Studios 301 has a new home: a recording studio in Sydney’s Surry Hills. After a century shaping the sound of Australian music, 301 is now on Riley Street, with a space designed for the way records get made today. Fast, focused, and with the same standard that’s defined the studio since 1926.
Here’s what the space offers and what it means for your next project.
Why Studios 301 Moved to a New Recording Studio in Surry Hills
Studios 301 has operated continuously since 1926, from early recording facilities to the large-format tracking rooms that earned 301 its reputation as the Southern Hemisphere’s premier recording destination.
Now, that legacy has a new home. 301 Surry Hills is a studio built around what artists and producers actually need today: a space you can walk into and start working without a lengthy setup, where writing sessions and vocal production happen in a room tuned for focus, and where the environment is as creatively inviting as it is acoustically precise.
“We’re doubling down on what artists value most: speed, vibe, and results. This studio brings 301’s standards to a central, intimate space where ideas move quickly and sound incredible.”
Stefan Du Randt, General Manager, Studios 301
The studio occupies the top floor of 259 Riley Street, in the centre of Sydney’s creative precinct. Surry Hills is already home to a concentration of artists, producers, managers, and labels, and now it has a world-class recording studio to match.
Inside Sydney’s Newest Professional Recording Studio
The Surry Hills space has been fitted out with acoustic consultation from SDP LA and refined for the workflows that define modern recording: writing, vocal production, mixing, and production.
Every detail, from acoustic treatment to signal flow, was considered with one question in mind: does this help the artist make better music, faster?
A Recording Studio Built for Modern Music Production
Modern sessions move fast. 301 Surry Hills was set up around that reality.
Writing and production. The room is ready for artists and producers to move from an idea to a polished demo without switching spaces. The monitoring and acoustics are tuned for critical listening, but the environment is comfortable enough for long creative sessions.
Vocal tracking. Studios 301 has built its reputation partly on vocal production, with Simon Cohen’s vocal recording masterclasses drawing engineers and producers from across Australia. The Surry Hills room continues that tradition with a treated vocal area designed for intimate, detailed performances.
Mixing. Precision monitoring in a carefully treated acoustic environment. The room delivers accurate translation across playback systems, so your mix sounds the way you intended wherever it’s heard.
Speed. The studio is session-ready with minimal setup time. Walk in, plug in, and start working. That’s the promise.
Nearly a Century of Experience Behind Every Session
The space is new, but the expertise behind it is anything but. Studios 301 has been behind countless landmark recordings, and the team at Surry Hills brings decades of collective experience across every genre, from orchestral film scores to chart-topping pop.
For a limited time, we’re offering competitive weekend rates to help you experience the space. Whether you’re working on a single, an EP, or just want to hear how the room sounds with your music in it, this is a great time to book.
Ready to get started? Whether you’re an artist looking for your first session, a producer who wants to test the room, or a label manager booking for your roster, get in touch. Call 02 9698 5888, email us, or book a session or schedule a tour to see the space in person.
Upright PianoVocal Production SetupLounge area in Control RoomControl RoomAPI 1608 Side carLoungeInstruments available on requestVintage and modern mic selection
Frequently Asked Questions
Can I bring my own engineer, or do I need to use a 301 engineer? Both options are available. You can book the room with one of our in-house engineers, or bring your own. If no 301 engineer is booked with the session, a studio assistant will need to be on site. Contact us for more details.
What is the minimum booking? The minimum booking is 3 hours. We also offer full-day and multi-day block bookings. Contact us for availability and rates.
Where is 301 Surry Hills and is there parking nearby? We’re on the top floor at 259 Riley Street, Surry Hills NSW 2010. Street parking and paid parking stations are available nearby. Central Station is a short walk away.
We’re excited to announce the opening of our new studio space in Surry Hills: a right-sized, purpose-built studio created in collaboration with SDP LA (Trent Reznor, Zedd, Billie Eilish & Finneas). The new space marks the first step in a strategic move from the previous large facility to a focused, modern room tailored to today’s production workflows.
“We’re doubling down on what artists value most: speed, vibe, and results. This studio space brings 301’s standards to a central, intimate space where ideas move quickly and sound incredible.”
Stefan Du Randt – General Manager, Studios 301.
Located in Surry Hills, the studio offers an artist-first environment optimised for writing, production, vocal tracking and mixing.
Studios 301 is thrilled to welcome multiple ARIA and APRA award-winning producer and songwriter Audius Mtawarira to our extended roster!
A well-known and respected name in the Australian music industry, Audius has played a pivotal role in the success of many Australian artists. Working with an impressive list of local and international artists, his credits include the likes of Delta Goodrem, Flo Rida, Jessica Mauboy, Rahsaan Patterson, Iyaz, Ricki Lee Coulter, Stan Walker, Shasha, Dj Fresh and more.
Audius’ addition to our extended producer roster further strengthens our already impressive team of engineers and technical experts.
Here’s what Audius had to say:
“I’m honoured and excited to be joining the 301 team. Undoubtedly the most reputable establishment in the audio recording industry in Australia, Studio 301 has been and continues to provide an essential service to recording artists. I am thrilled to add my wealth of knowledge and experience, and I look forward to the time ahead with this great team.”
If you’re an upcoming artist looking for a producer who can help you take your music to the next level, or if you’re an established artist looking for a fresh perspective, Audius is the perfect person to bring your creations to life. With his guidance and mentorship, you can trust that your music will be in good hands. Welcome to the family, Audius!
The Engineer & Producer’s BBQ held at Studios 301 as an official part of ARIA Week 2022 was a night to be remembered! For the first time since 2019, it was a chance for our community to come together and celebrate our peers’ hard work and achievements in the music industry.
As the sun went down, guests were welcomed in the 301 courtyard with burgers, BBQ and drinks courtesy of our sponsors. They were quickly taken away with music from our DJs Kristelle and Kimani, and Tasman Guitar Endorsees – Ray Beadle, Zane Banks, Sons of Atticus and a brand new endorsee, Gia Darcy who was announced on the night.
Once settled in with a drink in hand, a quick snap by the media wall or a sneaky whisky alongside The Balvenie whisky bar, guests had the opportunity to mingle with industry professionals while also having the chance to network with peers and make new connections.
The highlight of the evening was when Stephen Crane was presented with his Lifetime Achievement Award on stage by our general manager Ron Haryanto and legendary Studios 301 and Abbey Road Manager Martin Benge. In a touching speech filled with encouragement for everyone in attendance, Stephen thanked everyone for their hard work over the years – giving special recognition to “The Spadges” for supporting his entire career.
In addition to his lifetime achievement award, Stephen Crane was also announced as a Visiting Fellow for the ANU School of Music by Professor Kim Cunio, head of the School of Music.
“The School of Music is delighted to announce Mr. Crane as a Visiting Fellow to allow his unique skills to be transferred to the next generation, as well as offer the chance to support the development of some of Mr Crane’s innovative research into audio capture and processing” Kim Stated on the night.
Throughout the night, the official partner to the 2022 ARIA Awards, Neumann.Berlin came to the party with a fabulous product giveaway featuring a pair of the just released KH 150 studio monitors and to enhance the listening experience, a pair of the open-back NDH30s.
It was a genuinely inspiring night that will be remembered for years. We can’t express enough how grateful we are for all those who attended and made this event possible – we couldn’t have done it without you!
In the past few months, Studios 301 has seen a surge in activity, with international tours returning to the country and bringing their A-list clients to utilise our facilities. Studios 301 has welcomed Trippie Redd, 24kGoldn, ArrDee, AJ Tracey, YG, James Hype, Jonas Myrin and more.
We have also had the privilege of working with Australian icons including Nick Littlemore, Jess Mauboy, Pacific Avenue, Genesis Owusu, Delta Goodrem, Hayden James and Kormak, Jimmy Barnes, ONEFOUR, Chillinit, Guy Sebastian, Julie Kerr, New Jupiter with Grace Amos, Moonwood and more.
Brand clients included Australis Music for an epic 3 day Pro Audio Roadshow featuring K-ARRAY / KGEAR / KSCAPE, radio station CADA x Bonds doing a complete studio takeover with Flex & Froomes, Lexus with Dan Fontaine, and Roland launching a top-secret new product with drummers from around Australia. Mushroom used our studios to film a documentary on Michael Gudinski.
We are proud to have played a role in creating new music for these artists and allowing them to reach their full potential in the recording process. Additionally, we have had a number of local clients choose our studio for their projects, further cementing our reputation as the go-to destination for high-quality recordings.
We look forward to continuing this streak of success in the coming months.
🚨 Just Announced 🚨 Adrian Breakspear: Two-Day Recording and Production Masterclass
To coincide with their latest album release “Spirals”, Wollongong indie pop collective Pirra have released a three-song live film performing at Studios 301. In the 11-minute film, the band, led by Jess Beck, perform their 2020 single ‘Limousine Lies’ followed by 2021’s ‘Drifting’ and the new album’s title track.
Sean’s powerful cover of ‘Running Up That Hill’ (Kate Bush)
Becoming homeless after a traumatic experience left Sean feeling scared and isolated. Now he wants to use his music to let others know they aren’t alone.
Last month, the Abbey Road Institute students took part in another rendition of their Songwriting Camp over their mid-trimester break. Combining the 2022 cohorts, the experience was designed to replicate real-life industry experiences. Find out more about Abbey Road Institute here.
After the inaugural launch of ‘Greater Good’ in 2021, Good Intent are back at it again with their independent artist initiative. The program gives back to the independent artist community, by providing in kind services and a cash grant totalling $20,000 AUD (double their first year pool).
We are excited to offer a recording/mix/mastering package to the winning recipient. It includes:
Aboriginal and Torres Strait Islander Scholarship – a one-of-a-kind opportunity for music creators from across Australia
The National Aboriginal and Torres Strait Islander Music Office (NATSIMO), Abbey Road Institute Australia and Studios 301 are teaming up for a second year in a row to offer a fully-paid scholarship for the CUA60520 Advanced Diploma of Music course.
Aboriginal and Torres Strait Islander music creators from across the country are encouraged to apply for the one year programme. Expressions of interest open today and will close on Friday 11 November at 5PM AEDT.
Designed by industry for industry, the CUA60520 Advanced Diploma of Music course aims to build a music professional’s capability in music production or sound engineering so they can take their career to the next level.
Artist, producer and songwriter Blake Rhodes, who performs as Mr Rhodes, was the first recipient. He will complete the course at the end of 2022. A Bundjalung man from Lismore, NSW, Rhodes relocated to Sydney to undertake his studies and expand his career.
“We at NATSIMO are thrilled to continue this scholarship and partnership with Abbey Road Institute and Studios 301. We have witnessed how this has promoted the career trajectory of Blake Rhodes as our first participant across many music industry initiatives and showcases nationally. We hope that the next Aboriginal and Torres Strait Islander producer, musician or engineer recipient of the scholarship, also enhances their creative practice and furthers their career pathways during their studies at Abbey Road Institute and Studios 301,”
said Jacob Ridgeway, Manager, NATSIMO.
“The access to this type of gear and the access to the community and the minds that are here that are more than happy to just have a yarn, check out what you are doing, give you a little feedback – nothing can top it. There’s no limit on what you can do through the program.”
Rhodes said
“I’m so proud to see Blake thriving in this opportunity. He’s really taken advantage of everything that we’ve offered, and I think he’ll be an excellent example for others when they are ready! His work ethic is exceptional; it looks like there isn’t much stopping him from achieving anything his mind sets its eyes on right now, which could also make him one influential leader down the line too (maybe even sooner than expected!),”
said Ron Haryanto, CEO, Abbey Road Institute Australia and GM, Studios 301.
“It’s a pleasure and an honour to again support this initiative with NATSIMO, and we look forward to welcoming our next scholarship recipient in 2023,”
said Haryanto.
The package is valued at a total of $30,100, which includes a $25,100 scholarship from Abbey Road Institute Australia and a $5,000 study bursary from the National Aboriginal and Torres Strait Islander Music Office and APRA AMCOS.
The successful applicant will have access to industry-standard equipment and studios throughout their studies.
In-person study will take place between Studios 301 and Abbey Road Institute’s Sydney campus, with regular recording sessions at Studios 301, to ensure the participant has access to some of the best recording facilities in the world.
This scholarship provides a chance to learn and become part of a global network in the recording industry. The participant will gain insights into the breadth of the recording industry and use this to develop their career path. They will have access to a professional network consisting of sound engineers, producers and artists.
On completion of their studies, the recipient will have the opportunity to visit Abbey Road Studios in London for the global graduation ceremony.
The perfect space for songwriting and production sessions. Bring your laptop, plug it into the Universal Audio Apollo X8 and start writing, collaborating and tracking vocals
“Primerchord is always open to having composers pitch their work and finding ways that we can collaborate together. This workshop will be the perfect opportunity to work with the Primerchord team to create works that will be suited for immediate pitch to the library.”
The way we listen to audio has changed dramatically. In 2026, it’s evolving faster than ever. Dolby Atmos is now standard on Apple Music and Amazon Music, Google and Samsung have launched the open-source Eclipsa Audio format, and the Grammy Awards have recognised immersive audio as a standalone category since 2019.
But what actually makes Dolby Atmos different from traditional surround sound? And how does it compare to the stereo format we’ve used for nearly a century?
In this guide, we break down the key differences between stereo, surround sound and Dolby Atmos, covering how each format works and what it means for artists, producers and listeners. (For a deeper look at how Dolby Atmos Music works specifically, see our companion guide: What is Dolby Atmos Music?)
All About Stereo
Early Gramophone Patent. United States Patent Office, Washington, D.C, 1895 (source)
Taking a quick look into the history of sound reproduction, we can trace four main steps leading up to modern spatial audio.
We began in mono: a single channel recorded with a single microphone.
Around the 1930s, stereo audio began to appear. Pioneered by engineers like Alan Blumlein at EMI (the same company that would later build Abbey Road Studios), stereo uses two microphones positioned around a sound source. The signals from each microphone are assigned to either the left or right channel, and subtle differences in timing and frequency between them create the illusion of width and space when played back.
A stereo listening setup uses two speakers. When a stereo track is played, an imaginary one-dimensional “sound field” is created between them. To hear the most convincing stereo image, you need headphones or a position equally distant from both speakers, often called the “sweet spot.”
We can move the position of a sound between the left and right channels by adjusting each side’s signal level. This is called panning. A louder signal on the left moves the sound towards the left, and vice versa. Mixing tools like EQ, compression and reverb can give the illusion that sounds are closer or further away, but they remain trapped in that one-dimensional field between the speakers.
Stereo remains the dominant format for music today. The vast majority of streaming, vinyl and digital releases are mixed and mastered in stereo.
Surround Sound: Adding Other Dimensions
5.1 Surround Sound Setup
The next step after stereo was to add another dimension. A conventional surround sound format is described as either 5.1 or 7.1, meaning 5 or 7 speakers surrounding you at ear level, plus a subwoofer (the “.1”). This creates a two-dimensional sound field where sounds can move front-to-back as well as left-to-right.
5.1 is the most common surround sound layout and is the standard for home cinema. It consists of centre, left and right speakers in front of the listener, plus surround left and right speakers slightly behind. With this layout, sounds can be panned between any combination of the five speakers.
A 7.1 system adds four surround speakers instead of two, splitting the rear and side channels. The side speakers sit at roughly 90 degrees to the listener, while the rear speakers are positioned behind.
These layouts can be scaled up for commercial cinemas, where multiple speakers per channel account for larger audiences.
Expanding further, we can add height channels (either 2 or 4 speakers above the listener, written as “.2” or “.4”). A 7.1.2 setup, for example, gives us a three-dimensional sound field: audio can travel front-to-back, left-to-right, and up-and-down. This is where surround sound starts to become truly immersive.
All surround formats share one goal: to reproduce audio in a way that replicates how we hear in real life, as if the sound has become a physical object in the room.
Dolby Atmos vs Surround Sound: Channel-Based vs Object-Based Audio
This is where Dolby Atmos fundamentally changes the game.
Stereo and conventional surround formats are channel-based. Individual tracks in a mix are routed to specific output channels (left, right, centre, surround left, and so on). The mix is locked to a specific number of speakers. To hear it correctly, your playback system needs to match.
Dolby Atmos is an object-based system. Instead of panning a sound to a fixed channel, Atmos stores the sound’s position as metadata, similar to X, Y and Z coordinates in a 3D space. When the mix is played back, the Dolby Atmos renderer reads this metadata and translates it to whatever speaker layout is available: stereo, 5.1, 7.1.4, or headphones.
The Atmos renderer isn’t entirely object-based, though. It also supports a conventional channel-based approach. Sounds that won’t move around the 3D space, or recordings made with multiple microphones in stereo or surround, can be routed to a surround output bus. These fixed channels are called the “bed” in Atmos. Only bed channels can send audio to the LFE (subwoofer) channel, so bass-heavy elements typically use the bed.
Objects are better for sounds that need a precise spatial location or that move through the 3D space during playback. Each object carries a single audio signal, so a stereo recording would need two separate objects.
The renderer is what makes Dolby Atmos so versatile. The same mix plays on everything from a pair of earbuds to a 128-speaker cinema, with the renderer automatically adapting the spatial positioning. More speakers means a more precise 3D sound field, but even on headphones, the effect is convincing.
Quick Comparison: Stereo vs Surround vs Dolby Atmos
Stereo
5.1 Surround
7.1 Surround
Dolby Atmos
Speakers
2
6 (5 + sub)
8 (7 + sub)
Flexible (2 to 128+)
Sound field
1D (left/right)
2D (left/right, front/back)
2D (wider rear field)
3D (adds height)
Audio type
Channel-based
Channel-based
Channel-based
Object-based + bed
Height channels
No
No
No
Yes (2 or 4)
Adapts to playback system
No
No
No
Yes (renderer)
Headphone support
Native
Requires downmix
Requires downmix
Binaural rendering
At Studios 301, our engineers work with artists on Dolby Atmos mixing sessions, whether remixing existing stereo tracks or creating immersive mixes from scratch. Our Atmos engineer Stefan Du Randt has mixed Atmos projects across genres, from pop and electronic to classical and film.
What About Headphones?
Stereo has always been our default for music, whether on speakers at home, at a live venue, or through headphones on the go. So how do you experience immersive 3D audio through just two ear speakers?
The answer is binaural rendering. Our ears detect the position of a sound by comparing volume, frequency content and timing differences between each ear. These differences are shaped by the physical distance between your ears and the contours of your head (the “head shadow”). Binaural rendering artificially recreates these differences using HRTF (Head Related Transfer Function) algorithms, which model a virtual head shape to process the audio signal.
The limitation is that HRTFs are based on average head measurements. The further your own head shape differs from the average, the less realistic the 3D effect becomes.
This has improved significantly since 2022. Apple’s Personalised Spatial Audio (available on iPhone and recent AirPods models) uses your phone’s TrueDepth camera to scan your face and ears, generating a custom HRTF profile optimised for your unique anatomy. The result is a noticeably more convincing spatial experience.
Dynamic head tracking takes it further. Sensors in supported headphones monitor the position of your head and adjust the audio so the sound field stays anchored in place as you move. If a guitar is placed to your right in the mix, turning your head right brings it to the centre, just as it would in real life.
Dolby Atmos mixes can be rendered to binaural audio on any headphones. Apple Music’s Spatial Audio, Amazon Music’s 3D Audio and TIDAL’s Dolby Atmos support have made this the primary way most listeners experience immersive music, with no speaker system required.
Spatial Audio in 2026: Where Things Stand Now
The spatial audio landscape has shifted dramatically since Dolby Atmos Music first launched on streaming platforms.
Dolby Atmos remains the dominant immersive music format. Apple Music reported that over 90% of its listeners have tried Spatial Audio, and immersive tracks now account for nearly one-third of all plays. Amazon Music and TIDAL continue to expand their Atmos catalogues, and 85 of the top 100 Billboard artists released music in Dolby Atmos over the past year.
Eclipsa Audio, introduced by Google and Samsung in January 2025, is a new open-source, royalty-free spatial audio format developed through the Alliance for Open Media. Unlike Dolby Atmos (which requires licensing), Eclipsa is free for anyone to create and distribute. Samsung’s 2025 TV and soundbar lineup supports it natively, YouTube accepts Eclipsa Audio uploads, and Google has released free Pro Tools plugins for Eclipsa mixing. It’s early days, but the removal of licensing barriers could make spatial audio accessible to far more independent creators.
Apple quietly unveiled its own spatial audio format, ASAF (Apple Spatial Audio Format), at WWDC 2025, building on its existing Dolby Atmos infrastructure with enhanced head-tracking capabilities.
Spotify, the world’s largest streaming platform, still does not natively support Dolby Atmos or spatial audio as of early 2026. The company has acknowledged it is working on immersive audio features, but no launch date has been confirmed.
The Grammy Awards added the Best Immersive Audio Album category in 2019. Recent winners include Peter Gabriel’s i/o (In-Side Mix) in 2025 and Justin Gray’s Immersed in 2026, demonstrating that the music industry takes spatial audio seriously as a creative format, not just a technical novelty.
Is Dolby Atmos the Future of Music?
In 2022, the question was whether Dolby Atmos would go mainstream. In 2026, the answer is clear: immersive audio is here to stay.
The real question now is which format will dominate. Dolby Atmos has the catalogue, the ecosystem and the artist buy-in. Eclipsa Audio offers an open-source alternative that could accelerate adoption, particularly on Android and YouTube. Apple is building its own proprietary extensions.
For artists and producers, the practical takeaway is straightforward: releasing in Dolby Atmos gives your music access to the fastest-growing segment of music streaming. And with binaural rendering making the experience available to anyone with headphones, the barrier to entry for listeners has essentially disappeared.
Frequently Asked Questions
Is Dolby Atmos the same as surround sound? No. Surround sound is channel-based, meaning audio is mixed for a specific speaker layout like 5.1 or 7.1. Dolby Atmos is object-based, meaning sounds are positioned in a 3D space and the renderer adapts the mix to whatever playback system you have, from headphones to a cinema.
Do I need special speakers for Dolby Atmos? No. Dolby Atmos can be experienced on any headphones through binaural rendering. For a speaker-based experience, a soundbar with Atmos support or a 5.1.2+ speaker setup will deliver the full spatial effect.
Can I listen to Dolby Atmos on Spotify? As of early 2026, Spotify does not natively support Dolby Atmos or spatial audio. Dolby Atmos Music is available on Apple Music, Amazon Music and TIDAL.
What is Eclipsa Audio? Eclipsa Audio is an open-source, royalty-free spatial audio format developed by Google and Samsung through the Alliance for Open Media. It offers similar immersive audio capabilities to Dolby Atmos but without licensing fees.
Is Dolby Atmos worth it for music? Yes, especially for artists seeking to differentiate their releases. Over 90% of Apple Music listeners have tried Spatial Audio, and immersive mixes now account for nearly a third of all plays on the platform. The Grammy Awards have also recognised immersive audio as a standalone category since 2019.
Get Your Music Mixed in Dolby Atmos
Ready to take your music into three dimensions? Studios 301 offers professional Dolby Atmos mixing for artists and labels. Whether you’re creating a new immersive mix from scratch or adapting an existing stereo release, our engineers can help.
Picture your music wrapping around the listener, not just from left and right, but from above, behind, and every direction in between. That’s Dolby Atmos Music.
Over 90% of Apple Music listeners have experienced Spatial Audio, and nearly a third of all plays on the platform are now in Dolby Atmos. Originally developed for cinema in 2012, Dolby Atmos has become the dominant format for immersive music, and it’s no longer a niche technology.
In this guide: how Dolby Atmos Music works, where to listen to it, and how to get your own tracks mixed in Atmos at Studios 301.
How Dolby Atmos Music Works
Dolby Atmos Music differs from traditional surround sound in two fundamental ways:
Height channels. A typical surround setup places 5 or 7 speakers around you at ear level. Dolby Atmos adds speakers overhead, so sound can come from above as well as from all sides, creating a true 3D listening space.
Object-based audio. Traditional surround sound is channel-based: audio is mixed for a fixed speaker layout (such as 5.1 or 7.1). Dolby Atmos uses coordinates in a virtual 3D space to position each sound as a discrete “object.” This means the same mix can be played back on anything from headphones to a 128-speaker cinema. The Dolby Atmos renderer automatically adapts the spatial positioning to the available system.
Dolby Atmos Channels vs. Speakers: How It Scales
A typical 7.1.4 Dolby Atmos Speaker Setup via dolby.com
Understanding the difference between channels and speakers is key to understanding how Dolby Atmos scales.
In a small home cinema, you might have one speaker per channel: three at the front (left, centre, right), two at the sides and two behind. Scale that up to a commercial cinema and you might need six speakers along the left wall alone, all playing the same “left” channel signal.
Dolby Atmos goes further. It can detect how many speakers are available and control each one independently, moving sounds through the space with precision. Whether your setup has five speakers or 128, the positions you set in the mix translate accurately, on any system, every time.
A Dolby Atmos setup can be as simple as 2 speakers and a subwoofer. via dolby.com
More complex setup with 11 speakers around the listener 11.1.8 Dolby Atmos Setup. via dolby.com
A Brief History of Dolby Atmos
Dolby Atmos debuted in 2012 with the premiere of Disney Pixar’s Brave at the Dolby Theatre in Los Angeles. It represented the latest step in a progression from mono, to stereo, to surround sound, to fully immersive 3D audio.
Surround sound began with the 5.1 format: five channels plus a subwoofer (LFE). This was followed by 7.1, which added two more rear channels. Dolby Atmos built on this by introducing 2 to 4 height channels on the ceiling, enabling setups like 5.1.2, 5.1.4, 7.1.2 and 7.1.4.
For years, surround sound and Dolby Atmos were largely confined to cinemas and professional studios. That changed when streaming services and consumer devices began supporting Atmos playback, making immersive audio accessible to anyone with a pair of headphones.
Can I Listen to Dolby Atmos on Headphones?
Yes. For most people, headphones are where they first experience Dolby Atmos Music.
Even with just two ear speakers, immersive audio is possible through binaural rendering. This technique uses algorithms that simulate how sound reaches each ear differently, accounting for direction, distance, and the physical shape of your head. The result is a convincing 3D sound field through ordinary headphones.
Apple’s Personalised Spatial Audio improves on this by using the TrueDepth camera on iPhone to scan your face and ears, generating a custom audio profile tailored to your anatomy. This produces a significantly more realistic spatial experience than generic algorithms.
Dynamic head tracking, available on AirPods Pro, AirPods Max and other compatible headphones, monitors your head position and adjusts the audio in real time. Turn your head to the right and the sound field stays anchored in place, just as it would in a real room.
While any headphones can play the binaural version of a Dolby Atmos mix, Spatial Audio-enabled headphones with multiple drivers and head-tracking sensors deliver the most immersive experience.
Where Can You Listen to Dolby Atmos Music?
As of 2026, Dolby Atmos Music is available on these major streaming platforms:
Apple Music has the largest Atmos music catalogue. Over 90% of Apple Music listeners have tried Spatial Audio, and immersive tracks now account for nearly one-third of all plays. 85 of the top 100 Billboard artists released music in Dolby Atmos in the past year. Available on all Apple devices, plus supported third-party headphones.
Amazon Music Unlimited added Dolby Atmos support in 2019. Available on Echo Studio, Fire TV, compatible soundbars and headphones.
TIDAL supports Dolby Atmos and Sony 360 Reality Audio across its HiFi Plus tier.
Spotify does not currently support Dolby Atmos or spatial audio. The company has acknowledged development work on immersive audio features, but no launch date has been announced.
For the best headphone experience, Apple’s AirPods Pro or AirPods Max with Personalised Spatial Audio and head tracking are currently the benchmark. But any headphones connected to a device with Atmos support will work.
Why Mix Your Music in Dolby Atmos?
The ability to experience Dolby Atmos on virtually any device (from headphones to soundbars to car audio systems) makes it an increasingly important format for artists and producers.
Creative freedom. Dolby Atmos gives you a new dimension of sound placement. Instead of fighting for space in a stereo mix, instruments can be separated physically: above, beside, behind the listener, so every element is heard clearly. Busy mixes can breathe. Sparse arrangements can feel enormous.
“It really is the future of music. The format can make your mixes feel cinematic and immersive, almost like you’re watching the story of the song unfold.”
Stefan Du Randt
If you’re ready to take your music into three dimensions, here’s what you need to get started:
What to prepare before your session:
A final, signed-off stereo master. Stereo and Dolby Atmos are separate formats. We use the finished stereo master as a reference to ensure the Atmos mix matches the vibe and loudness of the stereo version. (If you don’t have a stereo mix yet, you can book a “Full Mix” session that includes both stereo and Dolby Atmos.)
Mix stems at 48kHz / 24-bit. Individual stems (drums, bass, vocals, instruments, etc.) give the Atmos engineer the control needed to position sounds accurately in the 3D space.
What to expect:
An Atmos mixing session at Studios 301 typically takes a few hours per track for a remix from stems. Most professional Dolby Atmos mixes are created in Pro Tools using the Dolby Atmos Production Suite renderer, or in Logic Pro which has native Spatial Audio tools. The calibrated monitoring environment of a purpose-built Atmos room, where you can physically hear how the mix behaves across a full speaker array, is difficult to replicate at home.
Our engineers have delivered Atmos mixes for major label releases and independent artists alike. The process is the same, and so is the attention to detail.
The final deliverable is a Dolby Atmos ADM BWF file, the master format accepted by all major distributors for streaming on Apple Music, Amazon Music and TIDAL.
One common question: if a listener doesn’t have Atmos support, what do they hear? The Dolby Atmos master automatically generates a stereo downmix for standard playback. Your listeners always get something, and Atmos listeners get something better.
Dolby Atmos isn’t the only immersive format anymore. In January 2025, Google and Samsung introduced Eclipsa Audio, an open-source, royalty-free spatial audio format developed through the Alliance for Open Media. Eclipsa removes the licensing barriers that have made Dolby Atmos production costly, and Google has released free Pro Tools plugins for creating Eclipsa content.
Apple also unveiled its own format, ASAF (Apple Spatial Audio Format), at WWDC 2025, extending its Atmos infrastructure with enhanced head-tracking capabilities.
For artists, this growing ecosystem of spatial audio formats is a strong signal: immersive audio is here to stay, and investing in spatial mixing now positions your music for the future, regardless of which format ultimately dominates.
If you’re wondering what this means for your music right now, the questions below are the ones we hear most from artists, producers and labels.
Frequently Asked Questions
What is Dolby Atmos Music? Dolby Atmos Music is an immersive audio format that allows artists and producers to mix sound in three-dimensional space. Unlike stereo (left/right) or surround sound (a fixed ring of speakers), Dolby Atmos uses object-based audio to position sounds above, below, behind and around the listener.
Can I listen to Dolby Atmos on any headphones? Yes. Any headphones can play the binaural version of a Dolby Atmos mix through a compatible streaming service like Apple Music. For the best experience, headphones with Spatial Audio support and head tracking (such as AirPods Pro or AirPods Max) are recommended.
Does Spotify support Dolby Atmos? As of early 2026, Spotify does not support Dolby Atmos or spatial audio. Atmos Music is available on Apple Music, Amazon Music and TIDAL.
How much does Dolby Atmos mixing cost? At Studios 301, Dolby Atmos mixing is priced per track or per album depending on stem complexity and session length. Contact us for a quote; most single-track Atmos mixes are completed in a single session.
What’s the difference between Dolby Atmos and spatial audio? “Spatial audio” is a broad term for any audio technology that creates a three-dimensional sound experience. Dolby Atmos is one specific spatial audio format, and the most widely adopted for music streaming. Apple Music markets its Dolby Atmos support under the “Spatial Audio” brand.
Do I need a Dolby Atmos mix to release on Apple Music? No. Apple Music accepts stereo releases as standard. However, tracks delivered in Dolby Atmos are eligible for featured Spatial Audio playlists and are increasingly favoured by the algorithm. Having both a stereo master and a Dolby Atmos mix gives you the widest potential reach.
Get Your Music Mixed in Dolby Atmos
Ready to make your music immersive? Studios 301 offers professional Dolby Atmos mixing for artists, producers and labels.
Come and see what the 301 Academy is about and met the 301 Academy team who will take you through a complete breakdown of our September project week on week outlining the end-to-end process.
The 301 Academy is a place where you can learn from some of the best in your field. Facilitated in the studios where artists like Lizzo, Cold Chisel, Katy Perry, Zedd, Delta Goodrem, Parkway Drive and more have recorded.
Studios 301 is very excited to be able to extend an exclusive $5,000 scholarship for APRA AMCOS members under 25 years old towards tuition fees for Abbey Road Institute Sydney’s Advanced Diploma of Music Course (Qualification Code CUA60520) starting July 18th 2022.
Abbey Road Institute Sydney’s direct collaboration and colocation with Studios 301 makes our one-year advanced diploma the only industry-based training course where students can learn in the iconic Studios 301 facilities with Producers and Engineers working in those facilities and the latest innovations including Dolby Atmos. Students join the Studios 301 community and are immersed in the actual music industry from day one.
Why study with Abbey Road Institute Sydney (RTO ID 41377)?
Our Advanced Diploma of Music is a 1-year fast-paced and hands-on engineering and music production course designed by engineers at the world-famous Abbey Road Studios in London and conducted in colocation with the premiere recording studios in Australia – Studios 301
Learn in the industry, not about the industry. In Sydney, Abbey Road Institute operates in direct collaboration and colocation with Studios 301. All practical work is done at Studios 301 with industry engineers and producers working in tier 1 commercial studios
Practical hands-on lessons throughout the course, allowing you to develop a broad range of skills covering industry-standard software including Pro-Tools, Ableton Live & Logic Pro
Attend the Global Graduation at the world-famous Abbey Road Studios in London
Join the Studios 301 community and build your own industry network through access to all Studios 301 events, short courses, masterclasses and exclusive discounts on services and studios
Terms and conditions
This APRA member offer is towards tuition fees only.
Applicants need to submit a successful application via the Abbey Road Institute Sydney website subject to the Abbey Road Institute’s full terms and conditions
Joining the Studios 301 team in 2022, Laura comes from a bookings, communications and events background and started her journey into music writing gig reviews and features whilst working for some of the biggest festivals and clubs in Sydney back in the early 2000s.
With a strong passion for events and the music industry, Laura has worked across a variety of sectors within the music, arts and travel industries and curates local parties for the Sydney Street Dance scene.
Designed by industry for industry, the Advanced Diploma of Music Industry course aims to build a music professional’s capability in music production or sound engineering so they can take their career to the next level.
This package is valued at a total of $30,000, which includes a $25,000 scholarship from Abbey Road Institute and a $5,000 study bursary from the National Aboriginal and Torres Strait Islander Music Office and APRA AMCOS.
The program is an introduction to the recording industry’s global network, with the participant learning from experts, including guest lecturers and multi-award-winning professionals, and getting hands-on experience with industry-standard equipment and studios. Through access to broad networks consisting of sound engineers, music producers, artists and music business professionals, the program participant will gain insights into the breadth of the recording industry and use this to develop their personal career path.
Regular recording sessions will be facilitated in Studios 301 to ensure the participant has access to some of the best recording facilities in the world.
“We are excited to announce this wonderful partnership with Abbey Road and Studios 301, and to facilitate and encourage more opportunities for Aboriginal and Torres Strait Islander musicians and engineers to engage in studies that can benefit their creative practice and further career pathways,”
said Leah Flanagan, Director, NATSIMO.
“This scholarship can completely change someone’s career trajectory and benefit so many others.”
“After previously working with the NATSIMO team, Studios 301 and Abbey Road Institute Sydney are very excited to be partnering on this initiative to provide an opportunity to Aboriginal and/or Torres Strait Islander creatives the chance to immerse themselves in our community of creatives and further their career in the music industry,”
said Ron Haryanto, General Manager, Studios 301 and CEO, Abbey Road Institute Australia.
“We look at this as the beginning of the journey for the scholarship, which we hope will have a longer lasting and meaningful impact on upcoming engineering, production and musical talent.”
The scholarship activity will take place in NSW, but applicants from across Australia are welcome to apply. The successful applicant will be responsible for any travel, relocation and accommodation costs.
Abbey Road’s specialist music production school moves into Australia’s top recording studio.
David Drummond, Ron Haryanto, Professor Zbys Klich at Studios 301
In a huge coup for the Australian music industry, Abbey Road Institute Australia announces it will co-locate in Sydney with the nation’s largest and most prestigious recording studio, Studios 301, in 2021.
This move will unite titans of the music industry, bringing the best of British specialist music production schooling – developed in the iconic Abbey Road Studios in London – with the 2018 multi-million dollar revamp of the iconic Studios 301 in Sydney and its 90 year plus history as a leader in the Australian music industry.
Studios 301 boasts an industry-leading roster including Grammy, ARIA and Golden Guitar winning and nominated engineers such as Leon Zervos, Simon Cohen, Steve Smart, Guy Gray and more. In recent years the studio has been home to recordings from some of the world’s most iconic artists, from Cold Chisel, Tones & I, Delta Goodrem and Amy Shark to Elton John, Lizzo, Coldplay, Katy Perry and many more.
Chart-topping and multi ARIA Award-winning artist, Delta Goodrem, said
“I’ve been a long-time client and friend of Studios 301 and I love working at the studios and with the team and 301 community. “Abbey Road Institute students will, without a doubt, benefit from learning within the amazing facility and being part of the community as a whole. Many of my records and creations have come from this incredible environment. The team are the utmost professionals an artist could dream to be working and creating with.”
Abbey Road Institute offers an intensive and immersive education for aspiring music producers and engineers in a real-world working environment. The teaching is delivered in a hands-on apprenticeship style, which prepares graduates to enter the fast-paced music industry and create their own career success story.
Students at the Sydney campus of Abbey Road Institute will have the opportunity to learn in an iconic Australian recording, mixing and mastering facility engaged in and with the music community and industry network that students aspire to join on graduation. This will provide a wonderfully unique learning environment within the music industry, with high levels of placement expected.
Ron Haryanto,Studios 301 General Manager / Abbey Road Institute Sydney CEO, said
“This professional integration, unique in Australia, will offer Abbey Road Institute students access to one of the best recording studios in the world as an important part of their learning experience. Our team at Studios 301 will add another layer of perspective and music industry experience to their education. The teaching spaces will be located within our world-class facilities, with the Institute having their own dedicated studios, production and writing rooms and classroom, alongside our commercial spaces dedicated to our existing and growing client base. Studios 301’s dynamic array of specialised skills, recording experience, technical excellence and industry links will now be available to Australia’s up and coming talent to help them become the music producers and audio professionals of the future and that is a truly exciting partnership.”
Luca Barassi, CEO Abbey Road Institute – Global, based in London, said
“Locating Abbey Road Institute Sydney inside active commercial studios offers an experience where students get unparalleled insights into the real-world environment of recording studios and gain a head-start on a career in music production. We are delighted that the opportunity has been created to move our Australian Abbey Road Institute into the newly enhanced and cutting-edge facilities at Studios 301 in Sydney. This establishes a pioneering breakthrough in Australian audio education.”
Charlotte Rochecouste, Abbey Road Institute Melbourne Alumni
“Abbey Road Institute really helped me gain a strong foundation in audio, which led to an internship at Studios 301. The course accurately breaks down the subject of audio engineering/music production, making it digestible so that it doesn’t feel overwhelming or confusing. Audio is very hands-on, hence why being able to use the studios frequently helped me practice and improve my skills significantly. Now that the Institute is moving into Studios 301, future Abbey Road Institute students will be able to witness how a professional music studio operates and put their experience & knowledge into practice. It will set them up for the music industry and give them authentic and realistic expectations for their futures.”
Zak Baker – Abbey Road Institute London Alumni
“After completing my Advanced Diploma at Abbey Road Institute London, I was fortunate enough to intern at Studios 301 and experience the day to day excitement and challenges that come with working in one of the best studios in the world – and that hands on experience is invaluable in the recording industry.
Since completing my internship I have worked in many studios, and Studios 301 is still only one of a few studios that are at the same level as the likes of Abbey Road. Not only with its world beating microphone and gear selection but also the engineers, technicians and team that keep the studios running. Abbey Road Institute students being able to tap into the facilities, equipment and staff at Studios 301 is not an opportunity anyone serious about wanting to become an engineer should miss out on!”
Apply Now for 2021
Abbey Road Institute Sydney will be offering a one-year intensive Advanced Diploma in Music Industry which starts on 21 June 2021. Applications are open now. For detailed information on the course and how to apply visit the Institute’s website.
Congratulations to all the amazing artists who are nominated at this year’s ARIA Awards. This time around the list of artists includes Studios 301 clients such as Cold Chisel, Jessica Mauboy, Guy Sebastian, Amy Shark, Alex the Astronaut, Mallrat, Illy, Casey Barnes, The McClymonts, The Jungle Giants and The Rubens.
According to a recent interview with Zane Lowe on Apple Music, Kylie Minogue almost ended up collaborating with Prince in the early ‘90s. She recounted the time when Prince was on tour in Australia and he sent her a cassette tape with a song called Baby Doll.
Said unreleased Baby Doll recording was tracked by Prince at Sydney’s iconic Studios 301 in 1992 during his Diamonds & Pearls tour.
Jack Prest was recently in Studio 1 working on the development of his (as yet untitled) new interdisciplinary performance project. The development came about through partnership with Studios 301 and with support from Create NSW via their projects grant.
The session featured a series of collaborations with Nicholas Meredith (Kcin/Spirit Level), Dave Rodriguez (Godtet/Sampa The Great), Ben Freeman (The Die Youngs), Jerrol Renaud (The Goods) and Claire Edwardes, Jason Noble and Freya Schack-Arnott from contemporary classical group Ensemble Offspring.
Jack put the players through a series of improvised tasks responding to various compositions, sonic sketches, ambient noises and field recordings.
Jack also recorded and collaborated with dancer Azzam Mohamed and visual artist Joe Wilson and Chanelle Collier further developing the interdisciplinary side of the project. Jack Garzonio was assistant engineer for the session.
This is the first project from a new Arts Initiative by Studios 301, keep an eye out for more projects over the coming year.
MusicNSW is back with the 2020 Levels program: a one-on-one audio engineering workshop for women, trans and non-binary applicants. Levels 2020 will be held at Studios 301 on Saturday, 27 June 2020 and you can apply at musicnsw.com
The hour-long workshops will be packed with personalised advice on producing and mixing your track, from world-class audio engineers Antonia Gauci(Will.I.Am, Kesha, DMA’s) and Georgia Collins (Birds of Tokyo, Body Type, Bachelor Pad).
It’s a perfect opportunity to take your sound to the next level. Come prepared with your track session and your questions loaded up, and make the most of this rare learning experience.
