Calibrating my Dolby Atmos Studio
Vložit
- čas přidán 3. 07. 2024
- Mix engineer Dave Stagl discusses calibrating his Dolby Atmos studio.
Dolby Atmos Home Entertainment Studio Technical Guidelines: professionalsupport.dolby.com...
◎ MIXING & MASTERING: www.staglproductions.com
◎ Training & Consulting: www.goingto11.com
Sonarworks: tinyurl.com/bdf4a7y8
SoundFlow: soundflow.org/invite?fpr=293i6
Waves Plug-Ins: waves.alzt.net/qqNQN
---
SOCIAL MEDIA
/ fohdave
/ fohdave1
---
Sign-up for updates from Going to 11: www.goingto11.com/subscribe/
--
Contents
00:00 Intro
00:21 My History Calibrating Things
01:36 Repositioning Some Speakers
02:44 Dolby Speaker Angle Specs
05:02 Calibration Basics
07:14 Measurement Software
08:36 The Dolby Atmos Music Curve
09:32 Why Use a Particular Frequency Curve
11:59 Measuring Frequency Response in My Studio
13:19 Time Alignment with Smaart
14:03 Transfer Function 101
15:42 The Importance of the Phase Trace
16:36 Phase Aligning a Speaker
17:20 Impulse Response?
18:33 Using Impulse Response for Mic Placement
19:21 Time Alignment Without Measurement Software
22:28 Calibrating Level
23:33 Dolby vs ATSC Level Calibration
25:30 Measuring Level
27:00 Wrap-Up
this is what youtube would be, like calling a friend who answers all the questions you have Thank you man!
"You can see how that phase trace just locks in..." "BOOM"
lol thanks for this video!
Good video David very informative
I also have Sonarworks, but for surround systems and Atmos... this is where Genelec and GLM has the advantage. Also in remembrance... the original 1970s Dolby measurement of 85 dB at 0 VU proved to be inaccurate. So what they thought was 85 dB, was actually 83 dB.
In the weeds a little bit, the impulse response is the same information as the transfer function window, it doesn't have less information. TF window phase might be more ergonomic for you but it's not because its more accurate or better info, it's a transform of the same info.
Of course it's better than laser, how does a laser know where the acoustical source of a 3 way speaker or even a single horn is? Meyer Sound did the total chain transfer function decades ago and thats the proper solution. Great video, I appreciate it.
Thank you for this video David! I'd like to know your take on Bass Management and LFE calibration. Do you use bass management when mixing in Atmos? Any thing to have in mind? I work for the film industry but the projects are most likely ging to VOD Platforms, so I'm not sure if I should use bass management or avoid it. My intuition is to avoid it so I'm completely sure of what is going to the subwoofer through the LFE channel discretely, and nothing "automatic" is going on...
My system is completely bass managed. I know there are a lot of mixed opinions on bass management, but I don't have any issues with it. They way my system is calibrated, my subs don't feel like they are separate from the speakers.
I don't use the LFE much, either, though. I usually mix everything without it, and then I'll add a little bit to the LFE to give anyone with a sub a little something extra.
What software do you use to actually delay the signals when time aligning? Do you do that in PT?
I use the delay in the MTRX Studio for each channel.
Hi thanks for the video... Do u use decoder like Denon or just use dsub cables?
I'm not sure I understand the question. Use for what?
Dave, thanks for the video! Detailed, informative. Tell me, please, when measuring SPL, you said to add +10 db on the LFE channel, up to 89 db, is this from experience? According to the curve you have given from Dolby, it turns out like less?
That's a long standing surround thing. The LFE--or concept of it--came from the theatrical release of Star Wars. They wanted more headroom for low frequency content and created a dedicated channel for it. To get that headroom for theatrical presentations, the LFE was recorded 10 dB lower and then turned up 10 dB for playback. To my knowledge, every decoder today turns the LFE up 10 dB. So, in order to equalize level while mixing, we need the LFE up 10 dB. I don't believe the Dolby curve applies to LFE.
@@goingto11 Thanks for the reply. Interesting story. It turns out that the issue of calibration of the sub channel is quite difficult. Also because of the difference in approach in cinema and music. The fact that in the cinema is excusable, the overestimation of the low frequency level is leveled in a large cinema hall, but in music it's just a disaster. Now I'm going through dozens of different works in the surraund, the section is clearly visible. Someone only feels like a sub, I would like more, someone is clearly superfluous. (I have a system without bass management, I only hear what the sound engineer put in the sub channel).
@@user-ei7lc9tz2r Well, calibrating it 10 dB above the main speakers doesn't give you more low frequency content, it creates more headroom for them. It's like the old RIAA curve for vinyl records where you have a boost and a cut where one is for capture and the other is for playback. It should work itself out.
From a practical standpoint in mixing Dolby Atmos for music, you don't really need to use the LFE much.
@@goingto11 I haven't worked with surround for a long time. The last album was in the year 2006-2007. Now I've listened to it again, and the studio's sub channel was clearly set to +10db. Years have passed, I forgot how and why I set it up like this) You explained. Thanks!
Of course, you are right, the sub in music has rather a technical meaning. And probably there is enough bass on the listener's side, in most situations... I just want to decide for myself on the nuances of the sub channel.
Thanks, Dave!