The problem is, people are not exactly able to build "movie theaters" in their homes for daily use. Some can build dedicated home theaters for movie viewing at home, creating those immersive format installations, but we do more at home when we consume media than just movie watching. Most of the time, people just enjoy music listening and watch live and non-fiction TV programs, which don’t necessarily need the creative components of immersive audio formats as described by Dolby Atmos, DTS:X, or Auro-3D.

That's why when the industry started to look at the requirements for the next-generation standards for media distribution, including next-generation broadcast standards, and OTT (on-demand) streamed content distribution – consumed in many cases in simple mobile devices – it was obvious that we shouldn't just add more channels, instead we should look at alternative approaches for efficient media distribution to any type of platform.

Also, new types of media (e.g., virtual reality and gaming) were already inspiring a new generation of content creation tools for immersive audio experiences and generated an increased interest in 3D audio concepts and technologies such as Ambisonics/HOA, Binaural, head-related transfer function (HRTF), head-related impulse response (HRIR), and object-based audio techniques.

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