May 11, 2025 • 42 mins
In this episode, Sarah Harralson interviews Nashville based producer and mixer, Justine Blazer about mixing in Dolby Atmos surround sound.
Connect with Justine Blazer below:
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https://www.facebook.com/justineblazer
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Connect with Justine Blazer below:
https://www.justineblazer.com/consulting
https://www.facebook.com/justineblazer
https://www.instagram.com/justineblazer/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Hi everyone, Thank you so much for listening today to
mind your music business. In this episode, we are going
to discuss Dolby at Most, which is a spatial audio
technology that creates a three dimensional sound experience to surround sound.
Speaker 2 (00:27):
So you may have heard of Dolby.
Speaker 1 (00:30):
At missmixes of songs just listening on your smartphone through
Apple Music, it'll say that it's a Doby mix. So
I want to talk about this more today and here
to join this conversation with me is Nashville based producer
and artist Justine Blazer. Justin, Thanks so much for being
(00:54):
on the episode today.
Speaker 3 (00:55):
How are you, hey, Sarah, I'm doing fantastic. Thank you
so much for having me.
Speaker 1 (01:00):
Yeah, of course, thanks for being here. So I've been
in your studio before when you produced one of my songs,
and I got to see your Dolby at Most set
up when you first were installing it, and from what
I heard, it sounds truly incredible. It's really cool, it
sounds amazing. So before we get into like what that
(01:24):
setup looks like, can you just tell listeners how you
got into producing and what made you decide to become
Dolby aut Most certified.
Speaker 3 (01:37):
Absolutely so, I moved to town about thirteen years ago.
Just like most of us, you know, we come here
for a dream of being the next country singer, the
next big songwriter, those things.
Speaker 2 (01:49):
And I did. I performed it. I did a lot
of shows.
Speaker 3 (01:53):
And it was, you know, really fun, but you know,
I was lacking a lot of just interaction with my
experience whenever I was recording in the studios. So I
would be going to you know, really big, big studios
and then you know, some kind of small home studios
as well, but I never really felt like I got
the experience that I truly desired. So it wasn't even
(02:17):
a really a thought where like I was gonna, you know,
be a producer or anything like that.
Speaker 2 (02:22):
That was never my intention.
Speaker 3 (02:24):
My intention was to always be the best singer and
the best recording artist I could possibly be. But after
just years of being in town and being in Nashville,
and this isn't to anyone specifically, but it.
Speaker 2 (02:38):
Just it was very.
Speaker 3 (02:41):
It wasn't always the best experience, especially working with certain individuals,
I just felt like I never had a voice. I
never had to say, even though I was the one
paying thousands and thousands of dollars and I just kind
of got fed up with it.
Speaker 2 (02:57):
So I was on a TV.
Speaker 3 (02:58):
Show sixteen called American Supergroup, and I was on a
couple episodes for that, and right around that same time,
I had a couple of producers I was working with,
and it was kind of my final straw because one
basically blatantly said, oh, you got to sleep with me
to kind of get for you know, advanced and kind
of move forward with your career. And then another one
(03:19):
was just refusing to give me my masters. I don't
know why, but it was just this like whole thing
for him. So between like the egos of some of
these uh, you know, producers and engineers that I had
dealt with, and just in it fled out inappropriateness, I
just felt I have to do something myself, and I
didn't know what that was. I didn't even think about
(03:41):
becoming a producer. However, I got four thousand dollars from
the TV show and it was right about that type
I just kind of had a light bulb moment, kind
of an epiphany, and I was like, you know what,
I'm just going to buy me like a little a
little focused right, like like a two channel interface, and
I'm going to just buy Pro Tools. I bought Pro
(04:01):
Tools ten at the time, and I was like, I
was gonna learn enough to kind of get me through
basic tracking. Like if I could learn how to just
you know, do my guitar and do my vocal, I
will I will be so happy, I'll be so thrilled.
Speaker 2 (04:15):
And so right around that time, I.
Speaker 3 (04:19):
I was in a trio called Troika, and we were
a writing trio essentially, and it was me and two
other individuals and we had written, you know, one hundred
plus songs within like a six month period, and we'd
go on all these retreats and we just had an
amazing experience and it was just really an opportunity for
me to push myself as a writer. But at the
(04:41):
same time, I defaulted to being kind of the uh,
you know, hey make a track for us, Justine, Hey,
you know, we wrote the song, can you can you
make a track for us real quick? And it was
just it's our turning into that, and I was like, sure, no,
no problem, you know, and I started just kind of
getting my feet wet on just you know, kind of
this high turnover of tracking demos. And once again, it
(05:04):
still never occurred to me that I was going to
be in the audio world whatsoever. It was just something
that I just learned to do. And then twenty eighteen
was kind of a big year for me. I got
a call kind of on the blue from an artist
and she said that her producer fell through and she
saw a couple of my stories on Instagram that I was,
(05:25):
you know, tracking, and I had, you know, kind of
a setup, and I'm like okay, and she's like, yeah,
I'm just wondering if you could produce my album.
Speaker 2 (05:33):
And I was just like, oh.
Speaker 3 (05:35):
Okay, you know, and it was something I never even
thought to do. But I'm like, well, you know, I've
always been kind of a let's go for it kind
of person anyways, so I'm like, okay, I'll give it
a try.
Speaker 2 (05:46):
Like what's you know, what do I have to lose?
You know? So I I did the album.
Speaker 3 (05:50):
It was like a ten song album, and I was
kind of learning, you know, still how to engineer through
this album. Well, it ended up winning some awards, ended
up doing really while. It got some radio play in
her hometown, which was Boston, and it just kind of
took off. And so with that a lot of people
started giving me a call and it was right around
(06:11):
that same time for the Me Too movement, and I
started getting calls from the indie labels and managers other artists,
and they were like, I want to work with a woman,
so on and so forth, and so it just kind
of fell in my lap. And then in twenty nineteen
I was nominated for Producer of the Year and then
I just figured like, Okay, I think this is the
(06:33):
path I'm supposed to be on.
Speaker 2 (06:34):
And all within like a year or two kind of
all this.
Speaker 3 (06:37):
Happened, and I'm like, well, maybe I should, you know,
really kind of start going hard at this.
Speaker 2 (06:43):
And then that's so that's what I did.
Speaker 3 (06:44):
And then right around the same time, you know, COVID
hit and then I had all the time in the
world to really sit down and learn, you know, the
true art form of engineering.
Speaker 2 (06:55):
And so it was about two years.
Speaker 3 (06:56):
Ago I just randomly saw a Facebook add for an
immersive conference in Nashville and it was the immersive conference
was like March or May of twenty twenty three, and
I was like, oh, what the heck, I'll go for fun.
Speaker 2 (07:10):
And I just chanced, you know, to kind of network
or whatever.
Speaker 3 (07:14):
And ended up going to this thing and I just
became instantly obsessed with with the technology, and I signed
up for Dolby almost training, and then a year after that,
I bought my whole rig for my studio and I
installed a seven one four system in my studio and
(07:34):
the rest is history. So that's been sort of in
a nutshell, my journey as to the present day.
Speaker 1 (07:41):
Yeah, and you know, spatial audio, it's more of a
new thing. It's only been around for a few years now.
People getting Dolby at most training, and I think now
more producers are starting to get on BORG because I
think it was only a handful of people doing it
at first. But can you kind of explain to everyone
(08:01):
the setup you have to have for it, Like you
were saying the seven to one for you know people,
some people are doing at most mixes and headphones. So
I don't think you technically have to have the speakers
for it, right or is that you're how do you
get certified for it?
Speaker 2 (08:19):
Correct?
Speaker 3 (08:19):
Yeah, So to be like certified your room, you have
to have what they call the Dart measurements, which is
basically their formula as to your parameters of your room.
Speaker 2 (08:29):
So you have to put in your height.
Speaker 3 (08:31):
You're with your how far your desk is from your wall,
all of these measurements, and then that is where you
position your speakers.
Speaker 2 (08:38):
You just don't kind of like wing it.
Speaker 3 (08:40):
It's all based on the mathematical equation that do'll be
at most requires.
Speaker 2 (08:45):
So that's really what that looks like.
Speaker 3 (08:48):
As for the actual training part, No, you don't have
to have a seven one four room anything to that degree.
I just did it because I wanted to. But most people,
well especially in the beginning, we're just doing what they
call by neural and that's just you wear a pair
of headphones like Sony three sixty offers are really cool headphones.
(09:09):
It's it's made by Sony, but it's called the three sixty's.
Speaker 2 (09:12):
It's an open back.
Speaker 3 (09:13):
And it's really great because it really does mimic the
immersive experience. So I will check my mixes a lot
of times on those headphones, even though it's just so much.
Speaker 2 (09:23):
More fun to hear it like in real capacity.
Speaker 3 (09:26):
But yes, you don't have to have, you know, a setup,
so but to have a room you have to kind
of follow what Dolby autmost requires. So as for my setup,
I'm using the Apollo X sixteen at the time, it
was the latest and greatest version. I bought that a
year ago, but they've now come out with an even
more advanced version to support the atmost or the immersive experience,
(09:51):
because you know, immersive is you know, five to one,
it's it's seven to one, it's there's always If you
go to Blackbird, they have like a nine a nine
one sixth room, so it's you know, really depends on
how big you want to make it.
Speaker 2 (10:05):
But at the bare minimum, surround sound.
Speaker 3 (10:07):
Would be like like a five to one to call
yoursel or even a quad like that would actually be
your starter version of surround sound or immersive. But to
be in the Dolby bracket, you have to be a
minimum of seven one four so to kind of you know,
separate it out. But all over it's the immersive umbrella.
And that's you know, kind of now being recognized. There's
(10:30):
a category now in the Grammys, which is really exciting.
So and I believe that's how music needs to be heard.
Speaker 2 (10:37):
Once again.
Speaker 3 (10:38):
When I went to that conference two years ago, I
just was blown away, and I just I want everybody
to hear the music this way, because it's just such
an amazing thing it's so awesome.
Speaker 1 (10:49):
So yeah, it really makes you feel like you're a
part of the production, Like as you're listening to it,
you feel like the whole band around you. So I absolutely, yeah,
it's something amazing to experience. Is there a way to
tell when you see Adobe mixed if it was mixed
(11:10):
in a room like yours or on headphones? Do they
have to specify and is there would you be able
to tell, like maybe the quality is not as good
if they did it in headphones versus a room.
Speaker 2 (11:22):
That's really subjective.
Speaker 3 (11:24):
I think with movies, absolutely, there's there's a big in gaming,
there's a big shift in what you hear because you'll
kind of know when it's done in the in the
real in the real.
Speaker 2 (11:36):
Room versus like a headphone's mix.
Speaker 3 (11:38):
But in music because it already is so subjective to
begin with, and you know, some of these stems that
they're using, you know, some are our multi tracks, some
are groups sem some are you know, a variation of
all of those things, so you really don't know a
what the source is, and you know, it could be
a creative thing like where the producers like, yeah, man,
(11:59):
we wanted to make sound like this and it's like,
oh okay, so really, you know, if you have headphones
or you have a room, I personally don't think you're
going to hear much of a difference. If you do,
it could just be that the producer or the artist
wanted it to sound that way. So I think it
really comes down to the artistic direction that you're going
(12:22):
to make as it is an engineer, and like you mentioned,
it is so new. You know, Dobe atmost didn't get
introduced until a music actually until twenty twelve they started
incorporating into movies like the music portion, but it wasn't
until twenty eighteen, so they officially made it like a
(12:42):
music mixing situation. So and then right around that same time,
Apple was like, oh okay, well we're going to jump
on this too, but we're going to call our spatial audio,
and so title, Apple and Amazon are the three main
purveyors of of immersive mixed or immersive playback. Spotify is
(13:05):
not there yet, and you know some of the other
other purveyors are.
Speaker 2 (13:09):
They just they're still stereo.
Speaker 3 (13:11):
So you know, it's really not quite all across the
board yet, so you still have to kind of be
aware of the certain platforms that you are listening to,
and even if you are listening to Apple, it's not
necessarily always Dobe apmost so it's not always Adobe Almals
is always Alobe almost, but Apple is not always It's
It's it's they call it. They have to the way
(13:32):
that I have to mix things down in the parameters,
it's usually based on the specs of Apple Music, which
is very specific, which Adobe has its own specs and
sow does Apple, And so I always meet the requirements
of Apple because they won't upload their song to their
platform if it doesn't meet the requirements, So which is
kind of it's kind of a double edged store because
(13:55):
you have to somewhat compromise. For instance, you could only
do mono mono objects, you cannot do stereo objects that
not in not in Dolby, but.
Speaker 2 (14:07):
But in Apple.
Speaker 3 (14:09):
Your uh like LF has to be a like minus six,
your true peak has to be like minus one. There's
all of these specific things, which for me, I feel
like it's kind of it's it's a little bit of
of a lock and chain kind of thing because it's like,
what if I don't want, you know, I want to
sound like this. I don't want to sound like that,
but I have to kind of, you know, get my
(14:31):
mix a little bit more conservative so it meets the
requirements of of Apple. So there's a little bit of
those challenges still happening right now, which hopefully it can
open up as as time goes on and it can
be somewhat a little bit more interchangeable, and things like
Spotify and those Pandora, those main streaming platforms will eventually
(14:55):
jump on board. Once that happens, I think it's just
going to be a flood of everybody's going to be
immersive now. So yeah, but you know, there's there's car
systems now getting uh you know with immersive you know,
Dolby autmost immersive playback. There's you know, of course, houses
and homes and businesses and things like that that are
now incorporating this. So it's kind of was this weird tango,
(15:17):
like who's who's gonna sort of be the leader in
this first? So yeah, it's it's an interesting spot right now.
Speaker 1 (15:24):
Yeah, I think everyone's slowly jumping on board from what
we're seeing with it. So you said Apple does Dolby,
do they also do Sony three sixty and like, what's
the difference between Dolby and three sixty Sony three sixty
Spatial Audio.
Speaker 2 (15:42):
Is it just their specs.
Speaker 1 (15:43):
Or their gear?
Speaker 2 (15:45):
Yeah, exactly.
Speaker 3 (15:46):
So like you can go into for instance, Apple or
excuse me, Amazon, and you can look at the at
the mixes, like to search pretty much any mainstream song,
it'll separate it out. It'll say, uh HD, would is
you know your standard HD? Then you have, It'll give
you like a like a three sixty option, which is
what that essentially is. So basically like I would be
(16:08):
mixing with the Sony software, not necessarily the Adobe at most,
I don't do the Sony way, but you know I
do have their their gear, I have their headphones and
stuff like that. So I'm kind of doing like a
mix of like Adobe with Sony three sixty you know, headphones,
but then I'm making sure it meets the Apple parameters.
(16:28):
So it's kind of this Morgas board of like it's
all part of this immersive experience.
Speaker 2 (16:33):
This is really music. So when you're going into gaming
and movies, they.
Speaker 3 (16:37):
Are much more tight on their their their their.
Speaker 2 (16:41):
Specs and what they require.
Speaker 3 (16:43):
And because when I took my training, it was all
about mixing for movies and I'm like, I have no
interest mixing for movies. I mean, it's good to know
these things, but I really don't have an interest in
doing this. So I am finding this somewhat of exciting times,
even though it's kind of uncharted territory and uncharted waters
(17:03):
for myself as a as a creative right, because there
isn't anybody sort of leading the way.
Speaker 2 (17:09):
And that was really what kind of went off in
my head.
Speaker 3 (17:12):
I was like, you know what, no one's doing this,
So I'm going to do it, and I'm going to
create something really special. And so when you hear a mix,
I want people to be like, oh, that's that's a
Justing Blazer mix. You know, like right now you can
you can hear stereo mixes and you're like, oh, that's
Tom Lord algae, that's Chris Lord Algae, that's Billy Decker,
that's you know, so and so forth. Jeff Julian like you,
(17:33):
every mixture has its like signature style, but it doesn't
quite exist yet really because it's it's so new and
be we're all just kind of figuring it out. And so,
you know, there's you talk to several different mixing engineers
that they're doing Dolby. There isn't many of us, but
(17:54):
the few that you do talk to, they're they're going
to tell you all there are. They all do it
a different way because I've been over to a lot
of their studios and I'm like, how do you do it?
And it's not been the same twice. So it's been
really interesting to see how everybody is sort of coming
up with this formula, this method, all to give you
that end result of immersive experience. So am I doing
(18:17):
it right or wrong? Who knows? It's just it sounds
cool to me. I'm meeting all the specs and it's
given people the experience that I want them to have
when they listen to it, So.
Speaker 1 (18:29):
Yeah, absolutely. And speaking of listening to it, you know
a lot of people don't know if they're equipped to
hear spatial audio mixes or not. So you do have
to have the right technology, whether it's in your car
speaker system or even just on your smartphone if you
have your AirPods or the spatial audio headphone. So if
(18:53):
you don't have that, you can't hear this spatial audio
mixes as how they're supposed to sound correct.
Speaker 2 (19:00):
That's that's that's A. That's true. That's a fact.
Speaker 3 (19:03):
Yeah, so phones are now I don't know what phone
you have, but like my phone has a uh dobe
autmost button then and I can press that and engage
that and it basically will say, okay, I will recognize
when it's when it's a dolbey autmost mix and play
it that way. And then if you don't engage into
that setting. Same thing with with your Apple. If you
(19:25):
ever go and open up your Apple, your application like
on your computer or whatever, if you go to your
to your press or your settings within within Apple. You
may not even realize this, but there is a setting
that has the dolbe autmost and you want to make
sure that that's engaged. A lot of times it doesn't
default to that. So just like little things like that,
which I think the public still has no idea how
(19:47):
this all even works, and we're all just trying to
like get people to kind of get the word out.
And that's why I've just you know, trying to make
a few posts about it.
Speaker 2 (19:55):
Because it is so it is so cool. It's it's
for me.
Speaker 3 (19:58):
It's just a really fastating technology and from like a
really nerdy aspect, I just find it so interesting because
it is a lot of mathematics and it's a lot
of all of those things kind of in one the
like the science of it and the way the frequency
is hit and what and where are you sending certain
(20:20):
instruments and where where is that going? And how are
you routing that? And how are you automating that? And
you know, is it too much, is it too little?
Is it too busy? Is it not busy enough? I mean,
there's so much you can do with this and that
it just you have to kind of get out of
stereo land for a minute. And a lot of these
you know kind of guys that have been doing mix
(20:42):
mixes for years and years and years are sort of
stuck in their ways. And every time I bring this
up to people, especially like no offense, but like all
they've all been men, and.
Speaker 2 (20:50):
They're like, oh, I'm not doing that at all, and
it's kind of like, oh, you know, and it's like,
bless their heart.
Speaker 3 (20:57):
But like I guess because I have the The thing
about me is I only been doing it for like
you know, I've been audio for like maybe six or
seven years total, So I still feel like I'm mouldible,
like I have this ear for like what's next, what's next,
What's next? It's really interesting to me. I'm not so
set in my ways where I'm like, well, I don't
know what these kids are doing today, but you know
(21:18):
what I'm saying, like the get off my lawn mentality,
you know. So it's like for me, it's really interesting.
But there's a lot of people I've talked to that
are very close minded and they don't even want to
even attempt that because I'm not sure they're they're just
it's too much for them. They don't want to take
it on, whatever the case is. But while they're kind
of sitting in the background, I find that this is
(21:39):
an opportunity for me to be like.
Speaker 2 (21:41):
Okay, cool.
Speaker 3 (21:42):
Gives me space to make something in this in this
sort of lane.
Speaker 2 (21:47):
Because it's not crowded yet.
Speaker 3 (21:48):
It's in you know, not a lot of people are
here yet, So that's kind of the way I'm looking
at it. Plus it's just so interesting, it's just so fun.
So and I think back, like I don't know if
I'll ever get this this opportunity ever again. Like if
you think about like rewind, like if we all were
time travelers, think about it like remember when none of
us were alive, But like remember when you know, stereo
came to the table and like, you know, uh, Beatles
(22:12):
and like those artists you know, went from recording into
romano and all of a sudden, they're they're doing stuff
in stereo. So they're having you know, just the left
speaker has a shaker and just the rights, you know,
and that was so revolutionary at that time. And now
it's like, yeah, of course it's in stereo. Why we're
what else would.
Speaker 2 (22:31):
It be in?
Speaker 3 (22:32):
But it's it's like we take that for granted because
it's just so instilled into our and to our technology.
But I look at Dobe the same exact way. You know,
you think about who was the first guy doing stereo
when everybody's was still doing mono, Like in the fifties
and sixties and things like that, it had been pretty exciting,
and you get these people, oh, well, you know it's
(22:54):
not gonna you know, it's gonna be like this forever,
and it's like, no, it's you know, this is this
is exciting because you don't know what's going to be
after this, and so it just opens up for so
much possibility.
Speaker 1 (23:06):
Yeah, absolutely, this is the first step, and you know,
we're just waiting to see what's coming next with spatial audio.
But to your point before, I wish it was auto
enabled in people's settings to already be equipped to hear
Dolby at Miss mixes and spatial audio, because, like you said,
I think a lot of people don't understand or don't
know that they have to have this enabled to hear
(23:28):
it properly. So even just in your iPhone, if you
have an iPhone, just go to your settings and then
sounds and you have to personalize your spatial audio to
turn that on so or turn on that Dolby at
Miss button. So I wish that was auto enabled for
everyone so they would know. But you know, I think
it's really cool hearing in a room, like it's gonna
(23:50):
sound the best when you're hearing a spatial audio mix,
like in the room that's equipped, but even if you're
just listening on yours, I think it's it's pretty cool
even just hearing the mix and headphones, because you know,
I've heard a mix just running with my AirPods on
and it sometimes like a certain instrument comes in in
(24:12):
the track and I feel like someone's behind me just
having my AirPods in and I think it's so cool.
Speaker 2 (24:18):
It is that's exactly it.
Speaker 3 (24:19):
And so that's the binaural uh listening experience, and you're
gonna get pretty close to what the engineer intended. So
and that's how most people are going to hear it anyway.
Not everyone's going to just go and like buy, you know,
fifteen speakers for the room, Like that's not going to happen,
but you know, you can still get you know, a
(24:40):
good portion of what the intention of that mix is.
Speaker 2 (24:43):
So it's one of those things you sort of have
to like telling it to people that have never heard it.
Speaker 3 (24:50):
It's kind of like, oh, that's cool, and then they
just kind of keep going and moving on with But
everybody that comes over, and you're gonna have to come
over my studio have to play some stuff. But everybody
that comes over my studio, now I play them something
because they have to experience it, because they there's no
way to describe this. There's no way to be like, yeah,
this is wait, you know, and it's like, oh, okay,
(25:11):
you know, it's kind of like like tasting a certain
dessert for the first time, you can describe how awesome
it is all you want, but like people are just
not going to crave it unless they've had it, you know,
or like a drug or whatever.
Speaker 2 (25:25):
The case is.
Speaker 3 (25:25):
But it's it's like that is what I sort of
see is this situation. So everybody, everybody comes over, You're
gonna get Adobe Mix.
Speaker 2 (25:34):
I don't care. You gotta sit down, you got to
listen to a three minutes like yeah, because you know,
it was just my.
Speaker 3 (25:39):
One little way to like spread the word and spread
this whole this whole lane.
Speaker 2 (25:45):
I will do it. And everybody that's listened to it,
they're like, oh my gosh, like what you know.
Speaker 3 (25:52):
And it's just that that's the reaction that I love
seeing from people, and it's just so much fun.
Speaker 2 (25:57):
So yeah, it makes it exciting.
Speaker 1 (26:00):
So when you listen to your Dolby Dolby mix outside
of the room, like when you just listen to that
mix on your phone or car or whatever, do you
think it still sounds the same?
Speaker 2 (26:12):
Like do you still get that yeah, oh yeah sound yeah,
yeah yeah yeah yeah.
Speaker 3 (26:17):
I'll have the artists sit in my chair and I
will turn off the speakers and they're just listening now
on headphones.
Speaker 2 (26:24):
And that's how most people.
Speaker 3 (26:25):
Are going to hear because it flattens it down to
bindirl and a lot of artists like it more that way.
Speaker 2 (26:29):
They're like, oh, this sounds even better.
Speaker 3 (26:31):
And I'm like, wow, okay, great, you know, so as
long as I'm getting they like one or the other.
And then and the fact that they have said they
like the headphones just as much, if not a tad more,
because you because it's right on your ears, you know what,
it's right in there, then I'm happy, you know, I'm
happy with with hearing that because that's that means that's
(26:52):
going to translate well to the car, the iPods that
you know, just you're going to the gym working out
hearing it that way. So that's exciting to hear that.
Speaker 1 (27:03):
Yeah. Yeah, I'm excited to see like where the evolution
takes us of just our headphones going forward to your
spatial audio and our cars as well. But what I
also think is great about these Dolby mixes is that
they're really reviving old catalog. So there's a lot of
(27:25):
catalog artists who are re releasing their older stuff into
a Dooby Atmos mixes, and it's really cool hearing you know,
songs from seventies, eighties whatever in spatial audio. And although
like the Royalty return is like really low right now,
like it's pennies, just because not all of the platforms
(27:45):
are on board with it yet, I think it's just
such a great idea for artists to take songs they've
already released and re release it in adobey atmos version.
Speaker 3 (27:56):
That's exactly it. I mean, that's exactly what I'm doing
right now. I'm remixing Kendrin the Bunnies. She won Pop
Album of the Year this past fall at the at
the grandled Opery for the GMAS, and I produced that
album for her and we're actually re releasing it this
year under adobi atmos. So it's a really cool way
to like, like you said, can I keep music like
(28:17):
your same music? Like you don't literally have to do
anything different, like you All you got to do is say, hey,
mixing engineer, remix this and in adobie amos and you
have a new you have a new product. Essentially, you
have a new product, new packaging, new branding. It's a
way to boost to boost you again without you doing
any additional work. So I mean it's worked for me,
but I mean there's really nothing you have to do,
(28:40):
so exactly like you could go back and remix all
your stuff now, you know. It is kind of one
of those things like can I get those those multi tracks?
Speaker 2 (28:49):
Can I get those stems? I don't know.
Speaker 3 (28:52):
You know a lot of these big labels have access
to that, but you know a lot of the artists,
you know, indie artists, smaller artists, whatever, they may not
have access to to every single step, so that it's
it's it's challenging in a way where I like, I
couldn't just take your way foul and be like, okay,
let's just put this. I mean I could, but it
wouldn't have any separation, and it really wouldn't have any
(29:14):
I would just have to put it to these basically
the seven to one four bed and that and bounce
it down like that's that's what I would have to
do to call that Dobe mix. Now would that be
you know, really exciting to hear? Probably not. It just
sounds like, Okay. The exciting part about the the at
most is the fact that I can separate each individual instrument.
(29:35):
I can print like just the reaver or just the
delay and send that to a bed or make that
an object, you know, automate that, blah blah blah. Like
there's all these different things you can do, and that's
what makes it exciting. So I've been doing a lot
of the tracks that I've been doing right now have
been productions that I've done. So for me, it's been
(29:55):
a kind of an easy, seamless transition, but again into
the opportunities of like, oh right, an outside person calls
me and they're like, hey, you know, put this into dobe.
You know, I'm gonna have to navigate through that because
I don't know what I am receiving. I don't know
how that's that was recorded. I don't know what mics
(30:16):
they're using. I don't know what pre amps they're using.
I don't know if are these committed U tracks with
all your plugins in there, or are they just raw
multi track files where I'm gonna have to basically give
it a give it a stereo mix first, and then
go ahead and process all of that and then put
that as So it's kind of like a two step process.
Speaker 2 (30:39):
So that's that's.
Speaker 3 (30:40):
Once again, you know, we don't know what we're receiving,
and so like a lot of these older songs, yes,
it's bringing it back up.
Speaker 2 (30:48):
But you know, are they truly dobey at most?
Speaker 3 (30:52):
I don't know, other than like taking the final mix
and then just throwing it in the bed and then saying,
are right, it's immersive, and like, technically yes it is,
but you know, we're we able to separate just the kick,
just this snare, just the guitar, just the background vocals
like I don't know, I don't, I'm not especially don't
(31:12):
tape exactly like, and then you're dealing with sample rate
because it has to all be done in forty eight
or ninety six sample rate.
Speaker 2 (31:19):
That's the only way you can do tobia amos.
Speaker 3 (31:21):
So you're dealing with things that are like, you know,
six eight bit, sixteen bit, forty four to one. Uh,
you know, a lot of For a lot of years,
everything was done in forty four one. Now we're all
moving up to forty eight and even into ninety six.
You know, all these different variations of sample rates. It
all matters. And then there's frame rates too, So where
what is the frame rate that it requires? Once again,
(31:44):
we're going back to Apple, they require twenty four frame rates.
Speaker 2 (31:47):
But then you go to like this.
Speaker 3 (31:48):
Movie and they want twenty three point ninety six frame
rates and or you.
Speaker 2 (31:52):
Go to it's it's all.
Speaker 3 (31:53):
It's really all over the place, so you're really kind
of having to navigate per transaction as to what essentially
the end client or the end platform is wanting. So
it's it once again, it's it's not hard, but it's
just a lot of things you have to navigate through,
which like with stereo, it's a little bit more interchangeable,
(32:15):
like I can receive you know, a file and it'll
just it'll just be a little more seamless because it's
you know, for the the years and years and years,
the requirement for CD was sixteen bit forty four one.
Speaker 2 (32:26):
That was it. That was the standard. But now that's
like not anymore, you know.
Speaker 3 (32:32):
So it's just having to kind of navigate through some
of those things as we keep evolving in you know,
going more to the future.
Speaker 2 (32:39):
So right, that's where we're ang with that.
Speaker 1 (32:42):
Yeah, So if someone has a master of their song
and they're like, you know what, I want to a
doobey out most mix of this, do they send you
the stems, you create your mix and then do they
have to get it remastered or do you also master it.
Speaker 2 (32:58):
Yeah, so I mean, I'm during it. I would recommend
that they get it remastered.
Speaker 3 (33:03):
There are specifically dobey at most masters, like I did
that with you with your track, you had a mastering engineer.
Speaker 2 (33:11):
Do I include it in my services?
Speaker 3 (33:12):
Yes, because not everybody has the extra money to spend
on that. And I'm I get it. I'm an Indian
artist too, I understand that, So I say, here's here
it is. But I would just my professional opinion, go
ahead and get that, get that second set of ears
on that, and just double check make sure everything is
thing is good to go. Is it required, No, because
(33:32):
I'm hitting everything to what is required for those platforms. However,
just if you have the money, go ahead and just
send that off to specifically to a an immersive mastering engineer,
which is which is not the same as as a
steric because now you have Vinyl and you know Vinyl
mastering engineers.
Speaker 2 (33:51):
You have people that just master for vinyl, and then
you have people.
Speaker 3 (33:55):
That just master for CD and just master for digital
and just master for so on and so forth. Well
it's no different, you know, go and if you have
the extra money, if you're going to do this, go
ahead and spend the extra money on you know, getting
that person, you know, and there's a there's a few
of them out there. It's not very many, but there
are a few that that specify and just the mastering
(34:18):
of the Adobe at most track.
Speaker 2 (34:21):
So this just best practices. That would be my recommendation.
Speaker 3 (34:25):
However, if you're like, oh, it's just for you know,
for Apple or for I just want to throw it
up there have it on my catalog as, then.
Speaker 2 (34:32):
Then that's fine.
Speaker 3 (34:33):
But if you're trying to go for like like say,
you know, something a little bit more bigger you're going
to be in a future film, or maybe you're trying
to go for the immersive category in the Grammys, like
those kind of goals, like definitely want to you know,
kind of see you know, get a second set of
ears on that.
Speaker 2 (34:47):
So just it's it's all about the intention of the track.
Speaker 3 (34:50):
Some artists are like, I don't care, just want to
throw it up on my on my spot or on
my you know, my Apple page. Great, then there you
go here here it is, and then you got your
Adobe mixed, you know. So I've had kind of two
different clients right now.
Speaker 1 (35:03):
Okay, and for the ones who like just want to
throw it up, you know, out there for people to listen.
Is it like the same process? Do you know what
the distributor do. You upload the track and then say like,
this is Dolby, so they only send it to the
platforms that except Dolby.
Speaker 3 (35:22):
Okay, yes, yeah, So like disstroke Kid, for instance, you
have to have your Wave Stereo and your Wave Dolby
track at the same time, and you have to upload
it together, like not the same time, but like you know,
in that same transaction, because it'll ask you like, hey,
is this a Dolby autmost mixed and you want to
say yes. Then at that point you will also upload
(35:44):
like you can't go back and be like, oh, now
this is Dolby because of the the ISRC codes have
to match and those kind of things. Now, I had
one artists that didn't realize that, so she actually had
to pull down her her track and then re uploaded
with with the Dolby. So but then I had another
artist if it all depends on the distributor at another
(36:06):
artist that it didn't matter, so she had her her
regular mix and then it was like a week later
she uploaded the Dolby mix and it was seamless. So
I think it really depends on you know, is it
United Masters, are you working with District Kid, are you
working with CD Baby, are you working with the Orchard?
They all have their own way of doing it, so
(36:26):
I would definitely look at what they all require. I
know District Kid requires you have to have both at
the same time, so do so. Don't be like if
you're not ready, have them both ready to go. Otherwise
you're going to pull your main one down to re
upload or it's going to have to be a separate
ISRC code. And this would be like you know, grossing
in the Blues Dolbey at most different ISRC code. So
(36:49):
now you're gonna have a whole new set of streams
just specifically for that. It won't it won't merge together
and something don't care. Some people really do care. So
it really depends on what you're going is so.
Speaker 1 (37:01):
Right most cases I've seen it separated, but that is
such a good point for to look into before someone
goes and does that.
Speaker 3 (37:09):
Absolutely absolutely, and so you know, I think as an artist,
all artists are hearing this right now.
Speaker 2 (37:14):
If you have the budget to do this, I would
do it.
Speaker 3 (37:18):
You know, even if it's just one song, because it
puts you in a whole new category.
Speaker 2 (37:22):
Like what I do.
Speaker 3 (37:24):
I'll go onto Apple Music and I'll go onto their
playlist and it'll say best of pop in Spatial or
best of rock or country or whatever the category is,
and like, I'll just play through it and I'm like, oh,
what's the song, And I hear all these new artists
and songs that I never would have even discovered because
(37:44):
of the fact that I'm listening specifically to spatial audio
or they had the best of at most in you know,
indie rock or whatever whatever the genre is. And yeah,
it just it helps break you out from like just
your normal go to sort of patterns. It just helps
you discover new music. And that's kind of I paid
the nine ninety nine a month or whatever with Apple
(38:07):
to hear that had that experience because I like to
listen to, you know, to to those to those mixes up.
So do a lot of comparing, like oh, what are
they doing? Oh cool, they're doing this, They're doing that.
That sounds pretty cool. But I'm but I'm doing it,
you know, like this that's similar to what they're doing,
but I'm mostly doing a little different so it kind
of have been to do a lot of a B
comparison just to make sure I'm I'm still in the
(38:28):
same kind of range as as as these artists as well.
So yeah, I recommend it if you have, you know,
in budget for this kind of stuff right now.
Speaker 2 (38:37):
It's it really ranges, you know.
Speaker 3 (38:40):
I mean, you have you have newer mixers like myself,
you know, we're really willing to like be more flexible.
But then you have like you know, your Jeff Haskins.
You have those kind of guys that are like really
big and that's all they do. You know, it really
depends on you know what, what you're able to swing.
But I recommend anyone hearing this if you have the
(39:02):
budget to least do one song. I would just because
of those reasons. It's just it just people are like ooh,
it just it puts you sort of in this like wow,
Like people are curious now they're like, oh, this is different,
this is new?
Speaker 2 (39:16):
What is this?
Speaker 3 (39:17):
And it gets your fans kind of you know, talking,
even if it's the same song that they've heard, but
now you're gonna hear it in a new way, like
come on, what like that's that's exciting.
Speaker 2 (39:28):
That's that's pretty cool, right.
Speaker 1 (39:30):
And since it's so new, I think it helps indie
artists stand out more when they do Adobe mis mixed
with one of their songs and if they're pitching for sync.
The companies love that. If you already have Adobe as
mix of your song, oh oh absolutely, absolutely, yes, it's
it's it's a big, big, plus plus plus because you know,
(39:52):
once again, if.
Speaker 3 (39:53):
It's going to be hitting Hallmark or Netflix or those
are those are already by default in in atmost.
Speaker 2 (40:01):
I mean, that's just how it is. They you always
see pay attention to the next.
Speaker 3 (40:04):
Time you watch a TV show or a movie, you'll
see a little at the little Bilbie autmost UH logo
icon whatever, pay attention to that stuff. It's it's it's
every it's all in your games, it's all in every movie.
So the last frontier is music, you know, so we're
kind of the last to UH to and this is
so novelty to us.
Speaker 2 (40:23):
But it's like, dude, this has been going on for.
Speaker 3 (40:24):
Years with everybody else, you know, So if you can
have a song that's already mixed that way, then it's like, dude,
this is this is done. They don't have to remix
it and make it into utmost like.
Speaker 1 (40:38):
Like, my guess is like you might make more money
as an artist if it's already mixed because they don't
have to spend the time and money doing it themselves.
Speaker 2 (40:46):
It's definitely possible.
Speaker 3 (40:47):
Like I said, I I haven't you know, seen uh
like what that pays yet, but it's definitely I mean,
it's it's definitely possible for sure, because it's just it's
just the format thing. So if they're like, hey, the
master placement is X amount of dollars, but if it's
already done and at most or even immersive just basic
(41:08):
five to one, like that's putting you ahead of so
many other people.
Speaker 2 (41:12):
Yeah, So it's just things to think about for sure.
Speaker 1 (41:17):
Yeah. Yeah, a lot of great points today. And I'm
so excited to hear some music you're putting out and
artists you're working with and Dolby at Miss. I'm so
excited to hear what you've been up to. But where
can people find you or message you if they're like
I really want my song and Dolby at Most or
maybe just want to work with you for production in general?
(41:40):
Where can they find you?
Speaker 3 (41:42):
Yeah? Absolutely so I'm on Facebook, I'm on Instagram, so
you can just start Justine Blazer B L A z
R like the jacket and then you know, just I
have a inbox me option on my website, so you
can just go to Justinblazer dot com and they'll have
a contact option there and yeah it's you know, I
(42:04):
run my own social media, check all my messages every day,
so yeah, just shoot me a message and let me
know if you just have questions, even if you're curious
about this, I'd be happy to do my best to
answer any anything like that, or just want to join
the conversation and get nerdy with me, that's that's cool too,
so I'm all for that too.
Speaker 2 (42:24):
So yeah, awesome.
Speaker 1 (42:27):
I will link your website socials all in the liner
notes for people to find Justin. Thank you so much
for being on the podcast today.
Speaker 2 (42:35):
Thank you for having me, and I'll talk to you
real soon
Hi everyone, Thank you so much for listening today to
mind your music business. In this episode, we are going
to discuss Dolby at Most, which is a spatial audio
technology that creates a three dimensional sound experience to surround sound.
Speaker 2 (00:27):
So you may have heard of Dolby.
Speaker 1 (00:30):
At missmixes of songs just listening on your smartphone through
Apple Music, it'll say that it's a Doby mix. So
I want to talk about this more today and here
to join this conversation with me is Nashville based producer
and artist Justine Blazer. Justin, Thanks so much for being
(00:54):
on the episode today.
Speaker 3 (00:55):
How are you, hey, Sarah, I'm doing fantastic. Thank you
so much for having me.
Speaker 1 (01:00):
Yeah, of course, thanks for being here. So I've been
in your studio before when you produced one of my songs,
and I got to see your Dolby at Most set
up when you first were installing it, and from what
I heard, it sounds truly incredible. It's really cool, it
sounds amazing. So before we get into like what that
(01:24):
setup looks like, can you just tell listeners how you
got into producing and what made you decide to become
Dolby aut Most certified.
Speaker 3 (01:37):
Absolutely so, I moved to town about thirteen years ago.
Just like most of us, you know, we come here
for a dream of being the next country singer, the
next big songwriter, those things.
Speaker 2 (01:49):
And I did. I performed it. I did a lot
of shows.
Speaker 3 (01:53):
And it was, you know, really fun, but you know,
I was lacking a lot of just interaction with my
experience whenever I was recording in the studios. So I
would be going to you know, really big, big studios
and then you know, some kind of small home studios
as well, but I never really felt like I got
the experience that I truly desired. So it wasn't even
(02:17):
a really a thought where like I was gonna, you know,
be a producer or anything like that.
Speaker 2 (02:22):
That was never my intention.
Speaker 3 (02:24):
My intention was to always be the best singer and
the best recording artist I could possibly be. But after
just years of being in town and being in Nashville,
and this isn't to anyone specifically, but it.
Speaker 2 (02:38):
Just it was very.
Speaker 3 (02:41):
It wasn't always the best experience, especially working with certain individuals,
I just felt like I never had a voice. I
never had to say, even though I was the one
paying thousands and thousands of dollars and I just kind
of got fed up with it.
Speaker 2 (02:57):
So I was on a TV.
Speaker 3 (02:58):
Show sixteen called American Supergroup, and I was on a
couple episodes for that, and right around that same time,
I had a couple of producers I was working with,
and it was kind of my final straw because one
basically blatantly said, oh, you got to sleep with me
to kind of get for you know, advanced and kind
of move forward with your career. And then another one
(03:19):
was just refusing to give me my masters. I don't
know why, but it was just this like whole thing
for him. So between like the egos of some of
these uh, you know, producers and engineers that I had
dealt with, and just in it fled out inappropriateness, I
just felt I have to do something myself, and I
didn't know what that was. I didn't even think about
(03:41):
becoming a producer. However, I got four thousand dollars from
the TV show and it was right about that type
I just kind of had a light bulb moment, kind
of an epiphany, and I was like, you know what,
I'm just going to buy me like a little a
little focused right, like like a two channel interface, and
I'm going to just buy Pro Tools. I bought Pro
(04:01):
Tools ten at the time, and I was like, I
was gonna learn enough to kind of get me through
basic tracking. Like if I could learn how to just
you know, do my guitar and do my vocal, I
will I will be so happy, I'll be so thrilled.
Speaker 2 (04:15):
And so right around that time, I.
Speaker 3 (04:19):
I was in a trio called Troika, and we were
a writing trio essentially, and it was me and two
other individuals and we had written, you know, one hundred
plus songs within like a six month period, and we'd
go on all these retreats and we just had an
amazing experience and it was just really an opportunity for
me to push myself as a writer. But at the
(04:41):
same time, I defaulted to being kind of the uh,
you know, hey make a track for us, Justine, Hey,
you know, we wrote the song, can you can you
make a track for us real quick? And it was
just it's our turning into that, and I was like, sure, no,
no problem, you know, and I started just kind of
getting my feet wet on just you know, kind of
this high turnover of tracking demos. And once again, it
(05:04):
still never occurred to me that I was going to
be in the audio world whatsoever. It was just something
that I just learned to do. And then twenty eighteen
was kind of a big year for me. I got
a call kind of on the blue from an artist
and she said that her producer fell through and she
saw a couple of my stories on Instagram that I was,
(05:25):
you know, tracking, and I had, you know, kind of
a setup, and I'm like okay, and she's like, yeah,
I'm just wondering if you could produce my album.
Speaker 2 (05:33):
And I was just like, oh.
Speaker 3 (05:35):
Okay, you know, and it was something I never even
thought to do. But I'm like, well, you know, I've
always been kind of a let's go for it kind
of person anyways, so I'm like, okay, I'll give it
a try.
Speaker 2 (05:46):
Like what's you know, what do I have to lose?
You know? So I I did the album.
Speaker 3 (05:50):
It was like a ten song album, and I was
kind of learning, you know, still how to engineer through
this album. Well, it ended up winning some awards, ended
up doing really while. It got some radio play in
her hometown, which was Boston, and it just kind of
took off. And so with that a lot of people
started giving me a call and it was right around
(06:11):
that same time for the Me Too movement, and I
started getting calls from the indie labels and managers other artists,
and they were like, I want to work with a woman,
so on and so forth, and so it just kind
of fell in my lap. And then in twenty nineteen
I was nominated for Producer of the Year and then
I just figured like, Okay, I think this is the
(06:33):
path I'm supposed to be on.
Speaker 2 (06:34):
And all within like a year or two kind of
all this.
Speaker 3 (06:37):
Happened, and I'm like, well, maybe I should, you know,
really kind of start going hard at this.
Speaker 2 (06:43):
And then that's so that's what I did.
Speaker 3 (06:44):
And then right around the same time, you know, COVID
hit and then I had all the time in the
world to really sit down and learn, you know, the
true art form of engineering.
Speaker 2 (06:55):
And so it was about two years.
Speaker 3 (06:56):
Ago I just randomly saw a Facebook add for an
immersive conference in Nashville and it was the immersive conference
was like March or May of twenty twenty three, and
I was like, oh, what the heck, I'll go for fun.
Speaker 2 (07:10):
And I just chanced, you know, to kind of network
or whatever.
Speaker 3 (07:14):
And ended up going to this thing and I just
became instantly obsessed with with the technology, and I signed
up for Dolby almost training, and then a year after that,
I bought my whole rig for my studio and I
installed a seven one four system in my studio and
(07:34):
the rest is history. So that's been sort of in
a nutshell, my journey as to the present day.
Speaker 1 (07:41):
Yeah, and you know, spatial audio, it's more of a
new thing. It's only been around for a few years now.
People getting Dolby at most training, and I think now
more producers are starting to get on BORG because I
think it was only a handful of people doing it
at first. But can you kind of explain to everyone
(08:01):
the setup you have to have for it, Like you
were saying the seven to one for you know people,
some people are doing at most mixes and headphones. So
I don't think you technically have to have the speakers
for it, right or is that you're how do you
get certified for it?
Speaker 2 (08:19):
Correct?
Speaker 3 (08:19):
Yeah, So to be like certified your room, you have
to have what they call the Dart measurements, which is
basically their formula as to your parameters of your room.
Speaker 2 (08:29):
So you have to put in your height.
Speaker 3 (08:31):
You're with your how far your desk is from your wall,
all of these measurements, and then that is where you
position your speakers.
Speaker 2 (08:38):
You just don't kind of like wing it.
Speaker 3 (08:40):
It's all based on the mathematical equation that do'll be
at most requires.
Speaker 2 (08:45):
So that's really what that looks like.
Speaker 3 (08:48):
As for the actual training part, No, you don't have
to have a seven one four room anything to that degree.
I just did it because I wanted to. But most people,
well especially in the beginning, we're just doing what they
call by neural and that's just you wear a pair
of headphones like Sony three sixty offers are really cool headphones.
(09:09):
It's it's made by Sony, but it's called the three sixty's.
Speaker 2 (09:12):
It's an open back.
Speaker 3 (09:13):
And it's really great because it really does mimic the
immersive experience. So I will check my mixes a lot
of times on those headphones, even though it's just so much.
Speaker 2 (09:23):
More fun to hear it like in real capacity.
Speaker 3 (09:26):
But yes, you don't have to have, you know, a setup,
so but to have a room you have to kind
of follow what Dolby autmost requires. So as for my setup,
I'm using the Apollo X sixteen at the time, it
was the latest and greatest version. I bought that a
year ago, but they've now come out with an even
more advanced version to support the atmost or the immersive experience,
(09:51):
because you know, immersive is you know, five to one,
it's it's seven to one, it's there's always If you
go to Blackbird, they have like a nine a nine
one sixth room, so it's you know, really depends on
how big you want to make it.
Speaker 2 (10:05):
But at the bare minimum, surround sound.
Speaker 3 (10:07):
Would be like like a five to one to call
yoursel or even a quad like that would actually be
your starter version of surround sound or immersive. But to
be in the Dolby bracket, you have to be a
minimum of seven one four so to kind of you know,
separate it out. But all over it's the immersive umbrella.
And that's you know, kind of now being recognized. There's
(10:30):
a category now in the Grammys, which is really exciting.
So and I believe that's how music needs to be heard.
Speaker 2 (10:37):
Once again.
Speaker 3 (10:38):
When I went to that conference two years ago, I
just was blown away, and I just I want everybody
to hear the music this way, because it's just such
an amazing thing it's so awesome.
Speaker 1 (10:49):
So yeah, it really makes you feel like you're a
part of the production, Like as you're listening to it,
you feel like the whole band around you. So I absolutely, yeah,
it's something amazing to experience. Is there a way to
tell when you see Adobe mixed if it was mixed
(11:10):
in a room like yours or on headphones? Do they
have to specify and is there would you be able
to tell, like maybe the quality is not as good
if they did it in headphones versus a room.
Speaker 2 (11:22):
That's really subjective.
Speaker 3 (11:24):
I think with movies, absolutely, there's there's a big in gaming,
there's a big shift in what you hear because you'll
kind of know when it's done in the in the
real in the real.
Speaker 2 (11:36):
Room versus like a headphone's mix.
Speaker 3 (11:38):
But in music because it already is so subjective to
begin with, and you know, some of these stems that
they're using, you know, some are our multi tracks, some
are groups sem some are you know, a variation of
all of those things, so you really don't know a
what the source is, and you know, it could be
a creative thing like where the producers like, yeah, man,
(11:59):
we wanted to make sound like this and it's like,
oh okay, so really, you know, if you have headphones
or you have a room, I personally don't think you're
going to hear much of a difference. If you do,
it could just be that the producer or the artist
wanted it to sound that way. So I think it
really comes down to the artistic direction that you're going
(12:22):
to make as it is an engineer, and like you mentioned,
it is so new. You know, Dobe atmost didn't get
introduced until a music actually until twenty twelve they started
incorporating into movies like the music portion, but it wasn't
until twenty eighteen, so they officially made it like a
(12:42):
music mixing situation. So and then right around that same time,
Apple was like, oh okay, well we're going to jump
on this too, but we're going to call our spatial audio,
and so title, Apple and Amazon are the three main
purveyors of of immersive mixed or immersive playback. Spotify is
(13:05):
not there yet, and you know some of the other
other purveyors are.
Speaker 2 (13:09):
They just they're still stereo.
Speaker 3 (13:11):
So you know, it's really not quite all across the
board yet, so you still have to kind of be
aware of the certain platforms that you are listening to,
and even if you are listening to Apple, it's not
necessarily always Dobe apmost so it's not always Adobe Almals
is always Alobe almost, but Apple is not always It's
It's it's they call it. They have to the way
(13:32):
that I have to mix things down in the parameters,
it's usually based on the specs of Apple Music, which
is very specific, which Adobe has its own specs and
sow does Apple, And so I always meet the requirements
of Apple because they won't upload their song to their
platform if it doesn't meet the requirements, So which is
kind of it's kind of a double edged store because
(13:55):
you have to somewhat compromise. For instance, you could only
do mono mono objects, you cannot do stereo objects that
not in not in Dolby, but.
Speaker 2 (14:07):
But in Apple.
Speaker 3 (14:09):
Your uh like LF has to be a like minus six,
your true peak has to be like minus one. There's
all of these specific things, which for me, I feel
like it's kind of it's it's a little bit of
of a lock and chain kind of thing because it's like,
what if I don't want, you know, I want to
sound like this. I don't want to sound like that,
but I have to kind of, you know, get my
(14:31):
mix a little bit more conservative so it meets the
requirements of of Apple. So there's a little bit of
those challenges still happening right now, which hopefully it can
open up as as time goes on and it can
be somewhat a little bit more interchangeable, and things like
Spotify and those Pandora, those main streaming platforms will eventually
(14:55):
jump on board. Once that happens, I think it's just
going to be a flood of everybody's going to be
immersive now. So yeah, but you know, there's there's car
systems now getting uh you know with immersive you know,
Dolby autmost immersive playback. There's you know, of course, houses
and homes and businesses and things like that that are
now incorporating this. So it's kind of was this weird tango,
(15:17):
like who's who's gonna sort of be the leader in
this first? So yeah, it's it's an interesting spot right now.
Speaker 1 (15:24):
Yeah, I think everyone's slowly jumping on board from what
we're seeing with it. So you said Apple does Dolby,
do they also do Sony three sixty and like, what's
the difference between Dolby and three sixty Sony three sixty
Spatial Audio.
Speaker 2 (15:42):
Is it just their specs.
Speaker 1 (15:43):
Or their gear?
Speaker 2 (15:45):
Yeah, exactly.
Speaker 3 (15:46):
So like you can go into for instance, Apple or
excuse me, Amazon, and you can look at the at
the mixes, like to search pretty much any mainstream song,
it'll separate it out. It'll say, uh HD, would is
you know your standard HD? Then you have, It'll give
you like a like a three sixty option, which is
what that essentially is. So basically like I would be
(16:08):
mixing with the Sony software, not necessarily the Adobe at most,
I don't do the Sony way, but you know I
do have their their gear, I have their headphones and
stuff like that. So I'm kind of doing like a
mix of like Adobe with Sony three sixty you know, headphones,
but then I'm making sure it meets the Apple parameters.
(16:28):
So it's kind of this Morgas board of like it's
all part of this immersive experience.
Speaker 2 (16:33):
This is really music. So when you're going into gaming
and movies, they.
Speaker 3 (16:37):
Are much more tight on their their their their.
Speaker 2 (16:41):
Specs and what they require.
Speaker 3 (16:43):
And because when I took my training, it was all
about mixing for movies and I'm like, I have no
interest mixing for movies. I mean, it's good to know
these things, but I really don't have an interest in
doing this. So I am finding this somewhat of exciting times,
even though it's kind of uncharted territory and uncharted waters
(17:03):
for myself as a as a creative right, because there
isn't anybody sort of leading the way.
Speaker 2 (17:09):
And that was really what kind of went off in
my head.
Speaker 3 (17:12):
I was like, you know what, no one's doing this,
So I'm going to do it, and I'm going to
create something really special. And so when you hear a mix,
I want people to be like, oh, that's that's a
Justing Blazer mix. You know, like right now you can
you can hear stereo mixes and you're like, oh, that's
Tom Lord algae, that's Chris Lord Algae, that's Billy Decker,
that's you know, so and so forth. Jeff Julian like you,
(17:33):
every mixture has its like signature style, but it doesn't
quite exist yet really because it's it's so new and
be we're all just kind of figuring it out. And so,
you know, there's you talk to several different mixing engineers
that they're doing Dolby. There isn't many of us, but
(17:54):
the few that you do talk to, they're they're going
to tell you all there are. They all do it
a different way because I've been over to a lot
of their studios and I'm like, how do you do it?
And it's not been the same twice. So it's been
really interesting to see how everybody is sort of coming
up with this formula, this method, all to give you
that end result of immersive experience. So am I doing
(18:17):
it right or wrong? Who knows? It's just it sounds
cool to me. I'm meeting all the specs and it's
given people the experience that I want them to have
when they listen to it, So.
Speaker 1 (18:29):
Yeah, absolutely. And speaking of listening to it, you know
a lot of people don't know if they're equipped to
hear spatial audio mixes or not. So you do have
to have the right technology, whether it's in your car
speaker system or even just on your smartphone if you
have your AirPods or the spatial audio headphone. So if
(18:53):
you don't have that, you can't hear this spatial audio
mixes as how they're supposed to sound correct.
Speaker 2 (19:00):
That's that's that's A. That's true. That's a fact.
Speaker 3 (19:03):
Yeah, so phones are now I don't know what phone
you have, but like my phone has a uh dobe
autmost button then and I can press that and engage
that and it basically will say, okay, I will recognize
when it's when it's a dolbey autmost mix and play
it that way. And then if you don't engage into
that setting. Same thing with with your Apple. If you
(19:25):
ever go and open up your Apple, your application like
on your computer or whatever, if you go to your
to your press or your settings within within Apple. You
may not even realize this, but there is a setting
that has the dolbe autmost and you want to make
sure that that's engaged. A lot of times it doesn't
default to that. So just like little things like that,
which I think the public still has no idea how
(19:47):
this all even works, and we're all just trying to
like get people to kind of get the word out.
And that's why I've just you know, trying to make
a few posts about it.
Speaker 2 (19:55):
Because it is so it is so cool. It's it's
for me.
Speaker 3 (19:58):
It's just a really fastating technology and from like a
really nerdy aspect, I just find it so interesting because
it is a lot of mathematics and it's a lot
of all of those things kind of in one the
like the science of it and the way the frequency
is hit and what and where are you sending certain
(20:20):
instruments and where where is that going? And how are
you routing that? And how are you automating that? And
you know, is it too much, is it too little?
Is it too busy? Is it not busy enough? I mean,
there's so much you can do with this and that
it just you have to kind of get out of
stereo land for a minute. And a lot of these
you know kind of guys that have been doing mix
(20:42):
mixes for years and years and years are sort of
stuck in their ways. And every time I bring this
up to people, especially like no offense, but like all
they've all been men, and.
Speaker 2 (20:50):
They're like, oh, I'm not doing that at all, and
it's kind of like, oh, you know, and it's like,
bless their heart.
Speaker 3 (20:57):
But like I guess because I have the The thing
about me is I only been doing it for like
you know, I've been audio for like maybe six or
seven years total, So I still feel like I'm mouldible,
like I have this ear for like what's next, what's next,
What's next? It's really interesting to me. I'm not so
set in my ways where I'm like, well, I don't
know what these kids are doing today, but you know
(21:18):
what I'm saying, like the get off my lawn mentality,
you know. So it's like for me, it's really interesting.
But there's a lot of people I've talked to that
are very close minded and they don't even want to
even attempt that because I'm not sure they're they're just
it's too much for them. They don't want to take
it on, whatever the case is. But while they're kind
of sitting in the background, I find that this is
(21:39):
an opportunity for me to be like.
Speaker 2 (21:41):
Okay, cool.
Speaker 3 (21:42):
Gives me space to make something in this in this
sort of lane.
Speaker 2 (21:47):
Because it's not crowded yet.
Speaker 3 (21:48):
It's in you know, not a lot of people are
here yet, So that's kind of the way I'm looking
at it. Plus it's just so interesting, it's just so fun.
So and I think back, like I don't know if
I'll ever get this this opportunity ever again. Like if
you think about like rewind, like if we all were
time travelers, think about it like remember when none of
us were alive, But like remember when you know, stereo
came to the table and like, you know, uh, Beatles
(22:12):
and like those artists you know, went from recording into
romano and all of a sudden, they're they're doing stuff
in stereo. So they're having you know, just the left
speaker has a shaker and just the rights, you know,
and that was so revolutionary at that time. And now
it's like, yeah, of course it's in stereo. Why we're
what else would.
Speaker 2 (22:31):
It be in?
Speaker 3 (22:32):
But it's it's like we take that for granted because
it's just so instilled into our and to our technology.
But I look at Dobe the same exact way. You know,
you think about who was the first guy doing stereo
when everybody's was still doing mono, Like in the fifties
and sixties and things like that, it had been pretty exciting,
and you get these people, oh, well, you know it's
(22:54):
not gonna you know, it's gonna be like this forever,
and it's like, no, it's you know, this is this
is exciting because you don't know what's going to be
after this, and so it just opens up for so
much possibility.
Speaker 1 (23:06):
Yeah, absolutely, this is the first step, and you know,
we're just waiting to see what's coming next with spatial audio.
But to your point before, I wish it was auto
enabled in people's settings to already be equipped to hear
Dolby at Miss mixes and spatial audio, because, like you said,
I think a lot of people don't understand or don't
know that they have to have this enabled to hear
(23:28):
it properly. So even just in your iPhone, if you
have an iPhone, just go to your settings and then
sounds and you have to personalize your spatial audio to
turn that on so or turn on that Dolby at
Miss button. So I wish that was auto enabled for
everyone so they would know. But you know, I think
it's really cool hearing in a room, like it's gonna
(23:50):
sound the best when you're hearing a spatial audio mix,
like in the room that's equipped, but even if you're
just listening on yours, I think it's it's pretty cool
even just hearing the mix and headphones, because you know,
I've heard a mix just running with my AirPods on
and it sometimes like a certain instrument comes in in
(24:12):
the track and I feel like someone's behind me just
having my AirPods in and I think it's so cool.
Speaker 2 (24:18):
It is that's exactly it.
Speaker 3 (24:19):
And so that's the binaural uh listening experience, and you're
gonna get pretty close to what the engineer intended. So
and that's how most people are going to hear it anyway.
Not everyone's going to just go and like buy, you know,
fifteen speakers for the room, Like that's not going to happen,
but you know, you can still get you know, a
(24:40):
good portion of what the intention of that mix is.
Speaker 2 (24:43):
So it's one of those things you sort of have
to like telling it to people that have never heard it.
Speaker 3 (24:50):
It's kind of like, oh, that's cool, and then they
just kind of keep going and moving on with But
everybody that comes over, and you're gonna have to come
over my studio have to play some stuff. But everybody
that comes over my studio, now I play them something
because they have to experience it, because they there's no
way to describe this. There's no way to be like, yeah,
this is wait, you know, and it's like, oh, okay,
(25:11):
you know, it's kind of like like tasting a certain
dessert for the first time, you can describe how awesome
it is all you want, but like people are just
not going to crave it unless they've had it, you know,
or like a drug or whatever.
Speaker 2 (25:25):
The case is.
Speaker 3 (25:25):
But it's it's like that is what I sort of
see is this situation. So everybody, everybody comes over, You're
gonna get Adobe Mix.
Speaker 2 (25:34):
I don't care. You gotta sit down, you got to
listen to a three minutes like yeah, because you know,
it was just my.
Speaker 3 (25:39):
One little way to like spread the word and spread
this whole this whole lane.
Speaker 2 (25:45):
I will do it. And everybody that's listened to it,
they're like, oh my gosh, like what you know.
Speaker 3 (25:52):
And it's just that that's the reaction that I love
seeing from people, and it's just so much fun.
Speaker 2 (25:57):
So yeah, it makes it exciting.
Speaker 1 (26:00):
So when you listen to your Dolby Dolby mix outside
of the room, like when you just listen to that
mix on your phone or car or whatever, do you
think it still sounds the same?
Speaker 2 (26:12):
Like do you still get that yeah, oh yeah sound yeah,
yeah yeah yeah yeah.
Speaker 3 (26:17):
I'll have the artists sit in my chair and I
will turn off the speakers and they're just listening now
on headphones.
Speaker 2 (26:24):
And that's how most people.
Speaker 3 (26:25):
Are going to hear because it flattens it down to
bindirl and a lot of artists like it more that way.
Speaker 2 (26:29):
They're like, oh, this sounds even better.
Speaker 3 (26:31):
And I'm like, wow, okay, great, you know, so as
long as I'm getting they like one or the other.
And then and the fact that they have said they
like the headphones just as much, if not a tad more,
because you because it's right on your ears, you know what,
it's right in there, then I'm happy, you know, I'm
happy with with hearing that because that's that means that's
(26:52):
going to translate well to the car, the iPods that
you know, just you're going to the gym working out
hearing it that way. So that's exciting to hear that.
Speaker 1 (27:03):
Yeah. Yeah, I'm excited to see like where the evolution
takes us of just our headphones going forward to your
spatial audio and our cars as well. But what I
also think is great about these Dolby mixes is that
they're really reviving old catalog. So there's a lot of
(27:25):
catalog artists who are re releasing their older stuff into
a Dooby Atmos mixes, and it's really cool hearing you know,
songs from seventies, eighties whatever in spatial audio. And although
like the Royalty return is like really low right now,
like it's pennies, just because not all of the platforms
(27:45):
are on board with it yet, I think it's just
such a great idea for artists to take songs they've
already released and re release it in adobey atmos version.
Speaker 3 (27:56):
That's exactly it. I mean, that's exactly what I'm doing
right now. I'm remixing Kendrin the Bunnies. She won Pop
Album of the Year this past fall at the at
the grandled Opery for the GMAS, and I produced that
album for her and we're actually re releasing it this
year under adobi atmos. So it's a really cool way
to like, like you said, can I keep music like
(28:17):
your same music? Like you don't literally have to do
anything different, like you All you got to do is say, hey,
mixing engineer, remix this and in adobie amos and you
have a new you have a new product. Essentially, you
have a new product, new packaging, new branding. It's a
way to boost to boost you again without you doing
any additional work. So I mean it's worked for me,
but I mean there's really nothing you have to do,
(28:40):
so exactly like you could go back and remix all
your stuff now, you know. It is kind of one
of those things like can I get those those multi tracks?
Speaker 2 (28:49):
Can I get those stems? I don't know.
Speaker 3 (28:52):
You know a lot of these big labels have access
to that, but you know a lot of the artists,
you know, indie artists, smaller artists, whatever, they may not
have access to to every single step, so that it's
it's it's challenging in a way where I like, I
couldn't just take your way foul and be like, okay,
let's just put this. I mean I could, but it
wouldn't have any separation, and it really wouldn't have any
(29:14):
I would just have to put it to these basically
the seven to one four bed and that and bounce
it down like that's that's what I would have to
do to call that Dobe mix. Now would that be
you know, really exciting to hear? Probably not. It just
sounds like, Okay. The exciting part about the the at
most is the fact that I can separate each individual instrument.
(29:35):
I can print like just the reaver or just the
delay and send that to a bed or make that
an object, you know, automate that, blah blah blah. Like
there's all these different things you can do, and that's
what makes it exciting. So I've been doing a lot
of the tracks that I've been doing right now have
been productions that I've done. So for me, it's been
(29:55):
a kind of an easy, seamless transition, but again into
the opportunities of like, oh right, an outside person calls
me and they're like, hey, you know, put this into dobe.
You know, I'm gonna have to navigate through that because
I don't know what I am receiving. I don't know
how that's that was recorded. I don't know what mics
(30:16):
they're using. I don't know what pre amps they're using.
I don't know if are these committed U tracks with
all your plugins in there, or are they just raw
multi track files where I'm gonna have to basically give
it a give it a stereo mix first, and then
go ahead and process all of that and then put
that as So it's kind of like a two step process.
Speaker 2 (30:39):
So that's that's.
Speaker 3 (30:40):
Once again, you know, we don't know what we're receiving,
and so like a lot of these older songs, yes,
it's bringing it back up.
Speaker 2 (30:48):
But you know, are they truly dobey at most?
Speaker 3 (30:52):
I don't know, other than like taking the final mix
and then just throwing it in the bed and then saying,
are right, it's immersive, and like, technically yes it is,
but you know, we're we able to separate just the kick,
just this snare, just the guitar, just the background vocals
like I don't know, I don't, I'm not especially don't
(31:12):
tape exactly like, and then you're dealing with sample rate
because it has to all be done in forty eight
or ninety six sample rate.
Speaker 2 (31:19):
That's the only way you can do tobia amos.
Speaker 3 (31:21):
So you're dealing with things that are like, you know,
six eight bit, sixteen bit, forty four to one. Uh,
you know, a lot of For a lot of years,
everything was done in forty four one. Now we're all
moving up to forty eight and even into ninety six.
You know, all these different variations of sample rates. It
all matters. And then there's frame rates too, So where
what is the frame rate that it requires? Once again,
(31:44):
we're going back to Apple, they require twenty four frame rates.
Speaker 2 (31:47):
But then you go to like this.
Speaker 3 (31:48):
Movie and they want twenty three point ninety six frame
rates and or you.
Speaker 2 (31:52):
Go to it's it's all.
Speaker 3 (31:53):
It's really all over the place, so you're really kind
of having to navigate per transaction as to what essentially
the end client or the end platform is wanting. So
it's it once again, it's it's not hard, but it's
just a lot of things you have to navigate through,
which like with stereo, it's a little bit more interchangeable,
(32:15):
like I can receive you know, a file and it'll
just it'll just be a little more seamless because it's
you know, for the the years and years and years,
the requirement for CD was sixteen bit forty four one.
Speaker 2 (32:26):
That was it. That was the standard. But now that's
like not anymore, you know.
Speaker 3 (32:32):
So it's just having to kind of navigate through some
of those things as we keep evolving in you know,
going more to the future.
Speaker 2 (32:39):
So right, that's where we're ang with that.
Speaker 1 (32:42):
Yeah, So if someone has a master of their song
and they're like, you know what, I want to a
doobey out most mix of this, do they send you
the stems, you create your mix and then do they
have to get it remastered or do you also master it.
Speaker 2 (32:58):
Yeah, so I mean, I'm during it. I would recommend
that they get it remastered.
Speaker 3 (33:03):
There are specifically dobey at most masters, like I did
that with you with your track, you had a mastering engineer.
Speaker 2 (33:11):
Do I include it in my services?
Speaker 3 (33:12):
Yes, because not everybody has the extra money to spend
on that. And I'm I get it. I'm an Indian
artist too, I understand that, So I say, here's here
it is. But I would just my professional opinion, go
ahead and get that, get that second set of ears
on that, and just double check make sure everything is
thing is good to go. Is it required, No, because
(33:32):
I'm hitting everything to what is required for those platforms. However,
just if you have the money, go ahead and just
send that off to specifically to a an immersive mastering engineer,
which is which is not the same as as a
steric because now you have Vinyl and you know Vinyl
mastering engineers.
Speaker 2 (33:51):
You have people that just master for vinyl, and then
you have people.
Speaker 3 (33:55):
That just master for CD and just master for digital
and just master for so on and so forth. Well
it's no different, you know, go and if you have
the extra money, if you're going to do this, go
ahead and spend the extra money on you know, getting
that person, you know, and there's a there's a few
of them out there. It's not very many, but there
are a few that that specify and just the mastering
(34:18):
of the Adobe at most track.
Speaker 2 (34:21):
So this just best practices. That would be my recommendation.
Speaker 3 (34:25):
However, if you're like, oh, it's just for you know,
for Apple or for I just want to throw it
up there have it on my catalog as, then.
Speaker 2 (34:32):
Then that's fine.
Speaker 3 (34:33):
But if you're trying to go for like like say,
you know, something a little bit more bigger you're going
to be in a future film, or maybe you're trying
to go for the immersive category in the Grammys, like
those kind of goals, like definitely want to you know,
kind of see you know, get a second set of
ears on that.
Speaker 2 (34:47):
So just it's it's all about the intention of the track.
Speaker 3 (34:50):
Some artists are like, I don't care, just want to
throw it up on my on my spot or on
my you know, my Apple page. Great, then there you
go here here it is, and then you got your
Adobe mixed, you know. So I've had kind of two
different clients right now.
Speaker 1 (35:03):
Okay, and for the ones who like just want to
throw it up, you know, out there for people to listen.
Is it like the same process? Do you know what
the distributor do. You upload the track and then say like,
this is Dolby, so they only send it to the
platforms that except Dolby.
Speaker 3 (35:22):
Okay, yes, yeah, So like disstroke Kid, for instance, you
have to have your Wave Stereo and your Wave Dolby
track at the same time, and you have to upload
it together, like not the same time, but like you know,
in that same transaction, because it'll ask you like, hey,
is this a Dolby autmost mixed and you want to
say yes. Then at that point you will also upload
(35:44):
like you can't go back and be like, oh, now
this is Dolby because of the the ISRC codes have
to match and those kind of things. Now, I had
one artists that didn't realize that, so she actually had
to pull down her her track and then re uploaded
with with the Dolby. So but then I had another
artist if it all depends on the distributor at another
(36:06):
artist that it didn't matter, so she had her her
regular mix and then it was like a week later
she uploaded the Dolby mix and it was seamless. So
I think it really depends on you know, is it
United Masters, are you working with District Kid, are you
working with CD Baby, are you working with the Orchard?
They all have their own way of doing it, so
(36:26):
I would definitely look at what they all require. I
know District Kid requires you have to have both at
the same time, so do so. Don't be like if
you're not ready, have them both ready to go. Otherwise
you're going to pull your main one down to re
upload or it's going to have to be a separate
ISRC code. And this would be like you know, grossing
in the Blues Dolbey at most different ISRC code. So
(36:49):
now you're gonna have a whole new set of streams
just specifically for that. It won't it won't merge together
and something don't care. Some people really do care. So
it really depends on what you're going is so.
Speaker 1 (37:01):
Right most cases I've seen it separated, but that is
such a good point for to look into before someone
goes and does that.
Speaker 3 (37:09):
Absolutely absolutely, and so you know, I think as an artist,
all artists are hearing this right now.
Speaker 2 (37:14):
If you have the budget to do this, I would
do it.
Speaker 3 (37:18):
You know, even if it's just one song, because it
puts you in a whole new category.
Speaker 2 (37:22):
Like what I do.
Speaker 3 (37:24):
I'll go onto Apple Music and I'll go onto their
playlist and it'll say best of pop in Spatial or
best of rock or country or whatever the category is,
and like, I'll just play through it and I'm like, oh,
what's the song, And I hear all these new artists
and songs that I never would have even discovered because
(37:44):
of the fact that I'm listening specifically to spatial audio
or they had the best of at most in you know,
indie rock or whatever whatever the genre is. And yeah,
it just it helps break you out from like just
your normal go to sort of patterns. It just helps
you discover new music. And that's kind of I paid
the nine ninety nine a month or whatever with Apple
(38:07):
to hear that had that experience because I like to
listen to, you know, to to those to those mixes up.
So do a lot of comparing, like oh, what are
they doing? Oh cool, they're doing this, They're doing that.
That sounds pretty cool. But I'm but I'm doing it,
you know, like this that's similar to what they're doing,
but I'm mostly doing a little different so it kind
of have been to do a lot of a B
comparison just to make sure I'm I'm still in the
(38:28):
same kind of range as as as these artists as well.
So yeah, I recommend it if you have, you know,
in budget for this kind of stuff right now.
Speaker 2 (38:37):
It's it really ranges, you know.
Speaker 3 (38:40):
I mean, you have you have newer mixers like myself,
you know, we're really willing to like be more flexible.
But then you have like you know, your Jeff Haskins.
You have those kind of guys that are like really
big and that's all they do. You know, it really
depends on you know what, what you're able to swing.
But I recommend anyone hearing this if you have the
(39:02):
budget to least do one song. I would just because
of those reasons. It's just it just people are like ooh,
it just it puts you sort of in this like wow,
Like people are curious now they're like, oh, this is different,
this is new?
Speaker 2 (39:16):
What is this?
Speaker 3 (39:17):
And it gets your fans kind of you know, talking,
even if it's the same song that they've heard, but
now you're gonna hear it in a new way, like
come on, what like that's that's exciting.
Speaker 2 (39:28):
That's that's pretty cool, right.
Speaker 1 (39:30):
And since it's so new, I think it helps indie
artists stand out more when they do Adobe mis mixed
with one of their songs and if they're pitching for sync.
The companies love that. If you already have Adobe as
mix of your song, oh oh absolutely, absolutely, yes, it's
it's it's a big, big, plus plus plus because you know,
(39:52):
once again, if.
Speaker 3 (39:53):
It's going to be hitting Hallmark or Netflix or those
are those are already by default in in atmost.
Speaker 2 (40:01):
I mean, that's just how it is. They you always
see pay attention to the next.
Speaker 3 (40:04):
Time you watch a TV show or a movie, you'll
see a little at the little Bilbie autmost UH logo
icon whatever, pay attention to that stuff. It's it's it's
every it's all in your games, it's all in every movie.
So the last frontier is music, you know, so we're
kind of the last to UH to and this is
so novelty to us.
Speaker 2 (40:23):
But it's like, dude, this has been going on for.
Speaker 3 (40:24):
Years with everybody else, you know, So if you can
have a song that's already mixed that way, then it's like, dude,
this is this is done. They don't have to remix
it and make it into utmost like.
Speaker 1 (40:38):
Like, my guess is like you might make more money
as an artist if it's already mixed because they don't
have to spend the time and money doing it themselves.
Speaker 2 (40:46):
It's definitely possible.
Speaker 3 (40:47):
Like I said, I I haven't you know, seen uh
like what that pays yet, but it's definitely I mean,
it's it's definitely possible for sure, because it's just it's
just the format thing. So if they're like, hey, the
master placement is X amount of dollars, but if it's
already done and at most or even immersive just basic
(41:08):
five to one, like that's putting you ahead of so
many other people.
Speaker 2 (41:12):
Yeah, So it's just things to think about for sure.
Speaker 1 (41:17):
Yeah. Yeah, a lot of great points today. And I'm
so excited to hear some music you're putting out and
artists you're working with and Dolby at Miss. I'm so
excited to hear what you've been up to. But where
can people find you or message you if they're like
I really want my song and Dolby at Most or
maybe just want to work with you for production in general?
(41:40):
Where can they find you?
Speaker 3 (41:42):
Yeah? Absolutely so I'm on Facebook, I'm on Instagram, so
you can just start Justine Blazer B L A z
R like the jacket and then you know, just I
have a inbox me option on my website, so you
can just go to Justinblazer dot com and they'll have
a contact option there and yeah it's you know, I
(42:04):
run my own social media, check all my messages every day,
so yeah, just shoot me a message and let me
know if you just have questions, even if you're curious
about this, I'd be happy to do my best to
answer any anything like that, or just want to join
the conversation and get nerdy with me, that's that's cool too,
so I'm all for that too.
Speaker 2 (42:24):
So yeah, awesome.
Speaker 1 (42:27):
I will link your website socials all in the liner
notes for people to find Justin. Thank you so much
for being on the podcast today.
Speaker 2 (42:35):
Thank you for having me, and I'll talk to you
real soon
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