Why Jeff Silverman & Dolby Atmos

I specialize in creating immersive Dolby Atmos mixes because I believe this format yields the highest return on my creative investment. Atmos mixing gives me the freedom to stretch beyond the constraints of a standard stereo mix where you have only left and right speakers. Dolby Atmos provides the ability to work in a three-dimensional sound field. I can now precisely place an audio element above, behind and/or even move this around the listener. This was never possible in a stereo mix. This type of mixing allows me to bring attention to even more subtle elements and highlight specific sections as the music progresses. For me, Dolby Atmos mixing gives me a unique creative palette to create an immersive and enveloping experience that enhances the emotional impact of the music.

When Apple Music announced Dolby Atmos as “the next generation of sound” coming to the platform in 2021, new opportunities opened up for artists.

• Increased Market Appeal

Albums mixed in Dolby Atmos can attract audiophiles and tech-savvy listeners who seek high-quality audio experiences. This can broaden the artist’s market appeal and potentially lead to increased sales.
• Streaming Service Premiums: Some streaming services offer higher payouts for tracks delivered in high-quality formats like Dolby Atmos. As streaming platforms increasingly adopt and promote immersive audio experiences, there might be financial incentives for artists providing content in these formats.

• Enhanced Listener Engagement

The immersive quality of Dolby Atmos can lead to greater listener engagement. Albums with compelling audio experiences are more likely to be shared, recommended, and listened to repeatedly, driving streaming numbers and, consequently, royalties.

• Competitive Advantage

Offering music in Dolby Atmos can provide a competitive edge in a crowded market. It may set an artist apart, showcasing them as a forward-thinking, quality-focused act, which can translate into better sales, more live bookings, and higher fees.

• Re-release Opportunities

Artists with existing catalogs can remix their work in Dolby Atmos, offering it as a premium experience. This opens opportunities for re-releasing albums, attracting new listeners and providing an incentive for fans to purchase albums they already own in a new format.

• Licensing Opportunities

High-quality, immersive mixes are attractive for licensing in film, television, and advertising, where the demand for rich audio experiences is growing. Dolby Atmos tracks might have an edge in being selected for these lucrative opportunities.

These are just some opportunities Dolby Atmos can provide for an artist. As the industry continues to move forward and embraces this format, an Atmos mix can also ensure that your music will meet the evolving standards and expectations of audiences and technology.

There’s a lot that I offer personally to artists as part of my “all-in” package that sets me apart from those who simply create, mix, and master an Atmos mix and hand this back to the client.

Pre-Production/Sound Design/Perks

Entering into a 12-speaker immersive format can have multiple approaches to the end result. Therefore, it’s crucial to have a pre-production meeting to discuss the client’s needs and expectations. For example, I could remix from an existing stereo mix, be starting from scratch, or simply discussing how experimental the final outcome will be.

The Dolby Atmos mixer is often called the Immersive Producer due to the many ways to create a true immersive experience, extending beyond the standard stereo mix. One way to do this is to add a new element or creative sound design to enhance the listener experience.
A unique perk of my services is that, if I am the one suggesting this addition, I do not charge for my performance or sound design. If the artist doesn’t like these new parts, I can mute them, again at no extra charge. This is strictly optional and will be discussed before I start mixing. I do have a fee for performing if the artist requests me to add new parts, which can also be discussed before I present the client my all-in budget.

Education & Final Mix

I feel a tremendous desire to educate the artist from start to finish, ensuring first and foremost that they have a global understanding of the immersive formats and their application. Other perks include:

• IMMERSIVE STEREO MIX: I offer my own method of creating what I call an “immersive stereo” mix as the final 2-track release. This will work on all sets of speakers or headphones and can be released anywhere a standard stereo mix can.

• FREE TWEAKS: After I present the final mix, I give the client a free hour for any tweaks.

• FINAL MIX: I master all formats from the Dolby Atmos master renders which also includes Apple Digital Mastering. This makes me a one-stop-shop for artists and a tour guide to boot! 

• DIGITAL DISTRIBUTION: I make sure the client’s Atmos Mix is released properly on AvidPlay digital distribution, with all metadata and info correctly filled out. This helps to avoid questions or frustration the client may have in releasing their music in this new, changing, and ever-growing format. As long as the client uses Avidplay, I take care of any technical issues that may arise.

• RESOURCES: I share resources to help bring new opportunities to the artist’s music, including insights into licensing for film and TV.

• GRAMMY® SUBMISSION: If I feel I’ve put my ‘stamp’ on the Atmos mixes and if needed and/or the timing is right, I can assist the artist in submitting their album to the Grammy® Immersive category, and sometimes other categories if appropriate. Being a voting member of the Recording Academy (Producers & Engineers Wing) for over 10 years now makes that process easy for me and all concerned because we go in as a team.

Sometimes, clients feel that they don’t want a significant departure from their stereo mixes. Whether I mixed their stereo mixes or not, I have a process I can discuss with you on how best to generate multiple stereo bounces with all processing and mix moves. Each song will have a different combination of stereo bounces; for example, one of my mixes had 30 stereo processed stems, and another had 50. These files are then imported into my Stereo to Atmos template, and from there, can be expanded to 7.1.4. Additional metadata can be added for a great immersive stereo experience, and even sweetening can be done, as I suggested above.

 If you fit this description, the bottom line is that this process takes much less time to mix and is much more cost-effective than starting an Atmos mix from scratch. The conversion process is beneficial for anyone who has or has access to their own studio, from indies to mainstream artists and record companies. Call me for more information and ideas on how to get the most out of your music and budget!