array(8) { ["Australia"]=> array(3) { ["url"]=> string(33) "https://abbeyroadinstitute.com.au" ["name"]=> string(9) "Australia" ["towns"]=> array(1) { ["Sydney"]=> string(45) "https://abbeyroadinstitute.com.au?city=sydney" } } ["France"]=> array(3) { ["url"]=> string(29) "https://abbeyroadinstitute.fr" ["name"]=> string(6) "France" ["towns"]=> array(1) { ["Paris"]=> string(40) "https://abbeyroadinstitute.fr?city=paris" } } ["United Kingdom"]=> array(3) { ["url"]=> string(37) "https://abbeyroadinstitute.ca/toronto" ["name"]=> string(14) "United Kingdom" ["towns"]=> array(1) { ["London"]=> string(49) "https://abbeyroadinstitute.ca/toronto?city=london" } } ["Netherlands"]=> array(3) { ["url"]=> string(29) "https://abbeyroadinstitute.nl" ["name"]=> string(11) "Netherlands" ["towns"]=> array(1) { ["Amsterdam"]=> string(44) "https://abbeyroadinstitute.nl?city=amsterdam" } } ["Germany"]=> array(3) { ["url"]=> string(29) "https://abbeyroadinstitute.de" ["name"]=> string(7) "Germany" ["towns"]=> array(1) { ["Frankfurt"]=> string(44) "https://abbeyroadinstitute.de?city=frankfurt" } } ["South Africa"]=> array(3) { ["url"]=> string(32) "https://abbeyroadinstitute.co.za" ["name"]=> string(12) "South Africa" ["towns"]=> array(1) { ["Johannesburg"]=> string(50) "https://abbeyroadinstitute.co.za?city=johannesburg" } } ["USA"]=> array(3) { ["url"]=> string(41) "https://abbeyroadinstitute.com/losangeles" ["name"]=> string(3) "USA" ["towns"]=> array(2) { ["Miami"]=> string(47) "https://abbeyroadinstitute.com/miami?city=miami" ["Los Angeles"]=> string(57) "https://abbeyroadinstitute.com/losangeles?city=losangeles" } } ["India"]=> array(3) { ["url"]=> string(36) "https://abbeyroadinstitute.in/mumbai" ["name"]=> string(5) "India" ["towns"]=> array(1) { ["Mumbai"]=> string(48) "https://abbeyroadinstitute.in/mumbai?city=mumbai" } } } string(14) "United Kingdom"

Week Seven

Home » Courses » Dolby Atmos Mixing For Music » Curriculum » Weekly Timetable » Week Seven

Our Dolby Atmos Mixing For Music course is a 12-week part-time course with further study and practical time expected.

Each week, you’ll focus on a specific topic within Atmos mixing for music, with each topic building on the knowledge and skills from the previous week. Much of your time will be spent in our dedicated Dolby Atmos studio alongside classes in our teaching spaces at Angel.

Each subject addresses the practical and technical skills you need to develop a rounded knowledge and skill set within each area. The course curriculum is structured as follows:

Weekly Timetable

The course curriculum is scheduled across fourteen weeks of teaching.

Please click on the individual weeks listed on the left-hand side of this page to see what will be taught during your weekly timetable.

Week One – Introduction to Dolby Atmos
Week Two – DAW Setup, The Dolby Atmos Renderer, and Atmos Signal Flow
Week Three – Binaural Mixing
Week Four – Speaker Calibration & Adapting Stereo Mixes for Dolby Atmos
Week Five – Atmos Mixing Workflows and Custom Template Creation & One-on-One Feedback Session
Week Six – Field Trip to Dolby Soho
Week Seven – Atmos Mix Approach Differences: Realistic vs. Hyper-Real
Week Eight – Mixing for Dolby Atmos in Different Genres
Week Nine – Industry Q&A and Professional Insights
Week Ten – Mastering in Dolby Atmos, Quality Control, and Deliverables
Week Eleven – Final Project Preparation
Week Twelve – Final Presentations and Industry Networking

Weekly Timetable tabs on the left-hand side.
- Week One
  Introduction to Dolby Atmos
  - Activity: Studio Immersion
    ○ Critical listening of professional Atmos mixes on 7.1.4 studio monitors compared to consumer setups like soundbars and headphones.
  ● Takeaway: Understand the transformative power of Dolby Atmos playback across different environments.
- Week Two
  DAW Setup, The Dolby Atmos Renderer, and Atmos Signal Flow
  - Activity: Sound Placement Experiments
    ○ Manipulate audio objects in a 3D space using the Dolby Atmos Renderer.
    ○ Experiment with divergence and psychoacoustic effects.
  ● Takeaway: Hands-on familiarity with the Renderer’s core features.
- Week Three
  Binaural Mixing
  - Activity: Headphone Spatialization Techniques and Utilizing Binaural Metadata
    ○ Compare Apple’s Spatial Audio to Dolby Binaural (Tidal/Amazon) on consumer-grade headphones to understand the end-user product.
    ○ Using AudioMovers’ Binaural Renderer for Apple Music software for real-time monitoring.
    ○ APL Virtuoso software: an immersive 3D audio experience similar to using multiple loudspeakers, but all through headphones instead.
  ● Takeaway: Master the nuances of binaural playback consistency.
- Week Four
  Speaker Calibration & Adapting Stereo Mixes for Dolby Atmos
  - Activity 1: Speaker Calibration Workshop (with Audient)
    ○ Learn to set up and calibrate a basic Atmos speaker array, including angle positioning, time alignment, and room correction using SPL meters and calibration software.
  - Takeaway 1: Confidence in creating a professional-grade Atmos setup.
  - Activity 2: Bringing Completed Stereo Mix/Masters into Atmos
    ○ Learn how to take an approved stereo mix or master and use it as the foundation for creating an immersive Atmos mix.
    ○ Developing a creative approach to object placement, bed creation, and adding depth while maintaining the integrity of the original stereo mix.
    ○ Analyzing a professional mix that evolved from stereo to Atmos.
  - Takeaway 2: Confidence in transitioning from a stereo mix to an Atmos mix, including workflows and technical considerations. Skills to enhance a stereo mix for immersive formats while preserving the intent of the original.
- Week Five (Session One)
  Atmos Mixing Workflows and Custom Template Creation
  - Activity: Multi-Track Atmos Mixing
    ○ Use raw stems to create an Atmos mix, focusing on instrument and vocal placement.
    ○ Creating your own Dolby Atmos Mixing Template.
  ● Takeaway: Skill in transitioning from stereo to Atmos mixing.
- Week Five (Session Two)
  
  One-on-One Mix Feedback Session
  
  ● Activity: Finalizing Atmos mixes with one-on-one instructor feedback.
  
  ● Takeaway: Getting closer to professional mixes for submission.
- Week Six
  Field Trip to Dolby Soho
  - You will have the opportunity to visit Dolby Soho, where you will meet Dolby professionals and gain insights into their expertise in immersive audio technologies.
  - Professional Listening Session: Analyze Atmos mixes in Dolby’s calibrated listening environment and discuss key challenges in spatial audio production. Exploring Translation Across Multiple Playback Environments: Experience how Dolby Atmos mixes translate between a Dolby’s 7.1.4 studio, their 9.1.6 studio, a cinema environment, a car system, and consumer playback (headphones/soundbars).
- Week Seven
  Atmos Mix Approach Differences: Realistic vs. Hyper-Real
  - Activity: Comparative Mixing Lab
    ○ You will create two mixes from the same source material: one with a realistic approach, simulating natural spatial environments, and another with a hyper-real approach, emphasizing exaggerated and creative spatial effects.
    ○ Analyze professional examples that demonstrate each approach, discussing the artistic intent and technical execution and evaluating the emotional and practical impacts of each style.
  - Takeaway:
    ○ Gain insight into how different mixing approaches can align with artistic and project goals.
    ○ Develop flexibility in crafting mixes tailored for realism or creative expression.
- Week Eight
  Mixing for Dolby Atmos in Different Genres
  - How to approach Atmos mixing for different music styles
  - Studying genre-specific Atmos mixes and their unique challenges
  - Hands-On Exercise: You will apply Atmos techniques to a track in your preferred genre
- Week Nine (Session One)
  Industry Q&A and Professional Insights
  - Deep Dive into Professional Dolby Atmos Mixing Workflows: A special Q&A session with an industry-leading Atmos mix engineer (TBD), discussing the artistic and technical nuances of immersive mixing. Analyze the approach taken in real-world Atmos projects, focusing on workflow, problem-solving, and creative decision-making.
  - Insights into Collaboration, Client Interaction, and the Future of Dolby Atmos: The guest engineer will share their experience working with artists, producers, and other stakeholders in a collaborative Atmos mixing environment, focusing on communication, aligning creative visions, and managing client expectations. They will also discuss emerging trends in Dolby Atmos, including its growing role in music streaming platforms and advancements in immersive technology.
- Week Nine (Session Two)
  One-on-One Feedback Session
  - Activity: You will work on finalizing your Atmos mix with one-on-one instructor feedback.
  - Takeaway: Getting closer to professional mixes for submission.
- Week Ten
  Mastering in Dolby Atmos, Quality Control, and Deliverables
  - Activity: Using the Dolby Atmos Album Assembler vs other methods
    ○ Loudness and controlling dynamics using different tools and techniques to adhere to Atmos loudness standards.
    ○ Trim and Downmix Management
    ○ Test fold-down compatibility and LFE tuning across various playback systems.
  - Takeaway: Ensuring streaming platform deliverable acceptance, and maximum sonic translation across different playback systems.
- Week Eleven
  Final Project Preparation
  - Activity: Expert Mix Reviews
    ○ Industry professionals critique your mixes, providing detailed feedback.
  ● Takeaway: You’ll receive real-world guidance to refine your Atmos mixes.
- Week Twelve
  Final Presentations and Industry Networking
  - We round off the course with a showcase of your work and networking opportunities.

Week Seven

Atmos Mix Approach Differences: Realistic vs. Hyper-Real

Activity: Comparative Mixing Lab
○ You will create two mixes from the same source material: one with a realistic approach, simulating natural spatial environments, and another with a hyper-real approach, emphasizing exaggerated and creative spatial effects.
○ Analyze professional examples that demonstrate each approach, discussing the artistic intent and technical execution and evaluating the emotional and practical impacts of each style.

Takeaway:
○ Gain insight into how different mixing approaches can align with artistic and project goals.
○ Develop flexibility in crafting mixes tailored for realism or creative expression.

An inspiring and incredibly well designed course that gave me the best musical education I could have dreamt of. Life-altering.

David Dargahi, Alumni

The curriculum is fantastic, extremely comprehensive, contemporary and relevant to today’s industry.

Andrea Mastroiacovo, Alumni

It's impossible to graduate from Abbey Road Institute without growing as an engineer, musician, creative professional and most importantly... as a human being.

Ryan Zweng, Alumni

The course taught me what it means to be a producer and engineer in the industry, I learned things I couldn’t have learned anywhere else.

Marta Di Nozzi, Alumni

The Abbey Road Institute helped me to unlock my musical potential.

Cory Lawrence, Alumni

There is some real visionary foresight in Abbey Road Institute being established to preserve the cultural legacy of Abbey Road.

Week Seven

Week Seven

Atmos Mix Approach Differences: Realistic vs. Hyper-Real

David Dargahi, Alumni

Andrea Mastroiacovo, Alumni

Ryan Zweng, Alumni

Marta Di Nozzi, Alumni

Cory Lawrence, Alumni

Youth (Paul McCartney, The Verve, Killing Joke)