Spatial Audio
Spatial audio from the stems you already have
Place your stems in a space and render a binaural mix that externalises on headphones, from a track Euphona has already separated and understood.
Meters at ×2 — a four-minute track costs 8 minutes of your allowance.
How it works
What it measures, what it changes
And what stays yours to decide. Every stage is a parameter you can read back and overrule.
- 01
It starts from stems, not a stereo file
Spatialisation needs sources to place. Either you supply the stems or separation produces them; either way, placement is applied to individual sources rather than inferred from a stereo image — which is all the widening plugins that claim to do this from a stereo file are really doing.
- 02
Sources are placed in a room
Each stem gets a position and a distance, seeded from what the mix already implies — a wide-panned guitar starts wide — and adjustable from there. Distance is rendered with the early reflections and air absorption that make it read as distance rather than level.
- 03
It renders binaurally, and you check it on headphones
An HRTF render produces the headphone mix — which is where almost all spatial audio actually gets heard. It's the deliverable you can evaluate immediately, on the playback system your listeners use.
The specifics
What you would ask before trusting it with a record
Formats, limits, and the places it is honestly hardest. Nothing here is a range we have not measured.
- Binaural rendering
- HRTF-based rendering with distance cues. Headphone-first, because that's where spatial music mostly gets heard.
- Dolby Atmos
- ADM BWF export on the Professional and Max tiers. Dolby's name here names the format we export to — it's not a partnership with Dolby, and we don't present it as one. An Atmos deliverable is a professional obligation with a validation toolchain behind it, and the export is checked against that toolchain, not just written to disk.
- Surround upmix
- Through the API, a stereo source upmixes to 5.1, 7.1 and taller speaker layouts as multichannel WAV — stems-driven by default, the separated sources placed into the bed, or by primary-ambient decomposition if you choose that instead. Layout expansion from analysed sources, not the fixed-coefficient matrix an AV receiver applies.
- Stereo compatibility
- Every spatial render is checked as a stereo fold-down, because most listeners will hear that version. A spatial mix that collapses badly in stereo has traded the audience it has for the one it wants.
- Metering
- Spatialisation meters at 2× the base minute rate. It's the most compute-expensive capability in the suite, and the multiplier is published rather than absorbed into an opaque credit.
Questions
What people actually ask
- Can you upmix my stereo master to surround or spatial?
- Yes — by separating it into stems and placing them, by default, or by primary-ambient upmix if you choose that. Either way the result inherits that step's limits, so we name the method. A plugin that claims to spatialise a stereo file directly, with neither step, is applying a widening effect and calling it spatial audio.
- Do I need special headphones?
- No. Binaural rendering is designed for ordinary headphones — the head-related transfer function does the work, so the hardware doesn't have to. Head tracking is a separate thing, and you don't need it to hear the effect.
- Will this get me onto Apple Music's spatial catalogue?
- That needs an Atmos ADM deliverable that passes their validation — which is what the Professional-tier export is, and it's a real bar, not a checkbox. Distribution itself is between you and your distributor.
- Which format do I actually deliver?
- Binaural for the way almost everyone will hear it — ordinary headphones — and ADM BWF on the professional tiers for platforms that take an Atmos master. The stereo fold-down gets checked on every render; most listeners still get that version.
Try it
Put your own track through it
The free plan runs the whole engine on your whole song and plays you the result, matched for loudness against the original. No card. You pay when you want the file — one track at a time, or a plan if you are making a lot of them.