“We had been talking about doing various things at Dean St Studios. That’s when Jazz and Suzanne started considering another venture, and they’ve now been running Dean St Studios for over a decade. “I spent four or five years working with Spike on all sorts of records - Bjork, Massive Attack, Spice Girls, S Club 7 - quite a wide range,” he explains, “and then with Oasis it was more recording and I stayed at Wheeler End for a long time until the band split, really. His connections with Dean St Studios go back to that time at Wheeler End, then owned by current Dean St Studios' directors Jasmin Lee and Suzanne Lee-Barnes. He helped Spike record the Mancunians' Standing On The Shoulder Of Giants album in the south of France, and is a long-time collaborator with Paul Weller. He's spent more than two decades in the recording industry, serving as Mark 'Spike' Stent's Pro Tools engineer and Oasis's in-house engineer at Wheeler End Studios in Buckinghamshire. The music is so dynamic, and it is such a joy to experience.”Īnd Stan should know about mixing. You don’t need to do that in Atmos as there is enough space for everybody. You are constantly having to make decisions and carve out EQs in consideration of what other instrumentation is playing. In stereo you are always making sacrifices when mixing, like if you want to hear the guitar you may have to turn the Hammond down. “The tools that Atmos gives me in height, width, depth and sub are everything you need in comparison to stereo. With stereo there is this trend to use wideners but with Atmos it can be as wide as you ever need it and as tall as you ever want it. “You might have a forward-facing Dolby Atmos mix - drums, bass and vocal - coming at you and then you'll maybe use the Atmos technology to wrap an orchestra around the listener. While like 5.1 or 7.1 it uses a surrounding array of speakers for mixing, it doesn't suffer from the former's required numbers of speakers, and as a medium is adaptable to any system with Atmos technology installed. On a technical level, where stereo audio is limited to two channels of output, Atmos offers 128 discrete locations to send audio, which can move and alter at the mixer's requirements, utilising a connection to a supported DAW (Pro Tools, Logic, Ableton).
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