Three tracks currently streaming in Atmos. The whole album should be available on Friday. The mix is discrete.
Listening to in Dolby Atmos Streaming, via Tidal/Apple/Amazon
- Thread starter beerking
- Start date
Help Support QuadraphonicQuad:
Three tracks currently streaming in Atmos. The whole album should be available on Friday. The mix is discrete.
Well, that's exciting...!!
heavensolid98
Active Member
Oh god
“Typical turnaround mix in 4-7 days” would be a red flag for me. Surely it takes more time than that to get it right.Oh god
I also wonder at times if some of these guys are just mixing for EarPods instead of real surround setups.
I’m happy to be corrected, but as I’ve read posts from other experienced people here, I’m probably a bit more forgiving of the mixer for a streaming mix I don’t prefer if he was put under record company constraints.
This is a great interview with Steven Wilson about his process. But not everyone is given that sort of time and budget, especially when it’s not a physical product.
I think sometimes the request is... mix it fast, make it possible for us to get the Atmos designation, and make it good for streaming on AirPods.
While 4-7 days seems short, he might be catering exactly to what certain clients want and a budget that goes with that short timespan. If that’s the case, I can’t fault him too much. It’s a gig, and if the check clears you go with it.
https://www.soundonsound.com/people/steven-wilson-remixing-classic-albums
chescowx
Active Member
My complaint is what is the point of an Atmos mix of a mono track like my all-time favorite Stones song The Last Time? Is there any surround components to be drawn out of a mono mix?? Thanks!I'm nearly at the end of the 2hr 43 minutes of wonderful music by the Rolling Stones....the ageless Rockers
At least we have the Stones in surround with, at long last, a reasonable mix...imo
Ooh, nice guitar panning on Stealing My Heart.
Just picked up an Apple TV 4K( I currently only have a 5.1 system). So jumping in to check out these recent mixes. This is one of my favorite albums from one of my favorite artists/groups, so when I found this, I had to check it out. I agree that it primarily sounds like double stereo. One of those on stage vs front of house mixes. My take is I feel the engineers should have done more of a 3 channel approach, like some of the early Columbia recordings e.g. Kind of Blue, Time Out, with just some ambience in the surrounds. Bitches Brew is another story...
There are have been quite a few acceptable (in my opinion) Dolby Atmos releases of 1950's Mono Jazz albums from major artists including Ella Fitzgerald, Louis Armstrong plus Frank Sinatra's Classic Sinatra 1953-1960 to name a few. There are multiple others, so it is possible!! I would class the Stones as a major artist worth the same effort.
Last edited:
ManWhoCan
Well-known Member
- Joined
- Jul 19, 2010
- Messages
- 103
Copy of my text note, kept with my archive of my SACD:
Sympathy for the Devil is a song by The Rolling Stones which first appeared as the opening track on the band’s 1968 album Beggars Banquet. It was written by Mick Jagger and credited to Jagger/Richards. Rolling Stone magazine placed it at #32 in their list of The 500 Greatest Songs of All Time. In 2003 ABKCO released a multichannel hybrid SACD containing the original version of the song among 6 other remixes.
All Music Review:
As a means of promoting a DVD reissue of Jean-Luc Godard’s 1970 film Sympathy for the Devil (which depicts the 1968 recording session that produced the Rolling Stones’ song), ABCKO Records has released this seven-track CD single, running over 38 minutes, which contains remixes of “Sympathy for the Devil” by the Neptunes, Fatboy Slim, and Full Phatt (each presented in a “Radio Remix” and a “Full Length Remix”), plus the original Stones track. Since the song has a distinctive percussion part played by Stones drummer Charlie Watts and conga player Rocky Dijon, it’s interesting that all the remixers begin by eliminating that part. But then, that’s in the nature of the “remix” business, which tends to involve newly recorded rhythm tracks. the Neptunes retain Mick Jagger’s vocal and Keith Richards’ guitar solos, their new underlying track at first having an Indian flavor complete with sitar licks. Halfway through, a backing of acoustic guitar and string-like sounds replaces the Indian track. Fatboy Slim likes Nicky Hopkins’ piano part and keeps it along with the vocal, laying in a characteristic stop-and-start electronica percussion part. Full Phatt is also fond of the original piano, and his percussion track has a more bass-heavy feel. Of course, when the original recording comes on at the end, it wipes the floor with the remixers. (The CD features a three-dimensional image of the Stones’ tongue logo on the cover.)
Attachments
Last edited:
Major drop of content on Tidal this morning!
All the Neil Young
On the beach https://tidal.com/album/306286735
Zuma https://tidal.com/album/306286643
Harvest moon https://tidal.com/album/306285255
After the gold rush https://tidal.com/album/306285862
Comes a time https://tidal.com/album/306286710
Mirror Ball https://tidal.com/album/306286790
Freedom https://tidal.com/album/306286215
Rust Never Sleeps https://tidal.com/album/306285933
Everybody Knows https://tidal.com/album/306285953
Also two Wham albums, 1982 Billy Idol album, Sheryl Crow, Erykah Badu, Britney Spears Circus, Joni Michell and two disney soundtracks. On phone so hard to link all right now!
All the Neil Young
On the beach https://tidal.com/album/306286735
Zuma https://tidal.com/album/306286643
Harvest moon https://tidal.com/album/306285255
After the gold rush https://tidal.com/album/306285862
Comes a time https://tidal.com/album/306286710
Mirror Ball https://tidal.com/album/306286790
Freedom https://tidal.com/album/306286215
Rust Never Sleeps https://tidal.com/album/306285933
Everybody Knows https://tidal.com/album/306285953
Also two Wham albums, 1982 Billy Idol album, Sheryl Crow, Erykah Badu, Britney Spears Circus, Joni Michell and two disney soundtracks. On phone so hard to link all right now!
himey
2K Club - QQ Super Nova
- Joined
- Nov 11, 2013
- Messages
- 3,707
Waiting patiently until midnight EST!
Does anyone know when this amazing atmos mix (my New Music Atmos album of the year for 2022) was released vs the original stereo release (I only discovered it after it went Atmos-ized). I ask cuz she has released a new 17 minute EP, called QWERTY, that would be SOOO amazing in Atmos, assuming the same folks mix it. Her music is not for everyone, is slightly experimental (esp this new almost "demo tape" like EP) and hits home to me like few other new artists do. So was wondering how long 19 Masters was out before the Atmos version was created and released. Maybe I'll ask the label. Thx
I’m always appreciative of our Aussie members providing a sneak peek of new content.
huggies66
Active Member
- Joined
- Aug 6, 2013
- Messages
- 61
Don't know if a fluke or not, but I'm in AZ and Idol's album is in Atmos now, even though it doesn't show it. So maybe all are released they just don't change the album info till tomorrow for US?
edit: I'm on Apple, maybe they were already released.. carry on... lol
Last edited:
Erykah Badu - New Amerykah, Pt. 1
Immersive mix engineer: Dennis Jones
https://tidal.com/album/306024602
Immersive mix engineer: Dennis Jones
https://tidal.com/album/306024602
- Joined
- Aug 26, 2003
- Messages
- 293
A bit of a brain download- with some notes made during listening to this:
Cmon, Cmon-
Like: rear backing vocals. Guitar left rear
White Wedding:
Like: Drums treated well- punchy. Backing ‘oohs’ much more clear. Prominent bass - easily traceable. Seems crankable- without fatigue ( not tested )
Hot in the city:
Dislike- would’ve placed synths in rears- seems to compete with front for space.
Like- clearly traceable bass-line. Piano stabs appear to be placed in heights. Interlude done well.
Dead on arrival-
Likes: seems wide-like soundstage. Center vocals clear. Guitar part’s clearly traceable-palm mutes, arpeggios, etc.
Nobody’s business:
Like: Punchy! Synth vocal clear. Spacious sounding, but still Rocking. Backing vocals clear. Nice drum pans (min to go)
Love calling:
Likes: demo worthy. Good spread using all speakers. Sax right heights. Crankable. Percussive elements not lost/traceable. Great interlude treatment.
Hole in the wall:
Like: Drums! Bass. Vocal presence. Demo worthy. Heights. Engaging guitar treatment. Great interlude treatment. (~2:30)
Shooting stars:
Likes: Vocal presence. Usage of heights sparkles like stars during verse “she’s shooting stars”. Great interlude treatment.
It’s so cruel:
Likes: Bass treatment, backing vocals in rears- projecting to fronts. Castanets in left heights. Sax in right rears. Demo worthy.
Congo man-
Like: Good presence.
Dislike: No thrills
Overall not many dislikes and 3 tracks demo worthy makes me think it’s one of the better Rock mixes out there.
Verdict: 9/10 (caveat 1st time listen to the non- single tracks on this album. Purists familiar with this may disagree )
Cmon, Cmon-
Like: rear backing vocals. Guitar left rear
White Wedding:
Like: Drums treated well- punchy. Backing ‘oohs’ much more clear. Prominent bass - easily traceable. Seems crankable- without fatigue ( not tested )
Hot in the city:
Dislike- would’ve placed synths in rears- seems to compete with front for space.
Like- clearly traceable bass-line. Piano stabs appear to be placed in heights. Interlude done well.
Dead on arrival-
Likes: seems wide-like soundstage. Center vocals clear. Guitar part’s clearly traceable-palm mutes, arpeggios, etc.
Nobody’s business:
Like: Punchy! Synth vocal clear. Spacious sounding, but still Rocking. Backing vocals clear. Nice drum pans (min to go)
Love calling:
Likes: demo worthy. Good spread using all speakers. Sax right heights. Crankable. Percussive elements not lost/traceable. Great interlude treatment.
Hole in the wall:
Like: Drums! Bass. Vocal presence. Demo worthy. Heights. Engaging guitar treatment. Great interlude treatment. (~2:30)
Shooting stars:
Likes: Vocal presence. Usage of heights sparkles like stars during verse “she’s shooting stars”. Great interlude treatment.
It’s so cruel:
Likes: Bass treatment, backing vocals in rears- projecting to fronts. Castanets in left heights. Sax in right rears. Demo worthy.
Congo man-
Like: Good presence.
Dislike: No thrills
Overall not many dislikes and 3 tracks demo worthy makes me think it’s one of the better Rock mixes out there.
Verdict: 9/10 (caveat 1st time listen to the non- single tracks on this album. Purists familiar with this may disagree )
I've listened to Down by the River, Don't Cry and On the Beach. These three tracks sound great. I hope the rest will be as good if not better. So far, a positive impression.
Thanks for the review!
On to another release. The mix on this one really grew in me- as you can probably gauge by my notes. At first I thought a bit front heavy- but then I appreciated it progressively ( unsure if rears became more engaged- or whether it was my acclimation to mixing style.) Nothing flashy without ‘ look at me effects’ - but certainly an adept mix that retains space and fidelity on what i suspect is densely layered arrangements- with a presumed high difficulty factor involved.
After 50 minutes made me feel like wanting more- which to me is the sign of an adept album and mix.
Run baby run:
Like: Bass drum and cymbals fidelity. Hi-hat taps in front heights.
Dislike- a tad too front heavy.
Leaving Las Vegas-
Likes- Fidelity. Center vocal presence. Backing vocal in heights- with accentuation placed mid-right? (sometimes dispersed.)
Dislike- tad front-heavy. Not easily localized instruments/placement.
Strong enough-
Likes: Vocal presence. Fidelity. Interlude - spreads out. Good bass drums- with nice punch at start to instantly engage- then rear percussion spread. Wide guitar spread. Very near demo worthy, but prefer tad more rear channels employed.
Can’t Cry anymore:
Like- tambourine left rear with reverb to front. Guitar in right front . Good dynamics with stop/start thump.
Solidify:
Like- great start with congo pans . Left rear rhythm guitar. Acoustic guitar jangly spread. Very near demo worthy . (Didn’t know Sheryl could be so damn funky).
The Na-Na song:
Likes- retention of jam- vibe ambiance. Percussive elements spread well.
Noone said it would be easy:
Like: Lush! Beautiful. Very Mazzy star ‘Fade into you’ vibe. Acoustic treatment retains fidelity. Bass enhanced with heights. Demo worthy.
What can I do for you:
Like: Drums with ceiling hits. Tasteful usage of surround canvas- with discretionary flourishes. Increasing emphasis on backing vocals- ‘accentuation’. Guitar left rear showcases playing. Demo worthy for the surround connoisseur.
All I wanna do
One of the first on my demo playlist- nuff said. Great expansive spread of instruments. Tastefully handled. Makes a great song greater. Gaffer tape could only cease a toe-tap on this one.
We do what we can:
Like: Love the trumpet top right. Piano in rears. Confines drum machine to center- which I agree with choice. ( accentuates elements worth highlighting) Then bang- real drums! Spread across front. Demo worthy
I shall believe:
Like - vocal placement. Spacey interlude. Tambourine in heights. Patterring of drums. Classy.
Verdict: Another 9/10 for me. (More sophisticated less- flashy style mix that grows upon each track, which suits the more seasoned surround listener that appreciates accentuating elements rather than discrete instrumentation - heights essential to enhance)
After 50 minutes made me feel like wanting more- which to me is the sign of an adept album and mix.
Run baby run:
Like: Bass drum and cymbals fidelity. Hi-hat taps in front heights.
Dislike- a tad too front heavy.
Leaving Las Vegas-
Likes- Fidelity. Center vocal presence. Backing vocal in heights- with accentuation placed mid-right? (sometimes dispersed.)
Dislike- tad front-heavy. Not easily localized instruments/placement.
Strong enough-
Likes: Vocal presence. Fidelity. Interlude - spreads out. Good bass drums- with nice punch at start to instantly engage- then rear percussion spread. Wide guitar spread. Very near demo worthy, but prefer tad more rear channels employed.
Can’t Cry anymore:
Like- tambourine left rear with reverb to front. Guitar in right front . Good dynamics with stop/start thump.
Solidify:
Like- great start with congo pans . Left rear rhythm guitar. Acoustic guitar jangly spread. Very near demo worthy . (Didn’t know Sheryl could be so damn funky).
The Na-Na song:
Likes- retention of jam- vibe ambiance. Percussive elements spread well.
Noone said it would be easy:
Like: Lush! Beautiful. Very Mazzy star ‘Fade into you’ vibe. Acoustic treatment retains fidelity. Bass enhanced with heights. Demo worthy.
What can I do for you:
Like: Drums with ceiling hits. Tasteful usage of surround canvas- with discretionary flourishes. Increasing emphasis on backing vocals- ‘accentuation’. Guitar left rear showcases playing. Demo worthy for the surround connoisseur.
All I wanna do
One of the first on my demo playlist- nuff said. Great expansive spread of instruments. Tastefully handled. Makes a great song greater. Gaffer tape could only cease a toe-tap on this one.
We do what we can:
Like: Love the trumpet top right. Piano in rears. Confines drum machine to center- which I agree with choice. ( accentuates elements worth highlighting) Then bang- real drums! Spread across front. Demo worthy
I shall believe:
Like - vocal placement. Spacey interlude. Tambourine in heights. Patterring of drums. Classy.
Verdict: Another 9/10 for me. (More sophisticated less- flashy style mix that grows upon each track, which suits the more seasoned surround listener that appreciates accentuating elements rather than discrete instrumentation - heights essential to enhance)
Similar threads
