We've all seen badly set-up consumer hi-fi systems, so consider the implications of a badly adjusted surround playback system, where the scope for incorrect placement or misuse of the speakers is so much greater, because there are so many more of them. So how should we approach surround production? My own feeling on this is that the answer should be 'cautiously'.
![dolby 5.1 music dolby 5.1 music](https://i.ytimg.com/vi/OrsihO9mtSw/maxresdefault.jpg)
Of course, neither of them is correct or incorrect they just have different approaches. However, one effect of this is that engineers differ over what's acceptable in surround production and what isn't (even more than in stereo production!), and this is clearly evident in the interviews with Rik and Peter this month, where they frequently contradict one another. One of the constant refrains from the professionals working in surround who we've spoken to so far is that they have a feeling of greater freedom when mixing in the format, which they attribute to the current lack of clearly defined guidelines or accepted conventions for surround mixing. Obviously, mixing for surround is a more complex process than for stereo, with a much greater range of options for the spatial placement of instruments in a mix, and of course there's the '0.1' channel - the subwoofer - to consider as well. So let's move on from putting together your system, and look at how you can make use of surround when you have a suitable system up and running.
![dolby 5.1 music dolby 5.1 music](https://i.ytimg.com/vi/pxtY_78iWZ0/sddefault.jpg)
We also spoke to two surround recording engineers with very different setups to see how they were addressing these problems, both of whom we'll hear from again this month: Rik Ede, a Dolby employee who runs his own business from his project studio composing 5.1 surround soundtracks for computer games, and Peter Cobbin, Senior Recording Engineer at Abbey Road Studios. In last month's instalment of this series, we looked at some of the difficulties that need to be overcome when you try to set up a surround-capable studio using project studio equipment. Along with so many 5.1 SACDs/DVD-As that I've lost track of the count.We consider some of the pros and cons of mixing in surround, and hear how experienced surround producers take advantage of the format, and tackle the problems. I actually bought the first-ever Sony multi-channel SACD player, the SCD-555ES, and that was 20(!) years ago. Before anyone accuses me of rose-colored-glasses, I've been a multi-channel fan from way back in the day. The only "flaw" in this diamond: it uses edited (for language) vocals I don't get this, there are plenty of Atmos tracks (even in the same Apple-made playlist) that have the "E" explicit lyrics warning.ĭespite that, I'm still going to give this mix an A+ rating. Vocals spread across the front three speakers, yet no gimmicky reverb, etc. Very "open" sounding with appropriate use of surrounds. I was already a fan of the album for the past 5 years, but the mix takes it to a new level. OK friends, I have found a real 'diamond' in these new/discrete Atmos mixes!! So what else do we have that's "new" in surround sound? It's like the heyday of SACD and DVD-A, all over again I didn't do a detailed A/B listening test, but there was definitely discrete music/effects in the four rear surrounds, vs. I got a unique (to my knowledge) 7.1 mix that was different from what I have on my DVD-A. Today I listened to "Riders On The Storm" Dolby Atmos mix, fed from my AppleTV 4K to said Marantz. Personally, I'm only using a traditional 7.1 set-up, although I have a Marantz AV-8805 with support for 7.1.4.
![dolby 5.1 music dolby 5.1 music](https://ae01.alicdn.com/kf/H9b0ffe0ddd584666b8c7454834e72ec7m/DAC651A-DAC651B-Bluetooth-5-0-DAC-audio-fiber-coaxial-to-analog-5-1-CH-decoder-Dolby.jpg)
The benefit of Atmos is that it can dynamic expand/collapse the total number of discrete channels based on your "bed" and "objects" channel layout and speaker quantity.
![dolby 5.1 music dolby 5.1 music](https://www.rollingstone.com/wp-content/uploads/2021/03/Klipsch-Reference-Audio-System.jpg)
So a maxed consumer-level system would be using 7.1.4 discrete channels.
DOLBY 5.1 MUSIC PLUS
I'm not the expert on Atmos, but the basic concept is that you get the standard 5.1/7.1 "bed" tracks, plus additional "objects" channels (typically overhead), currently capped at 4, for home use. But certainly the vast majority are brand-new, never heard before multi-channel discrete mixes from masters. I imagine some of these new Apple tracks are repurposed from those mixes. Further info on the announcement of Hi-Resolution and Atmos support via Apple Music streaming can be found and discussed here.ġ5-20 years ago, we of course got several 5.1 mixes via SACD and DVD-A. I'm starting this thread to talk and identify the unique surround mixes you can get from the recent Apple Music (iOS, tvOS, iPadOS 14.6) updates.