The setup includes a large dome comprised of 32 compact coaxial speakers!
17th century German composer Heinrich Schütz pioneered early iterations of what is now considered immersive audio whose creative vision is being realised 350 years after his death with the modern tools of L-Acoustics and the modern musician Fabian Russ (as Orchestronik).
What you need to know:
- L-Acoustics and Fabian Russ (as Orchestronik) are posthumously realising 17th century German composer Heinrich Schütz’s immersive audio creative vision 350 years after his death.
- Orchestronik is premiering a series of modern immersive reworkings of the Baroque composer’s pieces that combine orchestra, choir, and electronics.
- Immersive audio is something that continues to be a key area of development for many major companies.
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Schütz was active 100 years before Johann Sebastian Bach and would write sacred songs that were performed by multiple choirs, brass, and organs, all arrayed around and even above listeners.
As the 350th anniversary of Schutz’s 1672 death approaches, Orchestronik is premiering a series of modern immersive reworkings of the Baroque composer’s pieces that combine orchestra, choir, and electronics using L-ISA Studio as its primary creative tool, while monitoring through an L-Acoustics’ immersive speaker configuration.
Russ opened the Heinrich Schütz Musikfest with the first part of his “Kaleidoscope of Spaces” series in 2019, exactly 400 years after Schütz published his collection of 26 polychoral pieces.
While some of his initial Orchestronik installations involved a horizontal eight-speaker setup, Russ has been able to scale his spatial audio presentations up to a 32 loudspeaker dome setup this time round.
The setup includes 32 L-Acoustic X4i compact coaxial speakers, two subwoofers, and an L-ISA Processor that enables Russ to create a larger dome for playback of his immersive Schütz reworks.
Immersive audio is something that continues to be a key area of development for many companies including Apple, Amazon, Spotify, Dear Reality, and more, as this project acquires the studio desire to monitor spatially and applies it to the live stage.