Dominique Fils-Aimé presents My World Is The Sun, her fifth studio album. This new recording continues her artistic journey, blending jazz, soul, and contemporary influences.
The album explores themes related to identity, nature, and personal reflection. The arrangements favor a stripped-down approach, highlighting the voice and instrumental textures. Overall, the production is polished, attentive to detail, and balanced in its sound.

With this release, Dominique Fils-Aim continues to explore a coherent and well-crafted musical universe, available in stereo (CD, vinyl, and streaming) as well as in Dolby Atmos, a delightful surprise, as we will see.

Dominique Fils-Aimé will also be the brand ambassador of the HIGH END 2026 exhibition, which will take place in Vienna in June.

The production work was carried out at OPUS Studios (studiosopus.com). Recording, as well as part of the album’s tracks, was handled by Steeve St-Pierre.

Steeve explains: “For recording, we use a range of microphones from well-known brands such as Neumann, DPA, AKG, Telefunken, AEA, and Gefell (condensers, tube, or ribbon depending on the situation). Dominique has always sung into the same U87 since the first album.
We use MOON 3500MP preamplifiers (10 × 2 inputs). We are likely the only studio able to offer so many inputs with this high-end Quebec-made product, which provides excellent transparency. In addition, we have a Studer 962 (16 inputs) for larger setups.
With recording sessions aimed at Atmos mixing, the number of inputs quickly increases on these kinds of projects.”

Production and mixing, in both stereo and Atmos, were handled by Jacques Roy.

I would like to thank Jacques Roy for our discussions and his explanations regarding the production of Dominique’s latest album, which you can find below.

Jacques ROY first met Dominique around the time of her first album, Nameless. At the time, she had only recorded a small EP in the studio. Their first meeting was simple and natural before they eventually started working together in the studio. As soon as they began playing her songs, the artistic connection happened immediately.

A trained musician, bassist, pianist, and longtime session player for various artists, Jacques had always been drawn to album production. Dominique’s songs arrived at exactly the right moment in his career because they allowed him to explore what he had already been searching for: sonic textures, expansive arrangements, and mixes larger than life. Their collaboration felt perfectly balanced: Dominique brought the songs and artistic intuition, while Jacques developed the entire sonic universe around them.

Their first album remained relatively simple and stripped down, but it already marked the beginning of an important exploration into vocal layering and the creation of complex textures. Jacques quickly began multiplying vocal takes and overdubs to create a much wider sense of space. Over time, the sessions became enormous, sometimes consisting of hundreds of tracks dedicated solely to vocals. He worked extensively on spatialization and sonic depth, often recording multiple layers of drums or instruments separately so he could later control every placement within the mix with precision.

Dominique’s early albums became recognized for their particularly immersive mixes. Some listeners even believed the albums had already been mixed in Atmos, even though they had still been created entirely in stereo.

When Jacques discovered Dolby Atmos, he felt as though an entirely new creative space had suddenly opened before him. Instead of working within a fixed stereo image, he now had access to a complete sonic sphere. The first Atmos song he created for Dominique even began in stereo before gradually opening into a fully immersive environment. That transition symbolized his move toward an entirely new way of approaching mixing.

Atmos finally allowed him to reproduce exactly what he imagined: placing musicians naturally within space, without artificial exaggeration. Above all, he wanted to preserve something organic and acoustic, as though the listener were literally standing inside the music itself.

Jacques has always enjoyed hiding details inside his mixes. From the very first albums, he recorded all kinds of unexpected sounds: rocks, ambient textures, and elements buried deep within the sonic background. He compares the approach to a musical “Where’s Waldo?” experience, where listeners continue discovering new details years after the albums’ release. With Atmos, this creative game became even more elaborate, since the three-dimensional space allowed him to hide even more elements throughout different areas of the sound field.

Over the years, his productions became increasingly massive. While he was already using extensive vocal layering before Atmos, he now works with dozens of multiplied voices, superimposed and transformed into intricate textures. Some sessions reach between 200 and 300 tracks before the real production process even begins, and Dominique’s latest album surpassed 4,000 tracks in total.

Jacques also creates two versions of his mixes: a full 7.1.4 Atmos version for the studio, and a binaural version adapted for headphone listening. He spends an enormous amount of time refining the binaural version so it reproduces the immersive experience as faithfully as possible. The process is extremely time-consuming, requiring constant adjustments to EQs, reverbs, and subtle movements within the sonic space.

Finally, regarding his use of digital tools and plugins, Jacques works almost exclusively with internal “in the box” tools inside the DAW (Digital Audio Workstation), without relying on external compressors or hardware equipment. His goal is to preserve CPU resources despite the massive number of tracks involved. Even when using simple tools, he pushes them to their limits through extensive processing and layering techniques. He prefers starting from scratch with every song and every album, convinced that each project carries its own sonic universe and that no creative formula should ever be automatically reused from one project to another.

Mastering was entrusted to Harris Newman for the digital, CD, and vinyl versions, and to Justin Gray for the Dolby Atmos mix.

This album is also an opportunity to introduce the streaming service pureaudiostreaming.com, which offers high-resolution versions derived directly from Dolby Atmos ADM masters in Binaural, PCM 7.1.4, and Auro-3D formats. We will have the opportunity to present this exceptional service in more detail in the near future.

For this review, you will find 6 versions tested:

• Ed 1: Tidal Dolby Atmos – 2026
• Ed 2: Tidal Max – 2026
• Ed 3: Digital 24 96 – 2026
• Ed 4: PCM Binaural – 2026
• Ed 5: PCM 7.1.4 – 2026
• Ed 6: Vinyl Record – 2026

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The synthesis of the review are available here

The album is composed of 15 tracks:

1. Ma Melodie [intro]
2. Sea of Clouds
3. Sun Skin
4. Echappee Belle
5. Phoenix Rising
6. The River
7. The Waves
8. Freedom Become
9. Life Remains
10. Catch Release
11. Going Home
12. Moon Child
13. Rhythm of Nature
14. Ma Melodie [outro]
15. Je t’aimais, je t’aime, je t’aimerai (Bonus track)

Summary, scoring and Samples

Ed 1: Tidal Dolby Atmos – 2026

Presentation

This is the Tidal Dolby Atmos presented in Dolby Digital Plus (768 kbits/s).

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR14

The waveform of the Tidal Dolby Atmos – 2026 shows a high range confirmed with DR14.

The spectrogram of the Tidal Dolby Atmos track in 7.1.4 is limited to 20kHz with no signal above . This limitation is due to Dolby Digital Plus encoding, which is a lossy encoder that limits bandwidth to optimize data size for a bit rate of 768 kbits/s. The bass channel (LFE) is not use for this sample.

The graph below represents the spectrum of the Tidal Dolby Atmos – 2026.
The spectrum of Dolby Atmos version decoded in 7.1 shows that all channels are used. The LFE channel is not used for this sample. The white arrow indicates the high-frequency limit at 20 kHz due to Dolby Digital Plus encoding. The yellow arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

The Dolby Atmos format is the true revelation of this album. After an opening track that is both restrained and immersive, the second song, Sea of Clouds, fully explores the possibilities of immersive sound, with a composition designed in 360 degrees for the placement and movement of the musical elements.
Each song follows a coherent immersive approach, perfectly suited to the album s aesthetic. An excellent example of what immersive music can truly bring to this format. A very fine mixing effort by Studio Opus. It’s already one of the best Dolby Atmos albums of 2026!

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP : ●●●●●●oooo (5.4), SK : ●●●●●●oooo (5.7)
• Restitution: ●●●●o (4.5)

Ed 2: Tidal Max – 2026

Presentation

This is the Tidal Max version presentetd in 24 bits 96 kHz.

Waveform and Spectrum: DR10

The waveform of the Tidal Max – 2026 version shows a good dynamic range confirmed with DR10. In terms of dynamics, several tracks stand out for their high range (DR12), and fortunately, only four songs have limited dynamics (DR9).

The spectrogram shows that the signal rises above 48 kHz due to the 96 kHz sampling frequency.

The graph below represents the spectrum of the Tidal Max – 2026.
The graph shows that the signal rises to 48 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 96 kHz sampling frequency.

Synthesis and listening

This stereo version offers a remarkable sound, taking full advantage of the high-resolution format to capture all the subtleties of the recording, both in the instruments and in Dominique Fils-Aim’s voice. The stereo version features a very wide soundstage that literally extends beyond the speakers. It showcases the meticulous and precise results of Jacques Roy’s mixing.

Rating:

• Dynamic: ●●●oo (3)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●●o (4)

Ed 3: Digital 24 96 – 2026

Presentation

Digital version in 24-bit / 96 kHz is available for download with the purchase of the vinyl record.

Waveform and Spectrum: DR10

The waveform of the Digital 24 96 – 2026 version shows a good dynamic range confirmed with DR10. In terms of dynamics, several tracks stand out for their high range (DR12), and fortunately, only four songs have limited dynamics (DR9).

The graph below compares the spectrum of the Tidal Max – 2026 (white curve) with the spectrum of the Digital 24 96 – 2026 (blue curve).The two curves overlap perfectly, confirming that the same master was used.

Synthesis and listening

This stereo version offers remarkable sound quality, taking full advantage of the high-resolution format to capture all the subtleties of the recording and its spatial depth, both in the instruments and in Dominique Fils-Aim’s voice. The version available on Tidal offers a similar listening experience.

Rating:

• Dynamic: ●●●oo (3)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●●o (4)

Ed 4: PCM Binaural – 2026

Presentation

The binaural PCM version and the 7.1.4 version in 24-bit / 48 kHz PCM are available for streaming on pureaudiostreaming.com. This streaming service offers stereo, binaural, and Auro3D formats up to 7.1.4. It is the ideal version for immersive headphone listening, providing high-quality PCM audio in binaural.

Waveform and Spectrum: DR12

The waveform of the PCM Binaural – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal rises to 24 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 48 kHz sampling frequency.

The graph below compares the spectrum of the PCM Binaural – 2026 (white curve) with the spectrum of the Digital 24 96 – 2026 (blue curve). The binaural spectrum differs from the stereo version because it incorporates HRTF filtering and a 3D spatial rendering derived from a Dolby Atmos mix.
This mix is designed for headphone listening, but the tonal balance is very similar to that of the stereo version.

Synthesis and listening

Here, however, the binaural version is offered in lossless PCM format, derived directly from the original Atmos version, providing an immersive listening experience through headphones while preserving all the detail, clarity, and depth. In addition, Jacques Roy has done a tremendous job of creating an immersive version that perfectly respects the original sound balance, which is altered by the binaural encoding compared to the stereo version.

This is the best option for an immersive headphone experience.
pureaudiostreaming.com is now a leading streaming service for immersive audio listening. If you create an account, you’ll have access to the first 30 seconds of each track on the album.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●●● (5)

Ed 5: PCM 7.1.4 – 2026

Presentation

The binaural PCM version and the 7.1.4 version in 24-bit / 48 kHz PCM are available for streaming on pureaudiostreaming.com. This streaming service offers stereo, binaural, and Auro3D formats up to 7.1.4. It is the ideal version for 7.1.4 listening, providing high-quality PCM audio.

Below the spatialization for all tracks. Click on the images to zoom in.

Waveform and Spectrum: DR14

The waveform of the PCM 7.1.4 – 2026 shows a high range confirmed with DR14.

The spectrogram shows that the signal rises to 24 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 48 kHz sampling frequency.

The graph below represents the spectrum of the PCM 7.1.4 – 2026.
The 7.1.4 shows that all channels are used. The LFE channel is not used for this sample. The white arrow indicates the high-frequency limit at 24 kHz due to encoding at the 48 kHz sampling frequency used.

Synthesis and listening

The PCM 7.1.4 streaming version is the best immersive format available for playback on a 7.1.4 system. Indeed, this version is taken directly from the ADM master, which can contain up to 128 audio channels or objects (10 channels for the bed and up to 118 audio objects in a Dolby Atmos ADM master). This differs from the Dolby Digital TrueHD Atmos format, which is limited to 16 channels/objects. As a result, there is no reduction in the number of objects caused by Dolby Digital TrueHD Atmos compression.

When listening, all the nuances, spatial precision, and fine details are preserved, exactly as they would be heard in a 7.1.4 Atmos studio. This allows full enjoyment of the Dolby Atmos mix of this album, which makes excellent use of spatialization, with vocals perfectly integrated into the music.

pureaudiostreaming.com is now a leading streaming service for immersive audio listening. If you create an account, you’ll have access to the first 30 seconds of each track on the album.
It is one of the best Atmos mixes of 2026, possibly the very best so far this year.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●oooo (5.3), SK: ●●●●●●oooo (4.8)
• Restitution: ●●●●● (5)

Ed 6: Vinyl Record – 2026

Presentation

The vinyl edition is available as a double LP at 45 RPM (ref: ESR-LP-10).

Waveform and Spectrum: DR12

The waveform of the Vinyl Record – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record s operating principle.

The graph below compares the spectrum of the Vinyl Record – 2026 (white curve) with the spectrum of the Digital 24 96 – 2026 (blue curve).The spectral curves of the digital stereo version and the vinyl record almost perfectly overlap up to 5 kHz on the sample shown, indicating an identical tonal balance. Beyond 5 kHz, this sample shows that the vinyl’s noise floor is higher than that of the 24-bit digital version.

Synthesis and listening

A beautifully produced double LP at 45 RPM, this vinyl edition fully showcases the quality of Dominique Fils-Aim s performance. It s a must-have for vinyl enthusiasts, offering a pressing with notably low surface noise.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Restitution: ●●●●o (4.5)

Dominique Fils-Aim invites us into her world with the album My World Is The Sun. The stereo version stands out for its openness and finely detailed presentation.

However, it is the Dolby Atmos mix that truly allows this new release to unfold in its full dimension, fully immersing the listener through a masterful use of the spatial soundstage. This immersive approach significantly enhances both the perception and emotional impact of the album, offering a fine example of what immersive audio can genuinely bring to a musical work.

The stereo version is available for streaming and is also included as a download with the purchase of the vinyl record. To experience the Dolby Atmos mix, the 7.1.4 streaming version on pureaudiostreaming.com provides the closest equivalent to the original Dolby Atmos Master when played on a 7.1.4 system, making it the best available format for this album. A binaural version is also available for listeners who prefer immersive headphone playback. It is one of the best Atmos mixes of 2026.

Dynamic Range measurements are shown below.

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Measurements

Dynamic Range comparaisons

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 6 editions reviewed have obtained the following Dynamic Range (DR) :

	Tidal Dolby Atmos – 2026	Tidal Max – 2026	Digital 24 96 – 2026	PCM Binaural – 2026	PCM 7.1.4 – 2026	Vinyl Record – 2026
Global	DR14	DR10	DR10	DR12	DR14	DR12
Min	DR11	DR9	DR9	DR8	DR9	DR9
Max	DR18	DR12	DR12	DR16	DR18	DR13
Ma Melodie [intro]	DR11	DR09	DR09	DR09	DR09	DR09
Sea of Clouds	DR12	DR10	DR10	DR10	DR11	DR10
Sun Skin	DR13	DR10	DR10	DR11	DR13	DR11
Echappee Belle	DR14	DR09	DR09	DR11	DR14	DR11
Phoenix Rising	DR16	DR11	DR11	DR13	DR15	DR12
The River	DR14	DR09	DR09	DR15	DR14	DR12
The Waves	DR17	DR12	DR12	DR12	DR17	DR13
Freedom Become	DR15	DR10	DR10	DR14	DR15	DR12
Life Remains	DR18	DR12	DR12	DR16	DR18	DR13
Catch Release	DR14	DR11	DR11	DR12	DR14	DR13
Going Home	DR15	DR11	DR11	DR13	DR14	DR12
Moon Child	DR13	DR11	DR11	DR12	DR13	DR12
Rhythm of Nature	DR16	DR10	DR10	DR13	DR14	DR11
Ma Melodie [outro]	DR11	DR09	DR09	DR08	DR11	DR11
Je t’aimais, je t’aime, je t’aimerai (Bonus track)	DR13	DR11	DR11	DR11	DR13	DR12

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 10 for all configuration (4.0 to 9.1.6)
  • For more information on spatialization (SP and SK), you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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