When running on the same machine, DAWs address the Dolby Atmos Renderer in different ways. However, as Pete Hofmann of Miloco points out, “Mixing in Atmos is quite CPU‑intensive, so you’ll need a relatively modern and high‑spec computer to handle everything.” Unless you’re working on a hardware console, it should be possible to do everything you need on one machine. In a music production context, though, this is unlikely to be needed. The deluxe option is the Dolby Atmos Mastering Suite, which runs on its own Windows PC or Mac, accepting 128 channels of audio over MADI or Dante from the device doing the mixing. So the first things you’ll need are the Dolby software and a compatible computer. This is an extension of the Broadcast Wave format, and can be created only by the Dolby Atmos Renderer software. When you deliver your first Atmos mix, it’ll be as an ADM file. But what equipment will you need to exploit that potential? How should it be configured? Will your existing mix space work, or are you better off building a new one? And how much will it cost? To answer these questions and more, I spoke to some of the world’s leading studio design consultants. The artistic and commercial potential of Dolby Atmos is obvious. Here’s what you’ll need to do to make your studio Atmos‑ready.
Immersive audio is a massive opportunity - if you’re equipped to take it. This is Chris Lord‑Alge’s studio in Los Angeles, recently outfitted with an Ocean Way immersive monitoring system.
Many leading mix engineers are upgrading their studios to be Atmos‑capable.
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