Is anyone here mixing in Dolby Atmos?

[Davjr]

Is it worth it to spend a couple extra hours mixing an Atmos version of the track if only a couple platforms actually run it?

[Watchful]

Is anyone outside of some movie theaters even listening to Atmos? I sense that it's struggling to find acceptance.

[lfm]

Seing it from a Xbox game console it was like this
- 4-5 years ago you had to use an app for Dolby 5.1, if $15 or so, or no surround
- in newer Xbox OS for Series X, Dolby is built in and free, and Atmos is an app that cost money

Gaming platforms is quite big, so not sure how many games has output for Atmos even?
- but it's game developers that have their playlists

Xbox Series XS and Playstation 5 onwards does not even have optical out, I had to get a box taking hdmi input with optical out to get surround that work for my surround phones.
- Atmos is allowing ordinary phones and using spatial processing to produce surround without special hardware
- Windows Sonic output allow this too, no special hardware needed and is free

Making music for films or games - you know if needed.

Spotify for music - are they allowing either of these - check if so?
- every listener most likely need to purchase a license to receive it?

I would talk to Spotify
a) do they support it for listeners?
b) statistics how many use it?

Maybe iTunes is big too, check with them.

And all streaming platforms, how much film allow output in Atmos?
- it would give a hint if spreading or not

I guess listener will get a more immersive experience with surround of some sort and no special hardware.

[aMUSEd]

I have made quite a few surround patches in Absynth - one of the few synths that supports surround (NI were way ahead of their time with Absynth). Not specifically Dolby atmos of course but I do think there is a potential market for surround/immersive music - certainly I always go for the immersive tracks on Apple Music and also have headphones that support it as well as speaker system

[Cyoon]

I experiment with Ambisonics from time to time.

There is this platform that seems interesting to publish: https://pureaudiostreaming.com/

[VladK]

(NI were way ahead of their time with Absynth).

Absynth was developed by Brian Clevinger and his company, Rhizomatic, in 2000. NI bought it from him.
Not to hijack the thread, but for the sake of fairness

[RipleySterling]

I was very excited for studio one to get native atmos, even just for messing around in the binaural mixdown. I messed with it a bit, but the workflow was different enough from how I was working at the time that i lost interest. I should really go back and give it another shot, I'd love to be producing in atmos.

[aMUSEd]

(NI were way ahead of their time with Absynth).

Absynth was developed by Brian Clevinger and his company, Rhizomatic, in 2000. NI bought it from him.
Not to hijack the thread, but for the sake of fairness

Did it have surround from v1?

[VladK]

(NI were way ahead of their time with Absynth).

Absynth was developed by Brian Clevinger and his company, Rhizomatic, in 2000. NI bought it from him.
Not to hijack the thread, but for the sake of fairness

Did it have surround from v1?

No, multi-channel was incorporated into Absynth 3 in 2004 AFAIK.
But the first multi-channel synth (if this is what you were looking for) was Oberheim Four Voice (FVS-1) with 4-channel output.
And the first such software synth was probably Aegis Sonix (for Commodore Amiga), also with 4 channels.

[aMUSEd]

(NI were way ahead of their time with Absynth).

Absynth was developed by Brian Clevinger and his company, Rhizomatic, in 2000. NI bought it from him.
Not to hijack the thread, but for the sake of fairness

Did it have surround from v1?

No, multi-channel was incorporated into Absynth 3 in 2004 AFAIK.
But the first multi-channel synth (if this is what you were looking for) was Oberheim Four Voice (FVS-1) with 4-channel output.
And the first such software synth was probably Aegis Sonix (for Commodore Amiga), also with 4 channels.

I think Absynth 3 was the first version I got. Interesting to hear there were others working in that area, and yet today we still don't have many realtime surround capable synths (although lots of fx).

[VladK]

I think Absynth 3 was the first version I got. Interesting to hear there were others working in that area, and yet today we still don't have many realtime surround capable synths (although lots of fx).

Realtime needs a properly equipped venue, and educated engineers. How big this market is? Null.
And let's be honest, are Pink Floyd the only successful top artists who incorporated surround? End even they, I suspect, sold times more stereo than surround records.

IMHO, surround just failed to break out of the cinema niche (may be, because of too many closed standards by greedy patent owners), and is not going to become the audio mainstream anytime soon if ever, unless something hugely successful happens that makes the audience swear on, say, mobile binaural sound from their smartphones.

And even if such a break through happens, its commercial success would depend on adoption by big players like Spotify, etc., who are pretty much happy with current status quo, and do not want their current libraries to become obsolete. They charge more even for simple FLAC.

[Cyoon]

I think Absynth 3 was the first version I got. Interesting to hear there were others working in that area, and yet today we still don't have many realtime surround capable synths (although lots of fx).

.. unless something hugely successful happens that makes the audience swear on, say, mobile binaural sound from their smartphones.

Ambisonics has the B-Format for headphone used in VR and 360° Videos. But not many people use it it seems maybe.

And even if such a break through happens, its commercial success would depend on adoption by big players like Spotify, etc., who are pretty much happy with current status quo, and do not want their current libraries to become obsolete. They charge more even for simple FLAC.

At least on Apple Music, Tidal, and Amazon Music it's already going in that direction. Adaption is still weak in the industry it seems, but more and more do Atmos. It's a chicken & egg problem, no venues to perform in surround, no producers do it and other way around.

There are quite cool tools available meanwhile though: https://www.l-acoustics.com/products/l-isa-studio/

https://www.l-acoustics.com/products/l-acoustics-dj/

There certainly is a scene, but it's small still.

[aMUSEd]

I think Absynth 3 was the first version I got. Interesting to hear there were others working in that area, and yet today we still don't have many realtime surround capable synths (although lots of fx).

Realtime needs a properly equipped venue, and educated engineers. How big this market is? Null.
And let's be honest, are Pink Floyd the only successful top artists who incorporated surround? End even they, I suspect, sold times more stereo than surround records.

IMHO, surround just failed to break out of the cinema niche (may be, because of too many closed standards by greedy patent owners), and is not going to become the audio mainstream anytime soon if ever, unless something hugely successful happens that makes the audience swear on, say, mobile binaural sound from their smartphones.

And even if such a break through happens, its commercial success would depend on adoption by big players like Spotify, etc., who are pretty much happy with current status quo, and do not want their current libraries to become obsolete. They charge more even for simple FLAC.

It already is - Apple Music has more and more music in Immersive format (which is based on Atmos)

[mabian]

Not me.

[andivax]

Atmos for music is horrible.