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Oh, you’ll love the SoundFlow stuff then. It takes a bit to set up, but once you have it, it’s worth it. Let me know if you have any questions. Thanks for tuning in.

You’re very welcome. Thanks for tuning in. I have a new series coming where I am using 2024.6!

@@shanegrush I’m using pro tools studio and mixing with headphones only using the native internal renderer it comes with pro tools , I would like to know how to make a print track and loudness measurement, you have no idea how much your videos are helping, thanks a lot 🙏🙏🙏

I have something I’d like to share with you. Could you shoot me an email and we can chat there? Shane.Grush@grushaudio.com

Hi Arthur, you’re very welcome. I’m glad you’re finding them useful!

@PascalPayantfilms - I do have a video series in the works that I will be selling. I am working hard to complete that - just swamped at the moment. The series will have an Atmos template to start, for the internal and external renderer. Followed by a new film template based off some recent Netflix deliverables. Super exciting stuff. I will come back to this comment and update you. 🤜🏻🤛🏻

Some plug-ins only allow a mono side chain input. So, that is a variable in what you’ve asked. In that case, I'll use the mono side chain input but it doesn’t affect my work negatively since my stereo buss processing is all LR linked. Even with a mono input, I trigger the compression for the L and R, and that's perfectly acceptable to my ears. The tricky part is if your preference would be to have LR unlinked. Here's how I handle it: my mix busses prior to my main stereo mix buss are all unlinked. Small caveat, I have my version of “Brauerizing” where I use multiple mix busses feeding into a main, and final mix buss.

@@shanegrush that makes sense. thank you

You’re welcome. 🤜🏻🤛🏻

Haha - I will totally take credit for that plug-in idea. Haha, just kidding. Thanks for sharing!

Yep, you are spot on about catching that. Another person mentioned this in the comments, which I should pin. I’ll do that. It was my error, in thinking more about the video, and I should have used the file you both mentioned. Great eye, and thanks for watching.

Yessir!

Hey @gclef101 ! The OBED routing is made up of mono aux tracks because those tracks coordinate with one speaker all the way around the room. Think of it as a 1:1 connection from the DAW’s output to the input of the Dolby Renderer.

Hey @MikeyOnTheWay, yes. The OBED is essentially a mix buss. Correct, the OBED is inserted after the track output, but before the Dolby Renderer so if you do not have signal on a channel it’s not processing anything. This is why the side chain compression is key. You can certainly experiment with processing the individual stems. On a recent project I did both. I did some “pre mastering” to some stems because they sounded nothing like the final stereo master. That’s cool about Studio One - I’m certain we’ll see lots of advancements and new techniques as the days go by. The internal renderer setup with the OBED is similar. I’m testing that now and I hope to put out some content on that topic. Thanks for the kind words and watching!

Hey @TheRetroBurn! Could you tell me how you’re printing the ADM?

@@shanegrush sure. File > Bounce mix > wav(Dolby Atmos) > create master file(wav ADM) > Bounce

All clear. My render was fine. I was importing it to the new session as audio instead of session data. Thank you!

Glad you got it. That one got me on the first attempt as well! Take it easy!

I’m happy this helped you. Thanks for watching!

The way I understand the topic is that the same principle applies to any two neighboring speakers. However, I’m all ears if you know something I don’t!

Hi Sam, the OBED or Object Bed Buss is how you can apply “mix buss processing” to objects in Dolby Atmos. This is how I mix - I do not use the bed (except for the LFE channel - no choice there). But the OBED approach allows me to control and process audio prior to the Dolby Renderer receiving the input signal. I made a two part series on how to create an OBED for yourself. You might want to check those out and let me know if you need anything along the way.

Exploring Object Bed Mix Buses in Dolby Atmos Mixing - (Part 1 of 2) ruclips.net/video/qJFrBltWoKQ/видео.html

Exploring Object Bed Mix Buses in Dolby Atmos Mixing - (Part 2 of 2) ruclips.net/video/NxnLLA9_LK0/видео.html

Hi @craigligman, well in all honesty I had some information from other people to help build the approach, but thank you for the kind words. You’d need A LOT of hardware (128 channel device would be awesome to see in real life)! 😂

Hey @Ben-jv9rr ! You’d want to set up a separate set of aux sends for your effects before the OBED for maximum control. Then, the output of those aux tracks feeds the input of the OBED. I made a video on this! But yes, your fold-down compatibility is rock solid once you do that. Link below to that video walkthrough.

Craft Surround Effects Using Your Favorite Stereo Plugins ruclips.net/video/nbq90mOMVi8/видео.htmlsi=yAlLR-FaTNQdfTTA

@@shanegrush thanks man! Sounds like I’m on the right track!

Avid MTRX Studio.

Pretty straight forward! The Binaural settings plugin is inserted on a Aux track in my mix template. Once you instantiate that the Dolby Renderer will detect that those settings are being controlled by the plug-in. I touch on this in another video. I’ll link it below.

Ultimate Guide to Pro Tools I/O Settings for Dolby Atmos Mixing ruclips.net/video/mprNLWsroyc/видео.html

Hi @ArielQuesada, that’s a great question. I’ve been taught that setting the binaural settings is essential. Now, what those settings look like is up to the user. I think you’d have to experiment with finishing a track and all binaural set to “off” if you have a client willing to do so. Remember, your final track doesn’t just go to Apple, so the settings are important.

@mixcomobruno948 wow, thanks for this comment. I’m unsure what to say, so I will thank you. It means a lot that you’re connecting with the content. More coming for sure!

Hey @YianniAP ! Thanks for the kind words and the observant question. I’m happy you enjoyed this one. Regarding the OBED binaural settings, I'd encourage you to mess with those, because it is a matter of taste, but also a matter of how you want your mix to translate to binaural. I've experimented with this a lot, and below is my starting point for every mix. I find the translation to binaural is excellent with the information below, and then I change the parameters if the mix calls for something different. My default OBED binaural settings are: LCR = Off Front Wides & Sides = Near Rear = Mid Height = Near by default, but sometimes I use Mid if I want more separation

I’d love to hear what you’re thinking when you say, “you’re also not getting the effects of saturation.” Whether clients desire or expect that level of detail I don’t really hang my hat on that. I want to give my best to them, and exceed their expectations. This topic isn’t often illuminated until months or years after the fact. 😃

@@shanegrush what I meant is that, unless you use a saturation plug-in like Saturn that also has an external sidechain, your isolated stems won't be driving the saturation the same way as the full mix. Consequently, you'll get different results.

@JulianDavidMusic - I’ll have to test that! Admittedly, I don’t always use saturation on my mix buss, but now you have me thinking. Thanks for highlighting that.

I’m happy to help! Where are you hung up?

I’ve made those public again for you. Not sure how those got changed, but you should be all set now.

Thanks so much @schmuckeprinz .

Thanks for the comment @ianyapxw ! I’m happy that you’re liking the content. Atmos is a complex topic, but it’s a lot of fun. Thanks for tuning in. Appreciate it.

I agree with you. Since stereo is king right now it’s treated with that level of respect, but at some point I think stereo might even fade away, just as mono once did. At the same time, I think we’ll see an even bigger wave of adoption of Dolby Atmos when artists start creating for it. I can imagine the possibilities of microphone setups, and track production that take advantage of this immersive idea. It’ll be cool to see the evolution!

@@shanegrush if you don’t mind me asking, do you have a goal putting these videos out on RUclips? Are you trying to make money off creating content? Is this channel mainly a lead generator for actual in person work? Hope for much for videos in the months to come! :)

I don’t mind you asking. I learned from people who weren’t always the nicest or easy on me. That was tough as a young man with a lot of ambition. With RUclips, audio work, and my whole life I strive to be the person I needed when I was coming up. I get excited about the info, learning, sharing that info, and the results I see in my world. I am also passionate about video, and telling stories. I’ve worked design jobs creating content for many years, and I see this outlet as a way I can learn more about video and have some fun with that medium. I’ve also been fortunate to gain knowledge from people who will never put themselves on RUclips. That said, my goal is to share the info. If people enjoy what I do and want to hire me, I consider that a nice bonus.

@@shanegrush My wife and I work full time in content creation with 40k followers, would it be okay if I send through some thoughts on the RUclips channel? Feel free to ignore us or pick and choose what you think might be helpful. Maybe I can send an email if you'd find it useful? :) We don't sell consulting or anything, I'm just loving this RUclips channel and hope to see it reach more people :) - Ian

Oh, wow. Thank you so much. Yes! I am always looking for ways to learn more about these things. Thanks for the offer. My email is: shane.grush@grushaudio.com

Cool!

Hey Mike, latency hasn’t been an issue for me in this context since the processing we’re discussing is on the final output. If you changed the plug-in inserts or bypassed one of them, yes, the latency could be altered. Automatic delay compensation is supposed to help in those situations, but I have low confidence in some of Avid’s processing. I imagine sample rate may play a factor as well. This is a good question, though. I will always do some tests. Print stems and do null tests to see if 1’s and 0’s are in order. It’s not an exact science, but the goal is to deliver the final files to archive the work and be thorough in supplying what files the client gets at the end of the project. I do have clients that use stems in creative ways, such as making their own content or, supporting any marketing efforts or using the stems for the live show playback. Technically, you could use the stems for stem mastering, but I’m not an advocate of stem mastering. As a mixer by trade, I want a mastering engineer to elevate my mix. To me, stem mastering means the mix could be better, and the mixer didn’t nail it. All in all stems are a great deliverable for labels (project archiving), clients that need the files for marketing, or even to use during live show playback. As technology evolves, stems serve as a way to preserve the project in a manner that will be useful moving forward. Thanks for the comment and for tuning in.

Yeah, I tried for this one. And showing a verb going front to back just didn't have the value I'd hoped for in binaural.

@@shanegrush Right! I totally get that! I hope the technology continues to evolve. Cheers!

You’re very welcome. Thanks for tuning in.

Hello, @titothelegacy ! Yes, the internal renderer is more for straightforward workflows, and users getting started with Dolby Atmos. The OBED technique is pretty advanced, and it’s not possible to use the internal renderer with that technique.

@@shanegrush Awesome. Thank you for the quick response. I was breaking my head trying to see if could get it to work. I'll go back to the external renderer and try again.

@titothelegacy - you're welcome. I had a video in the works when the internal renderer was released to compare the two. I learned the internal renderer isn’t for me. Not to say it's not valuable for others, but my workflow surpasses the capability of the internal renderer.

@@titothelegacy - Hey Tito, I wanted to come back to your comment and let you know that I found a way to make the OBED technique work with the Internal Renderer tonight. If you'd like to know more, shoot me an email and I'll send you some screenshots on how to setup the routing.

Hey, @mysterybro100 ! I wouldn’t recommend that approach. Why? The thing to keep in mind is that when you start messing with subgroup architecture, the input can change. Whether it’s delay compensation or how a DAW handles the single flow, you might not get a 1:1. You could do a null test and try, though. The goal here is always to have the same input and output signal flow, thus allowing the source material and what feeds the mix bus comp to stay the same and then the result is 1:1. I hope that helps. Thanks for the comment and for watching.

Yes! I’ve had those same “working” issues. This is the best way I’ve found to remedy the topic. Glad I could help, and thanks for watching.

I’m not sure what you mean.

@@shanegrush it means your intro tune is way louder than the spoken content and hurts his ears on headphones

I completely understand where you're coming from. It can be a real challenge to level match different types of audio content. Even with my best efforts, a mastered track will always stand out compared to a voice over.

Be thankful that you learned something. He didn't have to take the time to teach us his technique on such a new technology. Its not easy to put these videos together and please everyone. Thank you! @shanegrush for taking the time to teach us your techniques. You didn't have to do that 🙌🙌

Thanks for the kindness, support and maturity. I think that your ability to post that type of comment says a lot about your character. That’s the kind of person and action I look up to. 🤜🏻🤛🏻

You’re very welcome. Thanks for tuning in.

Hey @oh515 ! I don’t think so, personally. If you’re copying inserts across stems you’re only processing that stem. You essentially lose the summed nature of the signal. Does that make sense? Am I understanding you right?

@@shanegrush Yes, it makes sense if you for a reason need to print the stems with summing, but don't you get better control later if you bounce the stems with a clean mixbus? It will be the same result if you import the stems in a new project and process the stems through the saved mixbus processing (from the main/pre mix). Or is this a technique for use in Atmos mode?

When I say “summed,” I don’t mean summing. I mean, multiple inputs are going into a single stereo aux (your mix bus) and then printed. If you have stems and identical processing on each stem, you do not get the interaction. That’s where my process comes into play. Why make an extra step for yourself? Finish the mix, and print.

@@shanegrush Yes, I assume I'm not there yet. I should probably start to take that step to speed up my workflow.

@@shanegrush Thanks btw!

Hey @christurbiville! Yes and no. I am using Halo less and less these days. But I still use Halo in specific situations - for example, if I get a vocal stem with effects printed in it, I can separate the effect from the vocal a bit with Halo. It's not great practice or my preference to do this, but if the files aren’t delivered to my spec, I have to get creative. Aside from that, remember that the OBED sits before the Renderer, so fold-downs aren’t altered or degraded. Just check your Trims and Downmix settings to ensure the mix behaves to your liking. I’ve not used Penteo - sorry, I can’t weigh in on that one.

One more thought: another creative use for Halo is using it to help make stereo stems wider. Which can bring the Atmos mix to life. Creating multiple auxes, let's say three auxes with an instance of Halo on each. Set one to wide, the next to wider, and the third to the widest. I'll send a stereo stem to three auxes to help make a source wider without ruining it. You can also try delaying one side of a stereo stem with a simple plug-in such as Avid’s Time Adjuster.

Hey @JamesArthurHurley, that’s because the “.1” is taken care of with the LFE routing (in the Bed). So, in that moment I’m only creating the track width I need. Unfortunately for me, Pro Tools Studio maxes out at that track width. Or else I would have created a 9.0.6 bus. My work around is to create two more mono aux paths to get me to 9.1.6. Lots of variables here depending on intention, and the rig you’re using. Edit: Remember the OBED by default is objects. So the intent is to not use the bed. Unfortunately, the only way we can access the LFE channel is through the bed. Thanks for the comment. Good question. 🤜🏻🤛🏻

Lfe cannot be an object so it goes the bed 1

Thanks awesome to hear @beniemacaulay. Thanks for watching.

Thanks a lot, @heydaviddavis. I appreciate it.

Hello! First off, thanks for the kind and encouraging words. I’m happy that I can help individuals like yourself. You’re welcome to write at any time, and ask any questions that come up.

@@shanegrush Thanks Chief.

It’s a relative-level reference. That’s it. It could be done in any DAW, but I’m not familiar with Studio One to help with that. The premise was to look at where individual pieces of mix hit on a meter and then apply those levels using pink noise in a mix you are working on. It’s not a bulletproof approach, just an idea. I started a mix this way right before I filmed this, and that first mix felt good. I still had some mixing to do, but this idea gave me a solid start. You’ll have to try it and experiment! Let me know if you have anything that pops up you’d like to discuss. All the best, and thanks for watching.

Thanks for responding

This video makes perfect sense using a method I’ve used countless times before myself, great informative video so great stuff.

Hi Brad, I’m down to chat. Shoot me an email: Shane.Grush@grushaudio.com

You’re very welcome, Terry. I’m happy I can help. 🤜🏻🤛🏻

Hey Christian, thanks for the kind words. On the No Resolve songs, I recorded samples of the actual snare from the session. So, before tracking, I grabbed samples from the drummer. Not only does that help in post, but they also serve as a tuning reference while tracking. I used those samples to edit and enhance the performance from the drummer before mixing. During the mixing, other samples could have been added, but I am not aware of those details as I didn't mix the No Resolve album. During tracking, the two snares we used on Unity were Ludwig Black Beauty and Tama Bell Brass. I believe we used some Keplinger and other snares - I would have to find my notes. That said, I have had great luck with the Jeff Juliano and Nir Z pack from I Want That Sound. I believe it’s called That Sound now, and the snares I mentioned are in that sample pack. Here’s a link to the pack: www.iwantthatsound.com/nir-jeff

@@shanegrush Thanks for the detailed explanation and the link.

Dude, thanks so much. Couldn’t agree more about our friendship, and it’s so great to watch each of you grow as well as the band. Cheers to 2024!