YES's Aurora was mixed in Dolby Atmos at Curtis Schwartz Studio using a fully calibrated 7.1.4 monitoring environment, alongside the stereo and 5.1 surround mixes.
When I mixed Aurora, the goal wasn't to make sounds fly around the room. It was to make the music feel more expansive without ever distracting from the songwriting. Every placement was made to support the emotional impact of the track.
The studio is centred around a Steinway D Spirio and a fully calibrated Dolby Atmos monitoring system.
Working in immersive audio opens up a fundamentally different creative space. Rather than being confined to stereo’s left–right field, instruments and textures can exist anywhere within a three-dimensional environment — allowing arrangements to breathe and detail to emerge with greater clarity and depth.
The control room is configured for full Dolby Atmos monitoring with calibrated immersive playback, ensuring accurate translation from critical nearfield listening through to larger playback systems.
Here are a few recent views of the control room set up for Dolby Atmos mixing.
Control room configured for Dolby Atmos mixing.
Praise for the Atmos mix
"The Dolby Atmos mix of Aurora is absolutely wonderful — far beyond what I had imagined."
— Shin Katayama
Music producer, A&R & journalist, Tokyo, Japan
"The first two Atmos mixes sound celestial."
— The Afterword
"This is an album that feels made for surround sound."
— Now Spinning Magazine"Every instrument has space."
— The Prog Report
The complete audio production for YES – Aurora—stereo, 5.1 surround, Dolby Atmos and final mastering—was completed at Curtis Schwartz Studio using a fully calibrated 7.1.4 Dolby Atmos monitoring system.
Listening position in the immersive control room.
