Dolby Atmos Mixing Setups on a Budget
What is Immersive Music All About?
Have you ever watched a horror movie with the sound off? Try watching a scary scene with the sound muted. Then watch it again with the sound on and your eyes closed. Without sound, the movie seems less intense, frightening, or even serious. With your eyes closed and the sound on, you can sense the mood and energy of the scene quite well.
Sound, especially in surround, creates emotion. Music mixes are finally catching up to film sound in the immersive respect, bolstered by the growing popularity of Atmos and Sony 360 RA and the efforts of streaming services like Apple Music, Tidal, and Amazon.
Artists now have the tools to craft multi-dimensional soundscapes that envelop the audience in a three-dimensional sonic environment, enabling more engaging and emotionally resonant compositions, and extending the boundaries of traditional music production. Surround sound and 3D audio have long been utilized in films and games, and now music producers can join the club.
True surround sound is commonly referred to as multichannel audio or immersive audio, and the leading multichannel format for music and film is Dolby’s Atmos, while Sony’s 360 Reality Audio has the next-largest share of the music market.
Atmos expands multichannel audio beyond traditional 5.1 and 7.1 in many important ways, and to enjoy Atmos playback, a minimum of eleven speakers plus a subwoofer is recommended. Many consumer playback systems, from car stereos to soundbars to smart speakers support this type of multichannel playback.
Atmos and other immersive formats can be enjoyed on headphones, though at this time only through binaural or Spatial Audio downmixes that are somewhat inconsistent between streaming platforms. Therefore, it is important that immersive music mixers work on full-range speaker systems, and not just headphones.
Creating immersive audio mixes is easier than ever, and most DAWs, including Logic, Pro Tools, Ableton, and Cubase, support Atmos and Sony 360 RA creation. Some DAWs have complete Atmos workflows and all major DAWs can integrate with Dolby’s inexpensive Atmos Renderer application and Sony’s WalkMix Creator app to ensure that final mixes get properly encoded as immersive masters.
As proof of the expansion of Atmos music, in 2022 at least 25 of 30 Grammy-nominated music projects included an Atmos mix and 85% of the Billboard Top 100 chart songs included an Atmos mix. So, it is obvious that the ability to mix in Atmos and/or Sony 360 RA is a wise business decision.
What’s Needed for Multichannel Mixing?
As mentioned earlier, professional DAWs typically support Atmos mixing, and it’s cost-effective to integrate Dolby’s Renderer or Sony’s WalkMix application into your existing production setup. So, the good news is that you already own a DAW and plugins that can create immersive mixes of new or existing material. However, the expense arises when setting up a suitable monitor system to handle multichannel audio.
For Atmos music mixing, the minimum recommended speaker configuration is a 7.1.4 system, comprising seven ear-height speakers (left, center, right, left-surround, right-surround, left-rear, right-rear), four overhead speakers (left-top-front, right-top-front, left-top-rear, right-top-rear), and one subwoofer (LFE). Sony 360 RA, on the other hand, calls for five overhead speakers, five ear-level speakers, and three floor-level speakers. With either system, you’re looking at twelve speakers.
To connect our DAW to our speakers, we need an audio interface with enough physical outputs, which likely means a 16-output device. As with stereo, a single volume knob should control all the speakers. For multichannel audio, it’s essential to calibrate the speakers, ensuring their volume and frequency responses are matched, and that sound from each speaker reaches the listening position simultaneously. While many audio interfaces offer sufficient outputs, only a few come equipped with the necessary speaker control DSP, and these specialized hardware devices can be quite expensive.
It’s easy to see that setting up an immersive monitor system can get pricey. Let’s explore some cost-effective solutions to putting together an immersive system that can get you up and running in creating multichannel mixes. We’ll break down each component of the monitor system and explore cost-effective options to help you get started without breaking the bank.
Monitor Control Software vs Hardware
As previously mentioned an audio interface that provides enough outputs and also speaker control and calibration can cost upwards of five thousand dollars. The cost-effective solution is to combine software-based monitor control and speaker calibration with an inexpensive audio interface.
Ginger Audio offers the software solution Sphere, which merges advanced monitor control capabilities with essential speaker calibration features. Sphere controls up to 8 input sources and 7 monitor outputs (all of which can be mono, stereo, or immersive) with a single volume knob. Each monitor output provides individual volume trim and delay settings for each speaker, and the ability to insert an AU plugin on each output for third-party room correction software, such as SoundID Multichannel.
Some people are nervous about software-based speaker control, but Sphere allows you to control it via MIDI, Eucon, and StreamDeck devices, ensuring a physical controller is always at your fingertips.
We can now pair the Sphere monitor control application with an appropriate interface. If you don’t already possess one with at least 12 analog outputs, consider looking into options like the MOTU 24Ao or 16A interfaces. Alternatively, you can pair any interface that offers ADAT optical outputs with an inexpensive optical-to-analog converter.
For example, combine a Focusrite 18i20 (10 analog outputs and 8 optical outputs) with an Octopre, and you’ll have a great-sounding 18-output interface for approximately $1200. Numerous cost-effective new and used interface choices are available.
Speakers
Currently, the majority of consumers experience immersive mixes through headphones rather than speakers. However, those with luxury cars, high-end home theaters, or immersive soundbars may listen using speakers. As creators, our goal is to cater to the widest audience and strive for the utmost quality. To achieve accurate Atmos or 360 RA mixes, it’s crucial to craft our mixes on speakers and then fine-tune them while using headphones.
In my studio setup, I utilize 12 outputs from my interface for my Atmos speakers and an additional stereo output for my headphones. Sphere provides monitor control and calibration for both the speaker and headphone systems— a simple and elegant monitoring solution.
Fortunately, we live in a golden era for studio monitors, with numerous high-quality options available at more affordable prices than ever. Consider, for instance, a 7.1.4 system consisting of eleven Kali Audio LP6 V2 monitors paired with their WS-6.2 subwoofer, costing around $2,700. This system delivers exceptional monitoring capabilities, perfect for achieving studio-quality reference sound in a home studio or small production space.
While pricier speakers are available, the incremental improvement in sound quality may not necessarily justify the higher cost. Keep in mind that you should allocate a budget of $500 to $1,000 for speaker stands or wall/ceiling mounts, as well as $300 to $500 for speaker and power cabling.
If you aren’t ready to take the plunge into a full immersive speaker system, you can still experiment with listening to commercial mixes and even practice immersive mixing. One way to do this is by creating a mix-and-match speaker setup. For instance, you can add some spare or budget-friendly monitors to expand your current stereo configuration into setups 5.1, 7.1, 7.1.2, or 7.1.4.
In the spirit of saving money, the speakers that aren’t your main left and right can be more economical models—even ones you may already have on hand. When I got started, I had two pairs of inexpensive JBL Control 1 powered monitors that had previously been used around my home, and I initially utilized them as my center, left surround, right surround, left rear, and right rear speakers. You can easily find speakers like these for your setup.
You can certainly get a taste of the Atmos experience with a mix-and-match setup, but if your goal is to create a mix intended for commercial release, it would be wise to at least check your mix in a proper Atmos mix room. Regardless of your configuration, it’s crucial to ensure that the speakers are correctly positioned within the room and that they are properly calibrated for both volume and tone.
Speaker Setup and Calibration
In simple terms, every speaker should produce a similar sound at the mix position. This means that every speaker should deliver the same frequency response, and when a sound, like a click, is played through all the speakers simultaneously, it should reach the listener simultaneously. Sphere offers calibration settings to help you achieve uniform volumes and timing, making this process straightforward.
Atmos and other immersive formats have recommended speaker layouts that define the location and distance for each speaker. It’s strongly recommended to adhere to these guidelines so that your room provides a soundfield that is consistent with other rooms.
To meet Dolby’s recommendations, an Atmos setup can be based on a circle or a rectangle around the listening position. These setups are referred to as equidistant or orthogonal (see image below).
Dolby’s specifications allow for some flexibility in speaker placement to accommodate factors like doors, pillars, and equipment. However, it’s essential that the overall speaker layout remains symmetrical. For example, the overhead speakers should be positioned 45 degrees in front of and behind the listening position, as well as 45 degrees to the sides of the listening position. It is acceptable to deviate slightly from these angles by up to ±10ª as long as all the overhead speakers follow the same layout.
Similarly, the side and rear speakers can be adjusted slightly from their recommended positions, but it’s crucial to maintain symmetry between the left and right sides. For a more detailed setup guide, you can refer to Dolby’s Atmos Music Room Best Practice guidelines.
When choosing speakers, it’s important to consider not only their performance and how much you like their sound, but also factors like their size, weight, and whether they are passive or powered. Take overhead speakers as an example; they may have limited mounting options, so their dimensions and weight become significant factors.
For this reason, some manufacturers offer passive speakers with a low-profile shape to simplify their use on ceilings and walls. Additionally, it’s worth noting that passive speakers require only speaker wire connections, while powered speakers necessitate both audio and power cables.
Acoustics
All the great gear and speakers in the world can only benefit you if your room is well-treated for acoustics. This doesn’t have to be a costly investment, but it’s important to understand that immersive mixing demands a bit more consideration than a traditional stereo mix room. Given that speakers are firing in all directions, not just from front to back, an immersive studio requires greater acoustic absorption than a standard stereo mix room.
The basic advice for all rooms remains true: absorb an equivalent amount of sound at all audio frequencies. That means most surfaces should be treated with sufficiently thick broadband absorbers to effectively absorb both low and high frequencies. Ideally, these broadband absorbers should be at least six inches (15 cm) thick.
However, if space constraints make this impractical, strive to use the thickest absorbers that can be accommodated. Using 1-inch panels commonly found in music stores is not effective for handling low and mid frequencies, so your mixes will sound unbalanced.
The author in his 7.1.4 Atmos mix room, powered by Ginger Audio Sphere
Minimum vs Recommended Setups
As you can see, setting up an immersive monitor system involves quite a few moving parts, but you can get started with only a modest investment. While a basic setup lets you explore multichannel mixing, achieving professional results and ensuring mix consistency for others requires careful consideration. It’s advisable to adhere to Dolby’s guidelines for setting up an immersive room, focusing on speaker selection, room layout, and speaker calibration to meet industry standards and ensure optimal results.
Thankfully, some affordable speakers like the Kali LP-6 V2 meet the necessary audio standards. Larger speakers can increase the dynamic range of the system and would also be appropriate for larger mix rooms. To adhere to Dolby’s recommendations for Atmos music production, ensure your speaker layout is no less than 3.5m x 3m x 2.4m (11.5’ x 9.8’ x 7.9’, L x W x H). Dolby’s website offers valuable resources for establishing a music room, including a self-guided training course for creating Atmos music content.
Case Studies
Here are two case studies illustrating Dolby Atmos implementations. Please note that the costs for digital audio workstations (DAW) and acoustic treatment are not factored in, as they are standard requirements for any music production system. All prices are in USD and are based on current street prices.
Low-Cost Option 1
• Dolby Renderer software
• Monitor Controller
• Audio Interface
• Calibration software
• 7.1.4 Speaker system
• Speaker stands
• Cabling
______________________
Optional with some DAWs, but recommended
Ginger Audio Sphere software
MOTU 24Ao
Sonarworks SoundID Multichannel
(optional)
Kali LP6 V2 (x 11) + WS 6.2 sub
As needed
Audio and power for speakers
___________________________
Total System Cost
$99 to $299 (free trial avail)
$399 (free trial avail)
$995.00
$499
$2688.00
$600 to $1000
$300 to $600
____________________
$5081.00 – $6,480.00
Mid-Cost Option 2
While Option 1 will create a professional immersive system, this system will provide slightly better fidelity and greater dynamic range. This system would be appropriate for rooms up to 6.4m x 5.5m x 3m ( 21’ x 18’ x 9.8’) in size.
• Dolby Renderer software
• Monitor Controller
• Audio Interface
• Calibration software
• 7.1.4 Speaker system
• Speaker stands
• Cabling
______________________
Optional with some DAWs, but recommended
Ginger Audio Sphere software
Focusrite Red 16Line
Sonarworks SoundID Multichannel
(optional)
Kali IN-8 (x 7) + LP6 V2 (x 4) WS 12 (x 2)
As needed
Audio and power for speakers
___________________________
Total System Cost
$99 to $299 (free trial avail)
$399 (free trial avail)
$3999.00
$499
$5187.00
$600 to $1000
$300 to $600
____________________
Up to $11,584.00
