![]() ![]() And domestically it’s different because you don’t need a Blu-ray you stream it and the tech is already in hundreds of millions of homes. All the many others are more suited towards taller, wider, richer, deeper experiences. “Atmos is a space, but it’s not all about sounding like a Marvel film, although it can be - maybe EDM suits that kind of movement and creativity within the Atmos space, but that’s just one genre of music. “And the way we’re creating the mixes is different,” he continues. Play it on your Sennheiser 660 headphones and you’ll get the binaural mix and so on.” Play it on your Sonos Soundbar which is 5.1.2, and it will optimise to play on that device. ![]() Atmos for music is actually a dynamic format so when I create an Atmos mix, it will adapt to the device that it is playing on. I have one mix that has to serve all platforms. “As a stereo mixer, what keeps me awake at night is how my mixes are going to translate on someone’s headphones, in a club, on the kitchen radio or on a very nice pair of Focal home hi-fi speakers. With such a setup, not only do listeners to Atmos mixes experience full immersion, but for mix engineers, it takes a lot of the strain out of mixing for different playback systems, as Stan explains.Ītmos for music is actually a dynamic format so when I create an Atmos mix, it will adapt to the device that it is playing on. It features PMC’s IB2S XBD-A active monitors for the left and right main channels, a PMC IB2S-A monitor for the centre channel, 10 discrete Wafer2 loudspeakers for surround and height channels and four sub2 subwoofers. Studios is what Stan describes as “a world-class PMC 9.1.4 setup”. It was that lightbulb moment of ‘oh, this is going to supersede stereo’.” Atmos for all And once those pieces were in place, hearing it just confirmed it. Stan set to work with the Dolby team and PMC who provided the speaker array: “I got huge support from Dolby and PMC who are integral to the project. Then, the very same week, Jazz and Suzanne called to ask me about Atmos asking what I knew about it, and I said ‘funnily enough I have this project…’” Suzanne has been in the industry for years and identified the Atmos trend within the industry, so when those discussions started, they came to me to help install it.”Īs it happens, Stan was already involved with the technology through his work with Paul Weller: “At the beginning of lockdown I got a phone call about approving some Atmos mixes for Paul Weller for the number one album On Sunset which I'd originally mixed. “We had been talking about doing various things at Dean St Studios. That’s when Jazz and Suzanne started considering another venture, and they’ve now been running Dean St Studios for over a decade. “I spent four or five years working with Spike on all sorts of records - Bjork, Massive Attack, Spice Girls, S Club 7 - quite a wide range,” he explains, “and then with Oasis it was more recording and I stayed at Wheeler End for a long time until the band split, really. His connections with Dean St Studios go back to that time at Wheeler End, then owned by current Dean St Studios' directors Jasmin Lee and Suzanne Lee-Barnes. He helped Spike record the Mancunians' Standing On The Shoulder Of Giants album in the south of France, and is a long-time collaborator with Paul Weller. He's spent more than two decades in the recording industry, serving as Mark 'Spike' Stent's Pro Tools engineer and Oasis's in-house engineer at Wheeler End Studios in Buckinghamshire. ![]() ![]() The music is so dynamic, and it is such a joy to experience.”Īnd Stan should know about mixing. You don’t need to do that in Atmos as there is enough space for everybody. You are constantly having to make decisions and carve out EQs in consideration of what other instrumentation is playing. In stereo you are always making sacrifices when mixing, like if you want to hear the guitar you may have to turn the Hammond down. “The tools that Atmos gives me in height, width, depth and sub are everything you need in comparison to stereo. With stereo there is this trend to use wideners but with Atmos it can be as wide as you ever need it and as tall as you ever want it. “You might have a forward-facing Dolby Atmos mix - drums, bass and vocal - coming at you and then you'll maybe use the Atmos technology to wrap an orchestra around the listener. While like 5.1 or 7.1 it uses a surrounding array of speakers for mixing, it doesn't suffer from the former's required numbers of speakers, and as a medium is adaptable to any system with Atmos technology installed. On a technical level, where stereo audio is limited to two channels of output, Atmos offers 128 discrete locations to send audio, which can move and alter at the mixer's requirements, utilising a connection to a supported DAW (Pro Tools, Logic, Ableton). ![]()
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