9.1.6 Atmos

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Venice Sassone

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Jul 21, 2024, 7:48:06 AM7/21/24

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So my question: Has anyone faced a similar problem and found a solution for it? Or has exact object coordinates at hand that only address the Lw / Rw speakers? I am also enthusiastic about unconventional ideas. (After all, our whole 9.1.6 workflow is rather unorthodox).

And to Steinberg I would have the request to provide with one of the next updates also a Dolby Atmos compliant bed layout, where the speakers correspond to the configuration L / R / C / LFE / Ls / Rs / Lrs / Rrs / Lw / Rw / Lfh / Rfh / Ltm / Rtm / Lrh / Rrh. Where each speaker can also be displayed in the sound field and decided on or off. We may be an exception with this request. Nevertheless: Such a bed layout would be extremely helpful. And this is independent of whether the integrated Atmos renderer can render this or not.

9.1.6 atmos

Download File >> https://fancli.com/2zvIGd

I have now found a possible solution. In the first step, we use WaveLab to remove the metadata from our ADM file, which we previously exported from Nuendo. We then get a nested 16 channel file. This is accepted as input by the Dolby Encoder Engine.
However, we can only encode in E-AC-3 JOC. TrueHD with Atmos does not work. As a result we get an E-AC-3 JOC file with a bed channel count of 16 channels (9.1.6).

Perhaps for testing and calibration purposes, you can try to encode with the Dolby Atmos AWS-Service (link is posted somewhere here in the forum). It allows 16x discrete WAV files to be uploaded. From what I have heard, also ADM-Files can now be uploaded. But this service gives back only DD+ with Atmos and no TrueHD.

Other issue is, that there are not many consumer AVRs available, which go beyond 7.1.4 Dolby Atmos processing. From what I know, only the quite pricey Trinnovs can do it. Perhaps there are som others too.

All signals panned in Nuendo with these values will be played back exclusively via the Lw or Rw channel after encoding (E-AC-3 JOC or TrueHD with Atmos). This means that all channels of a 9.1.6 mix can also be addressed individually in Nuendo. (Even though Nuendo can only handle 7.1.4 channels).

In principle, of course, that would be possible. But there are different ways to achieve the desired result. How familiar are you with Dolby Atmos and Nuendo? Have you ever created an Atmos project in Nuendo?

9.1.6 96 kHz is practically for cinema. where the additional wide space creates a more immersive experience. Technically Nuendo should have given us the option as its primarily a post production workhorse.
For the current project I am exporting 9.1.6 stems and will be moving the final step to Davinci Resolve Fairlight as I already own 2 dongles.
Hopefully the next Nuendo update activates the feature set and at no extra cost
Keeping fingers crossed.

No, Nuendo does not output a 7.1.4 signal. Atmos is object-based.
However, if you later encode the ADM file into a consumer format (e.g. E-AC-3 with JOC), the objects will be placed in such a way that they will play correctly on a 9.1.x system.

I think the panner needs to be tweaked as the bed bridge speaker routing is missing , I can confirm this by opening the exported file in fairlight. On the other hand objects are always in infinite space. so yes 9.1.6 level meter should do the job.

Wanted to downgrade to Ventura, but on Mac you CANNOT downgrade...I would have to create a boot loader disk and maybe installing from there Ventura will kill ALL SYSTEM, so Logic with 100 plugins installed.

It's crazy that Apple changes those things without any advise and leaving us professionals without any support and creating us huge problems to do our work.....at this moment we have to close the 9.1.6 room until we find any workaround, of course without any help from Apple, as they're NON-EXISTENT for us pro customers....what a pity....I'm a little p.... o...... Seriously.

From Apple there is no answer and no hint at all. I think this is a license thing: Apple doesn't want to pay license for 9.1.6 but only for 7.1.4 (as Logic doesn't support more) and for that reason they killed it in Sonoma.

So we have to live with at the Studio and reproduce 9.1.6 stuff via the Dolby Atmos Renderer speaking directly to the audio interface. What a pity - lack of information of Apple, as all the big companies do. That's life, not being a multi-billionar :D

I'm afraid that apple is just sitting on the Spatial / Atmos SW engine, and has only allowed it for their own streaming service and their own DAW (Logic Pro).
The new apple scilicon Macs are plenty capable (as proved by Apple Music), costs more than some Atmos/ Auro 3D capable AVRs, so I really hope they open the bag for other streaming services like Tidal and Netflix.

All I want for Christmas is . . . .

I've been trying to figure this one out. I believe Apple claims that the Dolby DD+JOC decoder is available to other apps in macOS, but I've never been able to get those apps to use it. I tried a podcast app that streams Atmos, but it didn't work.

The Berliner Philharmoniker Digital Concert Hall streams in Dolby Atmos, and it works in safari on Mac. That is the only non-apple streaming content that I've seen play in atmos on a Mac. So technically possible, just not widely available.

Oe of my worries is that Apple locks down access to the DD+ decoder to some apps only. If Qobuz launches Atmos, can its desktop app route through the decoder or will it be available on via iOS like Tidal and Amazon.

Chris, I'm afraid that Apple has made its "Spacial audio" concept as a loop hole, avoiding to pay Dolby the licensing fee.
I assume the licensing fee is Dolby's main income stream.
So Spacial audio isn't actually Atmos, but just a competing container of the same type of content.

Dolby likely accept this loophole, as they depend on a lot of Atmos content creators running on Apple silicon.
This also means that the beautiful, efficient and fast Apple SOC will continue to be locked out of decoding actual Atmos streams.
Lawyers and conflicting commercial interest has us locked out at least for the foreseeable future.

/Speculative RANT END/

I hope, I beg and pray that I'm utterly wrong, and that general Atmos streaming and decoding in OSX will be available shortly.
Just give me Tidal, Netflix and Youtube ?

Oh, and give me headphone decoding with a neat little Apple headtracker and personalised HRTF ?
Man, that would be awesome.

Dolby Atmos has taken the audio world by storm, and more and more studios are focusing on recording to its incredibly immersive three-dimensional sound experience. Every studio has its own take on how to set up for mixing for Dolby Atmos, but not many have taken the route of Sound360, a South Korean studio producing a variety of music genres, and naming K-Pop sensation BlackPink amongst its clients.

After extensive experience using a 7.1.4 surround sound mixing studio, the owner of Sound360, Junghoon Choi, decided to design his 9.1.6 studio in a circular shape for better speaker positioning. Numerous simulations and a lot of fine-tuning went into perfecting the sound, and Sound360 are now the first certified Dolby Atmos Music studio in Asia, and the only studio in South Korea capable of mixing and mastering in Dolby Atmos 9.1.6.

Ever since the early '90s when I first started working in music studios, I've always used Focusrite products" says Mr Choi. I had my eye on Red and RedNet since they first launched and was able to experience them working at a seminar held by Soundcat in my studio."

Sound360 also has an individual take on mixing and rendering Dolby Atmos, using a single computer with Red interfaces and a RedNet network setup, rather than using two separate computers which is a more conventional setup for Dolby systems. This simplified all the technicalities of the Dolby mixing environment", says Mr Choi.

All the recording at Sound360 is done through the Red 8Pre and the additional MP8R. I've used countless mic preamps in my career but the preamps on these devices are astounding and I don't feel the need to use any external preamps.

When it comes to setting up a Dolby Atmos mixing system, monitor control is a crucial part, and that's where the Red 16Line is used to simplify the setup. A simple setup means I can be more flexible when it comes to mixing in Atmos format, while having full confidence in my mixes with the excellent conversion that the Red 16Line provides."