Dolby Atmos Music with Justin Gray – Production Approaches and Current Considerations

Five years ago, I started diving into Dolby Atmos when nobody was talking about immersive audio for music. It was a wild journey, and I want to share how different artists are approaching this incredible format.

Take Jonathan Cauci’s record – this was mind-blowing. He conceived an entire album in headphones, recording 11-channel soundscapes in the Rocky Mountains. We’re talking about music never meant to exist in stereo. When we started, we weren’t even sure how we’d release it. COVID complicated everything, but we pushed through.

Let me be crystal clear – this isn’t about replacing stereo. Stereo is still the bar. The bar. But Atmos? It’s about expanding musical possibilities. I’ve worked on about 600 songs in this format, and each one is a unique journey.

Barbara Leeka’s record took a different approach. We mixed in stereo first, making sure the artists were comfortable. That’s crucial. The technology can’t drive the art – the art has to drive the technology. Sometimes that means starting in stereo, sometimes in Atmos. It’s all about intent.

I did a complete remix of Snoop Dogg’s “Doggy Style” – going back to the original tapes, rebuilding this legendary record. It’s about honoring the original while giving it new life. Same with other legacy content – it’s an archival tool, a way to reimagine classic music.

Here’s what I want everyone to understand – you don’t need 12 speakers to make great music. You don’t need to spend a fortune. Get a good set of headphones, experiment, follow your musical intent. That’s what matters.

When Apple first launched spatial audio, it was a pivotal moment. Four years of waiting, and suddenly – boom – it’s happening. But I’ve never liked it being presented as a competition with stereo. That’s not the point.

The point is expansion. Possibility. Creating music in ways we’ve never imagined before. Whether you’re recording an ensemble in a multi-channel array, or reimagining a classic album, or just exploring spatial techniques – it’s about serving the music.

I’m not here to tell you that you must do Atmos. I’m here to show you what’s possible. Some records start in immersive space, some get reimagined later. There’s no one right way. Dolby Atmos is an adaptive, object-based audio format. It’s not about having the most speakers or spending the most money. It’s about creating something special. I’ve worked with incredible artists like Mother, Selena, and others – each approach is unique.

The most important thing? Keep making music that moves you. Let the technology follow your creativity. Don’t let anyone pressure you into thinking you need to completely change how you make music. This is about expanding our musical horizons. It’s about giving listeners a new way to experience music. But it’s never – never – about replacing the core of what makes music great. The song. The emotion. The art.

That’s the magic of Dolby Atmos. That’s the future of music.