Shaping Sound in Space: The Importance of Sharing Know-how
Reflections from the 2025 ZIMMT's “Raum & Klang –Spatial Audio Network Conference”
Text: Elettra Bargiacchi Photos: Nina Buttendorf
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Spatial audio is redefining how we experience sound, starting from immersive music to performing arts, extended reality (XR) and even dance-floors. This was the central theme of the first Raum&Klang – Spatial Audio Network Conference, held at ZiMMT, Leipzig, on June 19–20, 2025. Gathering leading international experts (including VDT volunteers and members), engineers, artists and pioneers, the event provided a dynamic platform for exploring innovative developments in 3D sound-creation, reproduction, and application.
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The conference hosted around 20 experts from various countries and sectors: academia, industry and the creative arts. Across two days, attendees enjoyed keynote lectures, technical presentations, demonstrations of new technologies, and immersive spatial listening sessions.
This comprehensive snapshot of the field blended technical insight, artistic exploration and philosophical reflection, while providing fertile ground for inspiration and a great opportunity for networking.
Key Topics Covered
A wide range of themes emerged across the program, including:
- Technical Analyses: Ambisonics, ADM-OSC, Binaural Rendering
- Wave Field Synthesis and Active Acoustic Control Systems (ACS)
- New Software and Toolkits: Grapes, 4D Sound, LEMM3D, Dome Tools
- Sensors and Movement Tracking: From sound art to interactive tools like Sonic Moves
- Spatial Clubbing and Spatial Audio Record Labels
These topics revealed not only the rapid technological evolution of spatial audio but also its branching out into multiple categories both in the scientific field and in the artistic practice. This list is not exhaustive, and I suggest checking the detailed line-up of the event on the ZiMMT website. However, it gives an idea of the density of content and its variety, which was also accompanied by listening sessions and interactive experiences.
What is ZiMMT?
The location itself was impressive: the ZiMMT Hall, a 167 m² former industrial space with a 6-meter-high ceiling, is now equipped with a cutting-edge 3D audio system of 34 loudspeakers, capable of reproducing nearly all existing spatial audio formats. It also features a 7-meter front screen and 300° projection system, making it an ideal site for spatial media development and performances. ZiMMT — Centre for Immersive Media Art, Music and Technology — is more than a venue. The non-profit ZiMMT e. V. is a research and experimentation hub, promoting the development of 3D audio through residencies, workshops, artist support and now also conferences.
As a research center, it also publishes academic papers. One of its recent works, conducted in collaboration with the Institute of Electronic Music and Acoustics (IEM) in Graz, Austria, is titled “Evaluating Spatial Consistency Across Loudspeaker Configurations and Rendering Tools.” This study explores how technical and environmental factors influence the perception of spatial audio comparing different rendering algorithms, with the goal of developing guidelines that support the creation of a shared standard in the field. The research was first presented during the Raum&Klang conference and is planned for official presentation at the upcoming tmt33.
Sharing is Caring
At the core of the event was a commitment to knowledge sharing — a very sensitive topic for VDT as well. Spatial audio is a field often characterized by fragmented development and isolated innovation. To move forward, we need consistency, standards, and above all — community. Clarifying and spreading the spatial audio culture and know-how is a fundamental aspect — and not only among professionals.
As spatial audio enters mass culture — from Dolby Atmos in cinema to Apple Music’s Spatial Audio — there’s a growing need to demystify the technology. Much of the public interacts with spatial sound without understanding what it really means. As such, the conference called for a collective awareness of what spatial audio is, how it really works and mostly in which directions it is developing.
It is precisely in this perspective that ZiMMT created the Spatial Audio Network Europe (SANE), a pioneering EU-funded initiative launched in December 2023. This network connects nine institutions from Germany, Austria, Spain, the Netherlands, and Italy, working together to establish a pan-European 3D audio ecosystem, linking standards, venues, artists, and audiences.
Education and Future Directions
The importance of spatial audio education was emphasized by Christian Birkner and Felix Wege of HTWK Leipzig, both managers of the VDT Regional Group Leipzig. During their talk, they announced a new course launching in winter 2025 at HTWK: “Immersive Audio Production” (Immersive Audioproduktion). The course focuses on spatial sound and immersive audio drama production, marking a milestone in formalizing immersive audio education for future media professionals.
Conclusion
The 2025 Raum&Klang – Spatial Audio Network Conference highlighted not only the current landscape of spatial audio, but also its future. Whether you’re an engineer, artist, or researcher, the message was clear: space matters and sound is no longer just something we hear, but something we inhabit.
As spatial audio applications multiply, it becomes crucial to reflect on why and how we use them. In one of the most thought-provoking talks, Johannes Scherzer (Spæs, Berlin) urged attendees to ask: What does sound mean to me? What does space mean to me? And based on that: What do I seek in spatial audio, and what do I want to create?
These are not merely philosophical musings; they serve as essential guiding questions, prompting a collective reflection that must evolve in parallel with technological development. Spatial audio is no longer a niche, and it’s moving beyond technology — into how we can really convey storytelling, emotions, and empathy. Sound is deeply human, and spatial audio has the unique potential to tap into that in fascinating and profoundly meaningful ways.
A Word with the Organiser
I had the opportunity to speak with Felix Deufel, sound artist, co-founder of ZiMMT and founder of Not a Number Studio, to gain some behind-the-scenes insights of the conference:
What motivated the theme of this year’s conference?
Felix: The conference grew out of the network we’ve built over the past few years. We’ve organized artists’ residencies and Think Tanks within the Spatial Audio Network, Germany, bringing together top experts in 3D audio. From those experiences, we developed the idea of creating something more intense and larger in scale—and that’s how the conference came to life.
And you are not only part of the Spatial Audio Network Germany but also of the SANE, Spatial Audio Network Europe, is it correct?
Yes, Jakob (Gruhl, Author’s Note) and I founded SANE and brought all the partners together. It’s a two-year project now, and we felt it was time for all of us to meet in person and create an access point for others not yet in the network. The conference is a direct result of that collaborative effort.
Why do you think building stronger connections, collaboration and knowledge-sharing within this field is necessary?
Spatial audio is becoming increasingly popular across various disciplines, but there’s still a major gap in knowledge when it comes to production pipelines and creation workflows. There’s also a shortage of tools. Many creative minds are developing their own, which makes it even more crucial to connect and support each other. The scene is small, yet it feels like everyone is suddenly working with spatial audio. That’s why we need these conversations—not just about the tech, but about the philosophy behind it. Why do we require spatial audio? What mindset should guide its development?
Were there any talks or moments that surprised you?
What really surprised me was the level of attention from attendees. We had a lounge and a bar area, but they were barely used during the talks. People stayed focused—through around nine talks a day. That kind of dedication was surprising and really encouraging.
Are you satisfied with how the conference went, and do you plan to repeat the experience?
Absolutely. We received an overwhelmingly positive response. I was especially happy with the quality of both the speakers and the audience. People came from all over Europe, and together they created an inspiring, highly engaged environment. We definitely want to repeat the experience — though, of course, financial sustainability will always be a factor.
What excites you most about the future of spatial audio?
I’m truly interested in seeing how creators and sound artists will use this technology. I’m also excited about new tools, like the LEMM3D system we presented at the conference—it’s something the field really needs right now.
What advice would you give to newcomers in spatial audio?
Felix: Play around with all the open-source and free tools available. These days, you can get started without a big initial investment. There are fantastic resources out there that allow you to explore and discover your needs—and help you take the next steps with confidence.
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Elettra Bargiacchi is an Italian sound designer, composer, and multi-instrumentalist, living in Leipzig. She holds a Master’s degree in Classical Guitar and an Advanced Diploma in Audio Post-Production for Film. Her work spans across Germany, Italy, the UK, and the USA. Since 2024, Elettra has been a Visiting Researcher at the University of Surrey (UK), focusing on immersive audio and Next Generation Audio (NGA). She has recently joined the board of the VDT R&D department.