The ULTIMATE Immersive and Stereo Mixing Template
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- Опубліковано 15 чер 2024
- Step up your mixing game with this ULTIMATE guide to create immersive and stereo mixes. Transform your mixes with Dolby Atmos. Perfect for audio professionals eager to learn immersive audio.
00:00 Introduction
00:31 The 2-Stage Mixing Process
02:52 Re-renders
05:53 7.1.4 Folder
08:40 Using the surround panner
11:16 I/O Routing
15:29 Spreading the Mix
18:52 Binaural Settings
20:22 Immersive Mix Buss Processing
25:07 Using Hardware Inserts
28:08 Final Thoughts
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Thanks for the shout out Alex! Proud to be on the stereo template, holding down the classic listening experience... for now 😎
Alex this is a WEALTH OF KNOWLEDGE!
This video is all you need right now to get ready and mix as a pro on atmos. muchas gracias amigo que tienes un carisma y un poder de transmitir el conocimiento increibles! espero seguir tus pasos!
I love it cause it’s much cleaner than the OBED template I built using Master faders rather than the folder.
I mix Atmos in Logic. I've set up a template that has a 12 stereo master busses that have a shared sidechain for processing. This feeds my stereo master bus, Atmos object bed and stem bounce tracks all at the same time. So as I do my stereo mix, my Atmos mix and stems are automatically created. A few tweeks to the Atmos mix is all the extra work needed. This only works because there are no shared reverbs and delays, each of the 12 master busses has there own dedicated FX so each stem can be printed simultaneously. It makes making the template intensive and convoluted, but makes mixing and bouncing much faster.
I would love to talk to you about this!
@@audiomixing.academy I've tried to explain it but YT keeps deleting my posts, sorry 🤷🏾♂️
Plz do a video on it sir.... If already der.. plz share a link... I too mix Atmos in logic pro tq❤
@@athishayjain.m.k9257 I'm too busy to do YT videos, but here is the concept.
1. A stereo bus set up with no output that all tracks are sent to pre processing to act as an external sidechain for the bus compression.
2. 12 busses (the number is arbitrary) I label them Bass, Drums etc. Put the exact same master bus processing on each, as you would your normal stereo bus.
3. Set the compressor to external sidechain and set it to bus channel you set up on step one.
4. Create a summing stack as this let's you create a smart control to change any parameter within the stack.
5. Insert the same compressor on the stack with the same external sidechain settings to use as a smart control master.
6. Map the smart control to change the threshold, ratio etc for every instance of the compressor with one knob each.
7. The output of the busses are sent to 3 simultaneous destinations. 1) a stereo bus where you can put your limiter. 2) the Atmos bed, I set it up as Front, Wide, Sides, Rear, Top Front, Top Rear (centre and LFE are part of the surround bed as I rarely use them) you choose which bus gets sent to which bed channel. 3) stems representing each of the busses and the stereo bus.
8. The only way this works is if you have dedicated FX for each bus. So I have 12 sets of the same FX routed to each bus so when you print stems you do it in one pass.
9. You have a summing stack for the Atmos bed and also one for the Stems. That way you can mute the Atmos mix with one button, same with the stereo bus.
10. Make the stereo bus an object instead of stereo out, this will route it to the Atmos renderer plugin. Set the binaural to off.
11. Now when you are mixing stereo just toggle the Atmos plugin to 2.0 and mute the Atmos bed, when you are mixing Atmos toggle the Atmos plugin to 7.1.4 and mute the stereo bus.
12. As you mix the stereo mix your Atmos mix and stems are automatically propagated. You will need to tweak the Atmos mix a bit like add movement or lower the volume of the side channels etc.
13. That's it. It takes ages to create the template that's works for you though. Good luck ;)
Doin the lord’s work out here, Alex. Insane video
he sure is
Thanks fellas 🙌
The is really really helpful. Thank you for your time and energy.
Incredibly enlightening and appreciated.
Great video… Nice template! Thanks Alex!
Thanks for the video Alex it does explain a lot on what you can do with immersive mixing and hardware definitely like your workflow setup it seems easy and intuitive. 👊🏾🔥💯🙏🏾
Thank you for sharing. Helpful !!
Great template and information
Very good ✨ I'm gonna share this with our discord community , pool of enginears like us
Excellent video. Great method here.
Excellent Bro!!!
Amazing!
LORD BLESS YOU ALEX, DEAR BROTHER ! THANKS FOR AN AMAAAZING VIDEO.
GOD BLESS.
Awesome 👍🏽
Thanks!
Hey Alex! We met back in 2012 while I was doing time at GC in La Mesa. I’m Stoked to see you’re putting out great content here. I’ve been mixing in Atmos for about a year (the last 4 months on a 7.1.4 speaker system). It’s mind blowing. I’ve got a question about the 2.0 fold down from the Atmos Renderer. I cannot seem to find a way for the 2.0 fold down to maintain a constant volume level while panning an element from the rear speakers (either Lrs or Rrs) to the front speakers. I always run into some version of level increase half way between pairs of speakers. I’ve tried just about every combination of Trim and Downmix variation - to no avail. Any suggestions? Are you running into this problem? My goal is to have the 2.0 mix retain the same relative level balance as the Atmos mix while mixing entirely in on session like you have here. Cheers!
Hey Alex awsome video! Amy ideas on how to get a 7.1.4 aux track in the session that can mirror renderer output to use Audoiomovers binaural to essentially have 2 x binarual references?
I use VB-Matrix to do this :)
It appears the power of your studio monitoring that gives you the options you need is that avid Matrix or DAD interface. Without the ability to be able to control all of the I/O on the monitoring side is nearly impossible with what is available on the market unless you spend money on a Grace m908. The new Audient immersive interface seems good but not even close to the Matrix and DAD.
I use the Apogee MKii interface with the original cards but their software is lacking and buggy at times. The Sphere monitoring software is a great addition and have to wrap my mind around doing all this via software.
I miss using using my Audient ASP510 hardware controller for surround monitoring because it had every damn option for analog monitoring. It was the last piece in the chain and I didn’t need my computer on to listen to mixes in stereo or surround.
I use a similar approach (9.1.4 object bed + objects). I just wonder: With your "everything is 7.1.4" you effectively use atmos like it was completely channel based, right? I imagine that moving signals will have a much worse resolution using the normal surround panner instead of a separate object as those are processed for the consumers system, right? So even in a lets say 24.4.6 playback system, only 7.1.4 speakers will be in use. So isn't the result more 7.1.4 surround instead of atmos? Doesn't this have massive (negative?) impact on stereo/5.1 folddowns regarding summing? But sure, I see the advantages of using bus processing.
I like this method, but I'm concerned about QC kicking it back with only 4 objects. I wonder if this has been an issue with QC for anyone? I'll probably do a hybrid and use this for effects returns then still mix with objects.
@@BrendanDekora using this as an effects return is a very interesting idea. I see the advantages of "mix buss" style mixing, but as soon as you grab an object outside of the heights he setup, then we are now again outside the mix buss style mixing and have objects not being effected by the routing folder processing. Seems more useful as an effect return.
Really good stuff, Alex. Thank you. So at this point, does the 7.1.4 folder method effectively do away with needing the OBED setup and "phantom bus" sidechain key stuff with all the master tracks?
That’s correct. Although you can do the side chain key stuff by using PSP Auralcomp.
Great stuff Alex. Fantastic workflow. Is there a similar setup that is less reliant on the bed and incorporates more objects? I ask as I’d be concerned about the DSPs kicking this back to us with only 4 objects on the ADM BWF file.
You can still use a routing folder with this set up, but instead of using a bed, you can route to multiple objects and create an object bed.
Hi Alex. I enjoy you videos very much! Im having some issues with incorporating a quad verb. How do you put a QUAD reverb in the top speakers?
No, I haven’t been able to figure that one out either.
Hey Alex. Thanks for the video! Are you confident in using the stereo downmix as the main stereo mix at this point?
I’m still experimenting with it getting different results when using 1. Internal renderer 2. External renderer or 3. Aux send within pro tools.
I’m thinking of creating a video around my discoveries.
Great video! Not super familiar with the dante virtual soundcard. The stereo track outputs that are routed to the DVS via aux i/o show up in Dante Controller and then those are patched to the the mtrx studio and then you designate those dante mtrx channels as a source for monitoring in dadman? Or is there a simpler way. I guess im confused on how you monitor any aux io via dadman thanks
Yes. Essentially I’m routing the DVS from my Mac to the DADMAN Source so I can toggle between HD Native to DVS and switch between 7.1.4 and stereo fold down.
Hey alex what are you using the stereo master with the limiter for? Are you using that as the dedicated stereo mix for clients so basically mixing stereo and atmos deliverables at the same time? thanks
Hey there. Essentially, yes. I’m printing a stereo “fold down” from my Atmos mix buss chain. The reason I have the limiter on the stereo mix down is to monitor through the limiter but still print a dynamic stereo mix if I choose to use someone else for stereo mastering. Hope this helps.
can you make this template for Studio One 6?
Hi Alex. Do you use an LFE filter on your Dolby Atmos?
I do. It doesn’t show in this video but I use a low pass set to 120hz. However the lowender plugin is already filtering everything fed to the LFE so it’s a bit redundant to add a filter.
How do you treat your object tracks? Do you copy the inserts from your Bed/Object 7.1.4 bus and send the triggers?
At this point, I don’t use any objects I’m only using using this mixing template where everything feeds the 7.1.4 folder
Alex just transfer ownership of this your studio to me already
😏
Does this 7.1.4 routing folder work the same for the external renderer? Thanks for this video!
Yes, it does