innovative streaming with the 3D AudioSpace from Sounding Future

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