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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
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
@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
@Cyril-Blanc said:
So it confirm that MIR PRO 3D is not a Dolby Atmos solution, only a "specialisation" solution.
No, I wrote "spatialisation", which is much more than just Dolby Atmos, as it isn't restricted to one proprietary format.
@Cyril-Blanc said:
I forgot to mention that you cannot move an instrument in realtime in MIR, so Logic solution is not "basic"
It is "basic" in the sense that it just changes levels, nothing else. If this fits our needs, go for it!
@Cyril-Blanc said:
As said before, VSL could add a Dolby Atmos 9.x.x venue and give the possibility to distribute the instruments.
Just select the proper Output Format in MIR 3D, and you're done. Here you see one of several presets available for this task:
@Cyril-Blanc said:
Other solution is to use MIR PRO 3D and do the panning in Logic.
Whatever fits your needs. This is quite contrary to the intended workflow of MIR 3D, but if you like the results you achieve like that - why not!
@Cyril-Blanc said:
If you do not use MIR, what reverb will you use with Logic only solution ? a MIR X on every track ?
Well - most MIR 3D users would say: Use MIR 3D. If you prefer your beloved Logic: Go for it. I don't understand the idea of using MIRx, though, as it is a legacy product that offers stereo spatialisation only, and it is available for Vienna Instruments exclusively.
Hi @Dietz
You are in full contradiction, you say to use Logic with MIR but you say that VSL will not provide profile in MIR for the new Synchron Violin and Cello
@Dietz said:
Just select the proper Output Format in MIR 3D, and you're done. Here you see one of several presets available for this task
The image does not show where are placed the microphones
Is that a bunch of balloons😀
@Dietz said:
"spatialisation
That is what I mean, it is a typo
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.
@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
