I am remixing a previous work in order to spatialise in seventh rather than third order Ambisonic. For upcoming concerts. I have to be able to provide the resulting work in Ambisonic as well as Dolby Atmos theatrical format. Based on experience from our sessions at Lillehammer last winter, I will mix all scenes in seventh order Ambisonic. This can either be decoded directly, or I will use Blue Ripple to decode to a 64 channel dome, further mapped to 64 Dolby Atmos objects.
I now test out a rather complex system combining
- Multiple parallell Reaper projects:
- Reaper projects for scene authoring – returning 64 channel O7A signals
- Reaper decoding project – Receiving O7A signals, decoding and forwarding either to Dolby Atmos Renderer or as a 12 channel 7.1.4 decoded signal fir direct monitoring
- Reaper speaker setup calibration project – receiving 7.1.4 over loopback, applying Sonarworks SoundID loudspeaker calibration
- Dolby Atmos renderer
- Mira Flux for monitoring
- Multiple audio drivers combined into an aggregate device:
- Loopback 64 channel virtual audio driver – passing O7A encoded signals from Reaper scene authoring projects to a Reaper decoding project
- Dolby Audio Bridge – passing audio signals for Dolby Atmos objects to Dolby Atmos Renderer
- Loopback 16 channel virtual audio driver – passing 7.1.4 signals from multiple sources. This can include:
- Rendered signals from Dolby Atmos Renderer
- Decoded signals from Ambisonic
- Output from Apple Music or Apple TV, for playback of content from streaming services that provides audio in Dolby Atmos
- Driver for the physical sound card
Let’s see how and if this might work…
