(or company for its biz practices).Īnd I want to like it but cubase for example has like 6 ways to summon a plugin window. Even though it has to be the most hated DAW out there. I want to like it but pro tools does have that robustness of making simple for that task. Yet, cubase does have made inroads in film composers setups for a while. and im sure some outlier is using it in LA. I mean, its barley a blip in the los angeles post production world (biggest). And that's where we'd compensate for delays etc. It's basically like a virtual B-chain the way I see it as it is after the actual mixer in the DAW. To be clear I guess I'm saying that I'm not taking about the downmix from Atmos to 5.1 for example, but about the actual setup in Control Room where we'd manage the playback system (bass, EQ, level, delay etc). So if that's the case I'm not sure if anything can be behind the Atmos plugin on that output bus, meaning the bass manager for example. Unless they just forgot to connect channels to the actual interface outputs. So that made it seem like for Atmos Control Room is entirely bypassed. The output was created in the setup window and set to be the default output, but both it and the the Control Room tab had entries "unconnected". When I watched the setup video (briefly) I recall seeing them set up a 7.1.4 output bus and then on that bus put the Atmos plugin. Not sure if that's what you mean by "HE". I was asking about the workflow leading to the mastered ADM file output, not the one on a mix stage with an RMU in use.
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