Surround Vst Plugin

[Vira Bhakta]

Oneof the most interesting challenges I faced when transitioning from working primarily in music production to audio post-production was making the switch from mixing in stereo to mixing in surround sound.

In some ways, mixing in 5.1 is actually easier than stereo. For example, dialogue lives much more naturally in a mix with a dedicated center channel than it does squished into a stereo mix when working in film, and music and FX have so much more room to breathe in five speakers than in two.

This plugin works beautifully in both stereo and 5.1, displaying up to six channels (L, C, R, Ls, Rs, LFE). Insight provides crucial loudness and true peak metering ensuring that each project I mix is complies with the technical specifications it requires. It sells for $199 by itself and also comes bundled with the RX Post Production Suite.

RX6 gets real a workout on every project I mix. Modules like Mouth De-Click, Leveler, Ambience Match, EQ Match, De-Plosive, and Dialogue Isolate are just some of the essential tools I use to clean and enhance audio in my projects.

My go-to for all things reverb in surround or stereo is Audio Ease. Altiverb is the gold standard of convolution reverb plugins. A little while back, I even had the pleasure of creating some custom impulse responses for Audio Ease as part of a project to capture the sound of Brooklyn recording studios.

More recently, Audio Ease introduced Indoor, a purpose-built post-production reverb platform for placing dialogue, FX and music inside acoustic spaces such as houses, cars, restaurants and more. Indoor is truly a multi-purpose audio paintbrush allowing me to create foley and FX layers and place them within the world of the film.

For instance, if we are in a downstairs room in a house and there is music playing upstairs in a bedroom, with Indoor, you simply place the microphone downstairs and the speaker upstairs. Indoor then processes your dry music track through the convolution reverb recorded exactly as the GUI on screen shows. Indoor is truly a game changer for me working post production.

Spanner offers complete control over each channel in your surround configuration, even including support for Dolby Atmos. The extremely low CPU drag and zero delay compensation gives users with virtually any machine the ability to run hundreds of instances of Spanner in their session. This is a plugin built to work on every computer imaginable.

Slapper is a multi-tap surround delay with truly stunning capabilities. Slapper boasts eight independent taps each with their own delay time, level, feedback and damping controls. Each tap is fully automate-able within the surround field.

One of my favorite things about slapper is the ability to vari-speed individual or groups of taps to create truly monstrous delay sounds. Some mixers I know rely more on Slapper for everyday spatial needs in their mixes than reverb plugins.

When it comes to both upmixing and downmixing, Nugen Audio has become my go-to. One of my favorite things about Halo Upmix and Downmix is their pure simplicity. Just insert Upmix on your stereo track and it turns the track into a 5.1 or 7.1 track as needed. Conversely, you can insert a Downmix plugin on your surround track and that track will become a stereo track.

Luftrausch sounds are captured with a variety of reputable and high-end field mics, including the the Nordic Audio Labs NU-880F, Schoeps CMC6-MK4 and Soundfield SPS-200, and further processed when needed using tools made by the likes of Harpex, Fabfilter and iZotope.

You can listen to previews of all of the REA packs on their website. Like also extended a code to readers: Use the code rabbitscooper at check out for a 25% discount on the Winter Atmospheres or NYC rooftops packs.

Surround Suite delivers all the control needed to define, enhance and fine-tune your surround mix to perfection. Achieve natural and coherent upmixing from stereo to 5.1 and 7.1 via Halo Upmix, take advantage of ISL's transparent True Peak limiting and SEQ-S's linear phase EQ in surround modes, and complement your surround workflow with Halo Downmix's precise and tweakable downmixing.

With unique centre channel management, including switchable dialog extraction, Halo Upmix is perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience.

With surround delivery requirements becoming more and more common, a tool like Halo Upmix can be indispensable. Unlike legacy upmixing practices, Halo Upmix offers full downmix compatibility. For those working in Dolby Atmos, Auro 3D and Ambisonic environments, a 3D immersive audio option is also available.

Precise surround control, versatile downmix balancing and mix monitoring for accelerating and enhancing your surround productivity. Halo Downmix is the glue that brings your workflow together, allowing you to deliver in surround and stereo with ease and without compromise.

SEQ-S gives you EQ matching up to 7.1, with stereo mid/side operation and automated spectrum analysis. Automated EQ morphing allows for controlled scene transitions and creative sound design possibilities.

Surround delivery requirements are becoming more common, making a consistent surround workflow indispensable for anyone in post production. Expand your existing stereo and 5.1 mixes with zero artificial reverberation or chorusing effects, tweak and refine with True Peak limiting and powerful EQ sculpting/matching/morphing, and then fine-tune your downmix to ensure the best possible stereo fold-down.

NUGEN Audio is in the process of phasing out some older plug-in formats. Our most recently updated products no longer support 32-bit or RTAS/VST2. Customers who still wish to use these formats can download a legacy installer from the Build Archive.

The Master Section is not part of the montage. However, optionally, you can save the Master Section preset to the montage.

This being said, try this: load the montage. Start playback. You should see 6 sliders in the Master Section. Now insert your plugins. They will know they must accept 6 channels.

Also, use VST3 plugins, not VST2 plugins.

I followed your steps and noticed something peculiar. When loading a 5.1 surround montage, six faders appear in the Master Section right away, but when I try to insert the StudioEQ plugin, for example, the aforementioned error is thrown. But, once I play a moment of the audio file contained in the montage, I can then insert that plugin without error.

Well my plugin offers up to 256 inputs and outputs, which is currently only reached by Pyramix. But for example Reaper with AU can use 64 channels and i want to provide that. Other hosts might also change and offer AU with many channels as discrete layout.

I do not want to tell Reaper users (and possibly others) to not use AU if they want many channels. I rather prefer a programmatic solution. So, if there is a way to check for infohelper and auvaltool, please tell me how.

When you return true unconditionally, the busIgnoresLayout check in juce_AU_Wrapper.mm determines that the channel layout and order does not matter to the plugin, and the plugin will report that the channel layout property is not writable.

I think that the following isBusesLayoutSupported implementation will cause busIgnoresLayout to return false, while still allowing discrete channel layouts in hosts such as REAPER. Could you try this in your plugin please?

When you return true unconditionally, the busIgnoresLayout check in juce_AU_Wrapper.mm determines that the channel layout and order does not matter to the plugin, and the plugin will report that the channel layout property is not writable.

It seems like Logic will only send channel layout information to plugins that report that the channel layout tag is writable, and that advertise some supported layouts.

I think that the following isBusesLayoutSupported implementation will cause busIgnoresLayout to return false, while still allowing discrete channel layouts in hosts such as REAPER. Could you try this in your plugin please?

I am currently experiencing similar issues with 6.1 and 7.1 formats in Logic (also testing with the JUCE Surround example to verify). 6.1 is detected as 6.0 and a Stereo->7.1 instance does not appear (7.1 SDDS works fine).

My previous post regarding AudioChannelSet::getTypeOfChannel not working correctly was due to 2 factors: 1) Seems I need to perform a Full Audio Unit Reset every time I change isBusesLayoutSupported (and not just reset a specific plug-in) 2) As as test - always returning true from isBusesLayoutSupported does cause a Stereo->7.1 instance to appear in the mixer, but the channels are incorrect.

So, currently in my own plug-in I have copied isBusesLayoutSupported from the JUCE surround example and after a Full Audio Unit reset I can query all channel types and buffer indices correctly for all formats except 6.1 and 7.1. I am on a M1 Mac running Logic 10.7.4, MacOS 12.4. JUCE 7.0.2.

Final question: is the appropriate way to query if the plug-in is an AU in isBusesLayoutSupported using hostType.jucePlugInClientCurrentWrapperType == wrapperType_AudioUnit? Since isBusesLayoutSupported is called by some AUVal/Service (whatever Logic does differently here with their intermediary host) and not refreshed each time the plug-in is loaded, it also makes me nervous that hostType would be fully initialized by the time this AU loader queries bus layouts.

I checked the SurroundPlugin, and it still loads correctly with a 7.1.2 configuration - however, as soon as I remove the sidechain input/output (just leaving the stereo ones), it also stops loading in 7.1.2.

Most applications only emulate Vim's / vi key bindings (and often only the basic navigation and editing commands). That goes a long way to helping vi users edit comfortably, but it isn't the real thing.

Unfortunately, to be able to use Vim plugins, you'll need the full Vimscript interpreter and infrastructure around 'runtimepath'. I'm not aware of any application that provides this, and because of the complexities and idiosyncrasies of Vim, this would be very hard indeed.

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