VANCOUVER, British Columbia — Immersive audio production continues to expand across film, streaming, games and extended-reality applications and post-production company Vaudeville Sound has built much of its workflow around Genelec monitoring systems to ensure consistent results across its global facilities.
Vaudeville Sound operates studios in the United Kingdom, the United States and Canada, with a growing focus on immersive audio production. The company works across animation, cinematic releases, XR [extended reality] projects and spatial audio experiences, creating content that must translate reliably across multiple playback environments. According to the company, that challenge has shaped the technical architecture of its studios. “We live and love to work with anything that has immersion at the center of the experience,” said Mirko Vogel, managing partner of Vaudeville Sound and head of the company’s global immersive work.
Vaudeville launched its Canadian operation in Vancouver in 2020. It now serves as a central hub for immersive work, housing multiple mix environments, including 9.1.4, 7.1.4 and 5.1 rooms typically used for Dolby Atmos and other immersive workflows, alongside dedicated ADR and Foley stages.
The facility’s design mirrors the configuration used in the company’s London studios, enabling projects to move seamlessly between locations. “Our Vancouver studios were 9.1.4 by design,” Vogel said. “This mirrors our U.K. facilities to allow work to move between locations with full sonic interoperability.”
The company’s early growth in immersive production was accelerated by large-scale asset creation projects, including the development of what Vogel describes as one of the largest immersive audio asset catalogs produced for Shutterstock. That work helped Vaudeville scale both its studio infrastructure and production pipeline.
“When we engineer on Genelec monitors, we know
Mirko Vogel, managing partner of Vaudeville Sound
with absolute certainty that what we create will be heard exactly the way we intended”
Immersive storytelling
The studio’s workflow reflects the complexity of modern immersive production. Engineers regularly move between multiple digital audio workstations depending on project requirements. “For most projects, we work in Avid Pro Tools or [da Vinci] Resolve,” Vogel said. “Much of our video game and asset creation work includes Reaper as the main DAW as well.”
Control surfaces include Avid S1 and S3 systems paired with Avid MTRX interfaces, forming the backbone of the company’s mixing infrastructure. According to Miguel Araujo, lead sound supervisor and re-recording mixer at Vaudeville Vancouver, immersive formats fundamentally change how sound design supports storytelling. “Traditional film and TV work is still largely driven by LCR,” Araujo said. “With immersive 3D formats like XR and spatial computing, the approach changes dramatically — sound becomes a key part of world-building.”
In these environments, sound must be positioned precisely within a three-dimensional space rather than simply mixed across channels. “Ambisonics allows us to sculpt a spherical field, giving sound the ability to wrap around the listener,” Araujo said. “Every sound must live intentionally within the space.”
Central to that workflow is a consistent monitoring environment across all Vaudeville studios. “Our studios all use Genelec 8340 monitors in 9.1.4 configurations,” Vogel said. The company’s newest facility in Culver City, California, expands that approach with Genelec’s The Ones coaxial three-way monitors, again configured in 9.1.4 immersive arrays. Monitoring and room management are controlled via the Digital Audio Denmark DADman and Avid EUCon systems, with custom operational controls via Stream Deck interfaces.
Genelec monitors have been part of the company’s infrastructure for nearly two decades. According to Vogel, the choice was driven primarily by the need for reliable translation between editing and final mix environments. “We have almost 150 Genelecs across our facilities,” Vogel said. “They allow us to create without worrying about how well something will translate. When we engineer on Genelec monitors, we know with absolute certainty that what we create will be heard exactly the way we intended.”
Expanding immersive formats
Vaudeville also relies on Genelec Loudspeaker Manager calibration software to optimize monitoring accuracy across its rooms. “The GLM system has been a game changer for us,” Vogel said. “The calibration and controllability we get with GLM is exactly what we need.” The software allows engineers to calibrate each speaker in the immersive array to match the room’s acoustic characteristics, helping maintain spatial accuracy and tonal consistency throughout the monitoring system.
Although much of Vaudeville’s immersive work began with Dolby Atmos production, the studio has expanded into other spatial audio formats and technologies, including Ambisonics and development work around Google and Samsung’s Eclipsa Audio format. It has also explored sound design for XR applications.
For Araujo, immersive audio is ultimately about enabling new forms of storytelling. “Seeing artists experience their work in immersive form — sometimes turning around in their chair to hear the mix from different angles — is why we continue pushing the boundaries of spatial audio,” he said.
This story originally appeared in the July/August 2026 edition of RedTech Magazine. You can read or download that edition for free here.
You can access all past RedTech publications, also for free, here.
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