Liverpool, UK; July 2024 – Liverpool-based full service audio production studio, SODA-SOUND is part of the vanguard of ORIA adopters, installing one of the first Audient immersive audio interface and monitor controllers to come off the production line. Already fully Dolby Atmos certified, SODA-SOUND has been mixing in Atmos for several years, having produced over 8000 spatial mixes for a broad client base including Apple, Mercedes, Estee Lauder and Samsung.
Describing ORIA as “the solution many of us didn’t realise we were waiting for” SODA-SOUND founder, Ted White has nothing but praise for the new addition to his studio. “The clarity and precision the ORIA brings to the table are transformative. With a setup calibrated to perfection, the transition between stereo, immersive and headphone monitoring has never been smoother, ensuring that mixes translate well across all formats.”
ORIA allows calibration, control and monitoring of multi-channel speaker arrays from stereo up to 9.1.6 – and everything in between. Designed specifically for creating immersive mixes for formats such as Dolby Atmos, it is ideal for music, film, TV, game and VR production.
“Opting to position the ORIA as the primary interface, we were able to streamline our workflow significantly. The ORIA’s flexibility shone through its ability to swap between DAWs and sample rates without a hitch, illustrating its strength as a monitor controller in a dynamic studio environment.”
According to Ted, efficiency at SODA-SOUND has improved beyond their expectations. “We can honestly say we’ve never used an interface that is so able to jump between sessions across multiple DAWs and not have issues along the way. I would say that ORIA has actually increased our productivity most in this sense, our down time between jobs is now virtually nothing, as session hopping has just become a non-issue with the ORIA!”
Ted describes the previous setup – before ORIA came into their orbit. “As we work daily between Stereo and Atmos we needed a system that could manage this continuous back and forth workflow. We ended up adopting a system that also came around as an adaptation of our stereo workflows, which included using multiple interfaces and linking them via ADAT.”
This worked, for the most part. “We had to create a robust quality checking method to ensure the mixes translated well across all systems, and like most studios, once we found something that gave repeatable and reliable results we stuck to what was working.”
With efficiency uppermost in his mind however, Ted was always on the lookout for new technology and gear which would solve their problems. He reckons ORIA is exactly that, describing it as “a groundbreaking tool.” Indeed he’s so pleased, there are already plans to purchase additional units.
“It’s clear that Audient has placed a significant emphasis on both form and function, making the ORIA not only a visually appealing piece of gear but also a highly functional one,” concludes Ted.
Read more about how ORIA works for SODA-SOUND in this in-depth Case Study.
Watch the SODA-SOUND Spatial Mixing team talk more about their experience with ORIA below:
