Elliot Scheiner is not just a name in the music industry; it’s a hallmark of audio excellence. With a career decorated with 2 Emmys, 8 Grammy wins, and 27 Grammy nominations, Scheiner’s passion for music, particularly rock, and his pioneering spirit in surround sound are undeniable. This interview delves into the mind of this audio legend, exploring his journey into immersive audio, his groundbreaking work with 5.1, and his insightful, sometimes critical, perspectives on the evolving landscape of technologies like Dolby Atmos. For those seeking Elliot Scheiner pioneer reviews, this piece offers a comprehensive look at his contributions and opinions, solidifying his status as a true innovator in sound.
Embarking on the Immersive Audio Journey
Scheiner’s foray into immersive audio began with a project that resonated globally: the Eagles’ Hell Freezes Over. Following their 17-year hiatus, the album, born from an MTV special, was initially mixed in stereo to widespread acclaim. However, the concept of 5.1 surround sound was nascent in the mid-90s, and when approached to create a 5.1 mix, Scheiner was stepping into uncharted territory.
“I got a demo on basically what happens when you mix in 5.1,” Scheiner recalls, marking the start of his deep dive. Mixing Hell Freezes Over in 5.1 around 1996 or 1997 was his inaugural venture into this format. This experience wasn’t just a project; it was the ignition of a passion that would define a significant part of his illustrious career.
From Albums to Automotive: A 5.1 Visionary
Unlike many who approached 5.1 through the lens of cinematic experiences, Scheiner’s immersive audio journey was predominantly album-centric. “You know, 99% of the immersive stuff was for albums. I think I did one film in 5.1,” he notes, highlighting his unique path.
His expertise led Warner Brothers to enlist him as a liaison in the late 90s. His role was pivotal: educating artists about 5.1, elucidating its potential, and advocating for its adoption in music. This was an era where artist approval was paramount for such ventures, a stark contrast to today’s industry practices where immersive mixes often proceed without explicit artist consent.
Scheiner’s portfolio of 5.1 mixes reads like a who’s who of rock royalty: Eagles’ Hotel California and Hell Freezes Over, Eric Clapton’s 461 Ocean Boulevard, Derek and the Dominos’ Layla and other Assorted Love Songs, Queen’s A Night At The Opera, Steely Dan’s Gaucho, R.E.M.’s Automatic For the People, Guns N’ Roses’ Appetite for Destruction, Foo Fighters’ In Your Honor, among many others. This extensive body of work is a testament to his dedication and mastery in 5.1 mixing.
“In ‘96, it was just something different than stereo. God, I wanted to do this so badly. And I pretty much stayed in that for years and years,” Scheiner reflects, encapsulating his drive to explore and excel in this audio dimension.
Elliot Scheiner in his studio
Favorite Projects and Production Anecdotes
When asked about favorite projects, Scheiner readily mentions the Eagles and Steely Dan. His work on Porcupine Tree’s In Absentia also holds a special place, particularly among surround sound enthusiasts. Recounting the In Absentia project with Steven Wilson, Scheiner shares an anecdote that underscores his hands-on approach and collaborative spirit.
“Stephen wanted to come here. He didn’t know anything about surround sound. He knew that he wanted to do it, and he’d heard it, but he tends to mix by himself and record by himself.” Wilson arrived at Scheiner’s surround-equipped home studio, laden with Pro Tools gear. The challenge was integrating Wilson’s Pro Tools setup with Scheiner’s Nuendo console, a testament to early-days technical complexities in digital audio. This collaboration was a significant learning curve for Wilson, fostering a creative synergy that made the In Absentia surround mix a benchmark. “We had a great time doing it. The music was so incredible,” Scheiner fondly remembers.
5.1 vs. Atmos: A Pioneer’s Perspective
Despite his extensive background in 5.1 and his openness to innovation, Scheiner voices reservations about Dolby Atmos for music, a viewpoint that offers valuable Elliot Scheiner pioneer reviews of current immersive audio trends. His primary concern stems from his perception of how Atmos is being implemented in music production, particularly by Universal Music Group, driven by Dolby’s push to integrate their chip across devices.
“Atmos is phenomenal in movies,” Scheiner acknowledges, but his critique centers on its musical application. He observes a trend where engineers, sometimes lacking deep immersive audio experience, are employed to create Atmos mixes that, in his view, miss the essence of what 5.1 achieved.
He contrasts the coherent band placement in 5.1 mixes—drums upfront, bass enveloping, guitars positioned distinctly—with Atmos mixes that often sound spatially disorganized. “What I’ve heard on the Atmos mixes is everything gets panned. There’s no sense of a band anywhere. It’s just panning from front to back and back to front and across. And it’s very confusing.”
Scheiner argues that the accessibility and coherence of 5.1, even on fewer speakers or soundbars, provide a more musically satisfying experience than many Atmos implementations he has encountered. He highlights his pioneering 5.1 car audio system with Panasonic and Acura as a testament to the format’s immersive yet comprehensible nature. “You listen to 5.1, and you’re sitting in front, but you have an idea of what’s behind you. You say, “Well, I’ve never heard that guitar before in the rear.” You get a sense of what’s going on, you get a sense of where the band is!”
His skepticism extends to the practicality of Atmos for the average listener. “There’s no way that anybody would consider 11 speakers so that leaves the listener with a Sennheiser or Sonos soundbar or Echo smart speaker.” For Scheiner, while Atmos excels in cinematic environments, its musical translation, in many cases, hasn’t yet convinced him of its superiority over 5.1. “They can’t convince me, just yet, that it’s great for music.”
Automotive Surround Sound: A Vision Realized
The Acura surround sound system is a brainchild of Scheiner’s, born from a fundamental question: “How do people hear this [music]?” Reflecting on the history of music formats in cars—8-tracks, cassettes, CDs—he recognized the car as a pivotal listening environment. “So I thought, Well, why don’t we put 5.1 in the car?”
Launched in 2004 with Panasonic’s collaboration, the Acura 5.1 system was a resounding success. Scheiner recounts receiving letters from Acura owners who were so captivated by the in-car surround experience that their listening sessions extended into their garages upon arriving home. This validated his vision: to make discreet surround sound accessible and impactful.
The Acura system also became an unexpected tool for artists and producers. Foo Fighters, while working on a record in Los Angeles, used an Acura TL, provided at Scheiner’s request, to review and approve 5.1 mixes in the car environment. Dave Grohl’s feedback was immediate: “Sounds great, don’t change anything.” This anecdote underscores the system’s utility beyond consumer enjoyment, establishing it as a credible monitoring environment for audio professionals. “That’s what I wanted. I wanted to take on the 5.1 market in cars and really do it big.”
Advice for Aspiring 5.1 Mixers
For those venturing into 5.1 mixing, Scheiner offers pragmatic advice rooted in his workflow: “What I do normally, if I get a call for stereo, I’ll mix the entire album in stereo and then tell the artist, “You know, I can do a 5.1 on this if you want it.””
He advocates for presenting 5.1 as an added value, suggesting formats like FLAC on thumb drives that include stereo and 5.1 mixes. This approach not only caters to audiophiles but also taps into a market segment eager for high-quality surround sound experiences crafted by masters like Scheiner. He shares an anecdote about an artist who found unexpected success selling thumb drives with his 5.1 mixes, driven by listeners specifically seeking Scheiner’s immersive audio work. “The funny thing is, he said to me, “I started selling this stuff, and the people that are buying it just want to hear what you’ve done.””
Genre Preferences and Mixing Philosophy
Genre significantly influences Scheiner’s mixing approach. For the Eagles’ Hell Freezes Over, his concept was to immerse the listener as if they were on stage with the band, positioning musicians around the listener in a cohesive and engaging sound field. “I want them to feel like they’re actually on stage and listening to all the guys placed all around them.”
In contrast, jazz projects, often with fewer musicians, require a different approach to maintain listener interest in surround. With Toto IV in surround, Scheiner aimed to reveal previously unheard elements, enhancing the listening experience by leveraging the expanded spatial dimension of 5.1. “Everybody’s into hearing things they’ve never heard before. You go from stereo to 5.1, and you have a couple more speakers. And they’re totally into it. They’ll say, “Wow, I never heard this.””
Even on classics like “Hotel California,” Scheiner discovered nuances in the surround mix that surprised even the artists themselves. “When I did the original version of “Hotel California,” I knew it in stereo. And when I actually got it in surround, even Glenn said to me, “Wow, I don’t even remember playing these guitars.”” This revelation of hidden layers in familiar music is a key aspect of 5.1’s appeal, according to Scheiner.
Elliot Scheiner discussing audio mixing
Current Projects and Future Outlook
Despite a career spanning decades, Elliot Scheiner remains actively involved in audio projects. He mentions a postponed 5.1 project with James Taylor and Carole King due to the pandemic, indicating ongoing demand for his 5.1 expertise. “Well, I still get many phone calls for 5.1.”
Beyond music and car audio, Scheiner’s ventures extend to producing, engineering, and even baseball team ownership. His ownership of the Bristol Blues, a team in Connecticut, reflects his diverse interests. “And now I have a baseball team… Yes, in Bristol, Connecticut and they’re called the Bristol Blues.” He connects his love for music and baseball through the team, highlighting the historic Muzzy Field, where Babe Ruth hit his first professional home run.
In conclusion, Elliot Scheiner’s career is a testament to his pioneering spirit and enduring passion for audio. His Elliot Scheiner pioneer reviews, particularly his insights into 5.1 and his perspectives on Atmos, offer invaluable lessons for the audio industry. His journey from groundbreaking 5.1 mixes to automotive surround sound innovations cements his legacy as a true visionary in immersive audio.
About the Author
Immersive Audio Album is a marketplace dedicated to immersive and surround sound music, celebrating artists who push the boundaries of audio experiences.
