FYI I went and bought an M1 macbook pro for the atmos room (I was worried about whether my aged laptop was gonna keep up). Lucky I did cause I can confirm that it streams dolby atmos via apple music and the sonarworks calibration export is now working.. But for Mac only (sonarworks export for windows will be very soon) Unfortunately due to windows not really giving a shit about atmos, MAC is the only way of streaming dolby atmos via apple music & TV Tidal doesn't stream it which is infuriating and Netflix and paramount are only outputing 5 1 but anything you watch on apple tv is streaming full atmos. In terms of daw, ORIA works perfectly with studio one (windows and Mac) with no setup really. Just works like an interface with a stereo session. Absolutely seemless.
I'm very curious about the integration with Studio One. And also windows. It looks like the best solution for me right now if windows and Studio One are good.
Most of that went over my head. But, to be honest, I'm not interested in Dolby ATMOS, at least from a music point of view, either as a producer or a consumer.
And tbh that's where it feels more lucrative to me. Means there's a gap to create your own path which has always worked out for me. All about how you view it as an engineer but also as a business owner. I spent 5 years of my life before youtube selling people stuff daily that I believed that they had a need for. Loads of people I worked with would say.. Nobody will buy that.. Where I would geek out on a product to the point where I knew how to position it correctly to the right person. Atmos is the same with my mindset. Just about how you showcase it and then how you position it to the right people. No different in my eyes to persuading an artist that they also need their mix mastered
Evo 16 & sp8 for £800 will give you 16 outs but you won't be able to calibrate your speakers, nor create monitor profiles to easily switch between different configurations, control all the speakers at once with one volume control, configure bass management so speakers can send low end to the sub, configure the speakers correctly so the renderer plays ball, and you won't be able to stream dolby atmos. And you won't have extra monitor outs for a stereo setup as well. Atmos is a pain in the balls using other interface setups, that's why Audient created ORIA
The Oria also just works when you play a Atmos film.. or play a atoms song... so you can do all your normal things without being stuck in a DAW constantly... I have thought about the Avid Carbon as well as a better recording system too... but, it's going to be a constant brick wall when it comes to atmos, so just going with the Oria.. would love to see AVID so a mini Carbon to have a sperate interface for recording... 4 in 4 out with the AVID DSP to run AXX plugins
Yeah I don't even think when I'm playing stereo, 5.1, atmos. ORIA just outputs it. Goes to show how good apples core audio is. Why windows are so behind... I'll never know
You can't store the calibration on the interface though, nor will it work with streaming atmos on apple music.. I think, don't quote me on that one but I've spoke to others who couldn't do it with their interface setup
Yeah cause you've got to do all of the correct routing and setup for it to work with the dolby renderer. You could easily setup a 5.1 configuration with really any interface and get the interface to output it with streaming services with voicemeter banana but getting a 9.1.6 or 7.1.4 setup in your daw working with the renderer is a different kettle of fish. That's why there are 40-45 minute tutorials on YT about how to setup dadman with daw & dolby renderer
The issue with the focusrite is that most of the line ins become pretty redundant when 12 outputs are taken up for 7.1.4. However it has 2 sets of adat in and out so it has a lot more optional I/O where ORIA only has 2 sets of additional adat IN so you can only add in 16 additional preamps. You can't really use it as a system for mixing with analog. It depends on your use case. ORIA is designed to plug in and play with atmos. You just connect the speakers to the corresponding outputs, ensure your apple core audio is set to the correct speaker and away you go. You can stream atmos on apple music + TV, 5.1 on Netflix and mix atmos in the daw and not even have to do any additional setup. The on board speaker correction is really the biggest selling point to me. Calibrate your setup with sonarworks multi-channel (which is daw only) and you have your calibrated setup for streaming and mixing atmos. You just don't need to think about it once calibrated. The oria app is a big feature as well as you have full control over bass management, you can solo speakers when streaming atmos and also switch profiles if you have a seperate stereo setup. This means you can switch from fully calibrated 7.1.4 to fully calibrated stereo with one click. No additional software. Also has the binaural headphone routing as well so you can have 1 hp out for stereo and the other for binaural when mixing in the DAW. If you are solely thinking atmos then ORIA all day long. If you are looking for a full hybrid setup with tons of I/O then focusrite but you'll need to figure out how to calibrate your setup in AND out the DAW, as well as bass management, and other routing as well.
I have a dilemma with choosing a Atmos interface. So I’m between the Antelope Orion 32+ with the MRC monitor controller and the Audient Oria. Part of the dilemma is needing the interface for production as well as mixing but there’s also a mixing question I have as Audient staff seem to be completely ignorant to the capabilities of the Oria. I asked about one thing I saw someone clearly do in a video and they said it wasn’t possible. And when I’ve made support tickets I’ve gotten no response. I wanted to know if I could use the left and right channel outs on the AES outs as a stereo speaker out and the TRS outs for the Atmos and switch to Stereo from Atmos without issues using the AES for my main stereo speakers. Is this possible? Another question is where the hell do you buy a AES breakout cable that’s all outputs? Can’t find any specific AES cables. And then one more question just to be super annoying: I will want one of the analog stereo outs for a monitor controller to send B monitors, but would like to use one of the stereo outs to use as a loop back to add analog processing and return to the two inputs. This will be enough production I/O for now but obviously will aim the get a interface with two ADAT outputs to use the Oria as a controller later when I need to add more I/O for production. One thing I really like about the Oria is hearing how well it works and how easy it is just to play movies or streamed Atmos music through it without having to do anything complicated… basically it becomes your computer interface and DAW interface without any headaches. Which is perfect especially when starting a completely new format… you’re going to want to reference stuff a lot as well as listen to things for inspiration and ideas and will benefit from this. Now, I believe this via what I’ve heard, is this true? Can I also switch to a 2.0 binaural mix on the stereo speakers just to check folders down on them? I know I can easily check the headphones already but the fold down to stereo speakers is super important for consumer compatibility. Now apart from being able to play steamed music or movies without a complicated setup the Antelope Orion 32+ Gen 4 can do this easily especially with the MRC controller… I just know their support is absolutely rubbish when things do actually go wrong and are kind of known for things going wrong. On the other hand, in a DAW and with production in mind, this will be a lot more suited for my needs. This does come with its own calibration software so only losing the Sound ID branded calibration so not so worried about that. And the MRC controller will make switching monitoring formats a breeze… but this is all mostly personal theory because there’s no one talking about their Atmos setup with it where the Oria has many real life reviews of its Atmos capabilities. With the MRC you are paying about £700 more but getting more production required I/O… my other thought was the Oria with a Discrete 8 and using the ADAT outs… but… this will surely make it all a headache when trying to make things seamless. The Audient Oria, is it possible to make it work how I’d like? Or is it very limited when it comes to production? And can I monitor how I’d like to with it?
They are meant to make the Orion Studio Synergy Core to be compatible with the MRC and Atmos which will then come in at the same price for the combo as the Oria while being even better for production… but again, there’s the wait for that plus the trust in Antelope for reliability
Bit of advice. Try and break down stuff into sections. I tend not to reply to comments like this now as it's really overwhelming. You'll find it easier to get a reply from people when it's structured and you can see the forest through the tress. With only ORIA (outwith DAW processing) I can 1. Solo individual speakers and sets of speakers (stereo, sides, heights, LFE) 2. Switch between different monitor profiles with either sonarworks or manual calibrations. 3. Select crossover per speaker for bass management 4. Hp1 is stereo, hp2 is binaural but you can use the seperate stereo L&R outs for use with a headphone amp (which is what I've done with topping l30ii). In studio one you can set those outputs to headphone out so they play the binaural or stereo as you can switch between both in dolby renderer 5. Control this all via the app (which I'm beta testing now on ipad) 6. Recieve extra 16 inputs via 2 sets of ADAT IN 7. Record using 2 mic/line in. I don't know about AES side of it but PDP use it so you'd have to ask them about that
Hey Paul! First off great video and totally agree with you that the Audient Oria looks absolutely amazing, especially for the price! Just thought I'd add my perspective as someone who's been using a MTRX Studio daily for roughly a year and a half. To start I totally agree that the unit is vastly overpriced for just doing Atmos work. However, until recently it was really the only fully featured device on the market to make setting up an Atmos rig even remotely easy. I was part of a build out for an Atmos mix room at a local commercial studio and we had initially gone with an Antelope Galaxy 32 as the MTRX Studio was severely backordered, only for us to swap in a MTRX Studio because of so many software limitations with the Antelope. This is mostly a non issue at this point with the Oria, a new software update from Lynx for the Aurora, and software like Ground Control Sphere. Secondly, I've run basically every major DAW (Studio One 6 included) with my MTRX Studio and have had virtually zero issues. I was initially running over Dante Virtual Soundcard, but ended up spending the money for the Thunderbolt card when it was released (I bought my MTRX Studio used, so I'm still into it for less than one new). I had tons of issues with Dante Virtual Soundcard like artifacts and clocking issues, but all of that went away after switching to thunderbolt. Digital Audio Denmark, who make the MTRX units for avid, have written an incredibly stable thunderbolt driver with extremely low latency (under 3ms roundtrip at 96k w/ 128 sample buffer size). The computer doesn't even know that its an avid device, and theres none of the hangups of avid's HDX drivers. As far as the computer is concerned, the MTRX Studio is just a thunderbolt soundcard, no different than an Apollo for example. The DADman software definitely can be cleaned up and made to look like it was designed in 2024, but that said its easily one of the more powerful control panels out there. There is a pretty steep learning curve, but once you get over that it is totally flexible to however you want to set it up for your workflow. I haven't tested it, but I'm fairly certain that you can route the speaker output from DADman to any of the physical outputs (Analog, Optical, or Dante) and maintain the calibration. As for streaming Apple Music, that is something that Apple added to MacOS a few versions back. You can setup multi channel outputs in "Audio Midi Setup" (up to 9.1.6 in the latest MacOS) and that allows Apple Music to playback multi channel audio. As far as I know, there is no way currently to playback multi channel Atmos content on Windows (could be wrong on this as I'm mostly a mac user) Again, loved the video! Just thought I'd give my perspective as someone who is using a MTRX Studio daily for both Atmos and Stereo work. Excited for your future coverage on the Oria!
Thanks for your input. Very dissapointing though that you had to buy the thunderbolt card to make it work as it should. That puts the price up to £5500 which is more than double the price of the ORIA, that just works out the box. It will be interesting to see how avid and other manufacturers deal with ORIA being the king of the hill for atmos. I doubt avid will budge incase they piss off current mtrx studio owners with a new cheaper alternative that works like ORIA but I dunno, I personally can't see them letting Audient take a massive chunk of the atmos market. So have you got mtrx studio to output apple music atmos streams?
Hi Do u think these hardward would complete atmos setup: Audio Intdrface: i1820 focusrite Studio monitor surround: Jbl 305 Lcr: jbl 308 Calibration : Sonarwork Daw : Nuendo Monitor controller: still confused Please guide
Nope. Not enough outputs. You need 12 outputs minimum for atmos and 18i20 only has 10. You could buy an Audient evo sp8 for the extra outputs but you wont have any control over bass management and your atmos setup will be DAW only as sonarworks multi-channel isn't standalone. Means you have an atmos setup that you can't stream atmos with. Basically a daw only setup unless you can find a way of manually and accurately calibrating the system outside of the daw
As a total audio noob when it comes to mixing - I'm a VFX artist who just wants to add a bit more pop to my personal projects - I currently mix using Davinci Resolve with its Dolby Atmos support, and a pair of headphones (Beyerdynamic DT1990 Pro), and can check/ render the final out of the Dolby Atmos Renderer. So far, it's been "good enough", as I am not ever gonna be mixing anything at a pro level. (So far, I've only done about 2 projects in the last 12 months like this. That's pretty much all it will ever amount to.) However, whenever I want to check my mix on the 5.1.4 set up I have in my living room, that becomes (as you so beautifully put it...!! 😂) "a bit of a ballache". I've been looking to update/ upgrade my office at home - so what's to say I can't use a receiver connected to my PC - for both mixing and listening to it back, to check it...? You said it's more expensive - but, Richer Sounds currently has the excellent Denon X6700H (which I have in my living room set up) which caters for 7.1.6 straight out of the box, and I believe can go to 9.1.6 with a preamp...and, as my office is small, get the Monitor Audio Midnight Mass speaker set up to go with it. All told, this particular 7.1.4 set up, with receivers, speakers, cables, stands, etc, would not cost much over £3,000 (the Denon is currently around £1,400-ish, a 5.1 Mass package is under £400, but additional seperate speakers go for around £70 each - these are VIP member prices, and membership is FREE)...which is cheaper than your recommendation, as speakers would be an additional cost with your recommendation!! (Before you say anything, I have ZERO affiliation with Richer Sounds, other than most of my AV kit I've bought over the last 20 years has come from them!) I'm not saying you're wrong - I'm just asking if his would actually work....?? Is there a reason to go this particular route rather than adding a receiver set up...? Or would there be issues with this approach? I haven't seen anything online about it anywhere, to date, and I keep looking....
The issue is that the denon isn't an audio interface so I don't know how you would make that work for mixing in atmos. Your daw may give you the option of choosing the denon as an output device but the denons outputs must show in the I/O settings of the daw in order to correctly route each channel to its corresponding output. In ORIA it's an audio interface primarily for mixing. So when you load it in your daw (studio one in my case) all the speakers are correctly routed in the I/O. Just plug and play. The ORIA also has in built 10 band eq options per channel as well as the sonarworks integration which is what I use. The sonarworks calibration is stored on the unit itself so every speaker is correctly time alligned, levelled, and eq'd without the need of any computer processing. This also means that you can calibrate your system with bass management on as you can select your bass management specifically per speaker. I genuinely just switch it on now and doesn't matter if I'm on apple music, Netflix or the daw, it just works fully calibrated. And I can also record with it as well as add another stereo pair of calibrated speakers if I wish which are easily changeable via the ORIA app. One click of a button and I'm switching from a calibrated 7.1.4 setup, to a different calibrated stereo setup. And it has functionality with the dolby renderer as well. If you want to mix in dolby atmos then the ORIA is the best out there bar none right now
@PaulThird that's awesome! That's EXACTLY what I needed to know...thank you! 😊 So, starting from scratch, I have a pretty decent PC (128GB RAMI, multiple SSDs, 2x Nvme drives, and a 3090 RTX GPU), aside from speakers, is this all that I would need? Or is there more to it than that?
@PaulThird nice!! A good space saver, too! My current PC is in a large tower case...it's a BEAST! 🤣 ...and I'm planning on getting a second one soon...😳
I currently have a Focusrite Clarett 4pre. I just want to go 5.1.2 setup as I am in a small space in Tokyo... Just going to use a 7.1 type AV receiver with passive speakers except maybe the LFE Sub would be powered. So sticking with Focusrite with their lower end unit Focusrite Scarlett 18i20 3rd Gen USB Audio Interface , under USD$500 now! It also has 10 discreet balanced outputs... It is hard to justify spending 1000's of $$s on interfaces. They all are quite good... My live recording setup is a Zoom L-20, the mic pre's are fantastic and has "soft limit" on all channels so you can dial in good levels to the SD card included and parallel Pro Tools.... Just Sayin' I am learning about Atmos, before jumping in deep, just need to be functional 1st....
It's the functionality for mixing that you are paying for. You can do it cheaper for watching movies and stuff but for mixing in atmos it's gonna be a pain to set it up so everything works correctly and efficiently. A scarlett wouldn't work for 7.1.4 but it'll work fit a 7.1 or 5.1.2 movie setup. Doesn't help also that sonarworks multi-channel is plugin only so it doesn't work outside of the daw. That's why ORIA is so handy as it stores all the calibration per channel on the unit itself so you don't need to rely on any calibration software. Present day production talk a lot about how much of a hassle atmos was prior to ORIA. The more you split the setup and try to combine multiple systems, the more complicated it becomes. With ORIA you can watch movies in atmos or 5.1 and then 10 seconds later open up your daw and mix music immersively without having to touch the interface. You open stuff and ORIA just works. Thats been the difficulty for every other system and interface trying to make a unit that can stream atmos as well as record, produce & mix atmos
From my research, it is going to be hard to convince "everyday users" to go for a 7.1.4 system... the 5.1.2 system even with the "Up firing" Atmos speakers is much more widely attainable for the masses... Dolby Atmos is totally free included in Pro Tools which I use... I can do it on "Headphones" actually, but would want to check on speakers with the correct placement and specs provided by Dolby for free on their website.... The mixing is totally in Pro-tools 3.24 (latest version) included... I just need outputs to the speakers as mentioned... ORIA might be a cool box?? Maybe they "Sponsor you"? Us Pro-Tools users have all of it at our fingertips, it is worth the subscription or now, Great !! They brought back the Perpetual License... I am all in !!
No it's purely because I have the setup so I know how easy it is. I have a fully calibrated 7.1.4 setup to dolby spec that I can mix atmos in without even thinking about it. I just switch it on and that's it. The best guys to ask are the present day production guys as they tried pro tools and had the whole convoluted interface setup you are thinking about buying into prior to ORIA. They hated atmos on protools, stuck with logic and have moved entirely to studio one cause it is really the best daw for atmos right now. Pro tools is just endlessly complicated cause it's pro tools, everything it does is just behind the times and needlessly fussy If you want to mix atmos on a 7.1.4 setup it's not as straightforward as you first think. That's why ORIA was made because it is the only interface on the market specifically made for atmos in mind. Do you not think I spoke to others before ORIA was even an idea? Do you not think I spoke to atmos mixers in the industry with setups that linked different interfaces together in order to get all the outputs? Every one of them told it was a pain in the arse but they didn't want to spend all that money for a mtrx studio so they just made do. Its not as straight forward as it first looks but you'll find that out for yourself. I chose to wait for ORIA cause I wanted an easier life, that's it.
Interesting that studio one doesnt play well with avid. It also doesnt work well with prism and has a bug that locks it up when attempting to render/bounce
The avid and studio one thing I undetstand because why should presonus invest in getting their software to work within a rival eco system. EU control is primarily based around avid & protools. At the end of the day I think they are wise enough to know that most on studio one won't be using avid controllers considering that they have the faderport, and nearly 95% of carbon and mtrx owners will be protools.
@@PaulThird Yeah I agree. Shame they couldn't make it work right with prism interfaces though, but they probably want to try and force people into using presonus interfaces too when they can. For that reason I had to drop studio one and go with reaper
If the ORIA is used as a monitor controller for Atmos, how is it connected to the main interface or converters? Seems Dante is the only way? Otherwise you're limited to max 16 ADAT channels.
Only if your main interface could run over Dante. If you want to use another interface that had lots of I/O like an apollo X16 for analog gear then you would send 16 channels out via ADAT to ORIA. But if you want to keep your 16 ADAT channels to send to an interface that has the I/O for analog gear then I'd personally have 2 setups. ORIA as main interface for mixing atmos as you don't need analog gear for mixing atmos, it's unnecessary, and another setup for mixing stereo. You keep oria plugged into computer anyway even if using in standalone mode so you can still use the app. You just select adat as input source on app If you are not an analog gear guy but want the functionality of a recording interface with more than 2 preamps then just use oria on its own as main interface and connect 1 or 2 evo sp8's to it if you want 8 or 16 additional preamps.
@@PaulThird That sounds feasible, thanks. I need at least 24 channels free for i/o, tracking, hardware, cue mixes etc. But that could be a separate setup from the Atmos mixing.
I dont know why you want 4 subs tbh. Subs are essentially all omni directional. All you need in reality is 2 subs at the absolute most to distribute low end more effectively but if you've got a smaller room, 1 sub will be more than enough
@@PaulThird Yes they are omnidirectional, but they still originate from a single source. Having 4 subs gives the absolute smoothest response for home cinema. There is a reason why new AV Receivers have 4 sub outs. 2 subs is enough for stereo though... until you learn about six packs, but I digress :)
Maybe a music vs cinema thing then. I know some mixers that use stereo subs but none that use 4 subs as it's just unnecessary unless your room is absolutely gigantic. Add to the fact that with 4 subs you've got 4 woofers that all have to work in that room. I can imagine that being an absolute acoustic clusterfuck, especially considering people are telling me that only 3db max correction in the lows in my room is pretty much unheard of in most setups and I've only got one sub. I wouldn't even want to think about how you would get an even balance with trying to counter nulls and different subs exciting different room modes etc etc can end up pretty counter intuitive, that's why dolby don't really reccomend more than 2 unless you have a really difficult room and you can add more subs in try and counter nulls and peaks etc I understand the power side of it as you have 11 speakers all sending sub information to 1 sub and if you can spread that load to different subs then I can see the advantage but always acoustics first for me. However If your room is big enough and having 4 doesn't create any bass issues in the room then fair enough. In regards to your question though with Oria it's a one sub job as far as I know. All the bass management is sent to just the LFE, you can't send it else where as it's internally routed. So with a 2 sub setup in oria you would need to use a Y cable to connect the 2nd sub to the first. If I'm right, In trinnov you have 2 sub outputs so you could have 2 subs and the other 2 subs connected to each with a Y cable and trinnov will calibrate what it hears so you can have 4 with calibration but it just sounds like an absolute pain in the arse, and it's gonna cost you like 10 grand for the multi-channel trinnov. I take it you are manually calibrating the speaker correction in your home setup?
Atmos. We’re still pretending any normal music consumer gives a rat’s arse about it then? It’s magnificent for film. It’s pointless for music. Even done well I think it sounds odd. And let’s not pretend spacial audio in headphones is anything other than complete bollocks. Still, another informative vid Paul. Thanks bro.
@@PaulThird I have Paul. And to be fair they sound great. But I still maintain they sound… odd, for want of a better description. Maybe it’s just the fact that it’s such a different experience? However, my point remains: 99.9999 percent of consumers will never, ever listen to a song on a purpose built atmos rig, sitting in the sweet spot in a purpose built atmos room. People listen to music on a decent set of headphones AT BEST or more likely earbuds or a god awful phone speaker. Unfortunately convenience always comes first. That’s why I can pick up cds for 50p while the world listens to crap quality streams!
@@PaulThird I don’t know the artist mate. They were a pop/ rock sounding band that a colleague was working on in his new atmos studio. And it really is a great listening experience. And like I say it sounded awesome. But that’s really not the point I’m making. I personally think music sounds strange coming in at me from all angles. It’s just an opinion mate. I’m sure others think it’s great. I guess we’ll see what happens and if the end consumer ever ditches their £15 quid B&M earbuds for a 50 grand atmos studio. Maybe in the future they will somehow perfect the headphone atmos tech? I doubt it but I’m perfectly open to being wrong. Christ there’s plenty I’ve been wrong about before !
The reason I'm asking is because my setup allows me to listen to the best artists mixed by the best atmos mixers in the game via apple music. As an engineer and a music lover, I just always feel that if an atmos mix sounds wierd to you, then it's not a great atmos mix which means you aren't hearing the full sound of it I can't get enough of them when done well. I sat with my wife one night and we were just picking ones that we liked for my atmos playlist and she has no care for audio stuff but she adored a lot of these mixes. Even she admitted that there's so many songs that don't really work in stereo when compared to an atmos mix. In stereo you lose the expansiveness and the seperation. Everything feels condensed into a tiny package and all of a sudden you are like... Wheres the music gone? It's all behind the vocal. The more I show the public popular mixes they know in atmos the more they understand why it's been made. Sure, nobody in my area has a setup like me anywhere close but they appreciate the experience and are happy that the music has been made this way. It's an experience, not a gimmick and people understand that it depends on the advancements of the technology. Once people hear a song they love done right in atmos, full ear to ear smile. Getting the technology advanced enough to replicate the sound of a 7.1.4 in headphones and consumer setups is where they are at now but I'm telling you, acustica sienna sphere with ollo S5X is VERY close. You can listen to apple music, route 7.1.4 to sienna sphere standalone and then let it do its thing and you'll be amazed. I just can't fathom how nobody would want to push this after hearing it done right. It's that good in my opinion. The consistency of the mixes and techniques is the issue right now. Some you know should work well but end up sounding disjointed due to the vision of the mixer. There still isn't a standard agreed yet
@@PaulThird A quick question, you say that the best way to use Oria is on MacOs? since I have windows, but I don't know if Atmos limits the use or if it is a problem with the operating system? what recommendation do you give in that sense? more for those who can't buy a mac just to be able to use an interface.
Hi Paul. Can you help please? I have a Mabook Air running Sonata 14.3. I have an Apple USB C to HDMI adaptor that should give me 8 channels of audio. I am trying to set up for 5.1.2 and have speakers front left, front right, front centre, subwoofer, surround left, surround right and two speakers in the ceiling for left top middle and right top middle. I've hooked this up to an Onkyo TX NR676E 7.1 av receiver. When I test the speakers from the receiver using the level calibration utility I get sound from each of my speakers (FL, FC. FR, Sub, RL, RR, HL and HR). All good. When I try to configure and test through the MacBook Air using Audio Midi setup the sound from the top middle left comes out of the surround left and the top middle right comes out of the surround right. I don't get anything from either of my height speakers at all. What am I missing? Thanks in advance for any suggestions.
You have to match the channels to the correct output. Sometimes Apple doesn't map it correctly by default. Happens with oria as well. So I had to reselect 2 of the rear heights manually
Thanks for the informative video Paul! I particularly enjoyed your outline of the main components of what's required to do this properly! Congrats on your recent M1 MBP purchase! I've been working on setting up my Atmos mix room on a budget and following this subject with much interest. I think the ORIA is a step in the right direction (especially compared to the Avid MatrixStudio). However, it might surprise you to learn that I solved this problem (and ticked all the boxes you mentioned in your video) for still ~40% less than the cost of an ORIA: 1. Apogee DA16 (16 audio outputs) - $300 2. RME Digiface USB (32x34 matrix router/mixer) - $450 2a. Digimix (downmixing and speaker management) - FREE with RME Digiface USB 2b. Digicheck NG (high-res audio signal metering/monitoring) - FREE with RME Digiface USB 2c. Totalmix remote (remote control via iPad for Digimix) - FREE with RME Digiface USB 3. Ground Control Sphere (Atmos monitor control software) - $350 3a. Ground Control Remote (via Stream Deck OR iPad) - FREE with Ground Control Sphere 3b. Virtual multi channel driver (Dolby Atmos stream decoding) - FREE with Ground Control Sphere 4. Stream Deck+ (Hardware controller for Sphere) - $150 5. Sonarworks (Calibration software) - $400 Total = $1650 The main benefits of this setup (besides the obvious significant cost savings): 1. Modular but integrated solution with all major DAWs 2. Choice of interfaces for outputs (use ANY 16 channel output device) 3. Flexible routing/monitoring at all levels of your signal path 4. Flexible/powerful remote via both hardware knobs/buttons AND/OR iPad/iPhone 5. FREE Atmos stream decoding!!!!! (BTW, if you decide to try out Logic Pro, then you get Atmos encode/decode FOR FREE - including ability to record/playback Atmos master files). 6. Each component of the system is built by a reputable company focused on building the best-in-class version of that component (i.e. Apogee>Audio outputs; Digimix>Routing/mixing; Ground Control Sphere>Atmos monitoring; Elgato>Remote control; Sonarworks>calibration) IMO, this is the combination to be beat and nothing (yet) has come close, but I'm always watching this space and eager to learn what others are discovering in their Atmos journey. Best of luck to you on yours!
Hmmm. This doesn't sound like a plugin and play though. Sounds pretty convoluted with a lot of this relying on all of the parts to function together and potentially quite a few things that can go wrong. Issue I have is that setup is Mac only due to ground control sphere being mac only. The windows drivers are now complete for ORIA so this interface is for mac and windows. The apogee DA16 is a discontinued converter thats over 20 years old and you have no guarantee on that. It's not any better conversion than the ORIA. I take that it's being used solely in standalone over ADAT? Plus I'd have to find a seller that was giving me a solid unit and if it went Pete Tong then I would be scarpering around the Internet to find another which could cost me £300-800 depends what on the Internet at that time. Either way, the unit goes then I'm paying the same or more money for ORIA. Here's a listing for a £300 DA16 "My main studio rig" Serial: DAX0548 There is some dust and signs of light wear. There is a bit of internal rattling and the power button is stuck in the on position and will likely need a minor repair, as pressing the power button is required for operation. Otherwise, the unit appears to function as intended." Sorry but I'm just not taking that risk man. It's a potential headache further down the road. You save £350 and I suppose that when it's setup it's good to go but I genuinely just connected oria to the mac, 20 seconds adjusting the audio midi and that was it, setup done. DAW, apple music, apple tv, paramount outputing multi channel and all I did was connect it. I suppose the questions would be for me, can this setup 1. change between different calibrated monitor profiles and how does that work outside of the daw as I'm pretty sure soundid multichannel doesn't work standalone outside of the daw. 3. What about headphones? How do you route the headphones to play the binaural render through the fireface hp out? Hp1 in oria outputs the binaural render, hp2 outputs stereo 4. What about if I want to record something with the setup? Fair play though. I would just personally pay the extra 350 for a one stop shop. I've got a guarantee on the full system and only one system to worry about. I just wouldn't take the risk on a system like that. I'm paying for ease of use. Studio one loaded it first time, routing was already done when I selected oria. It just makes the whole process like using any other interface. If it works great for you though then that's all that matters. I just wouldn't give myself as much of a headache. One unit, plug it in. That's it, job done. If I have an issue, I just go to Audient
I want to continue to see other companies continue to lower the bar of entry that avid continues to try and raise to keep people out. They finally had to start selling perpetual licenses since they were losing so many customers to companies like PreSonus.
Hi Paul, hope you see this comment! Loved your video and I am in the process of building my own atmos setup here in New Delhi, India! I have the main control room along with a recording room, an ISO Booth and a vocal booth. I am considering an ORIA + 2 ASP880 setup to get 8+8+2 preamp setup for live tracking as well as atmos mixing (7.1.4) to solve my workflow. I just had 2 concerns - 1) What would I do for talkback and cue outs into these rooms (if I were to send different mixes to artists) Can I use the unused outs for cue outs?? 2) Would you recommend this arrangement for future proofing? I don’t see how I’ll be able to expand beyond the 16 adat ins Thanks a lot✌🏻
ORIA doesn't have the ID software and I don't know if they'll integrate it so you can't do cue mixes or anything. It's really solely focused on atmos monitoring. You can use it as your main interface and have 16 channels going in over ADAT. You'll have to do it all in the daw and select certain outs of the ASP to send out to and then connect a headphone amp to the line outs. That's how I do it with the apollo in the control room and sp8 in the live room. I have a cue mix in studio one sending out to 2 stereo line outs of the SP8 going into a topping l30ii If you want 3 different cue mixes for say a drummer, guitarist and singer you'll need to create 3 different cue mixes in daw and send those to 6 outputs of ASP + 3 hp amps
Great video, thanks Paul. Like your sense of humour too :-) Regarding the Apple Music capability in Atmos, is not Oria that does it. In fact, not DADMan on AVID´s MTRX or any other manufacturer´s device. Is simply Apple´s OS that allows (when configured on Audio MIDI setup) the Dolby DD+JOC codec that Apple uses for streaming to devices that use speakers (headphones use Apple´s own algorithm) to be outputed to the interface as 7.1.4 max configuration. In the case of Oria via its USBC from the MAC and then into your monitoring via the AES or analogue outs. So, if Apple decides to remove that capability on their OS, there goes your Atmos on Oria or whatever down the f... drain. I have an old (about 10 years) USB2 interface here at home and have Apple Music in Atmos. Only in 5.1.2 because my interface only has 8 analogue outs. Again, is the MAC OS that does the downmix from 7.1.4 to 5.1.2. Also, at the moment, you can only do it on Apple Music. With other streaming platforms like Tidal, Amazon etc that have Atmos, you can´t do that on the OS, you still need an expensive receiver. Greetings from Portugal!
Yeah the whole tidal thing is annoying but I do get 5.1 out of Netflix & paramount. I was pretty sure that the MTRX couldn't stream atmos from apple music?
@@PaulThird It can, even if you don´t have the Thunderbolt option card on either the MTRX or MTRX Studio. You just need a way to get the MAC to connect to the interface, other than HDX. Then DADMan takes care of the rest. For instance at a studio where I work, we have the old MTRX with the optional Dante card. So we have the Dante DVS installed on the MAC and set it as a 16x16 matrix (32 and 64 don´t work for Atmos in Apple Music). In Audio MIDI set up, under DVS, you configure the speakers to 7.1.4. On Dante Controller, those channels show up in the matrix, so you just route them to the Dante inputs on the MTRX. Then in DADMan you setup a source for DVS with the same channel configuration and that´s it, when you play Atmos on Apple Music you hear it on your Atmos setup. This applies to all interfaces, USB or Thunderbolt, with or without DADman. In the Oria is the same, the stream is done through the USB port coming from the MAC virtual outs.The trick is done inside the OS.
Hi Paul, just quick question... I aquired 44.1khz intrumentals BUT i recorded my vocals with my DAW set at 48khz. Would i have any problem in the speed or pitch if i keep the instrumental at 44.1 inside my 48 session?
Great content paul :) Shame you ORIA is not windows compliant yet :( But sure they will have that sorted soon :) I use Sphere at min which is great and very flexible :) But Seriously thinking about getting ORIA :) Just got to finish rebuilding the studio :)
Glad I bought the macbook though cause that whole eco system just works a dream with atmos. 2 minute setup max to get atmos streaming out of daw, apple music & apple tv
@@PaulThird Yeah ive been on apple for 25 + Years now and for music and video and creative shit i think its the best.. But every one to there own thing :) Looking froward to your content on Atmos.. It takes a while to get used to mixing in it compared to stereo lol And i recon 2 to 3 years to nail it :) Have fun paul.
@@PaulThird Yes there are some that really don't cut it or work listening on apple music through my system :( But then there are some which are unreal :) I have a couple of friends in the USA that are mixing it atmos and being able to hear there ADM files makes a big difference
Yes do some more research on this , frankly I think the oria is overpriced (16 in 16 out). When it drops to 2000 or Dante dongle free with product and all protocols are sorted(streaming on Windows) then maybe. 2*evo sp8 $600 , Sonarworks $300 , it will eventually add up to the Matrix (not a protools guy). And you will eventually need the extra ins and outs. I am also not aware of EQ for the Headphones . For a basic setup the new motu 828 and IRig is more cost effective , or then rme ufx 111 if you have a more rounded studio which most want.
Nah nowhere near. £2500 + £800 (2 evo sp8) = £3300 + £400 for soundid = £3700 So that 16 in, 16 out, upto 9.1.6 fully calibrated with sonarworks for a grand less than mtrx which when using outputs for atmos makes the 16 in redundant. So it's basically 16 out for a grand more. Which leaves you having to buy external over ADAT which is £4700+£800 (2x sp8) = £5500 + £400 soundid = £5900 Nearly 6k vs £3700 all in, so £2200 price difference for a unit that can't even output dolby over apple music and apple tv.. My macbook came today and within 2 minutes I had ORIA receiving 7.1.4 daw audio as well dolby atmos streams over apple music and apple tv Thats why ORIA isn't overpriced
@@PaulThird Brethren whether you want to believe or not you will eventually need 12 to 16 in for your AVR , So you only going to test surround mixes by streaming from Apple music? And if the Dante can pull from AVR's , AVRs with this capability are quite expensive. If you are comparing to the Matrix Studio you don't need the extra Sp8s or the likes. Oria should also have come with at least 2 pairs of non dedicated ins and outs. So you have your Macbook what about people with Windows . And that means you spent probably 2000 to accommodate Oria. Happy for you . The specs will eventually add up . As I said if the price drops and windows is sorted I can give it the thumbs up but until then its seems to be like one of those plugins you buy and then realize it wasn't necessary. Oooh too harsh ??? 🙂
At the end of the day, no matter which way you look at it. Do you need 16 ins to mix immersively?.. No. That's the reality. The windows side of it is so close to being complete for ORIA but I doubt that windows will play ball with apple music and tv.. Fingers crossed though but that's out of audients hands. The way it stands at the moment, ORIA is the only audio interface that you can use to stream atmos mixes and movies. Period. The rest including mtrx studio can't. That's a big downside for engineers mixing immersively as you have no reference unless you spend the money for an AVR. Anyway would you buy an AVR when you can simply listen to every song in atmos via apple music? If windows can't stream dolby atmos via ORIA then yeah you've got a point BUT you can still mix immersively in the daw without an issue which is really the main use of an immersive audio interface. To Mix with the renderer and export. We'll see though how it pans out with windows outside of the daw. Again let's bring price back into it. If I bought the mtrx studio for £4700 I'd need to buy a Dante license, set all that network over IP shit up, then learn how to manually set up dadman to get the correct routing to work in the daw, and have no way of outputing atmos outside of the daw (windows or apple). Id have 16 line inputs that were redundant for me and I'd still have to buy sonarworks immersive. So I'd be over 5 grand just to output immersively in the daw with a calibrated system which is about the same cost as ORIA + my entire 7.1.4 kali setup or the cost of ORIA + sonarworks + 2 sp8's + M1 macbook pro Are we still saying that ORIA is overpriced.. Or that the mtrx studio is simply extortionate for mixing immersively?
@@PaulThird Relax , you haven't looked at all pluses and minuses yet. I will check you back in 18 months .We'll see how it goes...Also I am not sure of this but let us know if you can actually EQ the headphones .Thanks.
But wait, Apple Music and Tidal apps don't stream spatial audio on Windows platform in first place. How would Oria stream spatial audio on windows if the apps are not coded to deliver it ?
I'm gonna find all that out for myself. I've got a macbook pro coming today so I won't be bothered either way. That's why I'm making a follow up video going through the limitations of ORIA with dolby atmos via Mac & windows Won't know until I try tidal, apple music, Netflix, Disney, amazon etc on Windows and Mac
@@PaulThird That would be a huge help for us windows users who have to switch to mac os for practicality in immersive context. Im curious about netflix on mac os since there is no app, and it seems like spatial audio for netflix works only on safari browser for earpods. Im curious to see if you manage to root the 16 channels from safari to Oria. Thanx for the helpful content !
Doesn't stream dolby in Netflix. Dunno if that's cause there's no app for windows 🤷♂️ I tried safari and Google Chrome but no luck, just outputing stereo
As tool for having seperate speakers for actual dolby atmos, that cost really is mainly for equivalent replay setups or especially for film...... Audio Post is key , and thus , no matter what room software correction can do, its best if it does less.... Thats a huge cost also... As for mixing for Music only, The renderer is like any license Dolby employs... Just printing money off their name, where their solution is to always introduce another , proprietary codec.. (thats what it is) , Im talking Music only at this point, to literally do a mix down, into a file thats basically binaural, thus able to be listened by the enormous market that uses headphones... etc.. Yep, If anyone is reading this, and just wants to do music in atmos, for the market that wears headphones , and not to worried about the Audiophile guys , with a room , and a chair for the sweet spot ... Well, Just look at cheaper options... Some Reference Headphones , and all the Cheap as, free Atmos plug ins... Even Logic does it as part of the app... Add Hornet Samp.. etc.. Fact is .. Its like 4k , now 8k... Yes , its more pixels... But the cost difference for the camera , filming that 8K content in comparison to 4K is a big difference in costs.. I guess, If you understand what this product is actually for, and can afford it, and the Speakers , ands the room.... etc... Its a rippa buy.. BUT, if you think you need it , because of the Atmos Hype, Theres other, inexpensive ways , especially for music releases only.. Will it translate to as Audiophiles ROOM of BOOM setup? Who knows.. Anyway, Thats my rant... Slap me down , and buy a Trinnov.
I don't think the cost difference from stereo to atmos is as much as what people think cause "professional" stereo is already extortionate as 1. You still need to treat the room for a stereo setup as you would atmos. 2. My 12 kali speakers cost less than a pair of most premium stereo speakers, AND most studios have 2 or 3 different pairs of monitors just to get good translation in stereo, so there's potentially 6 monitors just for mixing stereo 3. ORIA costs around the same price as a 2 channel prism many use just for their DA speaker conversion. 4. 1 fully loaded 500 series lunchbox can cost as much as buying all the stands, mounts, cables, even a day for an electrician to add more sockets in the room. My entire 7.1.4 setup costs anybody just under £7k which isnt gonna get you far for a modern hybrid stereo mixing setup considering a massive passive costs £5-6k. Thats why you see many investing in expensive as shit monitors, extortionate avid eco systems, premium speaker stands, mogami cables etc etc and making out it costs £20-40k cause they try to emulate their stereo setup when it's just not neccisary at all.
Audiophiles with high end equipment and a treated room don't like atmos in general a lot of them still don't like digital files and prefer vinyl or even reel to reel . The market for those who are listening to music in atmos on a high end system is tiny , even much smaller than the audiophile market .... i think that the marketing push for atmos was because of VR , another thing that a majority of peoole dislike and for good reasons ( ready player one 😂 ) . Now for the equipment used by the general public : headphones , small speakers , sound bars .... stereo is way better
@@PaulThird I ve never tried this model and also maybe the atmos mixes have improved since the last time I tried a while ago ( a lot of nonsense back then ) but I am sure that even on those headphones the difference between binaural and when played on speakers in a room is enormous . Years ago after an amazing demo that blew my mind in a large studio I was very excited about atmos especially if used in a very gimmicky way at the production stage , that could greatly influence the way the music is made and open new doors for a few genres that would take advantage of it ... but the lack of translation , public interest and the fact that stereo mixes are still required killed my enthusiasm ... I will continue to enjoy atmos when I see avatar or movies like that on a premium screen , in a massive room with speakers everywhere .
@Dystopian84 binaurally it's getting much better. Headphones like the MDR-MV1 are getting closer to translate the experience. In regards to stereo and atmos. Both can live in the same eco system as atmos is adaptable and can downmix or upscale. Thankfully the stereo downmix codec has improved drastically since I first heard it a year ago which means that you can mix in immersive and still have good stereo translation for smaller average playback systems. Atmos is a lot about scalability. Why mix just in stereo when you can have a file that can playback 9.1.6, 7.1.4, 7.1, 5.1, stereo. Why limit your mix to output in just one format when it can output many 🤷♂️
Nice interface. Comparing the ORIA to the mtrx studio it’s like comparing the Kali in8 to atc scm45a and saying that atc is extortionate your monitoring… different specs and markets…. Same with this, it’s a brilliant interface and probably will become a “standard” in home/project studios
That comparison doesn't work for immersive. For a studio analog i/O setup I said its probably a fair price but for immersive ORIA is a clear winner. I don't even understand how the kali & atc example could work in this context. For immersive mixing, avid mtrx studio is clunky, convoluted and offers less immersive features than ORIA which is built from the ground up to work with immersive. A better comparison given the context would be like comparing an M1 macbook to a 24 core i9 pc running Windows ME. PC Definitely has the processing power to outperform the M1 but runs through an outdated operating system that makes it extremely complicated to run the simplest of tasks in the same way the M1 mac can.
The very moment I saw the Audient ORIA, I knew it was going to blow away all of the current Dolby Atmos setups. Also some good news... the Audient ORIA will be Dolby Atmos certified before its release.
I can't confirm that yet. I'm talking with a dolby rep but from the event, talk was that it MAY be dolby certified. Think it depends on the sonarworks integration but I'll await their reply
@@PaulThird Good deal! I heard Adam Steel mention Dolby certification was close in one of the NAMM videos. I'm also hoping the Audient ORIA drivers will support Windows WDM surround 5.1 and 7.1 like the Focusrite drivers already do. I posed that question to Audient support weeks ago, but they never replied back. When you start testing it on Windows, see if you can go into the Windows Sound Control Panel and get access to the lower left "Configure" button for Windows surround configuration with the Audient drivers.
FYI I went and bought an M1 macbook pro for the atmos room (I was worried about whether my aged laptop was gonna keep up). Lucky I did cause I can confirm that it streams dolby atmos via apple music and the sonarworks calibration export is now working.. But for Mac only (sonarworks export for windows will be very soon)
Unfortunately due to windows not really giving a shit about atmos, MAC is the only way of streaming dolby atmos via apple music & TV
Tidal doesn't stream it which is infuriating and Netflix and paramount are only outputing 5 1 but anything you watch on apple tv is streaming full atmos.
In terms of daw, ORIA works perfectly with studio one (windows and Mac) with no setup really. Just works like an interface with a stereo session. Absolutely seemless.
I'm very curious about the integration with Studio One. And also windows. It looks like the best solution for me right now if windows and Studio One are good.
Most of that went over my head. But, to be honest, I'm not interested in Dolby ATMOS, at least from a music point of view, either as a producer or a consumer.
And tbh that's where it feels more lucrative to me. Means there's a gap to create your own path which has always worked out for me. All about how you view it as an engineer but also as a business owner.
I spent 5 years of my life before youtube selling people stuff daily that I believed that they had a need for. Loads of people I worked with would say.. Nobody will buy that.. Where I would geek out on a product to the point where I knew how to position it correctly to the right person.
Atmos is the same with my mindset. Just about how you showcase it and then how you position it to the right people.
No different in my eyes to persuading an artist that they also need their mix mastered
I do not know anyone has got or is interested in getting it-but I know quite a few that are still buying high end Hi-fi.
And that's why it's good for guys like me. Less competition
Please do not stop making sense! Thanks for this very good explanation.
🤓🤓
Will got mine tomorrow, really look forward to it :)
Steinberg 824 and a Behringer AD will give you 16 outs for under a grand, and they used to throw in a Cubase Pro license.
Evo 16 & sp8 for £800 will give you 16 outs but you won't be able to calibrate your speakers, nor create monitor profiles to easily switch between different configurations, control all the speakers at once with one volume control, configure bass management so speakers can send low end to the sub, configure the speakers correctly so the renderer plays ball, and you won't be able to stream dolby atmos.
And you won't have extra monitor outs for a stereo setup as well.
Atmos is a pain in the balls using other interface setups, that's why Audient created ORIA
No one loves money and fools their CUSTOMERS like Avid
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Remember to check out my autism channel if you want to learn more about my life 🤓
The Oria also just works when you play a Atmos film.. or play a atoms song... so you can do all your normal things without being stuck in a DAW constantly... I have thought about the Avid Carbon as well as a better recording system too... but, it's going to be a constant brick wall when it comes to atmos, so just going with the Oria.. would love to see AVID so a mini Carbon to have a sperate interface for recording... 4 in 4 out with the AVID DSP to run AXX plugins
Yeah I don't even think when I'm playing stereo, 5.1, atmos. ORIA just outputs it. Goes to show how good apples core audio is. Why windows are so behind... I'll never know
If you know how to route, interface with adat will work. I have expensive gear, however I have 2 Behringer x32s with Dante or just use usb.
You can't store the calibration on the interface though, nor will it work with streaming atmos on apple music.. I think, don't quote me on that one but I've spoke to others who couldn't do it with their interface setup
Interesting. I've had a very different experience from you. I've found the DADman Control Software to pretty awesome. It's actually amazing imo.
And you've used it in a dolby atmos setup?
In a 5.1 configuration. Is DADman very different used with Atmos? @@PaulThird
Yeah cause you've got to do all of the correct routing and setup for it to work with the dolby renderer. You could easily setup a 5.1 configuration with really any interface and get the interface to output it with streaming services with voicemeter banana but getting a 9.1.6 or 7.1.4 setup in your daw working with the renderer is a different kettle of fish. That's why there are 40-45 minute tutorials on YT about how to setup dadman with daw & dolby renderer
@@PaulThird Okay.
Please never change! So much good old common sense despite the hype
You're doing the Lord's work
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Well done Paul, maybe I am a bit late, but just wanted to point at the Focusrite Red Line 16, how do you compare it to the Oria?
The issue with the focusrite is that most of the line ins become pretty redundant when 12 outputs are taken up for 7.1.4. However it has 2 sets of adat in and out so it has a lot more optional I/O where ORIA only has 2 sets of additional adat IN so you can only add in 16 additional preamps. You can't really use it as a system for mixing with analog.
It depends on your use case. ORIA is designed to plug in and play with atmos. You just connect the speakers to the corresponding outputs, ensure your apple core audio is set to the correct speaker and away you go. You can stream atmos on apple music + TV, 5.1 on Netflix and mix atmos in the daw and not even have to do any additional setup.
The on board speaker correction is really the biggest selling point to me. Calibrate your setup with sonarworks multi-channel (which is daw only) and you have your calibrated setup for streaming and mixing atmos. You just don't need to think about it once calibrated.
The oria app is a big feature as well as you have full control over bass management, you can solo speakers when streaming atmos and also switch profiles if you have a seperate stereo setup. This means you can switch from fully calibrated 7.1.4 to fully calibrated stereo with one click. No additional software.
Also has the binaural headphone routing as well so you can have 1 hp out for stereo and the other for binaural when mixing in the DAW.
If you are solely thinking atmos then ORIA all day long. If you are looking for a full hybrid setup with tons of I/O then focusrite but you'll need to figure out how to calibrate your setup in AND out the DAW, as well as bass management, and other routing as well.
I have a dilemma with choosing a Atmos interface.
So I’m between the Antelope Orion 32+ with the MRC monitor controller and the Audient Oria.
Part of the dilemma is needing the interface for production as well as mixing but there’s also a mixing question I have as Audient staff seem to be completely ignorant to the capabilities of the Oria.
I asked about one thing I saw someone clearly do in a video and they said it wasn’t possible.
And when I’ve made support tickets I’ve gotten no response.
I wanted to know if I could use the left and right channel outs on the AES outs as a stereo speaker out and the TRS outs for the Atmos and switch to Stereo from Atmos without issues using the AES for my main stereo speakers.
Is this possible?
Another question is where the hell do you buy a AES breakout cable that’s all outputs?
Can’t find any specific AES cables.
And then one more question just to be super annoying:
I will want one of the analog stereo outs for a monitor controller to send B monitors, but would like to use one of the stereo outs to use as a loop back to add analog processing and return to the two inputs.
This will be enough production I/O for now but obviously will aim the get a interface with two ADAT outputs to use the Oria as a controller later when I need to add more I/O for production.
One thing I really like about the Oria is hearing how well it works and how easy it is just to play movies or streamed Atmos music through it without having to do anything complicated… basically it becomes your computer interface and DAW interface without any headaches.
Which is perfect especially when starting a completely new format… you’re going to want to reference stuff a lot as well as listen to things for inspiration and ideas and will benefit from this.
Now, I believe this via what I’ve heard, is this true?
Can I also switch to a 2.0 binaural mix on the stereo speakers just to check folders down on them?
I know I can easily check the headphones already but the fold down to stereo speakers is super important for consumer compatibility.
Now apart from being able to play steamed music or movies without a complicated setup the Antelope Orion 32+ Gen 4 can do this easily especially with the MRC controller… I just know their support is absolutely rubbish when things do actually go wrong and are kind of known for things going wrong.
On the other hand, in a DAW and with production in mind, this will be a lot more suited for my needs.
This does come with its own calibration software so only losing the Sound ID branded calibration so not so worried about that.
And the MRC controller will make switching monitoring formats a breeze… but this is all mostly personal theory because there’s no one talking about their Atmos setup with it where the Oria has many real life reviews of its Atmos capabilities.
With the MRC you are paying about £700 more but getting more production required I/O… my other thought was the Oria with a Discrete 8 and using the ADAT outs… but… this will surely make it all a headache when trying to make things seamless.
The Audient Oria, is it possible to make it work how I’d like?
Or is it very limited when it comes to production?
And can I monitor how I’d like to with it?
They are meant to make the Orion Studio Synergy Core to be compatible with the MRC and Atmos which will then come in at the same price for the combo as the Oria while being even better for production… but again, there’s the wait for that plus the trust in Antelope for reliability
Bit of advice. Try and break down stuff into sections. I tend not to reply to comments like this now as it's really overwhelming. You'll find it easier to get a reply from people when it's structured and you can see the forest through the tress.
With only ORIA (outwith DAW processing) I can
1. Solo individual speakers and sets of speakers (stereo, sides, heights, LFE)
2. Switch between different monitor profiles with either sonarworks or manual calibrations.
3. Select crossover per speaker for bass management
4. Hp1 is stereo, hp2 is binaural but you can use the seperate stereo L&R outs for use with a headphone amp (which is what I've done with topping l30ii). In studio one you can set those outputs to headphone out so they play the binaural or stereo as you can switch between both in dolby renderer
5. Control this all via the app (which I'm beta testing now on ipad)
6. Recieve extra 16 inputs via 2 sets of ADAT IN
7. Record using 2 mic/line in.
I don't know about AES side of it but PDP use it so you'd have to ask them about that
Hey Paul! First off great video and totally agree with you that the Audient Oria looks absolutely amazing, especially for the price! Just thought I'd add my perspective as someone who's been using a MTRX Studio daily for roughly a year and a half.
To start I totally agree that the unit is vastly overpriced for just doing Atmos work. However, until recently it was really the only fully featured device on the market to make setting up an Atmos rig even remotely easy. I was part of a build out for an Atmos mix room at a local commercial studio and we had initially gone with an Antelope Galaxy 32 as the MTRX Studio was severely backordered, only for us to swap in a MTRX Studio because of so many software limitations with the Antelope. This is mostly a non issue at this point with the Oria, a new software update from Lynx for the Aurora, and software like Ground Control Sphere.
Secondly, I've run basically every major DAW (Studio One 6 included) with my MTRX Studio and have had virtually zero issues. I was initially running over Dante Virtual Soundcard, but ended up spending the money for the Thunderbolt card when it was released (I bought my MTRX Studio used, so I'm still into it for less than one new). I had tons of issues with Dante Virtual Soundcard like artifacts and clocking issues, but all of that went away after switching to thunderbolt. Digital Audio Denmark, who make the MTRX units for avid, have written an incredibly stable thunderbolt driver with extremely low latency (under 3ms roundtrip at 96k w/ 128 sample buffer size). The computer doesn't even know that its an avid device, and theres none of the hangups of avid's HDX drivers. As far as the computer is concerned, the MTRX Studio is just a thunderbolt soundcard, no different than an Apollo for example.
The DADman software definitely can be cleaned up and made to look like it was designed in 2024, but that said its easily one of the more powerful control panels out there. There is a pretty steep learning curve, but once you get over that it is totally flexible to however you want to set it up for your workflow. I haven't tested it, but I'm fairly certain that you can route the speaker output from DADman to any of the physical outputs (Analog, Optical, or Dante) and maintain the calibration.
As for streaming Apple Music, that is something that Apple added to MacOS a few versions back. You can setup multi channel outputs in "Audio Midi Setup" (up to 9.1.6 in the latest MacOS) and that allows Apple Music to playback multi channel audio. As far as I know, there is no way currently to playback multi channel Atmos content on Windows (could be wrong on this as I'm mostly a mac user)
Again, loved the video! Just thought I'd give my perspective as someone who is using a MTRX Studio daily for both Atmos and Stereo work. Excited for your future coverage on the Oria!
Thanks for your input. Very dissapointing though that you had to buy the thunderbolt card to make it work as it should. That puts the price up to £5500 which is more than double the price of the ORIA, that just works out the box.
It will be interesting to see how avid and other manufacturers deal with ORIA being the king of the hill for atmos. I doubt avid will budge incase they piss off current mtrx studio owners with a new cheaper alternative that works like ORIA but I dunno, I personally can't see them letting Audient take a massive chunk of the atmos market.
So have you got mtrx studio to output apple music atmos streams?
Hi Do u think these hardward would complete atmos setup:
Audio Intdrface: i1820 focusrite
Studio monitor surround: Jbl 305
Lcr: jbl 308
Calibration : Sonarwork
Daw : Nuendo
Monitor controller: still confused
Please guide
Nope. Not enough outputs. You need 12 outputs minimum for atmos and 18i20 only has 10.
You could buy an Audient evo sp8 for the extra outputs but you wont have any control over bass management and your atmos setup will be DAW only as sonarworks multi-channel isn't standalone.
Means you have an atmos setup that you can't stream atmos with. Basically a daw only setup unless you can find a way of manually and accurately calibrating the system outside of the daw
@@PaulThird thanks alot ..can u give some names for budget friendly hardwre for calibration and monitor controler?
Being honest, ORIA at £2k is the cheapest you'll get.
As a total audio noob when it comes to mixing - I'm a VFX artist who just wants to add a bit more pop to my personal projects - I currently mix using Davinci Resolve with its Dolby Atmos support, and a pair of headphones (Beyerdynamic DT1990 Pro), and can check/ render the final out of the Dolby Atmos Renderer.
So far, it's been "good enough", as I am not ever gonna be mixing anything at a pro level. (So far, I've only done about 2 projects in the last 12 months like this. That's pretty much all it will ever amount to.) However, whenever I want to check my mix on the 5.1.4 set up I have in my living room, that becomes (as you so beautifully put it...!! 😂) "a bit of a ballache".
I've been looking to update/ upgrade my office at home - so what's to say I can't use a receiver connected to my PC - for both mixing and listening to it back, to check it...? You said it's more expensive - but, Richer Sounds currently has the excellent Denon X6700H (which I have in my living room set up) which caters for 7.1.6 straight out of the box, and I believe can go to 9.1.6 with a preamp...and, as my office is small, get the Monitor Audio Midnight Mass speaker set up to go with it.
All told, this particular 7.1.4 set up, with receivers, speakers, cables, stands, etc, would not cost much over £3,000 (the Denon is currently around £1,400-ish, a 5.1 Mass package is under £400, but additional seperate speakers go for around £70 each - these are VIP member prices, and membership is FREE)...which is cheaper than your recommendation, as speakers would be an additional cost with your recommendation!! (Before you say anything, I have ZERO affiliation with Richer Sounds, other than most of my AV kit I've bought over the last 20 years has come from them!)
I'm not saying you're wrong - I'm just asking if his would actually work....?? Is there a reason to go this particular route rather than adding a receiver set up...? Or would there be issues with this approach?
I haven't seen anything online about it anywhere, to date, and I keep looking....
The issue is that the denon isn't an audio interface so I don't know how you would make that work for mixing in atmos.
Your daw may give you the option of choosing the denon as an output device but the denons outputs must show in the I/O settings of the daw in order to correctly route each channel to its corresponding output.
In ORIA it's an audio interface primarily for mixing. So when you load it in your daw (studio one in my case) all the speakers are correctly routed in the I/O. Just plug and play.
The ORIA also has in built 10 band eq options per channel as well as the sonarworks integration which is what I use. The sonarworks calibration is stored on the unit itself so every speaker is correctly time alligned, levelled, and eq'd without the need of any computer processing. This also means that you can calibrate your system with bass management on as you can select your bass management specifically per speaker.
I genuinely just switch it on now and doesn't matter if I'm on apple music, Netflix or the daw, it just works fully calibrated.
And I can also record with it as well as add another stereo pair of calibrated speakers if I wish which are easily changeable via the ORIA app. One click of a button and I'm switching from a calibrated 7.1.4 setup, to a different calibrated stereo setup.
And it has functionality with the dolby renderer as well.
If you want to mix in dolby atmos then the ORIA is the best out there bar none right now
@PaulThird that's awesome! That's EXACTLY what I needed to know...thank you! 😊
So, starting from scratch, I have a pretty decent PC (128GB RAMI, multiple SSDs, 2x Nvme drives, and a 3090 RTX GPU), aside from speakers, is this all that I would need?
Or is there more to it than that?
@TrigFX nah that's it tbh. I run my entire atmos setup through an M1 macbook pro haha
@PaulThird nice!! A good space saver, too! My current PC is in a large tower case...it's a BEAST! 🤣
...and I'm planning on getting a second one soon...😳
I currently have a Focusrite Clarett 4pre. I just want to go 5.1.2 setup as I am in a small space in Tokyo... Just going to use a 7.1 type AV receiver with passive speakers except maybe the LFE Sub would be powered. So sticking with Focusrite with their lower end unit Focusrite Scarlett 18i20 3rd Gen USB Audio Interface , under USD$500 now! It also has 10 discreet balanced outputs... It is hard to justify spending 1000's of $$s on interfaces. They all are quite good... My live recording setup is a Zoom L-20, the mic pre's are fantastic and has "soft limit" on all channels so you can dial in good levels to the SD card included and parallel Pro Tools.... Just Sayin' I am learning about Atmos, before jumping in deep, just need to be functional 1st....
It's the functionality for mixing that you are paying for. You can do it cheaper for watching movies and stuff but for mixing in atmos it's gonna be a pain to set it up so everything works correctly and efficiently. A scarlett wouldn't work for 7.1.4 but it'll work fit a 7.1 or 5.1.2 movie setup.
Doesn't help also that sonarworks multi-channel is plugin only so it doesn't work outside of the daw. That's why ORIA is so handy as it stores all the calibration per channel on the unit itself so you don't need to rely on any calibration software.
Present day production talk a lot about how much of a hassle atmos was prior to ORIA. The more you split the setup and try to combine multiple systems, the more complicated it becomes.
With ORIA you can watch movies in atmos or 5.1 and then 10 seconds later open up your daw and mix music immersively without having to touch the interface. You open stuff and ORIA just works. Thats been the difficulty for every other system and interface trying to make a unit that can stream atmos as well as record, produce & mix atmos
From my research, it is going to be hard to convince "everyday users" to go for a 7.1.4 system... the 5.1.2 system even with the "Up firing" Atmos speakers is much more widely attainable for the masses... Dolby Atmos is totally free included in Pro Tools which I use... I can do it on "Headphones" actually, but would want to check on speakers with the correct placement and specs provided by Dolby for free on their website.... The mixing is totally in Pro-tools 3.24 (latest version) included... I just need outputs to the speakers as mentioned... ORIA might be a cool box?? Maybe they "Sponsor you"? Us Pro-Tools users have all of it at our fingertips, it is worth the subscription or now, Great !! They brought back the Perpetual License... I am all in !!
No it's purely because I have the setup so I know how easy it is. I have a fully calibrated 7.1.4 setup to dolby spec that I can mix atmos in without even thinking about it. I just switch it on and that's it.
The best guys to ask are the present day production guys as they tried pro tools and had the whole convoluted interface setup you are thinking about buying into prior to ORIA. They hated atmos on protools, stuck with logic and have moved entirely to studio one cause it is really the best daw for atmos right now. Pro tools is just endlessly complicated cause it's pro tools, everything it does is just behind the times and needlessly fussy
If you want to mix atmos on a 7.1.4 setup it's not as straightforward as you first think. That's why ORIA was made because it is the only interface on the market specifically made for atmos in mind.
Do you not think I spoke to others before ORIA was even an idea? Do you not think I spoke to atmos mixers in the industry with setups that linked different interfaces together in order to get all the outputs? Every one of them told it was a pain in the arse but they didn't want to spend all that money for a mtrx studio so they just made do.
Its not as straight forward as it first looks but you'll find that out for yourself. I chose to wait for ORIA cause I wanted an easier life, that's it.
Interesting that studio one doesnt play well with avid. It also doesnt work well with prism and has a bug that locks it up when attempting to render/bounce
The avid and studio one thing I undetstand because why should presonus invest in getting their software to work within a rival eco system.
EU control is primarily based around avid & protools.
At the end of the day I think they are wise enough to know that most on studio one won't be using avid controllers considering that they have the faderport, and nearly 95% of carbon and mtrx owners will be protools.
@@PaulThird Yeah I agree. Shame they couldn't make it work right with prism interfaces though, but they probably want to try and force people into using presonus interfaces too when they can.
For that reason I had to drop studio one and go with reaper
If the ORIA is used as a monitor controller for Atmos, how is it connected to the main interface or converters? Seems Dante is the only way? Otherwise you're limited to max 16 ADAT channels.
Only if your main interface could run over Dante.
If you want to use another interface that had lots of I/O like an apollo X16 for analog gear then you would send 16 channels out via ADAT to ORIA.
But if you want to keep your 16 ADAT channels to send to an interface that has the I/O for analog gear then I'd personally have 2 setups. ORIA as main interface for mixing atmos as you don't need analog gear for mixing atmos, it's unnecessary, and another setup for mixing stereo.
You keep oria plugged into computer anyway even if using in standalone mode so you can still use the app. You just select adat as input source on app
If you are not an analog gear guy but want the functionality of a recording interface with more than 2 preamps then just use oria on its own as main interface and connect 1 or 2 evo sp8's to it if you want 8 or 16 additional preamps.
@@PaulThird That sounds feasible, thanks. I need at least 24 channels free for i/o, tracking, hardware, cue mixes etc. But that could be a separate setup from the Atmos mixing.
All these just to mix a song 🤔 ?
To Mix immersively on speakers.. Yes
@@PaulThird Alright. Sounds like the level for the rich guys.
Could you do 7.4.4, meaning 4 subs with sub management?
I dont know why you want 4 subs tbh. Subs are essentially all omni directional. All you need in reality is 2 subs at the absolute most to distribute low end more effectively but if you've got a smaller room, 1 sub will be more than enough
@@PaulThird Yes they are omnidirectional, but they still originate from a single source. Having 4 subs gives the absolute smoothest response for home cinema. There is a reason why new AV Receivers have 4 sub outs. 2 subs is enough for stereo though... until you learn about six packs, but I digress :)
Maybe a music vs cinema thing then. I know some mixers that use stereo subs but none that use 4 subs as it's just unnecessary unless your room is absolutely gigantic.
Add to the fact that with 4 subs you've got 4 woofers that all have to work in that room. I can imagine that being an absolute acoustic clusterfuck, especially considering people are telling me that only 3db max correction in the lows in my room is pretty much unheard of in most setups and I've only got one sub.
I wouldn't even want to think about how you would get an even balance with trying to counter nulls and different subs exciting different room modes etc etc can end up pretty counter intuitive, that's why dolby don't really reccomend more than 2 unless you have a really difficult room and you can add more subs in try and counter nulls and peaks etc
I understand the power side of it as you have 11 speakers all sending sub information to 1 sub and if you can spread that load to different subs then I can see the advantage but always acoustics first for me. However If your room is big enough and having 4 doesn't create any bass issues in the room then fair enough.
In regards to your question though with Oria it's a one sub job as far as I know. All the bass management is sent to just the LFE, you can't send it else where as it's internally routed.
So with a 2 sub setup in oria you would need to use a Y cable to connect the 2nd sub to the first.
If I'm right, In trinnov you have 2 sub outputs so you could have 2 subs and the other 2 subs connected to each with a Y cable and trinnov will calibrate what it hears so you can have 4 with calibration but it just sounds like an absolute pain in the arse, and it's gonna cost you like 10 grand for the multi-channel trinnov.
I take it you are manually calibrating the speaker correction in your home setup?
Atmos. We’re still pretending any normal music consumer gives a rat’s arse about it then?
It’s magnificent for film. It’s pointless for music. Even done well I think it sounds odd. And let’s not pretend spacial audio in headphones is anything other than complete bollocks.
Still, another informative vid Paul. Thanks bro.
And you've heard professional atmos mixes in a calibrated 7.1.4 setup?
@@PaulThird I have Paul. And to be fair they sound great. But I still maintain they sound… odd, for want of a better description. Maybe it’s just the fact that it’s such a different experience?
However, my point remains: 99.9999 percent of consumers will never, ever listen to a song on a purpose built atmos rig, sitting in the sweet spot in a purpose built atmos room. People listen to music on a decent set of headphones AT BEST or more likely earbuds or a god awful phone speaker.
Unfortunately convenience always comes first.
That’s why I can pick up cds for 50p while the world listens to crap quality streams!
What mixes did you listen to?
@@PaulThird I don’t know the artist mate. They were a pop/ rock sounding band that a colleague was working on in his new atmos studio. And it really is a great listening experience. And like I say it sounded awesome. But that’s really not the point I’m making. I personally think music sounds strange coming in at me from all angles. It’s just an opinion mate. I’m sure others think it’s great.
I guess we’ll see what happens and if the end consumer ever ditches their £15 quid B&M earbuds for a 50 grand atmos studio. Maybe in the future they will somehow perfect the headphone atmos tech? I doubt it but I’m perfectly open to being wrong. Christ there’s plenty I’ve been wrong about before !
The reason I'm asking is because my setup allows me to listen to the best artists mixed by the best atmos mixers in the game via apple music.
As an engineer and a music lover, I just always feel that if an atmos mix sounds wierd to you, then it's not a great atmos mix which means you aren't hearing the full sound of it
I can't get enough of them when done well. I sat with my wife one night and we were just picking ones that we liked for my atmos playlist and she has no care for audio stuff but she adored a lot of these mixes. Even she admitted that there's so many songs that don't really work in stereo when compared to an atmos mix. In stereo you lose the expansiveness and the seperation. Everything feels condensed into a tiny package and all of a sudden you are like... Wheres the music gone? It's all behind the vocal.
The more I show the public popular mixes they know in atmos the more they understand why it's been made. Sure, nobody in my area has a setup like me anywhere close but they appreciate the experience and are happy that the music has been made this way. It's an experience, not a gimmick and people understand that it depends on the advancements of the technology.
Once people hear a song they love done right in atmos, full ear to ear smile.
Getting the technology advanced enough to replicate the sound of a 7.1.4 in headphones and consumer setups is where they are at now but I'm telling you, acustica sienna sphere with ollo S5X is VERY close. You can listen to apple music, route 7.1.4 to sienna sphere standalone and then let it do its thing and you'll be amazed.
I just can't fathom how nobody would want to push this after hearing it done right. It's that good in my opinion. The consistency of the mixes and techniques is the issue right now. Some you know should work well but end up sounding disjointed due to the vision of the mixer.
There still isn't a standard agreed yet
Audient is Atmos, for the rest of us. Game changer.
suscribed, final;ly a good review
🤓🤓
@@PaulThird A quick question, you say that the best way to use Oria is on MacOs? since I have windows, but I don't know if Atmos limits the use or if it is a problem with the operating system? what recommendation do you give in that sense? more for those who can't buy a mac just to be able to use an interface.
You can mix atmos on windows, you just can't stream dolby atmos mixes from apple music, tidal etc. Theres no way around that unfortunately
Hi Paul. Can you help please? I have a Mabook Air running Sonata 14.3. I have an Apple USB C to HDMI adaptor that should give me 8 channels of audio. I am trying to set up for 5.1.2 and have speakers front left, front right, front centre, subwoofer, surround left, surround right and two speakers in the ceiling for left top middle and right top middle. I've hooked this up to an Onkyo TX NR676E 7.1 av receiver. When I test the speakers from the receiver using the level calibration utility I get sound from each of my speakers (FL, FC. FR, Sub, RL, RR, HL and HR). All good. When I try to configure and test through the MacBook Air using Audio Midi setup the sound from the top middle left comes out of the surround left and the top middle right comes out of the surround right. I don't get anything from either of my height speakers at all.
What am I missing? Thanks in advance for any suggestions.
You have to match the channels to the correct output. Sometimes Apple doesn't map it correctly by default. Happens with oria as well. So I had to reselect 2 of the rear heights manually
Thanks for the informative video Paul!
I particularly enjoyed your outline of the main components of what's required to do this properly!
Congrats on your recent M1 MBP purchase!
I've been working on setting up my Atmos mix room on a budget and following this subject with much interest.
I think the ORIA is a step in the right direction (especially compared to the Avid MatrixStudio).
However, it might surprise you to learn that I solved this problem (and ticked all the boxes you mentioned in your video) for still ~40% less than the cost of an ORIA:
1. Apogee DA16 (16 audio outputs) - $300
2. RME Digiface USB (32x34 matrix router/mixer) - $450
2a. Digimix (downmixing and speaker management) - FREE with RME Digiface USB
2b. Digicheck NG (high-res audio signal metering/monitoring) - FREE with RME Digiface USB
2c. Totalmix remote (remote control via iPad for Digimix) - FREE with RME Digiface USB
3. Ground Control Sphere (Atmos monitor control software) - $350
3a. Ground Control Remote (via Stream Deck OR iPad) - FREE with Ground Control Sphere
3b. Virtual multi channel driver (Dolby Atmos stream decoding) - FREE with Ground Control Sphere
4. Stream Deck+ (Hardware controller for Sphere) - $150
5. Sonarworks (Calibration software) - $400
Total = $1650
The main benefits of this setup (besides the obvious significant cost savings):
1. Modular but integrated solution with all major DAWs
2. Choice of interfaces for outputs (use ANY 16 channel output device)
3. Flexible routing/monitoring at all levels of your signal path
4. Flexible/powerful remote via both hardware knobs/buttons AND/OR iPad/iPhone
5. FREE Atmos stream decoding!!!!! (BTW, if you decide to try out Logic Pro, then you get Atmos encode/decode FOR FREE - including ability to record/playback Atmos master files).
6. Each component of the system is built by a reputable company focused on building the best-in-class version of that component (i.e. Apogee>Audio outputs; Digimix>Routing/mixing; Ground Control Sphere>Atmos monitoring; Elgato>Remote control; Sonarworks>calibration)
IMO, this is the combination to be beat and nothing (yet) has come close, but I'm always watching this space and eager to learn what others are discovering in their Atmos journey.
Best of luck to you on yours!
Hmmm. This doesn't sound like a plugin and play though. Sounds pretty convoluted with a lot of this relying on all of the parts to function together and potentially quite a few things that can go wrong.
Issue I have is that setup is Mac only due to ground control sphere being mac only. The windows drivers are now complete for ORIA so this interface is for mac and windows.
The apogee DA16 is a discontinued converter thats over 20 years old and you have no guarantee on that. It's not any better conversion than the ORIA. I take that it's being used solely in standalone over ADAT?
Plus I'd have to find a seller that was giving me a solid unit and if it went Pete Tong then I would be scarpering around the Internet to find another which could cost me £300-800 depends what on the Internet at that time. Either way, the unit goes then I'm paying the same or more money for ORIA.
Here's a listing for a £300 DA16
"My main studio rig" Serial: DAX0548 There is some dust and signs of light wear. There is a bit of internal rattling and the power button is stuck in the on position and will likely need a minor repair, as pressing the power button is required for operation. Otherwise, the unit appears to function as intended."
Sorry but I'm just not taking that risk man. It's a potential headache further down the road.
You save £350 and I suppose that when it's setup it's good to go but I genuinely just connected oria to the mac, 20 seconds adjusting the audio midi and that was it, setup done.
DAW, apple music, apple tv, paramount outputing multi channel and all I did was connect it.
I suppose the questions would be for me, can this setup
1. change between different calibrated monitor profiles and how does that work outside of the daw as I'm pretty sure soundid multichannel doesn't work standalone outside of the daw.
3. What about headphones? How do you route the headphones to play the binaural render through the fireface hp out? Hp1 in oria outputs the binaural render, hp2 outputs stereo
4. What about if I want to record something with the setup?
Fair play though. I would just personally pay the extra 350 for a one stop shop. I've got a guarantee on the full system and only one system to worry about.
I just wouldn't take the risk on a system like that. I'm paying for ease of use. Studio one loaded it first time, routing was already done when I selected oria. It just makes the whole process like using any other interface.
If it works great for you though then that's all that matters. I just wouldn't give myself as much of a headache. One unit, plug it in. That's it, job done. If I have an issue, I just go to Audient
I want to continue to see other companies continue to lower the bar of entry that avid continues to try and raise to keep people out. They finally had to start selling perpetual licenses since they were losing so many customers to companies like PreSonus.
Yup, leaving protools for studio one was one of the best things I've done. Never looked back
Does Oria works with Nuendo 12 Dolby Atmos renderer (On Windows 10) ?
Should do, works on studio one (windows 10)
Sorry your answer is not clear to me. You mean I cannot do Dolby Atmos with Nuendo 12 in Windows environment? @@PaulThird
Hi Paul, hope you see this comment! Loved your video and I am in the process of building my own atmos setup here in New Delhi, India! I have the main control room along with a recording room, an ISO Booth and a vocal booth. I am considering an ORIA + 2 ASP880 setup to get 8+8+2 preamp setup for live tracking as well as atmos mixing (7.1.4) to solve my workflow.
I just had 2 concerns - 1) What would I do for talkback and cue outs into these rooms (if I were to send different mixes to artists) Can I use the unused outs for cue outs??
2) Would you recommend this arrangement for future proofing? I don’t see how I’ll be able to expand beyond the 16 adat ins
Thanks a lot✌🏻
ORIA doesn't have the ID software and I don't know if they'll integrate it so you can't do cue mixes or anything. It's really solely focused on atmos monitoring.
You can use it as your main interface and have 16 channels going in over ADAT.
You'll have to do it all in the daw and select certain outs of the ASP to send out to and then connect a headphone amp to the line outs. That's how I do it with the apollo in the control room and sp8 in the live room. I have a cue mix in studio one sending out to 2 stereo line outs of the SP8 going into a topping l30ii
If you want 3 different cue mixes for say a drummer, guitarist and singer you'll need to create 3 different cue mixes in daw and send those to 6 outputs of ASP + 3 hp amps
@@PaulThird thanks a lot… Hope I can find some better mechanism😊
@@TanishqSeth The ORIA Mixer will be added in a upcoming launch scheduled for mid June. 😊
Great video, thanks Paul. Like your sense of humour too :-)
Regarding the Apple Music capability in Atmos, is not Oria that does it. In fact, not DADMan on AVID´s MTRX or any other manufacturer´s device. Is simply Apple´s OS that allows (when configured on Audio MIDI setup) the Dolby DD+JOC codec that Apple uses for streaming to devices that use speakers (headphones use Apple´s own algorithm) to be outputed to the interface as 7.1.4 max configuration. In the case of Oria via its USBC from the MAC and then into your monitoring via the AES or analogue outs. So, if Apple decides to remove that capability on their OS, there goes your Atmos on Oria or whatever down the f... drain. I have an old (about 10 years) USB2 interface here at home and have Apple Music in Atmos. Only in 5.1.2 because my interface only has 8 analogue outs. Again, is the MAC OS that does the downmix from 7.1.4 to 5.1.2.
Also, at the moment, you can only do it on Apple Music. With other streaming platforms like Tidal, Amazon etc that have Atmos, you can´t do that on the OS, you still need an expensive receiver.
Greetings from Portugal!
Yeah the whole tidal thing is annoying but I do get 5.1 out of Netflix & paramount.
I was pretty sure that the MTRX couldn't stream atmos from apple music?
@@PaulThird It can, even if you don´t have the Thunderbolt option card on either the MTRX or MTRX Studio. You just need a way to get the MAC to connect to the interface, other than HDX. Then DADMan takes care of the rest. For instance at a studio where I work, we have the old MTRX with the optional Dante card. So we have the Dante DVS installed on the MAC and set it as a 16x16 matrix (32 and 64 don´t work for Atmos in Apple Music). In Audio MIDI set up, under DVS, you configure the speakers to 7.1.4. On Dante Controller, those channels show up in the matrix, so you just route them to the Dante inputs on the MTRX. Then in DADMan you setup a source for DVS with the same channel configuration and that´s it, when you play Atmos on Apple Music you hear it on your Atmos setup. This applies to all interfaces, USB or Thunderbolt, with or without DADman. In the Oria is the same, the stream is done through the USB port coming from the MAC virtual outs.The trick is done inside the OS.
When is it gonna be finished so ppl can actually use it??
Don't know exact timescales but I wanna say 7-8 weeks in regards to placing an order and having it in your hands
Hi Paul, just quick question... I aquired 44.1khz intrumentals BUT i recorded my vocals with my DAW set at 48khz. Would i have any problem in the speed or pitch if i keep the instrumental at 44.1 inside my 48 session?
Yes
so shoul i resample the instrumental up to 48?@@PaulThird
Yes
Great content paul :) Shame you ORIA is not windows compliant yet :( But sure they will have that sorted soon :) I use Sphere at min which is great and very flexible :) But Seriously thinking about getting ORIA :) Just got to finish rebuilding the studio :)
Glad I bought the macbook though cause that whole eco system just works a dream with atmos. 2 minute setup max to get atmos streaming out of daw, apple music & apple tv
@@PaulThird Yeah ive been on apple for 25 + Years now and for music and video and creative shit i think its the best.. But every one to there own thing :) Looking froward to your content on Atmos.. It takes a while to get used to mixing in it compared to stereo lol And i recon 2 to 3 years to nail it :) Have fun paul.
Yeah, there's a lot of atmos mixes I like and A LOT that I don't like
@@PaulThird Yes there are some that really don't cut it or work listening on apple music through my system :( But then there are some which are unreal :) I have a couple of friends in the USA that are mixing it atmos and being able to hear there ADM files makes a big difference
Yes do some more research on this , frankly I think the oria is overpriced (16 in 16 out). When it drops to 2000 or Dante dongle free with product and all protocols are sorted(streaming on Windows) then maybe. 2*evo sp8 $600 , Sonarworks $300 , it will eventually add up to the Matrix (not a protools guy). And you will eventually need the extra ins and outs. I am also not aware of EQ for the Headphones . For a basic setup the new motu 828 and IRig is more cost effective , or then rme ufx 111 if you have a more rounded studio which most want.
Nah nowhere near.
£2500 + £800 (2 evo sp8) = £3300
+ £400 for soundid = £3700
So that 16 in, 16 out, upto 9.1.6 fully calibrated with sonarworks for a grand less than mtrx which when using outputs for atmos makes the 16 in redundant. So it's basically 16 out for a grand more.
Which leaves you having to buy external over ADAT which is
£4700+£800 (2x sp8) = £5500
+ £400 soundid = £5900
Nearly 6k vs £3700 all in, so £2200 price difference for a unit that can't even output dolby over apple music and apple tv..
My macbook came today and within 2 minutes I had ORIA receiving 7.1.4 daw audio as well dolby atmos streams over apple music and apple tv
Thats why ORIA isn't overpriced
@@PaulThird Brethren whether you want to believe or not you will eventually need 12 to 16 in for your AVR , So you only going to test surround mixes by streaming from Apple music? And if the Dante can pull from AVR's , AVRs with this capability are quite expensive.
If you are comparing to the Matrix Studio you don't need the extra Sp8s or the likes. Oria should also have come with at least 2 pairs of non dedicated ins and outs.
So you have your Macbook what about people with Windows . And that means you spent probably 2000 to accommodate Oria. Happy for you .
The specs will eventually add up . As I said if the price drops and windows is sorted I can give it the thumbs up but until then its seems to be like one of those plugins you buy and then realize it wasn't necessary. Oooh too harsh ??? 🙂
At the end of the day, no matter which way you look at it. Do you need 16 ins to mix immersively?.. No. That's the reality.
The windows side of it is so close to being complete for ORIA but I doubt that windows will play ball with apple music and tv.. Fingers crossed though but that's out of audients hands.
The way it stands at the moment, ORIA is the only audio interface that you can use to stream atmos mixes and movies. Period. The rest including mtrx studio can't. That's a big downside for engineers mixing immersively as you have no reference unless you spend the money for an AVR.
Anyway would you buy an AVR when you can simply listen to every song in atmos via apple music?
If windows can't stream dolby atmos via ORIA then yeah you've got a point BUT you can still mix immersively in the daw without an issue which is really the main use of an immersive audio interface. To Mix with the renderer and export. We'll see though how it pans out with windows outside of the daw.
Again let's bring price back into it. If I bought the mtrx studio for £4700 I'd need to buy a Dante license, set all that network over IP shit up, then learn how to manually set up dadman to get the correct routing to work in the daw, and have no way of outputing atmos outside of the daw (windows or apple). Id have 16 line inputs that were redundant for me and I'd still have to buy sonarworks immersive.
So I'd be over 5 grand just to output immersively in the daw with a calibrated system which is about the same cost as ORIA + my entire 7.1.4 kali setup or the cost of ORIA + sonarworks + 2 sp8's + M1 macbook pro
Are we still saying that ORIA is overpriced.. Or that the mtrx studio is simply extortionate for mixing immersively?
@@PaulThird Relax , you haven't looked at all pluses and minuses yet. I will check you back in 18 months .We'll see how it goes...Also I am not sure of this but let us know if you can actually EQ the headphones .Thanks.
But wait, Apple Music and Tidal apps don't stream spatial audio on Windows platform in first place. How would Oria stream spatial audio on windows if the apps are not coded to deliver it ?
I'm gonna find all that out for myself. I've got a macbook pro coming today so I won't be bothered either way. That's why I'm making a follow up video going through the limitations of ORIA with dolby atmos via Mac & windows
Won't know until I try tidal, apple music, Netflix, Disney, amazon etc on Windows and Mac
@@PaulThird That would be a huge help for us windows users who have to switch to mac os for practicality in immersive context. Im curious about netflix on mac os since there is no app, and it seems like spatial audio for netflix works only on safari browser for earpods. Im curious to see if you manage to root the 16 channels from safari to Oria. Thanx for the helpful content !
Doesn't stream dolby in Netflix. Dunno if that's cause there's no app for windows 🤷♂️ I tried safari and Google Chrome but no luck, just outputing stereo
Great video as always Paul. Liking the new look too. Hope your well mate.
Mucked about with the camera settings so looks semi decent 😂
we need aes output
ORIA has AES output
As tool for having seperate speakers for actual dolby atmos, that cost really is mainly for equivalent replay setups or especially for film......
Audio Post is key , and thus , no matter what room software correction can do, its best if it does less.... Thats a huge cost also... As for mixing for Music only, The renderer is like any license Dolby employs... Just printing money off their name, where their solution is to always introduce another , proprietary codec.. (thats what it is) , Im talking Music only at this point, to literally do a mix down, into a file thats basically binaural, thus able to be listened by the enormous market that uses headphones... etc..
Yep, If anyone is reading this, and just wants to do music in atmos, for the market that wears headphones , and not to worried about the Audiophile guys , with a room , and a chair for the sweet spot ... Well, Just look at cheaper options... Some Reference Headphones , and all the Cheap as, free Atmos plug ins... Even Logic does it as part of the app... Add Hornet Samp.. etc..
Fact is .. Its like 4k , now 8k... Yes , its more pixels... But the cost difference for the camera , filming that 8K content in comparison to 4K is a big difference in costs..
I guess, If you understand what this product is actually for, and can afford it, and the Speakers , ands the room.... etc... Its a rippa buy..
BUT, if you think you need it , because of the Atmos Hype, Theres other, inexpensive ways , especially for music releases only.. Will it translate to as Audiophiles ROOM of BOOM setup? Who knows..
Anyway, Thats my rant...
Slap me down , and buy a Trinnov.
I don't think the cost difference from stereo to atmos is as much as what people think cause "professional" stereo is already extortionate as
1. You still need to treat the room for a stereo setup as you would atmos.
2. My 12 kali speakers cost less than a pair of most premium stereo speakers, AND most studios have 2 or 3 different pairs of monitors just to get good translation in stereo, so there's potentially 6 monitors just for mixing stereo
3. ORIA costs around the same price as a 2 channel prism many use just for their DA speaker conversion.
4. 1 fully loaded 500 series lunchbox can cost as much as buying all the stands, mounts, cables, even a day for an electrician to add more sockets in the room.
My entire 7.1.4 setup costs anybody just under £7k which isnt gonna get you far for a modern hybrid stereo mixing setup considering a massive passive costs £5-6k.
Thats why you see many investing in expensive as shit monitors, extortionate avid eco systems, premium speaker stands, mogami cables etc etc and making out it costs £20-40k cause they try to emulate their stereo setup when it's just not neccisary at all.
Audiophiles with high end equipment and a treated room don't like atmos in general a lot of them still don't like digital files and prefer vinyl or even reel to reel . The market for those who are listening to music in atmos on a high end system is tiny , even much smaller than the audiophile market .... i think that the marketing push for atmos was because of VR , another thing that a majority of peoole dislike and for good reasons ( ready player one 😂 ) . Now for the equipment used by the general public : headphones , small speakers , sound bars .... stereo is way better
I disagree. On my sony MDR-MV1, immersive mixes sound WAY better binaurally compared to stereo. Stereo sounds so narrow and 2D in comparison.
@@PaulThird I ve never tried this model and also maybe the atmos mixes have improved since the last time I tried a while ago ( a lot of nonsense back then ) but I am sure that even on those headphones the difference between binaural and when played on speakers in a room is enormous . Years ago after an amazing demo that blew my mind in a large studio I was very excited about atmos especially if used in a very gimmicky way at the production stage , that could greatly influence the way the music is made and open new doors for a few genres that would take advantage of it ... but the lack of translation , public interest and the fact that stereo mixes are still required killed my enthusiasm ... I will continue to enjoy atmos when I see avatar or movies like that on a premium screen , in a massive room with speakers everywhere .
@Dystopian84 binaurally it's getting much better. Headphones like the MDR-MV1 are getting closer to translate the experience.
In regards to stereo and atmos. Both can live in the same eco system as atmos is adaptable and can downmix or upscale. Thankfully the stereo downmix codec has improved drastically since I first heard it a year ago which means that you can mix in immersive and still have good stereo translation for smaller average playback systems.
Atmos is a lot about scalability. Why mix just in stereo when you can have a file that can playback 9.1.6, 7.1.4, 7.1, 5.1, stereo. Why limit your mix to output in just one format when it can output many 🤷♂️
Great review ! keeping it real as usual !
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Helloooo 😆
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Remember to check out my audio podcast with Ed Thorne where we critique our mixes and also interview industry professionals 🤓
Nice interface. Comparing the ORIA to the mtrx studio it’s like comparing the Kali in8 to atc scm45a and saying that atc is extortionate your monitoring… different specs and markets…. Same with this, it’s a brilliant interface and probably will become a “standard” in home/project studios
That comparison doesn't work for immersive. For a studio analog i/O setup I said its probably a fair price but for immersive ORIA is a clear winner. I don't even understand how the kali & atc example could work in this context.
For immersive mixing, avid mtrx studio is clunky, convoluted and offers less immersive features than ORIA which is built from the ground up to work with immersive.
A better comparison given the context would be like comparing an M1 macbook to a 24 core i9 pc running Windows ME. PC Definitely has the processing power to outperform the M1 but runs through an outdated operating system that makes it extremely complicated to run the simplest of tasks in the same way the M1 mac can.
Well done, Audient! Well done, Paul! :)
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The very moment I saw the Audient ORIA, I knew it was going to blow away all of the current Dolby Atmos setups. Also some good news... the Audient ORIA will be Dolby Atmos certified before its release.
I can't confirm that yet. I'm talking with a dolby rep but from the event, talk was that it MAY be dolby certified. Think it depends on the sonarworks integration but I'll await their reply
@@PaulThird Good deal! I heard Adam Steel mention Dolby certification was close in one of the NAMM videos. I'm also hoping the Audient ORIA drivers will support Windows WDM surround 5.1 and 7.1 like the Focusrite drivers already do. I posed that question to Audient support weeks ago, but they never replied back. When you start testing it on Windows, see if you can go into the Windows Sound Control Panel and get access to the lower left "Configure" button for Windows surround configuration with the Audient drivers.
Yeah I'm the main windows beta tester outside of the ORIA team so I'll be able to check all that out when the time comes 🤓
@@PaulThird Awesome! Thank you!!!