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A live immersive-recording event at Do No Harm Studios will put microphones, musicians, room acoustics, and Dolby Atmos playback in the same conversation.
Great recordings do not begin in the speakers.
They begin in the room.
The musicians.
The microphones.
The distance between them.
And the way the sound moves through the air before it ever reaches a converter.
On September 24, Immersive Design Labs will join the AES Boston Chapter at Do No Harm Studios in Leicester, Massachusetts, for an evening focused on that complete immersive-recording picture.
The event, Immersive Capture in Practice, runs from 6:00–9:30 p.m. and brings together recording engineers, producers, educators, students, and musicians for technical discussion, listening, and a closer look at the facility’s immersive recording system.
A studio designed to make the room part of the recording
Do No Harm Studios is built around a 23-by-27-foot, 18-foot-high variable-acoustic recording space.
That means the room is not just where the session happens. It is part of the instrument.
The studio features a vintage Steinway D concert grand piano, a DW drum kit, an Ex Machina Dolby Atmos monitoring system, and a complete Immersive Design Labs 7.0.4 Immersive Capture Array.
The goal is to demonstrate how a performance, a room, and an immersive microphone array work together from the first note through final playback.
The “Bud Lift” changes the perspective
One of the evening’s most interesting tools is the studio’s remotely controlled “Bud Lift.”
The system adjusts the vertical position of the full 7.0.4 microphone array, allowing engineers to move the overhead microphones in relation to the room and the source.
Drum kit? Move it.
Grand piano? Move it.
Solo performer? Move it.
Ensemble? Move it.
That flexibility gives engineers another way to shape an immersive capture without changing the performance itself.
It is a reminder that microphone placement is not just technical. It is creative.
Hearing immersive recording in context
Attendees will hear recordings captured with the IDL system and played back through the studio’s Dolby Atmos monitoring environment.
The demonstrations will focus on how placement, array height, room acoustics, and live performance interact to create an immersive result.
“Immersive recording becomes much easier to understand once you can hear how the musicians, the room, and the microphone array work together.”
— Adrian Weidmann, Founder and CEO, Immersive Design Labs
Why this matters
Immersive audio can feel abstract when it only exists as a format specification or a list of speaker positions. This event is about hearing the full chain in one place.
The musicians in the room.
The microphone array above them.
The acoustic response of the space.
And the final mix played back in Dolby Atmos.
“Do No Harm Studios allows us to demonstrate that complete relationship in one facility and hear how the initial capture translates into the final immersive listening experience.”
— Adrian Weidmann
Event details
What: Immersive Capture in Practice: An Evening with IDL at Do No Harm Studios
When: Thursday, September 24, 2026, 6:00–9:30 p.m.
Where: Do No Harm Studios, Leicester, Massachusetts
Registration: Eventbrite
Learn more at Immersive Design Labs.
The MikesGig takeaway
Immersive music is not only about adding more speakers.
It is about capturing more of the performance.
More space. More movement. More of what happened in the room.
MikesGig — Gear Moves Music. Music Moves People.
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