Old 09-11-2017, 01:56 AM   #1
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Default Dolby Atmos?

I am wondering can I use Dolby Atmos, With reaper and if so how?
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Old 09-11-2017, 11:56 AM   #2
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Quote:
Originally Posted by Reynaud View Post
The Dolby tools with the RMU don't support Reaper yet.

At the moment your only software options are:
ProTools HD 12.8
Nuendo 7 or 8
DaVinci Resolve 14
Pyramix 11 (to a point)
Will reaper support this in the feature?
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Old 09-11-2017, 01:19 PM   #3
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Dolby apparently plans to support other systems such as Reaper, but I have no idea what the Timeline is.
Thanks a lot for the info.
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Old 09-11-2017, 03:11 PM   #4
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ATMOS is part of a Sontaran plot to poison the atmosphere.
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Old 09-11-2017, 04:45 PM   #5
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You can use ReaSurround to create a 7.1.2 mix. (7.1.4 being the recommended consumer delivery format) Automating movement in ReaSurround would be an excessive amount of work, as this isn't what it was designed for.

Yeah, wait for an official Atmos plugin. If it's anything like the one used in ProTools, it will be LOTS more intuitive.
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Old 09-12-2017, 12:05 PM   #6
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You can produce a Dolby Atmos mix from an Ambisonic mix if you have the right decoder. In fact, you can output pretty much anything from an Ambisonic mix without needing to do dedicated mixes.
Since switching over to third order Ambisonics for all my mixes, I've found that producing other formats such as mono, stereo, 5.1, 7.1, 256.24.2 (ok, I made that one up) tends to work better than if I started in those other formats to begin with. You're basically producing an Ambisonic mix which sets up a soundfield on the chosen speaker configuration. A soundfield on stereo speakers sounds better than a native panned mix for the same format.
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Old 09-12-2017, 12:25 PM   #7
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Quote:
Originally Posted by Reynaud View Post
How does the decoder communicate with the RMU?

Anything else is just a standard fixed multichannel configuration, which is not the same thing as a compliant Atmos deliverable.
To be honest, I hadn't looked into it until now. I haven't done any Atmos work myself but you are right.
The reason I mentioned it is because the decoder plugins I use from Blue Ripple Sound include a decoder labelled "Dolby Atmos". However, upon checking, they do have specific information on that decoder and it doesn't produce metadata and object information. It is primarily used for creating a bed to layer the objects on later.

More info here...
http://www.blueripplesound.com/story/new-712-support
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Old 09-12-2017, 12:29 PM   #8
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Originally Posted by Reynaud View Post
How does the decoder communicate with the RMU?
It doesn't. I think what ReaDave means is that you can use Ambisonics to decode a 10-channel (7.1.2) "bed track" that will be compatible with Atmos. Obviously for object panning you would need the proper hardware/software from Dolby, which currently doesn't support use with Reaper
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Old 09-12-2017, 12:48 PM   #9
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Quote:
Originally Posted by ReaDave View Post
A soundfield on stereo speakers sounds better than a native panned mix for the same format.
Dave, are you saying that a song mixed in Ambisonic format and bounced to stereo will sound more natural/better than if the song were mixed in stereo to begin with? I'm very curious about this.

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Old 09-12-2017, 01:00 PM   #10
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Originally Posted by jpanderson80 View Post
Dave, are you saying that a song mixed in Ambisonic format and bounced to stereo will sound more natural/better than if the song were mixed in stereo to begin with? I'm very curious about this.

Jeremy
Yep. That is exactly what I am saying. I wasn't expecting such a difference but it would be hard for me to go back to mixing in stereo now. Even mono downmixes sound better (levels are much more consistent and phase issues are far fewer).
I first noticed this when producing a 5.1 output from an Ambisonic mix of a song I had previously mixed in 5.1. The new 5.1 downmix from the Ambisonic mix sounds FAR more spacious and is much more detailed basically because what is being heard is an Ambisonic soundfield created for a specific speaker arrangement.
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Old 09-12-2017, 01:59 PM   #11
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Originally Posted by ReaDave View Post
Yep. That is exactly what I am saying. I wasn't expecting such a difference but it would be hard for me to go back to mixing in stereo now. Even mono downmixes sound better (levels are much more consistent and phase issues are far fewer).
I first noticed this when producing a 5.1 output from an Ambisonic mix of a song I had previously mixed in 5.1. The new 5.1 downmix from the Ambisonic mix sounds FAR more spacious and is much more detailed basically because what is being heard is an Ambisonic soundfield created for a specific speaker arrangement.
Dave, your PM box is full. Do you have any links for someone like me who is interested in hearing or exploring this Ambisonic idea further? I'm all for better sound.
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Old 09-12-2017, 02:44 PM   #12
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Originally Posted by jpanderson80 View Post
Dave, your PM box is full. Do you have any links for someone like me who is interested in hearing or exploring this Ambisonic idea further? I'm all for better sound.
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Originally Posted by doppelganger View Post
Can you tell more about how it works in few words, please? I'm not familiar with it at all.
Do you record with some specific equipment, mics or else?
Or you record with usual eqipment into WAV, then encode it somehow into that format?
Or you just process usual WAV recording with Blue Ripple Sound plugins or what?
I have a website I have recently set up dedicated to Ambisonics and the music I've recorded with it. It is very early days so far and I plan to do a lot more with this site. It's a little disorganized at present but I have a few links to more info about Ambisonics and how to use it.
I have one song uploaded that I've mixed in third order Ambisonics and am working on my biggest album project to date. This is also being mixed in third order and will be uploaded once complete.

I currently have all the Ambisonic stuff on my synth website and am contemplating setting up either a dedicated site for it or just tidying up what is there already. Not sure which way I'll go with it yet.

Anyway, the direct url to the Ambisonic section is via www.AmbisonicMusic.com
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Old 07-23-2019, 03:21 PM   #13
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Originally Posted by ReaDave View Post
You can produce a Dolby Atmos mix from an Ambisonic mix if you have the right decoder. In fact, you can output pretty much anything from an Ambisonic mix without needing to do dedicated mixes.
Since switching over to third order Ambisonics for all my mixes, I've found that producing other formats such as mono, stereo, 5.1, 7.1, 256.24.2 (ok, I made that one up) tends to work better than if I started in those other formats to begin with. You're basically producing an Ambisonic mix which sets up a soundfield on the chosen speaker configuration. A soundfield on stereo speakers sounds better than a native panned mix for the same format.
I realize this is an old thread. But I'm definitely interested in getting into this!!!
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Old 07-24-2019, 09:16 PM   #14
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I realize this is an old thread. But I'm definitely interested in getting into this!!!
Ambisonics is totally addictive! I'm using it pretty much exclusively now.
I still need to tidy up the Ambisonic section of my website though!
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Old 11-09-2020, 08:59 AM   #15
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Originally Posted by wbgs_radio View Post
I am wondering can I use Dolby Atmos, With reaper and if so how?
Hi!

I just made a quick video showing how to setup the Dolby Production Suite to use it with Reaper, it works very well.

However, there's a slight problem that I would like to overcome which is that Reaper does not seem able to handle more than 64 audio channels I/O while the Atmos renderer can use up to 130 channels.

This is not too much of a problem for music use, but I discovered that the preferred way to sync the Atmos Renderer with Reaper is to use LTC rather than MTC as I show in the video. The reason being that LTC is sample accurate when MTC is only frame accurate. But, the Atmos Renderer seems to expect LTC on channel 129 (channels 1-128 being used for audio content), so Reaper cannot feed it :-(

My video is at : https://www.youtube.com/watch?v=2v5C7HIDMuY

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Old 11-09-2020, 02:19 PM   #16
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Hi!

I just made a quick video showing how to setup the Dolby Production Suite to use it with Reaper, it works very well.

However, there's a slight problem that I would like to overcome which is that Reaper does not seem able to handle more than 64 audio channels I/O while the Atmos renderer can use up to 130 channels.

This is not too much of a problem for music use, but I discovered that the preferred way to sync the Atmos Renderer with Reaper is to use LTC rather than MTC as I show in the video. The reason being that LTC is sample accurate when MTC is only frame accurate. But, the Atmos Renderer seems to expect LTC on channel 129 (channels 1-128 being used for audio content), so Reaper cannot feed it :-(

My video is at : https://www.youtube.com/watch?v=2v5C7HIDMuY

Regards,
p@T
Thanks for putting this all together matnoir. The work is appreciated by those of us wanting to keep up with these changes. The netflix opensource material is a particularly useful resource I was not aware of. It's a shame the production suite is Mac only which precludes me from testing it.

This may be a bit off topic but you might have an answer. How do ADM and Atmos deliverables intersect (if at all)? Does Atmos deliver as an ADM as an option? I notice that a number of the above mentioned Netflix resources have ADM BWF deliverables and have been watching that toolkit develop for a while.

Thanks again for posting.
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Old 11-10-2020, 09:48 AM   #17
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Originally Posted by matnoir View Post
However, there's a slight problem that I would like to overcome which is that Reaper does not seem able to handle more than 64 audio channels I/O while the Atmos renderer can use up to 130 channels.
Hi,
I don't know how you are linking Reaper with the Atmos Renderer, but the 64 channels limit is for the busses, tracks, plugins and audio files ... which represents a real problem for me too!
But you may get around it by using several hardware outputs in parallel. For example 1-64 for the first one and 65-128 for the second one, or just one for channel 130.
It works well with soundcards and ReaRoute too.
I guess that the limit might be 256 channels.
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Old 11-14-2020, 03:16 AM   #18
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Originally Posted by jm duchenne View Post
Hi,
I don't know how you are linking Reaper with the Atmos Renderer, but the 64 channels limit is for the busses, tracks, plugins and audio files ... which represents a real problem for me too!
But you may get around it by using several hardware outputs in parallel. For example 1-64 for the first one and 65-128 for the second one, or just one for channel 130.
It works well with soundcards and ReaRoute too.
I guess that the limit might be 256 channels.
When using the Dolby Atmos Production Suite (i.e on the same computer than Reaper) the link is through a virtual audio device called Dolby Audio Bridge. At present time, this is the reason why this app is Mac only as there are difficulties for developing the same bridge with ASIO on Windows. They will overcome this eventually.

The high-end solution, know as the Mastering Suite, runs on a separate computer, Mac and Windows versions are available, and is on a Dante network.

For the rest, you are perfectly right, using the direct hardware outputs is the way to go. Who really needs using the master track in such a configuration anyway...

Have a nice week-end,
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Old 11-14-2020, 03:22 AM   #19
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Thanks for putting this all together matnoir. The work is appreciated by those of us wanting to keep up with these changes. The netflix opensource material is a particularly useful resource I was not aware of. It's a shame the production suite is Mac only which precludes me from testing it.

This may be a bit off topic but you might have an answer. How do ADM and Atmos deliverables intersect (if at all)? Does Atmos deliver as an ADM as an option? I notice that a number of the above mentioned Netflix resources have ADM BWF deliverables and have been watching that toolkit develop for a while.

Thanks again for posting.
The Windows version will eventually be available. The high end version of the app, the Dolby Mastering Suite, runs fine on windows. They actually face problems for developing the ASIO version of the virtual device needed to link a DAW to the Dolby renderer.

When you record your final mix inside the renderer, it saves all information (audio + object metadata) in a .atmos file along with some xml files.

From then on, the renderer will allow you to export to any format, including ADM. For instance, if you publish music through Avid Play, they will allow the upload for ADM for Tidal and Amazon Music which are the two platforms able to stream Atmos encoded files at present time.

Have a nice week-end,
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Old 11-25-2020, 02:27 AM   #20
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The Windows version will eventually be available. The high end version of the app, the Dolby Mastering Suite, runs fine on windows. They actually face problems for developing the ASIO version of the virtual device needed to link a DAW to the Dolby renderer.

When you record your final mix inside the renderer, it saves all information (audio + object metadata) in a .atmos file along with some xml files.

From then on, the renderer will allow you to export to any format, including ADM. For instance, if you publish music through Avid Play, they will allow the upload for ADM for Tidal and Amazon Music which are the two platforms able to stream Atmos encoded files at present time.

Have a nice week-end,
p@T
Interesting to hear. There's a topic on the Dolby forums where a Dolby rep stated that there were currently no plans for a Windows port (albeit over a year ago) https://developerkb.dolby.com/suppor...cs/16000023816

And now that Nuendo 11 is on the way with fully integrated Atmos support on macOS *and* Windows (https://youtu.be/V8RYOBVsfSQ?t=885) I'm kinda suspecting that this might be Dolby's way forward. Integrating the Atmos renderer into third party DAWs gives them much more control and less things to worry about. But this also would mean, that Reaper users on Windows might never see any kind of Atmos support, because integrating Atmos like this involves very very large sums of money -.-
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Old 11-25-2020, 02:42 AM   #21
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Interesting to hear. There's a topic on the Dolby forums where a Dolby rep stated that there were currently no plans for a Windows port (albeit over a year ago) https://developerkb.dolby.com/suppor...cs/16000023816

And now that Nuendo 11 is on the way with fully integrated Atmos support on macOS *and* Windows (https://youtu.be/V8RYOBVsfSQ?t=885) I'm kinda suspecting that this might be Dolby's way forward. Integrating the Atmos renderer into third party DAWs gives them much more control and less things to worry about. But this also would mean, that Reaper users on Windows might never see any kind of Atmos support, because integrating Atmos like this involves very very large sums of money -.-
From what I understood (but I'm no Windows user, so please take this with a grain of salt), the Atmos renderer already exists for windows in the package they call the Mastering Suite, which is the high-end solution (for home entertainment, solution for movie production and theaters is different).

You can download it here : https://developer.dolby.com/tools-me...tes/downloads/

But, the Mastering Suite needs to run on a dedicated machine (Mac/Win) that receives and outputs audio via a Dante card.

The Mac only version is the lower priced Production Suite that allows the rendering app to run on the same computer than the daw, connecting the two via a virtual device. And creating such a virtual device was quite easy on the Mac using CoreAudio, but seems to be a challenge on Win with ASIO.

The "supported daws" such as PT, Nuendo and Pyramix only have the advantage of integrating a 3D Panner able to provide the Dolby Renderer with proper metadata for moving objects around. In other daws, such as Reaper, you have to use the (free) Dolby 3D panner VST plugin.

Avid have just announced that the current (or next) version of Pro Tools will allow you to render ADM BWF files straight from the daw without having to "record" them in the Dolby app.But since ADM is an open-source format, that's not so much of a challenge.

The BBC along with the EBU have also released the equivalent, developed specifically with and for Reaper : https://ear-production-suite.ebu.io/

Have a nice day,
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Old 11-25-2020, 06:02 AM   #22
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OMFG thanks for pointing me towards the EAR suite! That's absolutely amazing and I'll give it a try asap. Only downside for me is the missing realtime binaural monitoring (I don't have a 7.1.2 speaker setup). However there's already an accompanying "NGA Binaural renderer" for offline conversion and since both tools are very new, I'm hoping for a future update. In the meantime I might try out DearVR monitor.
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Old 11-25-2020, 06:45 AM   #23
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OMFG thanks for pointing me towards the EAR suite! That's absolutely amazing and I'll give it a try asap. Only downside for me is the missing realtime binaural monitoring (I don't have a 7.1.2 speaker setup). However there's already an accompanying "NGA Binaural renderer" for offline conversion and since both tools are very new, I'm hoping for a future update. In the meantime I might try out DearVR monitor.
You're more than welcome :-)

In the meantime, I had confirmation that Nuendo 11 indeed has a native integration of the Dolby renderer, but without the real-time binaural rendering nor some export formats.

Happy immersion ;-)
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Old 11-27-2020, 07:18 PM   #24
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Originally Posted by matnoir View Post

The BBC along with the EBU have also released the equivalent, developed specifically with and for Reaper : https://ear-production-suite.ebu.io/

Have a nice day,
p@T
That´s really interesting. The GUI and workflow looks a bit like the Frauhofer MPEG-H tools.

I will try ASAP with Dear VR Monitor, as I also don´t have an immersive speaker setup and need the Binaural monitoring.

Thanks for posting it here. I did watch your videos on YT about setting up Reaper to the Dolby Atmos Renderer, really useful, thanks.
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Old 12-01-2020, 04:57 AM   #25
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The new 5.1 downmix from the Ambisonic mix sounds FAR more spacious and is much more detailed basically because what is being heard is an Ambisonic soundfield created for a specific speaker arrangement.
First of all, nice explainer on the Reaper+Atmos video, kudos!

I can also confirm what you are claiming here, we started mixing our (SoundFellas Labs) music and ambience libraries that we sell to Unity store with HOA two years ago and the results are amazing.

Recently at SoundFellas Labs, we conducted a double-blind test with audiences of experienced and non-experienced listeners, to see the subjective perceived quality of various ambience recordings discreet channel recordings versus upmixed/downmixed versions of the same recordings through ambisonics and discrete surround VSTs. The clear winner was the ambisonics workflow as 60% of the listeners claimed a more immersive, clear, and precise representation of the environment, although in many cases the original discreet channel material was included in the listening session.
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Old 12-12-2020, 09:48 AM   #26
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nice video @matnoir
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Old 01-18-2021, 01:30 AM   #27
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Yep. That is exactly what I am saying. I wasn't expecting such a difference but it would be hard for me to go back to mixing in stereo now. Even mono downmixes sound better (levels are much more consistent and phase issues are far fewer). I first noticed this when producing a 5.1 output from an Ambisonic mix of a song I had previously mixed in 5.1.
If you're working in ambisonics, there's a couple things to note.

Ambisonics has trouble storing out-of-phase content, so as a side-effect mono downmixes sound better.

Quote:
. The new 5.1 downmix from the Ambisonic mix sounds FAR more spacious and is much more detailed basically because what is being heard is an Ambisonic soundfield created for a specific speaker arrangement.
I think the difference here is with tools. Ambisonic panners encourage edge-only panning which makes it sound better. You may also have paid decoders which apply processing to it.

If you're using ReaSurround, it sucks for making 5.1 (but it's being addressed). If you have a GOOD surround panner & use it WELL, theoretically it should sound better due to less speaker bleed. I was trying to make a panner based on ambisonics last year & it was frustrating cuz it's almost impossible to make a source come out of 1 speaker only.

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I can also confirm what you are claiming here, we started mixing our (SoundFellas Labs) music and ambience libraries that we sell to Unity store with HOA two years ago and the results are amazing.

Recently at SoundFellas Labs, we conducted a double-blind test ... of various ambience recordings discreet channel recordings versus upmixed/downmixed versions of the same recordings through ambisonics and discreet surround VSTs. The clear winner was the ambisonics workflow as 60% of the listeners claimed a more immersive, clear, and precise representation of the environment, although in many cases the original discreet channel material was included in the listening session.
HOA's great for gaming purposes, just that I disprefer it on speakers due to channel bleed & thus sounding a bit closed-in. Were the listeners using headphones or speakers?

NB: it's discrete, not discreet

discreet = hidden
discrete = separated

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Old 01-18-2021, 10:50 AM   #28
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NB: it's discrete, not discreet

discreet = hidden
discrete = separated
Speed error, I know the difference, thanks. I corrected the typo.


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HOA's great for gaming purposes, just that I disprefer it on speakers due to channel bleed & thus sounding a bit closed-in. Were the listeners using headphones or speakers?
We sell libraries as royalty-free stock.

I agree with the differences between ambisonics and discrete surround that you mention.

We are working now on a big update of all our content to more contemporary standards, so we tackle this issue in two ways:

1) We use distance simulation and reverberation wet/dry re-balancing for our ambience kits, so that our ambisonic content sounds at the correct distance from the listener.

2) As we create our content through compositing, we use separate channels for the discrete multichannel exports, using a great surround panner Iosono's AnyMix Pro.

That way we achieve best of both worlds and provide the proper material for each type of project.
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Old 01-23-2021, 11:26 AM   #29
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Just a general shout out for everyone here to go check out latest pre release for some fantastic reasurround 7.1.4 improvements!

Get latest and give it a test whilst it's hot and open to changes. Schwa has set up a dedicated thread for it too for feedback etc.
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Old 01-23-2021, 11:45 AM   #30
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I've managed to do a Dolby Atmos mix from my HOA mix (via O3A 7.1.2 decoder), and I'm getting positional audio from the airpod pros when I playback the MP4 on an iOS device, which is very cool :-)

Weirdly if I look at the MP4 in QuickTime player it says it's 5.1 Dolby Digital Plus. If I import it into REAPER there are six channels. Can't for the life of me figure out how to output an MP4 with the proper atmos mix, Although I'm wondering if the extra channels could be magically included in this signal somehow. Any Atmos experts have an idea? Should I be seeing 7.1.2 or 7.1.4, 10/12 channels output?
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Old 01-23-2021, 10:47 PM   #31
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Originally Posted by musicbynumbers View Post
Just a general shout out for everyone here to go check out latest pre release for some fantastic reasurround 7.1.4 improvements!
I saw it when it went live at the pre-release and tried it out immediately. I'm very happy with the initial release and can't wait to see where this goes.

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Originally Posted by musicbynumbers View Post
Schwa has set up a dedicated thread for it too for feedback etc.
Going there now, thanks for the heads up!
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Old 01-23-2021, 11:19 PM   #32
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Weirdly if I look at the MP4 in QuickTime player it says it's 5.1 Dolby Digital Plus. If I import it into REAPER there are six channels. Can't for the life of me figure out how to output an MP4 with the proper atmos mix, Although I'm wondering if the extra channels could be magically included in this signal somehow. Any Atmos experts have an idea? Should I be seeing 7.1.2 or 7.1.4, 10/12 channels output?
For consumer/domestic consumption the Dolby Atmos deliverables are encoded to a 6 channel format using "Dolby Digital Plus with Dolby Atmos" encoding, with "Enhanced AC-e with Joint Object Coding". The encoding is usually lossy listing only 1 bed channel.

This is because, as a pipeline, Dolby Atmos can carry up to 128 channels which can be beds (ready made discrete channel stems) or objects (single point sources with 3D animation data over time). At the other end, in the theater, the Dolby Atmos hardware servers/decoders can support real-time computation and rendering of all the content into up to 64 channels which feed speakers that are available in the theater hall. This happens in real-time depending on the specific speaker configuration of each hall. This huge amount of data is distributed via DCP and MXF standards.

To capture the creative intent and be able to translate it to any listening scenario, Dolby states in their early white papers that in addition to rendering channel-based theatrical deliverables, the Dolby Atmos master file can be used to generate other deliverables such as consumer multichannel or stereo mixes. Via profiling and conditional metadata, Dolby Atmos allow controlled easy renderings to such mixes.

If I understood correctly, you decoded a higher order ambisonic soundfield into a 7.1.2 discrete channel bed. That is probably encoded through the process you used to make the MP4 file into a 6 channel lossy encoded format as the one I describe in the beginning of my port. What you hear is not full 3d object-based audio as you didn't had that information to begin with (again, if I understood your workflow correctly). This is our go to (at SoundFellas my company) for minimum to medium budget film works that want Atmos playback but doesn't really need the separate 3D objects. Only bed is a perfectly viable solution for any production that doesn't include significant 3D sources and will be probably consumed only on mobile/domestic settings.

If you get the 7.1.2 or 7.1.4 test files from here: https://www.heimkino-atmos.de/Sonsti...und-Testtoene/ you can check it yourself.

I trust the free utility "MediaInfo" from here https://mediaarea.net/en/MediaInfo to validate the files. And here's what it reports about the audio on the 7.1.4 test file form the link above:

ID : 2
Format : E-AC-3 JOC
Format/Info : Enhanced AC-3 with Joint Object Coding
Commercial name : Dolby Digital Plus with Dolby Atmos
Codec ID : ec-3
Duration : 12 min 20 s
Bit rate mode : Constant
Bit rate : 448 kb/s
Channel(s) : 6 channels
Channel layout : L R C LFE Ls Rs
Sampling rate : 48.0 kHz
Frame rate : 31.250 FPS (1536 SPF)
Bit depth : 16 bits
Compression mode : Lossy
Stream size : 39.6 MiB (22%)
Service kind : Complete Main
Default : Yes
Alternate group : 2
Encoded date : UTC 2016-10-21 00:36:38
Tagged date : UTC 2016-10-21 00:36:38
Complexity index : 12
Number of dynamic objects : 11
Bed channel count : 1 channel
Bed channel configuration : LFE

Hope I helped :-)
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Last edited by Joystick; 01-23-2021 at 11:35 PM.
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Old 01-24-2021, 07:03 AM   #33
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Originally Posted by musicbynumbers View Post
Just a general shout out for everyone here to go check out latest pre release for some fantastic reasurround 7.1.4 improvements!

Get latest and give it a test whilst it's hot and open to changes. Schwa has set up a dedicated thread for it too for feedback etc.
Where can I get pre releases? I would like to give it a try, as I would like to use Reaper for 7.1.4.

Any chances the developers could make "reasurround" as track panner when the track is routed to a multichannel master track, instead of it being inserted as an FX?

Thanks!
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Old 01-24-2021, 07:49 AM   #34
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Where can I get pre releases? I would like to give it a try, as I would like to use Reaper for 7.1.4.

Any chances the developers could make "reasurround" as track panner when the track is routed to a multichannel master track, instead of it being inserted as an FX?

Thanks!
Technically it is always an fx.

...but there is a new action that inserts a new track with it as an embedded panner by default in the TCP.
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