![]() The least comb filtered sounding was number5, then 3 in those tests so thats what my reason for it. The examples in the PA site clearly show that for foley/atmos/fx these tonal changes dont matter so much and the trade off (on a signle track basis) is worth it for the effect.īut for h, they're all not fantastic, and that concerns me as I'm just about to start mixing my album for immersive. Had a listen to both Peter's (Soundlcoud/PA site) and I agree that the full DearVR pro chain has obvious dips and things going on in the mids. Listening on AKG K240 aniversary editions. That one sound really good to me: deep, full, spacious, "alive" I found a source of HRIR's, and the following clip is the same drum loop, with a KU100 HRIR instead of the default one, and "phase simplification" preprocessing instead of the default "diffuse-field EQ" setting: There's a lot to explore with the Sparta ambiBIN decoder. However its binaural decoder really sucks (at least to my ears). I still puzzled by the results from DearVR Pro: the encoder/panner is really nice and gives me a stronger sense of depth and spatial separation (the instrument sounds less in your face). But that difference in really negligible. I did a null test, and there's only a slight difference between them, that is not explained by the difference in gain (the full Sparta chain sounds fuller to me). I did the test againbut with the exact same placement (+/- 88° azimuth, 30° elevation) and now the difference is inaudible. The placement of the instrument was not exactly the same between both encoders, particularly in terms of elevation. So here, it boils down to how the encoders deal with stereo. On a mono source, the encoding should really be the same for a given azimuth and elevation. sound a bit different because the encoders are different, but they are quite close because the binaural decoder is the same. What's your opinion? I really dislike 4., but I like 3. DearVR Pro, direct export from its binaural export setting DearVR Pro, set to encode AmbiX TOA, followed by the Sparta ambiBIN binaural decoder (set to TOA)Ĥ. IEM stereo encoder (set to 7th order ambisonics), followed by the Sparta ambiBIN binaural decoder (set to 7th order ambisonics)ģ. Full Sparta chain, ambiENC followed by ambBIN (both set to 7th order ambisonics)Ģ. ![]() To this end, I started looking at different options, and I found that mixing plugins from different brands sound better to me.īelow, I put 4 clips using the same stereo track (a stem of recorded acoustic drum kit, with reverb baked in it, panned -/+ 90°) so you can compare different plugins and associations of plugins:ġ. Obviously, we've simplified the process and there's a lot of tech going on here, but the main point is that you can use Dolby Atmos Composer and its partner Beam in any DAW, even those limited to two channels.I wanted to explore binaural audio, with the aim of converting my stereo mixes to something more immersive, to be listened on headphones. Beam effectively (but not really) beams the surround position to the Composer plugin which then places it on the 128 channel positional grid. Meanwhile Beam is responsible for positioning the audio on the channel it's on. The main Composer plugin sitting on your outputs contains the 128 channels of audio that represents the surround sound. You insert the main Dolby Atmos Composer plugin over the main outputs of your DAW and another plugin called Dolby Atmos Beam on the track you want to mix in Atmos. ![]() It works like this: Dolby Atmos Composer is actually two plugins in one. What's more is that Dolby Labs has given the software its full backing. Unveiled just a few weeks ago, Fiedler Audio's Dolby Atmos Composer enables you to create surround/immersive audio in your stereo-only DAW through your headphones. Platforms: Mac/PC | Formats: VST3/AU/AAX | Price: £249/$249 | Download ![]()
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