Andrew Hampp Teddy Riley can remember the first time he experimented with the concept of 3D audio, nearly 30 years ago during the making of Michael Jackson’s “Dangerous.” Using the now-defunct Roland RSS Space Sound Compressor, Riley filtered his voice through the gear to create a surround-sound “5-4-3-2-1” countdown during the intro of Jackson’s 1991 single “Jam” in an era when such technology was too prohibitively expensive and bulky for the masses.“It’s come a long way,” says Riley.