Here is a real world success story. Client gave me a Logic mix. I broke it out to stems. Loaded in Cubase and “mastered” each track as opposed to a master bus. Turned on Cubase ATMOS and put the tracks in space. Automation allows movement of the tracks, and track groups all around the room. Used headphones. Rendering to Binaural. Used AWS media converter to make an iPhone audition. Gave back to the client. It blew his socks off. I got his deal, and his album, and his future albums, and all his friends. iTunes distributed with spatial support (which is just ATMOS). It is a game changer. Reach out if you need a partner on this.
Una explicación muy clara, simple y completa. Muchas Gracias 😀🙏👍.... He vistos algunos otros vides en español sobre el Tema y asi arman una revolución. Gracias
excellent tutorial, the only think that i cant found ist the sends output routing ,its not appearing in mi individual channels,im migrating from proo tools to cubase so im just checking wheres everything and almost new on steinberg .can you please tell us how you activate the sends for renderer channel . for ambisonics channel and output channel thanks in advance ?
Great Video....One question. I got a new error when I uploaded an ATMOS. "Apple requires Stereo and Spatial audio files to be within 50MS duration. Please verify the duration of your audio files and attempt to upload again." What settings are they referring to with 50ms? Anyone?
Great and helpful video. Question, where would one apply the mastering chain? I couldn't capture from your video where You're mastering happens if at all.
Great question - because it's a completely new world for engineers who come from music. Mastering for Atmos has a completely different approach than for music in stereo, because there are so many 'channels' (128 in total!), none of them is baked, and they are all completely dynamic in the way they behave around the listener... all that as opposed to stereo where you have 2 channels, baked on the left-right. Additionally, you don't even know what the listener will play your music on ... is it binaurally? Stereo? 7.1.2? 9.1.6?. All that is a reason why avoiding master processing is a must - you don't really know what's gonna happen to a limiter on your master bus when an object is moving around in a room completely different than where you mixed... it could give you more negative surprises than positive, especially if you are using several objects, since they are floating 'freely', the energy of the sound, its depth, everything could change for the worst if you put it through a two-dimensional processor. In a way, an Atmos mix doesn't reallty have channels, but you are really in a 3D space, think of that, the space, and how your sound behaves in it... For the reasons above, as long as you stick to the loudness guidelines (-18LUFS of loudness), you should follow your ear, and master with it, forget about the master bus, it will give you a headache!. What I do is assign all my faders to a VCA just to make sure loudness is as required, but generally, you should be treating each object as an independent element, and the bed, well, if you want to use it, you could master that, but again, the freedom spatial audio gives you when it comes to mixing has no precedents... if you marry the bed, you could still treat music as you do in stereo (baked channels), but then you'd be missing all the fun. Finally, if you are re-mixing something that you had already done in stereo, you can use the stereo mix in an extra track as a guide on how you want you music to sound, but again, at some point you will even ditch that, because mixing for Atmos is a completely different beast. Apologies for the long answer, I hope it is useful.
Great video, very useful, just a little question, Could this work if I have MIDI Tracks instead of having all separated as instrument tracks as you show in this video? Many thanks
Hi Luis! Absolutely, but with caution: Say that you have 4 MIDI tracks going to 1 instrument track containing 4 Libraries. If you want to treat each library independently (which you should), make sure you create 4 outputs in Kontakt (stereo for stereo, 4-channel for ambisonics), so that after you can decode (if in ambisonics), pan, master each output independently.
The 3OA channel must go to the Bed, or to a 7.1.4 object (e. g. create a 7.1.4 group track, convert it to an object, and then send the 3OA channel there). Do not sent it directly to the renderer.
Hola! Excelente tutorial! Por fin veo una explicación mas coherente en el uso de los tracks. Estoy iniciando mi aprendizaje en Atmos en Nuendo 12 y tengo algunas consultas: 1. El renderer del Nuendo 12 tiene ahora la posibilidad de escuchar en binaural, veo que utilizaste un track de ambisonics para monitorear en audífonos, sigue siendo necesario este paso? Por qué razón? 2. Cuál es la finalidad de tener un bed principal? Según he leído el Bed no puede ser mas allá de 7.1.2 Pero los los objetos se adaptan desde 7.1.4 bajando hasta binaural. 3. Veo que no utilizaste el LFE en esta mezcla, cuando abre los panner durante el tutorial no veo ninguna forma de asignarlo. Cuál es la razón? Gracias!
Hola Gabriel, gracias por tu mensaje y de antemano disculpa la falta de tildes! Estoy en un teclado no-Espanol! 1. La escucha binaural es excelente para escuchar lo que escuchan tus usuarios de manera binaural, el problema es que esta fijada (no puedes rotar la cabeza), asi que si quieres monitorear una mezcla 7.1.4, no puedes rotarla. En otras palabras, en el Renderer, Binaural es para escuchar lo que escucha el otro 1:1 en audifonos. 7.1.4 -> Ambisonics -> Stereo es para (de alguna forma) escuchar lo que escucha el otro en su sistema 7.1.4 cuando monitoreamos nosotros con audifonos. Espero sea claro! :) 2. El Bed principal, yo generalmente lo uso para "atar" los objetos, por eso se llama bed (cama), es donde todo se acuesta... por ejemplo una reverberacion, un delay, efectos que son etereos y que no necesariamente son para localizar si no mas bien para juntarlo todo, para poner al usuario en un espacio, los espacios no se mueven, son fijos... para eso es el Bed 3. Mira tu, te me adelantaste a nuestro proximo tutorial (que lo tenemos programado para la prox. semana!) En la musica en Atmos, hay que tener cuidado con el LFE (dedicado!): Cuando Atmos es decodificado en un sistema Estereo, el canal LFE es descartado completamente (especificaciones Dolby), por esta razon, LA AUSENCIA DEL LFE NO PUEDE IMPACTAR LA MEZCLA, pues piensa que todo lo que envies al LFE, alguien con dos altavoces, no lo escuchara. El canal LFE (dedicado), puedes usarlo para dar un poco mas de punch a tus frecuencias bajas, pero piensa que debe ser simplemente para "incrementar" algo que ya existe, pues como dije antes, tu mezcla debe poder sostenerse sin LFE. Adicionalmente, recuerda que canal LFE no es lo mismo que Subwoofer - el canal LFE es un canal DEDICADO, el Subwoofer contiene el canal LFE pero TAMBIEN contiene todo lo que el Decodificador Atmos le envie - de esta forma, aunque parezca que el subwoofer no suene en tu mezcla (por que el LFE esta vacio), el decodificador de cada usario enviara informacion al subwoofer dependiendo de la configuracion de cada usuario. Entonces, el canal LFE con cuidado :)
My question is, why to do all of this routing, from the 7.1.4 master bust to the ambersonics track. Then from ambersonics track to the stereo out, instead of just clicking 'Binaural' in the dolby atmos renderer?
Rotation of the soundfield. Binaural in the Dolby Atmos renderer will only convert your spatial signal to Binaural, if you use an Ambisonics track, you can listen to it and rotate it to hear how it sounds in different angles whilst it's spatial. ALSO if you use a Headtracker, this step is a must... different uses, both useful :)
@@AudioBrewers hey I've a question. I'm new to nuendo and I'm gonna ask some noob questions, pardon me. So my question is, can I trust and realy on nuendo completely? Because once I used it and it gave me horrendous result that I posted it a while back. The main problem was the audio just cut off alternatively. That time I was using 100 tracks and my buffer was 512. I mainly work on Dolby Atmos. And I'm currently working on Fairlight for my needs. I tend to do at an upmost of 500 tracks. And currently I'm distributing my one 500 tracks project to 5 files that will be 100 tracks per file. Then I compile it afterwards. Now please tell me can I work with the same 500 tracks in nuendo, in a single file, with Dolby Atmos at 512 buffer? And if yes, what's the preferred system specs for this?
@@asmithhansdaIt's 100% my DAW to go to when talking Dolby Atmos. I find it the easiest and the one with most capabilities - the fact that is supports three-dimensional Atmos objects, personally I think it beats all the other daws, which are limited to mono-stereo objects.
