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I’m pretty sure that no one here needs instructions on how to listen to music.
I´m still quite interested to read such instructions. I got a set of instructions from a toothpick box I bought years ago, so...I’m pretty sure that no one here needs instructions on how to listen to music.
I guess that depends on the type of music you listen to?I don't think most albums or groups will benefit from Atmos capability.
I guess that depends on the type of music you listen to?
For classical that may be correct, most listeners want that upfront concerthall type soundstage and the immersive aspect
of multich serves to do little but add a lot of room ambience.
But I've found little over the years in rock or most modern music that couldn't benefit from it's presentation in immersive
formats such as Quad, 5.1, or Atmos mastering unless the engineers dropped the ball.
My thoughts.How would you change the mix from stereo to Atmos for a standard album from someone like Creedence Clearwater Revival for example?
Brian, you do have to accept the modern surround paradigm for the presentation of music, whether it be quad, 5.1, or Atmos/Auro3D as a completely different listening experience than the old stereo front stage perspective. It's a completely different thing and if it doesn't work for you I understand that.What would be a good arrangement for a band like Kiss? When we see them live, they are on a stage in front of us. What Atmos positioning would make more sense that the normal stereo field?
That's the thing, the idea is for us to be immersed in the music and instruments all around you. To answer your question above is "its an artistic decision" make by the artists and mixing engineers. Stop by Steven Wilson's (a most celebrated recording artist and mixing engineer in immersive music" and ask him how he makes those determinations. Or maybe ask Mark Waldrep (Dr. AIX) another producer of original immersive music? Or Alan Parson's who made the original Quad DSOTM mix and has done tons of original surround recordingsShould the bass drum be behind me? Left cymbols up in the air to my left and right cymbols up in the air on my right? Have one singer to my direct left and another slightly forward on the right? Bass guitar coming from the left side and down a little lower than me? Guitars floating around in the air up high in front?
No artist ever ‘intended’ 2-ch stereo. They made music, and translation to a recording was in the hands of the producer.
Even in the case where the musician(s) are deeply involved in the production, it is usually at the mixing of the tracks stage, hence, still part of ‘making music’ such as where to cut in an instrumental or vocal or sound effect, at what level, etc.
Not so much about how many tracks to end up with.
As for multichannel, music producer and engineer Mark Waldrep used to say, “Show me an artist that’s heard great high-resolution multichannel and I’ll show you a surround sound convert.”
A good example is King Crimson. Clearly they worked together with the sound engineers to craft all their special effects, fades, etc. And decades later, when Steven Wilson approached Robert Fripp about accessing the recording tapes and making fresh multichannel mixes, Fripp was very negative about the project, but agreed to let Wilson do just one song as a demo. When he heard it he completely flipped his opinion and said something like “that’s the way we would have wanted it to be at the time, if we only had the technology”. And a major project was born to remix their albums into surround.
So I reckon there is about a 1% chance that 2-channel productions are all the artists ever wanted their work to be, in terms of sonic production values.
My post is perfectly logical and reflects the experiences of sound engineers. Take it up with them as ‘making no sense’, see how you go. Then get back to us.
It makes sense to capture and reproduce a band's music as they are during a real live performance.
I know when bands I was in recorded, we had the drums mostly centered with cymbals slightly left and right. The bass drum was always dead center.
Rhythm guitar would be slightly to one side of the other. Keyboards opposite side unless multiple tracks then split. Bass slightly closer to the middle. Lead vocals in the center, dual backup vocals to either side.
Lead guitar more to one side or the other and possibly moving from side to side as could happen in a live performance.
The recordings were always done to mimic how the band was setup in live performances. In ideal setups we would all play live as much as possible, but if not possible, drums were recorded first as a base. Then bass, then keyboards and rhythm guitar, then lead guitar parts and lastly lead vocals and then backup vocals.
We didn't usually have extra sounds effects to mix in other that a few storm sounds centered and sometimes machine guns which would be left and right, but not at the same time.
I can see where the storm sounds would be good in Atmos (overhead and surround). The machine guns would work being moved around to different places in Atmos.
BUT, how does it make sense to move the band members around a center position?
What would be a good arrangement for a band like Kiss? When we see them live, they are on a stage in front of us. What Atmos positioning would make more sense that the normal stereo field?
Should the bass drum be behind me? Left cymbols up in the air to my left and right cymbols up in the air on my right? Have one singer to my direct left and another slightly forward on the right? Bass guitar coming from the left side and down a little lower than me? Guitars floating around in the air up high in front?
Atmos is great for positioning things all around you. I just don't see how that makes sense for normal groups.
It worked great on Dark Side of the Moon where the whispering and talking voices and sound effects can be logically be placed around you and closer or farther away. I think it would work just as well for parts of The Wall. I'm trying to think of other groups where it would make sense and mostly coming up empty.
I guess it would make sense to try to recreate the echo and reverb sounds of a certain arena with crowd sounds around you for a live concert.
How would you change the mix from stereo to Atmos for a standard album from someone like Creedence Clearwater Revival for example?
It's a different perspective, period.BUT, how does it make sense to move the band members around a center position?
Brian, you do have to accept the modern surround paradigm for the presentation of music, whether it be quad, 5.1, or Atmos/Auro3D as a completely different listening experience than the old stereo front stage perspective. It's a completely different thing and if it doesn't work for you I understand that.
It's a different perspective, period.
Stereo is no more "correct" than multich today or mono before it..
Sticking your head in the window of the concert hall is just one perspective.
As would be sitting up on the stage with the band all around you.
But I guess you didn't read my first response to you, I'll try again.
You don't seem to even attempt to understand what I'm telling you so we're going no where.Stereo reproduction done well reproduces the soundstage to go with what our eyes see when we attend a concert or even see a video of a band playing. Would it make sense to see the drummer center stage in front of me and hear the drum sounds coming from behind me?
I can imagine an elaborate stage setup where the band members are on moving platforms and Atmos has the sound tracking them as they move around, over and behind me.
Atmos makes sense in some non-live performance music videos to reproduce things that are we are seeing on the screen, just like a movie. Fire sounds, thunder, explosions, animals barking, water running, sails rippling in the wind, waves crashing, a helicopter or plane flying overhead, etc.
You don't seem to even attempt to understand what I'm telling you so we're going no where.