The spatial audio audio is the range of tech. The best dolby atomos system is getting more accessible, and with spatial audio codes coming into streaming services such as Apple Music and Tidal, it is not easy to lose in actually three -dimensional hearing experience.
But when these companies want to provide spatial audio through your headphone or living room sound system, others have worked on implementing this technique on a large scale.
I was made a believer in spatial audio by the Max Cooper Shravan session hosted by L-contix earlier this year; Latest album of acclaimed electronic musician But The ownership of L-Coustics was in the L-ISA format as a person living only for the music of machines.
When I came to know that was determined to perform on Cooper Polygony live LDNWith a sound system fitted by the UK’s first spatial audio music festival, L-actics, I was excited and conspired by similar parts.
I mean, I have heard one of the world’s best spatial audio systems with full force – how will the experience translate into live performance? And, perhaps even more importantly, can such an event be results for everyday listener?
So, it was as a journalist, audio noard, and rawar that I went to London’s Crystal Palace Park on 3 May, to check it Polygony live LDN for myself.
Spatial audio in a large place
You must be already wondering how a spatial audio system can work in a live setting – it’s one thing to get a surround sound experience in a living room, but for thousands of people quite second to do so.
Polygon Live LDN achieved it by constructing a huge tental dome, in which the speakers either fixed or hung the sides. It, combined with a powerful wall of subvores directly in front of the platform, makes 12.1.4 system-12 powerful L-CISTIS speakers in a circle around the audience, four top-mounted speakers fly directly from above, and a mono subwoofer channel.
It is a type of system that has a sound of one type-during a varied and powerful electronic music of eight hours, I was constantly and pleasantly surprised by the clarity and depth of the L-Aactics speakers, while the spatial setup allowed the artists to allow all types of movement and trend.
On that note, it helps that the lineup was full of artists who really knew how to keep this unique system to work.
We entered as the environment and dance musician John Hopkins started his set – a playback of his latest album Religious rites Garnishes by a brief performance for piano, guitar and violin.
As the introduction goes, it was very luxurious – Hopkins’s record is well suited for spatial audio, the rhythmic bass is filled with pulses and slowly moves the melodies that surround the audience, which creates a sense of dimension and hugs that a stereo system can just not match.
As every new artist moved the step, I saw each one caught the opportunity on the occasion of spatial audio: Helina Rice from Rice, a mobile dance-focused rhythm, depth and dynamics from Dutch duo wave, and we heard a synthesis from all of us through the flying and bass from Headlineer Max Cooper.
I was just thrilling that I had heard for ways that these artists had paired the logic and possibility of spatial audio techniques with a deep sense of their own music and irreversible grooves, some of which were rebuilt from their catalogs and some that looked new for the occasion.
I was also influenced by the stability of sound. Throughout the day, I found myself in different places under the dome, and while the Center naturally offers the most balanced and most immersive sound, I never felt that we were missing when we were standing close to the edges.
“Like you are inside music”
Before the festival, I discussed the tech side to be caught with Nico Elliot, CEO of Polygon Productions Polygony live LDNAnd what the team was expecting to achieve:
“I think you are going to feel that you are inside music,” Elliott said, “which is really unique-I think it is like someone’s experience when you go to a cinema and whatever is made for that particular film goes loudly into a cinema through Dolby Atomos.
Elliot said that Polyubhuj has been having a connection with L-actics since 2015, saying that the two teams have been “endless R&D”.
Elliott explained, “We loved the versatility of L-ISA,” and it did a really good work for the atmosphere of live music. And we have worked with other technology, but it is what we are most comfortable with, and our engineers have done the most.
“The beauty of this technique and the way the speakers are deployed, the beauty of it is not where you are in that dome, you are getting a very right experience and the same experience as everyone.”
Elliott said: “There is a complete additional creation element to keep sounds within a dome environment. It is an art, okay? Between too much movement, spatial audio has a real fine line that can become very gimmick and actually allow art and composition to speak for itself.”
I also asked Elliot if he likes more spatial audio events, as he likes Polygony live LDN Be more mainstream: “We love it. We see it more and more (…) I hope many people will come to space. We are very ally, and in fact believe that this is a very pleasant way to appreciate music.”
Continuing, Elliott said: “This requires a lot of time and effort – I think – as it becomes more mainstream, artists will be more used for it and will start considering their performance for that environment.”
As of now, as Polygony live Starts to settle, I leave thinking what can be all this for everyday listener.
As much as I want to set Polygon-I’s Style Dome in my back yard, I am not sure this is happening soon -but I share Elliott’s hope that the artists will start considering more often on spatial audio. Let me explain…
The music industry and the audio tech industry creates an ecosystem – the one that works in one is likely to affect the other. Even with the best music streaming services to pay fractions of a penny, live music is the place where money is-and if the spatial audio sees continuous support in a live context, musicians will actually have all the more reasons to create music in L-ISA or Dolby Atomos.
This means that audio tech manufacturers will have more reasons to provide spatial audio auditory solutions – hopefully increasing the competition, and optimally means innovation.
It is a very long chain of effects, and with so many impressive factors I can only call it really imaginary. Nevertheless, anything that really enhances the profile and possibilities of spatial audio through excellent music, is a winner in my book, and Polygony live LDN Surely done so.
However, I personally recommend waiting until a lineup and further details are announced, Early bird tickets for Polygony live LDN 2026 Already available.
Explain your ideas on live spatial audio in the comments below, and be sure to check our lists of the best headphones and best dolby atmos systems for taste of spatial audio at home.
