Hozier 'Movement' in Dolby Atmos

If you have seen Andrew Scheps deconstructing his stereo mix of "Movement" on Puremix, it would be hard to imagine a better song for Andrew to choose for the world's first Dolby Atmos Mixing breakdown from start to finish.

In this Puremix exclusive, you'll join Andrew Scheps at Abbey Road in The Penthouse Dolby Atmos mixing room as he explains his thought process for mixing in Dolby Atmos and breaks down his Atmos mix of the hit song "Movement" by Hozier.

You will be listening to the Binaural Render of the Atmos mix. Headphones are required.

Watch as Andrew:

• Deconstructs each piece of his Atmos mixing template and explains the process he went through to build it
• Discusses how he approached this Atmos mix from stems instead of redoing the mix from the original Pro Tools multitrack session.
• Explains the conversation that he has with every artist before starting an Atmos mix
• Explains how and why he sets up the Binaural render modes inside of the Pro Tools session instead of the Dolby Renderer
• Discusses his object-based Mix bus
• Demonstrates how he uses divergence to send a small amount of signal to the center channel to refocus instruments like Kick, Bass, and the Lead Vocal
• Shows how he uses a discrete send to the LFE channel instead of using the LFE for bass management
• Uses Leapwing's Center One to get signal to the center channel without destroying the width of a stereo track
• Uses NUGEN Audio's Halo Upmix to preserve the same spread and sound of a signal no matter how it will crash down to match the user's playback system
• Discusses how we interpret directional sound, and how timbre changes as panning happens are necessary for Binaural rendering to achieve the sensation of audio surrounding you
• Uses NUGEN AUDIO Halo Upmix in a different way to spread the vocal stem printed with effects from the stereo mix across the back wall
• Explains why he "sticks to the walls" to avoid playback issues on different systems
• Shows how he created his Atmos effect returns with reverbs, autopanners, slap delays, and more
• Demonstrates his Pinpoint Reverb send, which he uses for a point source reverb that follows the main source, or exists in its own space elsewhere in the Atmos canvas
• Explains why background vocals still work well when panned to the back and how our brains interpret audio signals that come from behind us

This is your chance to join Andrew Scheps as he explains his approach to mixing in Dolby Atmos. Only on Puremix.