But, it should not be forgotten that Poussin works on albums which were already mixed in stereo and thus known. With the album L’Homme à la tête de chou, Poussin has 24 tracks which will be remixed to be disposed in the sound space to benefit from the opening of the Dolby Atmos. Now, we can return on our examples of albums of Serges Gainsbourg. We can follow the movement of each object in real time with its sound level. The last zone represents all the sound objects and the bed present in the sound reproduction space. The Dolby Atmos presents different information: It is the sound engineer who decides how to distribute the music tracks among the objects. The rendering of these sound objects is calculated by the Dolby Atmos Renderer according to the configuration of the speakers from the smallest to the largest system (64 speakers). They are independent of the arrangement of the speakers. They can be placed in the 3D space in a fixed or dynamic way. The sound objects contain a mono sound track. The BED which is configured in 7.1.2 and which corresponds to a fixed configuration of the speakers, it is an extension of the 7.1 which we know with 2 TOP speakers.The Dolby Atmos has 128 audio channels which can be organized according to 2 types of sound data: The diagram above shows only a part of the studio, many other equipments are not included in the diagram. The Stereo or 5.1 or 7.1 mode (right side of the diagram) which connects the Pro Tools to the SSL C200 console.The Atmos mode (left side of the diagram) which goes through Dolby rendered. There are two modes of operation for the studio: All connections are digital, except for the TOP speaker outputs which are analog outputs from the JBL Intonato to feed the LAB Gruppen amplifiers. Here is the audio workflow of the studio. Poussin can optimize its mixes by taking into account the constraints of streaming. The Marantz prampli can decode Dolby Atmos tracks broadcast on Apple Music for example to have a musical rendering of the files available to users. These files are also used to mix in Dolby Atmos.īefore detailing the mixing in Dolby Atmos, we start with the presentation of the Dolby Atmos Music certified studio. Now that the music is digitized and restored, The music can be used to reissue albums, as for example with Serge Gainsbourg, the high resolution files generated by Poussin were used by Abbey Road Studio for the release of box sets with the vinyls cut in half speed. And in this case, it is better to keep some noise to not deteriorate the music. Even a very good noise reducer can impact the signal and remove small details that are on the edge of noise. But, it is not a systematic and automatic treatment. It may be necessary to reduce the background noise. Without a noise reducer, the background noise can be more or less loud. When recording, the type of tape used, the recording level (0 dB, +3 dB, +6 dB) and the use of a noise reducer (Dolby A, Dolby SR or DBX) will affect the noise floor of the tape. The first treatment consists in removing the small peaks which can be present on the tape, we treat the whole of the tracks of the tape (from 4 to 48 tracks according to the albums) to obtain the maximum quality. These files constitute the backup for the patrimony. The restoration will use the digitized tapes, the obtained files are in high resolution 24 bits 192 kHz not compressed, this resolution allows to record all the nuances of the tape. The next step in the digitization process is the restoration of the digitized tapes. Here is the second part of the tour, you can find the first part of the tour here, with the presentation of analog tape recorders, from the calibration, the reading to the digitization of 1/4 to 2 inch tapes.
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