Informatie …
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I love working with immersive audio, but it all went to a new level with the collaboration with String and Tins studio and Niels Orens on Unspoken Words.
We chatted through the visual and musical concepts of every track from the album and planned a moving spatial structure for each which could enhance their individual stories, and we also added spatial as well as SFX sync to the music videos, with happenings on screen corresponding to new musical elements not present on the stereo mixes.
We also created specific immersive audio mixes for both theatrical and streaming platforms, with the theatrical mix for the Blu-ray and cinema screenings containing more screen orientation and design for large speaker arrays, and the streaming spatial audio mix optimised more for home systems with audio only (for streaming in Atmos via digital service providers) and optimised for headphone playback where the Dolby Atmos mix is presented binaurally, ideally with head tracking via the latest headphones to allow for a more dynamic immersive audio experience.
This new way of consuming Atmos content via headphones with head tracking was particularly interesting for us, and we designed some pieces of music on the album which would take advantage of the format to sound very different depending on which direction you face during listening. In this way, the music takes on a new, interactive format, where your head direction will influence how the music sounds and you can direct the music to some extent. For example, with Spectrum, we have stereo fields inside the Atmos mix, which are aligned at 90 degrees to each other, so if you face one direction you hear the full stereo effect of one musical element, with another's stereo field in front and behind so it sound more or less mono, but if you turn your head 90 degrees the mono signal opens up to stereo, and the previous stereo signal folds down to mono, radically changing the overall experience of the music and which elements are most pronounced and detailed.
There was so much love and work that went into every piece of music on there, and needless to say we had a load of fun with the whole thing. I hope you can hear some of the spatial ideas we put in there. I'll be chatting about more tracks and mixes in detail over coming months. Massive thank you to everyone at String and Tins, and Niels Orens for the huge job that went in to this whole process. Below is a full list of the engineers for each track, they all do amazing work I'd recommend checking them out.
Film Directed by: Jon Bilbrough
Camera: Ian Oakley, Whitestone Media
Executive Production: James Palmer-Bullock, The Wild Seeds
Special thanks to Dolby London for the use of their studio, Anthony Faulkner at Mesh, The Wild Seeds, all the amazing artists involved in the project and everyone at String and Tins.
Unspoken Words Dolby Atmos Mixes by String and Tins with Max Cooper and Niels Orens.
Sound Supervisor: Will Cohen
Mix Technician: Kaspar Broyd
Producer: Charlie Howard
Chapter 1 - Foundations
Music: Max Cooper - Stream of Thought
Atmos Mix Engineer: Lawrence Kendrick
Chapter 2 - Self Organisation
Music: Max Cooper - Inanimate to Animate feat. Kotomi
Atmos Mix Engineer: Adam Smyth
Chapter 3 - Awakening
Music: Max Cooper - Spectrum
Atmos Mix Engineer: Will Cohen
Chapter 4 - Expression
Music: Max Cooper - Unspoken Words
Atmos Mix Engineer: Will Cohen
Chapter 5 - Abstraction
Music: Max Cooper - A Model of Reality feat. Kotomi
Atmos Mix Engineer: Adam Hare
Chapter 6 - Limits
Music: Max Cooper - Symphony in Acid
Atmos Mix Engineer: Kaspar Broyd
Chapter 7 - Quantisation
Music: Max Cooper - Solace in Structure
Atmos Mix Engineer: Lawrence Kendrick
Chapter 8 - Mechanisation
Music: Max Cooper - Broken Dreams Broken Machines
Atmos Mix Engineer: Culum Simpson
Chapter 9 - Transcendence
Music: Max Cooper - Ascent
Atmos Mix Engineer: Jim Steward
Chapter 10 - Exploration
Music: Max Cooper - Exotic Contents
Atmos Mix Engineer: Mike Bamford
Chapter 11 - Growth
Music: Max Cooper - Pulse at the Centre of Being
Atmos Mix Engineer: Joe Wilkinson
Chapter 12 - Realisation
Music: Max Cooper - Everything
Atmos Mix Engineer: Culum Simpson
Chapter 13 - Restoration
Music: Max Cooper - Small Window on the Cosmos
Atmos Mix Engineer: Adam Smyth
► Sign-up for tour updates: https://a.os.fan/MaxCooper/SignUp
► Subscribe to channel: https://MaxCooper.lnk.to/Subscribe
I love working with immersive audio, but it all went to a new level with the collaboration with String and Tins studio and Niels Orens on Unspoken Words.
We chatted through the visual and musical concepts of every track from the album and planned a moving spatial structure for each which could enhance their individual stories, and we also added spatial as well as SFX sync to the music videos, with happenings on screen corresponding to new musical elements not present on the stereo mixes.
We also created specific immersive audio mixes for both theatrical and streaming platforms, with the theatrical mix for the Blu-ray and cinema screenings containing more screen orientation and design for large speaker arrays, and the streaming spatial audio mix optimised more for home systems with audio only (for streaming in Atmos via digital service providers) and optimised for headphone playback where the Dolby Atmos mix is presented binaurally, ideally with head tracking via the latest headphones to allow for a more dynamic immersive audio experience.
This new way of consuming Atmos content via headphones with head tracking was particularly interesting for us, and we designed some pieces of music on the album which would take advantage of the format to sound very different depending on which direction you face during listening. In this way, the music takes on a new, interactive format, where your head direction will influence how the music sounds and you can direct the music to some extent. For example, with Spectrum, we have stereo fields inside the Atmos mix, which are aligned at 90 degrees to each other, so if you face one direction you hear the full stereo effect of one musical element, with another's stereo field in front and behind so it sound more or less mono, but if you turn your head 90 degrees the mono signal opens up to stereo, and the previous stereo signal folds down to mono, radically changing the overall experience of the music and which elements are most pronounced and detailed.
There was so much love and work that went into every piece of music on there, and needless to say we had a load of fun with the whole thing. I hope you can hear some of the spatial ideas we put in there. I'll be chatting about more tracks and mixes in detail over coming months. Massive thank you to everyone at String and Tins, and Niels Orens for the huge job that went in to this whole process. Below is a full list of the engineers for each track, they all do amazing work I'd recommend checking them out.
Film Directed by: Jon Bilbrough
Camera: Ian Oakley, Whitestone Media
Executive Production: James Palmer-Bullock, The Wild Seeds
Special thanks to Dolby London for the use of their studio, Anthony Faulkner at Mesh, The Wild Seeds, all the amazing artists involved in the project and everyone at String and Tins.
Unspoken Words Dolby Atmos Mixes by String and Tins with Max Cooper and Niels Orens.
Sound Supervisor: Will Cohen
Mix Technician: Kaspar Broyd
Producer: Charlie Howard
Chapter 1 - Foundations
Music: Max Cooper - Stream of Thought
Atmos Mix Engineer: Lawrence Kendrick
Chapter 2 - Self Organisation
Music: Max Cooper - Inanimate to Animate feat. Kotomi
Atmos Mix Engineer: Adam Smyth
Chapter 3 - Awakening
Music: Max Cooper - Spectrum
Atmos Mix Engineer: Will Cohen
Chapter 4 - Expression
Music: Max Cooper - Unspoken Words
Atmos Mix Engineer: Will Cohen
Chapter 5 - Abstraction
Music: Max Cooper - A Model of Reality feat. Kotomi
Atmos Mix Engineer: Adam Hare
Chapter 6 - Limits
Music: Max Cooper - Symphony in Acid
Atmos Mix Engineer: Kaspar Broyd
Chapter 7 - Quantisation
Music: Max Cooper - Solace in Structure
Atmos Mix Engineer: Lawrence Kendrick
Chapter 8 - Mechanisation
Music: Max Cooper - Broken Dreams Broken Machines
Atmos Mix Engineer: Culum Simpson
Chapter 9 - Transcendence
Music: Max Cooper - Ascent
Atmos Mix Engineer: Jim Steward
Chapter 10 - Exploration
Music: Max Cooper - Exotic Contents
Atmos Mix Engineer: Mike Bamford
Chapter 11 - Growth
Music: Max Cooper - Pulse at the Centre of Being
Atmos Mix Engineer: Joe Wilkinson
Chapter 12 - Realisation
Music: Max Cooper - Everything
Atmos Mix Engineer: Culum Simpson
Chapter 13 - Restoration
Music: Max Cooper - Small Window on the Cosmos
Atmos Mix Engineer: Adam Smyth