Different concepts.Īmbisonic seems to be the best way to store your music for any future outcome. Then again I’ve recently made a set of surround music for Apple’s pro air pods which are always orientated to the phone screen. You are welcome to turn your head at odds to my suggestion. However, when I create ambisonic soundtracks for YouTube videos, they offer a starting point for the viewer, but there is no correct listening orientation. They each have purposes and advantages – for example most rock bands play from a specific direction. It seems obvious but it’s very easy to confuse the two when trying to get sound from A to B. But when there is no dominant direction, a sphere of sound, you’re dealing with Ambisonics. The listener is orientated in a particular direction. Surround should always refer to a multi-speaker system where there is a focal point – a screen, a stage. We need a process that works around their edges. If you don’t have the right speaker array and the numbers of staff (seriously – “How many staff do you have?”) you are not going throw mud pies at their white dress. Not yet happening with surround – both Dolby and Sony have a ‘fuck you’ page online for people wanting access to their production tools. Once upon a time you had to record music in a hired studio, but we’ve enjoyed a period of bedroom production and the glorious tumult that goes with that (but see this guy for determination). It’s all very messy.Īnd the gatekeepers are in control again. But here comes Apple with their air pods adding the damn thing back to fit their Apple TV+ ecosystem. Most DAWs and video editors have dropped support for Dolby in favour of AAC.
You might want to cut Dolby out of the whole deal for being snake oil.
(YouTube can supply binaural sound – but that’s different, as will be explained). Nevertheless, some listeners are dead certain they’re hearing full surround, and are equally impressed by Dolby’s Atmos demonstrations on YouTube, which has no surround capability whatsoever.
Some Android phones are advertised as providing ‘Atmos’ sound through their tiny speakers, which is patently bullshit. It doesn’t help, for example, that Dolby has re-applied the ‘Atmos’ label to a wide range of outcomes each defined by the incapability of a device. My attempt here has been to force these islands together. Instead I almost drowned in an ocean of piffle washing on a few islands of isolated first-hand knowledge. When I started working on 360° sound delivery, I thought I’d have to chew on some reasonably coherent technical writing to get a working process.
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