{"id":5318,"date":"2022-04-20T14:00:10","date_gmt":"2022-04-20T12:00:10","guid":{"rendered":"https:\/\/www.vrtonung.de\/?p=5318"},"modified":"2026-07-17T17:28:41","modified_gmt":"2026-07-17T15:28:41","slug":"immersive-storytelling-3d-spatial-audio","status":"publish","type":"post","link":"https:\/\/www.vrtonung.de\/en\/immersive-storytelling-3d-spatial-audio\/","title":{"rendered":"Why immersive storytelling works best with 3D sound design"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_yoast_wpseo_opengraph-image":"https:\/\/www.vrtonung.de\/wp-content\/uploads\/ImmersiveStorytelling_1200x630px-1.png","_yoast_wpseo_opengraph-image-id":"5359","_yoast_wpseo_twitter-image":"https:\/\/www.vrtonung.de\/wp-content\/uploads\/ImmersiveStorytelling_1024x512px-1.png","_yoast_wpseo_twitter-image-id":"5355","footnotes":""},"categories":[1],"tags":[23,25],"class_list":["post-5318","post","type-post","status-publish","format-standard","hentry","category-unkategorisiert","tag-overview-en","tag-storytelling-en"],"acf":{"remove_from_blog_overview":false,"alternative_title":"","previewimg":19050,"text":"##What is immersive storytelling?\r\n\r\n\u201cStorytelling\u201d is one of those terms you hear again and again \u2013 especially in new media production. Most creative people can probably roughly imagine something under this term: the classic hero\u2019s journey idea, protagonists\/antagonists, suspense arc\u2026\r\n\r\nBut what does storytelling actually mean for content creators? And how does storytelling work in practice? And even more important: What role does sound and data play in this more traditional storytelling?\r\n\r\nThis topic was a collaborative work with Adam Audio, [link url=\"https:\/\/www.adam-audio.com\/blog\/the-key-to-good-3d-audio-storytelling\/ \" text=\"here\"] you can find the first part.\r\n\r\n[image id=\"5300\"]\r\n\r\n###Narrative sound design\r\n\r\nOne of the probably oldest sound clich\u00e9s goes with this: the greatest compliment a sound person can receive is ignorance. If no one complains, the sound was probably good.\r\n>\"Good sound is neither noticed, nor it is missed!\"\r\n\r\nOf course, that\u2019s nonsense \u2013 good sound should be praised just as much as a good picture. Although it highlights the problem: Sound as art tends to be noticed subconsciously. Listeners are rarely aware that sounds serve a variety of functions.\r\n\r\nWithout the use of a narrative soundscape, certain expressions or narrative forms would not be possible.\r\n\r\n###What is sound design?\r\n\r\nSound design is the creation of the sound layer, and thus an important part of the artistic design of a film (or other medium). Sound is a tool to create dramaturgy (emotionality, fear, tension, reality, etc.) and to subconsciously convey information about time and place.\r\n\r\n[link url=\"https:\/\/musicbed.com\/blog\/filmmaking\/editing\/storytelling-with-sound-design \" text=\"Here\"] you can find an external article about storytelling in sound design. \r\n\r\nWe will now look at different ways to explore, tell and create stories through sound.\r\n\r\n[image id=\"5294\"]\r\n\r\n##How can sound be used for immersive storytelling? \r\n\r\nNow that the terms storytelling and sound design have been clarified, we go straight to the next buzzword: Immersion. Especially in immersive storytelling, the different senses have to support each other.\r\n\r\nIn film or VR (virtual reality), the eye is supposedly the first priority. However, in classic moving images, sound usually has the function of underpinning what is seen. We will discuss actively chosen clich\u00e9s, devices and stylistic breaks in more detail later.\r\n\r\nBut with virtual and augmented reality it goes one step further.\r\n>The ears show the eyes where to look.\r\n\r\nBecause unlike in the theatre, the cinema and on TV, the image is not only in front. The image is spherical, so to say 360 degrees around us. Even though surround sound with Dolby can also reproduce sound from behind or above: It is not desirable for the listener to be irritated by sounds that do not come from the front.\r\n\r\nHowever, in the world of virtual reality, this is precisely what can be made us of. Immersive storytelling in virtual spaces is calling for well-designed 3D sound.\r\n\r\nBut first things first. Before we open up a new dimension with surround sound, let\u2019s stick to classic stereo for now.\r\n\r\n[image id=\"5292\"]\r\n\r\n###Creating moods in (virtual) reality\r\n\r\nOne of the most important features of the \u201csound\u201d component is the creation of moods and emotions. Be it with classical film music, pure sound design, or a combination of both. In this way, it is possible to make clear what is happening. A suspenseful, exciting scene only becomes really exciting with music and sounds. Both components are crucial in order to create a immersive story.\r\n\r\nWithout the right soundscape, it can be difficult in both games and films to build up an emotional connection with the characters or to recognize significant phases in the action.\r\n\r\n### Representation of environments\r\n\r\nMusic and sounds can also be used to make the era and setting of the narrative easier for the audience to identify. Stories set in a particular time or place need a sound design that matches it.\r\n\r\nFor example, the sound of old radio and record player recordings from the 1940s can be very effective in creating a mood of that time. So it\u2019s also about using sound design to meet the expectations of audiences of the audience. I like to say:\r\n>It's not about reproducing reality, it's about creating a believable soundscape.\r\n\r\n[image id=\"5288\"]\r\n\r\n###Creating immersion\r\n\r\nAnother important point is the creation of immersion, another absolute \u201cbuzzword\u201d. But as often as you hear this term, and as generalising and non-concrete as it is, immersion plays a huge role, especially in 3D audio.\r\n\r\nIn video games, VR experiences and 3D audio in general, one of the most important goals is to \u201ctie\u201d the listener to the action and thus immersively involve him or her. Sounds and music play a major role in order to create immersive experiences and immersive stories even in video games.\r\n\r\nThat\u2019s what everyone who talks about immersive storytelling says. But on this blog I aim to go further into detail, and uncover the secrets of sound\u2026.\r\n\r\nAs explained previously, emotions can be strongly influenced and controlled by music and sound effects. Breaks or gaps in sound can destroy immersion, and pull listeners out of the story.\r\n\r\nMusic and sound can also be used to interact and create links between scenes and to transition from one level of action to another.\r\n\r\n[image id=\"5290\"]\r\n\r\n###Providing cues and information with an immersive story\r\n\r\nOne of the most important functions of the sound level is that of conveying information. A horror film that runs without sounds and music clearly loses tension and horror. Especially in this genre, sounds are often used to announce things (a door squeaking in the background), music that suddenly becomes more suspenseful, or even the sudden absence of any sound.\r\n\r\nThis level of auditory and musical information cannot be conveyed purely visually, but is elementally important for immersive interactive experiences and storytelling. It blurs the boundaries between diegetic sounds like those mentioned above (door, atmospheres, etc.) and non-diegetic sound effects like drones, PADs, whooshes and impacts.\r\n\r\nI should probably go into more depth on this in another article\u2026.\r\n[newsletteroptin text=\"Get notified when it's due!\"]\r\n\r\nEspecially in music, the term \u201cleitmotif\u201d is worth mentioning here. Leitmotifs serve to associate specific musical motifs with characters. It is through the use of leitmotifs that important clues can often be given for the understanding of the plot.\r\n\r\nYou can see a nice video that deals with storytelling with sound here:\r\n[ytvideo id=\"q4NBKiJ33Ag\"]\r\n\r\n##Higher Order Semantics\r\n\r\n**with the kind support of Marco Dahl**\r\n\r\nHigher order semantics is the term used to describe sound objects with a simple meaning that gain importance through a wider frame of reference. Sounds a bit scientific, it is. So look forward to concrete examples that you will certainly know from the immersive experience of storytelling.\r\n\r\n###Signals\r\n\r\nThese include digital signals, for example, which have a fixed communication content in society and can be described as sound objects in sound design.\r\n\r\nAn example of this is bells: depending on the sound and cultural\/social context, they can be perceived as pleasant or also as warning signals. So low bells are more associated with churches and something serious. High bells, on the other hand, tend to have something \u201clighter, magical\u201d about them.\r\n\r\n###Symbols\r\n\r\nAnother sound object of higher semantics is the symbol. In contrast to signals, symbols do not have a fixed communication content, but must be interpreted in order to be understood.\r\n\r\nThe interpretation space for symbols can be established by a divergence between image and sound. An example of this could be a door: one sees a street with a large door. In front of it a brawl is taking place, while behind it people are partying. This visual separation also separates the narrative in this case, with \u201cin front of\u201d and \u201cbehind\u201d the door also differing sonically.\r\n\r\n[ytvideo id=\"VJ8HEfA5tLg\" time =\"42\"]\r\n\r\n###Stereotypes\r\n\r\nStereotypes are visual and acoustic characteristics that have been formed through countless repetitions in film culture. The learned features thus create a certain expectation of the acoustic and visual stimuli.\r\n\r\nSince these stimuli are perceived only incidentally through learning, we speak of an \u201ceconomisation of perception\u201d. This creates space for other information and can give the viewer a feeling of \u201corder and security\u201d.\r\n\r\n##Narrative functions\r\n\r\n[image id=\"5284\"]\r\n\r\n###Diegesis\r\n\r\nIn film, diegesis refers to everything that takes place within the fictional reality. For example, two people talking to each other within the story being told, or being heard by others within the story. Or like the examples of doors and steps already mentioned.\r\n\r\nNondiegetic refers to auditory sources that are not part of the fictional mixed reality show. These include, for example, voice-over voices or film music. They are not part of the scene. These elements would not be seen in the film or in VR.\r\n\r\nWith diegetic sound, a distinction can be made between active and passive off-sound. Active off-sounds have the characteristic that they stimulate the viewer\u2019s involvement and are clearly assigned to localisable objects.\r\n\r\nPassive off-tones, on the other hand, are intended to give the viewer an auditory constant and not to draw the audience's attention back to themselves, i.e. they are sound objects without direct reference to action.\r\n\r\n###Dichotomisation\r\n\r\nDichotomization means a contrasting of different facts, which should make the difference between them clear. In the film \u201cRaging Bull\u201d, for example, the social advancement of the protagonist is made clear through the juxtaposition of two completely different sound environments (first loud, aggressive, then later muffled and quiet).\r\n\r\nIn the film \u201cA Quiet Place 2\u201d, strong tonal contrasts are also used: The part where the monsters live, triggered by sounds, is shown as absolutely silent. In contrast, the island environment where there are no monsters yet is filled with life and loud sounds.\r\n\r\n[ytvideo id=\"BpdDN9d9Jio\"]\r\n\r\n###Disorientation\r\n\r\nIn disorientation, the image in the film is shown in such a way that only partial sections are seen or the image is made indistinct by blurring. The indefinability of the space can be supported by the auditory level with a \u201cdiffuse atmosphere\u201d.\r\n\r\nThe lack of information on the visual level draws attention to the sense of hearing, which can play an important role in this case. The disorientation is intended to affect the viewer\u2019s perception in various ways.\r\n\r\nThis can be brought about aurally, for example, by a sensory overload, i.e. a dense accumulation of sounds around the viewer. This is intended to impair perception and make orientation impossible.\r\n\r\n###Alienation\r\n\r\nAlienation is an effect in which the viewer\u2019s expectations are broken with the use of strange sounds. In stereotypical environments such as a beach, one has a certain expectation of the soundscape (seagull cries, wave sounds, wind), when this expectation is broken, the scenery can seem strange and unfamiliar to the viewer.\r\n\r\n## Conclusion\r\n\r\nSo, as we can see, immersive storytelling is a large field on which an article 10 times the length could certainly be written. But what can be seen even in an article of this length is that storytelling offers many opportunities as students learn how to make narratives more engaging through the deliberate use of certain techniques and skills.\r\n\r\nOf course, all of the above points apply to stereo sound just as much as they do to 3D audio. However, 3D audio technology can benefit storytelling in particular: Because 3D audio opens up a plane around and also above the viewer, this spatiality can be perfectly used to tell information and moods via the auditory level.\r\n\r\nEspecially with regard to virtual reality content, a three-dimensional image is thus complemented by three-dimensional sound. Through cleverly used storytelling and immersive technologies together, a story can be told that can be both highly realistic and totally \u201cwhacky\u201d. The most important thing in both cases \u2013 and here we are again \u2013 is a successful immersion.\r\n\r\n[ytvideo id=\"K_Ulchz3Gxs\"]\r\n\r\nAnd this can be used in a new technologies very enriching way through clever storytelling + 3D audio. How exactly can this be done? Just ask me without obligation.\r\n\r\n###Let's talk about your project\r\n\r\nLooking for spatial sound that gives your film real depth?\r\n\r\n[Get in touch \u2192](https:\/\/www.vrtonung.de\/en\/contact\/)\r\n","related_articles":[5087,2882,672]},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Why immersive storytelling works best with 3D sound design<\/title>\n<meta name=\"description\" content=\"Storytelling is a buzzword in the new media world. But: what does it mean for sound? 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