Setting Up an Affordable Dolby Atmos System
Thereâs a lot of buzz in the music industry around Dolby Atmos, the immersive audio format that enables spatial sound mixing in the latest movies and streaming series. Mixing in Dolby Atmos literally gives your music more dimension, allowing you to place instruments and vocals anywhere in space, dynamically rotate and move tracks around, and get lost in 3D reverb. Best of all, Atmos adapts to any playback system, from cinema speaker arrays to compatible sound bars, smart TVs, and even regular headphones or earphones (using binaural rendering).
Now that most popular mixing software supports Dolby Atmos, itâs more accessible than ever for music makers. And ever since Apple Music, Tidal, Amazon Music, and other top streaming platforms began supporting the format, forward-thinking studios and producers have been racing to upgrade their monitor setups and master the new art of immersive mixing.
But to create good Atmos mixes, you need a monitor system that lets you hear sound from all directions, including behind and above you. These systems might seem big and complex, but that doesnât mean they have to be expensiveâwith the right knowledge and smart budgeting, you can put together an Atmos-capable system for much less than you might expect! This article will show you how to build a Dolby Atmos mixing setup on a budget, from planning your rig to choosing the right monitors and setting it all up.
Understanding Dolby Atmos
If youâve never heard of Dolby Atmosâor just donât fully understand it yetâhereâs what you need to know: Dolby Atmos is an object-based immersive audio format for creating 3D mixes that translate to any playback system. But to really understand Dolby Atmos, you first need to understand how immersive audio (also called spatial audio) works.
Three-Dimensional Mixing
Most people are familiar with stereo sound, which is one-dimensional (meaning you can only place sounds along the left/right axis). Surround sound enables panning from side to side and front to back, making it two-dimensional. Immersive audio adds an additional up/down axis, making it possible to place sounds in three-dimensional space (which is why itâs sometimes called spatial audio).
Audio Objects and Beds
In stereo and surround mixing, panning is done by sending different amounts of sound to each speaker channel. But in Dolby Atmos, each track is encoded as an âObjectâ which includes the mono or stereo audio as well as metadata describing its position in space, volume, automation, and other parameters. There are also linked groups of Objects called âBedsâ which are used for multichannel tracks.
In Dolby Atmos, these Objects and Beds arenât bound to fixed speaker channelsâinstead, the panning data is interpreted during playback and dynamically assigned to whatever speaker setup youâre listening on, from a cinema sound system with dozens of speakers to a 5.1.2 consumer home theater system or even a pair of regular headphones using binaural decoding.
Equipment for Dolby Atmos Mixing
In order to start creating immersive content in Atmos, youâll need to upgrade your equipment. First and foremost, youâll need an array of monitors including surround and overhead speakers to provide true 3D sound. Youâll also need speaker stands, mounting hardware, a compatible audio interface, and software that supports Dolby Atmos. For a detailed guide to everything you need, refer to the official Dolby Atmos Best Practices for Music Room Configuration document.
Surround and Overhead Monitors
Immersive monitor systems use an X.Y.Z format, where X is the number of ear-level speakers, Y is the number of subwoofers, and Z is the number of overhead speakers. Common formats include 5.1.2, 7.1.4, and 9.2.6. The ear-level speakers always include Left, Center, and Right channels, plus two or more surround speakers positioned to the rear and/or sides. Full-range monitors such as the Mackie MR824 are preferred, but itâs okay to use smaller models of the same brand (such as the Mackie MR624) to save money.
The overhead speakers add the critical third dimension: height. Most Dolby Atmos setups include four or six overhead speakers, but smaller setups may have just two. Your overhead speakers should match the others as closely as possible to achieve a consistent sound, but itâs often necessary to use smaller and lighter monitors in ceiling installations.
Subwoofers
For traditional mixing setups, a subwoofer like the Mackie MRS10 is an optional upgrade, but in surround and immersive mixing, itâs essential. The subâs primary job is to play the Low Frequency Effects (LFE) track, a dedicated channel reserved for special effects like bass drops and sub rumbles.
In setups without full-range monitors, the subwoofer also provides bass management, where it takes over the very lowest frequencies that the other speakers canât reproduce. All Atmos systems require at least one subwoofer, but some include two for stereo bass management.
Audio Interface and Monitor Controller
In addition to your multichannel monitor array, youâll need an audio interface with enough outputs for each speaker as well as a way to control volume, muting, and other functions. If youâre on a tight budget, the bare minimum you need is an interface with eight outputs for a 5.1.2 configuration. A 7.1.2 system requires ten outputs, 7.1.4 requires twelve, and so on.
Monitor controllers are an optional but useful upgrade for Dolby Atmos mixing. Specialized immersive monitor controllers allow you to control the volume of all speakers at once, switch between various playback formats, and more. But all of this can be done within your mixing software as well, so donât worry about monitor controllers if your budget is tight.
Speaker Stands and Mounting Hardware
When planning your budget, donât forget to leave room for speaker stands and brackets for wall or ceiling mounting. Depending on the space available, your surround speakers can be placed on freestanding speaker stands, wall brackets such as the OmniMount WB-60 for Mackie HRMK2 monitors, or even conveniently placed furniture.
Overhead speakers are typically mounted from the ceiling with sturdy brackets, but if thatâs not practical, you may be able to use heavy-duty microphone stands with adapters for special mounting hardware. Always check the weight capacity of your stands and/or hardware before installing.
Software
Hardware is just one half of the equationâto actually mix in Atmos, youâll need compatible software, too. Currently, the latest versions of Pro Tools, Logic Pro, Nuendo, Cubase, and Studio One all feature built-in Dolby Atmos compatibility. Other DAWs, including Ableton Live and Reaper, are compatible with the Dolby Atmos Music Panner plugin and Dolby Atmos Renderer application.
The Renderer, Panner, and a compatible DAW are all you need to get started, but there are many other plugins available to help you make your mixes more immersive and interesting. There are spatial reverbs for emulating virtual 3D spaces, upmixing plugins for making mono and stereo tracks spatial, and special tools for working with Ambisonic audio. And of course, all of your current plugins will still work in Dolby Atmos.
Setup
After deciding on a speaker configuration, selecting your monitors, and upgrading your interface and software, the next step is to set it all up. Thereâs a lot to consider at this stage, from selecting a room to installing monitors, adding acoustic treatment, and calibrating your system, but these steps are crucial to getting the most out of your investmentâso donât skip them!
Choosing the Ideal Room
The very first thing you should consider is the room youâll be setting up in. Dolbyâs mix room setup guide recommends minimum dimensions of 3.5 meters (12 feet) long, 3 meters (10 feet) wide, and 2.4 meters (8 feet) high; but these measurements donât include the size of your speakers, so your room should actually be slightly larger. Itâs best to avoid rooms with square dimensions, as this can create extreme low-frequency buildups.
If you donât have access to a big enough room, donât worry! Dolbyâs guidelines are intended for professional studios and not required for Atmos mixing at home, and you can still set up an immersive monitor system in a smaller room as long as youâre smart about speaker placement and acoustics. To plan out your setup in detail, you can enter your room dimensions into the handy Dolby Atmos Room Design Tool (DARDT).
Monitor Configuration
No matter how many monitors you have, there are two basic ways to configure an immersive array: hemispherical and orthogonal. In a hemispherical setup, the monitors are placed in an imaginary dome around your head with equal distances from each speaker to the center. This method is simple to measure and set up, but it can take up valuable floor space in your studio.
In an orthogonal configuration, the monitors can be placed along the walls or in corners to form a rectangular array. This method can save a lot of space, but because the speakers will be at different distances, some of them will need a few milliseconds of delay to make sure that the sound from each speaker reaches your ears at the same time.
Acoustic Treatment
No matter which monitors you use or how you set them up, acoustics will always be a major factor. Every roomâs dimensions cause different wavelengths (usually in the low frequencies) to combine or cancel each other out, distorting the accuracy of your monitors. Meanwhile, higher frequencies reflect off every surface in the room, skewing the sound even more. Even the most accurate monitors will be affected, so controlling room acoustics is critical for Atmos mixing.
To reduce frequency buildups and reflections, you can install sound-absorbing acoustic treatment. Absorbers are usually made of foam or fiberglass insulation, and the thickness of the material determines the frequencies it will absorb. Thick absorbers called bass traps are needed to treat low-frequency buildups, while high-frequency reflections can be treated with thinner wall-mounted panels. But if youâre on a budget, even soft rugs and furniture can help absorb and scatter sound waves.
Monitor Calibration
After installing acoustic treatment, you can make additional adjustments to calibrate your monitors for optimal sound reproduction. Many monitors, including the Mackie HRMK2 and MR Series products, feature EQ switches for fine-tuning the low, mid, and high frequencies in different acoustic environments. You can even measure the frequency response in your room using a microphone and acoustic measurement software, then use additional EQ for further adjustments.
One last (optional) step is to calibrate your default listening level. Film and post-production studios do this to ensure consistent dialogue and sound effects levels, but it can also help music-makers gauge when a mix is too loud or too quiet. Dolby recommends calibrating your listening level by playing pink noise from each speaker at -20 dB LUFS and adjusting the volume until it reads 79-85 dB C on a sound pressure level (SPL) meter.
Software Setup and Routing
The immersive audio listening experience only works if your hardware and software are both set up correctly. When you mix and pan audio Objects in your DAW, the Dolby Atmos Renderer determines which speakers each sound should play out of and sends a unique signal for each channel to your audio interface, which then routes these signals to your speakers. If any of those channels get sent to the wrong speaker, the 3D effect will be ruined.
In your DAW (or in the standalone Renderer app), make sure that each output channel is being sent to your interface in the exact same order. Then, check to make sure your speakers are plugged into the corresponding outputs on your interface. To test your routing, insert a tone generator on a mono Object and slowly pan it around the virtual space. If the sound follows your movements exactly, youâll know itâs working correctly.
Keeping It Affordable
Between the hardware, software, acoustic treatment, and accessories, the costs of a Dolby Atmos upgrade can add up quickly. But that doesnât mean you canât do it on a budgetâyou just have to be smart about it. Here are a few tips to help you save money every step of the way:
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Start small and expand. Even if your goal is to create a professional-level 7.1.4 setup (or larger), you donât have to commit to the whole thing right away. Consider starting with a simple 5.1.2 configuration while you learn to mix in Dolby Atmos, then upgrade your interface and purchase additional speakers when youâre ready to scale up.
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When it comes to monitors, focus on value. When youâre buying seven or more speakers (plus a subwoofer or two), every dollar you can save will be multiplied. Mackie HRMK2 and MR Series monitors offer an ideal balance of sound quality, features, and price that makes it possible to build an immersive array for less than you might expect.
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Get creative with speaker installation. If you donât have the budget for proper speaker stands or canât drill into your walls or ceilings, donât worry! You can use furniture and stacks of books to place your surround speakers at ear level, and certain overhead speakers can be mounted with heavy-duty mic stands.
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Get smart about audio interfaces. Finding the features you need in an interface without overpaying for extras can be challenging. For starters, just look at the number of outputs. As long as there are enough for all of your speakers, youâll be able to mix in Atmos. If you have a little extra to spend, you can consider additional features like mic preamps or MIDI connections. And if you already have an interface with ADAT connectivity, you can simply add an expander unit for extra outputs.
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Get the most out of your setup. Even a small immersive monitor system is a significant investment, but thereâs a lot you can do for free to get the best possible performance out of your gear. Measure your speaker distances to the millimeter, calibrate each one with EQ and delay if necessary, and install acoustic treatment to mitigate any problems in your room.
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