iLoud Micro Monitor Pro Immersive Bundles are quickly spreading worldwide for musicians, producers and mixing engineers looking for the perfect solution to break into immersive mixing for 7.1.4 and beyond.
Based out of Hong Kong, GRAMMY-nominated Mix Engineer Matt Sim has chosen iLoud Micro Monitor Pro studio monitors for a new Atmos rig at his second studio in Taipei. Matt has worked with countless hit artists and is currently the leading Dolby Atmos music mixer in Asia, signed to Warner Music Asia in 2021, and an approved Atmos mixer for Universal Music & Sony Music globally.
IK recently interviewed Matt to discuss why he chose the iLoud Micro Monitor Pros and what advice he would give those seeking to set up an immersive mixing room.
IK Multimedia: Thank you for using the iLoud Micro Monitor Pro Immersive Bundle at your studio in Hong Kong. We heard you added iLoud Precision after our last interview. Please tell us about your current setup.
Matt Sims: I currently have two studios, one in Hong Kong and one in Taipei. Both are equipped for Atmos.
My Hong Kong Studio is the same as before, except I added a pair of iLoud Precision 5 as my main LR next to my NS10s. The rest are all iLoud MTMs.
However, I have chosen the following for my new Taiwan home studio because of the size constraints.
- LR: NS10 (Ex Machina Ganymede)
- C: iLoud Micro Monitor Pro
- LR Wide: iLoud Micro Monitor Pro
- LR Surround: iLoud Micro Monitor Pro
- LR Rear Surround: iLoud Micro Monitor Pro
- LR Top Front Overhead: iLoud Micro Monitor Pro
- LR Top Rear Overhead: iLoud Micro Monitor Pro
IK: Could you share some of the album titles and films you mixed with iLoud?
MS: That’s pretty much all my mixes in the past 4-5 years, then! It’s mixed on either iLoud Micro MTM, Precision 5, or the latest iLoud Micro Pro.
A few recent highlights: ILLENIUM “Ascend,” a GRAMMY nomination this year for “Best New Album” for Matt B’s “ALKEBULAN II,” Dillion Francis “LA on Acid,” Nurko “Discovery EP” & “Save Me (From Myself) (Acoustic),” GEM “Revelation,” Ernie Zakri “Luv ft Sabronzo,” Dolla “Here 4 U,” Felip “Fake Faces,” Jeff Satur “Almost Over You,” and many more, including a couple of theme songs for some upcoming major Chinese movies which I mixed on iLoud Micro Pro.
[Here are Matt's mix credits]
IK: You have now set up another studio in Taiwan and chose the iLoud Micro Monitor Pro Immersive Bundle for that room. Why?
MS: I initially considered using the iLoud MTM MKII, but then I saw that the iLoud Micro Monitor Pro was announced. This product is more compact and lighter for installation, making my life easier and saving valuable space at home. It’s a no-brainer! Plus, newer products often have improvements, right? Having owned nearly all of IK's monitors, I have no doubt they would get the sound right, and I was not disappointed.
Given the size of my room, the iLoud Micro Monitor Pro is a better fit. At first, I was unsure how it would sound, but once I received them, I knew I had made a great choice! It offers a more balanced low end compared to the iLoud MTM, which can sometimes feel too heavy for surrounds without bass management, leading to some loss of detail in the midrange.
However, the iLoud Micro Monitor Pro addresses this with cleaner Mids and Highs, whether or not I use bass management. Additionally, it features X-MONITOR capability like my favorite Precision 5, which is a fantastic bonus!
IK: How do you like the sound of iLoud Micro Monitor Pro?
MS: For a long time, the iLoud Micro Monitor was my go-to portable reference monitor for checking mixes in the studio and on the road. While I couldn't start a mix using them, they were perfect for finalizing or tweaking mixes to ensure better translation across consumer devices.
The iLoud Micro Monitor Pro represents a significant improvement over its predecessor, featuring a more refined and enhanced mid-range that was missing from both the iLoud MTM and iLoud Micro Monitors but was present in the iLoud Precision line.
Remarkably, I could start a mix on the iLoud Micro Monitor Pro, which wasn't possible with the iLoud MTM or iLoud Micro Monitor. It essentially functions as a smaller sibling to the iLoud Precision 5, and considering its size and price point, its performance is truly impressive.
IK: Have you used the iLoud Micro Monitor Pro’s built-in ARC calibration? If so, how did it work?
MS: I tested the built-in ARC calibration and had mixed feelings about it. While it wasn't disappointing, I used ARC as a secondary reference point, and it enhanced both the high frequencies and deep bass response of the speakers when I applied room correction with different curves. Since the iLoud Micro Monitor Pro already has excellent tonal characteristics, using ARC effectively created a different sonic signature - it was like having another pair of speakers in my room, which was interesting.
With ARC enabled, I could hear frequency details that weren't apparent without it. However, if I were to use these monitors in an unfamiliar acoustic space, I would bypass the ARC calibration since I'm now very familiar with the iLoud Micro Monitor Pro's natural frequency response and can mentally adjust to their sound signature.
IK: Do you feel the benefits of the iLoud Micro Monitor Pro’s “linear phase design,” such as precise imaging, less fatigue, and quicker mix decisions?
MS: Absolutely. It’s more obvious when I mix in an immersive format. iLoud Micro Monitor Pro also handles EQ and compression very well. It takes me less guesswork to finish a mix than before, and it is truly a time saver.
The imaging is much more precise, and subtle movements are more revealing now. Even though sometimes clients were not sitting in the center spot-checking mixes, they still heard all the details in the mix, and they were impressed.
IK: Do you have any advice for people who want to set up a room for the Dolby Atmos mix?
MS: Here are some essential tips for setting up an Atmos studio. First, visit as many Atmos studios as possible to evaluate different speaker setups. Remember that large speakers may not be suitable for small rooms and vice versa - finding the right fit for your room size is crucial. Consider installation constraints carefully, as room dimensions and construction limitations will affect your choices. You'll need to balance your ideal preferences with practical installation possibilities.
While the impact of large speakers in Atmos can be impressive, reminiscent of cinema or stadium sound systems, I prefer a more precise setup for mixing. I opt for smaller speakers with faster transient response, which allows me to mix at lower volumes while still hearing all the subtle details. This approach better represents how spatial audio will sound on widely used devices like AirPods.
My mixes typically receive high approval ratings because they translate well to consumer devices such as AirPods and soundbars. Since our hearing is less sensitive to sounds from surround speakers, especially the rear and ceiling channels, using more sensitive monitors helps quickly identify and fix issues in these areas.
Proper calibration is also essential for optimal results. The calibration process takes about an hour and simultaneously adjusts time alignment, frequency response, and levels. I maintain multiple calibration settings to test my mixes against various target curves and environments.
Last but not least, Dolby has many great tips and guidelines for setting up rooms; please refer to them!
Ultra-compact, the Micro Monitor Pro offers even the most demanding mix engineers and audiophiles the features they need to work or enjoy music anywhere without sacrifice.
iLoud Micro Monitor Pro