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Building an Atmos 7.1.4 studio Audio Interfaces
Old 22nd October 2018
  #1
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Building an Atmos 7.1.4 studio

Hello Everyone,

I'm new to this forum and to Atmos and would appreciate any kind of help. I am based in Mumbai, India and we are looking to build a 7.1.4 Atmos studio for OTT (Netflix, Amazon, etc.), Broadcast mixes and Theatrical premixes.

Attached is my signal flow that i'm thinking of and Dolby specs for Home Entertainment category. I would be grateful if someone could help on the following

1. The monitor controller and calibration tool (79dBC for OTT and 85dBC for theatrical) in mind is JBL intonato 24.

a. Plan is to switch between 7.1 mix from MTRX (AES input 1-8) when doing only 5.1/7.1 mixes and Atmos rendered 7.1.4 output from the Dolby HT RMU and RME DA32 (Analog input 9-20) and hear on my 7.1.4 cinema speaker solution by QSC (Analog output 1-12). Is it ok? Can Intonato do this?

b. Also plan to calibrate room as per 85dBC theatrical levels and bring master volume control down to 79dBC while mixing for OTT. Is it ok?

c. When the need arises to dub ADR, can i plugin a condenser mic into the mic input of JBL intonato and use it to record ADR and stuff in Protools in my mix room? Im guessing AES communication with MTRX can work in both directions. Headphone monitoring can be done on Analog out 23-24 using a headphone amp for myself and the voice artist without the need for a 2 i/o card in MTRX?

2. The Dolby specs say we need a HT RMU with 128 Madi i/o and a Dolby Consultant says using preferably AVID MTRX and HD MADI for rendering ATMOS using HDX2 setup, plus we need a separate 7.1 mix signal flow without the RMU as well. Hence my doubt is

a. if HDX2 setup allows max 128 i/o for the beds and objects then for the separate 7.1 mix signal flow do I need a 3rd HDX card and i/o device or is it part of the 128 i/o?

b. if the MTRX base unit has 64 MADI and 16 AES IO and only 2 digilink ports, then how will they talk to the 64 io HDX card? Is the AES16 i/o and MADI 64 used simultaneously? Since both combined make 80 i/o which is way above the capacity of an HDX card.

c. Can I use an HD IO with 16x16 AES and 2 HD MADI setup over HDX3? Will it make sense and be adequate and cheaper than using MTRX and HD MAdi?

d. Once 128 channels over MADI are sent to the RMU from MTRX+HD MADI, then how are the fold down and stems recorded/printed back in Protools and monitored? What is the output of RMU? Is it uncompressed wavs or an encoded file? On the same 128 i/os?

e. Do we need the RME 32DA to connect the RMU to speakers over analog connection or the RMU rendered returns can be monitored directly through the MTRX and sent out over AES to my speaker controller separate from the 7.1 native mix? Do i even need the JBL intonato 24 if MTRX can do all the routing?

Sorry...im very confused. Pardon me if these questions sound stupid.

Regards
Attached Thumbnails
Building an Atmos 7.1.4 studio-vistaindia_atmos-7-1-signalflow-hdx2.jpg  
Attached Files

Last edited by maverickwhistler; 22nd October 2018 at 02:57 PM.. Reason: Update
Old 22nd October 2018
  #2
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Quote:
Originally Posted by maverickwhistler View Post

a. Plan is to switch between 7.1 mix from MTRX (AES input 1-8) when doing only 5.1/7.1 mixes and Atmos rendered 7.1.4 output from the Dolby HT RMU and RME DA32 (Analog input 9-20) and hear on my 7.1.4 cinema speaker solution by QSC (Analog output 1-12). Is it ok? Can Intonato do this?


Regards
The Intonato only supports full-range speakers or certain JBL bi-amped speaker setups. You can't config custom cross-overs. So depending on which QSC speakers your are looking at the Intonato won't work for you. Probably better to get the EQ card for the MTRX instead for room correction and speaker management. Or a more professional speaker controller (QSC etc.)
Old 22nd October 2018
  #3
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Quote:
Originally Posted by apple-q View Post
The Intonato only supports full-range speakers or certain JBL bi-amped speaker setups. You can't config custom cross-overs. So depending on which QSC speakers your are looking at the Intonato won't work for you. Probably better to get the EQ card for the MTRX instead for room correction and speaker management. Or a more professional speaker controller (QSC etc.)
Could you please elaborate? I didnt understand why would i need custom cross-overs.

The speakers i have planned are

QSC SC-1120 (LRC) - 2-Way Small Room Screen Channel Loudspeaker, Passive
QSC SB-2180 Cinema subwoofer
QSC SR-8101 Cinema surround loudspeaker
QSC DCA-1622-Amp - LCRLFE
QSC DCA-1644 Amp- surrounds

Is this going to be ok?
Old 23rd October 2018
  #4
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I have a similar setup so I may be able to answer some of this.

Quote:
Originally Posted by maverickwhistler View Post
Hello Everyone,


1. The monitor controller and calibration tool (79dBC for OTT and 85dBC for theatrical) in mind is JBL intonato 24.

a. Plan is to switch between 7.1 mix from MTRX (AES input 1-8) when doing only 5.1/7.1 mixes and Atmos rendered 7.1.4 output from the Dolby HT RMU and RME DA32 (Analog input 9-20) and hear on my 7.1.4 cinema speaker solution by QSC (Analog output 1-12). Is it ok? Can Intonato do this?

-Yes and no, you will have to have the correct i/o cards in the MTRX to allow for this. I do not believe the stock MTRX comes with any analog out puts. If you use the MTRX as a Pro Tools interface you will only get 64 outputs from PT and you will not be able to use the RME at the same time as a pro tools interface.

b. Also plan to calibrate room as per 85dBC theatrical levels and bring master volume control down to 79dBC while mixing for OTT. Is it ok?

- Sure.

c. When the need arises to dub ADR, can i plugin a condenser mic into the mic input of JBL intonato and use it to record ADR and stuff in Protools in my mix room? Im guessing AES communication with MTRX can work in both directions. Headphone monitoring can be done on Analog out 23-24 using a headphone amp for myself and the voice artist without the need for a 2 i/o card in MTRX?

- The intonato XLR is for talkback and calibration. You could prbably figure out a way of routing the AUX output from the intonato back into the MTRX, but it might get messy and it really isn't meant for it. Depending on how you set the Intonato up, outputs 23/24 are the Aux outs and can be fed anything you want. We have ours hooked up for headphone monitoring.

2. The Dolby specs say we need a HT RMU with 128 Madi i/o and a Dolby Consultant says using preferably AVID MTRX and HD MADI for rendering ATMOS using HDX2 setup, plus we need a separate 7.1 mix signal flow without the RMU as well. Hence my doubt is

a. if HDX2 setup allows max 128 i/o for the beds and objects then for the separate 7.1 mix signal flow do I need a 3rd HDX card and i/o device or is it part of the 128 i/o?

- If you are only doing a 7.1, you can have the MTRX set to send out the 8 channels to a different set of Intonato inputs for monitoring. In my setup, I have two 'sources' defined in the MTRX; one for 7.1 work and the second is the 7.1.4 return from the RMU

b. if the MTRX base unit has 64 MADI and 16 AES IO and only 2 digilink ports, then how will they talk to the 64 io HDX card? Is the AES16 i/o and MADI 64 used simultaneously? Since both combined make 80 i/o which is way above the capacity of an HDX card.

- The the MTRX, you can have as many simultaneous Ins and Outs as you want. Both the AES and MADI can operate at the same time with the same signal if you so choose. Pro Tools, can only send 64 channels out directly from the interface.

c. Can I use an HD IO with 16x16 AES and 2 HD MADI setup over HDX3? Will it make sense and be adequate and cheaper than using MTRX and HD MAdi?

-Yes, I did this before using the MTRX. Cheaper? probably not.

d. Once 128 channels over MADI are sent to the RMU from MTRX+HD MADI, then how are the fold down and stems recorded/printed back in Protools and monitored? What is the output of RMU? Is it uncompressed wavs or an encoded file? On the same 128 i/os?

-Prior to v3 on the RMU, the first MADI out of the rmu is for monitoring and the second is for the fold downs. These are user defined in the RMU web interface. V3 changes this somewhat.

e. Do we need the RME 32DA to connect the RMU to speakers over analog connection or the RMU rendered returns can be monitored directly through the MTRX and sent out over AES to my speaker controller separate from the 7.1 native mix? Do i even need the JBL intonato 24 if MTRX can do all the routing?

-Route the monitoring outputs of the RMU into the MTRX so you can switch between your 7.1 and 7.1.4 workflows. The Folddown outputs from the RMU get fed into the HD MADI interface. The MXTR feeds the intonato which feeds the speakers. We use a Dante to BluLink adaptor.

Randall


Sorry...im very confused. Pardon me if these questions sound stupid.

Regards
Old 23rd October 2018
  #5
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Quote:
Originally Posted by quadraphonics View Post
I have a similar setup so I may be able to answer some of this.
Dear Randall,

Thanks very much for the replies. I didnt understand a few things, could you please help?

You said, "If you are only doing a 7.1, you can have the MTRX set to send out the 8 channels to a different set of Intonato inputs for monitoring. In my setup, I have two 'sources' defined in the MTRX; one for 7.1 work and the second is the 7.1.4 return from the RMU. Route the monitoring outputs of the RMU into the MTRX so you can switch between your 7.1 and 7.1.4 workflows. The Folddown outputs from the RMU get fed into the HD MADI interface. The MXTR feeds the intonato which feeds the speakers. We use a Dante to BluLink adaptor.
"


Could you please elaborate how to do it? What is the Dante to BluLink adaptor and what is it doing? Do i need an extra AES card to send the 7.1.4 outputs from MTRX to Intonato or default AES card can do it too?What would be the format of the rendered files and the no. of channels that the RMU returning to the MTRX? Could you share a diagram of your setup?
Old 23rd October 2018
  #6
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I will try.

With the Intonato you have the option of having Analog/Digital or BluLink (similar but not the same as Dante).

You have the option of dedicating a set of inputs to your 7.1 workflow and one to your 7.1.4 workflow and switching between them in the Intonato.

I switch between them on the MTRX and have the MTRX feed my 12 outputs to the Intonato via Dante because it was supposed to make my life easier and I could use the built in AES for monitoring what my Dolby 570 is doing and have 8 channels for an AES meter.

In order to go Dante into the Intonato I needed to get a BLU-DA which converted the Dante to BluLink.

You could do all of this with the built in AES from the MTRX if you didn't want to interface with anything else.

The rendered files on the RMU are a Dolby Atmos File Package and will differ if you are doing theatrical or Home Theater. v3 of the RMU will allow you to record directly into ADM .WAV (which Pro Tools can open).



Randall


Could you please elaborate how to do it? What is the Dante to BluLink adaptor and what is it doing? Do i need an extra AES card to send the 7.1.4 outputs from MTRX to Intonato or default AES card can do it too?What would be the format of the rendered files and the no. of channels that the RMU returning to the MTRX? Could you share a diagram of your setup?[/QUOTE]
Old 23rd October 2018
  #7
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minister's Avatar
Read through the last couple of pages of this thread as someone tried to setup the Intonato in their room:
JBL Intonato Analog Output Sound Quality
Old 23rd October 2018
  #8
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I believe that he can cross over the LCR at the DCA amps.

He could also forgo the Intonato and get speaker calibration cards for the MTRX and use that as a monitor controller.

Randall


Quote:
Originally Posted by minister View Post
Read through the last couple of pages of this thread as someone tried to setup the Intonato in their room:
JBL Intonato Analog Output Sound Quality
Old 24th October 2018
  #9
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Quote:
Originally Posted by maverickwhistler View Post

d. Once 128 channels over MADI are sent to the RMU from MTRX+HD MADI, then how are the fold down and stems recorded/printed back in Protools and monitored? What is the output of RMU? Is it uncompressed wavs or an encoded file? On the same 128 i/os?
Regards
On the hardware questions I can't help you since I don't know the Intonato.

Regarding this question: The RMU will send back the signals that then go into your monitor controller for listening to the Atmos mix. In your case (7.1.4) that's 12 signals.

It will also send back the outputs of the re-render engines that you use to create downmixes and stems according to what you specify in the RMU.

For all this it uses the MADI connections between Protools and the RMU, so you can record the stems and downmixes directly into your session. Just not the Atmos mix, since this is not a pcm stream. This is recorded inside the RMU and then has to be converted (to either TruHD or EAC3) using the Dolby Media Encoder.
Old 24th October 2018
  #10
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Quote:
Originally Posted by kosmokrator View Post
On the hardware questions I can't help you since I don't know the Intonato.

Regarding this question: The RMU will send back the signals that then go into your monitor controller for listening to the Atmos mix. In your case (7.1.4) that's 12 signals.

It will also send back the outputs of the re-render engines that you use to create downmixes and stems according to what you specify in the RMU.

For all this it uses the MADI connections between Protools and the RMU, so you can record the stems and downmixes directly into your session. Just not the Atmos mix, since this is not a pcm stream. This is recorded inside the RMU and then has to be converted (to either TruHD or EAC3) using the Dolby Media Encoder.
Thanks very much.
Old 24th October 2018
  #11
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Quote:
Originally Posted by quadraphonics View Post
I believe that he can cross over the LCR at the DCA amps.

He could also forgo the Intonato and get speaker calibration cards for the MTRX and use that as a monitor controller.

Randall
Hi Randall, thanks for your insight.

Could you please tell me how the speaker calibration and room correction works with the SPQ card of the MTRX? It doesnt seem to have a calibration mic input.

Also earlier you said

Quote:
You have the option of dedicating a set of inputs to your 7.1 workflow and one to your 7.1.4 workflow and switching between them in the Intonato.
So please correct me if im wrong- the 7.1.4 output of the RMU Madi 1 is render of the 9.1 bed and 118 objects and different from the native 7.1 mix. Right?

Quote:
You could do all of this with the built in AES from the MTRX if you didn't want to interface with anything else.
So you mean RMU rendered outs for monitoring can come back to MTRX through MADI and go to the intonato via AES and my 7.1 native mix can also go to the intonato via AES? I can switch between these 2 outputs in the MTRX to chose which one to monitor?

Then do i need the intonato at all? Can i use the MTRX only and avid dock and ipad as physical desktop controller to switch between outputs and solo and mute individual channels?

An AES to Analog convertor for MTRX--->DCA amps will be needed right? Any suggestions for this?
Old 24th October 2018
  #12
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[QUOTE=maverickwhistler;13588960]Hi Randall, thanks for your insight.

Could you please tell me how the speaker calibration and room correction works with the SPQ card of the MTRX? It doesnt seem to have a calibration mic input.

I don't know how the SPQ cards work as I do not have them.

The auto-calibration on the JBL is poor. But we have a D2 calibration system here and I use that can program the EQ by hand.

The RMU will have two Hammerfall MADI cards. The first card's outputs will be the monitoring outputs. This will be defined by you and Dolby based on our room. This will also be where you can monitor what the various fold downs are doing. (7.1 -> 2.0)

The second Hammerfall outputs are for the fold downs. These are defined by you in the RMU software. This is how you would create the 7.1 Stems, PM, etc.

With v3 of the RMU software you will be able to use the extra outputs from the first Hammerfall to supplement this.

I am not too familiar with the Avid Dock, but my understanding is that it has a dedicated monitor section on it, which would interface with the MTRX. There are a number of tutorial videos on setting up the MTRX that were created by Westlake Audio - some of which cover the creation of monitor paths. I suggest you look at them.

Your AVID dealer should be able to help you with some of these questions as well.

Randall
Old 25th October 2018
  #13
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speaker alignment

regarding alignment, the jbl intonato-24 is a joke - you may want to try the yamaha mmp-1 for an all-in-one box. or the brand new grace m-908 plus speaker controllers or go the avid route (i cannot comment on avid products except that the gear made by dad for them is very good).
i do all alignment with lake controllers. older yamaha dme64n are also very capable and can be found cheap these days.
Old 1st November 2018
  #14
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Quote:
Originally Posted by quadraphonics View Post
I have a similar setup so I may be able to answer some of this.
Hi Randall,

Could you share pics of your studio and layout? Have you gone for Orthogonal mixing layout or equidistant?

How big is your room?
Old 6th November 2018
  #15
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Quote:
Originally Posted by quadraphonics View Post
I switch between them on the MTRX and have the MTRX feed my 12 outputs to the Intonato via Dante because it was supposed to make my life easier and I could use the built in AES for monitoring what my Dolby 570 is doing and have 8 channels for an AES meter.

In order to go Dante into the Intonato I needed to get a BLU-DA which converted the Dante to BluLink.

You could do all of this with the built in AES from the MTRX if you didn't want to interface with anything else.
I have a bit of a confusion. Does the MTRX have 8 AES ins and 8 AES outs or 16 AES in and 16 AES outs? Can i monitor 7.1.4 from the MTRX using AES outs without any additional i/o cards except the BLU DAN way?
Old 6th November 2018
  #17
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Quote:
Hi saw that link long ago. Still isn't clear if 16 out or 8 out.
Old 6th November 2018
  #18
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Quote:
Originally Posted by maverickwhistler View Post
Hi saw that link long ago. Still isn't clear if 16 out or 8 out.
"Pro Tools | MTRX features eight pairs of AES/EBU I/O"

16 channels in and out.

Also, from Sweetwater...

Digital Inputs: 2 x Mini-DigiLink, 1 x BNC (MADI), 2 x DB-25 (16 ch AES/EBU)
Digital Outputs: 2 x Mini-DigiLink, 1 x BNC (MADI), 2 x DB-25 (16 ch AES/EBU)


Hope that helps.
Old 6th November 2018
  #19
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Quote:
Originally Posted by maverickwhistler View Post
I have a bit of a confusion. Does the MTRX have 8 AES ins and 8 AES outs or 16 AES in and 16 AES outs? Can i monitor 7.1.4 from the MTRX using AES outs without any additional i/o cards except the BLU DAN way?
The base unit for the MTRX has 16 in and 16 out at 44.1k or 48k. Top DB-25 handles 8 in and 8 out. Bottom DB25 handles 9-16 in and out.

If you can monitor via AES3 (have a converter elsewhere or your speakers accept AES3 signal) then yes.
Old 6th November 2018
  #20
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Quote:
Originally Posted by pentagon View Post
The base unit for the MTRX has 16 in and 16 out at 44.1k or 48k. Top DB-25 handles 8 in and 8 out. Bottom DB25 handles 9-16 in and out.

If you can monitor via AES3 (have a converter elsewhere or your speakers accept AES3 signal) then yes.
Thanks. I wonder why the unit images show Aes io 1-4 and 5-8

https://www.studiocare.com/media/cat...rx_stack_2.jpg
Old 6th November 2018
  #21
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Quote:
Originally Posted by originalscottyg View Post
"Pro Tools | MTRX features eight pairs of AES/EBU I/O"

16 channels in and out.

Also, from Sweetwater...

Digital Inputs: 2 x Mini-DigiLink, 1 x BNC (MADI), 2 x DB-25 (16 ch AES/EBU)
Digital Outputs: 2 x Mini-DigiLink, 1 x BNC (MADI), 2 x DB-25 (16 ch AES/EBU)


Hope that helps.
Thanks.

If I wanted to connect a preamp or ad da interface with Aes out to the Aes in of the MTRX can i do that? Or would I be better off using a Dante preamp such as Focusrite RedNet X2P 2x2 Ethernet Audio Digital IO with Mic Preamps?

The Ad da cards of MTRX are very expensive here
Old 6th November 2018
  #22
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There are 2 DB25 connections for AES Pairs - so 16 I/O total.

Randall


Quote:
Originally Posted by maverickwhistler View Post
Hi saw that link long ago. Still isn't clear if 16 out or 8 out.
Old 6th November 2018
  #23
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Quote:
Originally Posted by maverickwhistler View Post
Thanks. I wonder why the unit images show Aes io 1-4 and 5-8

https://www.studiocare.com/media/cat...rx_stack_2.jpg
Because they are AES PAIRS
AES is 2 Channels 4x2 =8
8in ( 4 AES pairs)
8 ou ( 4 AES pairs)
Old 7th November 2018
  #24
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Quote:
Originally Posted by dr.sound View Post
Because they are AES PAIRS
AES is 2 Channels 4x2 =8
8in ( 4 AES pairs)
8 ou ( 4 AES pairs)
8in8out? How does it become 16 in 16 out like everyone said? That's what's been bugging me.
Old 7th November 2018
  #25
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Quote:
Originally Posted by maverickwhistler View Post
8in8out? How does it become 16 in 16 out like everyone said? That's what's been bugging me.
Because dr.sound is only describing one of the two db-25 connectors on the back.
Old 16th November 2018
  #26
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Hello people, there's some really great news

Dolby has launched new version 3 of the Atmos Mastering and Production suites

Here's the good news and detailed link below

Quote:
New supported configurations for Dolby Atmos Mastering Suite - in addition to the currently supported Dell 7910 workstation with RME MADI I/O there are two new supported configurations:
Mac Pro Rendering and Mastering Workstation with Dante I/O (qualified with Focusrite RedNet PCIeR card)
Dell 7910 Rendering and Mastering Workstation with Dante I/O (qualified with Focusrite RedNet PCIeR card)
Dolby Atmos Mastering Suite Update Available – v3.0 : Developer

So apparently no need for 10k usd worth RMU by Dell and Madi ios. A Mac pro or cheaper Windows machine can also be used as a RMU.

More details here
Dolby Atmos Mastering Suite Update Available – v3.0 : Developer

Also now the Mastering suite can be bought for 1000 usd stand alone and installed on the same mac pro running protools as well as a dedicated mac pro for rendering.

V3.0 Installers - What goes where? : Developer

Its seems like Focusrite redline16 is a better alternative to Avid Mtrx. Provides 64 Dante io, 16 line outs and ins and 2 preamps.
Old 16th November 2018
  #27
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One thing about going cheaper; Keep in mind that the RMU needs to record 128 channels of audio in real time along with the metadata associated with it. You will need fast drives. SSDs at minimum.

Randall


Quote:
Originally Posted by maverickwhistler View Post
Hello people, there's some really great news

Dolby has launched new version 3 of the Atmos Mastering and Production suites

Here's the good news and detailed link below



Dolby Atmos Mastering Suite Update Available – v3.0 : Developer

So apparently no need for 10k usd worth RMU by Dell and Madi ios. A Mac pro or cheaper Windows machine can also be used as a RMU.

More details here
Dolby Atmos Mastering Suite Update Available – v3.0 : Developer

Also now the Mastering suite can be bought for 1000 usd stand alone and installed on the same mac pro running protools as well as a dedicated mac pro for rendering.

V3.0 Installers - What goes where? : Developer

Its seems like Focusrite redline16 is a better alternative to Avid Mtrx. Provides 64 Dante io, 16 line outs and ins and 2 preamps.
Old 18th November 2018
  #28
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Just this week I installed the first Mac based Dolby RMU in my studio (at least in Germany): a Mac 6.1 based Dante RMU with the Focusrite PCIe card.
Keep in mind that Dolby has strict specs about this machine, MacPro 6.1 6Core, Sonnet expansion chassis, Focusrite card, LTC input via Dante .. so it is not a
cheap system, but still a little bit cheaper than their Dell Server solution. I already had the german Dolby Home Tech in the studio this week, meassuring and finetuning my system and doing everything it takes to go through the Dolby certification process. So let me know if I can be of any help
Old 18th November 2018
  #29
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Quote:
Originally Posted by clipgod View Post
Just this week I installed the first Mac based Dolby RMU in my studio (at least in Germany): a Mac 6.1 based Dante RMU with the Focusrite PCIe card.
Keep in mind that Dolby has strict specs about this machine, MacPro 6.1 6Core, Sonnet expansion chassis, Focusrite card, LTC input via Dante .. so it is not a
cheap system, but still a little bit cheaper than their Dell Server solution. I already had the german Dolby Home Tech in the studio this week, meassuring and finetuning my system and doing everything it takes to go through the Dolby certification process. So let me know if I can be of any help
Oh that's nice. I'm a bit confused by the new update. And would really appreciate your help.

Dolby's new update says Mac pros running Protools can also have the Mastering suite and work like an Rmu albeit with some restrictions. Don't know what.

What device are you using for sending the 128 outs over Dante to the Rmu? Only Avid Mtrx supports 64 outs over Dante using the Audio over ip Dante card. So how are you sending 128 outs to the Rmu?

What device are you using for the ltc over Dante?

and how are you monitoring your Atmos? The old Dell Rmu had 64 madi outs and using a Rme Madi to analog it was sending the outputs to processors or speakers for monitoring while other 64 madi outs were for the stems and rendered tracks from the Rmu to protools.

Are you using hdx 2 or 3 setup?

Regards
Rigveda
Old 18th November 2018
  #30
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Quote:
Originally Posted by maverickwhistler View Post
Oh that's nice. I'm a bit confused by the new update. And would really appreciate your help.

Dolby's new update says Mac pros running Protools can also have the Mastering suite and work like an Rmu albeit with some restrictions. Don't know what.

What device are you using for sending the 128 outs over Dante to the Rmu? Only Avid Mtrx supports 64 outs over Dante using the Audio over ip Dante card. So how are you sending 128 outs to the Rmu?

What device are you using for the ltc over Dante?

and how are you monitoring your Atmos? The old Dell Rmu had 64 madi outs and using a Rme Madi to analog it was sending the outputs to processors or speakers for monitoring while other 64 madi outs were for the stems and rendered tracks from the Rmu to protools.

Are you using hdx 2 or 3 setup?

Regards
Rigveda

Hi Rigveda,

the Dolby RMU needs a dedicated Mac on its own. The production Suite can ran on the same Mac, but not the RMU.
I will get the DAD 128ch. Dante card as soon as it is available for Channel 65-128. LTC is generated by a Sync HD and with the Dante AVIO Analog Input Adapter send into the Dante network and then patched in the Dante Network to the RMU.
I have a HDX2. HDX #1 is connected to the MTRX, HDX #2 is connected to a SSL Madi Interface, which is going into the MTRX and then converted to Dante.

I monitor Atmos over the MTRX. So RMU Dante out 1-12, MTRX Dante in 1-12, room eq and Atmos setup is done in the MTRX using the Eq card.

Do you already have the INTONATO?
That`s what I used before I got the MTRX. It`s a good piece, and I liked it for what it is. But in a RMU Setup, I found it to be not flexible enough. Not having the cash for the MTRX DA cards, I ended up buying a Lynx Dante card and put it in my Lynx Aurora as my DA converter. I love the flexibility you get with Dante and the system sounds great, better than the Intonato I had before. Not sure if it is the speaker processing card, or the DA, but there is a bit more definiton and 3D than before.

hope this helps,
Nico
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