Hi Mavros

Did you look at Denon Dolby Atmos amplifiers they have many models like the DENON AVR-S770H (less than 500€)

I have an old Denon that was delivered with a calibration microphone.

Hi Mavros

I got the answer from Dolby support. You need to by https://professionalsupport.dolby.com/s/article/How-do-I-QC-my-Dolby-Atmos-mix to convert the ADM BWF file to MP4

Hi Cyril,

You will need to use the Dolby Atmos Renderer application to export an MP4 file with Dolby Atmos for playback on various consumer devices.

Please see this article and link within for QC on IOS devices: https://professionalsupport.dolby.com/s/article/How-do-I-QC-my-Dolby-Atmos-mix

You can download the 90 trial of the Dolby Atmos Renderer to get started even if you are creating your mixes in Logic. The trial can be download here: https://customer.dolby.com/content-creation-and-delivery/dolby-atmos-renderer-v530

Best,

VLC is able to play the Dolby Atmos AIF file, the app MUSIC won't play it😜

My friend also used the official Dolby Renderer to produce the mp4 file.

Playback of the file is a bit strange. You can import it in the Apple Music App on your Mac where due to the extension it appears as a movie not a Dolby Atmos audio file but it sounds OK. The file will not be synchronized however by Apple Music . If you save the mp4 on your iCloud it does playback on an iPhone or iPad by simply clicking on it. On an Apple TV I can play it back using screen monitoring of my iPad. Apparently you can also use the Apple TV+ app to play it on an Apple TV. You have to import the file into the Apple TV app on your Mac and with the proper home sharing rights it will also appear in your Apple TV + app on your Apple TV devices.

Hello @Mavros

Thanks for you answer.

By any chance do you know a free app to replace "The official Dolby Renderer" ?

What are the settings in Logic do you use to produce the file that will be converted to MP4 by the renderer ?

Do you have the possibility to test in the Window and Android world ?

Best

Cyril

I found a good tutorial on YouTube :

Hi Cyril I watched Paul's above mentioned video again and am somewhat confused about the heights entered for the L/R/C decca tree and for the high and high sur signals. I was under the assumption the actual microphone heights and X/Y positions should be entered which would than produce a "speaker" sound at that position which is going into the Atmos module. In the video the decca tree mics as well as the surround mics are put at zero height although the decca tree is probably at least a meter above the conductors ear, standing up, and the surround mics are probably on the same level. On the other hand the high and high surrounds are put at relative height 1.0 which for the Synchron Stage A would mean about 11 m (the dimensions of this venue are given in the MIR room package manual). I. could not find any concrete info in any of the manuals but in reality they are probably also at about 3-4 m above the stage level.

Do you have any thoughts about these heights and there relevance in reproducing the best possible SY Stage A ambiance in a Dolby Atmos project?

Hello @Mavros

From the answer I just had from @Dietz, VSL is not going to have Preset for the new Synchron instrument in MIR PRO 3D
look at :
https://forum.vsl.co.at/topic/61539/new-solo-violin-and-solo-cello/2?_=1721481603393

Maybe MIR PRO 3D is not made for Dolby Atmos as they don't have solution for the back speakers, neither for the 2 or 4 speakers of the 7.1.2 or 7.1.4
They don't have a solution for 9.1.x !

So you just need one Mike for each instrument, you do not need all those microphone, that will save us to buy the full library 😀

The solution is to use Atmos only in Logic Pro

@Cyril Blanc - Please do not spread misleading information.

Regards,

@Dietz said:

@Cyril Blanc - Please do not spread misleading information.

Regards,

I do not spread misleading information you just said :

@Dietz - For all other sources, you have to decide yourself if you want to use MIR 3D for 3D spatialisation, or just the basic power-panning of Logic. MIR 3D per se neither produces ATMOS output (which is simply a proprietary delivery format by Dolby Labs), nor does MIR 3D rely on it.

So it confirm that MIR PRO 3D is not a Dolby Atmos solution, only a "specialisation" solution.

I forgot to mention that you cannot move an instrument in realtime in MIR, so Logic solution is not "basic"

As said before, VSL could add a Dolby Atmos 9.x.x venue and give the possibility to distribute the instruments.
But that mean quite a big Developpement and to pay for a Dolby Atmos license

Other solution is to use MIR PRO 3D and do the panning in Logic.

Question :
If you do not use MIR, what reverb will you use with Logic only solution ? a MIR X on every track ?

Kind regards

I see. Well, that's neither the way actual 3D recordings of any kind are made (be it 9.x.4 or any other format), nor the way MIR 3D works. If that's what you expect, then you should really think about selling your MIR 3D licence and read up on modern recording techniques.

@Cyril Blanc I think language may be getting in the way again. Reading @Dietz’s reply’s and your posts there seems to be a lot of cross purpose.

@Dietz said:

I see. Well, that's neither the way actual 3D recordings of any kind are made (be it 9.x.4 or any other format), nor the way MIR 3D works. If that's what you expect, then you should really think about selling your MIR 3D licence and read up on modern recording techniques.

Hi @Dietz

I am lost, I am a beginner, can you explain what I should do to provide a Dolby Atmos recording to be sold on Apple Music

Gents The discussion is interesting but I was trying to avoid MIR here and discuss the use of the Synchron player mics for Dolby Atmos a valid topic as it even has a dedicated video.

Gents keep cool. Dietz has mentioned many times in different threads that a Synchron instrument is not meant to be used in MIR. This is regretful but I fully understand that the close mics signals of the SY Stage A recordings are not dry enough as a source for MIR. So therefore I opened my separate topic purely dedicated to the full Synchron Libraries microphone use in particular for Dolby Atmos.

Dietz maybe you can clarify the relative microphone heights which should be entered in the Atmos objects. Firstly, am I correct that the SY decca tree and surround mics were at about 3 m above the stage and secondly do you have info on how high the "High" and High Sur" mics were mounted during the recording?

A last point on microphone positions; on the overview page of the libraries, the SY Brass and WW show a different, wider, surround microphone setup than the SY strings and percussion libraries. I am not sure why as especially the percussion instrument positioning covers the whole width of the SY Stage. Do all sketches on the library overview pages reflect the actual recording position or is there an issue with the sketches?

It is possible to set up the Atmos object consistent with the real microphone positions. So if these libraries would indeed have a different surround widths dependent on the instrument group that is easy to enter in the 3D panner.

@Mavros said:
Firstly, am I correct that the SY decca tree and surround mics were at about 3 m above the stage and secondly do you have info on how high the "High" and High Sur" mics were mounted during the recording?

This is a question for @air Bernd Mazagg of Vienna Synchron Stage. 😊

Thanks Dietz, Paul can probably also answer these questions as he presented the SY Player Atmos video made with Bernd’s input but I would be very happy with some input.

I think it all goes back to the question if you in Dolby Atmos you have to closely simulate the real venue where the samples were recorded or you just use approximate positions in a more or less standardized (L/H/W) listening environment represented by the room graph with the object positions in the DAW or Dolby panner