Surround Mixing Pro Tools 9 Crack
Bernd Manison
This time, lets look at the Pan Laws using Pro Tools as our base. This has been a bit confusing for some and in my opinion, one of the most unused things within Pro Tools. One of the reasons I wanted to write about this is because of the mention of Pan Law in my previous article about Dolby Atmos. For now, I will explain this in the stereo field, as to my knowledge both the Atmos Object and the surround Panner rely on the -3dB pan law which has an update here.
Now, we know that a constant Power pan law is needed to maintain loudness, this is used prominently in a surround pan law. Between speakers, it implements a constant power law. This is extrapolated when you pan between speakers in a surround field. But again as I mentioned in this blog, we have to be aware of the surround pan in between a speaker and an array.
This is an article from our friends at Waves we thought you would be interested in reading. How is mixing in surround different than stereo mixing? There's more to it than you might think. Find out how to work with an expanded sound field, how to create realistic spatial effects, and how to avoid phasing issues and other pitfalls.
Creating surround mixes from mono sources is a lot easier, and a lot more effective, than creating one from stereo sources. For that reason, consider reducing your beautifully recorded stereo piano down to an equally beautiful mono version before starting your surround mix. Ditto for stereo guitars, stereo keyboards, stereo backing vocals, etc. Doing so will allow you to construct a more impressive surround field, with a lot less need for compression, EQ, or other types of processing.
There are no definitive rules about placement within the surround field, but in general try to keep the steady groove in the front and use the rear channels for percussive accents, backing vocals, and for spreading the mix out far and wide. Avoid routing any essential steady rhythmic elements into the rears wherever possible, because in large rooms, the distance between the front and rear speakers can make the song feel rhythmically unstable.
Other than that, you can do pretty much anything you want. Here are a few suggestions:
Developed in partnership with Dolby, the Pro Tools Dolby Atmos Production I + II course is designed for professionals who are transitioning from traditional surround formats to Dolby Atmos mixing, as well as experienced Dolby mixers who are interested in deepening their skills and learning best practices. This course thoroughly covers essential tools as well as comprehensive professional workflows.
Firstly, great to see yet another brave soul venture into the world of surround mixing. Sadly though there is no such guide that is worth the paper it took to plan it out, simply because there are no real 'how to mix in surround' tutorials in the manner I suspect you are looking for. What does exist are some superb technical recommendations I would striongly advise you to read. First up is the RPGA (Record Producers Guild of America) 5.1 guidelines.
This will give you the basics that are required to correctly set up, calibrate & utilize your mixing setup, as well as what some of the traps & pitfalls for the unwary exist. Then it will tell you how to handle the rendering of your mixes, and I really cannot think of enough good things to say about it - you need this book. We all need this book.
The other advice I would give you is frankly Do not mix for 5.1 using Premiere! Period. At all, except for valid reasons such as checking sync (although there are better ways) or - and this is the sole reason for me - unless you need to create an AC3 file for DVD or online use (although streamed surround can be a bugger, as you must always make compromises because of downmix issues). You mention that the tutorial for PPro is 5 years old - well, so is their audio engine (as a minimum, too) so no loss there - very little will have actually changed.
Use a DAW instead - Audition, Cubase, Nuendo, ProTools, Logic, Harrison MixBuss, Reaper - anything except PPro, because it's audio handling & panning in surround is not stable or solid, plus it simply isn't really designed to do this - it's an NLE. What I tend to do is bounce off an H264 mp4 file and use that in Nuendo as a sync reference. If you are worrying about audio tracks, then at the very least you can bounce each track off as a WAVE file (mono or stereo) out of PPro and rest assured things will not get out of sync at all.
02 - Music can be either 4.1/4.0 or stereo - again, if there is any dialogue over the music, avoid centre channel. If the timing works, you could use a 5.1 music track, but the odds are you will be upmixing from stereo if you want music in the rear channels. There is a good argument to be made that the score should only ever be in stereo but as with all these 'rules', they mean less than nothing in most cases.
I ma sorry I forgot to answer your last question. I don' have an incredible setup. Just a new system I put together a few month ago. Not being not audio guy, I just have a very simple 5.1 surround audio speaker system. Nothing fancy at all You'll know that instantly when I mentioned the company name: "Logitech".
I think I know what you will be using now you have said 'LogiTech', and they are computer gamers kit rather than serious mixing kit - personally, I would say that you are going to have to spend some money here and would recommend something along the lines of Adam Audio A3-X as they have not only a superb sound (I use A7-X on my DAW and A3-X in stereo on my NLE and that ribbon tweeter they use is oh, so much smoother than any 1 or even 2" compression drivers or Titanium Tweeter devices I have ever heard.)
1) really knowing/treating/enhancing your monitoring environment. Fully accepting the inevitable flaws it will manifest in comparison to a scientifically precise / accurate environment, relying on your intuition and by comparison to very basic consumer devices such as car speakers, stock apple headphones, or whatever else. "it's all relatve today" as my brother & i have said in songs long ago. you will be better of learning about / accommodating for the acoustics of a given room for surround sound implementations (and then applying them accordingly) than you will be by simply acquiring higher end gear.
3) really getting to know / access the dsp tools that will help all your components of a pending surround mix/product be great / have parity ... and then then (what i know way less about): actually allow you to upmix or otherwise work in surround formats.
b) enable you to convert between different codecs. i haven't messed with this for surround, so i'll leave it to others if they wish to comment further. apparently tools such as Penteo or Neural or UpMix are popular and more effective than some alternatives. but then there are open source methods for those who are sufficiently brave or insufficiently financed.
.... and even if you don't have access to other monitoring environments that can playback your surround piece (which is far less common than having access to a 2.0 or 2.1 system of higher fidelity than your own), just remember:
Pro Tools makes music creation fast and fluid, providing a complete set of tools to create, record, edit, and mix audio. Get inspired and start making music with a massive collection of plugins, instruments, and sounds. Tackle your most ambitious visions with proven features that power you through the most demanding projects.
One of 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.
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.
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.
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.
Is there anyone here working on anything other than Pro Tools? I'd like to know opinions about alternative DAWs, mainly thinking about feature film editing and surround mixing. What's there for real? Nuendo, I guess? What else?
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