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Baby Steps

My next steps in Atmos have been—baby steps. Last September, I performed a largely improvised, real-time, loop-based tribal ambient set at Knobcon 13. Pleased with the performance, I brought it into Nuendo 14 and tried my first Atmos mix…and it was interesting.

I quickly found myself asking questions: what belongs in the bed versus objects? Should I be using the LFE? What, if anything, should go to the center channel?

The result was a fun, immersive listen, but I also realized I had overused the heights, sides and rear—losing a solid anchor in the front. Still, that is part of the learning process, and I know many more failed, experiential learning sessions like this are in my future.

But First, Stereo

While this issue leans heavily toward object-based immersive audio—especially the still-evolving art of recording in Atmos—what if you are not there yet? What if your focus is still strictly stereo?

That is exactly where I am. About a year ago, I decided to also release my latest album—five years in the making—in Atmos. It is artsy, atmospheric, tribal, pseudo-prog music…so why wouldn’t I?

That said, before making that leap, I am deep in the final—or is it final-final or final v5 remix 2—stage of finishing the album in stereo.

Planning for Atmos

While much of the album has already been tracked, the eventual goal of an immersive mix has changed how I approach overdubs, as well as my stereo mixing. Even if you are currently working strictly in stereo, if there is any chance your project may be mixed immersively someday, it pays to think ahead.

Here are a few ideas I have been experimenting with that I am hopeful will carry over into Atmos—and even binaural playback.

1. Room Sounds and Ambience

This may be the most natural place to begin, especially since many of us already incorporate stereo room mics on drum kits and use distance mics on guitar cabinets for added ambience. But what if you applied that same approach more broadly—on lead or backing vocals, percussion overdubs, solo or ensemble string parts, or acoustic guitars?

What about re-amping soft synths or previously recorded parts back out into the room?

This concept is one of the ways many early mono Beatles recordings, along with a number of classic mono and early three-track jazz albums, have been successfully adapted into Atmos.

The takeaway is simple: capture real-world space.

2. Stereo Mics and Quad Thinking

Building on the room-miking approach, I encourage you to experiment with stereo techniques—whether wide-spaced pairs or your favorite stereo microphone. Beyond simply capturing sources in stereo, consider recording them in quad—even if you do not end up using the front and rear perspectives in your final stereo mix.

I explored this quite a bit with “ear-candy” overdubs—tinkling bells, shakers and choral-style backing vocals—not only capturing the source in space, but also physically moving within that space. In a sense, I was “panning” in real time rather than relying on automation later in the mix. It can also be fun to turn room mics away from the source and toward walls for more unique reflective ambient perspectives.

As always, when combining room and close mics, be mindful of phase relationships and check for issues.

3. Think in Parts and Layers

This is another approach that translates easily from stereo, where it is common to double a lead vocal, stack vocal (and instrumental) harmonies, or double and wide-pan guitar tracks. The key here is to start thinking ahead about where those doubles, stacks, and layers might live within an immersive soundfield, which can help discern how many layers to add.

This applies equally to synths—both hardware and virtual. In addition to layering different patches, many modern synth sounds are built from multiple internal layers. Try muting individual layers (or even oscillators) and rendering them separately so they can be easily recombined in the stereo mix and later spread out in an Atmos mix.

I would also recommend bypassing built-in synth effects, especially delays and reverbs, and instead using separate plugins. This can offer greater control over movement and placement later in an immersive environment.

A few things to consider: not every layer needs to be a double, stack or harmony. Just like in a great stereo mix, a little occasional ear candy can go a long way. And remember, just because a layer or room mic is recorded for potential use in an immersive mix does not mean it needs to be used in the stereo mix.

4. Explore Scalable Immersive Effects

Finally, explore the growing world of immersive-capable, multichannel plugins. Many companies—including Cargo Cult, Waves, NUGEN, LiquidSonics, Sound Particles, Eventide, FabFilter and PSP—offer plugins that can output to mono, stereo and full immersive.

If you are still working strictly in stereo, here is a useful reverb technique I learned from mixing engineer Bob Clearmountain. Take a favorite stereo reverb—hardware or software—and instantiate it twice. Pan one instance hard left and the other hard right. In stereo, this creates a wide, beautiful image. In an immersive mix, those returns can be positioned to the sides, where what was once left and right effectively becomes front and back on each side. Subtle variations between the two instances can further enhance the sense of space.

Wrap Up

Whether you are ready to jump into Atmos or not, it is never a bad idea to begin thinking ahead and preparing for the possibility that your music may eventually be presented in an immersive format. Hopefully, these ideas will help point you in that direction.

Happy experimenting!

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