Multichannel Mixing for Streaming Services

15th February 2022 @ 15.00 - 16.30

How are music and film producers supposed to create a masterpiece when they have to cater to the artist, the label and the end-listener, without knowing how and where the audio will be consumed?

How are people listening? Apple lossless or Spotify? In a home cinema or on earbuds? It’s difficult to know what to prioritize with all these variables! 

Listen to some of the industry experts speak about how they are handling the spatial/immersive audio movement, how it affects their working processes and what they think the future holds. 

Form: webinar

Date: 15th February 2022

Time: 15.00 – 16.30

Place: Online via Zoom

Price: free

Language: English

If you have questions about signing up, please contact Murielle De Smedt,

Participant profile:

  • Musicians
  • Recording engineers and producers
  • Record label representatives 
  • Those developing spatial audio products or technology
  • All other film and music industry professionals
You will meet:



Morten Lindberg is a recording producer and balance engineer with 39 American GRAMMY-nominations since 2006, 31 of these in craft categories Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year. Founder and CEO of the record label 2L. Grammy Award-winner 2020.

About 2L: The beauty of the recording arts is that there is no fixed formula and no blueprint. It all comes out of the music. Every project starts out by digging into the score and talking with the composer, if contemporary, and the musicians. It is not our task as producers and engineers to try to re-create a concert situation with all its commercial limitations. On the contrary; we should make the ideal out of the recording medium and create the strongest illusion, the sonic experience that emotionally moves the listener to a better place. 

There is no method available today to reproduce the exact perception of attending a live performance. That leaves us with the art of illusion when it comes to recording music. As recording engineers and producers we need to do exactly the same as any good musician: interpret the music and the composer’s intentions and adapt to the media where we perform. Immersive Audio is a completely new conception of the musical experience. Recorded music is no longer a matter of a fixed one- or two-dimensional setting, but rather a three-dimensional enveloping situation. Immersive Audio is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions. Rather than reproducing a concert situation we consider the Recording Art a discipline on its own. It gives us the possibility to place the listener in an ideal position and become an actual party to the event. Thru a dedicated production of the music we can maximize energy, reveal all the small nuances and avoid disturbing distractions. The emotional impact can be made massive. The conductor’s position is the seat no audience can afford — until now with these dedicated recordings.

Frank Grønbæk is a sound engineer with 25 years of experience in studio, live and broadcast engineering. He has been consulting in studio and broadcast equipment  for the past 5 years, and has also been a production manager for bands and working in the audio rental business. 

Latest mixing in Dolby Atmos Music for Universal Denmark, Warner Music Denmark and Warner Music US. Main competence in the pop music area.

Frank of House is his own company, and he also works as a product specialist for Nordic Pro Audio

Frank has been involved with just about every part of the audio chain – from live performance to front-of-house mixing to in the studio. He has an impressive knowledge of studio and broadcast equipment and knows just about everybody on the scene. 

In his mixing work, he wants to elevate music into the spatial environment, by creating space and by actually using it! Frank will speak about the opportunities and challenges of working with Dolby Atmos, trying to keep the artist, the label and the listener happy, and his opinions on mixing for both a home cinema setup and binaural listening. 


Eddie Simonsen is a sound designer, mixer and composer, and the co-founder of Mainstream Studios. He will share his experiences in mixing film and TV in Dolby Atmos. Eddie’s impressive list of references.

Mainstream Aps is one of the largest sound facilities in Scandinavia. They provide studios for editing, ADR and Foley recordings. The have mixing stages in Copenhagen, including Dolby Atmos w. Meyer Speakers. 

Eddie will share his experiences in mixing with Dolby Atmos for film and TV, as well as his views on the spatial audio movement.

When you participate in this event, your time will be used as co-financing for the Innovation Power Project, which is funded by the Danish Business Promotion Board and the Danish Agency for Education and Research at a standard rate. Read more about Innovationskraft  HERE

Danish Sound Cluster

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