Issue link: https://digital.copcomm.com/i/1475048
C A S Q U A R T E R L Y I FA L L 2 0 2 2 55 "From my 'FX mixer' standpoint, it's usually hardest to mix persistent BG beds on headphones because the curve is so different from the room. To get [a better translation], I will often look up the frequency response of the headphones I'm using and put an EQ in line that attempts to flatten it. "Another tool to help bring the headphone mix closer to the real thing are plugins that attempt to create binaural renders of the surround experience. I've been using the one made by Dear Reality (dearVR PRO) for about a year and it's definitely helped reduce the shock when switching back to the room. "Right now, there are a few companies that have created complex headphone systems which can fully replicate the dub stage listening environment. They use [personal] HRTF profiles. They're expensive, but they work. I've tried it. A lot of my friends have tried it. Most agree that these systems match the stage incredibly well. 90%? 95%? It's hard to put a number on it. "As CPU ability increases every year, there is every reason to believe this technology will be on your phone soon. Apple's Spatial Audio is a humble first step in this direction. [The potential is] exciting. This means a greater portion of our audience will eventually be hearing our mixes in full surround or Atmos. They will [also] hear our old mixes in surround or Atmos. "A couple years ago, remote playbacks were in the minority, but the pandemic [for better or worse], has made them commonplace. Will clients be excited by this technology and stay further away from the stage? Will this technology change how we as mixers collaborate— physically and creatively? "As a community, we need to use this technology to improve the quality of our work and our quality of life. I'm hopeful for the possibilities, but a small part of me worries its convenience could lead to further social and creative isolation." Kevin really touched on a lot of great discussion points, not the least of which is coming to terms with how can or should we as a community shepherd these sorts of advances toward increasing quality, rather than larger bottom lines. If you're interested in hearing more on personal HRTF's, the Tonebenders podcast (E. 192 "The Sound of Halo," tonebenderspodcast.com) features the sound team for Halo: Jane Tattersall, Matthew Chan, Lou Solakofski, and Brennan Mercer. In one section, they talk about the challenges and successes using the Smyth A16 and Dolby binaural systems. I definitely recommend the show. On the technology side, Dave Gould was kind enough to let me pick his brain and offer some really practical guidance on exactly what Dolby's up to. Below is my Q&A with David Gould. What tools does Dolby have available for mixers who want to use headphones to their greatest advantage when mixing remotely and on the stage? The Dolby Atmos Renderer application (included with the Dolby Atmos Produc- tion Suite and Mas- tering Suite) includes a dedicated binaural output allowing for real-time monitoring in binaural, in addition to the speaker outputs. This makes it easy to quickly transition between headphones and loudspeakers, checking translations, as well as the ability to easily work on headphones on-the-go or in studios that don't have an Atmos speaker setup. We also recently introduced Dolby Atmos Personalized Rendering, which is our personalized HRTF solution for the Dolby Atmos Renderer (available for free to creatives using Dolby first-party creative tools), that delivers a more natural and lifelike binaural experience. You can find more details here: https://professional.dolby.com/ phrtf/. We find that working with a personalized HRTF brings many benefits to creative professionals working on headphones. It will often lead to improved localization and a more neutral timbre, allowing for a much more predictable and accurate translation between headphones and loudspeakers, and more confidence in your creative decisions. It also tends to lead to a more comfortable and less fatiguing headphone experience, as it provides an experience much closer to what the listener is used to Dolby's David Gould