Creating the Stereo Mix from a Dolby Atmos Mix
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- čas přidán 24. 06. 2024
- Mix engineer Dave Stagl demonstrates how he creates a stereo mix from a Dolby Atmos music mix.
◎ MIXING & MASTERING in Dolby Atmos & Stereo: www.staglproductions.com
◎ Audio Training & Consulting: www.goingto11.com
◎ 5 Tips for a Great Dolby Atmos Release: tinyurl.com/y76pdt2u
Sonarworks: tinyurl.com/bdf4a7y8
SoundFlow: soundflow.org/invite?fpr=293i6
Waves Plug-Ins: waves.alzt.net/93xg4
FabFilter Plug-Ins: www.fabfilter.com/shop?code=W...
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SOCIAL MEDIA
/ fohdave
/ fohdave1
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00:00 - Start
01:21 - Refresher on Folddowns
04:36 - Checking out Some Folddowns
06:25 - My New Stereo Folddown Method
08:33 - Comparing Stereo Versions
10:24 - Comparing the 5.1 Re-Render to the 2.0
12:18 - Front Loaded Atmos Mixes are Boring
12:52 - Comparing the 7.1 to 2.0 Re-Render
14:22 - Monitoring Stereo While Mixing Atmos
16:18 - Wrap-Up
DUDE!! This is so cool!! This was my one gripe with working in Atmos. I never thought to use a down-mix plug-in to get a better sounding Stereo to use for a Stereo Master!! I don't know why there isn't a "direct render" set for the 2.0 trim settings. I actually have the exact same fold-down settings in DADMAN (well, I had mine set to -2 on everything, instead of -3). Love your content. Keep it up!!
Glad you liked it!
Best channel I've seen on how this stuff works. Cheers!
Wow, thanks!
Thank you so much for sharing your experience, Dave. As others have stated, your channel is one of the best mixing music for Atmos resources I have found on the web, and the info you provide is invaluable! I have a question about this one, however: how are the settings you use in the downmix plugin ported over to the final .adm file? Doesn't the DAR generate the downmixes based on the settings in the renderer? The downmix plugin would seem to affect monitoring only, and not the final .adm file. Also, is the stereo file you are generating from this process uploaded separately as "THE stereo mix," or is it somehow included as part of the 2.0 stereo fold down within the .adm master? Apologies for the word salad and/or if I am being daft and misunderstanding something...
Thank you for the kind words.
This is a good question. The stereo mix I'm doing with the downmix plug-in is NOT included in the final .ADM. The renderer adds metadata to the ADM based on the settings in the renderer, and then on the consumer end, the consumer's device would do the folddown to stereo based on the metadata that's encoded.
The stereo downmix I do with the downmix plug-in is for the stereo mix of a song and is mastered separately. So, it's a separate release from the Atmos.
Digging through a document from Dolby on metadata makes it look like there might be a way to adjust the 2.0 metadata to get the same folddown I'm doing with the downmix plug-in, but for now I think it is what it is because of how the renderer currently works.
Does that make sense?
@@goingto11 Yes, makes perfect sense - thank you! I though this might be what you were doing, but wanted to make sure I wasn't missing out on some kind of interesting hack. Thanks again for sharing your knowledge - cheers!
Great video Dave! When mixing the Atmos first are you still compressing/limiting individual channels or subgroups like you would presumably do during a stereo mix? I know ive seen videos which are probably a couple years old by now of engineers saying "oh you dont have to eq or compress as much since your not fitting everything into 2 channels". But that doesnt seem to take into account the downmixes especially the stereo one. Just curious your approach on this as the few atmos mixes ive done were from stereo stems that were pretty much mastered already. Thanks!
Thanks! I'm glad you like the video.
I definitely EQ and compress individual channels just like I did when working on the stereo, although not always to the same degree. I think there is a bit of truth that you don't have to EQ or compress as much to get things to fit together as we might do purely for stereo. BUT, as you point out, everything still has to fit down two pipes at some point whether it's a stereo downmix OR the binaural. I think the binaural does offer more space/room for things than traditional stereo, but I think sometimes these differences are over exaggerated and hyped.
Here's a way I maybe think about this. I used to spend a lot of time mixing in mono for stereo mixes and when everything was working really good in mono, popping it out into stereo often worked better. With Atmos, sometimes if I can get the stereo working really good, the Atmos feels better. But I don't default to doing a lot of heavy processing--I'm just not afraid to do it if I need to.
Sometimes I do think there can be an issue where Atmos mixes are done from stems where those stems or the elements in the stems have been heavily carved and processed for the stereo or to make a "loud" stereo mix. Sometimes pulling those things apart into Atmos can make it feel like something is missing. It's really a case by case thing, though.
Does that make sense?
@@goingto11 makes sense thanks!
This is great info. Could you post your downmix setting please ?
I think he has mentioned in previous videos that his preference is "Direct Render" for 5.1, "Lo/Ro" for 2.0 and all fold-down trim set to 0db. This is what I use for now.
I use the UMG specs for these settings with one little change. I prefer Direct Render with Room Balance over Direct Render. www.umghelpguides.com/guides/dolby-atmos-music/
What’s your I/O ?
@@fnuarifuzzaman912 Avid MTRX Studio
I really don’t care about Atmos for music,
I think it’s doomed to fail.
Just like virtual reality, it’s awesome to experience but ends up hardly being used after a while.
I can understand it being used for film but music neh, I don’t think so
Well Apple just entered this market big time. Doomed? Not according to Apple.
People said the same thing about smart phones. Pretty much everyone has one now. While that comparison is more based off of necessity (in which it is for influencers to make a living from nowadays), it still relates to the convenience of the headset for the need of multiple screens, computer, and portability at a better price than all is included (just like a smartphone with a calculator, music device, cell phone, etc).
A better idea for Atmos would be that no mixing engineer mixes for mono, just because some people don't like to listen to music in stereo. The idea is that if we have the opportunity to create an art-form to it's highest intent, then we should. The people that are audiophiles will appreciate it, although most won't care (and most still don't with stereo anyways). Otherwise, we would be mixing through Airpods alone. But there are so many consumer devices nowadays, it wouldn't make sense to mixing through just one.
Why do you think it matters with film more than music? Considering most people don't even watch movies at the theater, let alone surrounded by speakers from every direction (especially overhead speakers)? Should film stop mixing in Atmos because people no longer go to theaters? Even at home, most (affordable) soundbars don't even come with rear speakers anymore, let alone a subwoofer.
@@alex_ayers statistically more people are attending theatres, it’s not diminishing its growing. Probably due to the COVID out break with peeps wanting to get-out.
@@stevegeorge7773 not where I live, which may be why I think that. I hear about people not bothering going because of people being disrespectful (me family that kind of people). It's honestly just more convenient to stay at home, even if it is just a TV and a sound bar, if that. But that is my opinion!! I think VR could change this as well if it gets more affordable