How I Routed My Immersive Album in Pro Tools & Dolby Atmos | Mixing IMMERSED

Crafting Immersive Audio: A Deep Dive into Pro Tools and Dolby Atmos Routing

When I set out to create the “Immersed” album, I knew from day one this wasn’t going to be a traditional music project. This was going to be a cinematic journey, conceived, recorded, and mixed specifically for immersive audio – every single decision intentional and forward-thinking.

Let’s talk routing. I’m working in a 9.1.6 discrete channel environment, which means precise speaker placements that allow for incredibly nuanced spatial positioning. While most of my content could technically live in a standard object bed, I’ve expanded that concept dramatically.

My routing philosophy goes way beyond typical music production. I created an extensive Excel document mapping out every object placement before touching a single track. Each instrument group – effects, drums, horns, strings, melody – received strategic object allocations with meticulous consideration.

Why multiple objects in identical locations? It’s about flexibility. First, I can apply different binaural settings to seemingly identical positions. Second, when we print an ADM master, each object becomes a discrete mono track. This means if I want a cinema remix down the line, I’ve got granular control over every single element.

Spatial coding is critical. Current Dolby Atmos codecs limit you to 15 spatial locations plus LFE. By carefully positioning objects, I ensure optimal clustering and translation. I’m religious about using objects for anything moving outside standard channel locations – it maintains fidelity and artistic intent.

My bed channels? They’re minimalist – just the first seven channels, primarily handling ambient content and reverbs. Wide speakers and height channels are managed through objects. I’ve deliberately avoided point-two height channels, preferring to create discrete, decorrelated information across front and rear height positions.

The low-frequency elements are another obsession. I’m not randomly crossing things over to LFE. Every bass element is deliberately crafted, with discrete information that maintains the music’s dynamic range and emotional impact.

My ultimate goal transcends traditional music production. This is a cinematic record designed to translate seamlessly across streaming, Blu-ray, and potentially movie theaters. By planning routing this comprehensively, I’ve ensured maximum artistic flexibility.

The blu-ray will be the definitive version – containing both film and immersive audio. It’s not just an album; it’s a complete audiovisual experience that challenges how we think about music production.

This approach required reimagining mixing techniques. By considering intent at a compositional level rather than just a technical one, I’ve created something unique in the immersive audio landscape.

For audio nerds and music lovers alike, this project represents a new frontier. It’s about understanding how technology can expand musical expression, how spatial positioning can become an instrument itself.

Want the full technical breakdown? Dive into the mix videos on my YouTube channel. Each one unpacks a different aspect of how this record came together. It’s a journey of sound, technology, and artistic vision.

Enjoy the music, and welcome to the future of immersive audio.