Forum Post

User16807436167065621122 (txshonk) asked a question.

May 29, 2023 at 2:47 PM
External Renderer Sync
I am working on slowly moving to Dolby Atmos.

My current setup

2 Windows PCs

DAW
ProTools HDX Audio sent to the with the renderer with 32 channels of Dante via Rednet 5

Renderer
Dante VSC

I have found this plug in for the AAX Timecode Plug in for Windows.

https://txl20.com/product/txl-timecode-plug-in/

In watching a ProTools Answers episode they mention when using two machine you needed a SyncHD or SyncX for clocking.

I haven't gotten deep into a real project , so my question is sending the LTC data over an audio channel via Dante problematic and create potential clock/sync issues when using 2 machines?

Dave
  • 7 answers

  • AdamP (Dolby Labs)

    Hi Dave,

    I am not familiar with that particular plug-in. Assuming it is stable you should be able to use two workstations with LTC over Dante channel. There are other people successfully doing the same thing with two Macs and the Dolby LTC Generator plug-in without the use of Avid synchronization hardware.

    Best,
    Adam

  • User16807436167065621122 (txshonk)

    thank you

    Currently for my Atmos monitoring - I am routing the rendered audio back into ProTools via dante. I am wondering if others are doing something similar or routing the audio directly out of the rendering PC to the speakers. To do the latter I'd have to reconfigure my hardware setup - but it would seem to be a lot more efficient directly out of the rendering PC for monitoring.

  • AdamP (Dolby Labs)

    Hi Dave,

    There are people using both approaches. Monitoring with the Renderer routed directly to the monitor control system rather than via Pro Tools does remove additional variables. However monitoring through Pro Tools also provides flexibility for work that doesn't involve the Renderer.

    Best,
    Adam

  • User16807436167065621122 (txshonk)

    Thanks for the information. I assumed that was the case, but it always helps to receive the validation that my thinking isn't too extreme.

  • User16807436167065621122 (txshonk)

    As I'm digging more into specs and delivery - it seems getting a copy of the Dolby Reference Player to do a true end user listen to the binaural render would be a good idea.

    How do I get a copy of the Dolby Reference Player?

  • AdamP (Dolby Labs)

    Hi Dave,

    The MP4 Export function in the Renderer encode the Atmos master as DDPlus JOC.

    The Dolby Reference Player is a download that is only accessible with the Dolby Media Encoder. The Dolby Media Encoder allows for encoding in DDPlus JOC, AC4-IMS and Dolby TrueHD. A evaluation copy of the the Dolby Media Encoder can be requested from:     https://customer.dolby.com/content-creation-and-delivery However, the Dolby Media Encoder is sold as a subscription for $400/yr (I believe).

    AC4-IMS is a lossy codec but is a next gen codec that is very efficient. The binaural re-render as a .wav or monitoring the binaural output of the Renderer is essentially the audio that is encoded from the Atmos master when encoding AC4-IMS. There is some additional metadata that can be used by the decoder when virtualizing to mobile device speakers. You are welcome to apply for the DME software to the Reference Player but if you are playing back on the same audio devices you won't really be hearing the consumer experience and it would eventually be a costly proposition.

    Best,
    Adam
    Expand Post

  • User16753800414632431501 (Deadly Mix Studios)

    If you're doing professional work, just switch to Nuendo. The stock SMPTE plugin works great. Just create the LTC output to ch 128 of your PC Dante card (you're using Windows so DEFINITELY use the Marian Clara E w/ 512x512 channels (haha, its Win only lol), create mono audio track that outputs to your LTC out channel128, add the plugin, and make sure sync transport is active (it is by default), and you're done as long as DAR is setup for LTC Over Audio - Ch 128.
    Every channel on the mixer has a full array of tools from simple as gates and filters to as advanced as 3 types of compressor and 3 types of saturation that adapt to whatever multichannel you add. So a 7.1.4 channel has EQ, filter, de-ess, limiters, etc that are all 7.1.4 automatically. The insert routing feature also allows you to basically build immersive plugins out of stereo and mono plugins if you feel creative. Nuendo had native Atmos first and, like everything else, they're way ahead of PT-HDX.
    Expand Post

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