Sydney’s Bamm Bamm Wolfgang music and audio postproduction facility has opened a PMC-equipped Dolby Atmos mixing room to accommodate a wide variety of immersive audio projects, spanning film and television programmes through to advertising, games and music.

Established in 2017 by sound designer, music producer and composer Adam Alexander, Bamm Bamm Wolfgang is housed in the Viking Lounge complex. ‘Our multi-purpose production/mix suite was designed and built from the ground up by Paul Stefanidis, whose vision and execution has resulted in one of the finest sounding rooms in Australia,’ Alexander says. ‘The boutique nature of our studio allows us to provide music and post sound services with the integrity and quality expected of a craftsperson.’

The upgrade to Dolby Atmos took place almost by default. The facility had already installed a PMC 5.1 monitoring system, but when Alexander’s studio partner, mix engineer and musician John Romeo, heard how good the monitors sounded, they decided to go a step further and create the perfect environment for mixing immersive audio. ‘Going to Atmos was an absolute no-brainer, especially for someone who has always associated sound and vision,’ Alexander says. ‘We’ve always loved the Atmos format. The scope it allows for the use of sound in storytelling, particularly for the moving image, is magical and limitless.’

‘It’s a massive bonus to have the fold-downs translate brilliantly, especially in an age where mixes must resonate meaningfully on phones and handheld devices,’ Romeo adds.

Bamm Bamm Wolfgang’s 7.1.4 monitoring system was supplied by local dealer AKA Pro Audio, and comprises seven PMC twotwo6 monitors for LCR and surrounds, four PMC twotwo5 monitors for overheads and two PMC twotwoSub1 for the low end. Conversion and routing are handled by an Apogee Symphony MkII with an Avid S1 Control Surface. The studio also has Pro Tools, Nuendo and Logic DAWs; preamps and summing outboard from Avalon, Neve and Sebatron, and Neumann, AKG, Coles, Sennheiser, Rode and Shure microphones.

‘While it’s a critical listening space, we wanted the studio to be an inviting home and an inspired gateway for creative endeavours,’ Alexander explains. ‘It is the ideal place to record vocals, voiceovers and soloists - through to drums and small strings sections. Our studio can also be patched to additional Viking Lounge suites if a project requires it. I have an offsite private studio where I do a lot of my composition, sound editing and pre-dubs. I use PMC twotwo6s in this room, too, to ensure palette and creative choices are well informed from the outset.

The choice of PMC loudspeaker came about after Alexander heard twotwo6 and twotwo8 monitors demoed in a friend’s studio. ‘John and I agreed to upgrade our monitoring and I just loved the sound of the twotwo6s,’ he says. ‘Rob Ramon at AKG Pro Audio had them in stock, so it was an easy decision to make.

‘Once we had heard the twotwos in our room, there was no need to hear anything else. The fidelity, tonal response and detail is incredible, and the separation of channels in surround and Atmos is astounding. Decisions we are making on the PMCs translate brilliantly to other listening environments, including theatrical rooms. It is so important that reference monitors aren’t hyped or coloured, and that they provide an inspired and enjoyable listening experience. For us, the PMCs offer both. We find ourselves working long hours without ear fatigue, and we have had very positive feedback from esteemed colleagues who have listen to the system, so we have no regrets at all.’

Alexander adds that the service provided by Rob Ramon was second to none. As well as offering advice and guidance on the set up of the monitors, he also sourced controllers and monitor brackets – and encouraged Bamm Bamm Wolfgang’s passion and ambition for the room.

Since completing the upgrade, Bamm Bamm Wolfgang has taken on a number of Atmos projects including What If The Future Never Happened?, a semi-autobiographical featurette by Silverchair frontman Daniel Johns. ‘We mixed the trailer and were thrilled with how it sounded in the cinemas against some pretty huge blockbuster trailers,’ Alexander says. ‘I’m also excited at the prospect of songwriters, artists and producers making and mixing music for the Atmos/Spatial Audio format because when it is done well, listening becomes a very special truly immersive experience.’