I also happened to have (6) Genelec 8040A loudspeakers sitting in the corner from a previous project.
#METRIC HALO FUZZMEASURE PRO#
The MBox Pro was about to turn into a doorstop with macOS Catalina, so at some point in the future I would need a new audio interface, but I also needed to preserve everything else in the studio that was working well. My existing home studio is in New York’s Hudson Valley, north of the city, in a medium-sized room with high ceilings and good acoustic treatment, based on an Avid S3/Dock, Pro Tools Ultimate (native), Mac Pro 6,1, MBox Pro, AJA T-Tap video, and JBL LSR4300 series 5.1 monitoring. COVID-19 had taken a bite out of the New York City post-production world. I needed to mix in Atmos at home, but I also needed to be realistic about the ROI. Years passed, and COVID-19 hit right at a time when one of my best music clients had a slate of upcoming releases for which Dolby Atmos would be necessary. So when an Atmos project did come in that required monitoring in a format higher than 5.1, I would prep the material in the Production Suite and then book another studio with the right gear to complete the project. While our podcasting clients instantly fell in love with the binaural capabilities of Atmos, there wasn’t an overwhelming demand that year for the format with our television clients. In 2017, producer John Bowen encouraged me to look and listen to Dolby Atmos and to think of it as a useful tool for more than just film. I’ve been fortunate to work with some very successful composers, producers, and engineers, and part of their success was the result of continuous education about the latest technology, but selective investment in only what was really needed to complete any given project.
One of the most important things my mentors taught me early on was to look closely at the ROI (return on investment) of any equipment purchases. Over to you Nathaniel… Why Do I Need Dolby Atmos?
#METRIC HALO FUZZMEASURE HOW TO#
Nathaniel Reichman and Mike Crehore sat down and worked out how to achieve a 7.1.4 monitor controller using the DSP in Metric Halo interfaces. But what if one could use the DSP in an audio interface to create a much more cost-effective Eucon enabled monitor controller. This would typically be achieved with an interface like the MTRX or a lower cost MTRX Studio. One of the costly elements of setting up a Dolby Atmos studio, other than a dozen or so speakers, is the need for a 7.1.4 monitor controller with all the features including speaker calibration.
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