AES Show 2024 NY

In this 3D for Two, Bob Katz and Hyunkook Lee take turns when playing high resolution music examples and presenting two production techniques: Bob created recent 3D mixes based on headphone monitoring, in contrast to Hyunkook's microphone recordings.

We listen and discuss how each method comes across in this room, touching also upon topics such as integrated microphone pickup, level-panning, use of LFE; and the current distribution formats available for 3D music.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A.

With the popularity of Dolby atmos growing, the need to re-mix classic albums has become popular. In this case study on Billy Joel's latest Atmos releases, our panel of engineers will go over their step by step process, from tape transfers, to finding the correct takes, restoring the stereo mix and opening it up to Dolby Atmos. We will touch on how much artistic liberty we have as well how to future proof a mix in an ever changing world.

Distinct differences between music and atmosphere recordings are even more noticeable in 3D audio than in stereo. In this 3D for Two, Marcela Zorro and Florian Camerer take turns when playing high resolution recording examples of music and outdoor atmosphere, explaining also microphone and production techniques from the two sides.

We listen and discuss how each method comes across in this room, touching also upon topics such as microphone arrays, location recording, mixing, use of LFE; and the current distribution formats available for 3D audio.

Seats are limited to keep playback variation at bay, and the session is concluded with Q&A.

The journey of Bob Marley’s music from analog to atmos will be discussed. In 2022-23, Burnin’, Catch A Fire, Exodus and Kaya were mixed in atmos by Nick Rives with the Marley estate’s approval. Eliot Kissileff created the stems used for the mixes. Nick went on to work on the Marley feature film released in 2024. Chris Walch, UMG VP of Assets and Archives will give some background on how the original tapes are preserved, digitized and presented for various projects. The panel will give insight into the evolving processes for creating the stems and focus on Nick’s creation of the atmos mixes, giving the audience insight into the processes and evolution of the format.

Current music production has opened up a relatively new opportunity in the creation of 3D content, now easily available online and in various forms. Artists and labels are increasingly asking for 3D content to be delivered along with a standard stereo master. Many practitioners, however, are at a loss when it comes to how and what to deliver, as various streaming services implement their own binaural processes. Remixing older catalog content or even recent Stereo releases has proven to be problematic when working from stems that are badly prepared, or very costly when going back and remixing from scratch, using the original multitrack masters. The panel will speak to best tactics regarding the creation of stems to be delivered for use in immersive mixing, along with some examples of routing with sub-master processing, along with proper use of LFE and center channel, sides, rear and height channels. Other issues to be discussed include room simulation, loudness measurement and the various binaural processes. Questions from the audience will be a welcome part of the workshop.