Immersive Audio for Film Scores: What Actually Matters?

Written By Mark Willsher

There are many ways to approach this topic, but I want to focus on what actually matters for composers, since in most cases, the composer is my client.

A surprisingly large number of film scores - especially outside major studio features - are still mixed/premixed in 5.1. In my view, this is no longer ideal for composers, and there are meaningful reasons why: both for the film and for the soundtrack album.

1. Why Immersive Mixing Matters for the Film (Even If the Deliverables Say 5.1)

A question I get often is:

“Why bother mixing beyond 5.1 if the film’s delivery spec is only 5.1?”

For most projects, my preference is to deliver a set of 7.1.2 stems (more on that in a future post).
To clarify a few points that often come up in this discussion:

  • I always discuss formats with the re-recording mixer first.

  • I am not advocating for casually sending object-based mixes to a dub stage.

When 5.1 Becomes a Liability

A few years ago, on two different films mixed at two different facilities (in different countries), the deliverables were explicitly 5.1.
So I mixed the score in 5.1 and delivered 5.1 stems.

Later, when I heard the 5.1 printmasters, I noticed - in both cases - strange phasing artifacts in the music. After some investigation, I discovered:

  • the films had actually been mixed in Atmos,

  • the final 5.1 deliverables had been generated as re-renders,

  • and my 5.1 stems had been upmixed to 7.1.2 using an upmix plugin during the film mix.

Suddenly the phase anomalies made perfect sense.

The deeper discovery was this:

I found that quite a few post facilities now run their entire workflow through the Atmos Renderer for all projects, even if the project isn’t officially an Atmos deliverable.

*I’m not suggesting that every facility works this way, but I’ve encountered it often enough to consider it a fairly common workflow.

Why?

  • It simplifies multi-format deliverables via the Dolby Renderer.

  • It future-proofs the mix if the film later receives an Atmos release.

  • It allows them to “upsell” an Atmos version without redoing the entire mix.

Is this bad practice?

Not at all, but it is something composers and score mixers should be aware of as it affects how their work translates downstream.

Why 5.1 Music Is a Missed Opportunity

If the final stage is working in Atmos, strict 5.1 stems are a limitation:

  • reduced spatial clarity,

  • less stable imaging,

  • the score may blend less elegantly with dialogue and FX,

  • extra work required on the dub stage (and rarely enough time for it).

A re-recording mixer once told me this:

“If you’re not going to deliver an immersive premix, just send stereo stems - it’s easier to work with in Atmos than 5.1.”

That tells you everything. How significant this is will vary with the style of the score, but the underlying point remains.

2. Why Immersive Mixing Matters for the Soundtrack Album

Regardless of anyone’s personal feelings about Atmos for music:

Dolby Atmos matters for soundtrack albums in 2025.

Not in a hype-driven way—in a practical, business-driven way.

Here’s why:

  • Apple playlist placement

More likely to be added to Apple editorial playlists if a Dolby Atmos/Apple Spatial version is available.

  • Higher royalties for the artist/composer

Apple pays higher per-stream royalties to releases with an Atmos version
even for plays in stereo.

  • Labels prefer (or require) immersive

Many labels now strongly prefer Atmos deliverables, and some will only take a release if an Atmos version exists.
And if you are already mixing immersively for the film, then creating an Atmos album version is a zero-friction value add.

“But theatrical Atmos and Apple Spatial aren’t the same.”

Correct - there are significant differences.
But you’re already making small adjustments when creating the stereo master, and the incremental work for an album-ready immersive master is minimal.

3. The Practical Reality for Composers

From a time and workflow perspective:

Mixing immersively for the film and creating both stereo and immersive album masters generally takes no longer than mixing 5.1 for the film and delivering a stereo master—aside from the need to QC additional versions.

But the results are meaningfully better:

  • Greater clarity and impact in the cinema

  • A more emotionally engaging spatial mix

  • More attractive soundtrack deliverables for labels

  • Better discoverability and visibility on Apple Music

In short:
Immersive mixing future-proofs your score - creatively, technically, and commercially.

Mark Willsher