I'm imagine it does, he says that with hindsight he thinks the 5.1 was a missed opportunity, and was only prepared to do this one if it could be more creative.
IMHO there are 3 issues here: A) the original artist is sadly not around anymore to have his say, so as technically interesting or (very) subjectively well done this may be, it's a futile exercise done to appraise a pretty elitist and obvious money grab idea by the folks at Apple+Dolby+record labels B) when I say "elitist" I mean that over two thirds of the world is NOT on Apple and doesn't care for nor depend on their "standards" or Apple Music's or Spotify's diktats - it's mostly Android phones and music for free on RUclips via cheap mono speakers/bluetooth C) even if the above point should ever change, how many people EVER will be able to listen to this properly, in its full intended glory/newfound brilliance/immersiveness/insert trendy adjective here?!? And let's not start with the "Oh but it folds down pretty well to binaural/stereo" poor marketing excuses. 🤷🏼♂️ Atmos is great for movie theatres or for electronic/experimental/avantgarde/prog new music projects that might be written, arranged & recorded with an immersive 360° approximated soundstage in mind. But for retinkering rock & pop records, even more so historical classic albums without the original artist's consent or input, it is exactly what it smells like: a stinking money grab and a tech fad.
Your point of view is interesting and I understand where you're coming from. It's true that when a new technology emerges, there can be a sense of exclusivity and a steep entry curve, as you mentioned with the limitations of access and equipment. However, it's worth considering that every major advancement in audio technology-like stereo or even digital formats-started in a similar place. Initially, these were also seen as niche or even unnecessary by many. The potential of Dolby Atmos is already beginning to show in everyday life. We're seeing it integrated into new cars, headphones, and home audio systems. While it might not be mainstream just yet, these are the kinds of shifts that eventually become the norm as technology becomes more accessible and widely adopted. While I understand the concern about revisiting classic albums without the original artist’s input, many of these projects are handled with great care by those who worked closely with the artist or who deeply respect the original material. It's not just about the money-it's also about exploring new ways to experience music that can be more immersive and emotionally impactful. In many ways, this could be seen as a natural evolution in how we engage with recorded music, just as we’ve seen with previous technological advances. While not everyone may adopt it, and not every project may benefit from it, it opens up exciting possibilities for those who do choose to explore it. Thanks for sharing your thoughts-it's a great conversation to have as we all navigate these changes in the music world.
Thank you @KevinSimpson031 for putting that so well. It was clear that this album is very close to Ken's heart and what I heard standing in the control room was very impressive - I hope that people such as @PrantoKoX get the opportunity to audition it and then follow up with their opinions following their experience :-)
Atmos is available on PC & Android via Amazon music and TIDAL, so it’s not an Apple-only exercise. And while very few people have multi-speaker Atmos setups at home, there are all kinds of new options becoming available via smart speakers, soundbars and laptops etc. None of this means the format will ultimately succeed but given all this I think it stands a decent chance - and I’m certainly looking forward to hearing Ken & Emre’s new mix !
PS. I agree that it's a shame Bowie isn't here to supervise the mix himself, but apparently he only turned up to two of the mixing sessions that Ken did out of all four albums that he worked on, so in this case I'd say it's far from a futile exercise
@@KevinSimpson031 Thanks for your feedback (not the microphonic type), I see your valid points, too. 👊🏼 Mine still all stand, regardless, at least for me and quite a few professionals and artists I've been having this type of conversation with. No doubt Atmos is an exciting new tech development, as I said, it also already has a very well accepted, well implemented and successful place in the movie world, it's evident. However, it is equally evident where and why the forceful push to impart it on music is coming from (forceful to the point of dangling the not-so-veiled threat that Apple Music or Spotify will "require" all new releases to be delivered in Atmos), or where the forcing & promoting a new flood of -often poorly done- Atmos remixes of old & classic albums is coming from: both are major label gatekeeping and wet dreams, fuelled by greed plus a very western/americocentric mentality, i.e. with blatant disregard for the rest of the world's standards, customs, wishes or possibilities; as well as very little care for if & how anybody of the music listening public will, if ever, be able to actually properly experience it on full - not folded down, not somehow approximated, not via a simulating soundbar, not in a car, etc. Time will tell. In the meantime, be well. ☮
Next up ? Missing persons. Spring sessions M ! a masterpiece
Bless him, he is a living legend.
Just a bunch of dudes hanging talking. Love it!
Does it sound different from KenScot's 5.1 mix..?
I'm imagine it does, he says that with hindsight he thinks the 5.1 was a missed opportunity, and was only prepared to do this one if it could be more creative.
Definitely! Give it a listen if you can it will blow your socks off.
@@Wishful-Thinking GOOD!
@@ProductionAdvice 🤞👍
IMHO there are 3 issues here:
A) the original artist is sadly not around anymore to have his say, so as technically interesting or (very) subjectively well done this may be, it's a futile exercise done to appraise a pretty elitist and obvious money grab idea by the folks at Apple+Dolby+record labels
B) when I say "elitist" I mean that over two thirds of the world is NOT on Apple and doesn't care for nor depend on their "standards" or Apple Music's or Spotify's diktats - it's mostly Android phones and music for free on RUclips via cheap mono speakers/bluetooth
C) even if the above point should ever change, how many people EVER will be able to listen to this properly, in its full intended glory/newfound brilliance/immersiveness/insert trendy adjective here?!?
And let's not start with the "Oh but it folds down pretty well to binaural/stereo" poor marketing excuses.
🤷🏼♂️
Atmos is great for movie theatres or for electronic/experimental/avantgarde/prog new music projects that might be written, arranged & recorded with an immersive 360° approximated soundstage in mind. But for retinkering rock & pop records, even more so historical classic albums without the original artist's consent or input, it is exactly what it smells like: a stinking money grab and a tech fad.
Your point of view is interesting and I understand where you're coming from. It's true that when a new technology emerges, there can be a sense of exclusivity and a steep entry curve, as you mentioned with the limitations of access and equipment. However, it's worth considering that every major advancement in audio technology-like stereo or even digital formats-started in a similar place. Initially, these were also seen as niche or even unnecessary by many.
The potential of Dolby Atmos is already beginning to show in everyday life. We're seeing it integrated into new cars, headphones, and home audio systems. While it might not be mainstream just yet, these are the kinds of shifts that eventually become the norm as technology becomes more accessible and widely adopted.
While I understand the concern about revisiting classic albums without the original artist’s input, many of these projects are handled with great care by those who worked closely with the artist or who deeply respect the original material. It's not just about the money-it's also about exploring new ways to experience music that can be more immersive and emotionally impactful.
In many ways, this could be seen as a natural evolution in how we engage with recorded music, just as we’ve seen with previous technological advances. While not everyone may adopt it, and not every project may benefit from it, it opens up exciting possibilities for those who do choose to explore it.
Thanks for sharing your thoughts-it's a great conversation to have as we all navigate these changes in the music world.
Thank you @KevinSimpson031 for putting that so well. It was clear that this album is very close to Ken's heart and what I heard standing in the control room was very impressive - I hope that people such as @PrantoKoX get the opportunity to audition it and then follow up with their opinions following their experience :-)
Atmos is available on PC & Android via Amazon music and TIDAL, so it’s not an Apple-only exercise. And while very few people have multi-speaker Atmos setups at home, there are all kinds of new options becoming available via smart speakers, soundbars and laptops etc.
None of this means the format will ultimately succeed but given all this I think it stands a decent chance - and I’m certainly looking forward to hearing Ken & Emre’s new mix !
PS. I agree that it's a shame Bowie isn't here to supervise the mix himself, but apparently he only turned up to two of the mixing sessions that Ken did out of all four albums that he worked on, so in this case I'd say it's far from a futile exercise
@@KevinSimpson031 Thanks for your feedback (not the microphonic type), I see your valid points, too.
👊🏼
Mine still all stand, regardless, at least for me and quite a few professionals and artists I've been having this type of conversation with.
No doubt Atmos is an exciting new tech development, as I said, it also already has a very well accepted, well implemented and successful place in the movie world, it's evident. However, it is equally evident where and why the forceful push to impart it on music is coming from (forceful to the point of dangling the not-so-veiled threat that Apple Music or Spotify will "require" all new releases to be delivered in Atmos), or where the forcing & promoting a new flood of -often poorly done- Atmos remixes of old & classic albums is coming from: both are major label gatekeeping and wet dreams, fuelled by greed plus a very western/americocentric mentality, i.e. with blatant disregard for the rest of the world's standards, customs, wishes or possibilities; as well as very little care for if & how anybody of the music listening public will, if ever, be able to actually properly experience it on full - not folded down, not somehow approximated, not via a simulating soundbar, not in a car, etc.
Time will tell.
In the meantime, be well.
☮