For several years now, qualified tonmeister Edgar Rothermich has been saving me countless hours by his various publications that dig deep into Logic Pro. I've learnt I can trust his analyses, his attention to detail, his sense of relevance, and above all, his intellectual integrity. Only occasionally do I find I need to dig even deeper than Edgar has already gone.

The big new thing in Apple's recent Logic Pro 10.7 is Dolby Atmos which, over the last 10 years, has been promising a new era of 3D immersive surround sound production and consumption. Shortly before this new Logic release Edgar addressed the topic of mixing in Dolby Atmos, in a 48 minute video on YouTube; backed up by his lavishly illustrated book "Mixing in Dolby Atmos - #1 How It Works". No doubt he'll also cover Logic Pro 10.7 very soon. Here's a link to the YouTube video:

"Mixing in Dolby Atmos - How it Works"

Before you wade into the whole video, I'd suggest you might want to take a sneak peek at his very illuminating demonstration of binaural sound for headphones, right at the end of the video, starting at 43:25, linked here.

(I'm in no way affiliated to Edgar Rothermich.)

There's a lot of good study books and tutorials in the Logic universe, but when it comes to degree of detail, graphic layout and depth of information, Edgar stands alone. The production quality of his videos is superb. These are the products of a man totally immersed in his work. 

I too have no professional affiliation with him. 

Thanks so much for the heads up and the link, Plowman!

Bought it just now and settling down for a very satisfying read.

Well, it didn't take too long for my prayers to be answered!

https://www.youtube.com/watch?v=JwC7az8s12I

Thanks Paul for the video and everybody else at VSL who have worked on its preparation.

Looking forward to all future videos on Atmos!

Thank you Paul for that very useful Logic/Atmos/Synchron intro video, and I'm also much obliged to Bernd Mazagg (Sychron Stage Technical Director and Chief Recording Engineer) for providing you and us with some much needed stakes in the ground regarding Logic/Atmos setup with a Synchron (full) library.

I'm currently experimenting with Synchron Timpani (full) in Atmos (binaural), also comparing it with another timpani library recorded in 3D at Galaxy Studios, Belgium - home base of Auro Technologies, the pioneers of 3D immersive sound. I must say, whilst I've always been extremely happy with my huge rock drums library also recorded in 3D at Galaxy, when it comes to orchestral percussion and especially timps, I'm finding that the sense of 3D acoustic space I'm getting from Sychron Stage is preferable for orchestral works. Compared to Sychron Stage A (trapezoidal plan) acoustics, the Galaxy (rectangular plan) live room seems more definitely 'closed' and 'finite' - which works out great for rock, metal, jazz, etc, drums, but to my ear, sounds just a tad too obviously 'constrictive' for renditions by orchestral instruments. By contrast, Synchron Stage ambience tends to open out as it decays, evoking a more enigmatic, less obtrusively limited sense of space - perfect for intricate, nuanced orchestral performances; also ideal for seamless metamorphosis into added long-tail artificial reverbs. Horses for courses.

But I digress. Lol, sorry.

I'm eagerly awaiting further illuminating VSL videos on Logic/Atmos/Synchron.