Відео

Hi. İf ı want to 2th order sound design for Vr or 360 video (FB, Oculus) content without headphones with speaker, what is the true speaker placement? İs it like dolby atmos speaker placement which is recomended for spatia audio? Thanks

Hi, thanks for this review. How good its dac preform? Or do you suggest to use it with external dac?

Say “There’s a bomb in there.”

Can the Mpc Live 2 do Dolby atmos?

worst headset I've ever bought in my entire life, and I've owned several, I'm a gamer and I've been buying parts since the 90s, I already own different models and brands of headphones and my first and last experience with HyperX was buying this one crap orbit S, they denied me the warranty due to a physical defect, and the phone opened cracks everywhere in less than 1 month of use, and I'm extremely annoying and cautious with my computer stuff. Not even the 5 dollar crap from Leadership that I bought at the supermarket was a problem like that. I paid 280 euros, it broke in 1 month, I had to patch it completely with durex and silvertape because the warranty refused to return the money or give me another phone because the defect was physical I don't buy anything else from HyperX Kingston and HP, I know they are the same company I cannot be left with a guarantee that is not a guarantee. I hope more people become aware of poor hyperx quality and guarantee.

As a Maschine user with a 7.1.4 Atmos studio, this is pure gold! 💯

Thanks a lot prof always informative and entertaining ;) I have virtuoso and my problem with it is the size of the buffer size to avoid cracks in the audio 2048 sample and still after short time I’m working start to crack ….annoying and at the end not reliable I’m on m3 MacBook Pro

Absolutely loving the way you teach. the pacing, the knowledge... the out of the ordinary topics in music (much appreciated)

There is no way I am paying 300$ for Atmos Renderer to get head tracking. I have the Mobius but they are so delicate. Hope headtracking works without buying Dolby Atmos Renderer but I am trying right now to see how sound has improved . Love the durability of them though

Someone needs to develop a speaker array mounted to drones. With one touch of a button they could assume the 7.1.4 position and then return to a dock just as easy.

Super helpful video thanks.... just wondering how to go the other way... if you have an Atmos monitoring setup but want to create an Ambisonic mix? Do you have a video for that?

Excellent video

Hey Michael, When setting the Ak_trigger_exit the sound gets stopped and doesn't play again when the player is in the sphere collider [trigger] ,in this video you have set the structure to be play_music [event] and Stop_music [event] sequentially, but for me, i set it up as Play_music{event] - Stop_music[event] and then again Play_music [event] ,only if i set it up like this I'm able to get the proper results. Secondly, when loading the event onto an object's inspector the sound doesn't play and gives me an 'unidentified I/O device error' so i tried to load the soundbank as well onto the objects inspector and not just keep it on wwise global. When set up like this I'm able to get the proper results as in the video. Thirdly, when I try to uncheck the AKambient component in the inspector the sound still plays, the sound only stops playing if I delete that component or change its trigger from Awake to nothing. I got the results that you have taught but in a different way is it because I'm using a different version from what you are using, But I did check the compatibility of my Unity and Wwise versions from the Wwise release notes article, and everything is appropriate.

Let me start by saying the AI programmers are the real AI artists. Some may consider that sacrilege, but I'm both a coder and a creative. I don't feel a qualitative difference between writing code and writing a novel. Problem solving, discovery, entering the 'zone' (sustained focus, adrenaline high, time warp), it's the same experience for me. Whether AI music is any good or not will be a matter of opinion. To me, EDM sounds empty and automatic, but humans do create EDM and millions of humans like EDM as much as I like my favorite musicians. What are the psychological effects on creatives, especially de-motivational effects? What motivates us to create, to aspire to 10,000 hours to master a craft? There is certainly a selfless desire to create beauty for others. But is the egotistical pursuit of elite achievement not also a big part of our motivation? When we shoot for 10,000 hours, are we trying to prove something to ourselves? Will AI deflate our egos and our motivational balloon? I do think the copyright laws need to be changed. AI developers should be banned from using public domain artworks to train AI. The idea behind public domain is that the artist has 70 years remuneration, enough to incentivize creation. If you seek immortality through art, you don't need royalties in perpetuity in your estate to achieve immortality. But the knowledge that your art will be eaten, digested, and crapped out by a neural processing unit after your lifetime, that's not immortality, that's spiritual rape. I think there is a real danger of a mental health crisis for artists.

Welcome to Sprockets! Hey good video.

nice to see you using Decibel!

Not sure I can make the jump based on this. What about automation, sequencier and speaker calibration. I didn't really see anything more feature rich than the original renderer, actually it looks like it has less.

agreed

I really enjoy your German accent. Thank you for this awesome video, I will be working on it during the long winter.

I think being human is overrated, its messy, irrational, hysterical, over emotional, brutal, violent, selfish, greedy, and last but not least, humans smell.

Hello Michael, I see you still have the misconception that it matters how the magic trick is done. You are obfuscating to avoid the reality that however AI sudo music is created it remains detrimental to our civilisation. It seems I was right about Spotify, who are using this sudo music on an industrial scale to avoid paying royalties to human musicians and composers. The only reason AI generated sudo music exists is to line the pockets of the billionaires, it has no other value to the human race. It is difficult to understand how and why real music is made without studying it, so maybe try to engage with Adam Neely's video again, and perhaps listen to other jazz musicians if you still don't understand why we are so horrified by your assertion that this filthy noise is music.

The issue with those who separate spiritual from non spiritual is that, eventually, they will confere spirit to certain AIs. I'm not implying that they will be irrevocably wrong in doing that (who knows), but rather that they most certainly will be a new kind of religious followers.

A famous writer - Stanislaw Lem - dealt with the problem of AI in a very interesting philosophical way in his book Summa technologiae in 1964. I can only recommend everyone to read this book. 🤓 Otherwise, AIs such as Udio or AIVA are very ingenious tools (similar to a large loop/sound collection for me), but without human creativity they can currently only achieve "modest" results themselves. But it is fun to work with these AIs. 🙂

Great food for thought. It makes me think about all the things happening inside the human body every second that are completely automated. We never had to learn how to make our heart beat, it just does it as an automatic process. We learned how to move limbs and walk as babies, but those neural pathways build up gradually and after a while, we just do it without thinking about it. Our brains are essentially a giant AI network. We have to feed it input and teach it things, but after a while it learns and takes over an helps us do things faster (similar process to learning an instrument). I'm sure most of this AI implementation is just mimicking our understanding of how brains work. I'm thankful that my brain takes over so many basic functions, because it allows me to focus on things like creativity. I'm not surprised so many people are freaking out about this, because we've designed AI to adapt and operate just like the human brain. We steal creative ideas from each other all the time, so we assume that's all that AI is going to do. You still have to have a person utilizing it and pressing those buttons, so it all comes down to intent. Like you said in the video Michael, what's the difference between inspiration and stealing? Is it wrong to walk into an art gallery and make something based off of all the inspiration you had? If you're a hammer, you see everything as a nail. You can't stop people from making something into a weapon, just because it can be used nefariously doesn't make it bad...

I'm getting a strange bug. The reverb zones will only work if i also use the profiler in Wwise and then only intermittently. Very annoying!

is it possible to use it in Pro tools???

Version compatibility check 25:54

I have a question related to your solution here, but not related to your reason for doing it. It relates to a pair of headphones that simulate different mixing studios. Steven slate VSX. You have to put the plug-in for them on the master bus. Basically I want to listen to the headphones when I'm mixing my tracks in resolve but I would also like the option to bypass it so I can hear what it sounds like with out the headphone's dedicated plug-in. I also don't want the plug-in to affect the export on render. Would this be possible using this solution? Also, curious to know why using two different timelines wouldn't work in resolve. One for whatever arranging and mixing you're doing, and another entirely simply for exporting/monitoring?

Question: The idea seems to be that the Atmos is not fundamentally "channel based" and it "works with anything". Yet, it's the very "channel layout at the core of the Dolby Atmos bed" that "allows the system to downgrade gracefully." This is confusing. I would think that it's the "3 dimensional objects in 3 dimensional space" in theory taking coordinate in an imaginary cartesian space that allows the flexibility to down/up mix to any imaginable speaker layout. My question is why or how? What's the actual theory that makes this fundamentally different than explicitly channel based systems like 5.1 that can also be down-mixed to stereo? Atmos has to either be totally disregarding - or - making certain very real assumptions about all the actual speaker layouts it will potentially work with. Does Atmos just assume everything is on a sphere? 5.1 assumes a 2D circle... Stereo assumes the same circle (the main difference being the number of available point sources) - what is the actual process or theory that makes this work?

I was able to make it work directly on the Mac (MacOS 14+) and the Apple AirPods Pro pretty easyily with the app (in development) Headitude (OSC Tracking) by DanielRudrich. Just change the Port to 7000 (or desired) and change the Message to "/head_pose pitch yaw roll".

how do i do this in ProTools???

Hello Can you do a tutorial using VSL VI instruments and MIR PRO 3D The step to convert a stereo song to a Dolby Atmos Many thanks

I use Soundly and are very happy with it. For 169 euros a year you get a massive library of sounds, updated regularly with new collections. On top of that, the platform offers a lot of functions like metadata editing, plugin insertion like reverb and EQ and also reverse, sum to mono, multichannel file support ,spot to the timeline of various daws, a lot of stuff. Even indie game developers can afford it. Plus 10 gigs of cloud space for your own sounds, possibility of including local drives, servers, work from any place, a whole lot. I recommend anybody working with SFX to have a look at it.

Hi Michael, is it impossible to send signal to the LFE channel if using the essential version?

Thank you Mr. Wagner! You've filled in the blanks for me several times.

Thank you for the interesting video. There are two things you would need to change in this example though. (No worries, the main point is Reapers fault, not yours.) 1) You need to deactivate the channels 17-32 for processing and for detection in the Input Configuration because currently gravitas operates 32 channels for both detection and processing. The latter half is silent as can be seen in the meters. I don't know what the Reaper folks thought when they implemented the way sidechains are handled but to offer 64 inputs on a 32 channels track doesn't make much sense. So it can't be avoided in Reaper that on the 32 channels track a 2x32 channels version of gravitas is instantiated. You need to deactivate 17-32 because otherwise you will have 16 silent channels which will do their useless part when Peak Mode is less than 100%. If you would turn Peak Mode down to -100% you would never get any compression at all with silent channels at the detector input. 2) The ambisonics version of your Kick somehow reaches most if not all ambisonics channels all the time which is why there is no real difference to be heard between linked processing and unlinked processing. If the Kick could be focused on just a few channels of the ambisonics signal while rotating, more like a point source, the difference would be more obvious.

I too would like some type of speaker tuning solution shootout.

Wow Michael, super helpful. I got lucky finding your channel last month and am working my way backwards on your content. You are an excellent teacher/instructor/guy with a sense of humor/person with feet on the ground. I say that admiringly, given I am an old fart who has suffered through waaaaay too many bad lectures. lol

I love this channel. It's been a huge source of inspiration for years now.

Would you recommend using this to upmix reverb that’s stereo only or is there any reason to avoid that?

Great help thanks! I find it ironic that my Roland RSS-8048 3D sound processor is now back in fashion. I’ve never stopped using it since the 90’s! Fantastic fun.

jeez.. why dolby makes life so difficult without reason

I can tell you really enjoyed this one 🙂 Talk about taking things to the limit! I'm glad you made this because I'm now much more impressed by the power and flexibility of Gravitas, and also because I now know much more about how to work with ambisonics. Fine work!

Michael, thank you so much for this series. It has been invaluable to me as I begin my Game Audio career. Thanks for keeping me company these past few months with your wit, charm, deep knowledge and expertise. I hope many more stumble upon these lessons. Hands down the best tutorials out there on Wwise/Unity.

How can i extract stems from a dolby atmos song?

I've had ambisonic CDs for over 30 years by Nimbus. I am glad that I can use my Meridian DSP processor to decode it, although I suspect you're talking about a complete different technology, not the UHJ analogue format 😊

Ableton is not syncing to Dolby Atmos. Dolby Atmos is not receiving audio from Ableton pls help. The computer is running macOS Monterey version 12.6.5. Ableton is 11 standard for Max. The version of Dolby Atmos Renderer is 5.2.0_1801-e2e7b7e7.

Nice video that shows exactly what you can do with mixbus in a dolby atmos session, thanks. Another big shortcoming is the impossibility of changing the trim and downmix settings, some customers ask me for settings other than the default setting of the Dolby renderer. If they implement this possibility, the management of the bed and the LFE can become a very interesting DAW for working in Dolby Atmos.

Andrew Scheps was saying he loves (especially starting) with headphones & works a lot like that (because he might be traveling & you can’t take a “room” with you).

Not necessarily an engineer, by your very definition, a purely desk-engineer, can get your audio levels and recording, right... More an "aural storyteller" is what your looking for. Someone who understand the power of Asmr, how sound reflects and travels to 'engineer emotion'.