Dolby Atmos and Audio Post [Nathaniel Reichman Interview]

Budgeting your time for large projects in audio post. We’re going to talk about stereo, 5.1 and Atmos. Here we go!

Welcome back everyone thanks for being here this is the lazily named Adam Clairmont podcast and i’m your host Adam Clairmont we’re gonna discuss growing your career increasing your revenue finding that work life balance and giving back and sharing with those that are also in the industry and all of this within the audio creative space so before we begin i’d like to offer you a free gift i’ve put together tips andtricksthat help increase your productivity and work flowt hese are things that i’ve brought through and carried into my career and have helped me tremendously and i know they can bring you a lot of valueand i know they’ll work for youso please head over toadamclairemont.comworkflow and you can pick up your freepdf guidewhenever you’re ready so that’s all forthat let’s get on to the showi would love to introduce you to ourguest his name is nathaniel reichmanhe’snominated producer and mixer working outof double-a studios in new york cityhe works extensively in television filmadvertising and classical musica small sampling of his credits andclients would includephilip glass bubble guppies whoopigoldberg teenage mutant ninja turtlesblues clues death wish coffee which ijust finished a cup ofjohn luther adams comedy warriorsthere’s a long listum nathaniel if you’d liketo learn morethere so nathaniel thanks so much fortaking the time to talk today buddyno it’s a pleasure adam i’m really gladyou’re doing this it’s great yeahso i know you had a really busy schedulethis week you’ve always been supergenerous with your time so you fit thisinum you’re just telling me that you’re ona project with a tight deadlinei believe it was just earlier today oryesterday you want to tell us about whatyou’re working onum yeah you know um thebread and butter of a lot of things i dokind of week to weekis working in television and i’m mixinga television show forwgbh in boston and uhgiven the date of this recording we’rereally fortunate that that the all theumall the shooting on this television showis completed before the lockdownso we’re all in post-production moderight now so i’m working with a videoeditor i’m working with the colorcorrection person and the broadcastperson and we can all work remotely andit seems to beseems to be working fine so about once aweek i mix an entire episode and send itoff to themthat’s good that’s good keeps it keepsyour schedule filled right then once aweek that’s good exactlyexactly yeah that’s that’s the battlehey so i i have aquestion about that actually so you knowi know you do a ton with television andfilmand those typically probably more sothanyou know the niches like voiceover oraudiobooksthere’s some pretty large teams involvedright with those projects i mean you’vegot dialogue editors you’ve gotyou know producers you’ve got executiveproducers you’ve gotsound supervisors do you want to talk alittle bit about like the teamatmosphere and like the pecking orderwho’s involvedand how that contributes ideallycontributes right to the qualityof the work when you’ve got everybodyinvolved like that instead of justworking in a siloyeah i think and i i want tomake sure before i describe a certainstructure that everyone knows that it’sscalableright you can go to a larger project andhave a lot more peopleand you can go to a smaller project andhave many fewer people and then it’sokayto be kind of in that in that frameworkbut if i go back and i look atum so dubway uh mixed a series fornickelodeon not too long ago and it waskind of a medium-sized structurea number of people and i really likethat workflow so i can describe it thereand um you know just to be cleara lot of these companies are contractedfor certain servicesright so our job on this particulartelevision show was to record hisanimated sowe were there to record all the dialogueuh we were there to work with thecomposerand we were there to do sound design allthe music editing all the dialogueediting and then the final broadcast mixright and i was really fortunate becauseit was a good medium-sized team itwasn’t so big but i got lost but it wassmall enough that ihad a lot of support to work um reallyquicklyright so it was a complex complextelevision show we managed to put outabout an episode every two weeks and ihad a dialogue editor who wouldfeed me tracks um i had a sound effectseditor who would spend a few daysgetting into the show before i got to itand then i had a music editor who wasworking next to the composerand so uh right when i got to the pointof assembling a showto get a sense of all the elements thatwere going into this half hour oftelevisionit was three different pro toolssessions it doesn’t have to be pro toolsthat was our tool of choiceand i would merge all those sessions andspend about a day scratching my headthinking about howthey all sort of fit together you knowum and you know i think this is true foreverything i’ve worked on in the lastdecade which is that our clients don’thave a whole lot of time so thethe the job is always to try to bringsomething up to a really high level ofpolish before sharing it with theclients for the first timeright yeah and on on this show umwe we would get to that point where wethought this is pretty good we’re goingto share itand they’re going to review it remotelyand then my favorite thing to do andthis is a really sad thing to talk aboutduring uhduring our current lockdown my favoritething to do is to spend an entire daywith a clientin the studio you know working on asingle episodeuh with the pressure that you have todeliver that episode by the end of thedayright satisfying things deadlines aregreat creative inputdeadlines really like there’s some somemagic mojo just by giving something adeadline right i mean things start tohappen absolutely you’re rightabsolutely if you know if you’re sittingthere at 10 a.m and you knowthat you have to start uploading filesat 7 pmuh then it really focuses you creativelyyou’re like okaywhat matters what yeah yeah are we goingto spend an hour on that one detailtoday or you knowyeah yeah yeah that’s as good as that’sever going to get but over here we spenta couple hours doing that and we canreally improve thatyeah um so to give you the structure inthis in this show the owner of doubleacted as the soundsupervisor because he was kind of thering masterand then we had three audio editors iwas the mixeruh there was a composer some additionalsongwritersand of course all the actors right yeahdoing all their dialoguebut that was a good sized team we couldwork really well we could work quicklybut it wasn’t so large that i felt likethings were out of controlyou know um this show that i was doingthis week is a whole lot smallerwhere the uh you know there isn’t adedicated music editorright and um i do dialogue editing andmixingright which is completely fine i don’tmind doing that but it’s great to beable toto spread out those jobs so that peoplecan specializeyeah yeah yeah do you so if you areuh wearing all the hats for a projectlike you just mentionedyeah um what are the pros of that like imean so sometimesi worry with my own work that you knowwhen you start to know where all theskeletons are buriedyou know and it’s like i mentionedbefore you start to like spend all thistime on these little details because youknow there was a problem here andmore than likely if you do your jobright 99 of the people won’t even noticethat’s a problem you did it but you’restilllike i said you you know like there is aproblem there and so do you ever getlike hung up like that because you knowthose issues or is it nicer just likehave this fresh session come to youand you can just make it sound pristinewellyeah i mean it’s um i intentionally if ihave to do a lot of jobs myself iintentionally try to put on differenthats so i’ll say okayi’m going to work three or four hours anhour before lunch and i’m only going todo dialogue editing and nothing elseright good that way i can be reallyzeroed in on that and thenthe next morning put all that away andsay okay i’m going to mix this thingand i’m going to mix this in broadpasses so rather than being superfocused on certain dialogue lines andcleaning up certain thingsi’m actually going to listen to anentire scene what does that seven-minutesequence sound likeyou know um but it’s like umworking when you collaborate withsomebody um if you’re working alonethere’s a danger you’re gonna lose theforce from the trees right that’sa really serious danger yeah and that’swhat’s great about working with somebodyyou show them the work and say i sayadam hey check check out this thingand you’ll see the big picture betterthan i will yeah you knowso there’s no easy answer to to workingalone and doing all those jobs yourselfexceptexcept to take a break and come back toit the next morningwith fresh ears you know i think yougave great advice there i mean if youcanreally be disciplined and say you knowi’ve got this much time budgeted forthis project you know my deadline ishere i need toi need to have everything done here andyou know given the experience you’ve gotyou know about how long it takes you todo certain tasks if you can sayi’m going to budget this much time it’sgoing to happen at this timeof day on this day or these days andthen you move onyou know just as if you were thedialogue editor and it’s out of yourhands at that point anyway giving it tothe next personright it’s probably really efficient anda great process to not i mean you canalways go back if you have to i supposebutto have the discipline to say there’smore to do herethis has to get done i’m the one that’sgot to get it doneso if i schedule myself and don’tbacktrack then i know i’ll get it doneand it will be wellyeah you know well received ideally fromthe client and again you’re notyou know losing the force in the treesyou’re not getting caught up in thosetiny details where those skeletons areburiedyeah because you said okay i got it towhere i think it’s greati’m i’m done moving on and you know thisis alsoand this this it comes this is reallyhard to get but i think it’s reallyimportant in the creative industryum is to know how long it takes to dosomethingand you know we’ve all been there whenyou’re younger and you’re starting outand you’re in college or you’re out ofcollege and you’re in 20s and you’relike i could edit this thingand then you’re up all night long twonights in a row on the weekend trying tofigure this thing out you realize thatwhat you thought was going to take a dayis going to take a weekright yeah you know and everybody’s beenthere absolutelyevery creative professional that i’vemet fromfrom people who are composers tosongwriters to people who don’tcolor correct or do video the moreexperience they arethe better they can tell you okay i’mgoing to do this it’s going to take methree days and then i’ll have this foryouright yeah and even now i mean i’mi’m not all that experienced but evennow you know somebody will ask me for anestimateand and you have to look at that timemoney vector really really clearly andbe really honest with yourselfyou know you’re not going to get thatwhole thing done in six hours rightthat’s just impossiblewell now you’re talking about managingexpectations too with your client rightoh yeah yeah exactly that’s always umthat’s a whole other thing right butthat’s a whole other thing exactly andyou want to you want to be really openum with the workflow with a client uhand not cheat yourselfbut you know also get what you deserveyeah you know so yeah yeahyeah i think i remember the first timethat i wasworking on an audio book you knowaudiobooks face value they seem prettystraightforward you know we brought inour talent we recorded them and then ineeded to edit this thing and i think itwasit’s probably like a 20 to 30 hour longaudio book we didso uh we were you know i had a team withmeand you know i estimated how long itwould take you know me to editand extrapolate that out to the team andwell it took me longer and it took themmuch longer and next thing i knew we ithink we came in something like ahundred dollars under budget[Laughter]that was not anywhere near the numberthat we were anticipating at thebeginning of this project there wasthere should have been a zero or twoadded to that umbut you know what you know you live youlearn umexperience is everything you know goingthrough it is everything you know thebigger the mistakethe better you remember so i know prettyclearly now how long it takes to dothose things but you know you’re gonnatake your lumps along the wayyeah there’s something really um uh sojust put this in context you weretalking about creative projects andmediaum i’ve worked on a lot of pilots fortelevision showsand those are really special because youneverthat’s where everybody needs toexperiment that’s where you need towaste a lot of time going down pathwaysthat are not going to work outright and and trying things that areultimately going to failor trying 10 different versions ofsomething to see what fliesand so yeah i’m not exaggerating we’veworked on pilots for for a singleepisode of a tv show and the pilot tookmonths to makeright really because we were trying outso many different thingsso that and and then that points tosomething else too which is really hardwhich is that making any artinvolves throwing a lot of things awayso how do youright how do you create a team aroundyou when you need to experimentand i’m working on a project right nowumwith lincoln center where uh it’s justan experiment it’s just in the demophase it’s very much a pilot phasebut it’s about how to take some of theirlive events and have a differentinteractive experience with some of thelive events that have been recorded inthe pastand kind of repurpose them awesome rightand we’re totally on the pilot phase forthat right now and what i thought wasgoing to be a couple weeks ofexperimentation will probably be allsummer you knowno we’re not working on it we’re notworking on it every day of the summerbut every time i have a little free timei’ll say oh i should check that out ohyeah there are a couple things to figureoutand then the the way that we take allthat we’re talking about and turn itinto a job or a careeris to then contain it and say okay nowi know how to do it and i can make abunch of themright yeah well yeah that’s the ideayeah how fortunate how fun to be in apositionwith a project where you can just beum that instrumental and the creativebecauselet’s be honest i mean plenty of nicheswithin audiospecifically engineers yeah we aredefinitely contributing creativelybut i think what you’re talking about isyou’re really talking about likefundamental uh coreparts of a creative conceptyou know you’re really in the trenchesabout you know this isakin to writing a script it sounds likeyou know i mean if you’re if you’re thatdeep and creative and trying all thatstuff within a pilotthat’s that’s awesome yeah i meanit can also be a stressful place to beyou know there was one project umwhere it wasn’t clear to me if i wasactually going to win the sound designcomponent of the projectoh yeah the pilot phase we were tryingout a lot of different things and i madethere was it was a really reallyimportant sound effect sequence that wasgoing to occur in every episode of thistv show somereal signature i mean i hate to use thatthis is such a it’s such a cliche in ourindustry as a signature sound but it wasreally true it was a signature soundand um i made i recordeda gazillion different things and tried agazillion different things and i madeprobably 12 or 15 really solid differentdemos of how that sequence would soundin the first 10 the client didn’t buythey didn’t love ityou know and and so i thought oh i’m i’min danger of losingthis you know so it got a little bitstressful and then i hit upon the rightcombination of thingsi got it locked it down works out youknow yeahit took a while to to to discover that ithink i think everybody who’s createdghostbed process andthat’s funny you mentioned that becausequite literally about an hour before webegan thisuh taping i was in a meeting and we werepresenting some sonic branding to acompanyand this is i think uh this is oursecond meeting we’ve got at least twomore to go before we nail it down buttalk about subjectivity yeah i meanit’s yeah i mean talking like asignature sound or a sonic brand youknow and for those that aren’t familiarwith sonic brand you know you think likebumbum bum and get your nbc logo you knowthese things arethese things are iconic they’recompletely directly related to a brandtotally associated you cannot take onewithout the otherum you know it’s like your visual logoit’s the same thing rightand uh but when but when you just thinkabout that for a moment creatingsomething from nothingthere isn’t even literally a tangiblething here like a physical logoit could what does a company sound likeyeah right i mean what what what awhat a ethereal concept you know butyou’ve got to figure that out and havethose discussions and then when youthinkyou put your heart and soul into it andyou go here’s you know all of thesedifferent options they gono no no about that quicklybecause they’re short it’s just likeboom boomboom so it’s it’s hard it’s that’s oneof the hardest things to doespecially if you’re talking about aseries now that you’re you know you’redescribingliterally what we’re talking about rightnow is where producersreally earn their money because they’rethe ones who are supposed togive us the creative guard rails to sayit’s gonna whatever we succeed with isgonna be something like thisand give you an area of exploration yeahrightum there’s another example and i i wishi had all these examples but i’m noteven sure it’d be legallegal to share them but um rumba is thechildren’s media company which is a partof dubwayand um rumba was competing for the themesong for a television showand the producers in the television showsaid okay the theme song has to includethese three instruments and the lyricshave to accomplish these two thingsand and we were competing with a numberof other songwritersyou know from around the world who allwanted to win that theme songand hearing all you know 12 submissionsof of a song that was you know90 seconds long included thoseinstruments and had those lyricsright and everybody those are the guardrails right those are the those are thecreative things you have to hitand and then how everybody solved thatproblem and how they achieved it and howthey made something catchy it wasabsolutely it was utterly fascinatingit’s it’s a weird mix of commerce andcreativity becauseit was competitive whoever won that waswas going to get more royaltiesyou know and win that contract and andwhoever lost it was going tolose it after putting in a lot of workyeahno kidding yeah yeah working on spec ata very high levelespecially when i work in advertising umthe older i get the more respect i havefor producersuh when i was younger i always thoughtwell the producer isn’t doing anythingright the producer is not the graphicthe producer is not the painter not thevideo person not the cinematographer notthe actorbut no actually the producer is the onewho umis responsible for everything that wentwrongduring the kidding yeah it’s theirsafety blanket right thereyeah exactly so now when i work inadvertising now i havetremendous respect for good producersbecausethey’re the interface between a clientand what they need and the artists andwhat are the artists going to doright yeah and that’s true even whenyou’re not working in things that arestrictly commercialyou know when you even that’s that’strue when you know many classical musicprojects i’ve worked onthe producer needs to sit in that seatand say okaywe’re doing this but will the recordlabel actually want to release whatwe’re doingright yeah why and why not you know andwhose responsibility is itthat person right there you know yeahyeah yeah you want to talk about stressthey’re just making got a budget tonoisethat’s funny so talk a little bit aboutwhat’s behind youum you’re not at doorway right now noyou’re homei’m actually in my home studio it’sactuallymy guest bedroom because who needs thoseright now we’re in the middle of apandemic here at the time of this tapingmaybe not the middle i think we’recoming out of it but um you know we’reall quarantined stillso you know in front of me i’ve got alot of stuff that i took from from mystudioand then you’ve got a beautiful spotright in your home umbut uh i think maybe you’re doing alittle bit of upgradingin your place uh behind yeah right i umyou know without going too far into theweeds umi oh no go this studio has been a longtime comingyou know my studio was in my extrabedroom in queens for a long time andand i had little you know 300 speakersand you know junky old computerum but a number of years ago i moved upto5.1 surround sound because i wasspending a lot of timedeveloping projects in stereo and havingto move them to a 5.1 studioto finish them and um a few years agowhen dolby atmos was making thetransition kind of out of the high-endfilm world and into the rest of theworlduh you know my colleagues and i startedlooking at that and realized whether ornot i was going to be dolby it was goingto be somebodythat we were going to go into there’sthis new buzzword in the industryimmersive audioright and immersive audio really meansaudio that is in three dimensionsbecause you know stereo and 5.1 happenon a planeso if you look behind me the speakersbehind me are all happening kind of on atwo-dimensional plane or sound in frontof you understand behind youand immersive audio will put speakersabove you so that’s what i’m i’m in themiddle of doing ialways wanted to upgrade this room toimmersive but i never needed tobecause i thought well i can just workat the nice studio in manhattanbut now with a lockdown i can’t can’tso uh so this weekend or next i’m gonnahang some additional speakers andand hopefully not kill myself uh boltingthings into this yellingyeah yeah we’ll we’ll pray for you andand is also it’s tricky to say thisbecauseum not everybody’s gonna have thisexperience at home butimmersive audio really is different theexperience really is different it’sworth the extra effortand i’ve done a number of immersiveaudio projects now uhand each time it’s been so satisfyingthat the additional technical headachehas beenworthwhile yeah do you mind describing alittle bit of that process because it’sso new i’m pretty sure that there’s alot of people aren’t familiar butthere’s a lot of confusion aboutobject-based audio right and how thatrelates to immersive sound and howhow how sound is actually any differentin an immersive space than a surroundsound spacei’m going to preface this because a lotof what i’m going to say i’m going touse the word dolby which is a commercialcompanybut these concepts don’t apply just todolby you know there’s dtsxthere’s ro3d um the uh fraunhofer has aproprietary system i think they’re usingdtsxuh so there are different competingvisions of how this is gonna workand there’s also a new file format whichis a genericuh open source file format forcontaining this information so you canuse dolbyatmos to create this generic immersiveexperience and it doesn’t have to bebranded dolby anymorethat’s so huge dudeyeah that’s the adm uh file format umuh so um so for listeners and people whowork on audioum when you’ve got two speakers rightand you pan a sound between them you’reyou’re panning just between those twospeakers and you’re assigning thosespeakers so you’re saying i’m going togo more to the right speaker i’m goingto go more to the left and i’m going topan between them and that’s itand then in 5.1 you’re still doing thesame thing you’re just panning in acircle around youright i’m going to pan to that speakerand umand dolby’s thought process was well wecan just keep adding speakers we have7.1 and we can go to 9.1and they’ll all be channel based formatsand umand what i mean by channel base is thatyou’re still panning to a location i’mpanning to that speaker over there andto that speaker over thereand the benefit of immersive is thatyou’re not panning to speakersyou have a three-dimensional box athree-dimensional world that you’reliving inand you’re panning to a virtual locationand that’s where yourthat’s what you’re sending your sound toand then a playback systemit doesn’t matter how many speakers youhave for dolby atmosyou can have two speakers i’ve heardsome of my atmos mixes on 35 speakersystemsright oh that’s going to be fun scalableif you have if you have 100 speakers ithink the max actually might be 64.we have 64 speakers um the system theplayback system will use whateverspeakers it thinks our best to recreatethat experience in 3dyeah right it’s a smart smart softwareyeah smartit’s a smart playback system so if youonly have three speakers and there’s anew box app the amazon echo studio is3.1 it’s three drivers and a subwooferit will it will recreate your atmos mixusing those speakers to the best of hisabilitiesand if you have you know preferably7.1.4and the 0.4 is uh the last pointis the number of speakers in the ceilingright right um then you can uhatmos will automatically use that numberof speakers yeah so i hope thathappens and when and when you’re usingyeah and when you’re using that softwaretoowhen you talk about the panning forlocation it kind of it spatially italmost looks like it’s like a tenniscourt rightyeah there’s like these like you littleyellow balls that are your objects whichis what you’re tying your audio toso especially when you’re starting tobuild these things you start you startto see where everything relates to eachotherwithin a three-dimensional space like aliteral space environment withwithin uh whatever you’re working withso your video environment you can sortofcreate this space and you can see whereeverything resides which i think isreally awesome to sort of even just froma philosophical levelthink very clearly spatially withinaudio because really we don’t have thatotherwise right yeah we hear it and wekind of imagine this space in our headsbut i think it’s kind of cool to be ableto actually visually see where all thesethings are sort of moving in thisin this three-dimensional plane maybethat’s just me yeahi think um in in a weird way i thinkit’s alsoit’s as good for us as it is for theclients because when i’ve worked on atmost projects the clients love lookingat the tennis balls on the screenoh i’ll bet absolutely yeah yeah it’s agreat representation but the you knowthethe audio aspect of it with or withoutthe balls on the screen is soit’s so captivating that it’s worthdoing you know so one of the things westarted doing at dubway um a couple ofyears ago actuallyum was we started making podcasts usingthe software which might sound oddbut but we were using the software tocreate a binaural experienceso if you’re wearing headphones you geta very very 3d audio experience of thesoundand i think that that’s a place whereum immersive audio software can givesomething to the listener who doesn’thave a lot of speakersyou’ll get you’ll get a better headphoneexperience and that’s that’s the goalright now you knowso one of the things that i’m curiousabout with the immersive movementyou know dolby and anything else i can’thelp but think about the way thatconsumersgeneral consumers have not reallyadopted surround soundand maybe this is just my opinion but ifeel like it’s notreally where we would have thought itwould been when it started to come intoplay in the 90si mean we’re 20 plus years from thisthing’s introduction tosociety and if you don’t go to a movietheateryou’re probably not experiencing it yesi understand there’s a lot of peoplewith surround sound systems in theirhomes butfor the most part a lot of them aren’tset up properlyyou know there’s a lot of issues thereandyou know just speaking from some peoplethat i know that have them they don’tknow how toeven operate them so half the time it’sjust stereo anyway they don’t reallyunderstand the technology and to be fairit’s not all that simple it’s notincredibly intuitive so now we’rethrowing in this other kind ofexperienceyou know when we really haven’t totallyyou know adapted or adoptedthe 5 1 thing so you knowand i work you know in live televisionit’s funny because you know thesethere’s these broadcast trucks out therethat are spitting outum audio and five one and seven oneover tv most time it’s just up makesit’s not actually there but like theonly people that ever really hear it arepeople in master controlyeah you know so so that also bringsanother conundrum i meanthere’s a lot of speakers involved ourtheaters aren’t even caught up yetyou know most most movie theaters arenot caught up yet there’s a lot thatneeds to happen before thisbecomes not just popular but justavailableyou know yeah what do you think i meanis this going to be just anotherthing that just sort of every now andthen you catch but it’s kind of you knownot really what it was intended to be umno and i’ll tell you why umso i’ve i’ve worked on a number ofclassical albumswhere we would make a stereo version anda 5.1 versionstereo version would be sold on cd orput on apple music or spotifyor title and the 5.1 version would beput on dvdvideo right or sometimes sold as a 5.1flac file depending on but there weretwo different platformsright so we go through a separateprocess of making a separate piece ofmedia for this other platformthe um the benefit of the immersiveformats is that you make one mixthat’s scalable to wherever you’re goingto play itright so even if nobody installs 5.1 inthe next 10 years in their homeyou’ll you’ll make this one immersiveaudio mixthat should you have the opportunity toplay it on headphones sounds reallydifferent better than just regularstereo but when you play in your stereosystem it sounds great at a stereoand you can play it on play on five oneor you can play it on seven one you getyou get you you scales automatically upand down right you knownow yeah the consumer electronicscompanies i think they’re all looking atit wondering whether to support it andsome companies have and some companieshaven’t but i think they’reall slowly getting on board but sonos ismaking a goodattempt with their sound bars which isnot reallyactually true true true surround andtrue immersive anyway it’s all comingfrom a single source using a lot ofphase and kind of bouncing some thingsaround but the sound bars are doingthese psycho acoustic tricks to makethings sound more dimensional than theyarewhen i’ve heard the sound bars they haveupward and side firing driversso when you hear something panning witha sound bar it jumps out at you in a waythatit’s pretty exciting and that’s uh youknow i don’t want to sound like a gearsalesman but you can spend 400at best buy on amazon and get somethingthat will willabsolutely improve your tv viewingexperience yeah right yeah this is not ahardit’s not a hard thing to do so so i’mi’m optimistic but you know um when i’vetaken mixes from the pastand played them in in studios so i’lltake a mix that i was really proud ofand play it in a really great studiosometimes it can bedisappointing because you realize thatwasn’t a great mix rightor i don’t know what you mean or it’snot filling up the room rightbut when you make an atmos mix it willtake advantage ofall the resources of the playback systemyou’re inyeah and that in itself is amazingi mean that is so cool yeah that’s whati have i made an atmospherei played one of my atmos mixes in ascreening room with 35 speakers and iwasn’tquite sure what to expect i thought isthis going to fall apart or be adisasterand every single speaker in the roomstarted to create something a little bitdifferent but everything was aliveeverything was oni’d have to assign all those speakersright yeah and so i was really i wasreally satisfied with that i was youknow made me happy i thought okay thisis funthis is great that’s awesome yeahum yeah so we’ll see yeah i don’t knowumyou know and also we’re on theproduction side of things umso i don’t want to be cynical but what’sreally driving thisnot on the consumer electronics side buton the production sideare the spec sheets from contentdelivery networkswhether or not they want them and ifthey do want them then the producers aregoing to come to us they’re going tocome to you and me and say okay we needto mix in this formatand that’s what’s going to drive theindustry to create these formatswhether or not the consumer adopts themso we’ll seeyeah well that’s kind of been that’skind of the way tech works latelyyeah tech companies say you want thisyou don’t knowbut you’re going to want this fairly youknow steve jobs ian if you want to callityou know well nathaniel issuper awesome to talk to you today thishas been you knowglad that you’ve you’ve created such anawesome career andum really appreciate all the generositythat you show time and time againum you’re just one of the most generouspeople with your time and with yourstoriesso i’m glad you were able to share todayand hopefully get some people thinkingabout um you know some places they cango to you know within their careeryeah well thank you for doing this adamyeah good seriesand there’ll be more info on the siteright that’s right yeahif you want to catch up with nathanielyou can go to nathanielreichman.comuh for more information there i’ll addthat link in the description belowum but that’s it really for this episodethanks everybody for watchinguh please please please uh take a momentand show your supportsubscribe hit the like button give me acomment below i’d love to hear what youthink and what you’d like to hear fromor who you’d like to hear fromalso i would love for you to pick upyour free guide and videohow to improve your workflowadamclairemont.comworkflowthose tips have gone um to do my lifewonders and i just like to share it withyou sountil next time thanks so much i’m adamclaremont see

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