STEVEN WILSON IS the industry's go-to guy for immersive music. A producer and engineer, as well as the instigator of psychedelic rock outfit Porcupine Tree, his multichannel mixes of classic albums have kept the surround sound torch burning for decades.
His surround mix of the Porcupine Tree album Fear of a Blank Planet was nominated for a Grammy, and his résumé covers new stereo mixes and immersive takes on recordings by King Crimson, Hawkwind, Yes and Roxy Music, amongst others. Increasingly, he's working with Atmos, notably mixing the latest Porcupine Tree album Closure/Continuation, as well as Tears for Fears' The Tipping Point, in the 3D format.
HCC caught up with Wilson shortly after experiencing the Atmos mix of Closure/Continuation at a Pitchblack Playback event, held in the London showroom of L-Acoustics Creations (see HCC #335). The album is a remarkable example of immersive audio; a multi-layered prog-rock tour de force that pushes the envelope when it comes to sonic design.
Our conversation was recorded over Zoom, with Wilson in his home studio. He begins by confiding that while he dropped in during the L-Acoustics setup, to check all was well, he never stayed to listen to the album in its entirety...
'I've heard it too many times. It took a long time to make and mix, so it'll be a while before I would actually listen to it through choice. That's kind of inevitable by the time an album is released.
Esta historia es de la edición December 2022 de Home Cinema Choice.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición December 2022 de Home Cinema Choice.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
AV Avenger
You should think twice before accepting an invitation to play Resident Evil 4 with spatial audio in a haunted prison, warns Steve May
Catalogue classic Star Wars: Ep. VI - Return of the Jedi → Ultra HD Blu-ray, Disney
Forty years on from the movie's cinema release, Anton van Beek ponders what might have been if things had gone a little diff erently during the making of Return of the Jedi…
Feedback
Got an axe to grind? Need to comment on current tech? Want to share your knowledge with our readers? Team HCC is here to help
M&K Sound V12
TIME ON TEST: Three years REVIEWER: Steve Withers
Sony 'bar demands to be upgraded
This well-specified Dolby Atmos soundbar may have a mid-range price tag, but you'll soon want to spend more, cautions Steve May
Short and sweet
Marantz's compact AV receiver returns with a new look and boosted features – Jamie Biesemans slips it into his AV rig
Discreet delivery
A slim, stylish Scandinavian on-wall system impresses Mark Craven with its handling of the sweet stuff
One project, two rooms
Dan Sait reports on a custom install where a JVC PJ/ Atmos system is joined by a stylish media den
THE KING OF B RDA HOLLYWOOD
Three of his movies have taken over $2billon at the global box office, he's pioneered SFX and 3D technologies, and he's been to the very bottom of the Pacific Ocean. That's James Cameron by the way, not Anton van Beek
System selector!
Given three similar budgets, Mark Craven, Steve May and John Archer assemble three different AV setups focused on movies, streaming and gaming
