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Apple Music announces Spatial Audio with Dolby Atmos; will bring Lossless Audio to entire catalog
Old 2 weeks ago
  #241
Gear Maniac
 
John Mayer's newest album is my fav Atmos album so far.

Listening to the Atmos version on both Atmos 7.2.2 speaker system and using non-Apple headphones.

Who did the Atmos mix for that?
Old 2 weeks ago | Show parent
  #242
Lives for gear
 
jeremy.c.'s Avatar
The Rufus Du Sol Live from Joshua Tree is pretty rad in Atmos. I don't have a setup, only on headphones.

Not just biased because I live there...
Old 2 weeks ago | Show parent
  #243
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by louderjamz ➡️
John Mayer's newest album is my fav Atmos album so far.

Listening to the Atmos version on both Atmos 7.2.2 speaker system and using non-Apple headphones.

Who did the Atmos mix for that?
I’m pretty sure it’s Spike Stent since he mixed the whole record. Haven’t listened to the atmos mix since I disabled it on my Apple Music (most of the stuff I looked for sounded awful compared to the stereo lossless mix) but the record sounds amazing so I bet it is a great experience if the amos mix was well executed.
Old 1 week ago | Show parent
  #244
Gear Maniac
 
Quote:
Originally Posted by rixscix ➡️
if the amos mix was well executed.
It is to my ears / personal tastes.

Most of the music is coming from the front, with just a sprinkling of spatial effects in the surround speakers (in my setup anyway). That's the way it should be in my opinion. Really good use of L, C and R channels. Especially Center channel.

I don't want to hear John Mayer playing guitar behind me
Old 1 week ago | Show parent
  #245
Gear Nut
 
🎧 5 years
Quote:
Originally Posted by louderjamz ➡️
It is to my ears / personal tastes.

Most of the music is coming from the front, with just a sprinkling of spatial effects in the surround speakers (in my setup anyway). That's the way it should be in my opinion. Really good use of L, C and R channels. Especially Center channel.

I don't want to hear John Mayer playing guitar behind me
I’ve heard it. It’s a really really good atmos mix.
Old 1 week ago | Show parent
  #246
Gear Maniac
 
Quote:
Originally Posted by rixscix ➡️
I’ve heard it. It’s a really really good atmos mix.
But don't some people wanna hear Greg Phillinganes playing keyboard from the ceiling !

Like some other Atmos mixes I've heard.

Old 1 week ago
  #247
Lives for gear
 
🎧 10 years
The real benefit of Atmos mixes is the improvements to dynamics.

Old 6 days ago | Show parent
  #248
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TheHanes's Avatar
Quote:
Originally Posted by miscend ➡️
The real benefit of Atmos mixes is the improvements to dynamics.

So I mixed the Coldplay example in Atmos, along with the rest of the Coldplay album to be released.

Very nice review and analysis.

Dynamics is actually one of the things that is hardest to get right in Atmos in my opinion. We have so much more room to play with, but need to maintain as much of the original mix sound as possible. The original mix would have been through mastering, I don't believe that my Atmos version was mastered.

I did the Atmos mix on my own, no input, no one from production or band during the mix.

The client did audition and approve the Atmos mix, though exactly who in that chain it was I'm not certain. I know that one of the engineer / producers on the project did audition most / many of the album Atmos mixes that I did and approved. Not sure if the band, song producers heard them. It is pretty hard to find a proper room for them to get into to listen to the mixes with their own obligations and schedules.
Old 5 days ago | Show parent
  #249
Here for the gear
 
Quote:
Originally Posted by TheHanes ➡️
So I mixed the Coldplay example in Atmos, along with the rest of the Coldplay album to be released.

Very nice review and analysis.

Dynamics is actually one of the things that is hardest to get right in Atmos in my opinion. We have so much more room to play with, but need to maintain as much of the original mix sound as possible. The original mix would have been through mastering, I don't believe that my Atmos version was mastered.

I did the Atmos mix on my own, no input, no one from production or band during the mix.

The client did audition and approve the Atmos mix, though exactly who in that chain it was I'm not certain. I know that one of the engineer / producers on the project did audition most / many of the album Atmos mixes that I did and approved. Not sure if the band, song producers heard them. It is pretty hard to find a proper room for them to get into to listen to the mixes with their own obligations and schedules.
Thanks John - This is a very good review - agreed - and confirms that the good Atmos mixes to me do sound better than a stereo - BUT - there are so many bad Atmos mixes out there - many people might turn off Atmos playback! But the good ones - just like many of John Hanes mixes - sound great - and I do agree - I love to hear a band like Coldplay without so much bloody compression on that master And thank you John for all your feedback on Atmos over the past few weeks here.

A quick question - obviously in a stereo record - as engineers/mixers -we mix and get approval - and then that goes onto mastering - out of our hands. BUT - as you say what happenned with Coldplay for example - do you consider getting the stems from the stereo record - and then mixing those into an Atmos mix - a mix AND master for Atmos? How would a traditional "mastering" engineer fit in here?

If you are happy with an Atmos mix (which as explained gives us much more dynamics) and sits at -18LUFS - why/would you then hand it over for "mastering"? TIA
Old 5 days ago | Show parent
  #250
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TheHanes's Avatar
Quote:
Originally Posted by HowardAudio ➡️
Thanks John - This is a very good review - agreed - and confirms that the good Atmos mixes to me do sound better than a stereo - BUT - there are so many bad Atmos mixes out there - many people might turn off Atmos playback! But the good ones - just like many of John Hanes mixes - sound great - and I do agree - I love to hear a band like Coldplay without so much bloody compression on that master And thank you John for all your feedback on Atmos over the past few weeks here.

A quick question - obviously in a stereo record - as engineers/mixers -we mix and get approval - and then that goes onto mastering - out of our hands. BUT - as you say what happenned with Coldplay for example - do you consider getting the stems from the stereo record - and then mixing those into an Atmos mix - a mix AND master for Atmos? How would a traditional "mastering" engineer fit in here?

If you are happy with an Atmos mix (which as explained gives us much more dynamics) and sits at -18LUFS - why/would you then hand it over for "mastering"? TIA
I am doing the Atmos mixes from the original stereo mix sessions from the Mixer (Serban) or from mixed stems from other mixers. I am definitely not mixing in Atmos from scratch / multitracks.

Mastering does have added value in many circumstances with Atmos. First, fixing ?bad? mixes, or fixing problems in mixes. Also, assembling albums, level matching between mixes (not every song needs to be as loud as -18dBLUFS), crossfading and timing between songs. An Atmos album can be delivered on Blu-Ray and would then need start / end points, etc.

Also another set of ears to double check the overworked Atmos mixer!

For much of the streaming that we are using to distribute these mixes now, it is basically a series of singles, so some of those things don't necessarily apply to the current circumstances.
Old 4 days ago | Show parent
  #251
Here for the gear
 
Quote:
Originally Posted by TheHanes ➡️
I am doing the Atmos mixes from the original stereo mix sessions from the Mixer (Serban) or from mixed stems from other mixers. I am definitely not mixing in Atmos from scratch / multitracks.

Mastering does have added value in many circumstances with Atmos. First, fixing ?bad? mixes, or fixing problems in mixes. Also, assembling albums, level matching between mixes (not every song needs to be as loud as -18dBLUFS), crossfading and timing between songs. An Atmos album can be delivered on Blu-Ray and would then need start / end points, etc.

Also another set of ears to double check the overworked Atmos mixer!

For much of the streaming that we are using to distribute these mixes now, it is basically a series of singles, so some of those things don't necessarily apply to the current circumstances.
Thanks John - good points. Can you do all mastering and renders for all services in the Dolby Production Suite (using the same computer) - or do you need to have the Dolby Mastering Suite (using a dedicated computer for the DAMS).
Old 4 days ago | Show parent
  #252
Lives for gear
 
🎧 15 years
Interview with Giles Martin on mixing Beatles in Atmos

An interview with Giles Martin about mixing Beatles in Dolby Atmos:

https://www.yahoo.com/entertainment/...152417650.html
Old 3 days ago | Show parent
  #253
Lives for gear
 
TheHanes's Avatar
Quote:
Originally Posted by HowardAudio ➡️
Thanks John - good points. Can you do all mastering and renders for all services in the Dolby Production Suite (using the same computer) - or do you need to have the Dolby Mastering Suite (using a dedicated computer for the DAMS).
I've got the Dolby Atmos Renderer running on the same computer as Protools. I've got a really powerful new Apple tower for that to work without problem. So audio goes out the ProTools HDX cards to the Focusrite interfaces. There it becomes Dante, which feeds a Focusrite Dante card back in the same computer. The Dolby Renderer picks up its input from this Dante card and sends it back out on Dante network to my monitor controller (Grace m908).

Before I had this tower, I had a mac mini running the Dolby Atmos Renderer using a 1-bay PCI-e card chassis for the Focusrite Dante card.
Old 3 days ago | Show parent
  #254
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TheHanes's Avatar
Quote:
Originally Posted by HowardAudio ➡️
Thanks John - good points. Can you do all mastering and renders for all services in the Dolby Production Suite (using the same computer) - or do you need to have the Dolby Mastering Suite (using a dedicated computer for the DAMS).
I guess I should add. I’m not doing the renders for all of the services. I supply the label with the ADM-BWF file. What happens to it after that I’m not expert enough to correctly lay it out.
Old 3 days ago | Show parent
  #255
Gear Maniac
 
Quote:
Originally Posted by nightjar ➡️
An interview with Giles Martin about mixing Beatles in Dolby Atmos:

https://www.yahoo.com/entertainment/...152417650.html
Beatles producer says Spatial Audio album doesn't sound right, plans new mix

https://appleinsider.com/articles/21...-plans-new-mix
Old 2 days ago
  #256
Lives for gear
 
baslotto's Avatar
 
🎧 15 years
Sorry if this has been asked before but what’s the verdict on Atmos music mixes done solely on headphones via the binaural translator in the Renderer then checked in another studio that has the whole speaker setup? Is anyone being able to work this way successfully? Or a 7.1.x system is the only reliable way to go? Thanks!!
Old 2 days ago | Show parent
  #257
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by TheHanes ➡️
And this is why I love to put siren sounds into the back speakers!
I did have a chuckle...
Nice one.

Have just stumbled across this thread and great to read about your workflow etc.

I've just bought the DAPS and have been experimenting (though currently haven't upgraded from 5.1 as yet).

I am particularly keen to see where this will all go in the area of advertising.

Anyway, thanks again.
Regards,
Matt
Old 2 days ago | Show parent
  #258
Quote:
Originally Posted by baslotto ➡️
Sorry if this has been asked before but what’s the verdict on Atmos music mixes done solely on headphones via the binaural translator in the Renderer then checked in another studio that has the whole speaker setup? Is anyone being able to work this way successfully? Or a 7.1.x system is the only reliable way to go? Thanks!!
This!
Old 2 days ago | Show parent
  #259
Lives for gear
 
Fidelis's Avatar
 
🎧 15 years
Quote:
Originally Posted by baslotto ➡️
Sorry if this has been asked before but what’s the verdict on Atmos music mixes done solely on headphones via the binaural translator in the Renderer then checked in another studio that has the whole speaker setup? Is anyone being able to work this way successfully? Or a 7.1.x system is the only reliable way to go? Thanks!!
That's the one million dollar question!
Old 2 days ago | Show parent
  #260
Gear Head
 
1 Review written
🎧 15 years
Quote:
Originally Posted by baslotto ➡️
Sorry if this has been asked before but what’s the verdict on Atmos music mixes done solely on headphones via the binaural translator in the Renderer then checked in another studio that has the whole speaker setup? Is anyone being able to work this way successfully? Or a 7.1.x system is the only reliable way to go? Thanks!!
Yes! That is the big question!

From my experience (I started in binaural and eventually moved to a full system with an MTRX studio and Genelec 8020s) the binaural mixes I did were about 85% accurate. There were some balance issues, especially things panned behind and above the listener that didn’t quite translate.

I am using Audeze LCDX headphones for BIN.

Now all this said, I spent about 40 hours of researching, reading, watching videos, asking our colleagues questions of best practices for routing to beds and objects, understanding how things translate between 2.0 and BIN etc while I was working on my FIRST mix in BIN for atmos.

I just did a QC session for someone who mixed in BIN and it was terrible. Only due to the fact they didn’t quite understand how “size” works, full range instruments in the heights isn’t the best idea etc. More a lack of understanding of how the panning functions and what not.

That said, I have a few colleagues that are UMG and Warner certified on headphones and they do send it to a studio for QC before handing off to the labels.

It is possible
Old 2 days ago | Show parent
  #261
Lives for gear
 
baslotto's Avatar
 
🎧 15 years
Quote:
Originally Posted by JosephC ➡️
Yes! That is the big question!

From my experience (I started in binaural and eventually moved to a full system with an MTRX studio and Genelec 8020s) the binaural mixes I did were about 85% accurate. There were some balance issues, especially things panned behind and above the listener that didn’t quite translate.

I am using Audeze LCDX headphones for BIN.

Now all this said, I spent about 40 hours of researching, reading, watching videos, asking our colleagues questions of best practices for routing to beds and objects, understanding how things translate between 2.0 and BIN etc while I was working on my FIRST mix in BIN for atmos.

I just did a QC session for someone who mixed in BIN and it was terrible. Only due to the fact they didn’t quite understand how “size” works, full range instruments in the heights isn’t the best idea etc. More a lack of understanding of how the panning functions and what not.

That said, I have a few colleagues that are UMG and Warner certified on headphones and they do send it to a studio for QC before handing off to the labels.

It is possible
This answer made me understand a million things! (So basically don’t overdue with flying objects that go behind and above you and if you keep it simple, things should work out pretty fine) Thank you!!
Old 2 days ago | Show parent
  #262
Gear Head
 
1 Review written
🎧 15 years
Quote:
Originally Posted by baslotto ➡️
This answer made me understand a million things! (So basically don’t overdue with flying objects that go behind and above you and if you keep it simple, things should work out pretty fine) Thank you!!
Yes! @ TheHanes has way more experience than anyone else so I’m sure he has amazing thoughts on this as well.

Front what I’ve found, read and heard from other mixers, a good practice is an enhancement of the stereo. But it all depends on the genre and the production.

Maybe it’s a little bit more width and height in a rock mix or something the tickles the ear from above in a pop production.

As a listener I’d like to be immersed in the music not be distracted if that makes sense
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