Topics covered in this article:
- Steps to record live re-renders
- Using send/return plug-ins to record live re-renders
Live Re-renders can be recorded back into the DAW. While offline re-renders can always be imported into DAW, direct recording can be more efficient and provide real-time feedback. Recording the “loudness” 5.1 re-render to be measured with existing loudness measurement plug-ins is also a useful function.
Note that live re-renders are not possible when using the Dolby Audio Bridge as the core audio device.
There are two different ways to generate live re-renders:
- Re-renders can be recorded while the DAW is playing and the Renderer source is set to Input. This can be done before or during recording a master.
- Re-renders can be recorded while the Renderer is generating re-renders from playback of an open master file.
Note that generating live re-renders can be CPU-intensive depending on the number and complexity of defined re-renders. Monitor the audio CPU meter in the Renderer. If it is running high, consider disabling some re-renders or generate the live re-renders on playback of an open master file.
Simultaneously recording re-renders while Pro Tools is playing out up to 128 channels can likewise tax drive read/write capabilities on your Pro Tools workstation. Best practice is to record live re-renders to a different drive than used for playback of the session.
Steps to Record Live Re-renders
In the Renderer:
- Define and map the live re-renders needed in the Renderer Re-render window. These can be full mixes, beds, objects, or custom re-renders. In the example below, the default 7.1, 5.1, and 2.0 full mix re-renders are used and mapped to outputs 23–38.
- Note that the outputs being used for the re-renders in the mapping column begin with the first available output as set in the Room Setup > Routing tab.
- Enable re-render processing in the Renderer Preferences (Mac) or Settings (Windows).
- Enable the Sync button (clock icon) to set the Renderer to chase incoming LTC.
In Pro Tools:
- Add new paths for re-render inputs in the I/O Setup Input page.
- The input width and input numbers must match the re-render mapping in the Renderer.
- All re-renders are output from the Renderer in SMPTE channel order and may need to be manually re-ordered.
- Add Audio tracks using the defined inputs to record the re-renders. Set to input monitor and arm for record.
- If recording re-renders on a Pro Tools system with 2 x HDX cards, a dummy output is needed to be able to put the tracks into record and avoid potential feedback.
- If recording re-renders on a Pro Tools system with 3 x HDX cards and a dedicate audio interface for monitoring, the re-render tracks can be bussed to physical outputs rather than dummy outputs.
It is recommended to record live re-renders using a synchronization 2-pop, as there is expected latency on the round trip through the Renderer. Live re-renders will be offset in the recorded live re-render compared to the source audio. This must be manually compensated for by spotting the 2-pop to the correct location on the timeline. Avoid using auto-fades for 2-pops in order to give a clearly defined edge which can be accurately spotted.
Using Send/Return Plug-ins to Record Live Re-renders
To record live re-renders using the Renderer Send/Return plug-ins with the Renderer running internally:
- Add a new Aux Input track and Audio track for each re-render to be recorded.
- Insert the Dolby Renderer Return plug-in on the Aux Input tracks.
- Unlink the Master Link Button for 7.1 and 5.1 (or other multichannel) tracks and select each channel individually to assign each Return plug-in input to the proper Renderer output for correct SMPTE channel order. For example, using the default re-renders, the first mapped re-render is 7.1, the second is 5.1, and the third is 2.0. Remember that mapped output 23 in the Renderer is Re-render Channel 1.
For the first 7.1 Re-render:
- Left = Re-render Channel 1
- Center = Re-render Channel 3
- Right = Re-render Channel 2
- Left Surround Side = Re-render Channel 5
- Right Surround Side = Re-render Channel 6
- Left Surround Rear = Re-render Channel 7
- Right Surround Rear = Re-render Channel 8
- LFE = Re-render Channel 4
For the second 5.1 Re-render:
- Left = Re-render Channel 9
- Center = Re-render Channel 11
- Right = Re-render Channel 10
- Left Surround Side = Re-render Channel 13
- Right Surround Side = Re-render Channel 14
- LFE = Re-render Channel 12
For the third 2.0 Re-render:
- Left = Re-render Channel 15
- Right = Re-render Channel 16
- Alternatively, 16 mono Aux Input tracks can be used, with each having a Renderer Return plug-in inserted and dedicated to a single re-render channel.
- Create a bus for each re-render. This is used as the input for the Audio track to record the re-render.
- Assign each Aux Input track to the relevant bus or sub-path.
- Assign the Audio track input to use the relevant re-render bus created above.
- Assign the Audio track output to your speaker outputs and mute as needed or use a dummy bus.
- Set the Audio tracks to input and arm for record.
Previous: Module 8.6 – Bouncing a Mix to ADM BWF