Dolby Atmos for Music Producers: What You Need to Know - with Berklee & NYU Educators
Dolby Atmos is changing how we create and listen to music - and if you’re a producer, engineer, or even just a curious listener, this is the future you can’t ignore. With 70% of the world’s population owning a smartphone capable of streaming Dolby Atmos, the big question for artists and engineers is simple: “How do I get started?”
The good news: you don’t need a huge film studio to get into Dolby Atmos. With enough power and speakers, you can set up an Atmos-ready space in your home studio. And even if you don’t have the space or budget for a full surround setup, you can start with something much simpler: headphones.
To break it all down, we sat down with John Escobar (Berklee College of Music) and Mateo Marciano (NYU) to explore what makes Atmos so game-changing - and how you can get started today.
Here are some of the key topics we explored:
From Surround to Immersive
Atmos isn’t just “surround sound 2.0.” Traditionally, mixing for film or music meant using channel-based systems like 5.1 or 7.1. The challenge was always translation - how would a mix created in a smaller room sound in a large theatre?
Atmos changes the game by shifting from channel-based to object-based audio. Instead of being locked into speaker channels, sounds can be placed anywhere in a 360° space. That means mixers can position objects with precision, whether in a cinema, a car, or headphones.
And unlike older formats, Atmos is flexible. A single Atmos mix can scale up or down: 9.1.6, 7.1, 5.1, stereo, or binaural. The rendering system ensures that what you create translates across different setups.
Egocentric Soundscapes
Mixing used to be “allocentric” - always referenced to the screen or stage. Immersive audio flips that perspective to “egocentric.” The listener is at the centre of the sound field.
Think VR. Think of music that surrounds you in every direction, where you don’t just hear a song - you’re inside it. Atmos gives creators the tools to craft that kind of experience.
Atmos vs. Ambisonics
So where does Ambisonics fit into the picture? Ambisonics captures a performance with a tetrahedral mic array, baking in all the reflections, phasing, and spatial information of a live moment. Dolby Atmos, on the other hand, lets you design spatialisation object by object.
Both approaches have their strengths:
- Ambisonics is faithful to the real acoustic environment.
- Atmos gives mixers control, flexibility, and creative freedom.
In many cases, engineers work with both - capturing space with Ambisonics, then shaping and scaling it in Atmos.
Why Atmos Matters for Music
Streaming platforms are pushing the industry forward. Apple Music and Tidal now support Atmos, and labels are remixing back catalogues in the format. For new artists, it’s a chance to stand out. Take Latin jazz, for example. Right now, the Apple Music Atmos catalogue is thin in that category. So if you mix in Atmos today, you’re positioning yourself at the cutting edge of a space that’s still being built.
The Minimal Setup
What’s the smallest Atmos rig worth considering? A 7.1.2 system is a solid starting point, though 7.1.4 gives you more overhead control. But again, headphones are the entry point for most. Start binaural, then expand into speakers if the project calls for it.
Atmos is also about accessibility. Just like VR became mainstream when it untethered from computers, Atmos is spreading because anyone with headphones and a smartphone can experience it. That’s what makes it powerful - not just for major studios, but for independent creators, too.
Final Thoughts
Atmos isn’t just another technical spec - it’s a cultural shift. For years, the music industry seemed stuck, asking “what’s next?” Now immersive sound has arrived, and it’s opening up massive opportunities for artists, engineers, producers, and gear makers.
Dolby Atmos is more than a format - it’s a new way of listening. It places the audience inside the sound, opens creative doors for artists, and makes professional-level immersion accessible from a pair of headphones.
For creators, that means one thing: now is the time to explore it. The landscape is still being built. If you jump in now, you’re not just making music - you’re shaping the future of how it’s heard.
About our guests:
JOHN ESCOBAR is an immersive mixing expert, awarded many times as a music producer and engineer working with major entertainment companies (such as Walt Disney Pictures, Warner Music, Universal) and many world-famous artists (Ryan Lewis, Joshua Bell, Fences). He's also an educator and currently teaches at Berklee College of Music. https://www.escobarmusic.com/
MATTEO MARCIANO - a Multi-Platinum mixer, composer, engineer who worked with 2Cellos, Jacopo Volpe, Chetty to name a few. His work can also be heard in music productions such as Frozen, Fifty Shades of Gray, Despicable Me 2, John Wick, etc. Matteo also works as an Assistant Professor at the New York University of Abu Dhabi. https://www.matteomarciano.net/
