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Module 2.3 – The Dolby Atmos Renderer on the Same Mac as the DAW

  • Updated

Topics covered in this article: 

  • Software components and configuration when running the Dolby Atmos Renderer on the same workstation as the DAW 
  • Synchronization options and configuration when running the Dolby Atmos Renderer on the same workstation as DAW 

Introduction 

The Dolby Atmos Renderer licensed as the Dolby Atmos Production Suite is designed to be run on the same Mac as the DAW. This configuration was originally intended primarily for use in offline editorial, sound design/composition, offline Re-renders and QC purposes. It is also suitable for mastering duties when installed on an appropriately configured Mac.  

There are benefits and tradeoffs in running the Dolby Atmos Renderer internally compared to externally on a dedicated RMW.  

Using the Dolby Atmos Renderer internally on the same workstation as the DAW is a less expensive option, as a complete Dolby Atmos workstation is contained in one computer instead of two. However, there are limitations: 

  • General System Overhead. Running the DAW and Dolby Atmos Renderer concurrently can tax the CPU. This is especially true with complex content (i.e., high-track counts, very active panning automation, and a lot of plug-ins running natively). Storage configuration is also a factor as disc read/write speeds can be an issue.   
  • There is no external WC or Video Reference for the Renderer.   
  • There is no speaker EQ functionality within the Renderer. This means that external hardware/software may be required for room tuning.   
  • Support for Speaker array mode is not available, which can be a limiting factor in larger mix rooms.  (This topic is discussed in more detail in a later article.) 
  • Only a single DAW can be used.  This means that multiple premix workstations cannot be used in a stem-based multiple bed workflow.  
  • The Renderer Remote application cannot be used. This means the Renderer display and control cannot be run from a separate PC or Mac.    

Dolby Atmos Production Suite licenses can be purchased directly from Avid. Three seats are also included with the Dolby Atmos Mastering Suite. 

 

Software Components 

A Mac-based digital audio workstation with the following components: 

  • Dolby Atmos Renderer software installed and authorized with a Dolby Atmos Production Suite license 
  • Supported DAW software using one of the following: 
      • Dolby Renderer Send and Return plug-ins (Pro Tools Ultimate only) 
      • Dolby Audio Bridge (Core Audio Emulation) 
  • Templates for Avid Pro Tools Ultimate, Steinberg Nuendo and Black Magic Resolve as applicable 

Object panning and size metadata is transmitted internally to the Renderer. The DAW establishes communication with the Renderer using localhost as the Renderer address. For DAWs without native immersive panning, the Dolby Atmos Music Panner plug-in can be used. 

Two methods are available for audio I/O to the Dolby Atmos Renderer: 

  • Renderer Send/Return plug-ins – The use of Send and Return plug-ins on aux tracks was the initial way the Dolby Atmos Renderer was used on the same Mac as Pro Tools and is only available using Pro Tools Ultimate. The Renderer Send/Return plug-ins are utilized via inserts on aux tracks to route audio and metadata to the Renderer.  Send/Return plug-ins is selected as the driver in the Renderer UI which also sets the Send/Return plug-ins as the synchronization source. This method has pros and cons: 

Pros:

    • Allows Live (real-time) Re-renders 
    • Allows HDX DSP processing, where applicable 

Cons:

    • Does not support automatic delay compensation in Pro Tools  
    • Requires complicated bussing 
    • Converting sessions from using the Production Suite to using the Renderer running externally as the Mastering Suite is cumbersome
  • Dolby Audio Bridge – Is a core audio emulation that provides 130 channels of DAW output to the Renderer inputs. This method also has pros and cons, but it is far easier to work with.  

Pros: 

    • Allows for 130 Channels of output from Pro Tools Ultimate 2019.10 or later,Steinberg Nuendo v8 or later, Black Magic Resolve v16 or later, Merging Technologies Pyramix Premium, Apple Logic Pro, Ableton Live, and other DAWs 
    • Supports automatic delay compensation for plug-Ins in Pro Tools 
    • Allows synchronization via LTC or MIDI Time Code (MTC) 
    • Facilitates easier session and project compatibility with the Dolby Atmos Renderer running externally as only the playback engine/audio system needs to be changed 
    • Allows any core audio hardware with 10 or more outputs for monitoring to be used 

Cons: 

    • Has a one-way path to Renderer; Re-renders must be exported and imported into the DAW 
    • Does not allow HDX DSP processing for plug-ins on a Pro Tools HDX system, since the Dolby Audio Bridge must be set as the Playback Engine 
    • Does not allow the use of an Avid external synchronization peripheral, as this device interfaces via a serial connection to either HDX or HD Native cards which will be inactive due to Dolby Audio Bridge being selected as the Playback Engine 
    • Has the potential for clocking issues with external hardware which may require the use of aggregate devices as a workaround. 

The Dolby Audio Bridge is utilized by selecting it as the Playback Engine in Pro Tools 2019.10 and later (or equivalent in other DAWs) and as the core audio input device in the Renderer preferences.  

Note that the audio buffer size must be set to 1024 samples in the DAW when using the Dolby Audio Bridge. 

The Dolby Audio Bridge installed with the Dolby Atmos Production Suite v3.7 or later automatically clocks to the output core audio device, which eliminates the need to use aggregate devices. This newer version of the Dolby Audio Bridge will uninstall the previous kernel-based version. 

 

Synchronization Options and Configuration  

When using the Dolby Audio Bridge, synchronization is via LTC over audio.   The LTC source can be from the Dolby LTC Generator plug-in supplied as AAX, AU or VST or another type of LTC Generator.  Alternatively, a LTC audio file (.wav) can be placed on a mono audio track and spotted to the start time that matches the file. Typically, the track with either a LTC Generator plug-in or LTC audio file is bussed to output 129. In the Dolby Atmos Renderer, the External Sync Source is set to LTC over audio, and the input channel is specified accordingly. 

By contrast, the Send/Return plug-ins use an internal synchronization mechanism. 

 

Navigation 

Next: Module 2.4 – Dolby Atmos Rendering and Mastering on 3rd Party Products

Previous: Module 2.2 – The Dolby Atmos Renderer Running on Rendering and Mastering Workstations