Production tools that hide their technical complexity stimulate an understanding of creation that centres ‘content’ rather than materiality, or form. What are the consequences when such user-oriented tools become the predominant means for conceiving auditory experience? Many scholarly interpretations highlight as an advantage that ‘content’ creators do not have to deal with peculiarities of different sound projection methods anymore. However, assuming a universal model for auditory space effectively shadows its exploration. This paper illuminates that the focus on geometric representation may impede experiential sonic practice. The discussion departs from the main arguments of the call for this ICSA`s Student 3D Audio Competition. We aim to identify implicit demarcations that contradict the transdisciplinary nature of engineering in an artistic context.