As part of the ongoing series on spatial mixing approaches in practice, this post shifts the focus from artistic decisions to a technical reflection on the workflows used throughout the project. The following sections outline how different immersive production approaches influenced working methods, creative flexibility, and playback outcomes.
Workflow Overview
This chapter outlines the different production and mixing workflows used throughout the project. While all recordings were carried out using the same studio environment and similar recording setups, two distinct immersive audio workflows were applied during the course of the project.
The first workflow is based on Ambisonics and reflects my initial approach to immersive music production. This workflow was primarily explored during the production of Standby and served as an entry point into working beyond stereo formats.
As the project progressed, a second workflow based on Dolby Atmos was introduced and applied to the subsequent tracks Alter Me and Caught In Dreams. This shift allowed for a comparative evaluation of both approaches in terms of practical handling, artistic possibilities, and production implications.
All projects had about 120–150 individual tracks. Recording was carried out using Cubase and Reaper, depending on the session requirements. Ambisonics mixing was performed in Reaper, while Dolby Atmos productions were realized using Cubase 15 and Nuendo 13. The following blog entries describe both workflows separately, focusing on their respective structures and characteristics.
