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Remixing & Mixing music in Dolby Atmos

Updated: May 14


Despite Dolby Atmos mixing being a seemingly technologically advanced process, at the end of the day, thanks to its 3-dimensional space, it is more creatively liberating than any form of mixing done before. For that reason, in this article, we will focus mostly on analysing the essential decision-making process rather than the technicalities. If you haven't already, I also recommend reading our article on "Immersive Audio Fundamentals" before diving into this.



Introduction


Even though Dolby Atmos technology has been with us in the music world since 2017, when the remastered version of the R.E.M. "Automatic For The People" 25th Anniversary Edition was released, mixed by Steve Genewick, there is still a debate over how Atmos should be done. To a certain extent, this is understandable, as the process can be as simple or as complex as one wants it to be, which you will see later in this article. Nevertheless, I will do my best to make this as clear and straightforward as possible, and there is no better way to do so than to start with some important historical dates, so you can see how the format and the industry, along with it, evolved over the years.



Industry milestones


Throughout the development of Dolby Atmos technology for music, numerous achievements and events occurred that are worth noting. Which of those are most important is another debate in itself, so below I have created a timeline of only the pioneering accomplishments. The first two milestones are not music-related, but they serve as a good reference point, illustrating just how far the music industry lags behind the film and even gaming industries.



June 2012 - Pixar releases the film Brave

First film to use the Dolby Atmos technology. More information here.


November 2015 - EA publishes the game Star Wars Battlefront

First game to use the Dolby Atmos technology. More information here.


March 2016 - Ministry of Sound residency with Dolby Atmos technology

First pilot public live performance featuring the Dolby Atmos system. More information here.


May 2017 - Capitol Studios converts Studio C into an Atmos-enabled space

First Dolby Atmos space dedicated to music. More information here.


November 2017 - R.E.M. releases remastered version of "Automatic For The People" 25th Anniversary Edition

First major commercial Atmos record, recognised as the beginning of the Dolby Atmos journey in music. More information here.


May 2019 - Dolby Atmos begins official collaboration with Universal Music Group

First Dolby Atmos collaboration with a music company. More information here.


September 2019 - Amazon Music introduces Atmos on its platform

First music streaming service to enable Dolby Atmos. More information here.


March 2021 - Lucid Air car integrates with Dolby Atmos

First car to integrate Dolby Atmos into its system. More information here.


June 2021 - Apple Music launches Atmos support The third streaming platform to enable Dolby Atmos. However, often regarded as the final solidification of its position. More information here.


October 2021 - Logic Pro fully and natively integrates Atmos

First DAW with full self-contained Atmos integration. More information here.


January 2024 - Apple Music decided to increase royalties for Dolby Atmos music

First incentive for the artists to adopt the new format. More information here.



Other events that also took place, but would be more difficult to pinpoint date-wise, were: more studios converting their spaces to accommodate 3D audio, DAWs integrating with Atmos, Dolby growing its Music Studio Directory, Atmos becoming a standard on a lot of consumer electronics, Dolby working with labels to create delivery specifications, Atmos becoming a delivery requirement for most labels, 3D music streaming numbers skyrocketing, Atmos concerts becoming more common, and much more.



General approaches


Now that we know the key events that occurred over the years, we can analyse, step by step, the thinking process and the order of work an engineer goes through when mixing a song. Here is a flowchart of the mixing process from beginning to end.




*Some steps happen simultaneously, so this isn't a strict order


One of the first things an engineer establishes when they begin a project is whether they are doing a remix or a mix. You might be wondering exactly what remixing and mixing are, and why I specifically put them in this order.


  • Remixing in the world of Atmos means redoing a mix for/in the new domain. This often refers to working on the back catalogue, which is the music that has already been mixed in stereo and other formats before being mixed in Atmos

  • Mixing, on the other hand, is when the Atmos mix is being done first, with the compositions often being created, thinking ahead about the medium's requirements


Nevertheless, it is important to remember that, in most cases, mixing is still the universal term for both activities, as it describes what we generally do with music. What I do here is use those terms very deliberately to describe specific processes, so always remember to apply language appropriately. When it comes to why I put remixing before mixing, it is because remixing was, but mostly still is, the most common form of working in Atmos due to the massive back catalogue of work still waiting to be remixed for the new medium. Remixing also has the most established work system, whereas mixing is much more unrestrained.


However, this isn't everything the engineer needs to establish, as both remix and mix offer different approaches. Below is a diagram showing the determination process.




*Expansive, Creative, and Immersive are proposed names for such approaches, originally suggested in 2024 by Visser, Pratt and Bourbon.


As you can see, there are three main approaches: Expansive, Creative, and Immersive. Since they are very different from each other, both conceptually and technically, which route the engineer goes down is influenced by the source material, what the label wants, and sometimes, yes, unfortunately only sometimes, what the artist wants. Another important thing to notice on the diagram is that the approaches are also, to a certain extent, ordered chronologically, with industry trends progressing from left to right as the back catalogue runs out and new music tailored for Atmos appears. Alternatively, you can think of it as the most conservative approaches sitting on the left and the most liberal on the right.



Genre considerations


Genre considerations exist in Atmos just as in stereo, and they are important. Perhaps even more so, as engineers believe that some genres are better suited to the format than others. This might seem irrelevant, as every song will be mixed using the new technology anyway, but it gives important clues on how we should approach each song and how adventurous we can be with it. Below is a diagram showing the best-fitting genres at the bottom and the least at the top.




*According to the 2024 study by Dewey, Moore and Lee.


As you can see, rock and its subgenres are often considered the least suited for Atmos. This is for multiple reasons, but mainly because the rock’s punchy, tight, aggressive nature sometimes doesn’t translate well in the larger 3D space. This partially applies to middle genres, which are also dynamic and punchy but less conventional and traditionalist than rock. What’s interesting is the variety of genres rated as most suited for Atmos, as they seem fairly different at first. Let’s look at two extremes. Firstly, the EDM, which ranked highest on the list, is the most obvious choice because it is the most modern, with the least stable convention and tons of elements constantly moving around, making it perfect for the 3D realm and all its possibilities. Classical, on the other hand, might seem less obvious, especially to those who don’t work with the genre, even in the stereo domain. Classical music has an opposite goal to EDM. Instead of creating an abstract and adventurous 3D image, it aims to produce a perfectly realistic recreation of the space where it is performed, just as in a concert. So, as you can see, despite being very different, a lot of genres perform just as well in the Atmos domain. This is a very interesting and important reflection as it reveals a crucial debate in the music industry: whether we should generally aim to make music sound as realistic as possible or use the format’s capabilities to make it abstract and experimental.



Engineer intent


Now that we have discussed the different approaches and considerations, before going into more specific mixing tasks, it is important to ask ourselves what our intention and philosophy are. Why do you even do it? You might, of course, want to follow the steps of the "if-then" system and approach mixing more pragmatically, but you might want to think about what drives your mix. Whether you want realism or immersion, novelty or faithfulness to the stereo, showing your sonic signature or something else entirely, it is all valid and worth figuring out. I thought long and hard about how to inspire you to start thinking about all those ideas, and I realised that the best way is just to show you some quotes from other fantastic engineers and their beliefs and reflections.



“All of these years we have been jamming everything into two speakers and now we can open it up and create the depth.” - Bruce Botnicki (2020)

“When I start a mix I try and conceptualise what approach I am going to take. If it is something more orchestral then you are going to be the guy sitting in front of the conductor or if this is a crazy song and I am just going to go nuts. But I start with the concept that I think is going to work, it may change and you will probably start to move stuff around.” - Steve Genewick (2020)

“Things will tell you where they got to go!” - Bruce Botnicki (2020)

“You don’t want to be distracting, by putting something there just because you need to put it somewhere. Everything has to have a purpose.” - Bruce Botnicki (2020)

“Immersive music is really all about creating an active listener versus a passive listener, you want to have people focused and paying attention." - Michael Romanowski (2020)

"Immersive audio is not about establishing a precious center spot to sit and listen between two speakers. It’s about the listening experience as you move around the room. How does it pull the listener in? How does it change, depending on how close you are in proximity to one speaker or another?" - Michael Romanowski (2020)

"Once again, with “music” projects to be remixed in Atmos, you have total freedom to utilize the space as you believe best suits the song." - David Rideau (2020)

"The prime objective of a mixer does not change for the format. We are still servicing the artist’s performance, arrangements and composition." - David Rideau (2020)

"The goal of any Atmos mix is to re-create the sound of the stereo mixes." - John Hanes (2020)

“When you’re doing a stereo mix, it’s basically a two-channel bed. I’m just expanding on that.” - John Hanes (2020)

“We’re working in the dark a little bit. A&R people can’t even hear it. Because artists aren’t able to listen and comment and approve, the most important thing for me is still that the intent of the music is what it was on the album, which is what everyone worked so hard to get to.” - Serban Ghenea (2020)

“It’s turning into something fun, there’s no reason why you should still only be working in two speakers.” - Serban Ghenea (2020)

“For me, the key to the successful implementation of Atmos is the use of technology to enhance the music. I really enjoy it when engineers approach immersive mixing with the art in mind — really do what serves the music. [..] In honesty, if one uses the technology as a means to better express what the artistic intention of the production was, every album can be made better as an immersive experience.” - Nathaniel Kunkel (2021)

“I’m taking mix stems from my already mixed songs, opening them up and making them dimensional. I’m molding my mix into an Atmos space where musically it translates in a completely different way than how we listen to music now." - Josh Gudwin (2021)

“Mixing has always been a technical exercise, but it’s also a creative, musical exercise. And at times, those things are slightly in conflict with one another. One of the things with Atmos is that initially, it’s a bit more of a technical exercise than it is a creative exercise. Once you get past that, it’s great, but I’m always very aware that I’m trying to not let the technology dictate to me, so that I can be creative. And so, in a way, I almost have to split my brain into two parts. There’s the creative part that’s Creative Andy. ‘Let’s do a mix, let’s make it really amazing.’ And then, there’s Technical Andy that has, ‘Oh, we’ve got to print this now, and we’ve got to output it, and we’ve got to make a QuickTime so I can send it to the client.’ And those two things are very different parts of the process. But unfortunately, they’re necessary parts of the process." - Andy Bradfield (2022)

“I’m certainly very excited about what Atmos has to offer, but it’s a big rabbit hole! You start going down it, and you go ‘Oh my god, what have I just started?’ And I think part of it is fear of the unknown. In terms of the technical aspects and the equipment, there’s a lot to it. But it’s not insurmountable, and once you get going it’s great, and I’m really enjoying it.” - Andy Bradfield (2022)

“Overall Atmos is a really exciting new format, and the creative control it gives you to develop an immersive mix that you’re part of is amazing! I think surround was always seen as a ‘film’ format and Atmos has really changed this now. - Andy Bradfield (2022)

As a musician and as a fan of music, but also as a music maker, Atmos is the closest I have felt to listening to recorded music where it feels like I’m in a situation like that, where I don’t feel like a lot of the data’s missing. If you close your eyes and you listen to a great Atmos mix, there’s just nothing like it." - Greg Wells (2022)

“I want people to close their eyes and feel like they’re in a dream state when they’re listening to music. That’s my ultimate goal. That’s what my favourite records do to me as a listener. For me, it’s about transcending the entire experience. I don’t want anyone to even notice the speakers. I don’t want anyone to even think about the physicality of there’s a kick drum, or there’s a whatever, or they used that microphone, or that we’re in B flat. I just want you to feel a thing.” - Greg Wells (2022)

"I don’t want to be distracted by Atmos. I just want you to get lost in the experience." - Greg Wells (2022)

"In other words, making the transition to Atmos needn’t involve jettisoning all of the habits you’ve learned mixing in stereo. And likewise, just because Atmos provides the mix engineer with the ability to move sounds around constantly doesn’t mean you have to use it. “I think using it would be a mistake most of the time.” - Greg Wells (2022)

The Atmos mix has got to be an enhancement. It can’t be worse than the stereo, or what’s the point?" - Stan Kyber (2022)

"That’s all ramping up and the mixing is so much fun. You can do what you want and stay musical. You can keep the band in the front but there’s always ear candy, and instead of just ‘I’ll pan this left to right’ now it can be like a helicopter and it can go down and go back up. You can create stuff that’s impossible to do in stereo. You can do something emotional with the song. You can make something important without making it loud. They might not hear it the first five times they listen but it’s then super cool when they realise that the choir is behind them.” - Andrew Scheps (2023)

“There are so many possibilities with immersive, but the idea is to expand the musical soundscape without ever being distracting. There are so many placement possibilities and options to make it more interesting, but you can never lose focus of the original intent.” - Kevin Madigan (2023)

"When you do it right, Atmos mixes tell a much larger story. So, I think you have to go into the production knowing you want to take advantage of the immersive format, rather than just reaching for it later on." - Michael James (2023)


As you can see, there are as many viewpoints as there are engineers, and perhaps even more. Some also tend to change over time. Nevertheless, it is important to figure out your 'modus operandi' to make your mixes even more meaningful.



Beds & Objects


Many people just beginning their Atmos journey might not understand just the scale of the argument, adding the objects caused when Atmos was introduced. Not to mention the controversial automation associated with object use. Engineers simply didn't know whether to use beds, objects, or both, and, if so, how much of each. Each person had their own method and reasoning for what they did, but there definitely wasn't consistency. Can I now, after 9 years, say with confidence that there is a consensus? Not really, as everybody still uses it however they please. Some techniques are slightly more popular than others, such as utilising beds to create a good foundation and objects for additional elements and creative effects. However, many critics remain opposed to even this approach. Their biggest issue is that beds don't translate well across all playback systems, and they don't have the same panning accuracy. But also simply because Atmos is made for objects, so they should be used as much as possible.



Spatial placement


Spatial placement is probably the most important aspect of the entire Atmos workflow. This is where you can truly be most creative, but also make or break a song. As we established earlier, there are several factors to consider before positioning elements, such as the source material, whether you are doing a remix or mix, and the genre. The source material will determine, e.g. how much you can spread the instruments, as a very limited instrumentation spread across the entire space might sound weak. The remix, or mix factor, will either make your positioning similar to the stereo or not. Finally, the genre can either allow you to be more daring or more conservative and focused on realism. So you might ask. Why is it so restrictive? What do I get to decide about? Well, to answer the first question, it isn't really as restrictive as it seems. We might not think about it after all this time, but when mixing in stereo, you must think about the exact same things. I just make you aware of them so you don't deliver something absolutely... spectacular, I am sure. To answer the second question, in most cases, when mixing in Atmos, even when tasked with adhering to the stereo, it doesn't need to be a 1-1 positioning that sounds the same. This means that even though the kick will still be in the centre and the lead vocal won't go flying around the room, other, less important instruments will be positioned slightly differently, not to mention all the other processing and automation you can do. You just use it as a solid framework to guide your work. But enough of this theoretical talk. Let me give you examples.



Expanded/enhanced stereo & Stereo +

This is by far the most popular approach to pan your instruments. As the name suggests, you are trying to enlarge the original stereo image to fit it within the vast 3D space. In the simplest terms, the crucial sounds are positioned at the front with slightly less important stretching to the sides, and decorative, occasionally playing sounds, and time-based effects are at the back and in the heights. The automation isn't always used, and when it is, it is usually very limited. However, let's break it down in more detail using some very interesting data unveiled in 2023 by Bourbon et al., who analysed the top 100 tracks on Apple Music.


  • Most instruments are placed in: stereo, sides, front heights, rear heights, rear sides, centre, and LFE


This is mostly expected, though it is interesting to note that the rear sides are often less occupied than the heights; this is probably because many of the sounds from the stereo bleed up to the front heights, increasing the perceived number of sounds there. This could be especially noticeable in the 7.1.2 setup, where only two height channels are present, and Dolby Atmos automatically mirrors them to create front and back, making the entire height information very similar. Furthermore, engineers avoid putting too much information at the back, as it becomes difficult for our brains to localise correctly.


  • Loudest channels are: stereo, sides, rear sides, front heights, rear heights, centre, LFE


Again, it isn't very surprising overall, but it is worth pointing out that here the rear sides come before the heights. As I mentioned at the beginning of this technique's explanation, the front wall stretches to the sides, which we can see here.


  • Brightest channels are: rear heights, front heights, rear sides, centre, sides, stereo, LFE


The brightness is an important aspect to consider when mixing. The trend we can see here is that the sounds are getting brighter as we move back and up in the 3D space. This is for many reasons, mainly: key sounds which naturally have more low-frequency content stay upfront, time-based effects are placed back and up, and engineers tend to place the sounds at a certain height according to their frequency content (higher frequency = higher elevation).


  • The centre channel isn't used all the time


In the study, it was 89% of the time, but that isn't unusual, as many people believe that using the centre channel causes filtering issues.


  • The LFE is used only sometimes


The LFE number was even lower at 59%, which again isn't surprising, as it is avoided for many reasons, mostly due to binaural playback issues, but also simply because its role originated in the film industry, where it was used for effects, which isn't really applicable for music.


  • Stereo is used for vocals, drums, and bass


As can be expected, the front is still used for the essential elements of every music production.


  • Centre is used for vocals, kick, and snare


The centre channel is used to accent further what the stereo pair is playing.


  • LFE is used for kick and bass


Sounds with the lowest frequency content are sent to the LFE


  • Sides and rear sides are used for vocal reverb, backing vocals, guitars, and piano


Both sides and the rear sides serve to widen and envelop, as all those sounds are either an extension of what's in the centre or quite dynamic, further spreading the image.


  • Height is used for time-based effects


As expected, heights, like in a room, are mostly filled with reverb, delay, and other effects, adding even more depth to the song.


  • The movement of elements in the speakers is small


This is probably one of the least surprising observations of all, as engineers tend to avoid automation not only because it doesn't reflect what happened in the original stereo version, but, most importantly, because many find it distracting, especially when used excessively. Although the threshold for 'excessively' is subjective and often very low.



Reasons for using this technique

  • Familiarity - people are used to listening to music this way, as they have done it on the stereo for decades

  • Respect - this version, in most cases, resembles the stereo version most closely

  • Science - our brain can localise sounds best when panned this way

  • Headphones - it is most optimal for headphone consumption



All-around & 360 degrees This is the second-most-popular approach. It is used on less conservative projects. Here, it is more difficult to say what instrument goes where, but the general idea of keeping some of the important sounds at the front prevails. However, it doesn't need to be all of them, or it can change depending on the section of the song. Furthermore, the use of automation in this approach is not limited, as in the previous one. Thanks to this, you can not only create all sorts of movements but also automate other parameters, for example, in plugins. According to a 2024 study by Jerez et al., when using a more freeing approach rather than the "Expanded stereo", almost all engineers placed fewer elements in the stereo channels (sometimes fewer than half) and used more automation (up to 3.5 times). When using this technique, it is important to keep in mind that you are trying to make the listener feel as if they are inside the story. They are not watching it from their audience seats, but the sounds absorb them. You might even consider placing a sound at the listener's position in the middle of the room. It is no longer a concert; it is an embodiment of what the artist seeks to convey. However, as someone once said, "with great power comes great responsibility," and that's exactly what's happening here. You might have more options, but at the same time, keeping it fathomable and enjoyable to the listener is another matter entirely. You might not feel bound by the rules like with the previous techniques, but you are bound by the responsibility to make the song comprehensible, which perhaps is a more difficult task to attempt.



Reasons for using this technique

  • Progress - it allows us to evolve the craft and use the tools we have to the best of our ability

  • Freedom - it supports the creative expression instead of the labels deciding for the artists and the listeners alike


Other techniques

Aside from the two aforementioned approaches, it is really difficult to come across anything else that isn't a variation of one or the other. Of course, if you expand your search to include instances where music is combined with film for a music video, VR experience, or anything else, you can approach positioning the sounds in 3D space based on their screen locations. However, that is not the focus of this article.



Processing


Processing in Atmos varies depending on whether you are working with already processed stems or unprocessed stems. However, overall processing in Atmos is usually not as heavy as when mixing in stereo. According to a 2024 study by Dewey et al., which surveyed 140 engineers, the vast majority believed they needed to perform less processing to make things work in 3D space. This is mostly due to the stereo being smaller and requiring more finesse to blend things properly. They also believed that, even though they used EQ similarly, dynamic processing and bus usage were very different. All of this seems to be confirmed by another study by Jerez et al., where engineers used EQ mostly in a corrective rather than a creative manner, and boosting by small amounts rather than cutting. The dynamic processing differed the most, as they didn't use the parallel compression we are so used to, but rather moderate multi-band compression. Of course, the most commonly used processing is time-based effects, which, as you probably gathered by now, are used extensively in Atmos.



Binaural settings


Binaural settings are what allows mix engineers to make the Atmos mix sound as intended in headphones. They define the perceived distance of each sound, which can be either near, mid, far, or off when you don't want to binauralise something. Setting them is crucial, given how many people consume the format through headphones. There are two main ways of going about it. Either setting all sounds to the same distance, such as mid, or setting the binaural distance depending on how far something sits in the Atmos mix, so if you panned something far away in 3D space, you set the binaural distance to far. There is also a popular approach of selecting a distance for all sounds but the core ones, such as kick, bass, and vocals. This is not to give them any HRTF spatial colouration, but to make them sound even more direct. However, it is worth experimenting a little with each song to check what suits it best. No matter what you choose, you should aim to binauralise most sounds, as some record labels, such as UMG, will even require you not to turn it off for everything.



Mastering


There used to be a popular belief among professionals and enthusiasts alike that you don't master music in Dolby Atmos. This was for two main reasons. Most importantly, because the process wasn't well established and tools weren't developed at the beginning of the format's journey. Secondly, if done well, the mixes already sound satisfactory after mixing, and mastering in Atmos is much more similar to what it used to be in the stereo domain many years ago. Meaning quality control and translation checks. An engineer working on an ADM BWF file in most likely a DAW or Dolby Atmos Album Assembler goes through several steps to ensure the music sounds as good as possible across different streaming platforms and devices. When doing so, it is important to follow the label's specific guidelines to ensure the material isn't rejected. As an example, here is a checklist by UMG of what a mastering engineer must complete:


  • Global gain, EQ & dynamic processing

  • Gapless transitions

  • Binaural metadata

  • Empty objects

  • LFE

  • Fade in/out

  • Loudness and true peak analysis

  • Album balancing

  • Album sequencing & duration matching

  • Trim and downmix

  • FFOA

  • Frame rate

  • Sample rate



However, each label has its own delivery specifications, so make sure to double-check the information.



What is also often forgotten, perhaps due to costs or a difference in approach when working in a new format, is that mastering is important simply because when it is done by somebody else, it allows for perhaps the most important feature, which is an objective perspective and a fresh set of ears, and you can't beat that.



Final words


As you can see, remixing and mixing in Atmos can be quite nuanced. However, no amount of words can accurately represent what it is truly like to work in this format until you get hands-on experience. That's why you should consider what was written in this article important, but do not forget to let your instinct guide you. Finally, you might have already gathered that, even though it's been almost a decade, things are still changing, and they are changing fast. Hence, I will keep updating this page to provide you with the most up-to-date information, but if you spot anything unusual, feel free to reach out.



Feel free to check out other guides for more interesting information or the ever-growing glossary to learn some useful terms.


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