Six starting points for making position and movement part of the arrangement. Each recipe names the real preset or control to use, then opens the instrument that makes it.
No fake play buttons. Public audio comparisons are the next layer; these setups are playable now with your own material.
Keep the incoming record in front, then send the outgoing deck around and behind the listener over four bars. The transition is audible even before the crossfader moves.
Begin at the far front, cross the listener and leave through the rear field. Doppler makes the change in distance feel physical instead of sounding like a pan knob.
Let a percussion-heavy loop stop at front, right, behind and left. The holds make each position readable; constant movement would blur the rhythm.
Anchor the kick near the listener, put the clap to one side and orbit the hats. The groove keeps its weight while the details create width and motion.
Spread notes across the spatial fan, record the phrase into a quantised slot and layer a second pass. The harmony occupies an arc instead of one stereo point.
Use the Wave path to combine a circular route with elevation. It works best on sustained pads, ambience and textures where the listener can follow a slow trajectory.
Keep the kick, bass or lead stable so the listener has a reference point.
A single deliberate route reads more clearly than every part orbiting at once.
Use bars, holds and phrase boundaries so the position change lands with the arrangement.
Not yet. This first version uses exact, reproducible settings rather than pretending a decorative player contains audio. Owned before-and-after recordings will be added when they are cleared for public use.
Yes for the intended effect. Binaural positioning relies on delivering a different signal to each ear; speakers allow those signals to mix in the room.
Yes. The decks and converter process supported audio locally in your browser, so the file is not uploaded to Azimuth.
Headphones on. No account, no upload and no installation.