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Dolby Atmos Music Mixing

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Immersive Mixing

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What I mix in Atmos

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  • Score and soundtrack albums. Atmos releases alongside the stereo master, from orchestral and hybrid scores to songs written for film.

  • Score stems for film and TV. Music conceived and delivered for Atmos dub stages, so it sits naturally in the final mix rather than being spread out after the fact.

  • Artists, albums and singles. New releases, and Atmos remixes of existing catalogue from the original multitracks or stems.

  • Orchestral, theatre and cast recordings. Classical, theatre and ensemble recordings, where Atmos can put the listener in the best seat in the house.

  • Immersive projects and installations. Music for immersive screenings, exhibitions and spatial experiences.

Introduction

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Music is now heard in three dimensions: in cinemas, on streaming platforms, and on the headphones most people carry every day. My studio in Stratford-upon-Avon is a fully calibrated Dolby Atmos 7.1.4 room, built for one job: placing music around the listener with the same care I have brought to orchestral and film score mixes since my years as an engineer at Abbey Road.

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I mix Atmos as a musician and a score mixer, not as an add-on. The aim is never effect for its own sake. It is space, clarity and emotion: the orchestra opening up around you, a vocal sitting exactly where it should, a score that works as well on a dub stage as it does on AirPods.

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Why Atmos, why now

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Spatial audio is now standard on Apple Music, Amazon Music and Tidal, and Apple Music pays a higher royalty rate on tracks that are available in Spatial Audio. For labels, composers and artists, an Atmos master is no longer a luxury. It is how a recording earns its place on today's platforms.

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The room

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A dedicated, acoustically treated 7.1.4 room with ADAM Audio monitoring, calibrated for Atmos, running Pro Tools Ultimate. Every mix is checked on headphones in binaural as well as on the speakers, because that is where most listeners will hear it.

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Deliverables to suit your release or dub: Dolby Atmos master files, binaural and stereo versions, 7.1 and 5.1 fold-downs, and stems.

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Experience​

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I have mixed scores and songs for films including Gravity, Baby Driver, The Running Man, Coyote vs. Acme, Notting Hill, Suicide Squad and Over the Moon, and music for natural history landmarks such as Our Planet and A Life on Our Planet. I won the Cinema Audio Society Award for the Gravity score mix, and my work has been part of Oscar, BAFTA and Emmy-winning scores.

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Working together

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Send me your sessions, multitracks or stems from anywhere in the world, and I will deliver to your specification. If you would rather hear it in the room, studio listening sessions in Stratford-upon-Avon are welcome by arrangement, an easy journey from London and Birmingham.

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Let's talk about your project.

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