Playing with the spatial attributes of sound has been an intriguing and challenging task for many musicians and sound designers. The multiplicity of techniques developed so far has been roughly overviewed in the previous pages. Despite the length of this chapter, we have certainly missed many important contributions to the field. However, we have tried to communicate which are the main structural, perceptual, or technological limitations and possibilities of spatial audio. We hope that the sound designer, after reading this chapter, will be able to model some spatial features of sound or, at least, to be conscious of those features that will be part of the aesthetics of the design process rather than part of the sonic outcome.
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