On April 27-28, 2022, the Guangdong Association of Recording Engineers organized a 3D audio recording exploration event.

Due to pandemic control measures, the event was held without public attendance at the Xinghai Concert Hall, featuring a performance by the Guangzhou Symphony Orchestra.

As a member unit of the Guangdong Association of Recording Engineers, Hong Kong Sound Works provided comprehensive support for this event by supplying a YAMAHA RPio222 stage rack equipped with Neve preamps. The stage rack facilitated the conversion of signals to Dante protocol, enabling seamless multitrack recording throughout the performance.

The YAMAHA RPio222 stage rack features analog inputs equipped with high-performance Neve preamps, each channel incorporating Rupert Neve Designs' SILK processing technology. This sonic character aligns perfectly with Yamaha's longstanding philosophy of "Natural Sound."

As a component of the RIVAGE PM series, the RPio222 maintains compatibility with Audinate's Dante networking protocol. During this event, the Dante network was utilized for multitrack recording, capturing every nuance of the live performance without coloration. This approach preserved the integrity of each sonic detail, maximizing the emotional impact delivered to the audience.

The recording experiment utilized two microphone setups, one of which was arranged by the concert hall's recording team. For this particular program, a combination of conventional primary-secondary microphone placement and specialized sound field microphones for immersive surround sound was employed. This integrated approach, now widely adopted internationally, represents a prevalent method for capturing 3D audio content.

The second setup operated as a fully independent system, utilizing the "OmniWave" sound capture device (10+2 channels) developed by Professor Zhao Ping.

The debut of Professor Zhao Ping's self-developed 3D audio recording "sphere" marked a significant technological advancement. This device not only perfectly recreates the acoustic field of a live performance but also, when synchronized with VR video, enables sound image tracking (requiring positional data and algorithmic support).

The "OmniWave" recording has already undergone mixing in the audio control room of Guangdong Broadcasting Station's 1600-square-meter studio. The engineers involved in the mixing process unanimously reported that the results exceeded expectations.

This experiment employed two fundamentally different methods to record the same performance within the same acoustic space, enabling subsequent comparative analysis, technical summarization, and related research. The initiative demonstrated strong practical significance and instructional value, providing invaluable source material and establishing a solid, extensive foundation for the Association's continued exploration and understanding of 3D audio recording and reproduction.

The 3D audio recording exploration event, successfully concluded through the collaborative efforts of Sound Works and the Guangdong Association of Recording Engineers, has effectively strengthened technical exchange within the industry and promoted the adoption of advanced audio technologies.