These tracks are Dolby ATMOS™ versions of the first three tracks from the "Saṃsāra" album
Immersive mixing by Chris Perry, Toronto
Immersive mastering by Oli Morgan at Abbey Road Studios, London
When I was at the Audio Engineering Society Convention this past October, it became apparent that immersive music in general (and Dolby Atmos™ in particular) was becoming more and more integrated into the overall music streaming ecosystem. I heard some amazing demos, and heard from engineers and producers about their directions forward working with artists. Wanting to be a part of that, and curious about the musical and technical choices made by other artists, I decided I would try it for my own music. I chose Dolby Atmos™ as the format due to its availability on Apple Music, Tidal, and Amazon. We took the first three tracks of "Saṃsāra", my recent release featuring Adam Holzman, and went back to the unmixed tracks. I remixed everything into multiple stems, and sent it to engineer Chris Perry in Toronto. He did the Dolby Atmos™ mixes. Those mixes then went to Oli Morgan at Abbey Road for mastering. Tools for immersive mastering are relatively new, and not all artists or labels are there yet, but it takes the music to the next level. Here are the results! I’ve listed some resources here to get you started:
Spatial Audio with Dolby Atmos™ in Apple Music:
How to listen to music in Dolby Atmos™ on TIDAL:
How (and Why) To Listen to Dolby Atmos™ Music on Your Receiver, Speakers or Soundbar
About Dolby Atmos™
I'm planning to make these tracks available in multiple formats:
- on streaming services (that support Dolby Atmos™)
- a rendered binaural BIN WAV version, will be available here on Bandcamp
- a rendered 5.1 ADM WAV version, will be available on request
- a full ADM WAV file version, version, will be available on request
- an mp4 file version, version, will be available on request
For mp4 version info please see: https://bit.ly/3RkYBn4
"Saṃsāra" is a new release showcasing two new tracks featuring Adam Holzman, as a compilation with tracks featuring Adam from recent singles and albums.
Saṃsāra (संसार) is a Sanskrit/Pali word that means “world”, as well as the concept of death and rebirth and “cyclicality of all life, matter, existence”. It is a fundamental belief of most Indian religions. Popularly, it is the cycle of death and rebirth. Saṃsāra can be called transmigration, karmic cycle, reincarnation, etc.
It’s a concept that is part of many religious and spiritual traditions worldwide, practiced by billions of people. Many incredible and insightful perspectives out there other than ours...
I have been working with Adam Holzman on many projects, and I'm constantly blown away by his contribution to, and collaboration with, my music and recordings. He has superb fluid musicality in many different genres. From touring and recording with Miles Davis and up to Steven Wilson he has proved to be one of the great synthesizer soloists. I also think he's an excellent pianist, and I tried to really focus in on piano in a couple of the pieces in this collection. It's a great pleasure working with him, and I want to continue! (Note: If you like his playing please make sure to go and vote for him in the next Downbeat Reader's Poll!)
Mastered at Abbey Road Studios by Sean Magee
The artwork for "Saṃsāra" is by Kate Nelson
excerpted from her painting "Tremorous Particles"
These have been strange times in so many ways, and remain so, between racism, social inequities, climate change, the pandemic...but we are also the beneficiaries of light that illuminates and catalyzes our existence. Light and its metaphors are inherently egalitarian; the light that “wraps me” also “wraps all things”. We’re all in it together, and it shines on us without individual regard. The human collective can come to terms with this, and get along, or the light will innocently and beneficently continue to shine on our collective disappearance. How well the music in “The Light That Wraps Me and All Things” reflects this is up to you.
This music owes so much to Adam Holzman, who once again reminds us that he matches the creativity, technique, nuance, grace, and personality that he has on electric instruments on the acoustic piano. This is as much our piece as my piece; Adam, I thank you from the bottom of my heart.
Mastered at Abbey Road Studios by Sean Magee.
The title is from "Song of the Open Road" by Walt Whitman.
"The Vanished Day” grew out of thinking about how the traumas of the past year have felt: pandemic, the lack of racial and social justice, climate change, authoritarianism, economic inequities… I have found the totality of it unsettling if not overwhelming. The impossibility of grasping it all in social, emotional, or intellectual terms, led to this track. The piece is a six-part suite, building from ideas born in the great electronic music studios of the 50s - 70s, and integrating more contemporary influences. The electronic sounds were created with Eurorack & Aries modular systems, with the addition of musique concretè, voice, and hand percussion. Among all the various genres of music I've worked in, it is this pre-MIDI approach to composing electronic music that I began with in the mid 70s. It has been an element of everything I have composed since. Being personally involved in the modular synthesizer revival that started in the early 2000s has been fascinating. It continues to grow to this day, and I’m looking forward to it. Mastered at Abbey Road Studios by Sean Magee.
"Music that evokes falling into and out of dreams, things half remembered, sounds that find their way to long buried emotions, now familiar, now novel, now enchanting, now frightening. It is such a pleasure to hear music that is not driven along by a beat but just makes its own time. To make this music requires a good ear, a good imagination and a mastery of the technological resources so that they serve the music and not the other way around"
- Ronald Perera, composer
We often bring the outside inside, on more than one level. While we are isolated inside, bringing an outdoors sensibility indoors can help. In music, outside playing describes an approach of playing over a scale, mode or chord that is harmonically distant from underlying harmony, while inside playing is harmonically close. Often, the phrase "you can't really play outside until you learn how to play inside" is used. I tend to agree, to a point, but I also see great value in bringing some outside playing into inside playing, as a way of freeing it up. Human beings are constantly receiving the outside stimuli of the world we live in, and trying to process it all in our heads, sometimes for better and sometimes for worse.
Recorded and mixed by MW Gilbert at Siri's Little Corner studio in Amherst, MA. Mastered at Abbey Road Studios by Sean Magee.
My tenth release, entitled “Voice Ping Strum”, comes at the 40th anniversary of my first album, “Moving Pictures”, and the title is an anagram of that first one. It was done in my own studio on primarily Eurorack and Aries modular synths, with some sampled voice and piano. Most of the modular synth patches were done using Tall Dog modules. Each side of the record is a single, uninterrupted suite.
In looking back at “Moving Pictures”, I decided to release this new one initially on vinyl as a limited edition. The sides were mastered and cut at Abbey Road by Sean Magee. The cover features artwork by German artist Mary Bauermeister.
Don't have a turntable? It is now also available on most digital streaming services.
"At that instant he saw, in one blaze of light, an image of unutterable conviction, the reason why the artist works and lives and has his being - the reward he seeks - the only reward he really cares about, without which there is nothing. It is to snare the spirits of mankind in nets of magic, to make his life prevail through his creation, to wreak the vision of his life, the rude and painful substance of his own experience, into the congruence of blazing and enchanted images that are themselves the core of life, the essential pattern whence all other things proceed, the kernel of eternity." - Thomas Wolfe, "Of Time and the River"
An omnibus of influences and the first scored instrumental pieces. Mastered at Abbey Road Studios by Sean Magee.