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10 of the best spatial audio tracks in Dolby Atmos on Apple Music
Hello I am Des Grey, I provide a dedicated no compromise mastering service. From stereo to immersive and everything in-between.
Want your music to engulf you? Get your ears around these immersive Dolby Atmos-powered tracks. By Becky Scarrott @ WhatHifi
Weaver of Dreams by Freddie Hubbard (1961)
At its core, jazz is the interplay between musicians – the way the players and instruments weave around each other in direct reaction to what is being served. Here, Hubbard’s iconic trumpet continually toys with our left ear while drum strokes underpin everything he’s got to say in our right. Expect blue note saxophones plus keys behind you and a melancholy bass over by the kit; you’re right in the middle of the action here. Want to close your eyes and pretend you’re onstage at Birdland in the mid-70s? Go right ahead. You’ll have to sort your own Manhattan though.
Haule Haule by Sukhwinder Singh (2008)
As this slinky, tango-meets-Hindi Geet track evolves, voices, strings and an accordion surround you. If it feels like you’re being carried into the dance break of a raucous street party in a joyous Bollywood flick, good, because you are – the Hindi language song is part of the soundtrack to the Indian romantic comedy movie, Rab Ne Bana Di Jodi, composed by Salim–Sulaiman.
The message is uplifting (be patient, wait for love and good things will come), the time signatures are challenging, and for danceability as well as immersion, it’s a stone-cold 10.
Drive by R.E.M. (1992)
The lead single from R.E.M.’s eighth studio album Automatic For The People was apparently the first song Michael Stipe wrote on a computer, and it gets an emphatic new lease of life here.
The guitar in our left ear, the bass above our heads, Stipe wandering pensively around the studio and likely throwing a shape or two as the harmonica bursts in on our right; it’s a sad soundscape that now smacks even more of both David Essex’s Rock On and Queen’s musical stylings – both of which have been cited by the band as inspirations behind the song.
Fancy by Amaarae (2020)
If Amaarae’s tracks were paintings, they’d be abstract. The Ghanaian-American vocalist continues to paint whatever she likes here, bending the sonic format in a marvellous sugar-sweet creation.
As one of the pioneers of alté (the alternative new African music genre hailing from Nigeria) the track is underpinned by a DIY, lo-fi feel, but join CKay, Moliy and others and sit up in the star’s big fat caddy. Now, nod along to the trap beat and enjoy the incredibly immersive ride.
Flight from the City by Jóhann Jóhansson (2016)
Using Orpheus (the ancient Greek hero endowed with superhuman musical skills) as his muse, award-winning Icelandic composer Jóhann Jóhansson takes us on a minimal, serene, but dynamically delightful flight that sees us aim for greatness and soar above the dystopian distortion below us, continually looking for the light.
As close as you can get to flying without leaving the ground, CGI visuals or hallucinogens.
Ocean Eyes by Billie Eilish (2017)
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It’s nigh on impossible to believe that when Eilish first recorded this track from her bedroom, she was just 14. The vocal in this, her debut song (written and produced by her then 17-year-old brother) is mature, assured and yet ethereal in this re-recorded version.
It’s almost unnerving as extra, layered voices come at you from all directions. Then, as the track progresses and vocal stylings surround you, a percussion loop joins in on your right side, almost within touching distance – but always just beyond reach as it, too, starts to circle.
Lucy In The Sky With Diamonds by The Beatles (1967)
A controversial one, this – you may hate it. The opening synth snakes between our ears in this remix, grazing our cerebellum en route. The rhythm guitar is more impactful on our left and the mix right before the chorus is altogether… different. The thing is, that’s just one of the beauties of spatial audio: extra pieces of information present themselves. Perhaps not all of them will be welcome, but it’s an eye-opener to learn that they were even there in the first place. Along with copious amounts of LSD.
Clash by Dave and Stormzy (2021)
This London hip-hop track in immersive spatial audio is tough to top, in all honesty. The intro alone drops you several storeys down into the thumping heart of a brooding Brixton-meets-Croydon scene – and into the domain of two leviathans of UK music. Step inside their world: key samples, beat loops, treatments and most of all, their considered annunciation. It’s important. https://embed.music.apple.com/gb/album/clash/1575534808?i=1575534955
Die Walküre, Act III Ride of the Walkyries by Wagner (1851)
Want to pretend you’re Ben Gernon, conducting the London Philharmonic at Abbey Road Studios? Here you go. Turn your head to the left and direct the strings. Then, face forward for the omnipresent horns. Flutes and oboes are in front of them, closest to you, and off to the right you need the double basses to hold everything in check. And cutting through this intense wall of sound there’s a triangle – don’t forget that or the whole thing will be ruined. Spatial audio gets it so very right here. Glorious.https://embed.music.apple.com/gb/album/die-walk%C3%BCre-act-iii-ride-of-the-walkyries/1569847170?i=1569847628
You Ain’t the Problem by Michael Kiwanuka (2019)
Kiwanuka told Apple Music, “‘You Ain’t the Problem is a celebration, me loving humans. We forget how amazing we are. Social media’s part of this – all these filters hiding things that we think people won’t like, things we think don’t quite fit in… I wanted to write a song saying, ‘You’re not the problem. You just have to continue being you more, go deeper within yourself.’ That’s where the magic comes – as opposed to cutting things away and trying to erode what really makes you.”
And remember, this is the man who was asked to join Kanye West’s Yeezus sessions but snuck out silently, suffering from a nasty bout of impostor syndrome. Here, the track is opened out to expose Kiwanuka’s very soul. There’s space between the crowd and “la la la la la” hook to give the vocal extra room to shine, and the effect is remarkable.
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Mastering
STEREO MASTERING | STEM MASTERING | APPLE DIGITAL MASTERS | IMMERSIVE AUDIO
I master as you advocate, it is my pleasure to assist you in presenting your music in the most compelling way possible. My primary objective is to extract the essence of your work and shape it into a form that resonates deeply with your audience. When you enlist my services, you can trust that my discerning ear, refined taste, and unique perspective will blend seamlessly with your vision.
I use customised tools, including tubes and transformers to ensure all the necessary vibe while remaining true to the heart and soul of your mix. My rates include all edits and revisions until you are completely satisfied. By working together, we can create something that not only competes but endures the ever-evolving music industry.
Equipped for Atmos
FEATURING A 7.1.4 MONITORING SYSTEM DRIVEN BY A METRIC HALO INTERFACE
I offer a full array of ATMOS Services with our 7.1.4 calibrated reference room. Much like a stereo master, Dolby Atmos Mastering focuses on the final touches to ensure a competitive sound that translates and meets the approval specifications by Dolby, DSPs, and, if applicable, your record label.
We appreciate its a new creative format, often posing many questions, but I am here to support you through every single aspect. From how best to prep your ADM files, stems and how to audition and review content efficiently to name a few. If you have completed your Dolby Atmos mixes on headphones or in an acoustic environment that is not ideal, we are here to help you.
F.A.Q
Reduced rates are available for self-financed artists (without a label or distribution). Drop us a message at +27 84 720 2668 to discuss your next project. It would be our pleasure to contribute to your art.
Reduced rates are available for record labels, studios, mixing engineers, and self-financed artists (without a label or distribution). Drop us a message at +27 84 720 2668 to discuss your next project. It would be our pleasure to contribute to your art.
Stereo Mastering Rates:
– R850 or $75 for 1 track.
– R750 or $65 per track for 2-5 tracks.
– R700 or $50 per track for 6-10 tracks.
– R600 or $45 per track for 11+ tracks.
Additional Services:
– Attended Sessions: Mastering rate + 20%.
– Stem Mastering: Unlimited Stems @ R1500 / $150 per track.
– Subscription Mastering: Unlimited mastering designed for labels at a reduced rate.
Our handy online booking system is the fastest way to get your music booked into the studio. It utilizes a secure payment gateway from Payfast. We can also accept a variety of payment options including PayPal, Engineers Platform, Mastercard/Visa, and EFT.
Immersive Rates
- Immersive Mastering @ R950 | $100 per track. || You provide the ADM BWF file (Atmos mix) + Stereo Mix for reference.
- Immersive “Stem” Mastering @ R2000 | $250 per track. || You provide the stems + Stereo Mix and we create an immersive master
- Immersive Mixing @ R5000 | $500 per track || Unlimited Tracks.
Additional Services
All Immersive options include a binaural stereo master. It is important to release both stereo and Dolby Atmos masters, as this way the listener has a choice of which format to listen to based on which device they are listening with.
It averages from 24 hours for a single to 7 days for an album depending on studio workflow. If you have something urgent please WhatsApp and we can arrange a faster turnaround or contact our studio manager at studio@desgreymastering.co.za
- Resolution 32 Bit floating point (24 Bit TDIF or triangular dithered minimum)
- Sample rate Native sample rate you have been recording and mixing in.
- Headroom Just make the mix sound great :). Thoughtful master bus processing is always welcome.
- Plug-ins Please export the mix with all important sound processors.
- Fades Do not fade out the file yourself
- Vinyl Please send me the catalog number and pressing plant contact details.
- Stems Please export each stem with all processing including anything on the master bus that was mixed through. Files should all be the same length and labeled appropriately.
Upload to Google Drive, Wetransfer, or any file delivery service of your choice to hello@desgreymastering.co.za
As standard, we deliver multiple formats to ensure you have a proper archival of your project.
- 44-16 Folder – 44.1kHz, 16-bit tracks for CD reference
- 44-24 Folder – 44.1kHz, 24-bit for Digital Download sites where digital upload at 96kHz aren’t accepted
- 48-24 Folder – 48kHz, 24bit. If you are using the songs with video or YouTube, use these
- 96-24 Folder – 24-bit Hi-Res Mastered files for all streaming sites where possible.
- 96-32 Folder – Archival File
Absolutely! I prefer that method. The rough master or a reference from an artist that your love is the perfect way for us to get on the same page with regard to your vision for your music.
We work alongside a few select mixing engineers who cover a range of genres, so we can take your project from mixing right through to mastering to ensure a quality finished project.
Below are the audio delivery requirements for all recording projects. Please read thoroughly and adhere to each requirement (technically appropriate to your project) before delivering your files for Dolby Atmos.
GLOSSARY
MULTI-TRACK – The collection of individual audio tracks recorded during music production, such as vocals, guitars, drums, and other instruments.
STEMS – The collection of audio tracks processed by the mix engineer and exported with effects, such as drums, keys, synths, vocals, and other instruments.
MULTI-TRACKS
Below are the guidelines to follow when sending projects to be mixed and mastered in stereo.
Print all MIDI, synth and/or virtual instrument tracks as audio files.
Name each track logically (do not label tracks as “Audio 23,” etc.)
Use labels that reflect the instrument type
DR – Drums/Percussions
BS – Bass Instruments (acoustic and synths)
KY – Keyboards (piano, organ, pads, synths)
GT – Guitars
SFX – Sound effects (risers, impacts)
VX – Lead vocals/adlibs
Naming Convention: TrackType_Instrument
Example: DR_Kick
Do not use non-alphanumeric characters such as: *?<>“| \/:+#
STEMS
Below are the guidelines to follow when sending projects to be mixed in Dolby Atmos.
All stems should:
Be the same duration, so they can be synced up easily (recording start and end time).
Match the tempo of the project/session, including any tempo changes.
Exporting Instruments:
Separate out the instruments as much as possible and deliver them “wet” (with effects such as EQ, compression, and reverb).
Drum kits, sampled or live, should be separated out, as well as delivering a stereo stem of the full kit
Loops/Samples should be printed as separate stems and not combined with other mix elements
For live recordings, please provide as much separation as possible for audience microphones (e.g. please don’t print all audience mics to one stem)
Vocal stem elements (lead and background) should be:
Separated out as much as possible (Lead Vocal, Adlibs, Choir, etc).
Deliver ‘dry’ vocal stem with tuning and processing (EQ, compression, saturation, etc)
Deliver a ‘wet’ vocal stem with effects (reverb, delay, widener, etc).
Tuning should be included on dry elements (Autotune, Melodyne, etc).
Below are three ways in which you can experience/ approve a Dolby Atmos mix.
Option 1: Binaural
Mixes created in Dolby Atmos can be experienced using high-quality headphones or earbuds that are capable of reproducing a wide range of frequencies. Binaural audio is designed to create an immersive experience that makes you feel like you’re in the middle of the sound. Pay attention to the sounds coming from different directions and try to visualize them in your mind. Play the file named “Binaural” and focus on the sound which enhances the immersive experience.
Note: Binaural mixes are best experienced on headphones. Do not use speakers to playback this file.
Option 2: Spatial Audio
Spatial Audio is Apple’s version of binaural audio. By using Apple hardware, this technology creates a three-dimensional sound experience for the listener, simulating sounds coming from different directions and distances, which creates a sense of immersion and depth.
Step 1
Locate the file named “Spatial Audio” and click “Share > Export File > Save to Files.” Save the file to your local storage named On My iPhone.
Step 2
Open your “Files” folder and locate the file you downloaded from Dropbox. When your file is saved to local storage, it will appear in this folder.
Step 3
Connect and pair your AirPods Pro or AirPods Max and enable Noise Cancellation and Spatial Audio Fixed. Notice the file format recognized by iOS as ‘Dolby Atmos’ under the volume slider. This ensures you are playing back the Dolby Atmos file provided by us using Apple’s Spatial Audio for a Dolby Atmos experience.
Option 3: Surround Sound
Dolby Atmos mixes exported as .mp4 files are multi-channel files that can be played back on TV, AV receivers, or soundbars with surround sound. You can experience the mix created in Atmos on a 5.1 surround sound system with these instructions.
Download the file named surround sound to a USB thumb drive.
Play the track on a home theater sound system.
On the TV remote, press the ‘Source’ button.
Then press USB Device or Connected Device.
The music should begin playing and display “Dolby Audio.”
This method allows you to preview the Dolby Atmos mix on a 5.1 home theater system, where vocals and effects are panned to the rear speakers. This gives the listener the illusion of being right in the middle of the audio, immersing them in the mix.
We offer labels a simple subscription solution to ensure a consistent and quality release schedule. For our peers in the industry who are mixing engineers or studio owners, we provide a rate to ensure that your clients’ budgets are kept in check.
CONTACT
Des Grey
OWNER | OPERATOR
- +27 84 720 2668
- hello@desgreymastering.co.za
Stacy Smith
STUDIO MANAGER | ACCOUNTS
- studio@desgreymastering.co.za
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