These then all get mixed together and sent to a group of objects that panned into the traditional 7.1.2 positions.īut with DX always panned to the center, and if you keep the mono reverbs for DX along with all foley - you could skip the DX bed, and put a single object into the C position and use that instead. So for your basic stuff like a wind ambience in a mix, it’s a lot easier to pan this to a bed bus where you just think do you want this front/read - left/right - top/bottom. But in reality that would be a truckload of objects, and not very practical. If a bed is just like an object why not just use all objects except for lfe. Forget that there are speakers in the room, no longer relevant. You have to stop thinking of which speaker you want to have sound in, and instead start thinking where in the room a sound should be positioned (horizontal and vertical), how big it is, and how it should move within the room, how it should reverberate in the room. It’s just a very different approach to doing a mix and we have to change our thinking and let go of a whole lot of old ways of doing things, which why it appears so hard. Instead you have to keep them on the individual channels and then find other ways of linking them. The lack of these master and aux buses is what makes your reverbs difficult, because you no longer have a common audio path where you can insert them. And then the actual mixing happens during playback, not when you render the file. Because of all of this 3D mapping there are no master or aux buses anymore, because it all gets packaged up in one very large file as independent audio streams with metadata. So all positions are described in a 3D space as X/Y/Z coordinates and then mapped to whatever speakers are in the room when someone listens to this mix. The whole point of Atmos is become independent of specific speaker positions and allow you to make a mix that works from anything like a 32 channels theater to a a mono speaker without having to make separate mixes (in theory, practice is not necessarily quite there yet). You could think of the beds just as a group of objects that have fixed panning positions within the group. The beds are just there to simplify things and allow all this to scale. The main point of ATMOS is not the beds, but the objects. So can someone explain the science, separated from the hype, to me? Without it, it just sounds like the same old stereo mix (to me, anyway). The best sounding ambisonic mix that I’ve heard always had the Dear VR plug in the master bus. Things that literally used to take seconds to do are now turned into torturous hours of trying to figure out what kind of labyrinth routing structure will be required to make this same simple function happen.Īlso, can we agree that this Ambisonic/Immersive fold down is just enhanced stereo at best? You build this mix using less EQ and dynamics because you’ve got this “bigger canvas” upon which to spread out the sources so they don’t “fight.” Then it get’s folded down into 2 channels and all of those issues come right back, which requires a stereo based approach to resolve. I’m hoping if I can understand the why, it’ll make it easier to understand the way to do this. If I want my reverb in the top front speakers why do I have to build 2 or three groups chained together to make that happen? Why can’t I simply send the reverb there the way I would in normal stereo or surround mixing? So what’s the logic behind a REQUIRED 7.1.2 bed? Why isn’t that bed 7.1.4? The very first thing the mixer will have to do is make a 7.1.4 bed to offset this omission. This system is designed to deliver 4 to 6 height channels. I don’t understand WHY all of this jumping through all of these hoops is required to achieve this. It was my understanding that the difference between regular surround and ATMOS was the calculations necessary to make smother movements or placement in the sound field. In surround, if you want the sound to come from the left top speaker you pan it there. Can anyone here explain why ATMOS routing is so complicated? I’m trying to understand this from the architectural point of view.
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