Видео

Thank You for your comment!:)

Hey! Our studio has Apple Digital Masters certification done by Apple. Our explanation is correct. Apple Digital Masters and Lossless is different things.

If it’s going to be very different from a stereo mix, then it’s a different song it should be released as such. Every Atmos makes needs stereo companion, and they need to essentially be the same song. It’s not really about creativity in this context. Unfortunately, I do not know of a format where you can only listen to a creative Atmos mix and not have a stereo companion.

Your comment is shy on info. This is a very well thought out, articulate, and concise ation of mastering. I work in the Atmos space and I’m very impressed with this video. I think it would’ve been worth mentioning the assembler software for multiple Atmos tracks being mastered together. Otherwise there’s really not much more to it. In fact, I myself would have a hard time pounding on the subject like this guy did. And now I’m curious, what exactly is the information you feel like is missing? Just trying to learn.

​@@AaronTrimbleMusic If I remember, I'll tap your genius in 7 months, as it looks like that's your version of timely. Just now I'm busy creating sets, scenes, props, music, and animating a novel I wrote.

Our pleasure!:)

It will sound quieter, because ADM file is usually -2 or -3 db lower than regular master

You're right") But this can be intentional with a very experienced producer who knows all the nuances of the Dolby Atmos technology. In most cases wrong panning/object placement can sound ok in the binaural version, but absolutely disastrous in different formats (7.1.4 , 5.1, etc). The engineer's task is to find a sweet spot. The mix should sound pretty similar when listening to different format versions. Also, regarding making it similar to the stereo version, this is the main requirement from Dolby. "The main reference for Dolby Atmos mix is a stereo version." Listeners shouldn't be confused by absolutely different balance, placement, etc.

@@MajorMixing Thanks for answering, I get where you're coming from. The Dolby requirement you're referencing is weird to me and I chose to interpret in another way. An absolute majority would probably want the stereo and Atmos mixes to resemble each other in the core elements, I agree. But choosing to place stuff in the 3D space when given the tools to do so in Atmos should be a creative decision, not something imposed on us by the supplier of the format technology. I know Dolby likes setting up rules but some of the early rules regarding Atmos have drifted into the "recommendations" bin and I'm sure this will too, it makes no sense to me. If you want to listen to the stereo version, do that. If you want an Atmos experience, trust that the Atmos version has been tailored to best present the song given the new tech, not keeping unnecessarily close the stereo mix. Listeners are smart, they will recognize the song even if the panning is different (but as I said earlier, the creative decision will probably be similar between the versions for the most part, I just hate the idea of limiting the creativity due to something Dolby said). Cheers!

@@studiovinden I actually agree with most of what youre saying here. I think there are a couple things that get conflated when it comes to this. One, is the producer producing for the atmos format specifically meaning theyre not even doing a stereo version (or the stereo version isnt deemed as important or may be derived from the atmos version). Id argue that if this is the case and the producer wasnt 100% sure about their panning choices, eq, compression, time based fx etc that they should be hiring a 'mixer' just like if the same producer wasnt 100% sure about his choices during a stereo mixdown. Theyd hire a mixer. As far as the option as a producer/artist for being able to completely do whatever they want for the atmos version of an already existing stereo mix, I think they should be able to do whatever they want. Thing is most artists and producers are still completely focused on the stereo version first. Atmos mixes are a second thought and many of those artists/producers, justifiably so, dont want a mixer, who may very likely NOT be the person that mixed the stereo version to come in and do whatever they feel like in the atmos version. Alot of the time the artist isnt even involved much in the atmos mix. So i guess it depends on whos involved. That being said i still havent heard any compelling reasons for a professional mixer experienced in atmos to hand over an ADM BWF file to a dedicated mastering engineer especially if there is an existing stereo mix that the mixer has to basically match sonically before it would ever get approved. Sorry for being long winded. Thanks for the video @majormixing

You have to understand, the Atmos mix has to honor the stereo mix. It can’t be a completely different song. This is what someone who’s mixing in headphones or is not an experienced engineer may in advertently do. If you want to create something wildly, different, then it’s just a different song and should be released as such. he explained perfectly Dolby and Apple need them to honor each other. so that, however, a listener is listening to their song they can recognize it and not as some creative offshoot of the song

@@AaronTrimbleMusic Well, as the "honoring the stereo mix" is highly subjective, this is what the Atmos mix engineer is hired to do, right (whether they are doing catalogue work or doing both the stereo and Atmos mix for a new song)? The Atmos mix will by definition be something else than the stereo mix, that's the whole point. My view of mastering is "enhance what is there, do no harm" so a stance where the mastering engineer takes it upon them to correct the mix by changing panning and other major changes is not what I want, talking from a mix engineer's perspective. If the mix is not what the artist or label expects or wants, whether it doesn't "honor the stereo mix" or it's just not a good enough mix, let that be a creative decision by the artist and the producer, NOT something decided by a mastering engineer "because Dolby says so". I'm sure there are (a lot of) cases where Atmos mixes of existing stereo mixes are sub par and it's a convenient solution to let the mastering engineer catch this and essentially continue the mix where the mixing engineer left off but that is not mastering in my book, that is mixing.

I been trying to figure that out for 6 months. It says that in order to be certified you need to: “Apple Digital Masters specialist”. But I STILL cannot find and contact info to Apply

Sure:) Here it is - majormixing.com/how-to-export-multitrack-in-cubase/

@@MajorMixing Great! Thank you!! 8•)

@@Frankaupolis My pleasure:)

Skyrim Siri

:)

Check your dB meter near the fader. Peaks should not be louder than -6 dB

Thank You!:)

We mean that peaks should not be louder than -6 dB. It doesn't mean that faders should be -6 dB:)

@@MajorMixing So 0dB is good?

@@brandon2521 You need to check peak value. If peaks are not louder then -6 dB while fader set to 0, then it's good

Thats what really stems are. i also donts understand why they export all singletracks.

Glad to be helpfull!

You're welcome!:)