Reviving a 1973 Grammy-winning masterpiece in Dolby Atmos? It’s a task that demands precision, passion, and a deep respect for the original artistry. But here’s where it gets controversial: should modern remixes preserve the imperfections of the past, or embrace the pristine clarity of today’s technology? Pat Mavromatis, the mastermind behind the Atmos remix of Roberta Flack’s iconic albums, tackles this question head-on in his journey to bring Killing Me Softly and Feel Like Makin’ Love into the immersive audio era.
If you haven’t already, don’t miss Part One of this fascinating series [https://www.mixonline.com/recording/music-production/mixing-classic-roberta-flack-in-atmos-part-1], where Mavromatis dives into the challenges and triumphs of this ambitious project. In Part Two, he reveals the intimate details of Flack’s creative process, captured on tape. “She’d stop mid-recording, saying, ‘No, this doesn’t feel right. Let’s try it again,’” Mavromatis explains. “Hearing those moments preserved on tape gives me goosebumps—it’s like being in the room with her.”
And this is the part most people miss: both albums retain Flack’s interjections, adding a layer of authenticity. Listen closely to Killing Me Softly With His Song, and you’ll hear her count-in to the final chorus. On I Can See the Sun in Late December, her spontaneous remarks were left in the stereo mix, a choice Mavromatis honored in the Atmos version. “It’s these little imperfections that make the music human,” he notes.
The technical challenges were no small feat. The multitracks boasted impressive dynamic range and clarity, but Mavromatis faced a dilemma: to recreate the tape hiss or not? For Killing Me Softly, he meticulously restored the hiss and hum of the original 2-track tape machines, preserving the album’s warmth. But for Feel Like Makin’ Love, he took a bolder approach. After consulting colleagues at the AES Convention, he decided to eliminate the tape noise, a move he admits was risky. “Removing that noise changes the timbre,” he explains. “But sometimes, you have to let the music evolve—even if it means sounding a little different.”
This decision sparks a thought-provoking question: Is it ever okay to alter the sonic fingerprint of a classic recording? Mavromatis invites listeners to weigh in, acknowledging that there’s no one-size-fits-all answer.
The project was brought to life at Living Room Studios, a 2,000-square-foot Dolby Atmos Music facility in Athens—one of only eight Auro-3D Mix Certified Studios globally. Equipped with 16 Kali Audio speakers, Barefoot Sound monitors, and a pair of ceiling-mounted subwoofers, the studio is a testament to Mavromatis’s commitment to immersive audio. HdAcoustics optimized the room’s dimensions and shape, leveraging its 13-foot ceiling to create a sonic environment that’s as precise as it is inspiring.
While Mavromatis primarily mixes “in the box” using Apple Logic Pro, he’s eyeing his D&R Cinemix II analog console for future Atmos projects. His passion for analog gear dates back to his time in Los Angeles, where he connected with engineer Ronan Chris Murphy during a Recording Boot Camp. “Finding a D&R console in Europe felt like destiny,” he says. “It’s a 5.1 surround console with 10 auxiliary sends—perfect for Atmos, though that’s a project for another day.”
As Mavromatis continues to push the boundaries of immersive audio, one thing is clear: his respect for the original artistry is matched only by his desire to innovate. But here’s the question we leave you with: Should remixes stay true to the original’s flaws, or is it okay to polish the past? Let us know in the comments—we’d love to hear your thoughts!
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