Mastering Engineer Brian Lucey on Dolby Atmos & the Future of Sound
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- Опубліковано 7 гру 2023
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From his work on Grammy Award-winning records from the Black Keys, Ghost, and Cage the Elephant to pioneering the art of analog Atmos mastering, multi-hyphenate engineer Brian Lucey’s CV spans decades of iconic work. His career began in the late 1980s. Operating out of New York City’s East Village neighborhood, he became a student of Robert Fripp’s, honing his distinct take on the craft of mastering through a carefully refined process that introduced a unique musicality to his work. Now working in Los Angeles’s Atwater Village neighborhood, Brian’s Magic Garden Mastering studio sees him actively innovating on mastering and engineering throughout the emerging field of immersive audio. Sweetwater’s Creative D’Will sat down with Brian to talk all things Atmos, studio engineering, and the future of sound. Check it out!
00:11 - Introduction
01:10 - Getting Started with Spatial Mixing/Atmos
03:50 - The Future of Spatial Mixing
06:48 - Challenges of Spatial Mixing
10:00 - Conclusion
Looking for more firsthand industry expertise? Check out Mitch Gallagher’s interview with world-class engineer Warren Huart 👉 • Warren Huart on What Y...
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What do you see in the future of sound? Is immersive audio all it’s cracked up to be, or do you envision a different route for the evolution of audio? Sound off in the comments with your immersive audio opinions and experiences, and don’t forget to drop by Sweetwater for all your studio and recording needs 👉 sweetwater.sjv.io/Studio-Recording
Don't forget, all the big car manufacturer's have also jumped on board with Dolby Atmos!!!
I was 80% skeptical about Atmos in general as another money making fad to make the companies richer? I went to NAMM this last Friday and Saturday and attended Brian's classes both days and I swear within 10 minutes of his class, I am now 1000% totally hooked and on board!! I heard it and it is real! This will change music all together! What Brian has done and his approach is crazy good and I will learn as much as possible so I can mix with his methods!! This guy is for real!!!
Shout out to Sweetwater, Thank you so much for sending me a free shirt and some Laffy taffy candy 🍬 😋
Awesome!!!🌟🌟💯💯
Creative D'Will is right....those Abyss headphones are "crazy!" Mastering with the Audeze MM-500 - I get it... but with the wonky tuning of the headphone AB1266... not sure about that... 😅 I wonder how Brian uses them... maybe just for instrument localization and then they are back to sleep on top of the amp because they pretty heavy for a long session...
Can we get just one standard, please?
Once they put atmos in more cars..then people will want to hear it more.
Can somebody explain why the Apple Music spatial is so thinned out vs the Dolby atmos render?
the digital/analog converter in the Mac is the culprit, or so I have heard from my Mac friends.
Dolby Atmos was made for Movie Theatres and "Home Entertainment" orignally. Apple Music's Spatial Audio was made for music specifically consumer based on Personal Entertainment like headphones.
This may be the reason why Dolby sounds a little fuller on a home entertainment surround system atm.
I’m sure apple will be working on this if this is an issue?
Also, nobody is really putting 10+ speakers in their homes so the push is proberbly not that important.
Its like they want to force you to use Logic and apple to finalize mixs .
All the answers to this question are wrong. There is so much disinformation out there about Atmos because of bedroom amateurs talking 🧢.
The real reason is.
In stereo you have Wav which is full resolution lossless, and you have MP3 and AAC etc which are smaller file sizes used for streaming etc. In Atmos you have ADMBWF which is the Wav equivalent it is the lossless file with all the metadata, it is the master file that all proprietary formats are derived from, which is the reason that Atmos is the future because all future formats from every company will always use the ADMBWF file as a master. The problem is that it is a huge file. The MP3 equivalent is a DD+JOC which doesn't contain any binaural settings and AC4-IMS which does. Apple Spacial uses the DD+JOC file and they use their own proprietary renderer that is optimised to their hardware that they have full control over so it can get better and better and evolve with their product line and coding. Tidal uses the AC4-IMS which does contain the Dolby binaural data but they need to pay Dolby for the rights to use their renderer. That's why Tidal sounds closer to the Atmos mix, and also the reason why Apple uses their own proprietary renderer, if they have to pay Dolby for every renderer in every product in all their releases forever the costs would be astronomical.
Assuming you already have a compatible Mac and monitor . if not add $2K.
Unless you are listening back with a speaker system that approaches the room it was mixed in, forget it. Binaural is underwhelming.