Immersive Audio Post Production and Mixing Techniques

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Authored by Dan Pfeiffer

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Course Code: OMPRD-400

Next semester
starts Jan 12, 2026

12 Weeks

Level 4

Level 4

3-Credit Tuition

$1,575

A truly immersive sonic experience is shaped by various factors: the disposition of the listener, aural and visual cues, and the content itself. This course offers an in-depth exploration of the techniques and software essential for crafting compelling immersive music mixes. Beyond that, it gives you a deeper understanding of the sensory and cognitive processes behind immersive listening, along with insights into the latest trends in music playback technology.

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Immersive Audio Post Production and Mixing Techniques prepares you to produce, mix, and deliver immersive music with proficiency. Through a blend of psychological principles and practical applications, particularly focusing on the Dolby Atmos workflow, you will gain hands-on experience.

Topics covered include the technical configuration for a Dolby Atmos in-the-box setup with Pro Tools and Dolby Renderer on a single laptop, Atmos integration within Logic X, binaural monitoring via custom HRTF with headphones, Apple Spatial Audio delivery, and advanced immersive mixing techniques to elevate music production.

By the end of the course, you will be able to mix and deliver Dolby Atmos music master files that meet industry specifications. While the course centers on Dolby Atmos, the current industry leader in immersive audio distribution, it also provides a comprehensive understanding of object-based mixing that is applicable across various platforms.

By the end of this course, you will be able to

  • Apply the current consumer technology model, including Apple Spatial Audio, to create mixes and deliverables suitable for streaming platforms
  • Analyze the compression formats used to deliver immersive mixes on streaming platforms and how they influence mixing decisions
  • Set up an in-the-box mixing workflow for Dolby Atmos music projects
  • Design custom Atmos mixing templates and object configurations
  • Create stems for immersive mixing from a stereo mix multitrack
  • Incorporate immersive techniques into music production work
  • Mix and deliver Dolby Atmos music master files based on major label specifications
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Overview Syllabus Requirements Instructors Related Music Career Roles
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Syllabus

Lesson 1: Introduction to Immersive Music: History, Sensory Cognition, and Object Mixing

  • Definition of an Immersive Experience
  • Quality of Content
  • Aural and Cognitive Processing of Spatial Cues
  • Interaural Level Differences (ILD)
  • Interaural Timing Differences (ITD)
  • Timbral Cues
  • History of Audio Reproduction as it Relates to Immersive Audio
  • The Revolution of Object-Based Mixing
  • Assignment 1: The Immersive Audio Experience

Lesson 2: Stemming Techniques

  • Requirements for ‘Upmixing’ from Stereo to Immersive
  • How to Organize a Multitrack for Stemming
  • How to Handle Serial and Parallel Processing
  • Level Management when Stemming a Bus Compressed or Limited Mix
  • How to Manage Stem Export Levels
  • Potential Pitfalls, and Checking Stem Sets with Polarity Inversion
  • Assignment 2: Create a Stem Set

Lesson 3: The Internal Renderer

  • The Concept of Rendering
  • Software Key Commands
  • Internal Renderer Setup
  • The Difference Between ‘The Bed’ and Objects
  • Audio Source Panning
  • Assignment 3: Internal Renderer

Lesson 4: Mixing Part 1: Session Organization and Object Placements

  • Subgrouping in an Atmos Workflow
  • Workshop: Routing in an Atmos Workflow
  • Stereo vs. Mono Objects
  • Stereo Referencing for Remixes
  • Levels
  • Panning Basics
  • Assignment 4: Levels and Pan Atmos Mix

Lesson 5: Template Creation

  • Introduction to Session Templates for Immersive Audio
  • Creating a Personal Immersive Session Template
  • Importing Session Data
  • Assignment 5: Your Template

Lesson 6: The External Renderer

  • Advantages of the External Renderer
  • Setup and Configuration of the External Renderer
  • The LTC Generator and Binaural Settings Plugin
  • The Dolby Music Panner
  • Live Re-renders and Master Printing
  • Assignment 6: External Renderer

Lesson 7: Mixing Part 2: EQ and Compression

  • EQ and Masking
  • Compression
  • The Front of the Mix
  • Expanded Field of Pan
  • Assignment 7: Remix

Lesson 8: Production Techniques

  • Staging and Pan Automation
  • The Height and Percussion
  • Background Vocals
  • Sound Effects
  • Assignment 8: Mixing

Lesson 9: Loudness and Mastering

  • Delivery Standards
  • 5.1 Live Measurements
  • Parallel Compression and Object Limiting
  • Album Levels and Album Assembler
  • Assignment 9: Mastering

Lesson 10: Mixing Part 3: Time-based FX and the Music Panner

  • Immersive Reverbs in the Object Bed Style
  • Spatially Separated Reverbs and Delays
  • The Music Panner/Motion Automation
  • Advanced Mixing Techniques
  • Assignment 10: Final Mix Part 1

Lesson 11: Binaural and HRTF

  • SOFA and HRTF
  • Externalization
  • Personalized HRTF
  • The Future of Headphone Listening
  • Assignment 11: Final Mix Part 2

Lesson 12: Compression Formats, Re-Renders, and Delivery

  • EC3 and AC4-IMS
  • Joint-Object-Coding (JOC)
  • Dolby Conversion Tool
  • Comparative Listening with Binaural
  • ADM BWF and Atmos Container Files
  • Assignment 12: Review Class Mixes

Requirements

Prerequisites and Course-Specific Requirements 

Prerequisite Courses, Knowledge, and/or Skills
Completion of Critical Listening 1, Music Production Analysis, and Art of Mixing or equivalent knowledge and experience is required. In order to be successful in this course, you should have the following background prior to enrolling:

  • Multitrack production and mixing experience
  • Experience collaborating on projects as a music producer/engineer
  • Ability to write effectively and clearly when conveying information and ideas

Textbook(s)

Software

  • One of the following DAWs:
    • Pro Tools 2023.12 or higher
    • Logic 10.7 or higher
    • Note: Ableton Live, Pyramix, Studio One, and Nuendo are all sufficient, but one of Pro Tools or Logic is strongly recommended due to their integration with the Dolby Atmos software and the focus of the course content.
  • Dolby Atmos Renderer
    • A 90-day free trial is available. We recommend that students not start the trial until after the course begins.
    • The Dolby Audio Bridge, which is necessary to route audio from a DAW to Dolby Atmos Renderer on a single computer, is available for macOS only. Windows users must run the Dolby Atmos Renderer on a separate computer from their DAW and use a hardware solution to route audio to/from the DAW.

Hardware

  • Professional open back, over-ear studio headphones, such as Sennheiser HD 600
  • iLok USB (iLok Cloud not sufficient)

Important Technical/System Considerations

  • A computer running macOS is strongly recommended due to the Dolby Atmos Renderer software's reliance on Core Audio. See the sub-bullet of the Dolby Atmos Renderer requirement above for more details.

Student Deals
After enrolling, be sure to check out our Student Deals page for various offers on software, hardware, and more. Please contact support@online.berklee.edu with any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Classes. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of Google Chrome
  • Zoom meeting software
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection

Instructors

Dan Pfeiffer
Dan Pfeiffer

Author & Instructor

Dan Pfeiffer is an assistant professor in the Music Production and Engineering (MP&E) department at Berklee. Since graduating from Berklee, he has been working full-time as a sound engineer with a specialization in immersive post-production and classical location recording. His Atmos work as engineer and assistant includes projects for UMG, Warner Music, Jacob Collier, and an album that won the first-ever "Spatial Audio" UK Gramophone award. Dan's recording work ranges from voiceover for Bethesda Games to orchestral and choral work. 

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Out of the studio, Dan has done audio-visual design and installation work for MIT as well as performance and broadcast facilities in New England. He is an active performer and conductor, and also serves as a board member for the fine arts non-profit Arts Empowering Life Foundation. Read Less

What's Next?

When taken for credit, Immersive Audio Post Production and Mixing Techniques can be applied towards the completion of these related programs:

Related Certificate Programs

Related Music Career Roles

Employers look for skills learned in this course, when hiring for the following music career roles:

ADR Recordist

Assistant Engineer (Studio)

Audio Director

Mastering Engineer

Mixing Engineer

Recording Engineer

Record Producer

Songwriter-Producer

Studio Designer

Studio Maintenance Engineer
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Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

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