04-11-2023, 03:21 PM
I’m turning in Atmos and 360RA files semi reg. The 360 thing mainly because a lot of my clients are under the Sony umbrella and it’s their tech and all that.
Running PT, using Lynx convertors, more as interface devices since I’m going digitally into a Trinnov system (and upgrade from the Grace 908 which I keep on stand by, and is a great unit). I love the Trinnov system (especially when I dial back it’s heavy handedness on the low end processing) and it works well for me. These all feed PMC monitors (including sub) for playback- a personal pref like all monitors. 9.1.4 for short, but my lfe can technically do 2 channels, and I’m multing to a tactile transducer system I tend to kick on with attended sessions to exaggerate the impact respectfully.
Some engineers are known to brush the Atmos work off as an after throught and have their assistants knock them out, and charge $500 per. Some even using wrappers. At the lowest, I’ll charge $1k for Dolby and 360RA. Usually I charge $1.5k for both. Say you are slated to mix at least 4 records with 15 songs on a major, and they can either hire you for immersive or Battery or Josh Gudwin’s team, etc... You can do some math and see if it’s worth it. If you aren’t presented with this work/funds, I’d avoid it or at least attempt some poor mans version of it.
I enjoy the format for the most part. I hate the (well known) tech issues with the format, and the lack of being about to do everything within my DAW of choice without back and forthing through the renderer. I loathe the way my mixes end up sounding different on Apple Airpod Maxs. Part of this being apple’s proprietary codec, and a lot in the mystery of user settings when doing playback through them.
Running PT, using Lynx convertors, more as interface devices since I’m going digitally into a Trinnov system (and upgrade from the Grace 908 which I keep on stand by, and is a great unit). I love the Trinnov system (especially when I dial back it’s heavy handedness on the low end processing) and it works well for me. These all feed PMC monitors (including sub) for playback- a personal pref like all monitors. 9.1.4 for short, but my lfe can technically do 2 channels, and I’m multing to a tactile transducer system I tend to kick on with attended sessions to exaggerate the impact respectfully.
Some engineers are known to brush the Atmos work off as an after throught and have their assistants knock them out, and charge $500 per. Some even using wrappers. At the lowest, I’ll charge $1k for Dolby and 360RA. Usually I charge $1.5k for both. Say you are slated to mix at least 4 records with 15 songs on a major, and they can either hire you for immersive or Battery or Josh Gudwin’s team, etc... You can do some math and see if it’s worth it. If you aren’t presented with this work/funds, I’d avoid it or at least attempt some poor mans version of it.
I enjoy the format for the most part. I hate the (well known) tech issues with the format, and the lack of being about to do everything within my DAW of choice without back and forthing through the renderer. I loathe the way my mixes end up sounding different on Apple Airpod Maxs. Part of this being apple’s proprietary codec, and a lot in the mystery of user settings when doing playback through them.