I just think the future's atmos technology is much more important not in the music, but in the movie or gaming world that have much more kinetic factors. In real world the music stage is mostly fixed.
Perhaps, I imagine many scenarios where music with spatial effects drastically improve a songs emotional experience which in many cases are what matters most. Dubstep for example: I personally have 1 maybe 2 songs i can listen start to finish but there are many that I enjoy purely because of the transition phases. The transition where you anticipate, experience the "drop", and feel the music, that is what I envision being amplified throughout the track by producers as a driver for audio sales in music industry with atmos or dtsx . The emotional value to feeling as if you were in a theater or a coherent song with descriptive lyrics and accompanying audio that allows you to imagine or visualize a recreation of events... that is the psychological advantage and underpinnings that 3D spatial audio plays upon. The power to influence the will or subconscious of a human being is ridiculously simple and if it's effective it will thrive. Additionally, these technologies are pushing people who typically don't use devices with voice assistants to acquire or download and install apps that are not only equipped with VA's but most importantly have the proper embedded permission to constant record your physical environment in whatever room your tvs, soundbar, cell phones, computers, etc are located increasing the opportunity for Advertising sales based on information you unwittingly provide these devices through direct action like web browsing for a new kitty cat and then being flashed with adoption ads on RUclips or something. The indirect information is equally if not more valuable, like if you cheat on your wife and then find yourself at the urgent center asking about some green stuff that drips from your tallywhacker. 2 days later you grab your wife's phone to play a show on Amazon and you notice ads on her phone for divorce attorneys. Lol, I'm telling you this is legitimate marketing techniques very much real and no I'm not married nor do I have a case of gonorrhea
In games it's kinda hard. I don't even think with my current setup my PC can do Atmos. I have it connected to my TV with an HDMI 2.0 cable. And my Atmos-capable soundbar (+ wireless woofer and speakers) is connected to my TV's eArc port with its own eArc port. I think the only way to get Atmos sound from my PC is by connecting my 3080 Ti's HDMI 2.1 port directly to my soundbar's eArc port... meaning my PC can't be connected to the TV so that'd be kinda pointless (unless I can connect one of my TV's HDMI-ports to the soundbar and the PC will send the image through the soundbar to the TV... I don't think it'll work, only in reverse). Anyhow, Atmos setups for gaming are kinda bad at the moment.
@@thenonexistinghero You can hook up hdmi cable to sound bar and set audio to through that hdmi cable, then hook up another hdmi cable to your TV and your image will output to your tv while the sound will go to your sound bar. Just have to change audio output on your windows PC settings to go through the cable connected to your sound bar.
We are super busy with Atmos mixing for labels here. I also may add that sound bars will not work for checking mixes. For film mixes as I have production studios that need to verify mixes for accuracy in a proper Atmos room, like arrival times, spl. Instead of traveling to a major city to check a mix week in the dub stage or audio post facility every couple of weeks. Also the labels won't accept headphone mixes based on what we are seeing. They need it done in a proper Atmos room. Also the spacial audio thing is a totally different animal from Dolby Atmos which has been a pain for us here. There are two different codecs that are used by streaming services, "DD+JOC" and "AC4-IMS". DD+JOC is the older codec that was designed for speaker playback of Dolby Atmos film content. It ignores all the Binaural Render Mode settings of your mix. Tidal and Amazon use the AC4-IMS codec for headphone playback "Immersive" and "Object-based". Apple Music uses only the DD+JOC codec which means, all the Dolby Atmos Music mixes on Apple Music don't use any of the Binaural Render Modes that were part of your original Dolby Atmos mix. Apple's chose not to use the newer AC4-IMS codec that would contain the binaural metadata. The curveball in the mix, is called "Spatial Audio" with the exception of Apple TV.. The only exception is when playing back Apple Music content on the AppleTV through the HDMI output connected to a Dolby Atmos capable AV receiver or soundbar. In that case, you are listening to the Dolby Renderer and not the Apple Renderer. ON HEADPHONES. The only clumsy workaround is to use the mp4 export in the Dolby Atmos Renderer and playback that file on your iPhone. However, what about all those Logic Pro Atmos Bedroom Producers mixing over headphones? They will be in for a big surprise when they hear their mix on Apple Music Logic doesn't provide the mp4 export workaround. In Logic, "Spatial Audio" is just another word for "Immersive Audio" or "3D Audio". Immersive means that, instead of a 2-dimensional sound field, for example, quad, 5.1, or 7.1, Dolby Atmos can deliver a 3-dimensional sound field. That is nothing new, and you could just mount a few speakers on the ceiling, add some channels to your surround format, and you are ready to go immersive. However, the real advantage of Dolby Atmos is the move from a traditional "channel-based format" to an "object-based format", which creates some challenges regarding monitoring our Dolby Atmos mixes as we will see. Yes, you might want to mix Dolby Atmos in Binaural Mode for your target audience but better check how it sounds through Apple’s' Spatial Audio engine.
Question: Should I include the stereo FX busses separate for Atmos MASTERING? As in, stuff like the reverb and delay sends. OR print the effects into the stems?
For artistic and aesthetic reasons, I currently mix every project in mono in an untreated and abandoned school bus. If I update to an Atmos rig, could I focus every track to the exact center of the listening cube and perhaps induce some kind of mega-mono-audio-singularity that results in a black hole. That would be worth the 10 extra monitors (plus 1 sub).
If I need the atmos analog mastering to be as close as possible to the stereo mastering , I use the stereo atmos mixdown to compare and then I use a mono sidechain for analog compression and eq on each stereo submix (LR LSRS LBRB etc..) in wavelab. It's a bit long but works. Otherwise the Weiss stuff also works well in 7.1.4. if you want to keep it digital. Besides with the number of speakers you don't have to apply the exact same mastering to the atmos mix, meaning less limiting, less sharpness, more dynamics. I think that Atmos done well is a great experience and is worthwhile. It's not a gadget. Whether people can get a good binaural mix will make or break the whole thing but it's amazing seeing people experience it on proper speakers.
The issue I'm having is I can't reference my mix in Spatial audio on Earbuds without exporting an mp4 to my phone, I can obviously listen in Binarual but this isn't the same as the decoded 128 channels with head tracking.. also listening to Spatial audio content there's a lot of good ones but some that are just radically different in volume to the stereo mix and the aesthetic, obviously the labels and artists aren't taking much care!
What I mant to know is, since (unlike logic/cubase) Pro tools uses the renderer as the playback device and then the renderer sends audio to your monitors & headphones through your interface. How would I use sonarworks to calibrate my headphones? or use something like the "Dear VR Monitor"?
It's more of a Technical reason from Dolby-atmos if 128 audio channels are playing back on a Stereo or mono speaker or any playback Device it will need -18db of Headroom So it doesn't distort and get loud and Plays back properly + u have Additional processing like binaural.
Independent feature film / TV show producer here. DOLBY LABORATOIRIES: They were A1-Okay until 1995. Still all right until 2005 or so. Not so much afterwards. DOLBY ATMOS: Not worth the breath talking about it. APPLE MUSIC, SPOTIFY, LABELS: They are the ones deciding on the technology? Forget them, then. Resist. IMMERSIVE MUSIC: We have a music listening room in which we have 4 identical 3-way midfield-range studio monitors arranged in a perfect 4.0 Quadrophonic surround matrix. Sometimes 4-channel discreet, most often 2+2 "Faux Quad" mix. Tried music in 5.1 as well, sounded like crap. Same with Atmos. That is really, really bad. As most of the times, there are no musicians playing whilst nailed to the ceiling, you know. We do deliver the shows in 2.0 and 5.1, BTW. Mix in 2.0, then auto-generate the 5.1 surround variant, is all. Simple, really.
They want the music industry to spend millions on all this bright shiny new equipment and meanwhile billions of people are listening to crappy songs, via crappy mp3's sent to mostly mono phone speakers. It's the Emperors new clothes, it's nonsense. Unless the industry itself is going to give all this to the public for free, because if they're quite happy with crappy mono or half decent stereo why are they going to shell out for high tech systems? What the whole industry SHOULD be doing is finding ways to get people back in tune with proper musicianship and song writing because after two decades of midi-pack rap and hip-hop we've totally lost the plot. 🙄
I have a question about using Dolby Atmos as a tool to look into a proof of concept for object oriented live music delivery in large live venues. The problem we are addressing is where the venue needs multiple speakers to provide the required SPL, detail can be lost. For example, many musicians report that, when playing large venues, they have to simplify some of their parts because the more complex elements of the music get lost in these performances. The assumption we are making is that the brain has difficulty in processing the multiple path lengths of the audio from the line arrays. The brain can handle multiple path lengths, and does so every time we are in a room. The assumption that we want to test is that the brain of the average audience member is not familiar with the multiple path lengths from a line array and has difficulty processing this information. This produces the result that clarity is lost on the audience. The solution would be to have single speakers for each performer. Then have multiple speakers in the venue, preferably at the walls of the venue where the audio for each performer is delayed by the path length from each performer to each loudspeaker. d&b audiotechnik have already been doing something similar to this for several years for theatre productions. We want to test our assumption. It is possible that this problem is due to different issues such as bad acoustics, for example. So rather than write our own code to test this, it would be good to use something like Dolby Atmos or Ambisonics to provide the calculations for delay for each object (performer) to each speaker. We would not need to use the ceiling speakers for this just the side and back speakers. The question is: can Dolby Atmos provide a condition where we can align the delays from each object to produce a coherent waveform from each loudspeaker in a live venue? Given that cinema theatres have different dimensions, does Dolby Atmos provide a way of dealing with these delay calculations? Or would we need to place our speakers in specified location? Which would not be a problem for us, we would just stick to the specified placements of the speakers. The main argument against using distributed speakers is that the many speakers will interfere with each other. It is possible that d&b audiotechnik has already proven this to be wrong, but it would be good to prove this ourselves for the case of live music with our loudspeakers, which have been designed with this issue in mind. The other questions we need to answer are, does the audience or performers care about being able to solve this problem? It’s better to find the answers to these questions by using someone else’s software rather than writing our own.
I have been fiddling around with Atmos in Fairlight (BlackMagic Davinci Resolve) and it gives me up to a 7.2.4 space to work in. Definitely not easy. Good luck all.
what is your take on using an equalizer with a pre boost setting in a car audio system? I have a 2015.5 Volvo XC70 with the Harmon Kardon 10 speaker 600 watt system, and I had to drop the equalizer on the bass side to make it not so bass heavy as I listen mostly to trance, chill, break beats, house music, and some alternative and rock music. It has the Dobly Prologic 2 system in it, and I am not sure if I have it setup right to probably enjoy not only spatial music, but the quality an engineer like you put into a audio file. What is your recommendation on setting and equalizer and pre-amp bass mid and treble boost.
How many people listen to the music even on old 5.1 system nowadays? But it was invented years ago. Not everyone even has a good pair of stereo in their home. For me, revolution was started with first walkman. I'm a meloman guy and the best music experience for me still is when I listen the music on the way. Walking, flying, train travels etc. It's the best combination for ears and eyes. I have one of the best moments of music experience on the way, intimate moments, another worlds. I know how sounds real Hi-end, and for me, decent earbuds with noise canceling or even wired earbuds will do the job better on the way, then Hi-end at home on a chair.
5.1 never took off because no body cared even the music industry didn’t…I mastered some in analogue in the early 2000’s which was mental but it was mainly live versions with the crowd noise around the back…this is defo different, I think the gaming world will make this massive…Apple have something up their sleeve me thinks!!!
whare do u feel is the best place to find 5.1 or surround sound mixes in general been useing mpc and youtube vedios love it but would love to find more modern mixes
I was researching Dolby Atmos a while back and came across something that suggested Atmos mixes collapse to stereo quite well. I think the theory was that the space and dynamic range were better. If that is true, then you might not need two mixes, just an Atmos mix and a stereo rendering. Probably would still need two masters though. Might be a win for mastering engineers…..
@@Streaky_com I think that will change as music productuon integrates into an Atmos workflow from the beginning though. At the moment, the vast majority of Atmos music is mixed in stereo first, then the Atmos version made from stems, but once you begin mixing in Atmos from the start of a track, it does actually fold down very transparently and of course, you're continually doing a QC to 2.0, 5.1/7.1 while working in 7.1.4 and binaural anyway.
@@SamHocking This is a little ridiculous. How could something fold down using a basic summing algorithm and possibly sound close to as good as something where hundreds or thousands of decisions were made in context of the listening format that will be used?
@@ezrashanti There are various methods and practices to ensure 7.1.4 folds down well to 7.1, 5.1, Stereo & Binaural. All modes are part of the Dolby Atmos Renderer Monitoring & workflow so you're regularly checking the stereo mix anyway. At the moment, the vast majority of Dolby Atmos music is simply representing a stereo mix anyway, just with some spatial enhancement/placement, it's not that much more of a differences than the stereo to mono in my experience. It might become an issue as more music is made entirely in Atmos workflow, but at the moment entirely academic, because the streaming services stream Atmos to an Atmos listener, Stereo to a Stereo listener. We can already switch between the Dolby Atmos Binaural to Stereo Headphones from the same source on Android & Windows and that really isn't an issue.
What I’ve the issues been when making Atmos mixes translate on other Atmos systems, like headphones and sound bars? Is it not been too much of a worry or is it a bit of a bag of worms?
I think the glasses look really cool Streaky! I agree with your statement about music being "part" of the entertainment world, it "isn't" the entertainment world, and that 3D Immersive mixes are here to stay and even develop further as the home entertainment market is growing progressively....great advice as always thanks.
Maatering is also very important in the music industry robert McClellan told me that mastering is the very last inspection step. And also a mastering engineer also has a very attuned ear to know when the song should start and also when the song should end and also the mastering engineer will also will have to fly the whole entire of the track into a session too.
ic guitar is lost in Atmos, and you can clearly hear that the juxtaposition of things that are in the center of the image and elements that are stereo is completely lost in Atmos. There is a phasey effect in the intro of the song ‘Makeba’ that in stereo sounds super drastic and interesting and serves as the perfect relative foil to the elements that drop in the middle of the stereo field right down the center when the song drops and kicks in. In Atmos that effect is still audible but in loses it’s potency because Atmos makes it sound as if all of the elements are coming from the same place in this weird compressed, hyped low mid range stew. Now, granted this is in headphones, (AKG 240 made in Austria), so perhaps in a fully outfitted Atmos equipped room, the difference is astonishing, and I look forward to having that transcendent experience. Sadly, Atmos changes the character of these mixes in a way that is different but definitely not better. In fact, it ruins aspects of these three mixes that are clear and make the listening experience suffer. Listen for yourself, share your thoughts.
We were at the Dolby Vine Theater Hollywood for their Atmos demo. Their sound system is very hard and harsh. We didn't care for the mixes, which they were proud of. They have hard marketing for music after copying Aura.
Hey Streaky! Do you have a Trinnov in your Atmos setup (I remember you had one in your stereo rig)? I guess that the higher the number of speakers, the more important the phase.
A huge problem with this fad that I have is the fact that distributors like distrokid are charging $26.99 per song upload for Dolby Atmos quality, went in the next 10 years it’ll just be standard audio sound. I understand $26.99 for a whole album which is still ridiculous, but per song?? Are you kidding me?? I don’t think there’s a bigger rip off for independent artists when artists like Green Day have Dolby Atmos automatically added to their music that’s been around for over 30 years. Great. More unfair petty BS in the music industry. Part of the reason why I don’t wanna do this anymore. It’s not about love, or what the whole point of music was in the 60s. It’s lost, and the “industry” is dead. Do it yourself, you don’t need Dolby Atmos to make a great sounding mix!
Hobbyist producer here (not too informed on mastering). Atmos is very confusing to me. I'm assuming it is a way to have a single mix that scales to support as many speakers as the listener has. Unfortunately this becomes a problem when listening to non Atmos content on an Atmos setup. In which case it seems like it will emulate the Atmos surround effect even if there was already some type of surround effect applied, effectively ruining the mix. On Atmos setups is there a way to only listen using Atmos when the content was made for it?
@@cycleofficial4744 no people are gonna forget about it like what people have been doing the industry is dead, what will happen will be the death of the industry and people moving on to more home studios.
i have to be honest, i have the airpods max (and the airpods pro) with the spatial audio feature and on apple music, i just hate the dolby Atmos master. They just sound bad. The Drums are weak, the voices are blurry and most synth sounds thin. But the weirdest part about the Atmos master on Binaural Headphones is that the separation and imaging of instruments is actually much worse than on just the stereo master. I've never yet heard an Atmos mix that wasn't just so much worse than the stereo one. If you have some, tell me :/ anyway, i wish artists were not wasting their money on that, but hey, some people like it so....
the worst mixer so far for me is John Hanes, he mixed a lot of pop music in Dolby Atmos and he's just not that great at that, and the worst part is he thinks he's doing an amazing job... there are some songs that are actually better in Dolby Atmos compared to the stereo version, for example: Somewhere Only We Know - Keane, Three Little Birds - Bob Marley, Circles Dolby Atmos - Post Malone, Moanin' Remastered 2013 - Art Blakey, Bad Habits - Ed Sheeran, Lollipop - Lil Wayne, Don't Stop The Party - Black Eyed Peas (movement in sounds), The Time (Dirty Bitch) - Black Eyed Peas, On The Floor - Jennifer Lopez, Dark Horse - Katy Perry, F2020 - Avenue Beat, He Is The Same - Jon Bellion, Dance Monkey - Tones and I (noise removal, removal of annoying high sounds, more bass, the way the original music should be), Moves Like Jagger - Maroon 5 (it feels like you are listening to the music on a stage, the ambiance is impressive), Read All About It, Pt. III - Emeli Sandé, Never Say Never - Justin Bieber, Apologize Dolby Atmos - OneRepublic, Runaway (U & I) - Galantis
@@Levi1440p maybe yes but atmos is so complex to setup in your own home, the sound bars that does a good job at immersing you into a dolby atmos movie are really bad at playing music. Atmos AV receivers are so complex to setup and good ones are so expensive. Apple's binaural processing done on atmos mixes for airpods sounds just like there's reverb on instruments to make them sounds like they are in a room and i don't like that. It may not be Dolby's fault, but it's a high end complex audio format and pretending anybody can experience it well is a complete lie. I've not yet heard a good dolby atmos mix and it may only be cause i've not experienced yet a proper dolby atmos setup. Meanwhile stereo is so simple and easy we've been making it sound superb for years and years now, and apple pushing dolby atmos is to me just because they're trying to force innovation to makes us buy new products we don't care about.
I've listened to mixes in atmos and it's amazing, but I don't think it can be replicated with a sound bar or binaural mix. Also having to deliver atmos mixes at -18 lufs must change the way the track is mastered
Silly me I treated my living room to get a good sound, but now I have to strip it all to get "reflections" from walls by an atmos soundbar. You know what? LOL, just LOL.
Very cool videos Streaky!! I have a question, after you finish a mix in dolby atmos you still need to master it I suppose so can you do it using the same equipment you used for the mix or you need different kind of speakers and gear in general? Thanks, greeting from Costa Rica.
No some of the same tools just used more sparingly the same as if you Mix a track and then master…for example you can use a fabfilter eq when mixing a track and when mastering you would just be using it on the whole track with mastering more than the individual stems
Hi! Were you at NAMM in April? The diff tween Mastered Atmos and not is astounding! Neumann speakers and great artists/engineers can help sell the record/Blu-Ray/Apple Music. Sony is not supporting Atmos in PS5-mistake! They have Tempest and 360. Regardless, Immersive is being embraced even by friends who thought it would be over last year! Prob is, sounds awful in high end sales boutiques if not set up well! At NAMM, Chuck Ainslay mixes sounded incredible, while in LA royal sales place, we walked out in shock. Mixing in phones binaural Not same as a room full of great speakers! For me, I love it and dived even deeper…Bottoms Up!
I remember watching Pink Floyd's P.U.L.S.E DVD and it's mixed in Q-Sound, so I positioned myself in the sweet spot and there's sounds coming from all directions (so it seemed, because it's audio tickery of course, making your brain believe the sound's all around you), but what sounds WERE actually coming from the back? Simple: the crowd of course and the special effects, like birds, helicopters, money, bells, NOTHING ELSE!! The music came from the front, as it should be!! I've not heard music in Atmos (yet!), but I doubt I'll like it. Like Mike Oldfield once said: "we're just like animals and when sounds are coming from the back all of a sudden, we tend to turn around instinctively, that's why I don't like 5.1 mixes." He did actually remix a lot of his albums in 5.1, but he didn't really like it. It's a contractual obligation for him to do so. As many people say: Atmos: great for games and films, but for music: nah!!
Hello Streaky. I’m an independent artist and I produce, mix and master all my tracks myself. How can I, on a lower budget, take advantage of the Dolby Atmos music production train? Do you have any advice and/or tips for me? I already spent a fortune on my current home studio setup which is in stereo. Besides the lack of space to place a complete Atmos monitoring system, I simply cannot spend over 30k for a bunch of speakers. And what can I do in the production and arrangement stage to make sure it will be suitable for Dolby Atmos? I hope you can help me out with this one. I would really appreciate it. Oh, by the way, my current home studio is still under construction for one and another..
Look at this video ruclips.net/video/r_dzbhKMKww/видео.html or this one ruclips.net/video/cnX4pVrxqq0/видео.html If u want to look at a speaker setup ruclips.net/video/S7siySktba4/видео.html U can allso do it in Cubase ruclips.net/video/ixY6IPGzOxY/видео.html
I don't entirely agree the future will remain as it is, with the cost being prohibitive for smaller labels, studios and bedroom setups. I see the binaural render continuing to be the primary listening experience for Dolby Atmos Music (said to be currently around 80% by Tidal & Apple Music). As we see already with Nuendo & Davinci Resolve, it is possible to buy a DAW with the Dolby Atmos Renderer built in for ~£200 and perfectly capable of exporting the ADM BWF for music distribution including the essential binaural metadata. Apple & Dolby are heavily investing into the binaural experience too, so my gut instinct is the gap between binaural mixing and 7.1.4 mixing will be 'close-enough' that there will be a big growth in 7.1.4 Atmos mastering services for those that simply want to master their Atmos mix for the 20% of listeners that do have speaker arrays. I do agree not a lot will change in terms of the process, you want your bedroom stereo mix to translate well to all speakers you pay for stereo mastering. You want the same for Atmos, you pay for Atmos mastering and the stereo fold-down is basically included anyway.
“That’s absolutely mental” 😂 Looking forward to more atmos videos from you to be honest. I’d like to see more information about the use of object based workflows and purposes within music for sure.
I imagine it sounds great sitting in a purpose built, 30k room with 200 speakers. It sounds, however, like absolute dog shat through any headphones, no matter what lovely folk like apple would have you believe…
Thats what im thinking you would need the gear to really hear the effects in saying that maybe this is the future 4 5 years timeas people go into the virtual worlds
Sounds cool. I hear some people saying its going to take over everything. Yet all i see is everyone listening to music on their phone. Its like its going backwards.
80-90% of Dolby Atmos is listened to purely on headphones binaurally from mobile devices anway, not speakers really. There's no Dolby Atmos streaming services for Windows or macOS, MacOS can't even output Dolby Atmos to an Atmos Soundbar yet! Windows can pass through to an Atmos A/V receiver, so the accesible way is android for Dolby Atmos and iphone for apple spatial's bastard version of Atmos.
I haven't heard the term "monitor mix" in a long time! In fact, going back to when the desks had a separate monitor fader section used during recording with no EQ, compressors, gates, and you plugged out of that into the 2-track. Then spent the next 10 weeks wondering why the final mix wasn't nearly as good. (Clue - the monitor section had no EQ, compressors, etc, and you had to balance it properly.) I agree that Atmos etc is here to stay. I used a Quad desk in the 1970s. IBC built it for the tons of quad that was about to happen, and quite simply didn't. I used it not for music but for surround events, and it got a major work out into the 1980s, outputting onto 4-track tape. But, as you say, the difference now is that people have discovered the wonderful world of Binaural (invented DECADES AGO), and realised that it has a place just on its own without pictures needed to be involved. And because of how it works, it is so easy for platforms to adopt. And with Nuendo and Cubase 12 having seriously easy and great Dolby Atmos integration, you can convert a stereo project into an Atmos project with just a few clicks. Get some great headphones (and possibly some calibration) and off you go. On the mastering side, in the same way as people like the darling George Peckham (Porky Prime Cuts) did years ago in his vinyl cutting and masting room, mastering engineers will need to create a surround mastering environment that they are as confident with as they are with their existing environment. That is going to be substantial investment for many, so that might slow things down a little. But it would be crazy to use two different mastering engineers - you want the same pair or ears on both masters.
I still don’t see it. Not because of the work and investment involved. Because of the fact that the consumers really don’t care, they barely have a HiFi these days, let alone a surround sound system.
@@Streaky_com it’s depressing, really. People used to gather at someone’s place bringing records with them and hanging around while listening. It used to be something you experienced, not something you heard while scrolling through social media.
The only advantage to dolby atmos is since it has loudness requirements... there's the reason about "against" the loudness wars (-18 LUFS and -1 dbTP). Go watch production advice video about dolby atmos.
I remember Dolby Atmos from the year 2000, when it was a scientific pitch retuned playback so that it harmonized with both 50 Hz and 60 Hz electricity. It’s been around a lot longer than that and I’m younger than you so you should have known that, talking about, “The truth about it.”
"We have binaural headphones". I have yet to hear some 2nd and 3rd dimension on my headphones, including my monitor ones... Logic Pro atmos renderer just doesn't do it. I listened to several atmos new tracks on apple music with my normal headphones, dolby atmos set to auto, and it's always mono-dimensional as stereo; sometimes it sounds like a glorified stereo and maybe that's what makes it "sound good". Now, headphones take the majority of the listeners' share; the rest is cars and home hi-fi. The latter: you'd have at least to buy an atmos compatible setup. if you don't want to spend a royal amount of money for a proper multi-speaker set-up, It seems there are soundbars that can actually do the atmos rendering, for movies at least, but music? "When I listen to music, I usually do it by sitting in the middle of my living room and standing still" said no one ever. About cars, I have no experience with it but it's a car after all, where the engine/wheels/wind rumble screws up the sound anyway. Like listening to a mutilated sound in 3D... Does anyone really rely on their car to get the best sound experience?
@@Streaky_com true and also streaky a mastering engineer also has a attuned ear 👂 to know when the song should start and also when the song should end too.
IMO, atmos is pushed by big tech investors like apple because the idea works perfectly on a metaverse or virtual reality world which is their goal to become the future but as amazing of a technological change it is, I think many people still love the old stuff. Some people pushing for a futuristic world but some are going back to time like how many artists creating 60s 80s sounding music and is still hitting the charts in this era. I don’t know what the future of music will be like but I’m one of those who doesn’t support the idea of virtual reality stuff and rather go back to simple mono/stereo cassette life and learn how to mix with depth rather than using a dolby atmos binaural panner. (IMO)
It feels a bit like when 3d tv’s came out..it was cool, but..yeh.. 😁 i hope i’m wrong tbh and that an atmos mix will blow my mind away, but so far, not at all.
Admittedly, what you have presented is beyond the scope of the casual listener, such as myself. My take: Atmos is completely unnatural for 90% of the sounds emitted. Birds, thunder and perhaps an occasional airplane would comprise "sounds from above." I guess someone could hear voices form above, but that is for a different discussion. Next will be sounds from below...I can't wait!
I would agree with most of this except Atmos mixes being done by the mix engineer before mastering. Universal’s guidelines (which most people seem to be following) state that your Atmos mix MUST match the MASTER. So you can’t deliver the Atmos mix before mastering and you then need to be making adjustments to the stems to compensate for what has been done to the stereo master.
Hi Al, They are saying must match currently because a lot of what is being atmos’d are already mastered mixes and Atmos is the after thought…most high end mastering places (aka sterling, Ludwig etc) are yet to add Atmos mastering but once they do I think we will see stereo and Atmos mastering happening in the same room with the mix engineer present initially…then it will be the norm.
@@Streaky_com the future is a beautiful place, I’ve been to the metaverse I can see it working there. Other then that it’s just panning in my opinion. But streaky I will send you something soon to master. All love.
I don't understand what people mean by binaural sound through headphones, I don't hear anything but stereo, and it sounds like stereo. I have tried Atmos through headphones... nothing! But at home I have 9.1 and bought Yello album.. completely amazing.. but the songs are silly.
@@Streaky_com most people now have LG, Samsung Google phones - me too..and I have a Mac..I think it'll work in Big Sur or Monterey, but haven't tried... I use luxury Sennheiser , Neumann etc $1000 headphones with $2000 headphone amps - no idea how that'll work on these either...What I try to say is, Stereo is device agnostic...Dolby Atmos is a company , a brand name, making money off it, and you nee the right gadget for it...it's not a standard like say... stereo...
Kind of weird....I buy Xbox wireless headset and without dolby acces they are shit...cracking sound coming from first day of using it..then I buy a second one and same shit..then I change on Dolby atoms in settings and they start work fine..sadly if they make headphones like this to force you to buy Dolby acces
When you say a limiter is applied, are you conceding that clipped, hard limited loudness war victims is just way it is done? I am not a mastering engineer but know enough to know most modern recordings are trash with no DR and hard digital clipping all over the place.
![If you can't hear this then you're not an audiophile [See description for link to followup video]](http://i.ytimg.com/vi/48PxwspDvrE/mqdefault.jpg)
I just think the future's atmos technology is much more important not in the music, but in the movie or gaming world that have much more kinetic factors. In real world the music stage is mostly fixed.
Perhaps, I imagine many scenarios where music with spatial effects drastically improve a songs emotional experience which in many cases are what matters most. Dubstep for example: I personally have 1 maybe 2 songs i can listen start to finish but there are many that I enjoy purely because of the transition phases. The transition where you anticipate, experience the "drop", and feel the music, that is what I envision being amplified throughout the track by producers as a driver for audio sales in music industry with atmos or dtsx . The emotional value to feeling as if you were in a theater or a coherent song with descriptive lyrics and accompanying audio that allows you to imagine or visualize a recreation of events... that is the psychological advantage and underpinnings that 3D spatial audio plays upon. The power to influence the will or subconscious of a human being is ridiculously simple and if it's effective it will thrive. Additionally, these technologies are pushing people who typically don't use devices with voice assistants to acquire or download and install apps that are not only equipped with VA's but most importantly have the proper embedded permission to constant record your physical environment in whatever room your tvs, soundbar, cell phones, computers, etc are located increasing the opportunity for Advertising sales based on information you unwittingly provide these devices through direct action like web browsing for a new kitty cat and then being flashed with adoption ads on RUclips or something. The indirect information is equally if not more valuable, like if you cheat on your wife and then find yourself at the urgent center asking about some green stuff that drips from your tallywhacker. 2 days later you grab your wife's phone to play a show on Amazon and you notice ads on her phone for divorce attorneys. Lol, I'm telling you this is legitimate marketing techniques very much real and no I'm not married nor do I have a case of gonorrhea
you are wrong brother
agree
In games it's kinda hard. I don't even think with my current setup my PC can do Atmos. I have it connected to my TV with an HDMI 2.0 cable. And my Atmos-capable soundbar (+ wireless woofer and speakers) is connected to my TV's eArc port with its own eArc port. I think the only way to get Atmos sound from my PC is by connecting my 3080 Ti's HDMI 2.1 port directly to my soundbar's eArc port... meaning my PC can't be connected to the TV so that'd be kinda pointless (unless I can connect one of my TV's HDMI-ports to the soundbar and the PC will send the image through the soundbar to the TV... I don't think it'll work, only in reverse).
Anyhow, Atmos setups for gaming are kinda bad at the moment.
@@thenonexistinghero You can hook up hdmi cable to sound bar and set audio to through that hdmi cable, then hook up another hdmi cable to your TV and your image will output to your tv while the sound will go to your sound bar. Just have to change audio output on your windows PC settings to go through the cable connected to your sound bar.
Hmm! honestly 5.1 surround sound never caught on in the music world .. I think it just adds flavor to movie scores ... Just my opinion!
We are super busy with Atmos mixing for labels here. I also may add that sound bars will not work for checking mixes. For film mixes as I have production studios that need to verify mixes for accuracy in a proper Atmos room, like arrival times, spl. Instead of traveling to a major city to check a mix week in the dub stage or audio post facility every couple of weeks. Also the labels won't accept headphone mixes based on what we are seeing. They need it done in a proper Atmos room. Also the spacial audio thing is a totally different animal from Dolby Atmos which has been a pain for us here. There are two different codecs that are used by streaming services, "DD+JOC" and "AC4-IMS". DD+JOC is the older codec that was designed for speaker playback of Dolby Atmos film content. It ignores all the Binaural Render Mode settings of your mix. Tidal and Amazon use the AC4-IMS codec for headphone playback "Immersive" and "Object-based". Apple Music uses only the DD+JOC codec which means, all the Dolby Atmos Music mixes on Apple Music don't use any of the Binaural Render Modes that were part of your original Dolby Atmos mix. Apple's chose not to use the newer AC4-IMS codec that would contain the binaural metadata. The curveball in the mix, is called "Spatial Audio" with the exception of Apple TV.. The only exception is when playing back Apple Music content on the AppleTV through the HDMI output connected to a Dolby Atmos capable AV receiver or soundbar. In that case, you are listening to the Dolby Renderer and not the Apple Renderer. ON HEADPHONES. The only clumsy workaround is to use the mp4 export in the Dolby Atmos Renderer and playback that file on your iPhone. However, what about all those Logic Pro Atmos Bedroom Producers mixing over headphones? They will be in for a big surprise when they hear their mix on Apple Music Logic doesn't provide the mp4 export workaround. In Logic, "Spatial Audio" is just another word for "Immersive Audio" or "3D Audio".
Immersive means that, instead of a 2-dimensional sound field, for example, quad, 5.1, or 7.1, Dolby Atmos can deliver a 3-dimensional sound field. That is nothing new, and you could just mount a few speakers on the ceiling, add some channels to your surround format, and you are ready to go immersive.
However, the real advantage of Dolby Atmos is the move from a traditional "channel-based format" to an "object-based format", which creates some challenges regarding monitoring our Dolby Atmos mixes as we will see.
Yes, you might want to mix Dolby Atmos in Binaural Mode for your target audience but better check how it sounds through Apple’s' Spatial Audio engine.
Yes deep joy, it took me a about a week of trial & error to understand this little lot, good comment thanks 🙏
@@Streaky_com Great man!
Seems like you are wasting your time on techno-stuff. Instead of on music.
Question: Should I include the stereo FX busses separate for Atmos MASTERING? As in, stuff like the reverb and delay sends. OR print the effects into the stems?
Good job as always - clear and concise making complicated things sound simple!
Would anyone know if the avid mbox studio would be enough to complete a 7.1.4 atmos setup far as interfaces goes and cost?
For artistic and aesthetic reasons, I currently mix every project in mono in an untreated and abandoned school bus. If I update to an Atmos rig, could I focus every track to the exact center of the listening cube and perhaps induce some kind of mega-mono-audio-singularity that results in a black hole. That would be worth the 10 extra monitors (plus 1 sub).
If I need the atmos analog mastering to be as close as possible to the stereo mastering , I use the stereo atmos mixdown to compare and then I use a mono sidechain for analog compression and eq on each stereo submix (LR LSRS LBRB etc..) in wavelab. It's a bit long but works. Otherwise the Weiss stuff also works well in 7.1.4. if you want to keep it digital. Besides with the number of speakers you don't have to apply the exact same mastering to the atmos mix, meaning less limiting, less sharpness, more dynamics. I think that Atmos done well is a great experience and is worthwhile. It's not a gadget. Whether people can get a good binaural mix will make or break the whole thing but it's amazing seeing people experience it on proper speakers.
The issue I'm having is I can't reference my mix in Spatial audio on Earbuds without exporting an mp4 to my phone, I can obviously listen in Binarual but this isn't the same as the decoded 128 channels with head tracking.. also listening to Spatial audio content there's a lot of good ones but some that are just radically different in volume to the stereo mix and the aesthetic, obviously the labels and artists aren't taking much care!
What I mant to know is, since (unlike logic/cubase) Pro tools uses the renderer as the playback device and then the renderer sends audio to your monitors & headphones through your interface. How would I use sonarworks to calibrate my headphones? or use something like the "Dear VR Monitor"?
really excited to see what spatial audio is going to bring to the game 👺💯🔥 love and peace ✌🏼
With Logic Pro 10.7 and higher mixing in surround on headphones with Atmos is possible
It’s not exactly Atmos but it is binaural
*Streaky* , great video and channel! Apple is requiring -18 LUFS for the ADMBWF. Do you know why -18?
It's more of a Technical reason from Dolby-atmos if 128 audio channels are playing back on a Stereo or mono speaker or any playback Device it will need -18db of Headroom So it doesn't distort and get loud and Plays back properly + u have Additional processing like binaural.
@@Sheriffvlogs Thank you!
Superb waiting eagerly for the atmos tips from you 🙃🙃🙃
You the man bro you the man
Independent feature film / TV show producer here. DOLBY LABORATOIRIES: They were A1-Okay until 1995. Still all right until 2005 or so. Not so much afterwards. DOLBY ATMOS: Not worth the breath talking about it. APPLE MUSIC, SPOTIFY, LABELS: They are the ones deciding on the technology? Forget them, then. Resist.
IMMERSIVE MUSIC: We have a music listening room in which we have 4 identical 3-way midfield-range studio monitors arranged in a perfect 4.0 Quadrophonic surround matrix. Sometimes 4-channel discreet, most often 2+2 "Faux Quad" mix. Tried music in 5.1 as well, sounded like crap. Same with Atmos. That is really, really bad. As most of the times, there are no musicians playing whilst nailed to the ceiling, you know. We do deliver the shows in 2.0 and 5.1, BTW. Mix in 2.0, then auto-generate the 5.1 surround variant, is all. Simple, really.
99% of my BluRays are still DTS Master Audio. Dolby Atmos seems a niche for high budget action flicks.
They want the music industry to spend millions on all this bright shiny new equipment and meanwhile billions of people are listening to crappy songs, via crappy mp3's sent to mostly mono phone speakers. It's the Emperors new clothes, it's nonsense. Unless the industry itself is going to give all this to the public for free, because if they're quite happy with crappy mono or half decent stereo why are they going to shell out for high tech systems? What the whole industry SHOULD be doing is finding ways to get people back in tune with proper musicianship and song writing because after two decades of midi-pack rap and hip-hop we've totally lost the plot. 🙄
Is it counterintuitive to have Atmos running while also using the "Peace EQ" with headset specific presets or do they work together?
Don’t even no what that means ???
Is Dolby Atmos good for in ear headphones for music purposes?
Can I master any Beatles song in Dolby Atmos ? or do special requirements apply to the stereo master to be mastered ?
I have a question about using Dolby Atmos as a tool to look into a proof of concept for object oriented live music delivery in large live venues.
The problem we are addressing is where the venue needs multiple speakers to provide the required SPL, detail can be lost. For example, many musicians report that, when playing large venues, they have to simplify some of their parts because the more complex elements of the music get lost in these performances.
The assumption we are making is that the brain has difficulty in processing the multiple path lengths of the audio from the line arrays.
The brain can handle multiple path lengths, and does so every time we are in a room. The assumption that we want to test is that the brain of the average audience member is not familiar with the multiple path lengths from a line array and has difficulty processing this information. This produces the result that clarity is lost on the audience.
The solution would be to have single speakers for each performer. Then have multiple speakers in the venue, preferably at the walls of the venue where the audio for each performer is delayed by the path length from each performer to each loudspeaker. d&b audiotechnik have already been doing something similar to this for several years for theatre productions.
We want to test our assumption. It is possible that this problem is due to different issues such as bad acoustics, for example. So rather than write our own code to test this, it would be good to use something like Dolby Atmos or Ambisonics to provide the calculations for delay for each object (performer) to each speaker. We would not need to use the ceiling speakers for this just the side and back speakers.
The question is: can Dolby Atmos provide a condition where we can align the delays from each object to produce a coherent waveform from each loudspeaker in a live venue?
Given that cinema theatres have different dimensions, does Dolby Atmos provide a way of dealing with these delay calculations? Or would we need to place our speakers in specified location? Which would not be a problem for us, we would just stick to the specified placements of the speakers.
The main argument against using distributed speakers is that the many speakers will interfere with each other. It is possible that d&b audiotechnik has already proven this to be wrong, but it would be good to prove this ourselves for the case of live music with our loudspeakers, which have been designed with this issue in mind.
The other questions we need to answer are, does the audience or performers care about being able to solve this problem? It’s better to find the answers to these questions by using someone else’s software rather than writing our own.
What music streaming service and what headphones should i use for the best audio experience?
I have been fiddling around with Atmos in Fairlight (BlackMagic Davinci Resolve) and it gives me up to a 7.2.4 space to work in. Definitely not easy. Good luck all.
How about film industry? Is Netflix, Amazon etc thinking about streaming in atmos (or 360)?
Think they do already on most major projects
what is your take on using an equalizer with a pre boost setting in a car audio system? I have a 2015.5 Volvo XC70 with the Harmon Kardon 10 speaker 600 watt system, and I had to drop the equalizer on the bass side to make it not so bass heavy as I listen mostly to trance, chill, break beats, house music, and some alternative and rock music. It has the Dobly Prologic 2 system in it, and I am not sure if I have it setup right to probably enjoy not only spatial music, but the quality an engineer like you put into a audio file. What is your recommendation on setting and equalizer and pre-amp bass mid and treble boost.
Hi streaky, is it important to have analog summing of stems files for better glue.
No
How many people listen to the music even on old 5.1 system nowadays? But it was invented years ago. Not everyone even has a good pair of stereo in their home. For me, revolution was started with first walkman. I'm a meloman guy and the best music experience for me still is when I listen the music on the way. Walking, flying, train travels etc. It's the best combination for ears and eyes. I have one of the best moments of music experience on the way, intimate moments, another worlds. I know how sounds real Hi-end, and for me, decent earbuds with noise canceling or even wired earbuds will do the job better on the way, then Hi-end at home on a chair.
5.1 never took off because no body cared even the music industry didn’t…I mastered some in analogue in the early 2000’s which was mental but it was mainly live versions with the crowd noise around the back…this is defo different, I think the gaming world will make this massive…Apple have something up their sleeve me thinks!!!
@@Streaky_com Gaming, films - yes, music? Small earbuds with Dolby atmos? 🙂
I'm already on it. I offer spatial audio mixes with my production.
whare do u feel is the best place to find 5.1 or surround sound mixes in general been useing mpc and youtube vedios love it but would love to find more modern mixes
I was researching Dolby Atmos a while back and came across something that suggested Atmos mixes collapse to stereo quite well. I think the theory was that the space and dynamic range were better. If that is true, then you might not need two mixes, just an Atmos mix and a stereo rendering. Probably would still need two masters though. Might be a win for mastering engineers…..
Yeah you would and it doesn’t food down as well as dedicated stereo mix
@@Streaky_com I think that will change as music productuon integrates into an Atmos workflow from the beginning though. At the moment, the vast majority of Atmos music is mixed in stereo first, then the Atmos version made from stems, but once you begin mixing in Atmos from the start of a track, it does actually fold down very transparently and of course, you're continually doing a QC to 2.0, 5.1/7.1 while working in 7.1.4 and binaural anyway.
@@SamHocking This is a little ridiculous. How could something fold down using a basic summing algorithm and possibly sound close to as good as something where hundreds or thousands of decisions were made in context of the listening format that will be used?
@@ezrashanti There are various methods and practices to ensure 7.1.4 folds down well to 7.1, 5.1, Stereo & Binaural. All modes are part of the Dolby Atmos Renderer Monitoring & workflow so you're regularly checking the stereo mix anyway. At the moment, the vast majority of Dolby Atmos music is simply representing a stereo mix anyway, just with some spatial enhancement/placement, it's not that much more of a differences than the stereo to mono in my experience. It might become an issue as more music is made entirely in Atmos workflow, but at the moment entirely academic, because the streaming services stream Atmos to an Atmos listener, Stereo to a Stereo listener. We can already switch between the Dolby Atmos Binaural to Stereo Headphones from the same source on Android & Windows and that really isn't an issue.
What I’ve the issues been when making Atmos mixes translate on other Atmos systems, like headphones and sound bars?
Is it not been too much of a worry or is it a bit of a bag of worms?
I think the glasses look really cool Streaky! I agree with your statement about music being "part" of the entertainment world, it "isn't" the entertainment world, and that 3D Immersive mixes are here to stay and even develop further as the home entertainment market is growing progressively....great advice as always thanks.
Maatering is also very important in the music industry robert McClellan told me that mastering is the very last inspection step. And also a mastering engineer also has a very attuned ear to know when the song should start and also when the song should end and also the mastering engineer will also will have to fly the whole entire of the track into a session too.
Yes mastering is just the quality control process like with any product it pretty important…like checking the food before it goes out the front
@@Streaky_com true.
Streaky what’s your thought on the iLoud MTM speakers?
Never heard them sorry
@@Streaky_com thank you streaky! Keep rocking out! You are the best mastering dude on RUclips… no debate! 🙏
What is the name of that music track Streaky?
ic guitar is lost in Atmos, and you can clearly hear that the juxtaposition of things that are in the center of the image and elements that are stereo is completely lost in Atmos. There is a phasey effect in the intro of the song ‘Makeba’ that in stereo sounds super drastic and interesting and serves as the perfect relative foil to the elements that drop in the middle of the stereo field right down the center when the song drops and kicks in. In Atmos that effect is still audible but in loses it’s potency because Atmos makes it sound as if all of the elements are coming from the same place in this weird compressed, hyped low mid range stew. Now, granted this is in headphones, (AKG 240 made in Austria), so perhaps in a fully outfitted Atmos equipped room, the difference is astonishing, and I look forward to having that transcendent experience. Sadly, Atmos changes the character of these mixes in a way that is different but definitely not better. In fact, it ruins aspects of these three mixes that are clear and make the listening experience suffer. Listen for yourself, share your thoughts.
When you say the stems get sent for mixing you mean the multitracks?
We were at the Dolby Vine Theater Hollywood for their Atmos demo. Their sound system is very hard and harsh. We didn't care for the mixes, which they were proud of. They have hard marketing for music after copying Aura.
The future is stereo compatable mono ......on vinyl........hey,the customer is always right!
Hey Streaky! Do you have a Trinnov in your Atmos setup (I remember you had one in your stereo rig)? I guess that the higher the number of speakers, the more important the phase.
Yes
A huge problem with this fad that I have is the fact that distributors like distrokid are charging $26.99 per song upload for Dolby Atmos quality, went in the next 10 years it’ll just be standard audio sound. I understand $26.99 for a whole album which is still ridiculous, but per song?? Are you kidding me?? I don’t think there’s a bigger rip off for independent artists when artists like Green Day have Dolby Atmos automatically added to their music that’s been around for over 30 years. Great. More unfair petty BS in the music industry. Part of the reason why I don’t wanna do this anymore. It’s not about love, or what the whole point of music was in the 60s. It’s lost, and the “industry” is dead. Do it yourself, you don’t need Dolby Atmos to make a great sounding mix!
Sony 360 vs Dolby Atmos who his the best ?
Totally different beasts 360 is pretty cool interface download the demo and have a play
Great video, thanks! I´ve just started mixing in Dolby Atmos and I really needed to hear opinion of an audio professional.
Sony 360 team here...
Hi streaky, nice one. Strangely the 1st thing I think is : damned but how are we going to play with our analog tool ? (Maybe we won’t, don’t we?)
Yes bit tricky
Hobbyist producer here (not too informed on mastering). Atmos is very confusing to me. I'm assuming it is a way to have a single mix that scales to support as many speakers as the listener has. Unfortunately this becomes a problem when listening to non Atmos content on an Atmos setup. In which case it seems like it will emulate the Atmos surround effect even if there was already some type of surround effect applied, effectively ruining the mix. On Atmos setups is there a way to only listen using Atmos when the content was made for it?
Still not convinced, but definitely interested in more information on this topic from you :)
Yep incoming
Others are then going to earn the money that you could have
@@cycleofficial4744 no people are gonna forget about it like what people have been doing the industry is dead, what will happen will be the death of the industry and people moving on to more home studios.
@@cycleofficial4744 fomo bullshit.
I wish I could mix with Dolby Atmos on windows, how can they expect this to be the new standard when it’s only on Mac?
You can use protocols for windows
www.pro-tools-expert.com/home-page/the-io-setup-window-and-dolby-atmos-in-pro-tools
@@Streaky_com I’ll see if I can try it out but I use Ableton.
Great video
Do you have the chance to review some speakers from Unity Audio (Boulder MK3 for example) ? Miss these regular speaker Reviews you did a few years ago
Never had them in my room I’ll try
@@Streaky_com would be great, otherwise just more speaker tests :- )
This was so technical I saved it under Science&Reference group.
You called tracks stems?
i have to be honest, i have the airpods max (and the airpods pro) with the spatial audio feature and on apple music, i just hate the dolby Atmos master. They just sound bad. The Drums are weak, the voices are blurry and most synth sounds thin. But the weirdest part about the Atmos master on Binaural Headphones is that the separation and imaging of instruments is actually much worse than on just the stereo master.
I've never yet heard an Atmos mix that wasn't just so much worse than the stereo one. If you have some, tell me :/ anyway, i wish artists were not wasting their money on that, but hey, some people like it so....
Also the bass sounds thin and far away. I like the bass to sound on your face and mono.
it's not the technology's fault, it's the mixers who don't know how to mix in Dolby Atmos and make a very bad copy of the stereo version.
the worst mixer so far for me is John Hanes, he mixed a lot of pop music in Dolby Atmos and he's just not that great at that, and the worst part is he thinks he's doing an amazing job... there are some songs that are actually better in Dolby Atmos compared to the stereo version, for example: Somewhere Only We Know - Keane, Three Little Birds - Bob Marley, Circles Dolby Atmos - Post Malone, Moanin' Remastered 2013 - Art Blakey, Bad Habits - Ed Sheeran, Lollipop - Lil Wayne, Don't Stop The Party - Black Eyed Peas (movement in sounds), The Time (Dirty Bitch) - Black Eyed Peas, On The Floor - Jennifer Lopez, Dark Horse - Katy Perry, F2020 - Avenue Beat, He Is The Same - Jon Bellion, Dance Monkey - Tones and I (noise removal, removal of annoying high sounds, more bass, the way the original music should be), Moves Like Jagger - Maroon 5 (it feels like you are listening to the music on a stage, the ambiance is impressive), Read All About It, Pt. III - Emeli Sandé, Never Say Never - Justin Bieber, Apologize Dolby Atmos - OneRepublic, Runaway (U & I) - Galantis
@@Levi1440p maybe yes but atmos is so complex to setup in your own home, the sound bars that does a good job at immersing you into a dolby atmos movie are really bad at playing music. Atmos AV receivers are so complex to setup and good ones are so expensive. Apple's binaural processing done on atmos mixes for airpods sounds just like there's reverb on instruments to make them sounds like they are in a room and i don't like that.
It may not be Dolby's fault, but it's a high end complex audio format and pretending anybody can experience it well is a complete lie. I've not yet heard a good dolby atmos mix and it may only be cause i've not experienced yet a proper dolby atmos setup. Meanwhile stereo is so simple and easy we've been making it sound superb for years and years now, and apple pushing dolby atmos is to me just because they're trying to force innovation to makes us buy new products we don't care about.
@@Levi1440p i'd love to listen to these songs in atmos on my airpods or my av receiver but it's too late i've cancelled my apple music subscription
I've listened to mixes in atmos and it's amazing, but I don't think it can be replicated with a sound bar or binaural mix. Also having to deliver atmos mixes at -18 lufs must change the way the track is mastered
Yes kind of you still do the same things just deliver it at -18
nobody uses it!
Silly me I treated my living room to get a good sound, but now I have to strip it all to get "reflections" from walls by an atmos soundbar.
You know what?
LOL, just LOL.
Very cool videos Streaky!! I have a question, after you finish a mix in dolby atmos you still need to master it I suppose so can you do it using the same equipment you used for the mix or you need different kind of speakers and gear in general? Thanks, greeting from Costa Rica.
No some of the same tools just used more sparingly the same as if you
Mix a track and then master…for example you can use a fabfilter eq when mixing a track and when mastering you would just be using it on the whole track with mastering more than the individual stems
@@Streaky_com Cristal clear man, thanks so much!!
Hi!
Were you at NAMM in April? The diff tween Mastered Atmos and not is astounding! Neumann speakers and great artists/engineers can help sell the record/Blu-Ray/Apple Music. Sony is not supporting Atmos in PS5-mistake! They have Tempest and 360. Regardless, Immersive is being embraced even by friends who thought it would be over last year!
Prob is, sounds awful in high end sales boutiques if not set up well! At NAMM, Chuck Ainslay mixes sounded incredible, while in LA royal sales place, we walked out in shock.
Mixing in phones binaural Not same as a room full of great speakers! For me, I love it and dived even deeper…Bottoms Up!
I remember watching Pink Floyd's P.U.L.S.E DVD and it's mixed in Q-Sound, so I positioned myself in the sweet spot and there's sounds coming from all directions (so it seemed, because it's audio tickery of course, making your brain believe the sound's all around you), but what sounds WERE actually coming from the back? Simple: the crowd of course and the special effects, like birds, helicopters, money, bells, NOTHING ELSE!! The music came from the front, as it should be!! I've not heard music in Atmos (yet!), but I doubt I'll like it. Like Mike Oldfield once said: "we're just like animals and when sounds are coming from the back all of a sudden, we tend to turn around instinctively, that's why I don't like 5.1 mixes." He did actually remix a lot of his albums in 5.1, but he didn't really like it. It's a contractual obligation for him to do so. As many people say: Atmos: great for games and films, but for music: nah!!
Screw all that. Hell, I'd be happy if I could just make my mixes sound as good as Duran Duran's mixes did in 1985.
Sooo true, I was listening to tears for fears on tidal today the mixes are so good
Hello Streaky. I’m an independent artist and I produce, mix and master all my tracks myself. How can I, on a lower budget, take advantage of the Dolby Atmos music production train? Do you have any advice and/or tips for me? I already spent a fortune on my current home studio setup which is in stereo. Besides the lack of space to place a complete Atmos monitoring system, I simply cannot spend over 30k for a bunch of speakers. And what can I do in the production and arrangement stage to make sure it will be suitable for Dolby Atmos? I hope you can help me out with this one. I would really appreciate it. Oh, by the way, my current home studio is still under construction for one and another..
Look at this video ruclips.net/video/r_dzbhKMKww/видео.html or this one ruclips.net/video/cnX4pVrxqq0/видео.html
If u want to look at a speaker setup
ruclips.net/video/S7siySktba4/видео.html
U can allso do it in Cubase ruclips.net/video/ixY6IPGzOxY/видео.html
MacBook + Logic Pro + Airpods Max will get you some pretty good results.
@@basskittens7495 Thank you!
for head-fi, this is the revolution, ATMOS & 360RA will take on the lead vs old school 2.0 channel.
I don't entirely agree the future will remain as it is, with the cost being prohibitive for smaller labels, studios and bedroom setups. I see the binaural render continuing to be the primary listening experience for Dolby Atmos Music (said to be currently around 80% by Tidal & Apple Music).
As we see already with Nuendo & Davinci Resolve, it is possible to buy a DAW with the Dolby Atmos Renderer built in for ~£200 and perfectly capable of exporting the ADM BWF for music distribution including the essential binaural metadata. Apple & Dolby are heavily investing into the binaural experience too, so my gut instinct is the gap between binaural mixing and 7.1.4 mixing will be 'close-enough' that there will be a big growth in 7.1.4 Atmos mastering services for those that simply want to master their Atmos mix for the 20% of listeners that do have speaker arrays. I do agree not a lot will change in terms of the process, you want your bedroom stereo mix to translate well to all speakers you pay for stereo mastering. You want the same for Atmos, you pay for Atmos mastering and the stereo fold-down is basically included anyway.
Good points
Hi Streaky, big fan here with a totally off-topic question: what size and resolution is your curved display there? Cheers
Samsung 24inch curved screen
@@Streaky_com I would have sworn it was bigger! Getting one too soon. Really enjoying your videos, thank you!
@@manny_f That's what my new girlfriend keeps telling me
It’s a fad I tried to listen offline and any song keeps stopping after 15 seconds I’m sticking with lossless format
Bro I wanna come record over by you holy moly 👍
“That’s absolutely mental” 😂
Looking forward to more atmos videos from you to be honest.
I’d like to see more information about the use of object based workflows and purposes within music for sure.
i h. ate british snob class people that praise dollby thieve labs i h. ate all british people home cinemas audiophiles
A clunky format that takes 10 years for find a product-market fit with music, that no one can *actually* buy. Fantastic idea!
You’re an awesome 😎 RUclips channel.
🙏
@@Streaky_com np 😉 streaky.
I imagine it sounds great sitting in a purpose built, 30k room with 200 speakers. It sounds, however, like absolute dog shat through any headphones, no matter what lovely folk like apple would have you believe…
Hahahaha
Thats what im thinking you would need the gear to really hear the effects in saying that maybe this is the future 4 5 years timeas people go into the virtual worlds
ruclips.net/video/S7siySktba4/видео.html U can do it cheap if u want
Cool t-shirt...cheers
Thx dirtypunk.io
Sounds cool. I hear some people saying its going to take over everything. Yet all i see is everyone listening to music on their phone. Its like its going backwards.
80-90% of Dolby Atmos is listened to purely on headphones binaurally from mobile devices anway, not speakers really. There's no Dolby Atmos streaming services for Windows or macOS, MacOS can't even output Dolby Atmos to an Atmos Soundbar yet! Windows can pass through to an Atmos A/V receiver, so the accesible way is android for Dolby Atmos and iphone for apple spatial's bastard version of Atmos.
the feature is immersive.. for the pure selling marketing & gatekeeping and money making machine industry!
I haven't heard the term "monitor mix" in a long time! In fact, going back to when the desks had a separate monitor fader section used during recording with no EQ, compressors, gates, and you plugged out of that into the 2-track. Then spent the next 10 weeks wondering why the final mix wasn't nearly as good. (Clue - the monitor section had no EQ, compressors, etc, and you had to balance it properly.)
I agree that Atmos etc is here to stay. I used a Quad desk in the 1970s. IBC built it for the tons of quad that was about to happen, and quite simply didn't. I used it not for music but for surround events, and it got a major work out into the 1980s, outputting onto 4-track tape.
But, as you say, the difference now is that people have discovered the wonderful world of Binaural (invented DECADES AGO), and realised that it has a place just on its own without pictures needed to be involved.
And because of how it works, it is so easy for platforms to adopt.
And with Nuendo and Cubase 12 having seriously easy and great Dolby Atmos integration, you can convert a stereo project into an Atmos project with just a few clicks. Get some great headphones (and possibly some calibration) and off you go.
On the mastering side, in the same way as people like the darling George Peckham (Porky Prime Cuts) did years ago in his vinyl cutting and masting room, mastering engineers will need to create a surround mastering environment that they are as confident with as they are with their existing environment. That is going to be substantial investment for many, so that might slow things down a little. But it would be crazy to use two different mastering engineers - you want the same pair or ears on both masters.
That was weird - for a moment I saw something about "text me on telegram" then it vanished. huh?
Its all well and good if someone is willing to pay, like you said, major labels.
Logic might change things
People aren't just listening to lossy music on earbuds, they take the sonic degradation a step further by listening on wireless earbuds.
Some are but not all…people that care don’t, I prefer chatting music stuff to those people 😉
@@Streaky_com Amen.
I still don’t see it. Not because of the work and investment involved. Because of the fact that the consumers really don’t care, they barely have a HiFi these days, let alone a surround sound system.
You need to think 10 years time when the world is living in a headset…sad but true 🙄
@@Streaky_com it’s depressing, really. People used to gather at someone’s place bringing records with them and hanging around while listening. It used to be something you experienced, not something you heard while scrolling through social media.
Who mixes stems? Why would you mic stems? Stems are used for mastering. Not mixing. You mean multitracks?
VR 3D perfect for NFT
the moment i heard the british accent i knew the video was gonna be legit
The only advantage to dolby atmos is since it has loudness requirements... there's the reason about "against" the loudness wars (-18 LUFS and -1 dbTP). Go watch production advice video about dolby atmos.
I remember Dolby Atmos from the year 2000, when it was a scientific pitch retuned playback so that it harmonized with both 50 Hz and 60 Hz electricity. It’s been around a lot longer than that and I’m younger than you so you should have known that, talking about, “The truth about it.”
"We have binaural headphones".
I have yet to hear some 2nd and 3rd dimension on my headphones, including my monitor ones... Logic Pro atmos renderer just doesn't do it. I listened to several atmos new tracks on apple music with my normal headphones, dolby atmos set to auto, and it's always mono-dimensional as stereo; sometimes it sounds like a glorified stereo and maybe that's what makes it "sound good".
Now, headphones take the majority of the listeners' share; the rest is cars and home hi-fi. The latter: you'd have at least to buy an atmos compatible setup. if you don't want to spend a royal amount of money for a proper multi-speaker set-up, It seems there are soundbars that can actually do the atmos rendering, for movies at least, but music? "When I listen to music, I usually do it by sitting in the middle of my living room and standing still" said no one ever. About cars, I have no experience with it but it's a car after all, where the engine/wheels/wind rumble screws up the sound anyway. Like listening to a mutilated sound in 3D... Does anyone really rely on their car to get the best sound experience?
Atmos is the revolution nobody asked for and nobody care for.
You know what people want? A mix that sounds good on their mono speaker cellphone.
Nice glasses. :-)
A album 💿 has to be more than 6 tracks and more than 30 minutes to count as a album 💿.
Do what ever you like, the music industry was more interesting when people did
@@Streaky_com true and also streaky a mastering engineer also has a attuned ear 👂 to know when the song should start and also when the song should end too.
It's just a way of weeding out the Bedroom Artist.. To thin out the music producers. And make it easier for them to find an artist to use for film.
binaural headphones? don't you mean stereo headphones playing back a binaural recording?
IMO, atmos is pushed by big tech investors like apple because the idea works perfectly on a metaverse or virtual reality world which is their goal to become the future but as amazing of a technological change it is, I think many people still love the old stuff. Some people pushing for a futuristic world but some are going back to time like how many artists creating 60s 80s sounding music and is still hitting the charts in this era. I don’t know what the future of music will be like but I’m one of those who doesn’t support the idea of virtual reality stuff and rather go back to simple mono/stereo cassette life and learn how to mix with depth rather than using a dolby atmos binaural panner. (IMO)
It feels a bit like when 3d tv’s came out..it was cool, but..yeh.. 😁 i hope i’m wrong tbh and that an atmos mix will blow my mind away, but so far, not at all.
agreed 100% I made a similar comment
I understand hearing music behind you for movies but not music
Admittedly, what you have presented is beyond the scope of the casual listener, such as myself. My take: Atmos is completely unnatural for 90% of the sounds emitted. Birds, thunder and perhaps an occasional airplane would comprise "sounds from above." I guess someone could hear voices form above, but that is for a different discussion. Next will be sounds from below...I can't wait!
I would agree with most of this except Atmos mixes being done by the mix engineer before mastering. Universal’s guidelines (which most people seem to be following) state that your Atmos mix MUST match the MASTER. So you can’t deliver the Atmos mix before mastering and you then need to be making adjustments to the stems to compensate for what has been done to the stereo master.
Hi Al,
They are saying must match currently because a lot of what is being atmos’d are already mastered mixes and Atmos is the after thought…most high end mastering places (aka sterling, Ludwig etc) are yet to add Atmos mastering but once they do I think we will see stereo and Atmos mastering happening in the same room with the mix engineer present initially…then it will be the norm.
But we only have two ears. Why does it matter?
I can hear in 360 though even with 2 ears? Currently we are used to hearing a band on stage but it doesn’t have to stay like that…
@@Streaky_com the future is a beautiful place, I’ve been to the metaverse I can see it working there. Other then that it’s just panning in my opinion. But streaky I will send you something soon to master. All love.
I don't understand what people mean by binaural sound through headphones, I don't hear anything but stereo, and it sounds like stereo. I have tried Atmos through headphones... nothing! But at home I have 9.1 and bought Yello album.. completely amazing.. but the songs are silly.
You need to listen with Apple headphones via Apple Music for it to play correctly
@@Streaky_com No I mean I have tried Amazon Music, and other sites, and tested Atmos, but it just sounds stereo.
@@Streaky_com most people now have LG, Samsung Google phones - me too..and I have a Mac..I think it'll work in Big Sur or Monterey, but haven't tried... I use luxury Sennheiser , Neumann etc $1000 headphones with $2000 headphone amps - no idea how that'll work on these either...What I try to say is, Stereo is device agnostic...Dolby Atmos is a company , a brand name, making money off it, and you nee the right gadget for it...it's not a standard like say... stereo...
Once it comes standard in a Kia or Honda I’ll make the jump.
Kind of weird....I buy Xbox wireless headset and without dolby acces they are shit...cracking sound coming from first day of using it..then I buy a second one and same shit..then I change on Dolby atoms in settings and they start work fine..sadly if they make headphones like this to force you to buy Dolby acces
When you say a limiter is applied, are you conceding that clipped, hard limited loudness war victims is just way it is done? I am not a mastering engineer but know enough to know most modern recordings are trash with no DR and hard digital clipping all over the place.
my grans jewelry 😂
I think atmos music is not being asked for, and 99% of consumers are not and will not notice the difference or care about the difference for music.
Oh its noticeable mixed with apples great speakers
Atmos= take away any punch in the music, right?
i believe so mixies are amazing and some are terrrible in music movies and gaming just dependso on how well the atmos mix is being impemented