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RME User Forum → DIGICheck → Feature Request: Upgrading Surround View to Atmos
Hi, it would be amazing if some common Dolby Atmos configurations could be added to the Surround View and it wouldn't be limited to 5.1.
E.g. 7.1.4 would be super helpful!
The height speakers could be displayed in a different color like yellow or blue (similar to the nice LFE visualisation which is already showing up in red in the existing implementation).
Thanks!
+1000
Hi, it would be amazing if some common Dolby Atmos configurations could be added to the Surround View and it wouldn't be limited to 5.1.
E.g. 7.1.4 would be super helpful! blossom word game
The height speakers could be displayed in a different color like yellow or blue (similar to the nice LFE visualisation which is already showing up in red in the existing implementation).
Thanks!
I like your idea. Hope that configurations will be added...
Would be a great add. Big +1 here
+1000 !!!!!!
And 7.1 too !
Hi, it would be amazing if some common Dolby Atmos configurations could be added to the Surround View and it wouldn't be limited to 5.1.
E.g. 7.1.4 would be super helpful!
The height speakers could be displayed in a different color like yellow or blue (similar to the nice LFE visualisation which is already showing up in red in the existing implementation).
Thanks!
You can do this now using Multichannel Level meters.
Sure true Matt but this is not the digicheck Surround view window which is still limited to a max of 5.1 channels
Sure true Matt but this is not the digicheck Surround view window which is still limited to a max of 5.1 channels
Yeah, I suppose, I see what you mean. However, if working in Atmos, you're most likely using another meter, ie from the DolbyRenderer or similar that follows transport or the like, for outacted loudness metering and resetting.
Your workflow may differ if you're mainly working in Pro Tools. I'm doing all my Atmos stuff in Logic.
So far the only need for the Dolby renderer to even be open for me is when I need to convert ADM BWF's to mp4 so my clients can listen with their AirPods on their phones and get an accurate representation of what their suff will sound like coming out of Apple Music. With the recent Pro Tools update to built in renderer they also added the mp4 export right in PT so I am hopefull even this one feature I currently rely on Dolby Renderer for may soon come to be built into Logic as well.
This is what my Digicheck for mixing in Atmos looks like.
<https://www.dropbox.com/scl/fi/hpbxtcum … 2&dl=0>
The 5.1 meters attached to the Surround View are still appropriate for loudness measurement with all 12 channels summed appropriately into 5.1 as per the Dolby Loudness spec and I have set up a second set of loopbacks to feed this even while I'm monitoring in 7.1.4 coming out of Logic. Hopefully with this approach you can get why a 7.1.4 version of it would be very nice and useful for some of us...
Your workflow may differ if you're mainly working in Pro Tools. I'm doing all my Atmos stuff in Logic.
So far the only need for the Dolby renderer to even be open for me is when I need to convert ADM BWF's to mp4 so my clients can listen with their AirPods on their phones and get an accurate representation of what their suff will sound like coming out of Apple Music. With the recent Pro Tools update to built in renderer they also added the mp4 export right in PT so I am hopefull even this one feature I currently rely on Dolby Renderer for may soon come to be built into Logic as well.
This is what my Digicheck for mixing in Atmos looks like.
<https://www.dropbox.com/scl/fi/hpbxtcum … 2&dl=0>The 5.1 meters attached to the Surround View are still appropriate for loudness measurement with all 12 channels summed appropriately into 5.1 as per the Dolby Loudness spec and I have set up a second set of loopbacks to feed this even while I'm monitoring in 7.1.4 coming out of Logic. Hopefully with this approach you can get why a 7.1.4 version of it would be very nice and useful for some of us...
G'day Paul, yes totally understand why.
I've not totally fallen in love with the built ProTools renderer as yet. Still too many probs.
The most reliable way I'm working at the moment, is with the DAR into Ginger Audio SPHERE (no longer need SoundID in this due to recent RME Room EQ). . Then into RME Fireface. Sphere is set so that I can listen to all the live re-renders via Streamdeck. (also at the flick of a switch, have a room fold for Apple Binaural in there too)
When bouncing, I can offline with all Re-renders, M+E's, (anything you like really) and master ADM in PT's... Which I can then load as you say, straight in to the DAR and export MP4.
So many ways to work now.
However, I do appreciate certain workflows would definitely benefit from a Digicheck implementation of Surround View, with bigger channel widths.
Cheers
How are you finding workflow in Logic at the moment for ATMOS?
Ah yes I remember you telling me about Sphere. It does look very good. I still don't have a roomEQ compatible interface so I still do that over on Logic's master bus after the Atmos plugin.
In general I'm liking Logic's features and workflow - this is for mainly music mixing where I've already done the stereo mixes.
I had a bit of breakthrough with it recently when I got the idea mentioned on another forum that for the object tracks, to create 2 stereo aux channels Top front & top rear and then I can send to those from any other channel and so far this has been my favourite strategy for using the top fronts and backs separately.
The other bit of my workflow that's somewhat of a work in progress is, given there is no mix bus (objects avoid them) how to master for Apple Music and Tidal. If I bounce out an ADM BWF that includes the object data and send that to streaming, or do I simply bounce a 7.1.4 wav, master that and then export the admbwf - only difference is I loose the object data in the final ADM BWF and is that a problem? Do Apple and Tidal even care? I almost feel better about burning in my objects. What do you think about that?
Kind regards
Yeah, those two methods you mention Paul, are similar to things I do in Pro Tools. Especially when using CinematicRooms and its 7.1.4 version.
Pro Tools now has some track presets setup for this. ie Folder track containing outputs to all channels for such plugins that support full discrete ATMOS channel widths.
As far as master bus processing, I've all but stopped doing it and working it in the mix itself instead.
However, I do have a method for DX buss processing, mainly for subtle comp/lim processing. Basically it solves sending each DX track (which are assigned to objects) via post fade send to a dummy buss. This buss has a Pro Comp and a WAVES WLM (just using the limiter in that). This buss is then used as a side chain on Pro Limiter on every DX channel. Sounds like a feedback loop, doesn't it? But it's not, as we're just using the dummy buss as a control to limit the output sum of the DX objects.
I may have not explained this well. But it works a treat.
Interesting Matt.
For post & Film/ TV mix bus processing is a non issue for my approach but for music mixing I still like a little bit of glue on the master - usually a multi band comp doing very little & peak limiter doing almost nothing. I like the way it sounds even though I still have to attenuate the overall level to be -18LUFS.
When doing this it's across the 7.1.2 mix pre Logic's Atmos plugin. With the top speaker channels that join the mix after this I don't have any processing but I am also not being too heavy with what I send up top - reverbs, drum rooms, or a tiny bit of direct tracks - less is more.
I do get what you mean by side chain to sync compressor behaviours. Been thinking if I can figure out a side chain scheme to get comps on the top speaker aux's to behave the same as the mix bus. There's a huge thread over on GS with John Haynes - Serban Ghenea's partner who is probably the busiest A list Atmos music mixer and the last few pages he mentions a newish compressor plugin that syncs across multiple instances designed specifically for this use case but the name escapes me at this second.
That's cool Paul, I'll have to check that thread out.
That's effectively what my dummy side chain method is doing, but you can use any flavour of compressor you like, (that support side chaining of course), so as long as they are all the same type and setting, you maintain the relationship between objects and bed tracks.
Fun times indeed!
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