Immersive Audio
Surround Yourself with Sound
Welcome to our third annual immersive audio issue! I am proud to say that over the past three years, RECORDING Magazine has offered the most coverage of immersive audio and Dolby Atmos of any pro audio publication.
Whether you are new to the format or are already engaged in the art of immersive mixing, if you are simply curious or perhaps even still skeptical, welcome this issue is for you!
Reviews
We have ten product reviews this month, starting with a look at the complete lineup of Mackie CR series monitors.
In line with our immersive theme, we examine two audio interfaces: the Audient ORIA and the Apogee Symphony Studio 2 x 12, both specifically designed to meet the needs of Dolby Atmos.
In the world of plugins, we take a look at PUNCH and BALANCE, a pair of Zynaptiq plugins capable of multi-channel audio!
This month’s final review is the simple, fun and affordable, 80s-evoking Vox Humana plugin from UJAM designed in collaboration with the Bob Moog Foundation.
Interview
In this month’s interviews, we welcome Bob Clearmountain and Steven Wilson back to the pages of RECORDING to discuss their immersive audio techniques, along with tips, tricks and thoughts on Dolby Atmos. [GET IT HERE]
Features
This month, we have six immersive-themed features. We kick things off with a pair of articles from Alex Solano of AlexProMix.com. First, we explore binaural audio as Alex reveals the lessons he has learned when Mixing Immersive Albums on Headphones. [GET IT HERE] Then, Alex tackles the practical question of “Your Atmos Mix is Done—Now What?” [GET IT HERE]
Producer and Dolby Atmos expert Will Kennedy details a recent immersive audio recording session for Immersive Design Labs, where he and his studio partner Matt Wallace tracked Willy Porter at the famed EastWest Studios. [GET IT HERE]
In this month’s Inside the Studio column, producer Mark Hornsby offers his tips for setting up and building a Dolby Atmos mix. [GET IT HERE]
Our Editor Paul Vnuk Jr. is back with part three of his First Steps in Dolby Atmos series––this month, twelve IK Multimedia iLound MTM MKII speakers get positioned, hung, powered and wired for sound. [GET IT HERE]
Even this issue’s Fade Out is immersively focused, as producer and mix engineer Chandler Bridges talks about the importance of having your tracks mixed for Atmos.
Of course, an audio engineer cannot live by immersive alone, and this month, our resident bass-playing producer and engineer Dave Martin offers up his bass guitar recording tips in this issue’s RECORDING Techniques column. [GET IT HERE] In Studio 101, Joe Albano brings us part six of his year-long look at setting up a project studio, this month’s lesson is on choosing an interface with the proper I/O for your studio’s needs. [GET IT HERE] Aaron J. Trumm explores the myriad uses of clipping in Clipping for the Win. [GET IT HERE]
Finally, Giles Reaves is back with his RECORDING Field Notes to discuss recording paradoxes. [GET IT HERE]
Immerse yourself in all this and more in the June issues of RECORDING Magazine.