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Dolby Atmos - What Hardware And Software Do You Need To Work In Atmos?

Mike Thornton

In this article we are going to explore what the minimum requirements are for both hardware and software are, to be able to mix in Dolby Atmos. We look at which DAWs you can use, what monitoring system you will need, and what additional software you will need.

Dolby Atmos Renderer

If you are going to mix in Dolby Atmos you will need to have a Dolby Atmos Renderer, which is a device that works alongside your DAW to create up to 128 inputs which can be any combination of objects and bed channels in a Dolby Atmos mix. The Renderer enables you to output your Dolby Atmos mix to speakers, headphones, and/or a master-file for delivery to encoding. Which hardware and/or software you choose to run the Renderer application on and how you connect audio in and out of it is very much dependant on your creative and workflow needs. But to work in Dolby Atmos, the renderer is a non-negotiable part of the system. There are 3 options, to choose from depending on the end-use of the content you are creating…

1. The Hardware Rendering and Mastering Unit (RMU) - Theatrical Film Releases

This is what you will find in film mixing suites for theatrical mixing for cinema theatre releases. This is a dedicated unit. If your room meets the Dolby specs then it is available on loan as long as your room has the appropriate number of speakers for the space, is of sufficient size to represent a theatrical environment and you are producing theatrical Atmos soundtracks.

You are able to have up to 64 speaker channels configured that feed out of the first MADI card in the Renderer into the B-chain processors (BSS, QSC etc) for EQ/Delay etc then from the processor to amps. The theatrical renderer also has an EQ/Delay section, which can perform processing for room calibration on a per speaker and array basis.

In short, you only need a dedicated hardware RMU if you are going to be mixing Dolby Atmos content for theatrical cinema release.

2. Dolby Atmos Mastering Suite - High-End Home Entertainment

The Dolby Atmos Mastering Suite offers all of the features of the Dolby Atmos Production Suite, in addition to advanced controls and features. It runs on a dedicated Mac or Windows computer (rendering and mastering workstation) connected via a MADI or Dante interface to a computer hosting a DAW.

The software cost $995 but remember you will have to buy it as a bundle with an approved computer and interfaces.

This is the configuration that Dolby qualify as being capable of consistently mastering Home Entertainment content. That said, not all content publishers require that you have to create Dolby Atmos Home Entertainment content. Some publishers like Netflix are happy for you to use the Dolby Atmos Production Suite.

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Notes

3. Dolby Atmos Production Suite - Netflix, Other Home Entertainment, Music And VR

The Dolby Atmos Production Suite is the version of the Renderer that can be used on the same macOS computer alongside your DAW. It's available for purchase via the Avid marketplace or as a 30-day free trial via the Dolby Developer portal and costs $299.

You will need one of these to be able to create Dolby Atmos content. The most cost-effective point of entry is to get the Dolby Atmos Production Suite, irrespective of which DAW you have.

This will be fine for mixing music in Dolby Atmos as well as a lot of Dolby Atmos Home Entertainment content, including content for Netflix. However, some content publishers do require the use of the Dolby Atmos Mastering Suite and for the facility to be Dolby accredited when mixing Dolby Atmos Home Entertainment content.

Note that the Dolby Atmos Production Suite is only available on the macOS platform. If you are on a Windows platform, then you need to invest in the Dolby Atmos Mastering Suitetogehther with an additional computer.

Alternatively, you can use one of the following DAWs which has a version of the Dolby Atmos Renderer built-in: Apple Logic Pro, Blackmagic Design’s DaVinci Resolve and Steinberg Nuendo.

Which DAWs Can I Use To Mix In Dolby Atmos?

Supported DAWs include Ableton Live, Apple Logic Pro, Avid Pro Tools, Blackmagic Design’s DaVinci Resolve and Steinberg Nuendo.

Ableton Live is now the only DAW that doesn’t offer native integration of Dolby Atmos. Apple Logic Pro, Blackmagic Design’s DaVinci Resolve and Steinberg Nuendo offer a built-in Dolby Atmos Renderer, whereas, with Avid Pro Tools, you need to use the Dolby Atmos Production Suite, which Pro Tools users can get for a discount via Avid.

For Ableton Live, you will need the free Dolby Atmos Music Panner plug-in, which is available as an AAX, AU, or VST3 plug-in for use on supported DAWs on macOS.

The Dolby Atmos Music Panner plug-in

The Dolby Atmos Music Panner is available as a free download as an AAX, AU and VST3 plug-in from Dolby Labs.

The Music Panner is the first Dolby Atmos plug-in designed specifically for music workflows. Using the powerful built-in sequencer, users can create tempo-synced object panning routines in immersive Dolby Atmos Music mixes.

Supported DAWs include Pro Tools, Logic Pro, DaVinci Resolve, Ableton Live and Nuendo. Even better is that the installer package also contains documentation and useful session templates.

The Dolby Atmos Music Panner v1.1 includes new features, improvements, and fixes.

  • The Dolby Atmos Music Panner plug-in is qualified for use with Dolby Atmos Renderer v3.4. and macOS Catalina

  • You can edit and automate Dolby Atmos Music Panner plug-in parameters from a supported EuCon control surface.

  • Object (and Object pair) sections now include a field where you can type in a valid input channel number.

  • There are new default object positions in the virtual room when inserting a panner plug-in:

    • Mono panner: By default, the object is placed in the front centre of the room (C position).

    • Stereo panner: By default, the first object is placed in the front left corner of the room, and the second object in the front right corner of the room. The Linking selector is set to Mirror X.

  • Round trip paths in the virtual room now display with an arrow on both ends of the path.

  • Elevation shape options have been reordered to match the order of the options in automation playlists: manual, wedge, sphere, curve.

What Monitoring Setup Do I Need For Dolby Atmos?

In the Dolby Atmos Mastering Suite and the Dolby Atmos Production Suite you can configure up to 22 speakers, giving a maximum configuration that would be 5 across the front, 2 pairs of speakers on the sides, 5 pairs of overheads, 1 pair of rears and a sub. In reality, most rooms with these renderers tend not to go beyond a 9.1.6 configuration and more commonly 7.1.4, which is the smallest configuration that Dolby recommend for mixing Dolby Atmos content, whether that is music or home entertainment content.

This means that if you are wanting to mix music or post-production, you will need a 7.1.4 monitoring system. Although you can work on smaller systems like a 5.1.2 setup, you will not be able to properly experience how you mix will translate to other spaces, which is why Dolby recommends a minimum system to be 7.1.4.

Before we move on to explain what 7.1.4 means, let’s start with a conventional 5.1 system.

The 5 refers to the 5 speakers that make up the surround experience…

  1. Left Front

  2. Centre

  3. Right Front

  4. Left Rear

  5. Right Rear

The .1 refers to the LFE channels. This is the LFE channel. LFE stands for Low Frequency Effects and comes from the cinema experience to enable cinema-goers to experience earthquakes, etc by being able to feel as well as hear them. It is a band-limited channel up to 120Hz.

LFE Does Not Equal Sub Woofer

It is NOT normally a Subwoofer although confusion enters here because, in some setups, the LFE speaker can double as a subwoofer as well, but this is when the speaker system has to be ‘bass-managed’ because the main speakers are not capable of handling full bandwidth and so the bass frequencies are redirected to a special subwoofer which is also the same speaker that handles the Low Frequency Effects.

Ideally, in a professional monitoring system, all your speakers should be full bandwidth so that you do not need a subwoofer to handle the bass management, so the .1 is purely for LFE.

7.1 And Beyond

Moving onto a 7.1 system we add 2 side surround speakers to a 5.1 system.

When it comes to Dolby Atmos we need height channels. To get a translatable sense of what is going on in the height channels you need a minimum of 4 height speakers in your mix room.

  1. Front Height Left

  2. Front Height Right

  3. Rear Height Left

  4. Rear Height Right

And so we arrive at a minimum speaker configuration of 7.1.4 for mixing in Dolby Atmos.

Speaker Choice For Mixing In Dolby Atmos 7.1.4

As with other surround formats, it is recommended that all your speakers should be from the same speaker manufacturer. Jumping back to 5.1 again, the advice is that all 5 speakers should be the same make and model, but with the acknowledgement that if that was not possible that the front 3 should be identical but that the rear speakers could be a smaller version of the front speakers but should still be from the same brand.

Moving to 7.1.4, similar rules apply. Ideally, all 11 speakers should be the same brand and model. but rather than the rear speakers being a smaller model from the same brand, it is suggested that the height speakers can be a smaller model as attaching large speakers to the ceiling comes with its own challenges.

But overall its the same concept, the fronts should all be the same, it is best if the sides match the fronts, but the sides, rears and heights speakers can be smaller models from the same brand.

Monitoring Is The Major Cost Of Entry Into Dolby Atmos

You are going to need 11 speakers plus a sub, these will need to be active speakers or you will need amps for all of these as well as speaker calibration. This is going to be the biggest area of expense when it comes to being able to work in Dolby Atmos. If you want help choosing some speakers then check out our article Studio Monitor Roundup - Budget Home Studio Systems Through To High-End Loudspeakers - We Help You Choose.

But it’s not just about the speakers and amps, you will also need a suitable monitor controller…

A 7.1.4 Monitor Controller

When looking at controlling your monitors, there are two routes you can look at a stand-alone monitor controller or an interface that is also a monitor controller.

Conclusion

From a software perspective, the cost of entry into Dolby Atmos for Home Entertainment and Music is low. All you need to buy is the Dolby Atmos Production Suite for $299, or choose a DAW with a version of the Dolby Atmos Renderer built-in. But unfortunately, to mix in Dolby Atmos, you need to be able to monitor Dolby Atmos and that requires a 7.1.4 monitoring system, with 11 speakers, a sub for the LFE, and a 7.1.4 monitor controller. It is the hardware requirements that increase the cost of entry. Obviously, if you already have a 5.1 monitoring system or, better still, a 7.1 monitoring system, the additional speakers will not be as costly as if you are going from stereo to 7.1.4.

There are ways to reduce the cost. For example, I have a secondhand 5.1 PMC monitoring system with 3 LB1s across the front and a pair of TB1s for the surrounds. Now I could have looked at the PMC wafers for the height channels, but I am fortunate that I do have the height to use conventional speakers for my height channels so I have been on the lookout for some more secondhand PMC monitors. So far I have bought another pair of TB1s for the side speakers, which I paid £350 for and I have a pair of DB1s as the first pair of height speakers that cost £300. I am continuing to look around for a second pair of DB1s for my other height speakers.

At the time of writing, I have yet to decide on my solution for a monitor controller. I could use the Avid MTRX Studio, which would give me a fully-featured interface and monitor controller all in one, or I am considering the Focusrite Red 16Line and do without the speaker calibration and use the level and delay options built into the Dolby Atmos Production Suite until I can afford a complete speaker calibration system. We shall see…

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