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)

 

 

 

 

God Is in the Details: Concealers for Hidden Microphones

Mick Sawaguchi 

Fellow, AES/IPS

UNAMAS-Label & Surround Terakoya 

Introduction

As filming techniques have evolved, there has been a rise in dynamic footage utilizing tools like Steadicams, drones, and large mobile cranes. This shift has created a need for greater mobility and immediacy in dialogue recording—moving beyond traditional boom microphone setups—leading to the widespread adoption of fitting individual performers with compact wireless microphones.

 In this article, I explore the practical use of "Concealers"—accessories specifically designed to ensure that hidden microphones deliver high-quality, usable audio. While manufacturers of compact lavalier microphones offer concealers tailored to their own models, specialized concealer manufacturers are introducing innovative products designed to address a wide range of specific situations with impressive ingenuity.

1 Goal for Concealed Microphone Setup

*   Preventing fabric-rubbing sounds and handling noise

*   Suppressing cable noise caused by the thin cables of lavalier microphones

*   Selecting compact, high-quality microphones

*   Preventing wind noise and breath pops

*   Using adhesives that ensure a secure hold even on small surface areas

*   Using medical-grade tape to prevent skin irritation when attaching directly to the skin

*   Preparing tape in colors that blend in discreetly with the clothing

2. Parts Suitable for Mounting

Here, we introduce the parts of the body where equipment can be mounted.

To illustrate how to mount usable audio gear in these locations, It present specific examples using "Concealers" from Babblbee and URSA—brands trusted by many production sound mixers. A visit to their respective websites reveals the truly extensive range of accessories available.

3. Specific Examples of Concealment Techniques

⚫️ Concealers to Prevent Clothing Rustle

While using a clip to create a gap is a simple method, there are other ways to create space between the microphone and the clothing using accessories such as faux fur, soft covers, or soft wrap tape.

⚫️ Shirt mounting and noise prevention: 

The cable is looped once to prevent cable noise—a technique likely born from practical field experience.

Here, It wrap the cable once before attaching it to provide wind protection and suppress cable noise.

⚫️ Adhesive tape for mounting lavalier microphones and clips to prevent the rustling of clothes

 

This clip—also found on products from other companies—is designed to create a gap that prevents the microphone from coming into direct contact with skin or clothing.

Due to the microphone's small surface area and its silicone rubber material, standard adhesive tapes tend to provide a weak bond. Adhesive tapes designed for concealment are characterized by their ability to hold firmly even on small surface areas. Here is an example of a setup where the microphone is attached to a sweater using this type of adhesive tape along with a clip designed to prevent friction noise from clothing.

⚫️ Attaching to Neckties or Bow Ties

Attach it to the knot of a necktie or bow tie. It is designed so that it rarely rubs against the fabric, making it unlikely to cause friction-related wear.

⚫️ Buttonhole

It is mounted in the gap of a buttonhole. Microphones such as the DPA-6060 or Countryman B-6 are ideal for this type of placement due to their ultra-compact size.

 ⚫️ Direct-to-Chest

Medical-grade tape is used, as it is applied directly to the skin.

Fur or a protective cover is also attached here to prevent chafing against clothing.

⚫️ Cable treatment Tape

Since the cable connecting to a wireless microphone transmitter is often surprisingly long, "Invisible Tape" is ideal for keeping it out of sight while ensuring it stays securely in place.　 

⚫️ Transmitter Pouch

The transmitter is carried in a belt pack, and there are some innovative products available for this purpose.

 Since the activity involves vigorous movement, the unit is secured to the torso with a belt.

 Secure to the thigh

 

 Ankle strap that secures around the ankle

 NOTE:

Although URSA is a British manufacturer, its founder was originally a production mixer; consequently, the company's defining characteristic is a lineup of concealer products designed with the various real-world scenarios the founder himself wanted to address.