Dolby Atmos Discussion Panel w/ Andrew Scheps Talks To Awesome People

Deep dive into the Atmos Music mixing process and philosophy with 4 of the best!
Guest's Credits:
Greg Penny (k.d. lang, Giorgio Moroder....)
Steve Genewick (Elvis Costello, Toto...)
Dave Way (Spice Girls, Christina Aguilera...)
Fab Dupont (Shakira, David Crosby...)
and your host Andrew Scheps (Iggy Pop, Jay-Z, Metallica)
Submit your questions here during the live: v2.puremix.com/live/andrew-ta...
About Dolby Atmos:
Dolby Atmos is a surround sound technology developed by Dolby Laboratories. It expands on existing surround sound systems by adding height channels, allowing sounds to be interpreted as three-dimensional objects.
Learn more: www.dolby.com/technologies/do...
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[@deadscenedotcom]

This is one of the very best discussions I've seen on KZbin. Feels like an AES panel. Just brilliant. Deep thanks to all of you!

[@jimpanse3920]

Professionals at the top of the game share their knowledge and learning process in-depth for free… This is just amazing and so helpful for us overwhelmed home studio folks trying to find out what‘s going on with this Atmos madness… THANK YOU!

[@danialdevostmusic]

I agree so much with Fab at around 1:18:00. The loudness for atmos being at -18 is so freeing in mixing, not having to worry about how the mix is going to react when slammed through a limiter or when high end gets cranked like often happens in mastering. I would be happy staying in stereo if we got to mix as dynamically as we do in atmos

[@errmable]

Amazing show guys thanks. I appreciate Mr. Duport slowing it down for everyone to keep up. He reminded me of myself where he know's the answer, but makes sure that everything is broken down so that everyone else can understand what's going on.

[@KaneChurko]

What great stuff! Been working on Atmos for a few months and am fascinated watching it. Learned and confirmed so much with this video! Thanks for sharing guys! 🤘🏻

[@renaldodavis7372]

I'll be watching this over and over again. So much great information! Thanks!

[@PuremixAudioTutorials]

Thank you so much for the kind words Renaldo

[@johnnorman7836]

Great session guys, thank you for giving up your time to roundtable this, very thought-provoking, great insight, let this be the marker for the road ahead. it will be interesting to see how this pan's out in the coming months and I mean that objectively :-) The curiosity all started from an article in this month's sound on sound. I'm off to buy a white lab coat so I can start experimenting. See you on the other side, I appreciate some of us won't be coming back ....... BTW never thought I'd watch a 4 .5 hour KZbin., Amazing thanks again.

[@danf3607]

Love this conversation. Thanks for your time guys.

[@BrooksAudio]

Thanks so much for hosting this! Golden advice on how to make this accessible. So well presented by Andrew as well, all panels need to be hosted by someone with that level of knowledge!

[@PuremixAudioTutorials]

cheers

[@CLdwyer]

This is such a revealing discussion about the industry and development of stereo and the listening formats of the past century. If atmos has a future, maybe this impacts production as well. I think there’s a lot of work needed for the listening formats & how to calibrate and translate a listener experience but immersive audio is exciting to consider.

[@seismictom]

Andrew, I don’t believe we’ve ever met but of course I’m a fan of all you have given to pro audio - and still giving. Thank you for hosting this! And hey to Greg!! Haven’t seen you in forever - Bob Parr sessions I believe

[@shanegrush]

Such a great discussion. Thank you all for sharing your experience with us.

[@sandramuncelli7976]

Great discussion. We are checking out another ATMOS studio this coming week. Capitol Studios was booked, but are looking forward to working in Dolby Atmos on the new monitors there.

[@ethanhenleymusic6341]

Thank you guys so so much for doing this. This is an incredible window into a whole new avenue.

[@That1Guy]

That Miles story was really enlightening! I can’t believe the original was only three tracks with two instruments summed per track! I had no idea, it’s just so perfect and still sounds so hi-fi to me.

[@Firegardenmusic]

Great panel, great talk...pure awesomeness

[@jackthomason4611]

As a music fan with an interest in the process behind it all I really enjoyed this. The phrase ‘listening experience’ has really come to define how I view atmos music (even if I don’t have a sub yet). I can’t see where the format goes next or what all of the participants in this discussion do next. Do any of them have mailing lists or anything where they’re able to share new releases or their latest projects?

[@andrewamicarelli]

The first 10 min is the best summary of this "new" tech I've seen. Love Scheps!

[@spane5mixline]

Thanks for this panel. We want more of this please

[@PradeepMathew]

The explanation of Dolby Atmos system by Andrew Scheps at the beginning was awesome!... thanks!

[@martinrussell6174]

Pure gold. Thank you!

[@QFXmusic]

Thank you Andrew and all in this video... As a producer who has limited budget and is building an Atmos Studio room this video was just amazing with so much inforamation... Thank you and will you be doing an update to this video.

[@amdenis]

Great discussion. Thanks for sharing!

[@silverbeetle]

I've been a surround sound fan for YEARS and I had no idea there was an Atmos music movement?! Very exciting! Great discussion and I hope the companies continue to focus on quality. Looking forward to kicking back and listening to some Atmos tracks tonight :)

[@dougleydorite]

Atmos is pretty much an upgraded way of making surround sound functional on any system (including ceiling speakers), right?

[@Dizbel1]

Last time a lot of peopple speak about atmos but nobody cam rally explain what is the real gift it gives the to the public. I really went through all this brilliant discussion and understood a lot of things tied to this new solution stuff. Thak you Masters!

[@billB101]

Now that we're a year down the road, and considering Atmos is constantly in flux, I would love to hear another panel on this discussing what's changed.

[@OldManandtheGHome]

Thank you so much for doing this talk. I stuck with it and now am a little clearer on ATMOS.

[@PuremixAudioTutorials]

awesome Rosario!

[@TroyLeonardO]

Thank you for sharing your knowledge and time. This is fantastic 🙏🏽🙏🏽🙏🏽

[@PuremixAudioTutorials]

Thank you for stopping by and watching!

[@spane5mixline]

I watched till the end. Thank you once again

[@donaldlee6760]

At 2:53:48 - I am excited to sit in the sweet spot while listening to a new atmos release on Tidal or Apple Music. I actually have a 7.4.4 system with circular holes cut into ceiling for my 4 top speakers. I initially wanted an atmos in anticipation of Wonder Woman 1984 coming out in December 2020 on streaming and realized more streaming movie releases would be available in atmos. In 2021, when Tidal and then Apple Music offered atmos music releases, I again became excited excited about music streaming. My kids XBox is also running on the same AVR system and plays in Dolby Atmos. I'm hoping The Breeders gets an atmos release in the future. My system is actually very modestly priced as I picked up my speakers on closeout and I'm into DIY building my own subs. Having 4 subs located in the 4 corners of the room is awesome.

[@seanms35]

Andrew, “So Imma start because it’s my fxxking show”. I haven’t laughed that hard in a minute 🤣

[@johnkrummrich4948]

3ed time watching this. every time I do I pick up more. I would suggest just having it on when you are doing other stuff. For me the more I mix in Atmos the more I pick up little things in this conversation that flew by me earlier. This last time it was creating object number zones for the binaural settings. thanks again.

[@delmixedit]

Thats how we do films typically. Mix in surround and also check the down mixes while working and deliver down mixes with the surround mix all at the same time.

[@gregoryivesdolbyatmosmusic]

Thanks for this conversation.

[@squeakyproductions]

I'm on my second time watching this, can't believe I missed the Festivus reference! Frank would be proud, now for the feats of strength.

[@realiam1am]

I've been mixing on the laptops speakers, headphones and my yahama dolby system with good results . Also I mix in atoms first and then fold down. I'm always checking what it sounds like on my ns10s as well as my mono reftone

[@immersiveaudionft2203]

thank you for doing this

[@LaGrungeMusic]

Thanks for sharing this.

[@JPRWP]

A bit of a new comer to atmos. Can I use my X8 and X8P together to get a 7.1.4 speaker setup. Maybe with adding a monitor controller? Or should I look into different audio interfaces to start my journey towards an atmos setup

[@pieterjanjordens]

Does the atmos renderer also use haas-panning for enhanced localization? Might there be a difference between bed and object usage in this?

[@NOMADCREATIVESOLUTIONS]

I saw someone set up a Denon consumer Atmos system and the amount of pairs of outputs on it, not to mention inputs was insane.. I think he set up 7.2.4.. that amp was designed for a large space but with the cash, consumers can buy that gear like they could 5.1.. I have listened to music in fake Dolby pro logic music 5.1 forever and also have a couple of actual 5.1 DVD mixes like one from REM.. I love the dynamics of 5.1 and can imagine Atmos in music will allow some really cool effects.. I agree that bluetooth speakers will aid speaker placement massively.. I'd be interested to hear Atmos mixes translated on my 5.1 but I'm guessing my 5.1 amp would need an Atmos decoder.. currently my windows PC has an Atmos output listed so whether that can decode and then send to 5.1 I have no idea.. of course this is a consumer perspective rather than a mix perspective.

[@jaumecabalgante7178]

These are the most important and educative four hours of the future music industry 😉😄 Great! I posted a question in the chat but it wasn’t answered. It was too late here in Spain. Can somebody answer, please? >>> Do they start the atmos mix after the stereo mix is finished? I mean, Is the stereo mix the starting point of the atmos mix? It may not be a very thoghtful question but the answer can be very explanatory in itself for me as mono reverbs could be crucial in this acoustic envirnment. Thanks! Bravo.

[@jaumecabalgante7178]

Oook! 1:01 is the answer. 👍🏼

[@Heathcombe1]

I have a question for you. I have a 5.1 system with speakers in the ceiling in a very small apartment. Because of the space, reconfiguring it for Atmos wouldn’t be possible, so could I get away with playing Apple Music spatial audio files from my current 5.1 system?

[@AaronDaniels123]

A wealth of knowledge going on here!!!

[@gojdartamas34]

My wuestion is remains the out of box mastering in the future , and what and where is masterig apply to this process, as I could here this is still a big question?

[@Jordannofun]

cant even sell stereo and were focusing on surround. I dont get it entirely

[@VGiena]

This is so awesome as a listener with a consumer home theater 7.4.4 audio system. Thank you !

[@Screaming-Trees]

How would this translate to the listener? I mean, you wouldn't walk through the stage in a live setting. You'd sit in front of the stage and get a stereo presentation in most cases no? In that way the band is always in front of you. The sound is coming from the front. Where would you experience a record from a perspective of one of the players on the record playing that record on stage? Have you ever played live? I hate the stage experience personally as far as presentation is concerned (player's perspective I mean). Monitoring yourself and the band through the monitors is far from ideal. This whole thing feels like a bit of a gimmick to me. Artificial might be a better word maybe. I.e. forcing a very unnatural listening experience onto the listener. Saying that though I've not tried it so, I'm not speaking from experience. It's more a question I suppose.

[@VGiena]

@@Screaming-Trees its whatever the artist or the client signs off on and if you the listener are not enjoying the mix they can switch the format to stereo and the track folds down. So if you think the artist sculpture is not pleasing, by the press of a button its transforms to a portrait. In order to discover the new world someone has to get in a boat and paddle. For example, rush " tom sawyer " seniment is mixed on the atmos recording. The general agreement is the first seconds of the track with the synth coming from the height channels is incredible. But the audio quality is terrible. Also, when you think of RUSH, the first thing that comes to mind is *Neil Peart* how the atmos mix did not have elements from one of the greatest drummers in rock history prospective is a crime against humanity. Im mean atleast one fill from neils prospective Behind the drums, talk about missed opportunity to showcase the audio format.

[@Screaming-Trees]

@@VGiena Those are some nice, flowery metaphors mate. :) It kind avoids the question. Inelegantly too I should add. You said you have 7.4.4 system so I thought I'd get your perspective as a "listener" or consumer of this type of technology but you instead turned this around into a third person theoretical thing. I.e. if the now imaginary listener doesn't like what they are hearing they can go back to what they like etc etc. I wasn't the subject in my question. You were. Your experience was what the question was about. Did you not want to answer it? How do you get around the issues I've raised in my question in practice? Also, outsourcing this problem to the listener is kind of a cop out.

[@VGiena]

@@Screaming-Trees i answered, if you dont like the atmos mix you switch off the format to fold down to stereo. What are you moaning on about. Youre asking my thoughts on multichannel audio. Think im onboard with a 7.4.4 home theater.

[@Screaming-Trees]

@@VGiena Moaning? Wtf man?! I asked what your thoughts were and your answer has nothing to do with my question. You talked about a theoretical listener and how they can switch to stereo if they don't like what was mixed. How is that an answer to a question about experiencing this personally? That's not what I asked. If you don't want to answer then just fucking say so. It's direct, it's honest and most of all I'd respect you for it. If I were to infer anything from your answer it's that you have no idea and you're dancing around the question with a bunch of irrelevant metaphors precisely because you have no idea. Which is strange since you said you already have this type of system and you're all in on it.

[@nicksaya]

Please explain Object Beds. How to create etc. is it just multi Chanel aux that you send tracks to and then make that aux an object? Is the panning around that Aux the same as an object going directly to the renderer ?

[@jamelabanderson4474]

Fantastic knowledge in this video. Will have to watch a 2nd time to take notes. Can you mix Atmos on Windows yet, or are we still stuck with Mac?

[@Sheriffvlogs]

You can use DaVinci resolve , nuendo , Cubase on window kzbin.info/www/bejne/gomkcqJsg6qMatk kzbin.info/www/bejne/n6m8Z3yGfN-Crrs kzbin.info/www/bejne/Y6rWqWZtj5Wnn5I

[@AvithOrtega]

01:17:26 completely agree with that, Atmos -18 LUFS standar with end Loudness War once and for ever hopefully. Something I hate about this is that in the Atmos webpage you can hear both versions (stereo and Atmos) and they have very different volumes, giving a lot more credit to Atmos versions, when a proper comparison to really see the "inmersion" aspect of the format is having the same mixing and mastering on both versions with equal loudness, so people could hear only what Atmos is REALLY doing, the 3D space, because volume and proper dynamics don't come from the format, it always has been about the people that decided to make loud and flat stereo versions from the beginning.

[@sandramuncelli7976]

Love your video. Really helpful. I think it is totally useful to share what a lot of people school and on soc media think about dolby and Apple spatial music. Almost universally they hate and avoid it like big-time. It’s a growing hatred the more music comes out in this crappy for headphones format. Maybe older people don’t notice it but it’s like some of the mids and high frequency of the music are played through a washing machine. Hurts the ears and brain the more you listen to dolby atmos. Doesn’t matter the headphones. Even Apple. Maybe especially Apple. We all tried to figure out what is happening. Apple gear is even weirder on ATMOS. Not just the head tracking for sure. Like it is just weirdly unnatural. Dolby really should go back to movies with ATMOS. A bunch of us like about a dozen listened to some new Beatles and Norah Jones on Apple AP buds and Max headphones last night. What the heck is Apple and dolby thinking. It is fun to play around in the mix like we do at the studio. But they are alienating a lot of us younger people with Apple spatial and dolby atmos.

[@SamHocking]

Apple Spatial isn't Dolby Atmos Binaural that's baked in the Atmos ADM file. Apple creates a version of the Atmos mix as a 5.1.4 version and then virtualizes that 5.1.4 mix into Binaural. This process is all done inside the ipods. This is why it sounds 'different' to the studio. If you want to hear the actual Atmos Binaural version you'd have to go through something like Dolby Access on Windows.

[@matthewpaul01]

This was so freaking interesting! I have nothing to do with the audio industry other than being a massive fan of well-recorded music. Being at home b/c of Covid over the last year has allowed me to dive down the rabbit hole of building a 7.1.4 atmos home theater and getting good headphones and starting to listen to Atmos and Binaural music. My question is where is the best place to find Atmos and Binaural recordings. It seems hard to find them.

[@citizenworld8094]

Tidal is good and some French company too which name escapes me. Hope you recovered.

[@brianknight8195]

Thank you, really helpful, looking forward to another one, this seems a lot like my theater sound rig. I like the idea of that. The assumptions of the future make sense. This will get people back into awesome rooms to record, artists back into studios. It’s like setting up the artists and consumers to get into their listening habits in good sounding spaces through good sounding systems and to make Apple invent new shit😂🤣. Yay! Scheps, you’re now operating a pro multi output theater in your room with all that Danté in and out. Nice. I’d need to intern with someone for a while to get this, but, once I get it… it’s got, and I’ll go wild with it. Thank you again.

[@user-ty9ho4ct4k]

The integrated renderer in protools is pretty rad. I've been bouncing certain elements as a 2.0 stem and the rest as a binaural stem and then recombining them while mastering.

[@eskildabelseth]

Wonderful discussion! Just curious: considering phantom centers, is there a good reason a setup like 4.1.4 wouldn’t work for mixing in Atmos?

[@spane5mixline]

It should work. Other missing 3 just gotten from the phantom centres of the 4 pieces.

[@stevendouglas3860]

Is it any better than. Sansui Naim , Marantz, Accuphase , Cambridge , well I don't know

[@redemptionNFFC]

the Apple binaural is also an HRTF If I understand it properly... if you look at the patents and watch their marketing video they are using Atmos > Ambisonics > HRTF - it needs the ambisonics to do the head tracking, imho.

[@fasti8993]

That question, how immersive mixes can be monitored properly to make shure they translate to binaural or apple spatial audio, is not a question that we have to answer. Apple/Dolby have to come up with a technical solution for this, and I'm confident they will..

[@brianknight8195]

Ok, if you can just move things instead of eq, what is Atmos doing to the processing which keeps it from becoming muddy mush when doing a crash down to binaural? What will happen when someone starts to use creative compression in Atmos mixes, much like bus compression, and localization effects rather than panning for movement in the mix?

[@rafalvarezsevilla]

3:31:30 Morton Limberg or what was his name? can't find anything, did i get the name right?

[@tourmgt]

what's your thoughts on Studio One v6.5 with Dolby Atmos included?

[@tristanjohn]

I've been watching video on atmos all day trying to catch up to speed...I've only been watching this 9 minutes and I already know everything I was wondering about. Don't know why I went anywhere else.

[@PuremixAudioTutorials]

We have a new series on Atmos with A Scheps coming exclusively on pureMix

[@Mix3dbyMark]

but you guys were mixing in headphones

[@FransvandenBergeMuziekschuur]

How do you integrate a 5.1 console into a Atmos mix ?

[@peterbrandt7911]

You gotta love Andrew. As a windows user, I'll maybe try some headphone mixes as soon as Cubase gone Atmos, but honestly, I still doubt, that Atmos will be that important in the music only market. Movies and gaming are something completely thing.

[@SamHocking]

Nuendo and Davinci Resolve have the Atmos Renderer built inon Windows, but there's no realtime Dolby Atmos binaural monitoring possible on a Windows setups yet unless you invest big $$ in Dolby Atmos Mastering Suite. The whole Apple v Dolby binaural thing is a bit of a mess for engineers anyway as 80% of music is listened to on headphones, but no engineer can hear Apple's binaural version while mixing yet and the workarounds are basically pushing renderd files around like the acetate days haha!

[@brianknight8195]

The more I listen the more it sounds like large format theater system mixing and the more I understand that it’s like that. It makes sense.

[@bobby_summerfield]

Nice One Andrew. Hope you are keeping well bro. - Bobby S

[@larryvaughn5843]

Is it possible to listen to this or will it be re cast at some certain time?

[@PuremixAudioTutorials]

Yes Andrew usually add them as podcast find them here: anchor.fm/andrew-scheps/episodes/ATTAP-Ep-56---Dolby-Atmos-QA-e1ai900

[@lamentistriangle281]

1:17:25 this is exactly why i only listen to Dolby Atmos on my streaming service. They have more dynamics. But still some artists go lazy and use the same limited and compressed stereo assets, (typically for most elements found on front channels, when i look at 5.1 E-AC3 delivery on my DAW; you see weird limiting and clipping that doesn't make sense) which was baked into the production chain, on their Atmos Mixes. So, even Dolby Atmos does not guarantee that at the end listeners get uncompressed dynamics, rather overly compressed and clipped for those tracks.

[@amdenis]

At around 44 min in Fab mentions a very important ATMOS associated issue, which ongoing research continues to confirm. The issue is that roughly 50% of people decode binaural front to back one way, and roughly 50% do it the opposite way. Further, there appear to be several other related binaural decoding biases, which seem to be genetically based to varying degrees. It is NOT an HTF (head transfer function) correctable issue at all like Dave Way suggested, it is genetically associated (and likely strongly so, as it appears to track with family lineage), and early learning (possibly starting prenatally) appears to have some affect on perceived imaging of some of the other decoding variations. Personally, I have the same issue as Fab, which is that the front projection stays flipped when the ADM is rendered binaurally. Further, when rendered in Apple’s Spatial Audio, some of these perceptual decoding issues become worse, such as in-head image localization, proximity distortion, and others. We are working on ways to address this and other issues inherent to immersive encoding, decoding and rendering, which we have found are currently serious impediments to the successful adoption of immersive music formats like Dolby’s and Apple’s.

[@SamHocking]

I can't talk of others, but some binaural alrogithms work really well front to back for me, others really don't. Then some, such as HEar V3 really works for overheads too. The best I've heard is HEar V3 and Frraunhofer IIS. I can't talk for how Apple are doing it, although that's not really Atmos anyway, it's screwed around 5.1.4 it seems. I'd say Dolby Access on Windows is the most faithful to the ADM perhaps? Very difficult to compare though both from a financial and practical perspective.

[@amdenis]

@@SamHocking Thanks!

[@amdenis]

@@SamHocking - I just checked out the various Hear V3 and FH demos, and they sound phenomenal. But, it’s still totally the same problem- all the sound is either behind me or the typical in-head, in-ear experience. No sound stage or natural imaging of any kind. Very cool effect though. A lot of research I’ve read assert that it is likely that I’m just part of the roughly 45-55% that experience the reconstructed stereo this way in headphones and in-ears. It seems to also not be improved by the head transfer function either.

[@SamHocking]

@@amdenis It's still very early days in terms of binaural Atmos. I might be completely wrong, but I assume those 45-55% can correctly perceive the location of natural sound sources aroudn their head? At the moment personalized HRTF measurement is mostly an academic thing and for those using more advanced systems than Atmos/Apple provides. I think at some point (probably already being looked into) you'll pop into your local apple store and get a personalized HRTF measurement of your head and ears and that will become your profile for binaural listening. I've no idea if that means the 45-55% can then perceive sound direction like the other 45-55%, but I think a big issue is, all the binaural models are simply of a manequin or average/typical human head and ear canal. Bit more info if you search for 'AES69-2015: Key to Immersive Audio'

[@amdenis]

​@@SamHocking Interestingly, the number is associated with the "flipping" of front to back (not front WITH back), where the sound stage effectively becomes half of a sphere (i.e. not reversed). Most hear virtually no front imaging projection, while some hear virtually nothing behind them. Its seems to be genetically biased with some research indicating that prenatal through early childhood may possibly reinforce genetically determined tendencies. Jury still out on the contributing and other factors. Obviously this is all a headphones and IEM issue, as immersive played on speakers presents a soundstage as more commonly expected to listeners. Sadly, HRTF optimization helps with other issues, but not with that. Correlated with that issue is that many find much of the 3D experience localizes in their head, rather than outside-- no matter what is tried. This doesn't mean that they don't hear it partially projected out into space, but rather that they hear a lot of the stage presented as localized in their head rather than out in space. This is sometimes addressed slightly via HRTF optimization.

[@user-ty9ho4ct4k]

The beatles had pan pots. The REDD console had the first ever pan pots. The odd panning in the beatles(which I think sounds fine) is an attempt at immersive audio.

[@tourmgt]

PLEASE do an update on this topic using Studio One v6.2.5 with built i Dolby Atmos. thx in advance God Bless you and your family

[@brianknight8195]

Is an ADM file also like a polywave file?

[@NoQualmsTheArtist]

The main thing that sets Atmos as the standard is that the ADM file will always be the master. All future technologies will reference the ADM to become whatever format they use because it is completely flexible. That makes Atmos future proof and is what sets it apart from previous surround formats. Where we are today and where we are in the future is completely irrelevant because the ADM will always be the same.

[@soundmonkey1417]

Please add subtitles

[@BobSandifer_Mastering]

So the idea is to make a mix that consumers should listen to on a full Atmos system? Maybe I am missing something. We are opening a new free audio school and are considering adding the extra gear we need to put in a Atmos room (gotta hit some manufacturers up) but I can’t imagine anyone actually having anything better than headphones to decode the magic.

[@SamHocking]

It depends what you're gonna use as the Dolby Atmos Renderer. You can use a Windows machine with Davinci Resolve or Steinberg Nuendo's built-in Atmos renderer to build a pretty cheap 7.1.4 speaker setup and export Atmos master files too. The issue with the Windows route, is Dolby appear to go out their way to prevent listening to Binaural Renderer unless you buy the full Dolby Atmos Production Suite on MacOS, but then at the same time, Dolby also say the Binaural Render is only for production purposes, in order to work on a Dolby Atmos mix outside the Atmos speaker environment, it's not a tool to determine final mix decisions, so why they're so protective over it is a little odd.

[@MonteMcWilliams]

Neverwinter Nights 2 introduced a 3D spatial method for sound clips in 2006. About time the world caught up and improved the idea.

[@balacisco]

Like steve said, we had dolby atmos wireless speakers on the market. sony HT-A9 is one of the best Quadro (4.0.4) based Dolby atmos system really fantastic.

[@sonidojamon]

Some timestamps would actually make me whatch it. But 4,5 hours of which 3 would be things I already know...

[@Meteotrance]

I heard in the mouth of the guy who remix the soundtrack of the movie the doors that he used the already existing 5.1 mix in the bed and extend the paning with the object send, now i understand why i cant use it in davinci resolve, it's for up convert an already existing surround mix in 5.1 or 7.1, working natively is by far easyier with mono and stereo source.

[@curtisburns]

Andrew’s Festivus joke deserved a laugh.

[@wellingtondti_]

i wanna know more about 360

[@dougleydorite]

Good points made at 2:20:00

[@oBdurate]

Dave and Steve look like they picked the exact same player model in the character creation screen and then Andrew looks like an elder wizard version of both of them

[@delmixedit]

"Still in the early stages" "Movies have had it forever" Those two statements contradict themselves. I agree with Fab on average consumers. I mix films (non-theatrical) and even mixing in surround, 80% of the mix is done in stereo because 90% of the viewers are viewing in stereo.

[@jeremyburnum8604]

Why not make HRTF created for each individual, like Symth Research? Then headphone object mixing can translate to those that have that personal calibration file. We buy speakers, right? Why not buy personal HRTF calibration files?

[@jeremyburnum8604]

I know I'm replying to myself here. But what the heck, Mastering does so much in the coloration of the final stereo mix, we need a better-optimized method of stereo to stems imported. Argggg

[@jeremyburnum8604]

Why not create stems with metadata, not ADM files with metadata. I know I'm thinking outside the box. But looking to the future. The stems hold the key to the final work with future changes. Why ADM BWF files as the master. Create metadata for BWF files. Again, thinking outside the box here. Sorry for the rant.

[@jeremyburnum8604]

Again another rant here. Off, near, mid, and far is antiquated in Dolby binaural, someone needs to figure out how to transition smoothly between the modes. Just a thought. This should be automatable, not set in stone per object.

[@Mix3dbyMark]

Ok rich and established engineers, thanks for that.

[@brianknight8195]

Also, I’m glad this is killing the loudness overcompression limiting war. Yeah!

[@fattohead]

Just for a second I thought Greg Penny is actually IAN PAICE from Deep Purple!!

[@citizenworld8094]

Time for an update lads.

[@jorge.aldape.g]

Better to die with the secret than share it with IA. ?

[@mattoverman8251]

Can someone link the Rocketman mix?

[@sandramuncelli7976]

We listened last night to that and the new Beatles and Norah Jones in ATMOS. Maybe it’s because we all are musicians and have ‘young ears’ but this atmos and Apple spatial stuff is crap on headphones or buds. Weirdly unnatural is what most of us find. The more we have listened the more it hurts the brain. Fun to mix in tho! Really good for movies too.

[@mattoverman8251]

@Sandra Muncelli Interesting comment. I will have to somewhat agree. I mix with 3D binaural as first priority. It is certainly super cool to mix with monitors surrounding you but the day when the mass can enjoy the same experience in not any time soon. It's fascinating to watch this evolve. There is a lot of money being invested to the 3%ers who can benefit. That typically is not good business sense but absolutely necessary to start this amazing revolution. These early days and easily available technology will expose exaggerated mixes, but once the dust settles and we should settle in to using this to tastefully cater to the masses (binaural priority) and stop things from flying around our heads in the mix. I have found my hybred balance of 3D mixing that does not compromise the binaural experience, and allows me to be in the -12 Lufs range and sound amazingly dynamic. It can also be uploaded to Spotify. At the end of the day, Dolby Atmos for headphone use is a stereo mix...period. Anyone please correct me if I'm wrong.

[@ML-yw4hv]

1:14:56

[@VelvetSorrowmusic]

Back to the same dilemma that came when surround sound was out.

[@JulianDavidMusic]

Around 02:15:00 the discussion gets interesting for everybody who is mixing professionally. Call me cynical but from a business standpoint, this all makes zero sense. It's sad, but I just don't see investing into the gear required to set up an Atmos mix room when it looks like I'll never stand a chance to recoup the investment.

[@cornerliston]

Good to see, great panel. Conclusion (in every creative business): Clients needs to be educated. We'll always have clients who think it's just a quick fix when it's actually taking a WHOLE LOT of time to do. Difficulty might be that YOU WANT the job, but have tons of investment and ROI is getting on the negative balance. Well, educate the clients. Explain why the cost is as is and why they have to balance their budget. If you hire a lawyer, first answer will be “this is the hourly rate,” (or actually their hours are often divided into quarters). You won't get ‘just some extra tips and tricks’ from that lawyer. Won't happen. Why? The fundamental idea about what things costs and the incentive of paying that differs a lot from many creative business.

[@TheMuffinMan01]

dear fab, there are over 9000 atmos explainers on the internet. let the working professionals speak at their level because that is what’s missing k thanks. great talk tho 🙏

[@seanms35]

As an avid gamer and mix engineer, all I can say is… It’s about time~

[@edmc2]

🍻😎

[@christin1095]

Be careful when you sign up with pure mix. Buried in the fine print is a 1-year contract