Why aren't we we charging more for Production and Atmos Mixing?
Mixing for Dolby Atmos is the hot 'new' thing. If you haven't heard your music produced in 7.1.4, it's an incredible experience. For mixing, it requires 12 speakers: 7 at ear level surrounding the listener; the sub for sending LF elements to; and 4 overhead ceiling speakers. (Yes - it's possible to mix in headphones but it's impossible to get a sense of depth and location if you want your music to be experienced properly on a physical Atmos, 7.1 or 5.1 playback system).
(Source: KMR Audio - depicting a home system. In the studio, the ceiling speakers are a little further in from the F and R speakers… a box within a box)
So why are we only charging in the same ballpark at studios and engineers who are only mixing for traditional stereo? I have no doubt that you were expecting a higher rate, and there's no doubt that other engineers aren't very happy with us for charging this little (and there's no doubt our posts will get some laughing emojis as a result!)
There are 3 reasons:
1. I work from home. I don't have the overheads and expenses to deal with for a commercial premises - rent and business rates for example. Both of which are silly for a comfortable space. My room sounds really nice and the GIK Absorption/diffusion helps us get to a nice sound)
2. I charge a standard day rate for all of my musical work. This includes live engineering; conference engineering; as a musician; and as a lecturer. It's very difficult to justify why I would charge one client one fee and another client another, despite the varying equipment, knowledge, abilities and experience needed to complete each job professionally and properly.
It's kinda unfortunate that the clients I work with seem to not to be able to afford more - but I'm perfectly happy and make a comfortable living.
3. And actually - I actually charge a little less for my studio work to make it affordable as possible for creators! (Certainly for now 😉)
Where as access to a Dolby Access mixing would traditionally be prohibitively expensive for most grassroots musicians - now it isn't!
And I hope more artists choose to have their work mixed for both Atmos and Stereo delivery. There are many creative and commercial advantages to having both - so take advantage!!
Would you like to hear one of your songs in Atmos - enquire now and ask for a consultation to hear what your music would sound like in Atmos and to discuss the commercial advantages of either mixing your new music for Atmos or, re-mixing and releasing your back catalogue for your listeners to experience in a slightly different way.
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