Grammy-Nominated Producer Upgrades to Dolby Atmos with MTRX Studio & MOM
Grammy-Nominated Producer David Kosten Upgrades to Dolby Atmos with MTRX Studio & MOM
Kosten is known for a wide range of work that includes his Faultline project which has featured a mix of industrial noise, electronica, and classical instrumentation along with vocalists Chris Martin, Michael Stipe and The Flaming Lips.
For Kosten it was hearing Steven Wilson’s album which he co-produced and mixed, at Dolby headquarters that that convinced him to upgrade his studio with a Focal 7.1.4 monitoring system: Twin6 BEs to manage the LCR, Solo6 BE for the sides and rears, Shape 65 overheads, and two Sub6 delivering the LFE.
To ensure ultra-low-latency monitoring and speaker processing a MTRX Studio was installed and for tactile control, a MOM Monitor Operating Module was added to the desktop.
Kosten like many engineers found that Dolby Atmos technology enabled him to work in a way that he’s always envisioned “I always imagine the music I’m working on existing in three dimensions, even when it’s been in stereo – and as anyone I’ve produced probably knows, I often describe the journey a song travels on in terms of the imaginary spaces it inhabits.
To finally be able to actually position sound in such an astonishing way is heaven for me. It’s very hard to imagine going back to stereo only, after hearing the emotional impact total immersion in audio can create.”
Kosten had this to say about the difference in working in Dolby Atmos. “The most fun part of immersive mixing might be the giant haul of extra goosebumps from positioning layered voices all around the listener. And taking the time to really carve out space for instruments whilst making sure a song doesn’t just feel like a collection of sounds floating around you. I’m not so into automating sounds to fly around your head or extreme front to back panning for the hell of it particularly.
In that sense it’s not that dissimilar to moving to stereo from mono way back when – just because you can doesn’t mean you should! I’m looking for a track to have the enhanced connection that immersive audio can give you – and discovering new ways to do it is always interesting.”
For those just starting out in immersive or interested in the format Kosten offered this bit of advice, “It’s still always about the song, the piece of music, the way a vocal connects, or a melody should be presented – so the approach to mixing and balancing remains close to how things have always been for me.
However, in Atmos the potential emotional impact you’re able to provoke feels greater and more thrilling to me as a listener, so tailoring mix moves and decisions to a three dimensional space means room for new ideas – and there’s always tons to learn. For instance, figuring out what kind of frequencies and transients seem to respond best to height information – that’s a new tool to use!"
The installation of this very cool immersive space was conducted by our UK sales partner Hhb Communications, and they ran the original article on their blog. Please read it in full here...
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