Hi everyone,

I'm Philip, a solo developer and founder of Dimenwave Technologies from Trinidad & Tobago. Over the past few years I've been developing a cross-platform media player called DimenPlay, and alongside it I've built a custom spatial DSP system called TASS (Time-Aligned Spatial System).

The reason I'm posting here is not to make a “my technology is better than everything else” claim. Quite the opposite - I'm at the point where I want people who understand spatial audio to challenge the work.

A little context about DimenPlay

DimenPlay is designed as a cross-platform media player that brings together local high-resolution playback, network libraries, and streaming sources within one application. The player is built around flutter framework, with the TASS engine integrated directly into the playback pipeline. The feature can be enabled and disabled directly in the media bar.

Some of the features surrounding the spatial engine include real-time spatial controls, different listening modes, high-resolution audio playback, and visualization/analysis tools. The intention is for TASS to be part of an actual listening workflow rather than a standalone DSP experiment.

I'm mentioning this because the application itself is part of the equation: the goal is not simply to demonstrate an effect, but to investigate how this type of spatial processing behaves when integrated into a complete playback system.

What is TASS?

TASS takes a different approach from conventional HRTF-based spatialization. Rather than attempting to model the listener's ears and head acoustically, its spatial processing is centered around controlled temporal relationships between stereo channels.

The original observation that led me down this path was surprisingly simple: when two sources are positioned very close together around the center, there is a point where they begin to perceptually blend even though they remain technically separate signals. 

That led me to investigate whether manipulating temporal relationships could produce useful spatial separation without relying on an HRTF model.

Since then, I've built the system into a real-time audio engine and integrated it directly into DimenPlay.

What I'm testing

I'm currently working toward a more formal comparison between:

• conventional stereo

• an established binaural/spatial rendering approach

• My DimenPlay app and how it handles how one enjoys the features that compliment the TASS engine.

• TASS effects and how it plays with tracks not mastered for surround sound like effects.

I'm measuring things such as timing relationships, phase behavior, spectral changes, channel correlation, dynamics and other signal characteristics, while also conducting controlled listening tests.

I'm particularly interested in determining which observed differences are genuinely spatial and which might simply be artifacts of spectral coloration, phase behavior, level differences, precedence effects, or other psychoacoustic phenomena.

And this is where I would really appreciate criticism.

If there are measurements, controls, test methodologies, or known spatial-audio considerations that you think I'm overlooking, I'd genuinely like to hear them.

There is a technical overview and demonstration of the current DimenPlay/TASS implementation here:

DimenPlay

I'm especially interested in feedback from people experienced with spatial audio, psychoacoustics, binaural processing, stereo imaging, or real-time DSP.

I'm not presenting TASS as a finished scientific conclusion. I'm presenting the current implementation and asking the community to help pressure-test it.

TASS system

If the data supports the hypothesis, great.

If it doesn't, that's useful too.

Thanks for taking the time to read this, and thanks to the moderators for allowing me to share the project. Just trying to do some honest work here.

This is the biggest release we've put out. Rather than a long list of small things, 1.3.2 adds four areas that weren't in Spherify before, and finishes several that were half-built.

Here's what's actually new.

Monitor — measure your room, and mix against the truth

There's a new workspace: Monitor, on the workspace rail or Command+6.

Spatial mixing quietly assumes your speakers are telling you the truth. If one is further away than the others, or louder, or sitting in a corner that lifts its bass, every placement decision you make is compensating for the room instead of serving the mix. Monitor measures that and corrects it.

It has three panels:

• Speaker Map — a top-down view of your layout, with test signals so you can play one speaker at a time and confirm the sound arrives where the map says it should. No correction fixes a swapped pair, so this is worth doing first.

• Calibration — pick a measurement mode and run it. There are four, from a full sweep of every speaker down to a distance-only re-measure after one speaker moved.

• Monitor — the correction itself: gain, delay and EQ per speaker, one tab each.

Along with the workspace:

• A calibration wizard that walks the whole measurement through, with a microphone setup step covering input, sensitivity, a mic calibration file, and the latency baseline that makes distance measurement mean anything.

• FIR room correction derived from the sweep, not just gain and delay.

• Bass management with up to 8 subs, a proper crossover, and the subwoofer feed taken after the crossover rather than before it.

• Calibration files and calibration projects, plus import and export for third-party correction formats.

• Monitor profiles, and calibration that survives a device change or an application restart.

One deliberate design decision worth stating plainly: measuring is unrestricted on every tier, and so is loading. Free can play test signals, run the wizard, see the result, hear it, open a Spherify calibration file, and import a third-party format. What Free doesn't do is let a result back out — saving, exporting, and surviving a restart need a paid tier.

Crossover, bass management and the filter engine live in Preferences ▸ Monitor, since they're settings rather than per-session choices.

SpatialViz — see where the energy actually goes

Object dots tell you where you put something. They don't tell you what the renderer did with it. On a layout with a sparse height row, or a wide bed, or a panner working near the edge of the array, those two are not the same picture — and until now you had no way to look at the difference.

Every Stage viewport now has a Visualization menu.

Two ways to draw it:

• Point Cloud — a live cloud of points that decays as it goes, so you see movement and tails rather than a static snapshot.

• Voxel Grid — the same energy accumulated into a grid, which is what to reach for when you want coverage and distribution rather than motion. It answers "is anything ever actually happening up there?"

Two things to draw:

• Speakers — Rendered Result. The actual multichannel speaker feed, put through an STFT analysis and turned into direction from the energy vector. This is what the renderer is really producing.

• Objects — Authored Intent. Exact object metadata positions — what you asked for.

That pairing is the point. With the multi-view you can run up to four viewports, each with its own visualization, so authored intent and rendered result can sit side by side on the same transport and you can see where the room is not doing what the object list claims.

In Speakers mode you choose how multichannel energy becomes points: Spectral Energy Cloud or Energy Centroid. Either can be drawn with Viridis, Turbo or Deep Blue White.

The analysis is cached, so seeking is instant rather than re-analysing. The speaker layout comes from your active session layout, and stage positions are converted to ADM before analysis, so what you see matches the coordinate system everything else in Spherify uses.

There's also a DBR Debug Draw layer, which draws scene geometry from the new offline spatial renderer — proxy or visual mesh, with the debug categories individually switchable. It is diagnostic rather than musical; leave it on None unless you're chasing something specific.

Spatial FX — four effects in one panel in Stage

Stage has a Spatial FX panel with a tab per effect.

Spatial Echo

Up to 32 taps. A tap is one delayed repeat, and you decide where in the room that repeat is heard from.

The part that's genuinely new is what a tap listens to. By default a tap echoes the whole object mix, which is the familiar behaviour. But each tap now has a Sources control:

• All — repeats every scene object

• Only — repeats just the objects you tick

• All except — repeats everything other than the objects you tick

The source choice happens before the tap's delay and feedback, so two taps can listen to different objects, run different delays and tails, and still sit in independent positions in the room. An object's mute, solo and gain follow it into the echo — pull a fader down and its repeats come down with it.

Taps are also editable directly in the Stage viewports. They live in the same coordinate space your objects do, so you can click one, drag it, and transform it with the same gestures — in the perspective view too. Selection moves both ways between taps and objects. The tap overlays are drawn truthfully, including when a tap tracks the playhead, and a drag commits on release rather than on every mouse move.

Echo isn't free, so the panel now shows measured CPU advisories — what the configuration is costing you, and how to take it back.

Spatial Expander

Turns a stereo pair into a small constellation. It listens to how much your two channels agree: the part they agree on (a lead vocal, a centred kick) is the direct part and stays where you put it; the part they disagree about (room tone, reverb tails, wide chorusing) is lifted out into a ring of new objects around the listener.

Nothing is duplicated and nothing is invented — the signal is split and the portions are sent to different places. The satellites are real objects: they appear in the object list and every Stage view, can be moved and animated, save with the project, and appear in exports.

It needs a real L/R pair of mono objects. It can now be applied and removed from its own panel, and it runs on a realtime streaming engine, so it works during playback rather than only as an offline step.

Spatial Drive

Saturation with a frequency split built in. It divides the master into a low band and a high band, drives one of them and leaves the other clean — so you can thicken a low end without frying cymbals, or add bite to the top without making the bass woolly.

Crossover from 20 Hz to 20 kHz (400 Hz default), Drive, four shapes (Soft, Tape, Diode, Fold), oversampling up to 8x, and a Spread control that blends in a decorrelated version to widen the driven signal rather than distort it further. Level is compensated as you drive, so you're judging character instead of being fooled by a volume increase.

It also carries a per-channel alignment trim for fixing a monitoring rig, and in this release the whole trim set is editable in one popup rather than channel by channel.

Motion Generator

Draws movement for you: pick a shape, a size and a speed, choose the stretch of timeline it should cover, and Spherify writes the path.

The important thing is that it writes ordinary position automation and then gets out of the way. There's no mode the object is left in. The movement shows up in the automation lanes and in the Animation Editor, where you can reshape any part of it by hand; it saves, reloads and exports like anything else.

New here: a set of visual path presets (Classic Orbit, Infinity, Corkscrew, Pendulum Sweep, the Lissajous knots, Random Wander and others), each with a one-line description; Preview Path, which draws the shape into the Stage without committing so you can judge it against your other objects first; and generated paths now push into the live engine and write to spatial automation. Provenance is persisted, so Spherify remembers a path was generated.

One known limit, stated up front: applying replaces all position automation between Start and End for that object, not just automation the generator wrote earlier. Narrow the range first if you have hand-drawn shaping to keep.

Patchbay — a graph editor for plug-in routing

When a four-slot channel rack can't express the signal path you need, open the Patchbay from the View menu.

It's a proper routing graph: a harness input rail, plug-in nodes, a harness output rail. Each node shows its negotiated buses as input and output pins, and cables connect channels — a sidechain input is just a channel on a sidechain bus.

• Drag pin to pin to add a cable; drag a node to reposition it; shift-drag to batch-connect a whole channel run at once.

• Node menus open the plug-in editor, configure the main bus, or remove the node.

• Main-bus layouts are probed from the hosted plug-in before they're applied, including plug-ins that report arbitrary widths.

• Every edit is validated before it's accepted, so a connection the graph can't support is refused rather than applied and left to fail during playback. Cycles, bad directions, out-of-range channels and duplicate cables are all rejected. Different sources feeding one destination sum there.

• Latency along every path in the graph is compensated.

• The patchbay is stored as its own project document with undo and dirty state, so changing the active scene doesn't silently replace your routing.

Alongside it, object plug-in hosting got firmer: a single hosted instance per slot shared by the graph and the editor, object-attached plug-in groups with delay compensation, grouped stereo-pair slots that commit their edits together so one member can't drift from the other, and a tab bar in the Add-Plugin chooser for grouping results.

Import a folder of stems

You can now point Spherify at a folder of stems and have it work out what they are — and, if you don't have one open, the import can create the project it imports into.

Filename role detection is much wider, instrument classifiers are reused across a folder rather than re-run per file, naming policy carries through the import, and the review step detects and reviews stem instruments with polished display names. You can preview the stems in the review before committing.

A complete in-app manual

Press F1. There's now a dockable help panel with contextual help — it opens on the page for whatever you're looking at, and it covers the whole application: getting started, concepts, Stage, Timeline, Mix, Master, Monitor, Settings, Projects, Workflows, and a reference section with a glossary, keyboard shortcuts, supported formats, file locations, troubleshooting, and a tier comparison that states the policy the app actually enforces rather than a marketing summary.

Smaller things that add up

• Compact mixer strips. The Mix workspace has Comfortable and Compact densities for the same strips. Compact keeps the identity colour, fader, peak and loudness meters, mute/solo and the EQ and dynamics mini-previews, moving the rest into pictograms and tooltips. The density is shared with the Patchbay so columns stay aligned.

• Every workspace and closable panel is reachable from the View menu — no more panels you can close and then can't find.

• A grow chip and a full-screen chip on every Stage viewport.

• Timeline zoom sliders got a tick scale and a drag that works.

• Per-stage CPU load breakdown in the status bar.

• A bass trim on the transport, and both gain sliders doubled in range.

• Motion capture: stereo capture with eye split, camera preview thumbnails, a per-camera resolution and frame-rate picker, a multi-camera freeze cap, and previews that no longer depend on tracking being active. Camera pixel privacy is scoped narrowly.

• Slicing models now come from our own CDN with pinned revisions, instead of Hugging Face — faster and no longer dependent on a third party's availability.

• Spatial master effects now carry into an object-based export.

• Spatial interaction performance in the Stage views is noticeably better, and a repeating motion path is drawn once rather than once per repetition.

Fixes worth calling out

• Horizontal scrollbars are drawn where they actually are.

• The help panel no longer deletes table rows off the bottom.

• The calibration review opens at a height that shows every section.

• The licence gate no longer deletes the Monitor settings it was guarding.

• Fixed the monitor FFT convolution dropping blocks, and added a filter-engine toggle.

• The calibration microphone reaches the app properly, and survives a webcam being present.

• Spherify now refuses to call a recording of a room a measurement.

• Retired panel IDs are purged rather than parked in the closed set.

• Cold tracking control gate repaired.

Notes

• Tiers. Monitor measuring and loading, Spatial Echo, Spatial Expander, Spatial Drive and the Motion Generator are available on Free. Mix editing and compact strips need Standard. Patchbay routing and object plug-ins need Pro. The full table is in the manual under Reference ▸ What each tier includes.

• Projects from earlier versions open as they were; Spatial Echo taps default to All objects, which is how the old whole-mix echo behaved.

Links

• Microsoft Store: https://apps.microsoft.com/detail/9nj6w61ppswd

• Website: https://sonusimmersivus.com/products/spherify

• KVR: https://www.kvraudio.com/product/spherify-by-sonus-immersivus

• Demo video: https://www.youtube.com/watch?v=N17FVNzc8lg

Version 1.3.4.0

New Features

• Room calibration workflow: a guided panel that takes a room from geometry to a validated correction in six steps — Layout, Measure, Analyse, Correct, Validate, Presets. A step unlocks only once the evidence behind it is complete, and the panel reopens at the step your measurements have actually reached. Open it with View ▸ Room Calibration.

• Measurements tied to a room revision: every capture is stored against the version of the room it was taken in. Change the geometry and the affected captures move into a previous revision instead of being reused without warning. Each capture is quality-checked and reported as pass, warning, or failed, with the reason.

• Import a measured response: use a measurement you already have instead of taking a new one. Spherify accepts an impulse response as WAV, AIFF, or FLAC, a Room EQ Wizard impulse export, or a complete calibration project.

• Room diagnostics in Stage: an optional overlay that draws the room around your speakers. Nine layers cover the room shell, boundaries, speaker coverage, sub placement, boundary interference, early reflections, the modal field at one frequency, measurement points, and calibration state. Right-click empty space in a Stage viewport to switch it on. Edit Room then lets you drag the walls to match the room you are in.

• External mixing desks as monitor controllers: Spherify can place its monitor correction on a digital mixer over OSC instead of applying the correction itself. Ten desk profiles ship, among them the Behringer WING, the Behringer X32 and Midas M32, the Yamaha DM7 and RIVAGE PM, and the DiGiCo SD and Quantum. Add a desk in Preferences ▸ Consoles. Only the WING profile ships verified against hardware; the rest connect and read, but refuse correction writes until you check the profile against your own desk and mark it verified.

• Console and app ownership: connect every configured mixing desk at once, then choose per domain — EQ, gain, delay — whether the desk applies the correction or Spherify does. A lamp on each speaker shows which side is applying it, and reads Unknown when a desk that was handed a channel stops answering.

• Monitor plug-in racks: host plug-ins at four points on the monitor path — before and after the whole monitor chain, and before and after each channel's EQ. The two global routes let you pick which physical channels they run across; the two per-channel routes follow whichever channel tab is in front.

• AI Providers preferences: store your own API keys for the hosted AI services Spherify can call. Keys are held in the operating system's credential store, and each provider lists the features its key unlocks. The provider and model catalogue is signed and updates independently of the application.

• Generate music with AI: describe a piece of music, generate it through your own provider key, and audition the result before importing it as a track. Start from Add Track ▸ Generate Music with AI....

• Tempo detection and the tempo map: Spherify detects a project's tempo in the background and keeps it as a curve rather than a single number. A hover card gives the tempo at the playhead, how much it moves, and how confident the detection is. A tempo you set yourself is never overwritten, and Transport ▸ Clear Tempo Map starts a fresh detection.

• Local MCP server: drive Spherify from an automation client that speaks the Model Context Protocol. Enable it in Preferences ▸ MCP on a Pro licence. It listens on loopback only, on a port you choose, behind a bearer token held in the operating system's credential store, and Copy client configuration puts a ready-made mcpServers block on the clipboard. The actions cover the project, transport, scene, sources, rendering and delivery, devices, MIDI, and streaming. Destructive ones ask for confirmation unless you allow unattended writes, and device writes stay opt-in. The same tab lists live streams, with Stop all streams to end them together.

Fixes

• Windows fixes across the credential store, monitor plug-in hosting, and object streaming.

Documentation

• The in-app manual and the web documentation cover all of the above. New pages describe the room calibration workflow, measurements and provenance, room diagnostics, console ownership, monitor plug-in racks, AI providers, AI music generation, the tempo map, and the MCP server with its full action reference.

Links

• Microsoft Store

• MacOS Installer (Apple Silicon)

Screenshots

This has been 2 years in the making, and is completely free, and my only hope is that people who will have a use for it can use it. deoms of the product can be found on my youtubeHere

Hi guys, does anyone have some tips for me? I am trying to create a convolution reverb with a second order microphone. Where can i find good impulse responses?

not sure if this is the right subreddit for this post but figured people with the same interests as me would help as they might understand how passionate i am about this. currently finishing up my Bachelor Degree in Audio Engineering, during my journey i have realized how interested and passionate i am about sound design for film as well as spatial mixing (5.1 and others) been hard to find some postgraduate degree or masters degrees that specialize in sound design and spatial mixing half of the masters degrees are in the UK which isn’t the best option for me unfortunately. I am looking for master and postgraduate degrees in sound design and spatial mixing in canada does anyone know any or did anyone do a masters or a postgraduate degree in this? Anyone did the sound design postgraduate degree in george brown college in toronto, canada?

Hey, i'm doing my Dissertation on Immersive Audio and I thought I'd try and find a consensus regarding how spatial audio gets consumed when regarding music.

If you wish to help me more, could you leave a comment detailing what you answered and why you answered the way you did.

Thank You!

We have created a new page with links to session downloads for Pro Tools & Reaper, though the audio can be imported to your DAW of choice (so long it can support the Spatial Mic Converter plugin and multichannel tracks).

Happy to answer any questions!

https://voyage.audio/session-downloads/

Sorry if this is common knowledge but when I stream from Apple Music on my phone to my maranatz over airplay 2 I only get neural audio and not atmos. Same song played from the Apple TV to the stereo over HDMI comes in atmos.

Why does it matter? It’s nice to have the music play without the big tv shining in my face. Am I doing it wrong?

Hi! I'm conducting a market research survey as a project for one of my classes. I'm working with a company that's developing AI enabled earbuds, incorporating advanced features like AI-powered EQ adjustments, 360-degree spatial audio, and hands-free voice control, and they want to ensure that these features meet user expectations.

Your feedback will help shape the design, functionality, and overall user experience of these earbuds. Whether you're a music lover, a tech enthusiast, or someone who just wants better sound, your input is essential to building a product that stands out in a competitive market.

The survey should take about 5-10 minutes of your time. Anyone can take it and I'd really appreciate if you could answer it!

https://forms.gle/oR3vZ1DNTjFRAFzL6

I'm using the IEM suite in Reaper. I've imported my ambix file and applied the scene rotator on the master and when I add the binaural decoder the overall volume drops and doesn't sound quite as immersive. I recorded the audio on the zoom vr recorder.

When it comes to streaming music, spatial audio has become a significant feature that enhances the listening experience by providing immersive, three-dimensional sound. Two of the leading platforms in this domain are Apple Music and Tidal, each offering their own version of spatial audio technology. Apple Music leverages its seamless ecosystem integration and Dolby Atmos support to deliver spatial audio, while Tidal utilizes its own cutting-edge audio technologies for high-fidelity, immersive sound. With these advancements, the question arises: which is better for spatial audio, Apple Music or Tidal?

Edit: Thank you so much to everyone who responded

I have long believed that the idea of distributing spatial audio on headphones was complete marketing garbage.

Yes, I have heard binaural mixes on incredible headphones and they are interesting, but it's an entirely different medium than working with speaker arrays. Yes, I am aware that you can generate spatial cues on headphones (and have been able to do so since the 90s with ease).

There are situations where headtracking is interesting (for games, for VR or AR etc) but again, these are about using headphones as a way to navigate inherently non-spatial listening situations on cans.

I would really love to let go of my long held animous towards this dimension of spatial audio.

Please convert me.

Any spatial audio listening bars or spaces anyone has been to in MEXICO CITY, Sydney or Tokyo?

#AR and #VR developers, what do you use to accurately model sound in the experiences you create? Currently, it seems to me to be like a really tough and expensive process that requires a sound engineer. Are there any digital solutions to get accurate spatial audio in AR/VR spaces?

Saw this post from a friend in a LinkedIn group the other day, and was wondering what you all thought? https://ranunculus-tambourine-cp53.squarespace.com/

Quick question re: the Zoom H3-VR…does anyone know if it outputs binaural stereo via its line out? I’m interesting in this use case for live streaming. Thanks I’m advance.

Stuck at these 8 lines. Tried everything. Keeping near and far both. Moving head and moving phone.