Dolby has recently released a new version of the Dolby Atmos Renderer software for the Dolby Atmos Production Suite and the Dolby Atmos Mastering Suite. There are several improvements with this latest update. Below you can find the highlights of what been changed, our recommendations, and more information on this update.
macOS Big Sur 11.5 Now Supported
Dolby Atmos Renderer v3.7 is now supported on Intel-based Macs running macOS Big Sur 11.5. Renderer v3.7 is also compatible with macOS Big Sur 11.5 on M1-based Macs utilising Apple’s Rosetta 2 code translation. Be aware that you may experience performance issues due to this translation and ensure that all required drivers for audio I/O and license authentication (iLok) are M1 compatible.
Dolby Audio Bridge v2.0
Dolby Audio Bridge v2.0 automatically clocks to output hardware. This eliminates the workaround of using an aggregate device to ensure proper clocking, such as when using Avid HDX or HD Native hardware.
Support for Dolby Atmos Binaural Setting plug-in v1.1 in plug-in formats
Dolby Atmos Binaural Setting plug-in v1.1 for Mac is now included in the installer as an optional install, in these formats:
- Avid Audio eXtension (AAX)
- Apple Audio Units (AU)
- Virtual Studio Technology (VST3)
The user interface has also been updated so that the Binaural Settings plug-in now indicates unassigned objects via a yellow outline.
Dolby LTC Generator v2.0
Support for Dolby LTC Generator v2.0 in multiple plug-in formats
Dolby LTC Generator plug-in v2.0 is required for synchronizing the Renderer to LTC over audio from a DAW on a system using the Dolby Audio Bridge.
The Dolby LTC Generator v2.0 for Mac is now included in the installer as an optional install, in these formats:
- Avid Audio eXtension (AAX)
- Apple Audio Units (AU)
- Virtual Studio Technology (VST3)
The renderer no longer supports MTC (MIDI Time Code), so Dolby recommends using linear timecode (LTC) over audio for all workflows that require synchronization. Steinberg Nuendo, DaVinci Resolve and Reaper all have timecode generators, but you can use the Dolby LTC Generator v2.0 in other workflows.
Depending on the DAW or plug-in format, the plug-in displays synchronization information or provides controls for synchronization settings, including a Frame rate drop-down menu or display, Start time field or display, and Output display for LTC confidence checking.
New DAW templates and presets
V3.7 now includes new or updated DAW templates and presets which are found in the installer.
- New templates: Nuendo 10.3, and Nuendo 11
- New presets: Resolve Studio 17 Fairlight
- Updated templates: Pro Tools and Nuendo 10
Frame rate improvements
- The default frame rate for the Renderer has changed to 24 fps.
- The Renderer frame rate is displayed in the frame rate readout in the Renderer main window header and is set in the Driver
- A frame rate mismatch error message displays when your digital audio workstation (DAW) and the Renderer frame rates do not match. This alerts you to change either the DAW or Renderer frame rate.
MP4 Export with Video
When exporting a master to MP4, you can now add a custom video file, rather than just include black video (Renderer v3.5 and earlier behaviour), or create an MP4 file without any video. The custom video input must be an mp4 with an h.264 video elementary stream.
When you choose Custom video, a Video file field displays. You can manually enter the file path for the video here, or you can click the Browse button, and then locate and select the file. If no file path is specified, the file will be exported with black video.
New shortcuts for muting speakers in the room configuration display
The renderer main window now supports more shortcut options for muting (and unmuting) the monitor output level of one or more speakers in the room. See the Dolby Renderer Guide v3.7 for more info.
Updates for working with Input and Master mode settings
The Input configuration, Binaural Render mode, and Trim and downmix controls windows have been updated to support different Input and Master settings, manually changing settings, or copying settings from the master to the input, or vice versa.
With these changes, it is now possible to play a master that has a different input configuration than what you are monitoring live. The master no longer controls the input configuration and will no longer mute objects that are being monitored but are not defined, or are defined differently, in the master.
In the bottom left of the main window, the Renderer provides status information when settings in the Input and Master file do not match. This section provides status information for these settings: Input Configuration, Binaural Render mode, and Trim and Downmix controls.
Overall these updates to the Dolby Atmos Renderer v3.7, Binaural Settings & LTC Generator Plug-ins bring a great combination of user interface additions, workflow improvements and new features to the already very powerful Dolby Atmos Production Suite (Mac Only) and Dolby Atmos Mastering Suite (Mac & PC). We’d recommend checking OS & DAW compatibility prior to upgrading, and to follow best practices regarding system backups etc. For more information, feel free to get in touch with our sales or technical support teams.
[maxbutton id=”1″ ]
You can download the installers for DAPS and DAMS here.
Prerequisites
- DAW with Dolby Atmos features, with Virtual Audio Device 3.2 (or above) must be installed and configured.
- Dolby Atmos Renderer running on a Windows computer : Merging Audio Device 2.1 (or above) must be installed and configured.
- Dolby Atmos Renderer running on a MacOs computer : Virtual Audio Device 3.2 (or above) must be installed and configured.
Depending on your configuration and requirements, VAD Premium might be required (Standard version being AES67 only and 64 IO Max - Merging Hapi MKII
Highly recommended over Horus and Hapi 1st generation due to the MkII ZMAN and AoIP stream flexibility. - Merging Anubis running the Monitoring mission (optional)
- A properly configured managed network switch. See this page for details and configuration guides.
Scope
In this configuration, up to 128 channels can be sent from your CoreAudio DAW in the Dolby Atmos Renderer, hosted on a separate computer (MacOS or Windows) through AES67 / RAVENNA network.
- The Dolby Atmos authoring process can be quite CPU intensive, depending on the size of your project.
Therefore, Merging recommends running on i7 CPU (or more) with 16 Gb of RAM (or more). -
Dolby Atmos Renderer on Windows: the Dolby Atmos Renderer requires MAD to be configured with a buffer size of 512 samples. Therefore, it cannot be used in AES67 mode since AES67 requires MAD to be set with buffers sizes which are multiples of 48 (48, 96, 192 or 384 samples).
If the Dolby Atmos Renderer is hosted on a Mac computer, there is no such limitation. - Recording back Live Re-renders on the DAW computer is possible. The number of channels may vary depending on your computer and project configuration.
Exporting Re-renders offline from the Dolby Atmos Renderer application is possible when opening the Dolby Atmos ADM Master file (Export Audio > Re-Renders). - MacMini 10Gb Ethernet port : currently not suitable for RAVENNA/AES67 network. Please use a dedicated USB-C to Ethernet, USB3 to Ethernet, or Thunderbolt to Gigabit Ethernet (Sonnettech) adapter.
Configure the AES67/RAVENNA Network
- DAW Computer — Virtual Audio Device
Important Note : The MacMini 10Gb Ethernet port (embedded) is not suitable for RAVENNA/AES67 network.
Please use a dedicated USB-C to Ethernet, USB3 to Ethernet, or Thunderbolt to Gigabit Ethernet (Sonnettech) adapter.
Please go in the System Preferences — Merging RAVENNA / AES67 Settings :
-
- Switch to RAV/AES67 mode
- Set the Latency to 10 ms (480)
- Tick the Safe Mode option.
- Set the sampling rate to 48000
- Set the required Number of Inputs and outputs:
Up to 128 Inputs and outputs, but unused channels will still use some power processing.
Therefore Merging recommends you rather set the number of channels you need ; e.g. if you don’t plan to use Live Re-renders, 16 (up to 9.1.4 + Binaural) or 24 outputs are sufficient.
- Hapi MKII
Browse to Setup > System, and set the Latency to AES67 48smp. - Anubis
Browse to Home (Merging logo button) > Settings > General, and set the Latency to AES67-48 (RAVENNA).
Configure the Dolby Atmos Renderer audio driver
MacOs — Virtual Audio Device driver
Important Note : The MacMini 10Gb Ethernet port (embedded) is not suitable for RAVENNA/AES67 network.
Please use a dedicated USB-C to Ethernet, USB3 to Ethernet, or Thunderbolt to Gigabit Ethernet (Sonnettech) adapter.
The Dolby Atmos Renderer requires specific settings to communicate with Merging RAVENNA/AES67 devices.
Please go in the System Preferences — Merging RAVENNA / AES67 Settings :
-
- Switch to RAV/AES67 mode
- Set the Latency to 10 ms (480)
- Tick the Safe Mode option.
- Set the sampling rate to 48000
- Set the required Number of Inputs and outputs:
Up to 128 Inputs and outputs, but unused channels will still use some power processing.
Therefore Merging recommends you rather set the number of channels you need ; e.g. if you don’t plan to use Live Re-renders, 16 (up to 9.1.4 + Binaural) or 24 outputs are sufficient.
Windows — Merging Audio Device driver
The Dolby Atmos Renderer requires specific settings to communicate with Merging RAVENNA/AES67 devices.
Please open the MAD Panel, and click on Advanced settings :
-
- Set MAD in RAV/AES67 mode
- Set the Latency to 16/32/64
- Set Merging Audio Device as Master ASIO Host
- Set the sampling rate to 48000
- Set the Buffer size to 512
- Set the Sample type to 32bit integer
-
Set the required Number of Inputs and outputs:
Up to 128 Inputs and outputs, but unused channels will still use some power processing.
Therefore Merging recommends you rather set the number of channels you need ; e.g. if you don’t plan to use Live Re-renders, 16 (up to 9.1.4 + Binaural) or 24 outputs are sufficient. - Merging recommends you disable the MAD — WDM, or do not set the WDM outputs to any Bridge channels, to avoid having the WDM channels routed into the Dolby Atmos Renderer.
- Click on Apply
Configure the Dolby Atmos Renderer application.
Start the Dolby Atmos Renderer.
- Go in Preferences (Mac) or File > Settings (Windows)
- Mac : In the Driver Settings, set Audio Driver to Core Audio, then both Audio input and output device to Merging RAVENNA/AES67.
Windows : In the Driver Settings, set Audio Driver to ASIO, then both Audio input and output device to Merging Audio Device. - Set the External sync source to LTC over Audio
Set the LTC input channel to 128 (or adapt to the number of inputs you have set in the driver).
Set the required Frame rate
- If you don’t plan to use Re-renders, you may disable this feature.
- Click on Accept.
The Dolby Atmos Renderer will then initialize and verify that the driver is compatible, this may take some time. - Go now in the Window > Room Setup page to configure your room and set the routing.
Please see Setting up a room in the Dolby Atmos Renderer Guide (accessible through the Help menu).
Take note of your Routing, as you will need to connect the related outputs to the Merging RAVENNA/AES67 devices.
Configure Merging+Anubis — Monitoring Mission
The Anubis Monitoring mission lets you easily control your Dolby Atmos Monitors, with its unique Downmix and Bass management features.
For more details on the Anubis Monitoring mission capabilities, please consult the Anubis User Manual.
You may also connect a Hapi MKII directly to the Dolby Atmos Renderers outputs, but you will need an external Monitoring control device.
More details on how to create sources and monitors can be found in the Anubis — Monitoring mission tutorials.
To be able to listen to the Multi-channel outputs (12 outputs -7.1.4 — in our example), you will need a Hapi MKII device connected on the network.
Connect the audio inputs and outputs with Aneman
Please start Aneman.
- Create a Sample Rate Zone (if you don’t already have one)
Drag and drop CoreAudio on the top of the zone (inside the crown icon).
Drag and drop Anubis and the additional device(s) in the zone.
Drag and drop the CoreAudio (Dolby Atmos Renderer on a Mac computer) or ASIO (Dolby Atmos Renderer on a Windows computer) in the zone.
Connecting your DAW to the Dolby Atmos Renderer
Connecting the Dolby Atmos Renderer to Merging Anubis
- In the World view (left pane), select both CoreAudio (Mac) or ASIO (Windows) and your Anubis.
- In the Matrix (right pane), connect the relevant CoreAudio / ASIO outputs to your Anubis Sources.
Note : the number of channels to connect should be set in accordance with the driver and the Dolby Atmos Renderer output routing. - In this example, the CoreAudio / ASIO 7.1.4 outputs are connected to the Anubis Source called Dolby Atmos (outputs 1 to 12 in the Dolby Atmos Renderer — Room Setup — Routing page)
The CoreAudio / ASIO Headphones are connected to the Anubis Source called Binaural ; outputs 127-128, as set in the Dolby Atmos Renderer — Room Setup — Routing page.
If you need to reduce the number of output channels from CoreAudio / ASIO, please change the Headphone routing in the Dolby Atmos Renderer, and connect the corresponding outputs.
Connecting Merging Anubis to Hapi MKII
- In the World view (left pane), select both Anubis and your Hapi MKII.
- In the Matrix (right pane), connect the relevant Anubis Monitor to the Hapi MKII.
Note: Make sure you first select the Monitor set on the Anubis itself in order to see it listed for connectivity in ANEMAN - The Binaural Source can be listened to by selecting the Stereo Monitor (named «Phone» in our example), then the Stereo Source (named «Binaural» in our example), directly on the Anubis.
Connecting the Dolby Atmos Renderer to Hapi MKII (without Anubis)
DAW Configuration
- Please follow your DAW manufacturer documentation to configure its Dolby Atmos Features.
Notes
- Dolby® Dolby Atmos, and the double-D symbol are registered trademarks of Dolby Laboratories
Licensing Corporation. Confidential unpublished works. Copyright 2021 Dolby Laboratories. All
rights reserved. - The computer should be properly configured for real-time audio applications.
Please consult our configuration guides for Windows computers or Mac computers. - Apple Mac M1 users : as of today (Dolby Atmos Renderer v3.7.3), the Dolby Atmos Renderer is compatible with, but not fully qualified on, M1 Macs, as the Renderer runs as an Intel process (see Activity Monitor under the “Kind” column) via the Rosetta 2 translation layer, which may cause performance issues.
Dolby has released v5.1 of the new all-in-one Renderer application announced back in March with support for head tracking devices and more. We have the details.
Back in March 2023, Dolby announced a new Renderer application that brought together Dolby’s industry-leading audio production tools – the Dolby Atmos Production Suite and the Dolby Atmos Mastering Suite – into an all-in-one solution for creators.
Dolby Atmos Renderer V5.1 New Feature Summary
Dolby has now announced v5.1 of this application with the following new features…
-
Support for head tracking devices
-
Binaural Renderer mode settings persistent between Renderer relaunches.
-
Dolby Atmos Binaural Settings plug-in (v1.3) includes two user presets.
-
On Windows, access to the control panel (or settings) application of an ASIO device via the Renderer Settings window.
-
New View menu and keyboard shortcuts, to maximize or minimize the objects view (virtual 3D room), and change view and show options in the objects view.
-
The Renderer now includes View menus and keyboard shortcuts, to maximize or minimize the objects view (virtual 3D room), and change view and show options in the objects view.
-
More On Dolby Atmos Renderer Head Tracking
You can use a head tracking device to track head movements while listening to binaural content in the Renderer. The binaural output is rendered according to the position of the head tracking device. This allows you to interact with three degrees of freedom inside the virtual room. The direction of the head tracking device is visually represented when person view is selected in the object view.
With Headphone output and Binaural Render mode enabled, you can enable Renderer head tracking in the Renderer preferences, and select the Dolby OSC head tracker driver (provided with the Renderer) or a head tracking driver provided by your head tracking device manufacturer.
Head tracking tracks the orientation of your head and allows you to interact with three degrees of freedom inside the virtual room in real-time when monitoring binaurally with headphones.
With Dolby Atmos Renderer v5.1, creators will be able to use a compatible 3rd party head tracking device to experience head tracking while mixing Dolby Atmos content. Enabling head tracking while mixing allows creators to get more inside the mix when creating Dolby Atmos content binaurally with headphones.
Initially, with Dolby Atmos Renderer v5.1, you can enable head tracking when using the Supperware Head Tracker 1. It is expected that additional devices will be available in the future.
Once head tracking is switched on in preferences, you can use a compatible partner head tracking device to track head movements while listening to binaural content in the Renderer. The binaural output is rendered according to the position of the head tracking device. This allows you to interact with three degrees of freedom inside the virtual room. The direction of the head tracking device is visually represented when person view is selected in the object view. However, the output to the head tracking device does not depend on the view mode; it also works in theater view. However, if you want to see the person in the object room, you need to switch to person view.
Note that head tracking with the Dolby Atmos Renderer is purely for monitoring to provide the best possible headphone mix. No metadata is written into the DD+JOC or Dolby AC-4 bitstream.
Head tracking in Dolby Atmos Renderer is specifically for content creators to use while mixing Dolby Atmos binaurally. The experience is very similar to the consumer experience when using head tracking in consumer devices that support Dolby Atmos. However, these consumer devices allow head tracking on both Dolby Atmos and stereo content, and no head position metadata is passed from the creator to the consumer.
Head tracking tracks the orientation of your head and allows you to interact with the virtual room in real-time when monitoring binaurally in headphones. Dolby Atmos Personalized Rendering, or Personalized Head Related Transfer Function (PHRTF), allows users to create a profile of their head using a mobile app, and then load that profile into the Renderer to improve the binaural listening experience. The two technologies can be used independently or together.
Head tracking while mixing in Dolby Atmos is currently only available with the Dolby Atmos Renderer application. However, Dolby has told us that they are always working with DAW partners on improvements to the workflow, so this could be possible in the future.
How To Download The Dolby Atmos Renderer V5.1
If you have brought or already upgraded to Dolby Atmos Renderer V5.0 then you can download the latest version from either Dolby Customer support or Avid. Users of Avid Link who already own Renderer V5.0 will find it in the Products tab.
-
The new integrated Dolby Atmos renderer is included free in Pro Tools Studio and Ultimate and improves the efficiency of immersive mixing workflows with simplified setup, mixing, and monitoring. You can now render and monitor Dolby Atmos mixes within Pro Tools without having to roundtrip to an external renderer. A new window provides comprehensive visualization of your Atmos mix from various perspectives and enables you to quickly switch between multi-speaker and binaural headphone monitoring. Additionally, a new I/O Setup tab simplifies the configuration of beds, objects, groups, trim, and downmix settings and saves them as part of your session for easy recall.
https://www.avid.com/plugins/dolby-atmos-renderer
https://westlakepro.com/pro-tools-2…&utm_campaign=What’s+New+In+Pro+Tools+2023.12
The Dolby Atmos Renderer is the central element of any Dolby Atmos mixing system. It works in tandem with your DAW to render your mix to any playback environment, based on the audio and positional metadata you author in the DAW.
It renders up to 128 inputs (including audio beds and objects with metadata) to your monitoring configuration, as well as rendering to standard channel-based layouts for both monitoring and deliverable creation. It also creates the Dolby Atmos master file, used for encoding for final distribution to streaming services or Blu-ray.
Create and deliver immersive Dolby Atmos mixes for music, home theater, television, podcast, and gaming with the Dolby Atmos Renderer application. Whether you are in the studio or in an offline edit suite, or using a laptop with headphones, you can place and move sounds in three dimensions and bring your audience deeper into your work.