God Is in the Details - Plug-ins and Tools for Immersive Audio

Mick Sawaguchi (UNAMAS Label)

Fellow, M. AES / ips and the "Surround Terakoya"

  

 

Introduction 

With the widespread adoption of DAWs, a workflow known as "in-the-box" mixing—where every function is handled entirely within the DAW—has become the standard. Consequently, audio processors and effects units that were once exclusively hardware-based are increasingly being converted into software. In this article, I will introduce plug-ins used primarily by sound designers for surround and immersive audio projects, rather than for standard 2-channel stereo. Some of you may already be proficient with these tools; if so, please bear with any redundant information.

 

⚫️ Immersive-Reverbs

capable of handling multi-channel configurations—such as 8, 12, 16, or even 48 channels—have emerged, moving beyond the limitations of traditional 2-channel stereo. This is likely a response to the growing demand for Dolby Atmos mixing.

* Equinox 

For many years, I have used Stratus 3D—an immersive-capable plugin from Exponential Audio (now part of iZotope). In 2026, it received a major upgrade and was rebranded as "Equinox." It supports up to 16 channels. True to the iZotope style, it offers a wide range of parameters, allowing for precise fine-tuning of the sound. A key practical advantage of Stratus 3D is its very low CPU load, which ensures smooth operation. Furthermore, when you set up an AUX send bus within your DAW mixer, the plugin automatically configures the immersive channels to match the number of buses. This low CPU demand is a crucial factor for maintaining smooth performance; it is particularly important to keep an eye on this, as some modern immersive plugins—especially those that rely on convolution data—can occasionally cause the system to freeze during a mix-down.

 

 

 

 

*DSpatial Reverb:

A Reverb Plug-in Supporting Up to 48 Channels via IR Convolution Technology Based in Barcelona, ​​Spain, DSpatial is a manufacturer specializing in immersive technology and spatial acoustic analysis. Their software is designed exclusively for Mac and offers exceptional flexibility, supporting a wide range of formats—including Atmos, Auro-3D, and binaural, as well as various surround configurations (5.1, 6.1, 7.1, 9.1, 11.1, 13.1, and 15.1)—for a total of up to 48 channels.

 

 


*Reality 2.0: 

Spatial Simulation Software This software uses IR-convolution technology to recreate acoustic spaces for a wide variety of sound sources―from subtle ambient environments to vast, expansive settings. A major advantage is the ability to place multiple audio elements into a desired space simultaneously, allowing for a complete, one-stop workflow.

 

 

 

 *Accentize: 

Chameleon Immersive Reverb From Accentize―a company founded in 2019―comes an immersive reverb plug-in that supports configurations up to 9.1.6 (16 channels). Its standout feature is its ability to deliver natural spatial reproduction by utilizing impulse response (IR) technology to simulate a wide variety of acoustic environments.

 

*Acon Digital Verberate: 

Immersive Spatial reproduction using IR-convolution technology is highly CPU-intensive; without a high-speed, high-capacity processor, it can cause the system to freeze during operation. This software is notable for its lightweight performance and supports configurations up to 9.1.6 (16 channels).

 

 

 *Inspired Acoustics – Inspirate:

This product, which could be described as the culmination of IR-convolution technology, consists of samples captured from a wide variety of spaces―including world-renowned concert halls―and supports configurations of up to 22.2 channels. I am curious to see how much CPU load it generates during actual operation.

 

 

 

 

 

 *Nugen Audio Paragon:

From Nugen Audio―a company that gained recognition for its loudness metering tools―comes this immersive-ready reverb. It features a practical design and supports up to 12 channels (7.1.4 configuration).

 

*LiquidSonics Cinematic Rooms Pro 

An ambience reverb designed primarily for film and post-production.

 

 

⚫️ Restoration Software 

Production sound recorded on set often contains various types of noise in addition to the dialogue. Furthermore, when recording sound effects, one could say that the modern environment is saturated with ambient noise. Restoration software is used to remove such unwanted noise and repair audio. In this field, plugins capable of processing multiple channels simultaneously—moving beyond the traditional 2-channel (stereo) approach—have now emerged.

*iZotope RX-12 

This is a standard, widely-used restoration software, now evolved to version RX-12. 

A major advantage is its ability to perform targeted noise removal by utilizing a wide range of adjustable parameters.

 

 *Retouch by CEDAR Audio 

CEDAR Audio, founded in Cambridge, UK, traces its origins to 1983. At that time, the National Sound Archive (part of the British Library) began exploring methods to digitally preserve damaged 78 rpm records and aging magnetic tapes by removing click and hiss noise. This initiative led to a collaborative research project with the Signal Processing and Communications Laboratory at the University of Cambridge, under the leadership of Professor Peter Rayner. To commercialize the results of this research, CEDAR Audio Ltd. was established in Cambridge in 1989. With a 40-year history―extending through 2026―the company stands as a long-established developer of plug-in software. Retouch is a restoration tool that I personally use and favor, largely because its parameters are remarkably simple. Another significant advantage is its ability to process up to eight channels of audio simultaneously, making it an excellent choice for the restoration of surround-sound recordings.

 

*DNS-2 -8:

While not a plugin, there are hardware devices capable of reducing ambient noise and background noise in real time during field recording. Products are available―ranging from 2-channel to 8-channel units―that are well-suited for real-time recording scenarios such as lectures, location shoots, or street interviews.

 

 *Accentize dxRevive Pro:

This is a restoration and noise-reduction tool designed specifically for dialogue editing. Rather than relying on traditional formant analysis, it employs a new technology based on AI-driven analysis. The software―from the same developer behind the Emmy Award-winning "Chameleon" (a reverb-matching tool)―not only handles restoration but also matches the acoustic characteristics of on-set dialogue with ADR (Automated Dialogue Replacement), ensuring a seamless and natural transition between them. This functionality can also be applied to on-set sound effects and Foley recordings, helping to create a cohesive sonic environment. While its role may seem subtle at first glance, it is an incredibly valuable asset in the post-production workflow.

 

 

 

⚫️ LFE Processor

An LFE processor is used to add impact to an original audio signal. The dbx 120-A has long been a classic piece of hardware for this purpose, but it is now discontinued and difficult to acquire. 

Software alternatives have since emerged that can generate low-frequency content―specifically one to two octaves below the original signal. 

 

 

 

*Waves Submarine and Lo-air 

These are LFE synthesizers with simple, straightforward controls. Lo-air, in particular, is notable for its ability to handle a wide range of source material, from mono and stereo to 5.1-channel audio.

 

 

*Rootone by Leapwing 

Although designed for 2-channel music, this unit also serves as an effective LFE synthesizer. It is structured to mix the original audio with an LFE signal; however, in my own workflow, I mute the original audio and extract only the LFE component.

 

 

⚫️ Pitch Processing and Delay with Immersive Audio 

 

*ZPLANE elastique pitch 2.5 

This is an intriguing plug-in that allows for real-time pitch adjustment and supports immersive audio formats. The ability to alter pitch in real time is highly beneficial for sound design, and the plug-in supports an output of up to 16 channels.

 

 

 

 

*CARGO CULT SLAPPER 3.0 Multi-tap Delay:

This delay plug-in supports up to 16 channels (9.1.6 configuration) for immersive audio. It is well-suited for tasks such as managing discrete surround sources, creating movement (flyovers), and processing sound effects (SFX).

 

 

 

  

 

⚫️ Immersive-Ready Peak Limiters and Loudness Meters 

 

Flux Audio EVO:

It is a plug-in manufacturer founded in France in 2006, which initially developed bundled software for Merging Technologies. Long before immersive audio gained widespread attention, FLUX had already built a robust lineup of plug-ins supporting 8 to 16 channels; for instance, the EVO series—including its EQs and compressors TP limiter—supports configurations of up to 16 channels.

 

 For content delivery in particular, it is essential to manage loudness and True Peak levels in accordance with the requirements of the specific medium. Relying solely on standard peak meters can often lead to overlooking True Peak values ​​that exceed the permitted limits; therefore, using loudness measurement tools and True Peak limiters—including those that support immersive audio—is both highly beneficial and provides peace of mind. 

 ◉ For your reference, here is the latest list of loudness and True Peak specifications for various streaming and distribution platforms. 

 

 

Next time, I'll introduce some specific examples of concealers, a convenient tool specifically for hidden microphones, which have seen increased use in recent years. (End)