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

@Cyril Blanc - Moderate your tone and stay polite, please. So many people are trying to help you out with your confusion - you have no reason to complain.

@Cyril Blanc Please enjoy the rest of the weekend and use the time to calm down.
I've deleted some of your provoking posts that did not contain any relevant information.
Such behavior is not welcome in this forum.

@Dietz said:

@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. 😊

Hi Dietz, Unfortunately this thread did not lead to any answers. I wrote to Bernd with a direct message but no answer. In the mean time I have progressed a lot with the setup and have an 18 instrument template in Cubase using Fiedler Dolby Atmos Composer and SpaceLab instead of the build in renderer. The result is good but in no way resembles the still rare original or up-mixed Dolby Atmos classical works you find on e.g. Apple Music. Somehow the orchestra seems much more distant using the VSL surround presets.

I would still be very interested in some VSL recommendation to translate in particular decca tree samples to Atmos speaker location. Maybe I missed it but despite the promise in the first Youtube video showing the VSL SY marimba in Dolby Atmos there does not seem a second VSL video in the topi yet.

I didn't ignore your request, I'm still waiting for the link to the appropriate image myself. Sorry ...

Thanks Dietz, I found an older thread where the microphones used for all positions for the String libraries. The exact directional positioning of the high and surround mikes (towards the sound source or away from the source) is not given however. I might be wrong but baed on what I am hearing for each individual source and also the way the ambient mix presets are setup I do not think they where positioned to create space using the wall and roof reflections (which you would need for Atmos top signals) but more to create space by distance from the sound source. Both high and surround signals seem to have a large component coming directly from the sound source. This is of course very good to create space in a stereo mix but probably less to get the overhead back wall input as meant in Atmos.

If that is the case you probably should not put them in the standard Atmos surround (Ls Rs) and high channel (Lts, Rts erc.) position but probably you can maybe use them as objects.

The room reflections should then come from a reverb.

I strongly suggest to use four fixed, zero-width objects as "virtual speakers" for the top layer anyway. Just two positions up there will be sufficient for the occasional helicopter flight in a movie, but they are definitely not enough for a believable spatial impression of a room.

Indeed, I use the High L/R and the High Surround L/R microphone signals for those four overheads. Panned to +/-45 degrees azimuth and 45 degrees elevation respectively +/-135 degrees azimuth and 45 degrees elevation. So the top speaker locations for 7.1.4.

The three decca tree sources and all close microphones are panned as per their location in the images shown for each library in Fiedler SpaceLab as objects. They get an additional full sphere 3D reverb component. This is a bit similar to MIR 3D I think. The room is just no real venue but you can define the height of each source and also the listener position in the room.

The only issue with the four top signals provided in the SY libraries, recorded with an AKG414, is that they probably have a significant direct component apart from the component reflected from roof. It depends how the AKG414’s were oriented and which characteristic (omni, figure -8, kidney) was used.

Just to clarify the decca tree microphones are only panned through space lab but do not get any reverb as the already have that component from the SY stage.