GTsongwriter Posted December 8 Share Posted December 8 I've been thinking, A.I. music creation has gotten pretty good and soon you'll not be able to distinguish between it and human creation. As of right now, there's certain frequencies that you can detect in A.I. Music. I'm not sure if it's intentional or if it's a side effect. Sometimes you can hear it using Sony MDR-7506s, other times you need a spectral graphical display. However, in order to stay ahead of it, I believe we will have to start producing 360 spatial music. Right now, A.I. music is in stereo. The only thing we can do is learn 360 spatial audio to get ahead of the curve. What do you think? Link to comment Share on other sites More sharing options...
Terry Kelley Posted December 8 Share Posted December 8 Dunno. I would assume AI can create 5.1, 7.1, googleplex.1 surround or Ambisonic or quadraphonic or whatever-sonic. No reason it can't. Is it necessary to appreciate it's output? I don't necessarily think so. 1 Link to comment Share on other sites More sharing options...
OutrageProductions Posted December 8 Share Posted December 8 I've had clients require 5.1 since 1996, and a few that asked for 7.1 since 2017 (which I can do in house), but one editor asked for 7.1.4 Atmos in '23, so when I went up to Vancouver to the film mix stage, turns out that, since all I did was the music beds, 7.1 was more than sufficient. Generally (not always tho) the MD wants the music bed to be down close to the ground, and only the foley and EFX are flown in elevation. However, a colleague of mine has been doing quite a bit of 7.1.4 and larger jazz projects (like for the Las Vegas Sphere) and they are 'interesting' to say the least. 3 Link to comment Share on other sites More sharing options...
GTsongwriter Posted December 8 Author Share Posted December 8 The Dolby Atmos in Davinic Resolve Studio is $225 right now... I could use thier DAW like system to create my mixed tracks in it and master using Davinic Resolve Studio va Dolby Atmos? OR Should I buy Studio One for Dolby Atmos, cause right now, Cakewalk doesn't have it, right? Link to comment Share on other sites More sharing options...
OutrageProductions Posted December 8 Share Posted December 8 (edited) 2 hours ago, GTsongwriter said: Should I buy Studio One for Dolby Atmos, cause right now, Cakewalk doesn't have it, right? I regularly work in 5 different DAWs; 2 from Steinberg, 1 Avid, 1 Presonus, and CW. All can work with beds at some level, and four have access to the Dolby Atmos Render engine. Only the CW product (at this time) is unable to operate on objects. Maybe that will change someday. Edited December 8 by OutrageProductions 1 Link to comment Share on other sites More sharing options...
mettelus Posted December 8 Share Posted December 8 2 hours ago, GTsongwriter said: The Dolby Atmos in Davinic Resolve Studio is $225 right now... I could use thier DAW like system to create my mixed tracks in it and master using Davinic Resolve Studio va Dolby Atmos? OR Should I buy Studio One for Dolby Atmos, cause right now, Cakewalk doesn't have it, right? That is a good question actually, since it might depend on your intended output format (if primarily for videos versus audio only). From a video-only perspective, Resolve Studio (perpetual license) includes essentially everything in one shot that people pay for Premiere Pro/Mocha Pro each year. Sales on Resolve Studio are quite rare, so is more a decision on your intended use. From a music perspective, surround has a little less applicability than for cinema/gaming, and can substantially increase file size. Gaming engines in particular have had bearing/range information with environments for years, but they really only use the same (small) sound file and adjust bearing and volume based on position/distance. Those are "mixed" by the engine dynamically versus a static output (like music or video creation). 1 Link to comment Share on other sites More sharing options...
Terry Kelley Posted December 8 Share Posted December 8 Did Cakewalk ever fix the speaker muting is surround? I had to switch to another DAW for my surround work. I guess I could check. But with AI I won’t have too! Link to comment Share on other sites More sharing options...
craigb Posted December 8 Share Posted December 8 I prefer 396 degree music! It's 10% better! 😁 1 Link to comment Share on other sites More sharing options...
Terry Kelley Posted December 8 Share Posted December 8 (edited) 10 minutes ago, craigb said: I prefer 396 degree music! It's 10% better! 😁 I'm still laughing! Edited December 8 by Terry Kelley 1 Link to comment Share on other sites More sharing options...
Terry Kelley Posted December 8 Share Posted December 8 14 hours ago, OutrageProductions said: I've had clients require 5.1 since 1996, and a few that asked for 7.1 since 2017 (which I can do in house), but one editor asked for 7.1.4 Atmos in '23, so when I went up to Vancouver to the film mix stage, turns out that, since all I did was the music beds, 7.1 was more than sufficient. Generally (not always tho) the MD wants the music bed to be down close to the ground, and only the foley and EFX are flown in elevation. However, a colleague of mine has been doing quite a bit of 7.1.4 and larger jazz projects (like for the Las Vegas Sphere) and they are 'interesting' to say the least. I've done a far amount of quadraphonic mixing lately or 5.1 without a center channel. Link to comment Share on other sites More sharing options...
Recommended Posts
Please sign in to comment
You will be able to leave a comment after signing in
Sign In Now