Andrew Scheps Mixing with Dolby Atmos
HTML-код
- Опубликовано: 26 июл 2024
- Listen to Andrew talk about his experience with Dolby Atmos + A Live Q&A!
Dolby Atmos goes beyond the ordinary listening experience and puts you inside the song in a new spatial way, revealing every detail of the music with unparalleled clarity and depth. Watch how Andrew Scheps has integrated Atmos at his home studio.
Follow Andrew Talks To Awesome People for exclusive extracts and latest news:
Website v2.puremix.com/live/andrew-ta...
Podcast anchor.fm/andrew-scheps
00:00 Intro
08:49 How Atmos really work? Process + Setup
33:06 is Atmos attainable for everyone?
37:41 Loudness and other indicators talk
57:07 Quad Vs 5.1 Set up with Atmos
1:03:36 How do effects translate in Atmos?
1:17:58 Routing stereo mix in Atmos
1:19:51 How it will affect small or home producers?
1:23:00 More talk on the interface and Andrew's workflow
1:57:08 How to get apple spacial to speakers to reference mixes by peers?
2:04:21 Does Atmos effect on the way to use compression?
2:06:53 is Atmos more fun than stereo?
2:31:55 Introducing Space Controller
About Andrew Scheps:
Andrew Scheps is a music producer, mixing engineer and record label owner based in the United Kingdom. He has received Grammy Awards for Best Rock Album for his work on Red Hot Chili Peppers' Stadium Arcadium, Album Of The Year for Adele's 21, and also Best Reggae Album for Ziggy Marley's Fly Rasta.
Read more about Andrew Scheps: www.puremix.com/mentors/andre...
_____________________________________
Wanna learn what’s not on RUclips?
Join the largest community of producers and engineers. Produce, Record, Mix & Master with Puremix
💬 Get feedback on your mixes and music: mix-tank.puremix.com/
🎧 Train your ears in our How To listen series: puremix.com/library/tutorials...
📺 Learn what’s not on youtube w/ +400 videos: puremix.com/library/tutorials
👥 Learn more about our mentors: puremix.com/mentors
Follow Puremix for exclusive excerpts and latest news:
Facebook: / puremix.videos
Instagram: / puremixonline
Twitter: / puremixonline 
Видеоклипы
Hey guys, thanks for time stamping this. I really needed to come back to this and find something specific.....appreciate the time stamps for any easy find.
I watched bunch of videos before his where people simply did not explain it at all. In the first 2 minutes of Andrew explaining how Atmos works I understood how Atmos works. He is a proper sound engineer. Thank you Sir !
Best atmos discussion yet!!! Great stuff!!!!
This is not only fantastic for the information being presented, but it's FANTASTIC because I just happened to need exactly this right now in my music journey!
Excellent Andrew!! we're glad this help, thanks for the kind words
Thanks Andrew. Been rounding the learning curve with this. It can work if awesome content can be created.
Very informative and so well done. And maybe most importantly, I’m so glad to hear We probably don’t need to worry about pterodactyls anymore!
Thanks...great explanation of how this works.
Great session! Learned a lot from it and once again I find myself considering Atmos (John Hanes in his GS QA was the first one to point me to the rabbit hole). Just one small remark: Andrew is using the Dolby Atmos Mastering Suite as it runs on a separate machine and he has the "remote" application open. Some of the options he is showing and demonstrating, like setting the speaker delay lines, are not available in the Dolby Atmos Production Suite (which runs on the same machine as your DAW).
When do we get the Dan Worrall interview? Thanks for being so cool Mr. Scheps
Most helpful thing I found anywhere on producing for Atmos … apart from the panel on the same subject. Thanks a lot!!
This was a very generous video. Thank you.
Oh and just to add.. The binaural experience most definitely has come a long way already. Personal profiles using Lidar and others are pushing the avails of possibility to personalise profiles for individuals.. Just soooo good.
Love this!!
Wow, it's become so much easier a year on! Even being able to monitor ATMOS on a Mac has become easier. Doing it all on a Mac Studio Ultra... Boom
Andrew, what are your thoughts on Steven Slate's VSX Headphone monitoring system? Have you tried it?
Are you familiar with Paul Hubert's Immersion Networks? Monthly subscription model. No hardware. Headphones only. I've had a chance to play with the beta. It sounds awesome.
"It's gonna be awesome!" Mark is happy saying at the beginning. But after the 13:20, 😢Mark is almost crying!! 🤣 Andrew has an extreme patient.
This guy has earned his wizard beard... fun watching someone so fluently straight-talk in their domain of expertise.
I JUST subscribed and set up alerts... I CAN'T BELIEVE that I MISSED THIS!
I NEVER seem to catch a Schepp's Stream. It's like catching a magician's trick or something.
Don't worry since it's available on replay!
36:55 rocket man
What's that JBL preamp that Andrew is using to listen to Apple music? Did someone get that?
Does the Doppler effect happen when you move stuff quickly in a multi-speaker setup or in the binaural? It would be a cool option I think.
And if you could, discuss speaker calibration
I have seen some mix match speakers for atmos.is the a spec on using speakers. Great talk thank you.
This info is great. As a post production engineer I have gotten to do some projects in Atmos, but have not mixed any music in Atmos. Listening to Atmos Music tracks via Apple music in my (pretty nice) home 7.1.2 home Theater has been mind blowing. It is so much fun!!! I have noticed there are lots of mixes with zero LFE. I could believe that is a mix creative choice but I sort of suspect it is a technical decision or perhaps a bass management misunderstanding? meaning the mixer heard their Sub (because their control room was bass managed) but nothing actually went to the LFE. Do you have a theory why mixers would not use any LFE? I get it is a creative decision, but the tracks that use the LFE tastefully bring the mixes to a new level. I also get that most home theater folks have their systems bass managed so they would never notice. I have tower speakers and prefer to only hear what the mixer intended to come through the Sub in the sub. Any insight would be appreciated.
As a music engineer I couldn't imagine anything remotely desirable to avoid using the subs. 120hz and below is the current spec for Dolby, I believe? That's a fundamental range of information for *arguably?* all good musical mixes made after the 40's. It's probably a encoder/decoder error either in the mixdown or translation. Might be a setting in your processor? Any song or file you could link that could be referenced with another system?
Do you ever mix in objects only ?
when creating an atmos mix from a catalogue, do we need to create a new stereo version with new ISRC and gain change of the stereo track so that it matches the atmos version loudness?
Steinberg Nuendo 11 more emphasis in the conversation. Cubase does not have Atmos at this time
Binaural from renderer vs Apple’s user end
Hi. Thanks for all your videos.
I hear people talking about Obect Beds a lot. Is that basically a multi Chanel aux that you send tracks to and then make that Aux track an object? Does the panning on a track going into that Aux track pan like an object would when it’s going straight to the router ? What I mean is the panning “atmos” or is it like the way a bed would work with only exact pan points to each speaker
How do you set up the mastering suite with pro tools on a different mac? Is the interface connected to the mac with the renderer? Or the one with pro tools?
If its in the renderer mac, then how does pro tools connect to the “Dolby audio bridge “?
We’ve mixed and delivered to ATMOS and DDigital for years in our studios, but for video. It’s great for video/movie delivery to a serious home theater, a commercial theater or in the studio. However, it is not designed, nor anything but a fatiguing party trick for music- especially when crashed or folded. Few want drums or other tracks to move above you or behind your head. Sounds really cool for a while, but then they generally want to listen to purpose-mixed stereo or 7th order Ambisonic or related. Also, a high percentage of listeners perceive the simple binaural folding to result in music behind instead of in front of you. It will keep getting better and needs to, but in the interim, i hope people soon stop using ATMOS like computer users did with Mac fonts 30 years ago.
exactly
Thank you for pointing that out in such clear words. This has been my feeling for a long time. Most objects appear to come from behind even if placed in front and most mixes are completely over the top and leave the listener disoriented and confused with no real sense of center or space.
In Music mixing I would - if at all - use Atmos to place a very few select objects with sounds like pads or ambience behind the listener to widen the room but wouldn't touch the rest.
I'm going to disagree here regarding music. I would agree that older stuff repurposed for Atmos can be lame, and sometimes a party trick. However, electronic music that is specifically recorded for Atmos or spatial audio in general is designed to take advantage of the expanded mix space. While older "band" or combo recordings that have been remixed for Atmos may have boring, redundant or otherwise not pleasing results, music that was specifically designed from the beginning to be in Atmos, which also extends to gaming music or atmosphere/ambient game sound as well as ambient electronic music of all kinds, can be so powerful as to be an almost religious experience - at times it's like nothing I've ever experienced before. New music and atmospheric ambient recorded and designed for the Atmos space/Spatial audio in general is the new frontier for electronic and ambient music, I firmly believe that. It just opens up a world of sonic opportunities to mix into.
@@BillVincent I totally agree with you about the future of sound. My issues are specifically with Dolby ATMOS. First, over 80% of people listen to music via headphones or IEM’s over 90% of the time, and about 15% on stereo speakers. That leaves at best 5% that have either soundbars, Dolby Digital and some, actual ATMOS X.x.X playback. ATMOS on such systems is simply binaural (a mediocre rendition compared to Flux, SoundScape, HSF and most other binaural renderers. Further, many don’t even get Dolby’s binaural render, they get Apple Spatial Audio, which is neither a standard binaural, nor Dolby’s “twisted wire” binaural interpretation. Apple did this for numerous reason, one of which was the limited quality of Dolby’s binaural rendering.
So, while I totally agree that immersive audio is the future, and we are actually developing enhancements to everything from Dolby and DTS, to WFS and Ambisonics, Dolby has treated immersive sound as a contrived after thought. However, at least they helped to open the door much wider and paved paved the way for all sorts of wonderful new immersive and related sound experiences.
Please do a video where you share how you I/O, route and use your Apollo gear in that Date setup.
I’m told that using the bed is required as per Apple’s spec
for listening to Atmos music in your studio you can use the arvus hdmi decoder to Dante. And there will be a solution with latest apple os and the Dante virtual sound card with the Apple Music ap
And Atmos mastering
So does the renderer then send the binaural coded mix back to Protools master bus for mastering purposes?
Edit : So an independent copy of the mastering chain to each channel/bus going out to Atmos? How do they glue the mix and get loudness?
You are such a cool, chill guy. Thanks for sharing. I have worked on a few ATMOS projects and heard a lot from our studio. Also listened to some of the “best examples” people rave about. They sound cool in the studio. But they sound all fake and really nothing like any sort of a real performance when you listen on headphones in ‘binaural’ or Apple’s spatial formats. They just sound faked. Still have not heard one example that sounds even close to a great stereo. I get and hear all the ambiance. I also get the cool positioning stuff’s value. But our engineers and the customers seem to find it hurts the brain to try to listen to music in. I guess its just that it was not really made for music. It is fun to mix in tho!!!
Do you know one person who installed a Dolby Atmos setup just to listen to music? But you know lots who listen through headphones. Fake is not the word, it's called reality. You can take a boat from Europe to the US but who does that? We fly. Is that fake? I agree DA is king but king isn't reality either.
A good and informative chat. But I wish they'd "toned down" the rose-tinted glasses just a tad more, to address some of the legit concerns I and some others have about Dolby Atmos as utilized by Apple!
PS: if Andrew or pureMix is in any way, shape or form getting compensated by Dolby or Apple for covering this topic: I think it should be disclosed honestly.
That's a fair comment and I just wanted to say that there was no compensation from anybody. That stuff makes me really uncomfortable and I would definitely state it at the beginning of a video if there were.
IS 360 reality audio by sony comparable to Dolby atmos ?
I have away off getting Apple music into your system without anything other than your mac and a bit of software 🙂 Great video
Logic Pro 10.7 got Atmos Mix features and Binaural etc and can take out put in ADM BWF format.
Find out soon! we have an Atmos series coming up on pureMix with Andrew Scheps !!
i recently did an atmos mix of a song. i then exported it as mp4.
i load into itunes on my mac. but it will not sync to my cloud to go to my phone. i have download atmos enabled on both devices.
in itunes i get error message This item was not added to your Cloud Music Library because an error occurred.
what can i do? all other files sync fine
I have been looking into buying a new pair of headphones again just to have a different mixing perspective. Highly regret selling my audezes 😭 now watching this video makes me realize it’s probably a wise purchase to do 🤔 think ill go for a pair of hd600’s 🙂
Can you use sonarworks sound Id ref to calibrate speakers?
How can you achieve a master bus effect/treatment on all instruments? No way? Kinda a sidechain compressor from drums that affect gain reduction for everything?
Also , I’ve been told to limit my abject size to 10
😎
Just couple a guys horsing around, that know a ton about atmos
So sad Protools needs HD for all this while Logic pro comes with the atmos render free and you can mix on your headphones
ProTools 2022 (aka studio) now supports immersive, just FYI
@@danymalsound yeah
@@danymalsound does it have the Atmos renderer built-in
@@Sheriffvlogs no, that's a separate purchase through the Avid store, but it's on sale for $99 right now, down from $299. Not sure how long that's going to last. Cheers
Video starts at 03:13 🙂👍
So much processing! My gosh
i recently did an atmos mix of a song. i then exported it as mp4.
i load into itunes on my mac. but it will not sync to my cloud to go to my phone. i have download atmos enabled on both devices.
in itunes i get error message This item was not added to your Cloud Music Library because an error occurred.
what can i do? all other files sync fine I'm able to email it to myself and save to file on phone and play it. but get get it to go to itunes
53:13
Who is going to make first professional DAW that has all the controls in VR environment?
Thanks Andrew! I gave you a shout-out on my video where I show how to apply your technique for time alignment using Nuendo (for those of us who don't have the Mac version of the Dolby renderer).
ruclips.net/video/EhYtoMAmKk8/видео.html
Cat furniture on the right of the screen. A good, high-quality cat does improve like engineering. 🐈
Will Atmos make my songwriting any better?
It’s so complicated that even Andrew gets it wrong, it’s not a low frequency energy channel, it’s a low frequency effects channel, you aren’t supposed to send bass to it like a regular subwoofer, that is supposed to be handled by every other channel independently, that channel is for an extended low frequency special effects only… This stuff is cool, but it’s just way to wild and a lot of the mixes are totally horrible on a large system that was mixed on headphones by someone who was told that’s ok…
look most folk listen to music on their phones and no one near no one hears the quality of hour and hours you put in your mix let alone the master ..
yap even the iphone users ..
But who is going to be able to hear these full atmos mixes ever? Seems like 99% of the time the binaural will be heard, if people choose that as against the normal stereo, or is only one available to listen to on the streaming services? So only binaural on your hi-fi? And above all, will the general public even notice or care? I don’t believe they‘ll pay more for it, they don’t even want to pay for normal stereo…
Sorry, object
Dear lord, I’m a nerd. 😂
Dolby atmos for general music application is pure nonsense. You know it, we know it.. this trend will pass within a few years
exactly
I wonder how mastering engineers that have spent 10's of thousands in analog gear and probably even more in their monitor system and the room acoustics that are specifically tuned to those monitors feel about all this whole "atmos" hype haha.
Hey Andrew, Apple and the streaming services want to use your product to monopolize the production and distribution of music. You are guilty of the potential silencing of independent music.
Sick of the selling out .I had respect for Andrew. No More.
Talks a lot and not enought audio examples.....like imagine what he saying all the time ...lets watch lets imagine!! Tired of Andrew blas blas
48:55