However, the industry thinks they can convert the old catalog of stereo albums into 3D. Jarra: I’m not a fan of converting stereo recordings to 3D. You have to take that into account in the mix, especially in the bass and lower mids.Ĭ’t: What do you think of turning old recordings into 3D? Stereo offers less space, frequency ranges of individual tracks overlap more strongly. In stereo, however, you have to mix differently than in 3D because the sounds merge differently. Jarra: The stereo mix contains all the elements of the 360-degree versions, so I didn’t leave anything out. Did you omit or change elements when downmixing to stereo? As a musician, this gives me freedom for completely new approaches.Ĭ’t: Their composition is quite dense, something is happening all around the listener.

There it can certainly apply: More is more and maybe even better. In 3D, on the other hand, each sound occupies its own space. That’s why the principle applies in stereo: Less is more. If I apply too many layers, everything turns gray slush. Jarra: In stereo I have to arrange sounds like a painter in ever new layers in 2D in front of me. Sony’s MDR-7506, Bose 700 and Apple’s AirPods sounded good, for example.Ĭ’t: What do you have to consider when composing and arranging in 3D and what changes compared to a piece in stereo? Many models have too much bass, such as Apple’s AirPods Max. My team and I tested audience playback with almost 80 sets of headphones. Jarra: In the studio, I test the mixes with neutral, open models such as the Ollo S4X and the Sennvoonzer HD 600. In this area, Nuendo is currently by far the best tool on the market.Ĭ’t: What headphones have you used for mixing and mastering, and what would you recommend listeners use for the binaural version?

It converts various output formats such as Dolby Atmos and all conceivable speaker configurations from a 3D project. Finally, we created the multi-channel versions of Oxymore with Steinberg Nuendo. For the surround sound we used L-ISA Studio from L-Acoustics, which we also use for my live shows. Jarra: I’m used to Ableton Live, so I used it to create the mix and finalized it in Avid Pro Tools. Jean-Michel Jarre started out in the late 1960s with compositions for ballet, film and musique concrete before celebrating his worldwide breakthrough in 1976 with the album “Oxygene”.Ĭ’t: Which digital audio workstations and surround sound software did you use for the production of “Oxymore”?

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