Immersive by Design: Crafting Multi-Channel Soundscapes

Designing space through sound — my creative process for Sound Disposition by

Kris Cirkuit

There’s something undeniably magical about placing sound into a room in a way that makes people feel it — not just hear it. When I was invited to present my generative video piece, "Tides", at Sound Disposition in London, I knew immediately that this wouldn’t be a simple playback. It was an opportunity — and a challenge — to rethink the audio for the work from the ground up, to reshape it into a truly spatial and immersive experience.

This was my first time working with a surround sound system of this complexity, and it turned into one of the most rewarding learning experiences of my creative career.

A Room Built for Sound

To understand why this was such an exciting prospect, you need to picture the sound system at Sound Disposition.

Imagine:

• LCR front channels

• 4 powerful subwoofers

• 16 strategically placed room speakers, including overhead

  
  

In total, we had a 13.2.6-like configuration — 23 channels, to be precise. Each speaker is mapped independently, each with the potential to carry its own distinct sonic identity. As a sound artist used to stereo, this was like stepping into a new dimension.

From Stereo to Spatial: Rewriting the Soundtrack

The original soundtrack for Tides was composed in stereo. It worked well for its initial presentation — a tight, controlled, emotional sonic bed that matched the generative visuals. But placing a stereo mix into a room like Sound Disposition would have wasted its potential. So I made the decision: I would recompose the entire soundtrack from scratch, with spatiality in mind from the very first note.

Rather than simply “placing” a stereo track into multiple speakers, I wanted to design the space as a compositional tool. This wasn’t just about movement — though that was certainly part of it. It was about building layers, interaction, and immersion into the architecture of the piece itself.

A Hybrid Approach: Beds and Objects

My process was inspired by hybrid mixing techniques — borrowing from cinematic sound design approaches. I treated some elements as bed channels to form a solid, central foundation. Others were treated as objects — designed to move dynamically through the space.

Each of the 23 channels was bounced to mono to allow for precise mapping during the install. This gave me full control over where sounds lived, how they moved, and how they interacted with the acoustics of the room.

Designing Sonic Depth and Movement

One of the most enjoyable (and complex) parts of the project was the design of wave-based ambience. The sea is a recurring theme in Tides, both visually and sonically. I wanted the sound of the ocean, not just to be present. but to move through the space — to envelop the listener in a shifting, immersive tide.

To do this, I layered field recordings of waves, separating them into three distinct frequency bands:

• High frequencies: mapped to ceiling and upper room speakers, suggesting spray, wind, and distance

• Mid frequencies: routed to side and rear speakers, creating body and presence

• Low frequencies: sent to the subwoofers, forming a slow, rolling undercurrent

  
  

This spectral mapping created the sensation of waves actually moving vertically and horizontally through the room — a sonic sculpture shaped by frequency and space.

Musical Anchors and Atmospheric Drift

To balance the immersive textures, I kept core musical elements — like melody, harmony, and bassline — relatively grounded. These formed the emotional anchors of the piece, allowing the more diffuse ambient elements to drift without losing coherence.

Pads and drones were programmed to evolve slowly, swirling across multiple speakers in loops that were never quite the same. The goal wasn’t to disorient but to encourage a meditative, almost tidal state of listening.

And then there were the seagulls.

I worked closely with the Sound Disposition engineers to map these sounds to the ceiling speakers — letting them fly, quite literally, over the heads of the audience. It was a small touch, but one that created moments of real delight and surprise.

Space, Collaboration, and Discovery

Working at Sound Disposition was also a collaborative effort. The engineers were incredibly helpful in translating my channel plans to their setup, helping me refine how best to map sounds across the system. Their expertise allowed me to take creative risks, knowing the technical side was solid.

More than anything, I came away with a deepened appreciation for space as a compositional partner. You don’t just write sound for a room like this — you write with it.

Looking Forward

Tides at Sound Disposition was a milestone for me — not just a technical achievement, but an emotional one. It affirmed my growing interest in multi-channel audio, not just as a production style but as a language: one that offers new possibilities for storytelling, embodiment, and affect.

The piece received an incredible response, and I’m already thinking about how to take these ideas further in future work — whether that’s gallery-based installations, spatial music performances, or experimental cinema.

There’s something very special about using sound to shape how people feel in a room. And once you’ve experienced it, you don’t really want to go back.

Final Thoughts

If you’re an artist or composer considering the jump into multi-channel sound — do it. Start small, experiment, and don’t be afraid to rewrite what you think you know about composition. The room can become your co-creator,

As for me, this project has opened a door I didn’t know I’d been knocking on. And on the other side? More waves, more space, more sound.