In the world of surround sound, Elliot Scheiner needs no introduction. Having remixed dozens of classic albums by the likes of Steely Dan, The Eagles, Eric Clapton, Beck, Guns ‘n’ Roses, Van Morrison, The Doobie Brothers, Foo Fighters, Sting, and Toto in 5.1, the eight-time Grammy winner is a household name among audiophiles and immersive music fans.

Scheiner’s latest project is singer/songwriter Madeleine Peyroux’s brand-new album Let’s Walk, which he produced, recorded, and mixed in both stereo and immersive formats. Though one can stream the immersive mix via platforms that support spatial audio such as Apple Music, Tidal, and Amazon Music, it’s also available to purchase as a high-resolution digital download exclusively through the IAA shop!

I recently had the chance to interview Elliot about a number of topics including his work on Let’s Walk, pioneering 5.1 surround music back in the early-2000s, the Acura ELS infotainment system, and where he thinks the industry is headed.

Tell me about your recent work on Madeleine Peyroux’s Let’s Walk album, which just came out on June 28th. How did you get together with Madeleine for this project? 

It was kind of funny. Her piano player is a guy named Andy Ezrin, who I’d worked with before. I called him and he said “I can't talk for too long. I'm in rehearsal with Madeleine.” He asked me if I’d ever worked with her and I said no, but I’d love to and I think we should.

So then he yells out to Madeleine “Hey, I've got Elliot Scheiner on the phone, and he's saying that you guys have never worked together and you should.” So she got on the line and all it came together from there. [laughs]

Elliot Scheiner Surround Sound IAA

In addition to mixing, you were also the producer and recording engineer for this album. Can you share any details about the tracking process? Was it done live with all the musicians in the same space? Were you working in-the-box or analog?

Well, the only thing that was analog was the console. It’s pretty expensive to work on analog tape. I can do that and I’m set up for it, but it’s costly. So it was all done in Pro-Tools, because that’s what everyone’s using now. I don’t use Pro-Tools, but I was able to get the WAV files afterwards and mix it in Nuendo on my system.

We did the record at a phenomenal studio in Rhinebeck, New York, which I only found out about two years ago. It’s the kind of studio I remembered working in back in the ‘70s, where the band could stay overnight. The console was an incredible Neve, which I’ve always used. It’s one of those consoles where you open a fader and think “how is this perfect?”

We spent a good two or three days doing the tracks, and everything came together. The drums, amps, and her vocals were done in isolation, and then the main room had the bass–which was DI–plus the B3 organ and piano.

When I heard last year that you’d worked on this record, I figured there was a chance you might do a 5.1 mix–since you’ve done a handful of these in recent years, including Alain Mallet’s Mutt Slang records–but I was surprised to hear you instead did a full immersive mix with height channels. To my knowledge, this is the first time you’ve worked in that format. 

Yeah, it was kind of a new experience. I’ve always had a certain way of placing things for 5.1, and I decided to treat the upper speakers the same way even though they’re smaller. Like you said in your writeup, I’d often put Jon [Herington’s] guitar and some percussion up there. It sounded good to me here, and I didn’t feel like I was missing anything by not having full-range upper monitors.

I sent it to Wilfried [Van Baelen] at Auro and he said it was one of the best mixes he’d heard in the format, so my guess for how to use the extra speakers turned out to be okay. [laughs]

Madeleine Peyroux Let's Walk IAA Dolby Atmos Auro-3D Download

Much like with the rears in 5.1, there’s a lot of debate over how the height speakers should be used in an immersive music mix. I’ve heard some Atmos mixes where they contain mostly reverb or ambience, but I always appreciate when they’re used for distinct instrumentation like you did here.

The thing about Atmos, or what Dolby calls “immersive” now, is that it’s really a film system. I don’t think it’s right for music. 

With Auro-3D, the 9.1 speaker configuration works better for me. You have the rear left and right channels like in 5.1, plus the upper speakers, so I feel like the band’s in the same room and not coming from another place.

I also know for a fact–because they told me–that Atmos will never support 96-khz/24-bit. So you have to downsample your project to 48K to make it work with their system. 

The Dolby Atmos Renderer actually does support 96K–I’ve been sent some ADM BWF masters at that resolution–but the lossless TrueHD encoding for consumers is indeed limited to 48K, as you say. 

Yes, but I think that’s only for archival purposes. 

So now that you’re set up to mix in this format, are you getting offers to do more work?

I am. Are you familiar with the New York Voices? 

Yeah, I know you did a 5.1 for them some years ago–the Let It Snow record.

That’s right. I’m doing another record for them right now in Auro-3D. I’m almost finished, there’s just two more songs to go. I also got a call about doing something with Sheryl Crow.

So it’s all coming along, and I really love the format.

Auro-3D Download IAA 9.1

Would you be interested in revisiting some of your older 5.1 projects, like Steely Dan or The Eagles, in the new format?

Yeah, I was hoping to do Gaucho and Hotel California again. But right now, nobody seems to be making any moves.

Back when we did the 5.1’s, both groups came to listen and they liked the format. Now, because of the extra speakers, they seem to be shying away a bit.

If the record company–Warner Brothers, in the case of The Eagles–were to ask you directly for new immersive mixes without the band being involved, would that be enough to get the ball rolling?

No. With bands of that nature, they still need to get permission.

I called Irving [Azoff’s] office and said that I’d love to do Hotel California in Auro-3D, but they said they’re staying away from all this immersive stuff for now.

That’s a shame, as The Eagles are one of my favorite bands and I’d love to hear immersive versions of their albums. You worked on a number of other projects for them over the years, including the Hell Freezes Over (1994) and Farewell 1 Tour (2005) live albums. How did you come to be involved with the band? It’s my understanding that you didn’t work on any of their ‘70s records, only the post-reunion releases.

It was through Glenn Frey. In the ‘80s, I did a song with him called “You Belong To The City” which was used in the TV show Miami Vice. I mixed that track and we became good friends. This was during a time when the band had split up, and it seemed like they’d never get back together.

Some years later, he called me up and said there’s a good possibility we may get back together after all. They were talking about doing a TV special for VH1, or maybe it was MTV–I forget the name.

Storytellers? Or maybe Unplugged?

Yeah, it was Unplugged. Glenn and Irving flew me out to LA to hear the band rehearsing–it was just these five guys playing acoustics and singing, and it blew my mind. They should never have broken up.

Eagles Hell Freezes Over 5.1 DTS IAA

So they wanted me to record the live show and mix the album, which I did. Once the stereo version had come out, I got a call from DTS asking for a 5.1 version. I didn’t know what that was at the time, so they played me a Boyz II Men record that had just been done in surround. There was a different singer in each speaker and I loved it.

I was kind of left to my own devices in doing the 5.1 of Hell Freezes Over, since the band were on tour at the time. But it came out on video with the concert and they sold a lot of them. Not long after, the label said “why don't we do Hotel California?” 

Then, for the Melbourne show, I don’t think there was a label involved. It was done for NBC, or one of the other TV channels.

Since you didn’t mix Hotel California originally, was it difficult to match the overall sound and vibe of the 1977 stereo version while also bringing it into the multichannel format? 

No, that wasn’t an issue at all because Bill Szymczyk–the original engineer and producer–was right there with me.

The album was recorded on 24-track tape, and it was fascinating to go through all the individual elements that you couldn’t necessarily pick out of the stereo mix. I was shocked to find that there were eight channels of electric guitar in the title track, and a fair amount of acoustic parts too.

I put a lot of the acoustics in the rear speakers, which kind of changed the way you hear the song. The sounds themselves were identical, but the mix was different. Bill and I talked about this for a long time and in the end he was okay with it, because it was just revealing what was already there rather than adding something new.

Eagles Hotel California 5.1 DVD-A IAA

Editor's note: Scheiner's 5.1 mix of Hotel California was first released on DVD-Audio in 2001, but was later reissued on SACD in 2011 and then Blu-Ray in 2017 as part of the 40th anniversary deluxe edition.

During the end section with Don Felder and Joe Walsh’s dueling guitars, there’s an acoustic part playing in the center channel that I had no idea existed. There’s also a lot of percussion in the rear speakers that’s much more noticeable than in the stereo mix.

Yeah, that acoustic guitar in the center was Glenn’s. That was kind of the main part, and we never really heard it before. Having a separate speaker there definitely made it more apparent.

After Hotel California, were there ever plans for you to do 5.1 mixes of more of the band’s records–like the debut album or Desperado?

No, there was never any talk of that. Those first two records were Glyn Johns productions, then Bill did On The Border (1974) and One Of These Nights (1975). Even that last record they made before breaking up, The Long Run (1979)–which Bill also produced–was never slated for a 5.1 release. They just wanted to do Hotel California, probably because it was their biggest-selling record.

After the Melbourne live show, they made one more studio album–2007’s Long Road Out Of Eden. Since you were involved, I’m surprised there wasn’t a 5.1 release of that one too.

By that point, surround was almost out of the picture. DTS wasn’t really doing anything with music, they were focused mainly on movies. The record companies had mostly stopped doing DVD-A and SACD too. By then, I think you couldn’t even find the Hotel California 5.1 disc.

Out of all the bands you’ve worked with over the years, perhaps none are more revered than Steely Dan. You mixed their final three records–1980’s Gaucho, 2000’s Two Against Nature, and 2003’s Everything Must Go–in 5.1, all of which were released on DVD-Audio. What did Donald Fagen and Walter Becker think about surround sound? 

There was also the earlier DTS version of Gaucho, which is a different mix.

Steely Dan Gaucho DVD-A DTS 5.1 ELS IAA

They enjoyed listening to music in surround. I actually mixed one more record for them, Pretzel Logic (1974), in 5.1 and Walter came up to my studio to listen. He loved it and wanted to put it out, but Donald never heard it–so unfortunately it wasn’t released.

I was planning to ask about this, because I found an old interview you gave to Sound & Vision in 2006 that mentions the Pretzel Logic 5.1 mix. So all these years later, there’s still no chance of it being released? I’ve been told it’s not out of the ordinary for surround mixes to be shelved like this, which is kind of baffling because there is some expense to the record company–they have to locate, bake, and digitize all the analog masters. You would think they’d want to recoup some of that cost by releasing the product to fans.

I think most of the labels have already digitized everything, especially MCA. So it’s not like they’re baking tapes just to do surround mixes.

A few years ago, Irving asked me to go to Iron Mountain and check on the masters for the Steely Dan catalog. Everything they had tapes for was already digitized, but unfortunately they didn’t have all the analog masters for Aja (1977).

I’d heard that you wanted to do a 5.1 mix of that album back in the ‘90s for DTS, but they couldn’t find the multitrack tapes for “Black Cow” and “Aja.” I assume those are the masters that are still missing?

Yeah, those two plus “Your Gold Teeth” from Countdown To Ecstasy (1973) and “Reelin’ In The Years” from Can’t Buy A Thrill (1972). We tried for years to figure out where they could possibly have ended up. Aja was originally done for ABC, and then for Gaucho they’d moved to MCA. I think that when they moved, ABC kind of opened up the warehouse and people were free to walk off with the analog masters. So we thought maybe someone stole those tapes and auctioned them off, but we were never able to prove it.

Steely Dan Aja Missing Multitrack Masters ELS

Editor's note: The issue of the missing multitrack tapes for “Black Cow” and “Aja” was first mentioned in the liner notes of the 1999 Aja CD reissue, pictured above.

“Reelin’ In The Years” is one of their biggest songs. It’s pretty shocking to hear that the multitrack master is missing.

When a film company wanted to use a song back in those days, the record label would actually send them the master and expect it to be returned. So that could be a possibility, but who knows what happened? 

I remember “Black Cow” and “Aja” were on the same reel, and that particular reel only held those two songs. So that’s why we think the tape was taken.

As you probably know, there are software algorithms that can create a pseudo-5.1 from a stereo mix. Sometimes they’re surprisingly effective, depending on a variety of factors including the phase information inherent in the stereo version. Was there ever any discussion of doing this for those missing songs, so Aja could be released in surround?

There was a brief talk about it, but Donald said no. I’m told there’s a new algorithm now that can pull individual instruments out of a stereo mix, but I haven’t seen or worked with it. Chuck Ainlay told me that it actually sounds okay, though it seems hard to believe they can get something like the bass drum out of the mix sounding exactly the way I had recorded it.

Steely Dan Aja 5.1

In the “Classic Albums” TV documentary on the making of Aja, there’s an extended segment where Donald and Walter can be seen soloing individual elements from the multitracks. Hearing those parts in isolation is fascinating, and it gives a tantalizing glimpse at what a surround mix could have revealed. For “Peg,” they played back bits of all the different guitar solos that were recorded before the final version that ended up on the record.

I remember working on two solos with Walter for “Peg,” which were both amazing. Then Rick Derringer came in, and we spent seven or eight hours doing this eight bar solo. Everyone was cordial and said their farewells, but then–as soon as Rick had left the studio–Walter turned around and said to me “erase it.” You just never quite knew what they were looking for.

A lot has been said over the years about the DBX noise reduction issue that affected the recording of Katy Lied (1975). I know this was before you started working with them, but I’m curious if you have any insights as to what happened there. Is the problem only present on the stereo mix, or is it on the multitrack masters as well?

Yeah, it’s on the multitrack because it happened during the recording–the record hadn’t been mixed yet. They recorded that album at ABC Dunhill in L.A. and the DBX technology was new at the time. Roger [Nichols] thought DBX would sound better than Dolby, so that’s what he used.

When they tried to play back those tapes later on, it didn’t sound anything like they had remembered. Walter called DBX complaining about it, so they told him to bring the masters up to their headquarters in Massachusetts.

There were no alignment tones on the tape, so the technician at DBX had to manually adjust the noise reduction unit with a screwdriver until it sounded best to Walter and Donald. It wasn’t a good way to do it.

If you were to remix Katy Lied today, do you think it’d be possible to somehow fix the DBX issue in the digital domain?

I have no idea, and I’m not sure I’d want to get into that.

Steely Dan Katy Lied 5.1

The overall point I’m getting at is that there’s very much still an appetite in the fanbase for surround versions of Steely Dan’s classic catalog.

I would agree with you, but they don't feel good about it.

There were also quadraphonic releases of the first three records on LP and 8-track cartridge in the mid-70s. It’d be great if they could re-release those on DVD or Blu-Ray, assuming the four-channel masters still exist in a vault somewhere.

Wow, I had no idea. Do you have a quad system?

Yep, I have vintage decoders for the "SQ," "QS," and "CD-4" systems.

I remember there was a company called Sansui that made a decoder.

I did one mix for quad back in the day, at A&R. I placed everything where I wanted it to come from on the console, but when it was played back off the record anything could come from anywhere.

I also remember hearing Pink Floyd’s Dark Side of the Moon in quad, which Alan Parsons had mixed. He played it for me in the studio and it was mind-boggling.

In 2011, they finally released the discrete four-channel version of his quad mix on a Blu-Ray disc in the “Immersion” box set. I agree, it sounds incredible.

Yeah, it’s better than the 5.1 they did later on.

Steely Dan Thrill Countdown Quadraphonic 8-Track Surround

Going back to Steely Dan, you also mixed three of Donald Fagen’s solo albums in 5.1–1982’s The Nightfly, 1993’s Kamakiriad, and 2006’s Morph The Cat. Donald would go on to make one more record, 2013’s Sunken Condos. Were you ever approached about doing a surround version of that one?

I wasn’t working with Donald at that point. I think they wanted me to mix it, but something happened and I ended up not being involved.

During the early-2010s, it seems like there was very little interest in 5.1 music–at least from the big labels like Warner and Universal.

As I recall, the 5.1 I did of Derek and the Dominos’ Layla (1970) was released around that time–and that mix won a Grammy.

You’re right, and I wanted to ask about that too. You did 5.1’s of that record and Eric Clapton’s 461 Ocean Boulevard (1974). Some years before your mixes of those albums were released, the label put out completely different-sounding surround versions on SACD

Yeah, they did. I remember when I did 461, Eric’s producer came to my studio to listen and he hated it. He said “why is there stuff in the back?” So they redid it with someone else, but my version came out a while after. They even gave me a producer credit.

Eric Clapton Give Me Strength 461 5.1 Mix ELS

Editor's note: Scheiner's 5.1 mix of 461 Ocean Boulevard is only available on a Blu-Ray disc contained within the 2013 Give Me Strength: The '74/'75 Recordings deluxe set. The 2004 SACD contains a completely-different 5.1 mix credited to Simon Climie and Mick Guzauski.

One of my favorite parts of your 461 mix is that in the songs that have two drum kits, like “Mainline Florida,” you put one drummer in the front and the other in the rear.

Yeah, I remember also putting drums in the rear for the Foo Fighters and Van Morrison. I recorded a lot of Moondance originally, so I remember where all the musicians were seated in the studio. There was one cut called “Crazy Love” that had the drummer in the back of the room, so I put him in the rear for the 5.1 mix.

I don't think anybody had tried that before, but it sounded good to me. When Van finally heard it, he said “you should’ve mixed the whole record like that!” [laughs]

Steven Wilson recently remixed Moondance in Dolby Atmos. In his mix, the drums in “Crazy Love” are more traditionally-placed in the front speakers.

Yeah, I’ve heard it and I noticed that Steven was able to improve a lot on the original sounds. It didn’t sound exactly like what I recorded. I think my 5.1 version is truer to what the sound was like at that time period, whereas his is more advanced. 

Van Morrison Moondance 5.1 Mix

Editor's note: Scheiner's 5.1 mix of Moondance was first released as part of the 2013 five-disc deluxe edition pictured above, but is also included in the new 2023 Blu-Ray edition alongside Steven Wilson’s stereo and Dolby Atmos remixes.

I understand that the album was recorded on 8-channel tape, so all the instruments–even the drums–are in mono.

That’s right. When I started in the business, there were actually a few sessions where we did a whole record direct to stereo. So your bounces have to be perfect going in, since there was no going back.

Back in the early-2000s, you did the 5.1 mixes of Porcupine Tree’s In Absentia (2002) and Deadwing (2005) which introduced Steven to surround sound. How did you come to be involved in these projects?

I heard In Absentia in stereo first and I thought it would make for a great 5.1 experience.

Steven actually came to my house to oversee the surround mix. He brought all his Pro-Tools gear, but I’m set up for Nuendo–so it took a while to patch everything into my console. It came out great though, and I still love that music.

I remember he told me that a lot of it was recorded in his bedroom. I think the only thing they did in a studio were the drums.

Porcupine Tree Absentia Deadwing DTS 5.1 ELS SW

Editor's note: Though they were originally released on DVD-Audio, the 5.1 mixes of In Absentia and Deadwing are also available on Blu-Ray discs contained within the recent KScope deluxe editions of those albums.

Out of the many, many titles you’ve mixed in 5.1 over the years, my favorite might be Beck’s Sea Change (2003). What do you remember about working on that album?

It’s an incredible record. I did the 5.1 mix by myself, and when I finished it MCA wanted to set up a playback for Beck and [producer] Nigel Godrich–so I sent them all the masters. Unfortunately, whoever set up the 5.1 system in that studio didn’t hook up the speakers correctly. So everything was coming from the wrong direction.

I got a call from Nigel sometime later, who I'd never met. He said “I’m having a real problem with this” and started describing what he’d heard. I knew there weren’t supposed to be any drums in the rears, so I realized they must have hooked it up incorrectly. Eventually, they were able to fix the routing and he said it sounded great. 

Another great 5.1 project you worked on back then was Toto IV (1982). As with Hotel California, you didn’t mix the original stereo version of that record–but I understand you worked with the band later on.

Yeah, I did three records with those guys. This was after Jeffrey [Porcaro] had passed away, so the band had changed by that point. I mixed the stereo version of Tambu (1993), which had Simon Phillips on drums. Bobby Kimball wasn’t in the band anymore either.

A few years ago now, they did a huge career-spanning box set called All In that I think you were involved in. Were there ever any discussions about you doing more of the catalog in 5.1, including Tambu which you originally produced and mixed?

Yeah, I just sat in on the mastering for that set. They’d pretty much had it with Sony at that point and left the label soon after, so there was no more talk about surround. I would’ve liked to do Tambu though.

Toto IV SACD 5.1 Mix ELS

Editor's note: After being out-of-print for years, Scheiner's 5.1 mix of Toto IV was reissued on hybrid SACD by Sony Japan in 2022.

It seems like a lot of the 5.1 mixes you did of legacy records during this time were one-offs for a particular artist–such as The Doobie Brothers’ The Captain and Me (1973), America’s Homecoming (1971), Guns ‘n’ Roses Appetite for Destruction (1987), Lynyrd Skynyrd’s Southern Surroundings compilation from 2012, etc–where you didn’t proceed further with the back-catalog. I assume this comes down to a budget issue, or limited interest on the artist side?

I heard talk about nine months ago that UMG were getting away from doing legacy stuff in immersive, so maybe there’s less interest in that now.

The Lynyrd Skynyrd one was interesting because I didn’t really know their music until I got the masters. I was blown away by how well they played. Almost all those songs were tracked live in the same room.

In the case of The Doobie Brothers, I’d read that 1978’s Minute By Minute was at one time slated to be released on DVD-Audio. So I’ve always wondered if maybe they were planning to ask you for a 5.1 of that record, since you did such a great job on The Captain and Me.

I would have loved to do that one, it was a huge record. But yeah, it didn’t happen.

Back in 2004, it was mentioned in an interview with Crutchfield that you were due to begin work on a 5.1 mix of The Cars’ classic 1978 debut album. Did it really happen?


Editor's note: After the CD/DVD-A release in 2012, Southern Surroundings was reissued on a Pure Audio Blu-Ray disc in 2015.

In 2010, it was reported that you worked on a 5.1 mix of Band Of Horses’ Infinite Arms album. There was a deluxe edition of that album released, but no DVD or Blu-Ray with 5.1 included. Do you know what happened with this project?

I did work on a record for that band, but I don’t recall there being a surround component.

You worked with Panasonic and Acura to develop the ELS infotainment system. How did that partnership come about?

This started when I was doing those 5.1’s for The Eagles. The question was, how is anybody gonna hear this? I figured not that many people were willing to set up a 5.1 system in their home, with all the speakers in exactly the right spot.

Then I thought about how cars had impacted prior music formats, like cassette and CD. Being able to play those formats on your car stereo was what really drove sales. So I approached DTS to see if we could put 5.1 in the car.

Not long after, I spoke at a convention in New York where they were discussing surround and there were six hardware manufacturers for cars there. About six months later, I got a call from one of them–Panasonic–and they said they were thinking about my idea. The first car to have it was the Acura TL, and it sounded amazing.

By the time I did the Foo Fighters’ record in 5.1, the ELS system had been out for a few years already. I was at Capitol and they were working at their place in the valley, so I sent them an Acura to hear the surround mixes. Fortunately Dave [Grohl] was sitting in the driver’s seat, so he got the full effect. [laughs]

Foo Fighters Dualdisc DVD-A 5.1 Mix

It’s too bad you didn’t get to work on more of their records. 2011’s Wasting Light–which they did all-analog in Dave’s garage with Butch Vig producing–is another record I’d love to hear in a surround mix someday.

The In Your Honor acoustic disc was also analog. They transferred it to digital eventually, but it was very much an old-school production. There was at least one song that had all the drums on a single channel, and Dave would do his vocals live with the band. It was beautifully recorded, and I loved working with those guys.

There have been a few different versions of the ELS system over the years. The original version, which they stopped producing in 2014, played DVD-Audio discs. Then there was a second version, ELS Studio, that played DTS-encoded CDs. The latest versionELS-3Dhas no disc drive, but I’m told it plays 5.1 FLAC files from a USB drive.

Yeah, we asked them to do it that way. When they took the optical drive out of the head unit, we decided the only way to hear 5.1 was through USB.

Today, my career with Acura is pretty much over. The new Harman Kardon system doesn’t support surround at all. In fact, the last car I worked on for them, the Integra, was also just stereo.

The Acura cars actually used to come with a DVD-A sampler disc containing select cuts you’d mixed in 5.1, like The Doobie Brothers’ “Long Train Runnin’” and Grover Washington Jr.’s “Winelight.” I’m not sure why they didn’t consider putting some of those tracks on a USB stick for ELS-3D owners.

You’re right, but the problem was that Acura didn’t own that. Panasonic had produced those discs to put in the cars.

Acura ELS DVD-Audio Sampler

I remember Jimmy Douglass had done a Missy Elliott track in 5.1 that we put on one of those Acura sampler discs. It's so incredible.

He also did the great 5.1 mix of Marvin Gaye’s Midnight Love (1982) that came out on SACD.

Yeah, that’s right.

It’s frustrating how difficult it is today to get ahold of the 5.1 mixes you did back in the early-2000s. A few of them have been reissued over the years (as noted throughout the article and in the chart below), but fans usually end up stuck having to pay premium prices for second-hand copies online. To release them all again as FLAC downloads through an online webstore seems like a no-brainer to me, since the labels wouldn’t have to pay for disc authoring and manufacturing.

I agree. When I started talking to Darcy [Proper] about how we were going to release the surround version of Madeleine's album, she immediately pointed me to your site. I think what you’re doing is so great, and I wish you the best of luck going forward.

Purchase Let’s Walk in Auro-3D and Dolby Atmos in the IAA Shop!

The Elliot Scheiner Surround Sound Catalog
Artist/Album:Stereo Release Year:Surround Release Year:Release Format:
Aaron Neville
Nature Boy: The Standards Album20032003
Alain Mallet
Mutt Slang20182018DTS-CD
Mutt Slang II: A Wake of Sorrows Engulfed in Rage20202020USB (5.1 FLAC)
Sea Change20022003
Ben Folds
Concerto for Piano and Orchestra20152015DTS-CD
Beyoncé 20132014Blu-Ray
Bob Dylan
Blood On The Tracks19742003SACD
Boz Scaggs
Derek and the Dominos
Layla and Other Assorted Love Songs 19702011DVD
Donald Fagen
The Nightfly19822002
Morph The Cat20062006DVD-A
The Doobie Brothers
The Captain and Me19732001
The Eagles
Hotel California19772001
Hell Freezes Over19941995
Farewell 1 Tour: Live From Melbourne20052005
Electric Light Orchestra
Zoom Tour Live20012001DVD
Eric Clapton
461 Ocean Boulevard19742013Blu-Ray
Faith Hill
The Flaming Lips
Yoshimi Battles The Pink Robots20022003DVD-A
Fleetwood Mac
The Dance19971997DVD
Foo Fighters
In Your Honor20052005DVD-A
Skin and Bones20062006DVD
Grover Washington Jr.
Guns ‘n’ Roses
Appetite for Destruction19872017Blu-Ray
John Fogerty
Jerry Lee Lewis
Last Man Standing Live20072007DVD
Loggins and Messina
Sittin’ In Again: Live At The Santa Barbara Bowl20052005DVD
Lynyrd Skynyrd
Southern Surroundings: The Ultimate Skynyrd Collection20122012
New York Voices
Let It Snow20132014SACD
Madeleine Peyroux
Let’s Walk20242024Digital Download
Nine Inch Nails
Live: Beside You In Time20072007
MTV Unplugged In New York19942007DVD
Olivia Newton-John
One Woman’s Live Journey20012002DVD-A
Live At The Sydney Opera House20072007DVD
Porcupine Tree
In Absentia20022003
A Night At The Opera19752002
Greatest Video Hits 120022002DVD
Out Of Time19912005
Automatic For The People19922003DVD-A
New Adventures In Hi-Fi19962005
In Time: The Best of R.E.M. 1988–200320032003DVD-A
Around The Sun20042005DVD-A
Roy Orbison
Live At Austin City Limits August 5, 198219822002DVD
Roy Orbison and Friends: A Black and White Night19882004
Brand New Day19991999
Live In Berlin20102010
Steely Dan
Two Against Nature20002002DVD-A
Two Against Nature: Steely Dan's Plush TV Jazz-Rock Party In Sensuous Surround Sound20002000DVD
Everything Must Go20032003DVD-A
Steve Lukather
Toto IV19822003, 2022
Toy Matinee
Toy Matinee19902001
Van Morrison
Moondance19702013, 2023Blu-Ray
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About the Author
Jonathan is an audio engineering enthusiast from New York with a passion for immersive audio, having amassed a formidable collection of multichannel optical discs and quadraphonic vinyl. He earned his undergraduate degree in Television-Radio from Ithaca College and Master's degree in Audio Technology from American University.