Planning The Atmos Rig

[@kennethdaniels]

As cool as I think Atmos is and as hard as labels are pushing it, I haven’t talked to one normal music fan (or any friends family) that ever brings up Atmos or Spatial Audio. Now of course that’s a small sample size, maybe like 50 people total. I wish you the best and look forward to seeing how it pans out 🤘🏻

[@ILoveTelecasters]

So true. I love the format. Truly immersive. From a music making standpoint its amazing. Also another sales point for manufacturers. I imagine audiophiles would swear to stereo and normal consumers would be convinced into an atmos soundbar. But who would invest in a proper, but inconvenient setup? (Me if I had the money 🤪)

[@alex_ayers]

I thought this originally as well, but I do feel like the market is unsaturated with interest in overpriced consumer playback systems. You can get a decent record player for under $200, and I think the same will happen with average consumers wanting a "real" immersive setup, whether it be for average consumers or bedroom studio's. Same with luxury car manufacturers putting a dent in the idea of Atmos, which I think will be the best thing for the format, outside of better headphone tech and affordable consumer devices for the home!!

[@oishikplays]

@@alex_ayers you can't get a decent record player for under $200

[@JasonBuffin]

Your interview with Joshua was really informative on some of the tech specs for the room and speakers. I don't think I've seen anyone else on YT go that in depth. Thanks!

[@exes_official]

Completely unrelated to the video but I recently watched the Pensados Place interview with CLA from 11 years ago and was surprised when I heard your name come up during the Q&A. You asked what advise he had on making the move to only mixing in a saturated market. Look where you are now, crazy. Congrats to your success man!!

[@ColtCapperrune]

I remember that well! Thank you so much!

[@oliverkky]

We all want to have an Atmos rig, but we also know that none of us (with a few exceptions) could afford it one way or another. That's why I think Atmos will not get much bigger than it is right now, and it'll probably grow more in the film industry. That said, I love seeing people explore new things and seeing where it leads them. My uneducated prediction is that we're going to see Colt working on a big movie.

[@djellisdee]

Also, "renting out" your Dolby certified Atmos studio room to new clients might be another new revenue reason to invest for studio owners like Colt?

[@mountainlabelmusic]

Well one thing is for sure, is that Atmos has been in the Film industry for the past 10 years, and the same technology for that used to mix for film with have to translate for music for sure!! Not to mention, how affordable Atmos systems are already getting ($4,000 for a 7.0.4 iLoud system), which is insane!! We also have to remember, Colt is a professional with higher class clients, and this has become essential to his work for an unsaturated market with limited consumer knowledge. The average consumer also doesn't care that music is mixed through $100,000's worth of equipment in the top music studio's in the world. But they still listen to what is popular/sounds the best, and we still make it with the intent to provide the highest quality possible, for the people that are paying attention. Music producers wouldn't mix on expensive gear if it didn't matter and if it wasn't fun!! I referenced at 12:08 that you don't HAVE to have to space to do it. You can also technically work on Atmos with 5.1/7.1 without having to get a full rig yet. I have a couple of videos that go into detail about it!!

[@levondarratt787]

I dont want one...u can do atmos in luxury headphones for 1500 dollars and never look back..putting u 200 speakers in your room liek some grandpa from 1990 is retarded...

[@resington]

Everything involved with this seems like an absolute nightmare Colt! I truly hope you nail this.

[@ColtCapperrune]

There’s a lot to it! But I’m very excited for it

[@andynonimuss6298]

They now have the Audient ORIA 16 channel coming out soon, which solves a lot of surround headaches and has built-in DSP tuning.

[@levondarratt787]

and unnecessary! my headphoens are the ONLY device doing Atmos on Samsung S23 Ultra and Buds Pro 3.... All of thsi can be doen with headphones.....if you need 300 speakers for soem nerds to control the marjet so no one else gets to do it - it probably is a afailed standard.... #60 Spatial audiom atmos - all the same - and all done in headphones...I enjoy it - but not BETTER....just different.... Guitarist popping up behind me in mid song woudl probably be a knock out punch in real life in a club, lol...

[@DroptekOfficial]

THANK YOU for making this video. Regardless of what side of the argument you're on the fact that you shared your experience in such depth and detail is a blessing to other engineers who might find themselves in your position. There are barely any people who have done this, let alone shared their experience in such detail for others to learn from. Really well done 👏🏻

[@loslobosjr]

Fantastic video, thanks for this series, Colt!

[@kozadofficial9662]

THANK YOU FOR TAKING TIME TO MAKE THIS!

[@AaronDaniels123]

I’m an artist with Ginger Audio and it’s changed my life!!! I highly recommend!

[@1loveMusic2003]

Studio One has built in Atmos as well and it is implemented well.

[@mountainlabelmusic]

I use Logic Pro's built-in renderer!! The only problem I have is the Fold-Down. I think producing a song and getting it placed is super cool to have in the built-in renders!! I would avoid using it for deliverables, but as long as the QC is there with referencing, I see no issue how it could be use for it that way!!

[@nlgcomposer]

I use the Argosy stands for my ATC's They're fantastic! I especially love the tilt feature personally.

[@ladanny65]

Good stuff! I design Atmos mix rooms, screening rooms, and theaters. With Atmos, there’s the science, and there’s the art. The RLP concept is where art comes in.

[@Mr_A99]

I follow both you and Andrew Masters. And i LOVE to see the very long vid's from you guys 😀Keep'em up!

[@DanielBucknellau]

Audient Oria just dropped a couple days ago. It’s prob perfectly for you. it includes integration with sonarworks, comes with a mic even! You can measure room and put the cal into the interface to correct right there. it has monitor controller with multiple profiles on an iPad app or eucon enabled if you wana use your dock. You can also link the downmix tools to the Dolby Atmos renderer (better than integrated Atmos for now in my experience), network or thunderbolt/usb, goes up to 9.1.6 via db25 or aes and includes 2 sets of additional stereo outs for alternate stereo monitors as well as 2 independent headphones. 2 console pres as well on the front. It’s kind of perfect!!!

[@DMV-SaxTv]

Oh ... I'm grabbing that real soon. Jumped on the MBoX studio when it dropped, but I drooled on that unit for two days now!

[@dougleydorite]

And doesn’t cost an arm and a leg

[@planbrecords2466]

Colt! I am currently building my Atmos rig in my studio here at BrowneBarne Ranch, Outside of Palm Springs, California. I’m an old dog and I have racks of 2 inch tape demos from when we had publishing deals in Nashville many years ago. I’m telling you this because I used to be a hard ass analog dude. When we moved to California, I built an analog studio, and I was bound and determined to hold my ground and survive being an analog dude. Well surprise, everyone was embracing digital and everyone wanted it. I just remember hearing Steve Earle’s “Die Like An Aviator” record, which was one of the first digital recordings I had ever heard, and thinking “damn, this is tinny and harsh!” And I used to point at it and say see? You need to record analog! But then digital technology got so much better. And all of my heroes started putting their tape machines in mothballs and embracing the digital recording realm, and I was getting left in the dust. So when I finally embraced the digital recording world, it took me a while to catch up, but I did. I learned a very valuable lesson. You’re either making dust, or you’re eating dust. To that end, I was at the Namm show a couple years ago, and was introduced to Dolby Atmos. I realized at that point, if I don’t embrace this, I will be in the same position I was back when I was an analog dude. I’m here to tell you that the industry insiders that I know all realize that Atmos is the way of the future. And as you probably know all the big music distributors only want Atmos mixes now. Anyway Colt, I’ve been following you for about six months, and you are, by far, the best KZbin content provider that I have seen when it comes to recording advice and experience. Your hands on demeanor and attitude to sharing your knowledge is unparalleled. At any rate, I knew you would be building a Dolby Atmos environment sooner or later because you also realize that it is now, in today’s recording world, a pure necessity. You are either making dust or eating dust and that’s the reality. Keep making that dust! Thank you Colt -you are awesome!

[@brandongleason5279]

Oh hey Andrew Masters! 👋

[@syap8888]

Well done, I can't wait see your video for you Atmos room being build.

[@rapirelamusic]

Great video Colt. You can easily control volume, mute, Dim and switching the monitoring format (7.1.4, 7.1, 5.1, 2.0, and any other you want) inside the renderer via Stream Deck. It's like having a dedicated hardware control for the renderer because every function inside can be triggered by keyboard's key combinations. This is a very simple method in case the room has been calibrated in the renderer and the renderer itself is responsible for Mon fold down. All the best!!

[@cornerliston]

Worth mentioning the new Audient Oria which solves a lot of the common issues, including room calibration via Sonarworks' Sound Id stored into the interface.

[@nathandaniels2220]

Bro you're new studio is gonna be so sick. That atmos rig is gonna be so much fun.

[@DMV-SaxTv]

Yo Colt ... lets go bro! Been riding with you several months before the "fabric wall" and when I saw that ... I knew you are in my DIY Home Studio Rushmore! About that "Audient Oria" tho ...

[@TheRealTMajor]

I absolutely love your videos I don’t believe disagreeing is hate. I definitely want an Atmos setup I actually do two mixes. One in stereo and the other mix in Logic in Atmos using AirPods lol. I can’t wait to see the setup

[@victoriaperedur4109]

I went to the Audient Oria launch a few days ago. It looks like it's going to be a gamechanger. Sonarworks is integrated too.

[@martijn_nl]

Audient released their Oria interface just in time! Have to check that one out!

[@palsheldon6520]

Interesting about HD... I've always wondered if I'm a chump for sticking with it all these years... Great video man. really helpful and a really nice presentation.

[@thelab705]

The Delay compensation in itself is well worth the price of admission. Not only for hardware inserts but also plugins. Stick with the HD rig fellas. If you know, you know lol 🤙🏼

[@FishloreJimson]

As long as I have two ears, I'll continue consuming music in stereo. I don't care how many of my speakers are "atmos compatible" they'll never be used in that capacity. Put me down as someone who sees the future of this tech as similar to 5.1. I don't see the general public really embracing or even calling for this no matter how much its creators force us and push us to use it. The idea of a bunch of pop music fans sitting in the center of a room surrounded with speakers is so laugh out loud funny, I just can't take it serious.

[@quiquepuche6393]

I agree and I don't consider this or any other comment that is not in favor of ATMOS as hate. Through the last few decades, we've seen failing attempts to change the format from stereo to quad and then 5.1. Now e have this big corporate (monopoly) push to implement the immersive audio experience with Sony 360 or ATMOS (which is the one that everybody talks about). I recently heard a known mixing engineer say that the only person that hears the drums in "ATMOS" is the drummer while playing the drums. As soon as you walk away from the drums, you heard them in mono. Everything else you hear is the room reflections, not the instrument. When I go to concerts I try to sit behind the mixing engineer to get the best sound possible. If I'm too close to the stage on one side, I may only hear the bass amp and one guitar and barely hear the other guitar and the keys. I see the immersive audio the same way: unless you are sitting in the sweet spot of the speakers, you won't hear it correctly. I wish the best to all the people spending a fortune on these rigs (and also on software, plugins, etc.) and hope it works for everybody but I don't see a bright future on this immersive audio idea.

[@ILoveTelecasters]

Can’t really follow the 2 ears = 2 speakers thing. If You’ve listened in a proper atmos studio you’ll be BLOWN AWAY. It’s an amazing experience to hear music that way. I do agree though, that the general public won’t invest in that kind of system and the ‘fake’ atmos speakers that fire audio onto the wall I’m not that keen on…

[@ColtCapperrune]

From a biological standpoint, we are hardwired to hear sound 360°. You can tell if someone’s walking up behind you, or if someone is talking on the left side versus the right side. Or if a plane is flying overhead. Atmos is the very first format that actually lets us consume music the way we naturally hear. Not convincing you that you need to get involved in it, but the two ears/2 speakers argument is absolutely not valid.

[@theprisonier]

Your ears do not listen in stereo that is a big misunderstood

[@FishloreJimson]

@@ColtCapperrune Are we talking about Atmos because the average music consumer is lusting after it? Or are we talking about it because music distributors want us to use it? Is an average song writer writing with Atmos in mind? Or are they being pushed to have it used after the song was written to comply with the rules? Is the trend in music consumption toward a more sophisticated direction? Or are people listening on the go with buds? Sure nature has an infinite number of speakers, sure we hear in 360. It's simply not the way a lot of people listen to music. If we were talking cinema, I'd have a much easier time getting on board, but a bass, drums and guitar? Not so much.

[@shanegrush]

Zane from Jumperz is the best. I can’t “plus one” that choice enough. Jumperz makes the best cables, and they will make you anything you want. Their QuickConnect system for wall plates is unreal!

[@bikesandbeats4693]

As someone who has owned an Atmos setup in my home theater for almost 5 years, never once have I sat in it to listen music nor plan to. I’ve used the Atmos/Spatial audio feature in my AirPods Pro and AirPods Max and always turn it off because it takes the punch out of the music. I’m always a person that embraces new tech but I don’t believe Atmos for music is going to catch on, not at least it’s available as a standard feature in automobiles. Besides myself, I only know one other person that has Atmos installed on their home.

[@mountainlabelmusic]

Now you know 2 people!! I absolutely LOVE it compared to Stereo (well, almost). There are a LOT of bad Atmos mixes out there, especially older music that is just being up-mixed from the Stereo Master, which really only reduces the volume for headphones, and sounds VERY thin for a real Atmos set-up. And I think this gives a lot of false hope for Atmos for music. A lot of modern mixes that are created in Atmos are significantly more appealing than the Stereo version. Would I listen to single's in Atmos every day? Probably not. Would I listen to a full Album created with Atmos with other producers and friends like I would a movie? Absolutely. I hope that becomes something that people do in the future!! (But it probably won't haha) I have a playlist of my favorite music in Atmos, for what sounds good in both Spatial Audio and my speaker set-up. I highly recommend checking it out!!: music.apple.com/us/playlist/mountain-label-atmos-favorites/pl.u-PDb4034FL3Y7BaD

[@kadiummusic]

Well said, and very honest. There's going to be thousands of secondhand monitors on eBay in about 5 or 6 years! 😁

[@ChaxSouthSide]

just one question... everyone mentions the "minimum height" of four channels above at 8 feet - but what does that mean? on the Atmos site it states 8 feet from the baffle (???) - what does that mean also? is it from the lowest point of the speaker baffle or the highest point? theoretically, (and sonicly) the highest point is still diffraction point for higher freqs... i`m pretty sure i`ve seen some dolby setups where the 4 above speakers are clearly lower than 8 feet and they got approved... most of the twoway monitors on the market (that can be used for above) are taller than a foot plus the separation from the wall and the angle... i`m interested in making a 7.1.4 setup but my room is barely over 8.2"

[@chadfayrobinson7537]

I don't hate this but I'm avoiding, It took me so long to get 2 monitors figured out LOL ! We will see where this ends up in years to come, it seems like the internet is talking less about it. I still don't know how a lot of people would go about listening to Atmos mixes? But if there's a demand this will have a go!

[@dougleydorite]

I hear you on getting 2 monitors! What did you end up with?

[@chadfayrobinson7537]

My main Monitors are Neumann KH120A the second set is Dynaudio BM5A or KRK 5s. What do you use ? @@dougleydorite

[@vc2tb]

I enjoyed the video you gave an insight to atmos 👍

[@nutellaontoast4281]

I have been waiting for this!

[@artprojectsnz]

Good stuff Colt - again a straight ahead evaluation….jury is still out for most I see but I’m keen as to jump in one I have the dosh! Cheers, JPMusic

[@JAMPROSOUND]

Hell yeah! My little room is set up for 5.1.4 and I love it. It'll be 7.1.4 soon. There are a few technical issues that royally piss me off but I can work around them. I only went this route because I had enough gear sitting around unused and just decided to jump in as an experiment.

[@mountainlabelmusic]

Congrats!! What speakers do you use??

[@KernSound]

I've been waiting for this video. Thanks Colt.

[@johnfox2727]

Awesome what you are doing! But for those who don’t have the money or the room for a full atmos rig, any chance you can do some videos on atmos headphones?

[@berkebowland3648]

Are you editing the "Andrew Masters hates this compressor" video in the background? (28:54 mark...) lol

[@ColtCapperrune]

I had just finished the thumbnail 😂😂😂

[@JimBaldree]

Love my MTRX Studio for my ATMOS room. I use the DAD MOM for a volume control because of the flex and integration to DAD and MTRX Studio. One you start adding options like only listening to the tops, or the sides, or rears, of your reference from Apple Music via Dante Virtual Soundcard among countless other things you can program with DAD, you won't regret having the flex of DAD MOM to recall everything. I also use the 1/4" outs of the MTRX Studio for my smalls in stereo. It's there and usable so why not? :) Love the videos!

[@mountainlabelmusic]

I love using my Stream Deck+ as a MOM Device!! Super affordable compared to the MOM device itself, with a TON of extra functionality, if that is something you are looking for

[@stillavenue]

Atmos is cool, but I don’t think it has legs for music. I think it’s amazing tech for VR and movies, but so far, i’m not convinced for music. Just feels like a way to try to push out small/home studios and/or force them to invest huge and play catchup with bigger studios for little to no real world benefit. That said, happy to leave this comment and help out your video! Good luck on your build, I know that once it’s done you’ll be really happy with it. Listening and working on music in a calibrated Atmos room would/will be amazing i’m sure. I just don’t think it’s something the general public will adopt so it will most likely just end up being for your own enjoyment. Cheers

[@braxal6983]

Colt, I believe using Cubase 13 pro, there is a button you click and it sends a signal thorough your insert (s) and automatically calculates the delay and sets it or you can manually set it. I am surprised that Pro Tools does not have that feature.

[@jloiben12]

I keep on thinking how cool it would be to have an atmos rig but then I remember. I don’t do any film scoring and the little I do work in Atmos I never go beyond what I can do with just headphones. Like I don’t throw things way behind one’s head or anything like that, and I have gotten pretty good at knowing how my headphones translate to such systems, so I just don’t have a need to go full out. And while as cool as it would be to get a full Atmos rig, I am glad I have no need to

[@mkreple]

I own a 9.1.6 atmos room. Been on it for a couple yrs now.

[@tshrdrums]

This was super interesting, Colt! Nice one!

[@RicardoTolbert]

Dude I remember your first video(s) was on the the Apollo and the issues you were having with hardware inserts. Come a long way from that video! I ended up getting an Avid carbon last year.

[@MajorBrass]

32:03 are you getting a Mac Pro? The Mac Studio doesn’t have PCI slots

[@ColtCapperrune]

I’m staying with the Mac studio, but using a chassis from Avid

[@thelab705]

The Sonnet and Owc chassis work brilliantly as well. ☺️🤙🏼

[@bobfrode]

I dont hate the atmos, but dont understand the WHY from an investment perspective if most ppl just listen through their phone or some airplugs or just regular speakers to know the difference. Listeners wont probably care or know how ATMOS works. imho i think "they" do it to seperate "The Pros" and us pleebs on Itunes etc since its a must if you want to be part of any official playlist? ( correct me if im wrong) I release music, but im not a pro or can afford atmos rig. BUT.. i still love youre videos Colt and cant wait to see how your new setup will be :)

[@violetskystudio]

How do you plan to use the HDX card with your Mac Studio? Is there a way to covert the PCIE connection to thunderbolt? Also, I’m genuinely surprised that you don’t get automatic hardware delay compensation in the standard pro tools.

[@LeChapeauMusic]

no you have to calculate it yourself and then put the numbers on the insert delay

[@jerrymckenzie1858]

I don't hate Atmos. I've never even heard it. I just hate that it's being forced on the industry as an needlessly complex answer to a question that no one is asking.

[@Lorneplumber]

Here were go - I'm looking forward to this :)

[@andynonimuss6298]

They now have the Audient ORIA 16 channel coming out soon, which solves a lot of surround headaches and has built-in DSP tuning. No need for an Avid MTRX Studio interface now.

[@jacy123]

That gonna be so stunning man! Congrats!! I’m building an 800sqft studio now after 20 years of saving up…the 240sqft mixing room will have a genelec 7.1.4 Atmos system in it. All 8340s.. so much to figure out haha but immersive is really moving to experience and I’m stoked! I may try to get 9.1.4 based on what your saying about translation to stereo but man I’m stretched thin already makin these ballsy moves between the studio build and all the gear haha. Never really thought I’d spend $10k on two doors lol cheers and keep it up! Deep breaths for the long haul! ✨🔊 🙌

[@theappearedone]

Atmos is the one thing everyone thinks sounds good but wants to fail

[@wardCmusic]

Gonna be an amazing setup man, DadMom is the way to go for your Vol control.

[@blueemberproductions]

I could see this being the new movie theater experience, but just for audiophiles. Having been to tons of raves, a business that offers immersive audio seems like an experience close to that of festivals. You would just lose out on the visual production. So I'm curious to see where this goes - commercial or just for us nerds.

[@LBJedi]

What are your thoughts on the new Audient ORIA? Not sure how it will work with external hardware, but seems like an elegant solution for most things.

[@this_is_jmdub]

Thanks for the extensive insight! Correct me if I’m wrong but „double the distance“ it’s 6db lost, not 3 … or not?

[@AlexValliMusic]

On the Hardware front with Atmos, I'd do my Stereo Mix in one project, process all the audio in the hardware I want to use, and then render out the stereo stems for the Atmos mixing in a separate PT Project file, then import the Stereo Mix you did to gauge as a reference and use the Atmos mainly for the panning stuff and spatial surround stuff like reverbs and delays.

[@ColtCapperrune]

That’s how I’ve been doing it for the past year and a half. Printing all the stems after the stereo mix is done. I’m going to be making a really hard push to only have to mix the song once. I’m not going to sacrifice quality, but if I can mix it once, that makes this whole platform much more viable.

[@JoeyFTL]

​@@ColtCapperrunehow do you do that (push) in a way that doesn't come off, well... pushy?

[@ILoveTelecasters]

It’s INSANE that Pro Tools haven’t made automatic delay compensation yet?! The feature has been in Logic as far as I can remember. Also, Pro Tools users probably use outboard the most

[@pavlebn]

Love it! Amazing that we are finally getting to a point where you can say that surround is not a actually not a gimmick but is actually being developed and more available to everyday consumers. I've recently seen a relatively budget friendly, atmos focused interface pop up called the Audient ORIA. Wonder how it would hold up against Avid stuff. (Vid idea 👀👀) EDIT: ORIA Can also be used as just a monitor controller and kinda fixes the problem of "if I could just have a volume control knob that just WORKS".

[@yona9798]

Hey Colt! I have a suggestion for the monitor controller, but it only makes sense for your specific setup/needs if the MTRX-setup is Dante-compatible. Which I believe it is, but I am not familiar with the MTRX lineup and I don't have the time to double check right now, unfortunately. Anyway: Audient just released the ORIA, which could completely replace the MTRX Studio. As far as I can tell it would be the more affordable option and comes with integrated volume control and easily downfoldable headphone outputs. Only "downside" being having to use Dante for all your outputs. Present Day Production just released a video about the ORIA which I'd highly recommend you to check out. Hope this helped! PS Though it doesn't currently make sense for me to get into Atmos myself, I am really interested in the technology and would love to do so eventually. Really interesting video! I really hope your setup tuns out great!

[@pr3s3nc3worship]

Am I the only one excited about this? Sure I’ll probably suck at it, but I’m going to try to learn!

[@galgogergo]

For a monitor controller, there's Audient Oria, which will be launched later this year. Already introduced, and if I'm right, the people at Present Day Production (see their KZbin channel) already made an introductional video about it, since they were involved in beta testing. Good luck with your system, though! :)

[@gotyor]

As trained engineers or anybody on music production you may really hear the difference in music in atmos and marvel at it. For the 99% of non-musical idiots that consume music will not pick up any of this unless you point it out to them and say can you hear how thats over there and this is back here. And then they are like "oh yeah". So it all pountless. Unless your a company selling the picks and shovels that makes and reproduces this stuff to make money. it just a waste. Now for fx, dialog in movie and games its critical, but for music it is not.

[@tedbahas]

With everything you are buying. Why not look at Prism 128. 4 separate host card domains. Native PT HD cards support, 128 Channels of IO an only 2 rack spaces…. And the AD DA is better. No second or third interface required. You can also change configurations from session to session.

[@RichDelinquent]

Atmos is actually extremely annoying to consume unless you intend to sit still

[@peytoncorserfilms199]

Facts!!!!

[@Nate0h8]

Welcome to Atmos! Can confirm, Focal Trios in the LCR and Solos everywhere else is a KILLER Atmos rig. I have Trio6's instead of the 11's, but otherwise the exact same system. MTRX Studio out to Focal's

[@bzone-p2o]

Great got the Flock been using them since their inception. You can also use cat 6 . Take a look at Neil Parfit. The patch has the photo recall as well. Sorry didn’t see the whole video before commenting. DAD monitor control is good.

[@mewfan84]

Top ten reasons why Atmos is absolutely going to be the biggest thing since sliced bread. This message has not been sponsored by Sweetwater. 1) people love to listen to music in one spot without moving 2) people have big rooms in their appartements just waiting to be filled with speakers 3) soundbar -type solutions that bounce sound off walls and ceilings just work extremely well and give a clear and cohesive sound stage 4) think about all the concerts that you went to, don't you just love listening to the band playing around you, and the sound surrounding you from all directions 5) all the manufacturers just love to pay royalties to Dolby for every single product that licences the technology 6) when listening on headphones, it's just amazing and totally purposeful that the sound sources move when you move your head 7) mixing without bus compression is the dream of every mixing engineer 8) technologies that have been force fed to the public by tech companies have always proven to be huge successes 9) people listen to music for the immersive experience and sound quality, not the lyrics or the emotions that the music evokes 10) In cars, it's nice that every passenger can have their own version of the Atmost mix, how the artists ment you to feel the music!

[@ericlee5935]

Hey Colt there’s a free script for soundflow where you can use a stream deck with knobs and keys as MOM directly integrated with the mtrx

[@thelab705]

In my personal opinion you are making excellent choices with the HD I/O and mtrx studio! Both have fantastic converters. Don’t get me wrong I think the Apollo X series are fantastic, but I personally have never been a fan of the converters . Also If you thought the old HD systems were great, you’re gonna love HDX. I Can only imagine how stressful this upgrade must be, keep up the good work dude, you’re killing it!! 🤙🏼🤙🏼

[@marksims4131]

Check out the Audient ORIA Immersive Audio Interface and Monitor Controller

[@1loveMusic2003]

Flock baby oh ya!

[@PluginAlley]

all those speakers hahahhha, atomos is just an investment but the next move, it's also pretty sick engineers in good home studio bases can get a pretty sick atomos rig going, ages ago this would've been expensive studio only type shit. Been watching a crap ton of monitor videos and your genuine enthusiasm for Focal is leaning me that way. Been eyeing the matrix studio for the same reasons you mentioned 1 rack, eq on outputs and routing for atomos. Cool vid Colt.

[@thecounty-line]

Colt, what are you housing the HDX card in and are you using an isobox or something similar to keep the hdx card noise at a minimum?

[@envisagefilmshouston]

I’ll just wait on the headphones lol 😂😂😂

[@JohnShyloski]

I can’t see clients paying 2-3x as much for a mix because I’ve built an atmos room. Financially it seems like a huge risk on the studio owners part with very little reward.

[@kadiummusic]

Atmos is a dead 🦜. Didn't ask for it, didn't need it, don't want it. Please don't get sucked in. 😎

[@zootook3422]

So, I'm running a tiny Atmos set up at home using a Focusrite 18i20, faking the center via L and R and the same with the LFE. That way I'm good with the 10 out channels on the 18i20. Running Blackhole virtual sound card as the default out on the Mac makes Apple Music play into that pipe the Blackhole into Reaper that then goes to the Focusrite. The problem with Apple Music is that it only accepts 16 channels. If your soundcard has more, it doesn't work. Blackhole has 16. 18i20 has 20 as the ADAT counts. The 18i20 then sits behind Reaper so Apple Music doesn't see that. On the output of Reaper I use Dirac plugin for time, eq and phase correction. I much prefer the sound Dirac compared to SoundID but with SoundID you can back off to like 70%, which I much prefer, not using brute force to make my speakers sound different. Dirac has no dial sadly, just on or off. Blackhole controls the level of the 16 channels from the computer keyboard volume buttons. Works like a charm. I figure that the Blackhole trick with Apple Music is something anyone can do, even if you have a proper Atmos rig, avoiding the Dante/Atmos decoder nonsens.

[@marklholloway]

Definitely go with the NTP DAD Monitor Operating Module (MOM) for your MTRX Studio. Eucon compatible and will give you everything you would need from a hardware monitor controller.

[@JoshuaCalebNeal]

I'm planning a room in my house as well. I got a lot out of this video. Thanks Colt. One note... Using EQ/Delay is "tuning the system" not tuning the room. I got corrected on this by the great Michael Lawrance on this. Tuning a room is all about acoustics and room design.

[@MountainViewStudio]

Why dont you get a Rupert Neve Designs 5059 summing mixer (2 stereo outputs!) it has inserts for EACH channel (16 ch) plus you get the massive sound of the RND 5088 console. I have it and it sounds absolutely great. And I can patch any hardware into any channel. Just a though

[@BeatsAndGuitars]

HATE HATE HATE HATE HATE HATE HATE HATE HATE HATE HATE…..love you Colt keep grindin’ man!!!

[@ColtCapperrune]

😂😂😂😂

[@kevinlentz7604]

To think my first listening experience was on vinyl 78, crank player s Patti Page,how much is that doggy in the Window 1959

[@russchell6490]

I think there’s pros and cons Pros are that mixers can charge more/ extra for the atmos mix. Since labels are always looking for ways to re-release the same master they own over and over again I could see this being very lucrative for those who get in early. Cons are having to actually invest in the rig and the fact that even though there may be a “boom” for atmos mixes the format could become only relevant for certain formats making it hyper niche. As someone on the production side I definitely feel like it’s a gimmick but at the same time I’m not mad it. I’ll continue to work in a 2 monitor format and let guys like you who have the rig worry about making it work in atmos!

[@J_Costa15]

I love the idea of atmos, and I can’t wait to experience it in a nice studio someday. HOWEVER, I still don’t understand the commercial application **right now** I’m know headphones will keep getting better and better so eventually it could be very cool, but right now Spatial Audio is just garbage. (Coming from an Apple fanboy)

[@SHARt_murmur]

Feel like it’s too early for me to have an opinion, as I kinda feel like it’s like mono going to stereo, and I don’t wanna be full on “old man yells at cloud.” Haha I’ve yet to find an Atmos mix I preferred; however, I feel like it’s because they’re not being tracked in Atmos. That said, when Dev drops his new stuff which is produced in Atmos, that’ll be a game changer. Regardless, really doesn’t matter what I think, as I just appreciate you taking the risk and enabling us to learn from ya. Thanks!

[@ILoveTelecasters]

Ariana Grande was pretty quick to release her entire catalog in atmos and in headphones it sounds like garbage. However I went to a certified atmos studio and I was blown away. I’m not an expert by any means but there’s something with the binaural version that Apple Music offers that isnt there yet. They’ve basically made a preset version (while there are different while monitoring in atmos: near, medium, far i think) for all music.

[@DeepSound_Music]

Atmos production is absolutely amazing period! It is not a conspiracy that the Apple, Tidal or other streaming platforms are forcing you to buy... And this whole two ears concept is absolutely ludicrous! I hear in surround not just left and right! Just because an atmos set up can be expensive dosent make it wrong! And yes, we all have to pay bills and yes the cost of living is high as you guessed it... But that's life, and it's only going to get higher #facts Those of us who started creating music from a professional aspect back in th analog days had to buy a multi-channel console, you needed a multi-track tape machine in order to record and produce music! Trust me, these items cost a lot more than any plugins... My point is listen folks some technology costs period! We aren’t complaining about the cost for the computers, phones, and lets not even talk about the vehicles we drive even the chespest ones are STILL expensive right? Hate it or love it just remember... Stop B!+

[@braxal6983]

Colt, I recently bought Focal Solo 6’s from Sweetwater and had 2 bad speakers. The 2 bad speakers would completely shut down (not sleep mode). There would be zero lights or no way of getting sound to them. I would have to turn off the speaker manually wait anywhere from 20-60 minutes to turn them on and work again. Then they would shut off again like described 20-90 minutes later and would have to repeat the process all over again. After getting 4 Focal solo 6’s I finally got 2 that work. I am still checking them out to make sure they work correctly. The 2 bad speakers took a week or so to show the bad symptoms. You ever seen this issue?other than that I love the sound of the speakers.

[@ColtCapperrune]

Oh no… I’ve never even heard of anyone having that issue… sorry you are dealing with that! Glad you got a working pair!

[@braxal6983]

@@ColtCapperrune Could you ask Josh? I just like to know why those speakers were acting like that.

[@deaudio]

So with the Matrix the Trinnov is not needed? ❤

[@DaveMcCall]

Colt, even if the ceiling was exactly as structurally sound as the floor, the floor is always holding a bunch of stuff... furniture, racks, stands, etc... which all act as mass damping. Any vibration in the floor has to move ALL that stuff (in addition to the floor structure itself). So, yeah, ceiling monitor isolation is probably several orders of magnitude more important.

[@JasonRblah]

At no point in the last 13 years have I thought to myself, "wow, this movie theater has such good surround sound, I wish I had this at home." Another reason Atmos will die: professional gamers care more about 3d audio positioning than anyone else, and has the gaming industry adopted this format in any meaningful way? Do pro gamers sit at home with crazy surround setups for optimal positional audio? No. No one cares.

[@KentHolder]

what computer are you using for the pro tools hd system?

[@gtk_NO]

Isnt HD IO discontinued or is it irrelevant?

[@bigmike2149]

Hey Colt! Great channel bro! Love your videos. So when we talk about a 2.1 system generally we want to buy high end monitors. Does the same principles apply when buying an ATMOS system or can we get away with budget friendly monitors as there’s 7 of them. Thanks man! 👍🏻🔥🔥

[@error8418]

I'm really not sure what to think of Atmos: From the musician/producer/engineer standpoint it offers some exciting new possibilities, the labels obviously love it because they can sell you the same 50 year old albums once more in a new format and as a consumer it seems pretty much useless. Well, maybe not useless, but no audiophile will really be happy with only the binaural version on headphones, getting a proper Atmos speaker system (+ the required room treatment) is insanely expensive when you're just a consumer and the average consumer wouldn't care (or even notice...) if their airpods were mono.

[@ZachMeadowsMusic]

Whew, what a ride! I'll stick with my humble stereo setup and just source atmos mixes from someone else lol

[@raminpartovi734]

How much you gonna drop on this? 40k?

[@PaulEubanks]

Atmos makes sense for movies where there is a dedicated listening environment which can accurately reproduce the mix, but definitely not for music, nobody is going to bother. None of the collapsed Atmos mixes ever sound good compared to stereo mixes either.

[@irulfm]

and the result for an iPod earphone 😆🍻

[@onocoffee]

Here's my hate - it would be nice if you placed chapter stops - especially on these 45+ minute videos!

[@ColtCapperrune]

I put a timestamp for when I choose my gear if you want to skip the interview, outside of that, there’s no way to divide up the conversation in a way that still actually helps anyone.