Dolby Atmos music is already an exciting creative format for independent artists, but there is still a lot of confusion surrounding it. Spatial audio, immersive audio, ambisonics, binaural, surround—with so many different terms being used, it can be hard to know which is which. In this article, we’ll clarify what Atmos music is, how Atmos differs from other formats, and how you can experience Atmos for yourself.

We all know that music listening habits have changed considerably in recent years. In a world where streaming platforms and single releases seem to reign supreme, independent artists may wonder whether building a promotional campaign around an album release is still relevant. Here is an overview of the three main strategies for releasing your music today.

At first glance, I am just as passionate about audio gear as the next guy. Still, I am always shocked when I hear people say things like, “If I had this plug-in or that piece of gear, my mixes would sound more professional,” or “No wonder his productions sound good—he mixes on a $500,000 SSL console!” Honestly, that is a load of nonsense!

Like most people, I long believed that when it comes to digital audio, higher numbers—bit depth, sample rate, and so on—meant better sound. Fortunately for us, that is simply not the case. So what sample rate and bit depth should you use for recording and mixing in a home studio?

You do not need to be an acoustician to improve your home studio acoustics. While acoustic treatment can be a complex subject, getting better sound from your mixing room does not always require complicated calculations or a huge budget. A few simple, affordable changes can make a huge difference in your listening environment and help you make better recording and mixing decisions. Here are three easy places to start.

Only a few years ago, it would have been unthinkable to insert a compressor, two EQs, and a different reverb on every single track of a mix. And when you think about it, it would not only have been expensive—it would have been seen as absurd and unnecessary. Yet in the world of in-the-box mixing, this happens all the time. And it may come at the expense of audio quality.