Dolby Atmos mixing and mastering for music releases
Dolby Atmos gives you another dimension in which to arrange the music. Vocals, instruments, effects and ambience can be placed around the listener rather than being limited to a conventional left and right image.
I offer Dolby Atmos mixing, Atmos mastering or both for artists and labels planning an immersive music release. Every project is quoted individually after I understand the source material, number of tracks, release plan and required delivery.
What Dolby Atmos is
Dolby Atmos is an object-based format. Instead of fixing every sound to a left or right speaker, the mix describes where each sound sits in a three-dimensional space, and the playback system renders that space to whatever speakers or headphones the listener has.
A mix is built from beds and objects. Beds are fixed channel layers, such as a 7.1.2 surround bed, that carry the foundation of the mix: the parts that should stay stable and anchored. Objects are individual sounds with their own position data, so a vocal, an instrument or an effect can be placed, moved or given depth around the listener.
Because the placement is rendered at playback, the same Atmos master works on a cinema-style speaker system, a soundbar or a pair of headphones. The decisions about what stays in the bed and what becomes an object are creative ones, and they are where the mix starts to serve the song rather than the format.
An immersive mix should begin with the music, not the format
Atmos is most useful when the spatial decisions support the arrangement. Moving sounds around the listener is not a result in itself. The question is what the added space contributes to the song.
I start with the musical intention, just as I would with a stereo mix. Some elements may need to remain focused and stable. Others can open into the room, move or create depth around the listener. The choices should feel connected to the record rather than added simply because the format allows them.
Rupert was among the first hundred engineers working in Dolby Atmos music, and Vigilante Studio is recognised by Dolby as one of the early adopters of Dolby Atmos music.
Does your project need Atmos mixing, mastering or both?
Atmos mixing
Atmos mixing is the creative stage. It uses the original multitracks or properly prepared stems to build the immersive version of the song.
Atmos mastering
Atmos mastering follows the mix. It focuses on the finished project, consistency across tracks, sequencing where relevant and preparation of the agreed release deliverables. Atmos mastering from the ADM BWF file is a recent advancement. For most of the time Dolby Atmos has existed it has not been fully possible, and processes marketed as Atmos mastering have often been mix services or limited bed-only services.
Mixing and mastering
If you already have a completed Atmos mix, you may need mastering only. If you have the original multitracks or stems and no immersive mix, the project is likely to require mixing and mastering.
Tell Rupert what has already been completed and he will define the remaining scope.
The source material matters
A true Dolby Atmos mix should be created from the original multitrack session or stems made from that session. A finished stereo master on its own does not provide the control needed to place individual musical elements in an immersive field.
Do not assume a stereo release can simply be expanded into Atmos. A stereo track split into stems with separation software and then mixed in Dolby Atmos is not acceptable, and streaming services such as Apple will reject it. If the original session is incomplete, describe what is available before sending files. Rupert can then say whether the project is viable and what compromises would be involved.
The first enquiry does not require confidential project files. Start by explaining the material you have.
- Original multitrack session
- Stems made from that session
- A finished stereo master on its own
What to include in your enquiry
- Mixing, mastering or both
- Number of tracks
- Source material available
- Intended release
- Deadline
- Delivery requirements
Tell Rupert whether you think you need mixing, mastering or both. Include the number of tracks, the source material available, the intended release, the deadline and any delivery requirements already supplied by your label or distributor.
It also helps to explain why you want an Atmos version. A new release, catalogue project, live recording and album sequence can each raise different questions.
If you want an Atmos version of a previously released track, or of a stereo mix that was not done at Vigilante, include the original stereo file. The Atmos track must be exactly the same length, including any gaps, because the streaming service lays the Atmos version over the stereo version when it is selected. The first enquiry only asks for enough information to assess the next step. You do not need to create an account or upload the complete session at first contact.
What the listener can receive
The aim is an immersive version that makes musical sense across compatible listening systems. The mix should retain its identity when heard through headphones, a soundbar or a larger speaker system, even though each playback environment presents the spatial information differently.
Where agreed, the project can include a binaural stereo version designed so headphone listeners retain a sense of the spatial placement.
The exact delivery package is confirmed in the quotation and is separate from the online stereo mastering service.
Release planning comes before final delivery
Your label or distributor must be able to accept the Atmos delivery and match it to the stereo release. The Atmos and stereo versions need to refer to the same song, timing and release information.
Before work begins, confirm who is delivering the release, which files they require, and whether the stereo version is final. An Atmos release has to be the same songs as the stereo version: you cannot pick only a few songs or add bonus tracks to the album.
Technical requirements can change, so Rupert will check the final specification against the intended delivery route before the project is completed.
What affects the quotation
- Source files
- Track count
- Editing or preparation
- Creative complexity
- Mastering scope
- Deadlines
- Final deliverables
Atmos is not charged at the £50 stereo mastering rate. Dolby Atmos mastering of a finished Atmos mix is £85 per track, and Atmos mixing is quoted individually. The quotation depends on the number and condition of the source files, track count, editing or preparation required, creative complexity, mastering scope, deadlines and the final deliverables.
A short, well-organised project with complete multitracks is different from an album assembled from sessions created at different times. The quotation reflects the actual work rather than an artificial package tier.
Questions about Dolby Atmos music projects
Can you make an Atmos mix from my stereo master?
A stereo master alone is not the right starting point for a true Atmos mix. The project should begin with the original multitracks or suitable stems created from them.
Do I need Atmos mixing and mastering?
That depends on what already exists. If you have no Atmos mix, you will usually need mixing and mastering. If a finished Atmos mix is already available, the project may need mastering and delivery preparation only.
Is the price £50 per track?
No. The £50 rate applies to online stereo mastering. Dolby Atmos mastering of a finished Atmos mix is £85 per track, and Atmos mixing projects are quoted individually.
Do I need to upload the full session with my first enquiry?
No. Start with the source material available, number of tracks, release plan, deadline and required deliverables. Rupert will ask for files when the scope is clear.
Is Vigilante Studio a Dolby-certified studio?
Vigilante Studio is recognised by Dolby as one of the early adopters of Dolby Atmos music, and Rupert is recognised by Dolby as an engineer working within Atmos.
Tell me about the release you have in mind
Start with the music, the source material and the intended release. Rupert will confirm whether the project needs Atmos mixing, mastering or both.