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Could Immersive Audio for Music Become the Norm ?
By Dajaun Martineau
Atmos is Dolby ’ s latest technology for creating and consuming immersive surround sound content . Unlike any previous surround mixing format , Atmos is not a channel-based format . Up until now , mixing has always focused on how many channels the end format had . In the days of mono , stereo , even up to the old surround formats of 5.1 and beyond , the engineer had to mix sonic elements by feeding signals to each channel ; left , right , centre , or otherwise . Rather than worry about what each speaker is physically doing , the Atmos encoder allows mixers to place sonic objects in three-dimensional space . On the consumer side , the Atmos decoder dynamically blends the signals to the appropriate channels available based on the layout and calibration of the listener ’ s system . The result is a system that allows for the same mix to be appreciated on every type of listening system , from a pair of headphones up to an entire 22.2 surround theatre system . With Atmos , there is no longer a need to create multiple mixes .
The first Dolby Atmos system was installed in the El Capitan Theater in Los Angeles for the premiere of Brave in June 2012 , and home theatre systems started introducing the technology in 2014 . So why didn ’ t we see Atmos music mixing happening seven years ago ? The answers potentially lie in the music industry ’ s previous failed attempts to bring surround music to market . The Super Audio CD ( SACD ), intended to be the successor to the standard compact disc ( CD ), was introduced in 1999 and was a hybrid format that could be played on either a regular CD player or an entire surround system . DVD-Audio was introduced the following year in 2000 and could tap into the fast-growing home theatre market . While these both experienced some success in the audiophile community , they never became the standard . The lack of success was partly due to the high cost of players , but may have also resulted from Apple ’ s introduction of the iPod in 2001 . The iPod changed consumer listening habits by introducing a level of portability , convenience , and costeffectiveness that was unbeatable and still drives the market to this day .
Ironically , the company that inadvertently stunted the evolution of surround sound may be the one to revive it . In June 2021 , at no added cost to subscribers , Apple Music introduced its new “ Spatial Audio ” listening option , which utilizes the Dolby Atmos technology in lossless audio . Now every consumer with an Apple device can enjoy surround mixes . That is over half of the smartphone consumer base in the United States . Apple launched the service with an extensive library of music already mixed in Dolby Atmos . I expect that other streaming services will follow suit as soon as they update their platforms to accommodate .
What ’ s even more compelling is that Dolby now offers a software suite , including the Dolby Atmos Renderer , that connects to most DAWs , which empowers any mix engineer to take on Atmos mixing . In the past , only expensive commercial studios and post houses could mix in surround sound . Now every bedroom producer can purchase and download inexpensive software to begin creating in surround . The Dolby Renderer connects to your current DAW as a playback engine . From there , the mixer can route audio to objects that can be automated to move freely within three-dimensional space . The renderer offers more than just placement ; it has presets for movement patterns and offers size and distance profiles that make sonic objects sound like they exist outside the speakers .
Just as we as a society went from AM radio to FM radio , there will be a transition buffer time . Still , I do believe that it ’ s only a matter of time until we ’ ll hear phrases like , “ Remember listening to music in stereo ?!” and the inevitable stereo-fetishizing hipster will emerge insisting music was meant to be listened to in stereo . Dolby has already partnered with Sennheiser to create AMBEO Mobility , a premium in-car sound system . Apple now offers advanced surround sound headphone systems , and Sony has been providing surround headphone systems for gaming for years . New technologies are ensuring that Atmos won ’ t be limited to wealthy individuals ’ home theatre systems . It has never been simpler to create and consume surround sound content . All barriers are being removed , and there is no reason why this won ’ t become the new standard for music mixing .
Dajaun Martineau is a gold-certified producer , songwriter , multi-instrumentalist , and mixer with multiple Juno nominated projects . He has been mixing in surround formats for over a decade . For more information , go to www . dajaun . com .
32 CANADIAN MUSICIAN