In this chapter, I consider how spatial audio and the radio mechanic in Grand Theft Auto V (GTA V) functions as a metaphor for the social, cultural, and economic construction of the Los Angeles beat scene. Just as the marketing and development rhetoric surrounding 3D audio claims to allow enhanced presence, locality, and control over one’s sonic environment, artists in Los Angeles’ hip-hop underground foreground the importance of asserting spatial dominance over both the sprawling geography of the city, as well as sonic dominance over the width and depth of their musical mixes. The use of their music in GTA V’s radio allows it to serve as a core component of the game’s experiential soundtrack, a gameplay mechanic further emphasized by the incorporation of Sony’s Tempest 3D audio format in the next-gen console version of the game. By analysing the shared trajectories of the 3D audio format and the music and marketing materials of artists such as Flying Lotus and Anderson Paak, I outline a spatial shift that occurred in the late 2010s and 2020s in which the private music listening experience became not simply a way to escape or control one’s sonic environment but also a mechanism for engaging further with it.