Recent Immersive Audio Systems have mainly been encountered in the cinema world. Nevertheless, also a few brave knights have ventured into music or atmosphere recording with microphone systems for height channels in addition to planar 5.1 surround sound. Whereas in the cinema, 3D audio is basically constructed in post-poduction, for music or FX recording one has quite a toolbox to choose from. Or hasn't she? Do we have solid, tried and tested recording methods? Or is it the ubiquitous 'If it sounds good, it is good'-philosophy that is more attractive than ever? In this presentation, basic microphone techniques will be examined, charting the path from mono to stereo, to planar surround sound and to the latest immersive audio systems like Auro 3D and Dolby Atmos.

Florian Camerer joined the Austrian Broadcasting Corporation (ORF) in 1990. In 1995 he became a staff-sound-engineer („Tonmeister“) mainly in the field of production sound and post-production. Already in 1993 Camerer started to get interested in Multichannel Audio. He mixed the first program of the ORF in Dolby Surround („Arctic Northeast“) and is since then involved in all aspects of Multichannel Audio at ORF. Since autumn 2008 Camerer chairs the EBU group PLOUD, successfully introducing loudness normalisation instead of peak levelling in Europe. He is lecturing on an international basis especially in dramaturgical aspects of surround sound productions, microphones for surround sound, multichannel audio for HD and loudness.