As a musician, how do you deal with differences? S’t: Streaming services Apple, Amazon and Tidal offer 3D music in a variety of formats. I spoke to Fraunhofer about this, but we don’t know why. We released a test version of my “Oxygene” album in 360 Real Audio and it didn’t sound very good at all. But the transfer filters for headphones are bad. For speakers, this is the best 3D format on the market. Jar: Sony 360 Real Audio was designed by Fraunhofer. In addition to various 3D formats, a binaural headphone version and a stereo version are also planned. Jarre composed the new album “Oxymore” in a 360-degree setting. However, at the moment, we as musicians do not have access to the necessary tools, for example, to adapt the binaural transmit filter to our needs. If I change the direction of the snare by 30 degrees, its sound will change due to these filter characteristics that you have to compensate for.ĭolby is aware of these issues and works closely with musicians. Thirdly, the filters used for binaural conversion in headphones were also intended for films. However, in music we have an egocentric listening situation in which you sit in the center and everyone around you is equal. There, the dialogue is loud in the front in the middle, the rear channels are quieter. Secondly, Dolby Atmos mixing tools were not designed for music, but for cinemas. As a result, binaural mixes lose momentum in the bass and lower mids. For three reasons: First, the instruments fit together in different ways. So far I haven’t been a big fan of binaural mixes. Jar: We are still in the dark ages of 3D music production. S’t: How satisfied are you with Dolby Atmos? It would also be pointless to digitize a Rembrandt painting in 3D. Charlie Parker and John Coltrane recorded in mono with large microphones. S’t: But there are quite a few jazz records, such as Blue Note, that sound very convincing in Dolby Atmos…
There’s no need to remix Frank Sinatra in 3D to get his voice spinning in your head. From a creative point of view, you have to come up with music for this new medium from the very beginning. However, the industry believes that they can convert the old catalog of stereo albums to 3D. Jar: I’m not a fan of converting stereo recordings to 3D.
S’t: What do you think about turning old recordings into 3D? You have to take this into account in the mix, especially in the bass and lower mids. Stereo offers less space, the frequency ranges of individual tracks overlap more. However, you have to mix differently in stereo than in 3D because the sounds blend differently. Jar: The stereo mix contains all the elements of the 360-degree versions, so I didn’t miss anything. Did you skip or change elements when mixing in stereo? S’t: Their composition is quite dense, something happens around the listener. As a musician, this gives me the freedom to take completely new approaches. It can certainly be applied there: more is more, and maybe even better. On the other hand, in 3D each sound has its own space. That’s why the stereo principle applies: less is more. If I apply too many layers, everything becomes gray goo.
Jar: In stereo, I have to place sounds like an artist on constantly new layers in 2D in front of me. S’t: What do you need to consider when composing and arranging in 3D, and what changes compared to a stereo production? Many models have too much bass, such as Apple’s AirPods Max, Sony MDR-7506, Bose 700 and Apple’s AirPods, for example, sounded good. My team and I tested audience playback with almost 80 sets of headphones. Jar: In the studio, I test mixes with neutral open models such as the Ollo S4X and Sennheiser HD 600. S’t: What headphones did you use for mixing and mastering, and which would you recommend listeners use for the binaural version? In this area, Nuendo is currently the best tool on the market. It converts various output formats such as Dolby Atmos and every conceivable speaker configuration from a 3D project. Finally, together with Steinberg Nuendo, we created multi-channel versions of the Oxymore. For surround sound we used L-ISA Studio by L-Acoustics, which we also use for my live performances.
#Steiberg nuendo pro
Jar: I’m used to Ableton Live so I used it to create the mix and finalize it in Avid Pro Tools.
#Steiberg nuendo software
S’t: What digital audio workstations and surround sound software did you use to create “Oxymore”? Jean-Michel Jarre began his career in the late 1960s with compositions for ballet, cinema and musical concrete, and in 1976 celebrated his worldwide breakthrough with the album Oxygene.
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