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Dolby Atmos
mixing.

I mix in Dolby Atmos from a purpose-built 7.1.4 room in London.

The room

Designed and built by Recording Rooms, with post-build acoustic treatment by Phil Millross at PMC. Monitoring is a PMC system throughout: three active PMC6-2s across the front, two PMC8-2 subs, four Ci65 surrounds and four Ci45 ceiling speakers, the surrounds and heights powered by a Linea Research 88C6.

A great room is important. Many Atmos mixes are made on headphones, or in rooms with no height layer at all, and the result is a mix that collapses the moment it reaches a real system. If you can't hear the ceiling, you're guessing at it.

What you get

• A Dolby Atmos mix delivered as an ADM BWF master file
• A binaural check, so you know how it translates on headphones
• A stereo version that stands on its own, not a fold-down afterthought
• Honest feedback on whether the track is worth doing in Atmos at all

What it costs

Atmos work is quoted per project, because the effort varies enormously with how the session arrives. Send the track and the stems and you'll get a firm figure before anything starts.

Credits

Adam Lambert, Bebe Rexha, Avicii, Craig David, Duke Dumont, Alesso, John Summit.