Original subtitles

so let's take a look at what happens

when we go into an object mode one of

the things that we have here is bus mode

and then object well we'll see the

representation of the object panel goes

from Green in bus to Orange in object

mode and it also allows us access to the

Unseen speakers that are in in here this

Source now I can position just between

the the left front speaker and the left

side speaker into what's known as the

left wide speaker so that wide speaker

in the renderer is just here so the cool

thing about Atmos in that sense is that

it allows you to create a full

three-dimensional pan so you can

position an object anywhere in the

three-dimensional space and it will

smoothly pan around the entire uh entire

room also allows you to structure the

sound field so that wide speaker is only

accessible using an audio object and

that becomes really powerful when you're

thinking about how that's going to

represent overhead

so the more speakers you have the more

accurate representation from physical

transducers in your mix room you're

going to have when listening over

um over headphones coming up in a future

uh episode we'll hear from Steve

janowick Steve and I sat together in

this room for many many weeks and talked

about Atmos Concepts and then we met up

in London and talked about it in a

studio where those wide speakers were

not present and Steve's words to me at

that time were it's representative but I

wouldn't choose to put a sound there if

the speaker wasn't there and it was at

that point that we really kind of

formalized that

9.1.4 or 9.1.6 was really what we wanted

for Music Creation because it allowed

complete coverage using transducers of

that of that sound field and confidence

to place a sound in that mixed position

and have that translate into movie

theaters into speakers into to Smart

speakers into now headphones so those

wide speakers that are represented here

are where those objects really start to

come into their power as I mentioned we

also have the ability in the bed to pan

up overhead

so I can get to all of these three

speakers using the bed but that is equal

power so as I pan from the front

feeds equally into the rear speaker as

into the front overhead and that's

probably not what you want when you're

thinking about the atmos sound field and

the musical aspect of the atmos sound

field you probably want a little more

control over that now there are

circumstances where putting something

into all channels of the overhead is

going to be correct or feel right or

glue things together those things like

reverbs might be useful for putting

creating a drum room that is going to

fill the entire space and we'll hear

different perspectives on that as we go

through the series but in terms of the

atmos system and how it applies to music

what we found is the people generally

prefer the objects to be able to control

exactly where they want those sound

sources to be so as I switch this into

an object mode and if I show the

renderer behind it so as I grab the

Panner here you'll see that as I move

front to back

um it's going to position right the way

up and down the the left overhead now

I'm going to send some signal to that

I'm just going to send some beautiful

tone because you know pink noise is uh

is a Dolby guy's best friend

so I'm going to do this at a low level

so that you can see it but not

necessarily hear it because nobody

really wants to hear that so this pink

noise is now being sent as an object to

the back of the room as I pan through

that overhead space it's going to move

into the middle speaker overhead

and then into the front overhead and

ensure that it's always up in the

ceiling so I can very accurately

position sounds in this sound field so

this becomes very useful and Steve will

talk about this in his uh use of the

object beds so Steve has created

locations in this mixed room that he

knows if he puts something into those

two channels is where they're going to

come out this becomes about creating

your own template and how you wish to

work with the Dolby Atmos system but in

order to get front back differentiation

which is going to help you in

spatializing the the sound it's key to

use objects versus those overhead beds

similarly if I put this onto the

horizontal plane as I position sound

going down the wall here I've got it

into the right speaker as I come back I

can get it into just the wide speakers

and various things like that so this

helps to really control the horizontal

aspects Dolby Atmos for Music Creation

in my opinion is all about you

controlling the sound field

you being in con charge of how your

listener is going to experience the

music that you're mixing and what you

put into Dolby Atmos and record down as

an Atmos Master file is what should come

out of the other end once we've got this

object that is sending audio to a

particular location there are a number

of other controls that we can we can

grab hold of here so in the Panna

I have a lot of control to increase the

size parameter so I can make that single

point source fill all of the speakers in

a room you can make it very much mono it

will decorate those sounds and that

experience but it will essentially be

that same sound fed to all speakers