Orbit Pro 1.5 brings a dramatically cleaner interface and a surprising new capability that pushes the software into fresh territory. I break down what's improved, what still needs work, and whether this tiny developer is quietly outpacing the giants behind Eclipsa Audio.

I dive into Vert1go, the new immersive 3D auto-panner from Max1mus Audio, and explore everything from its pattern library and draw mode to a clever feature for object-oriented workflows like Dolby Atmos. I also compare it head-to-head with Sound Particles' Beat Panner so you can decide which one belongs in your immersive audio toolkit.

Sound Particles just released Beat Panner, a new plugin that works like an auto-panner in three-dimensional space for immersive and spatial audio. In this video I explore what it does, who it's for, and give my honest verdict, limitation and all.

Dolby recently made the Dolby Reference Player available to buy on its own, so I take a hands-on look at what it does, how it fits into Dolby Atmos quality control, and how to create a bitstream you can actually test. The real question, though, is who this $50 tool is for — and whether hobbyists and semi-professionals need it at all.

In this first look I explore Orbit Pro, the new Pro version of the Orbit player from Orbit Spatial, which can now transcode Dolby Atmos Master Files directly into YouTube-supported Eclipsa Audio—something even Pro Tools can't do yet. I also walk through its new video import, multi-track sessions, webcam head tracking and improved loudness metering, and explain why it's a strong pick for anyone serious about immersive audio production.

In this episode, I chat with Gert Keunen, mastering engineer and author of Stereo Was a Nice Try, about everything from setting up a budget immersive studio to mixing secrets for Dolby Atmos and why thinking immersive from the start changes everything. We cover DAWs, headphone mixing, the LFE channel, loudness, virtual instruments, and even what beer style best represents an immersive mix.

I ranked every major DAW by the immersive audio features added in 2025 and early 2026 — from platforms with zero native support all the way to the surprising leader at the top of the list. Spoiler: Avid Pro Tools has quietly pulled ahead of the pack with native multi-format spatial session architecture, Sony 360 RA integration, and Audio Vivid support.

Fiedler Audio's new Armada plugin lets you use any mono plugin on immersive audio tracks and even on Dolby Atmos master channels via the Dolby Atmos Composer — and in this video I put it through its paces with FabFilter Pro‑Q and Pro‑C in Reaper. If you've been looking for a Waves Immersive Wrapper alternative from a developer you trust, this one's for you.

I review UpM1xer from Max1mus Audio, a new upmixing plugin for Dolby Atmos that features some genuinely innovative tools like an immersive transient shaper and an LFE subharmonic generator. It's a very strong first showing, though the lack of 9.1.6 support and the Apple Silicon-only limitation are worth noting.

In this video, I review Orbit by Orbit Spatial — a brand-new dedicated Dolby Atmos music player that finally makes it easy to play back and inspect your Atmos master files without needing the Dolby Atmos Renderer. At just 79 pounds (39 for educational users) and packed with features like object soloing, head tracking, and metadata PDF export, this Mac-only tool gets my first-ever unconditional buy recommendation.

In this video, I explore WaveLab 13's new Dolby Atmos mastering features, walking you through the complete workflow from ADM import to final render. I also compare it to competing solutions and share my honest verdict on whether it's worth the investment.

In this video, I explore MELD from Metric Halo, a $400 channel strip plugin that brings a master bus workflow to Dolby Atmos by allowing you to group and control multiple instances simultaneously with powerful sidechaining capabilities. However, be warned: it currently has a critical bug in Reaper (and potentially other DAWs) where it doesn't save group assignments, so test thoroughly before buying.

In this video, I answer the ten most important questions about Dolby Atmos for music production, covering everything from how the format works and its journey from cinema to streaming, to the equipment you actually need and common mixing mistakes to avoid. Whether you're mixing on headphones or speakers, this guide will show you that getting started with Atmos is more accessible than you think—and you might already have what you need to begin.

In this follow-up to my Dolby Atmos Mastering Console review, I explore the software's incredible head tracking implementation, which supports both Apple AirPods and the Supperware head tracker with unique features like non-recentering spatial audio and direct MIDI communication that achieves the lowest latency I've ever experienced. This is hands-down the best solution currently available for monitoring Dolby Atmos through headphones, whether you're on the road or working without access to a full Atmos studio.

Today I'm exploring Fiedler Audio's revolutionary Mastering Console 2 for Dolby Atmos - a comprehensive mastering solution that combines multiple workflows into one powerful application, featuring game-changing tools like a true peak limiter that measures post-render while limiting pre-render, Apple Spatial Audio monitoring for Windows users, and the innovative OBAM plugin format for direct metadata manipulation. This bird's-eye overview showcases how the Mastering Console extends far beyond Dolby's own software capabilities, seamlessly integrating into any Atmos workflow while remaining accessible to both professionals and serious hobbyists - with detailed deep-dives on specific features coming in future videos.

Dolby quietly added Apple AirPods head tracking support to the Atmos Renderer, burying this game-changing feature in a support article without any proper announcement—and it works with virtually any Apple or Beats headphones containing the H1 or H2 chip. In this video, I'll show you how to set it up, demonstrate its impressive spatial monitoring capabilities in a real mixing session, and even reveal how to use your AirPods as a head tracker for your professional studio headphones.

In this video, I dive into some of the most fascinating (and frustrating) Dolby Atmos takes I've found on Reddit, tackling everything from claims that it's just a marketing gimmick to confusion about 8D music and whether you need 16 subwoofers to create an earthquake simulator. I separate fact from fiction in the world of spatial audio, explaining why immersive audio is here to stay while addressing the legitimate criticisms and misconceptions that dominate online discussions about Atmos and surround sound.

In this video, I explore Fiedler Audio's revolutionary new OBAM (Object Based Audio Module) standard — the first plugin format designed specifically for object-based audio that finally brings true mastering capabilities to Dolby Atmos production. I'll demonstrate how this technology works in practice using the updated Dolby Atmos Composer with OBAM-compatible plugins from Fiedler Audio and Toneboosters, showing why this could be the biggest leap forward in immersive audio production yet.

In this video, I show you how to solve one of the most frustrating problems in immersive audio production: multi-channel plugins that don't work properly with your DAW. Learn how to use Kushview Element as a wrapper plugin to fix channel recognition issues and properly route audio for Dolby Atmos and other 3D audio formats.

In this video, I share 10 essential Dolby Atmos mixing tips curated from top industry professionals, complemented by my own commentary and insights to help you create better immersive mixes. From establishing proper spatial foundations to avoiding common pitfalls, these carefully selected techniques will help you create more natural-sounding Atmos mixes that effectively translate across different playback environments.