The aim of this site is to bring you the latest info on Pro Tools from a media perspective. We aim to update daily with news, tips, reviews, and topics to discuss. We try to satisfy both the high-end pro studio and the low-end studio alike but this site is not primarily music focused. Last but not least, Pro Tools for Media is not in any way affiliated with Digidesign or their partners.
I am pleased to announce that SoundCode For Dolby E version 2.0 is now available. Version 2.0 makes Dolby E faster and easier for tape-based and file-based workflows on Mac and Windows. Click here to download and try version 2.0.
NEW FEATURES Accelerated Dolby E Encoding – We optimized the encode processing to take advantage of your multi-core processor. Final Cut Plug-In Dolby E Encoder – The encode/export window operates as a Final Cut export plug-in. Just select a sequence and click Export… VST Plug-In Dolby E Decoder – Windows and OS X. Audio Unit Plug-In Dolby E Decoder – OS X. Works with the new N-Mon monitoring utility as well as Nuendo, Soundtrack Pro, and Logic. MXF OP1a File Support – The decoder/player can read and import/decode audio from OP1a files. The encoder/exporter can write to a OP1a file. The decoder/player can import standard definition IMX and DV video for use by Mojo. Improved Multi-Program File Support – The Player/Decoder can choose between programs in a multi-program file for monitoring and decoding. Hot Folder Decode/Import – The standalone decoder/import window supports hot folder processing. N-Mon Utility – Allows many types of Dolby E decode monitoring (see below). Standalone Dolby E Decoder – N-Mon allows the computer to be a standalone Dolby E decoding system using the Audio Unit decoder plug-in. Use a low-cost M-Audio device, for example, to make your Mac a Dolby E decoding system. Final Cut / Quicktime Player Dolby E Decoder - N-Mon lets you insert the Audio Unit Dolby E decoder plug-in with any core audio software. Improved File Decode/Playback – Standalone app features a playback position slider PCM Thru Control – The Dolby E decoder has a “PCM Thru” option so that PCM audio passes through if the Dolby E decoder is enabled. Dolby E Default Decoding - The standalone app decoder has a default Dolby E config so that files with no Dolby E stream at the beginning can be decoded Improved BWF Metadata – BEXT description includes information about configuration, frame rate, track names, and more. Dolby E Metadata Import – The standalone app decoder lets you import Dolby E metadata to an XML file for use by the encoder or archiving.
This was a question asked recently by ‘mikevarela’ recently on the Digidesign User Conference, he asked…
Moved to surround in my home studio (LE) and was wondering about the importance of a surround bundle. Do any of you use? Have some questions too.
I know one of the plugs (360 manager) has a matrix functionality, but will it code an LtRt or LoRo from surround. I’m thinking no, but can’t seem to understand from their online documentation.
Also, how important is it to have a few plugs like the ones available for surround mixing?
I have TL Space and am probably gonna get Altiverb, but wondering how much of the other stuff gets used. It s quite expensive.
‘mr.armadillo’ replied….
No. The 360 manager is a bass management and monitoring plug-in. The 360 mixdown plug-in can create Lo/Ro. You can’t create an Lt/Rt with Waves’ bundle. You’ll need Dolby Surround Tools. I own the bundle and really like the R360 Reverb, the L360, and I use the LFE360 on every session. Those are nice to have. However, you don’t really need it if you mix surround IMO.
‘infiniteloop’ added…
The waves surround bundle is probably slightly overkill for an LE system. You can get the UM226 upmixer separately, it’s the same as the surround spreader in 360, and you can upgrade your Neyrinck encoder to LtRt cheap. That’s all i’ve found I really need from the bundle, plus the Neyrinck is a proper Dolby encoder rather than “LR wide” in the Waves bundle. There, you’ve saved about $1400!
Any one else got some experiences of working in surround on LE rigs and would care to share them, then please add your comments to this post.
Neyrinck is pleased to announce SoundCode For Dolby E version 2.0, now shipping for Mac and Windows systems. Version 2.0 is a major update to the Dolby E software tools making it easier and faster to work with Dolby E. Version 2.0 features a highly accelerated Dolby E encoding engine for faster encodes, a new Final Cut encoding plug-in, Audio Unit and VST decoding plug-ins, and hot folder Dolby E decoding. Also, version 2.0 features a new Mac utility called N-Mon for realtime Dolby E decode monitoring with Quicktime Player, Final Cut, and external video tape testing. Version 2.0 is available as a free update for current SoundCode For Dolby E owners.
For version 2.0, the Neyrinck team analyzed the Dolby E encode engine to look for inefficiencies that could be improved upon. Adding to the challenge was the fact that the engine operates in many ways: a standalone application, a Pro Tools plug-in, and in version 2.0, a Final Cut export plug-in. The initial goal was to accelerate only the standalone application, but they found that the Pro Tools environment could also be accelerated thanks to Pro Tools’ Audiosuite architecture. The result is an accelerated encoding engine that encodes 1.5 to 4 times faster depending upon the computer system.
With version 2.0, Dolby E encoding now operates directly in Final Cut Pro and Final Cut Express as an export plug-in. One or more project sequences can be selected from a project to be exported as Dolby E. The plug-in automatically uses the time code, frame rate, and optionally the in/out points of each sequence which makes it easy-to-use and reduces operator error. A batch processing mode allows any combination of sequences to be Dolby E encoded at one time for efficient workflows.
SoundCode For Dolby E’s decoding has also been extended tremendously in version 2.0. VST and Audio Unit plug-ins have been added to allow realtime Dolby E monitoring in workstations such as Nuendo, Pyramix, and Soundtrack Pro. Dolby E monitoring has been extended to output all eight channels simultaneous. A hot folder decode feature has been added to the standalone app for ingest workflows. And on the Mac, Neyrinck has created a utility called N-Mon that uses the Audio Unit plug-in as a realtime Dolby E monitor for Quicktime Player, Final Cut, or external video tape deck. N-Mon accomplishes application monitoring by providing a core audio input device that any core audio application can connect to. N-Mon uses the Audio Unit decoder plug-in to decode and play the audio out to any core audio device. And N-Mon provides the option to monitor from any core audio input so a Mac can operate as a standalone Dolby E monitor for testing video tape laybacks.
Paul Neyrinck, president and founder of Neyrinck, says “In version 1.0 we accomplished smooth, realtime Dolby E decoding as well as faster-than-realtime encoding. But we had an inkling we could speed up the encoding on the standalone application. As we analyzed it, we discovered that the the Pro Tools Audiosuite system could also be significantly accelerated. Our Pro Tools customers really like the Audiosuite integration so this is a big win for them. And now that decoding operates in realtime with most audio and video applications, SoundCode For Dolby E is the easiest, fastest, and most complete Dolby E solution available.”
Neyrinck is pleased to announce that V-Mon version 2.0 for Pro Tools is now shipping. The new plug-in increases the surround input sources from six to ten for unparalleled 5.1 stem monitoring. Version 2.0 also adds support for both Windows and Mac based Pro Tools systems.
Version 2.0 lets the user select between two V-Mon plug-ins, type 1 and type 2. Type 2 features ten 5.1 surround input sources. With ten surround input sources, mixers can now monitor eight surround stems in addition to the main and alt sources. Type 1 implements the legacy V-Mon system with six 7.1 inputs. The VMC-101 remote controller can select the additional inputs using the Bottom key. Version 2.0 also adds support for Windows-based Pro Tools systems and maintains support for Mac-based Pro Tools systems. Version 2.0 is a free update for existing V-Mon customers.
Paul Neyrinck, says “Today’s post mixers are being asked to provide more and more stems so film and TV programs can be re-purposed worldwide. So by adding four more surround inputs, a mixer can select between eight stem inputs with two inputs for the main mix and a VTR return. No other monitoring system comes close.”
Default Mixer setup for 5.1, LtRt and stems?
Any tips on how to configure the mixer and IO to have simultaneously:
5.1 full mix and M&E
Stereo full mix and M&E (made using Neyrinck’s LtRt folddown plugin)
Stereo stems (music and fx stems would have to be via LtRt)
At the moment I’m having to concentrate on getting the 5.1 mix together for the client and worrying about the deliverables later. But I aspire to having everything setup properly and streamlined. I’ve all HD3 with 2 x 192 etc.
‘infiniteloop’ replied…
well, assuming you’ve properly grouped all your stem elements correctly, i’d just put a unity gain send on each of Sync, Fx, Mus, M&E and Final busses and send them to new 5.1 busses (I call them SyncMixdown, FXMixdown etc.) Bring them up on aux faders and drop a Neyrinck on each., then set the output to a matching set of stereo busses. Bring these up on audio tracks and you have yourself a stem recorder.
Well it is increasing looking like Paul Neyrinck’s fold down plug-in is the answer to all our prayers to save having to do two different mixes.
The Canadian educator VFS has enhanced their Sound Design for Visual Media program for surround by ordering 60 licenses of Paul Neyrinck’s Mix 51 surround for LE plug-in. This is form Neyrinck’s press release…
Vancouver Film School (VFS), Canada’s premier post-secondary entertainment arts institution, and one of the most distinguished in the world, has integrated Neyrinck Mix 51 software into their Sound Design for Visual Media program . Each student is supplied with a Pro Tools LE notebook system with the Mix 51 plug-in installed. This allows every student to edit and mix surround audio with their portable Pro Tools LE system prior to coming in to the school’s main Pro Tools HD studio.
VFS Sound Design for Visual Media Senior Instructor Shane Rees says, “Mix 51 lets our students work with surround audio outside of class and without needing to reserve time in our main studio. Mix 51 provides a stereo LtRt down mix, so they can monitor with a pair of headphones or at their home with a Pro Logic decoding system. It is tremendously beneficial for them to work in surround anywhere. This substantially improves the students “knowledge and skill in surround audio.”
Paul Neyrinck, founder and president of Neyrinck adds, “Surround audio post-production is exploding worldwide as HD broadcast takes hold. It is very important to train sound designers about surround. VFS is a premier education facility that focuses on preparing their students for real-world careers in audio production. And I am glad they are really working on making their students competitive professionals. We could not be happier that they have chosen Mix 51 which is a great solution for audio schools.”
Neyrinck is a software company founded by Paul Neyrinck who has worked on the design of many audio products including TL Space Convolution Reverb, Digidesign D-Show EQ, Focusrite D2 EQ, Digidesign Mbox OS X Software and Orban Digital Optimod 8200.
Found this thread on the Digidesign User Conference recently. Laki asked…
Looking at getting one of these and offloading my hardware boxes. Anybody care to weigh in on which to buy? The Neyrinck or Minnetonka version.
Mike Aiton posted…
Just a thought, but if you have the Dolby Audio Tool blue box, dont’t let go yet. The problem that I see with the software encode/decode solutions is that you can’t listen to your downmix with the metadata that you are encoding with. In the Uk on the Sky plaform, most viewers hear the downmixed 5.1 to 2.0 (as they don’t have a 5.1 decoder) so it is vital to be able to hear this. The network doesn’t transmit the LtRt that you sweated cobs over and loving put in your second programe audio on ch 7&8.. That said, I have passed this observation to Paul Neyrinck and he is “smarter than the average bear”, so I am sure a solution will be forth comming.
quadraphonics added…
I have tried both the Minnetonka and the Neyrinck software Dolby-E solutions, after using the hardware for a while and ended up purchasing the Neyrinck software. It was exceptionally easy to work with and the plug in (both encoder and decoder) worked just like the hardware – just faster. We have done well over 100 shows since we got this software. If you have any questions about how it performed in our workflow, I would be more than happy to help.
laki replied…
Thanks Randall! Tried both demos and came to the same conclusion.
Paul has released a cost effective new plug-in that will provide a Dolby ProLogic II compatible LtRt mix from a 5.1 source in Pro Tools. It comes with TDM, RTAS and AudioSuite options as standard. This from the Neyrinck web site…
Designed for post-production studios, TV mixers, video game mixers, and broadcasters that monitor or deliver downmixed and Lt Rt encoded audio compatible with Pro Logic™ decoders used in homes worldwide.
SoundCode Stereo LtRt Features
• Pro Logic™ II compatible matrix encoding
• Pro Logic™ I compatible matrix encoding
• Lo Ro non-matrixed down mixing
• Mute and Phase controls to isolate down mixing problems
• Mix Level controls
• Brick-wall limiting
• Adjustable Metering: VU, PPM BBC, PPM Nordic
• Adjustable Peak Metering: Hold, Auto Reset Hold, and No Hold
• Adjustable Reference Scale: -16, -18, -20, -24 dB
• Peak Value Display
• Audiosuite processing for ultra-fast downmixes
• Home theater surround monitoring
SoundCode Stereo LtRt Specifications
• Pro Tools HD and LE (complete production toolkit) 7.0 and later
• Mac OS X and Windows XP/Vista
• LCRS-to-LCRS, 5.1-to-5.1, 6.1-to-6.1, 7.1-to-7.1 (DTS-HD)
• LCRS-to-Stereo, 5.1-to-Stereo, 6.1-to-Stereo, 7.1-to-Stereo (DTS-HD)
• Bundled With SoundCode For Dolby E
• MSRP 349 USD , 269 EURO
Paul has produced this little video that shows very simply what this plug-in can do.
It is an excellent plug-in at a reasonable price and Paul also offers an upgrade package from the basic plug-in that is included in Digidesign’s Complete Production Toolkit at 249 USD.
Brent Heber must have been very busy at the recent NAB show as he has posted another interview grabbed at the 2009 show.
This time it is with Paul Neyrinck in which he talks about his recently released Dolby E plug-in which has been covered here & here on this blog. Paul also talks about Dolby AC3 and DTS plug-ins work.
In this NAB 2009 interview, Paul Neyrinck explains the various technologies available for encoding and decoding Dolby Digital, Dolby E and DTS signals via his plugins for the Pro Tools platform. In addition Paul talks about his digital monitor matrix system, VMon, a combination of software and hardware for PTHD to enable an all digital monitor chain.
I have just found out that Neyrinck have also released a Dolby E plug-in and stand alone package. It surely shows how important Dolby E is in a 5.1 surround production flow.
Dolby E is a clever trick from Dolby that takes the 5.1 audio and packs it up into a digital format that looks like a stereo AES/EBU data stream and so can be recorded and distributed around the existing stereo AES/EBU infrastructure.
Until recently one needed Dolby hardware boxes to convert to and from Dolby E, but with the introduction of the Minnetonka and Neyrinck plug-ins we now can bring that part of the workflow into the world of Pro Tools.
This from the Neyrinck press release…
SoundCode For Dolby E is a set of software tools to manage audio and Dolby metadata using Dolby E encoding and decoding and multichannel broadcast wave (MBWF) files with embedded Dolby metadata. Now Dolby E streams can be encoded at your workstation faster-than-realtime to a stereo WAV file. Now a Dolby E layback can be confidence monitored directly in Pro Tools. Now a Dolby E encode can be delivered to a video facility as a file. Now Dolby metadata can be embedded in a WAV file, where it belongs. Now file-based workflows can be implemented that carry Dolby metadata with the audio. Now Pro Tools can import and export SMPTE ordered files larger than 4 GB. Now multiple programs can be combined into a single audio file.
Specifications And Cost
Pro Tools RTAS Broadcast Monitor plug-ins – Stereo, 5.1 (HD or Complete Production Toolkit required), and 8-out (using stereo auxiliary output stems)
Pro Tools AudioSuite plug-ins – Broadcast Encoder, Broadcast Monitor
Sample Rates – 44.1, 48, 88.2, 96, 176.4, 192 kHz (Dolby E operates at 48 kHz only)
Pro Tools 7.0 or later required
Mac OS X ( Windows XP / Vista Coming Soon
$4495 MSRP
It is interesting to see that if you want both the encoder and decoder plug-ins, then Paul Neyrinck’s offering at $4495 is quite a bit cheaper than Minnetonka’s plug-in package at $5995. I look forward to seeing how they both perform.
If anyone has tried either of these plug-ins out please comment here, thanks.
Paul says….
Neyrinck Or Minnetonka for Dolby E Encoding/Decoding
Found this thread on the Digidesign User Conference recently. Laki asked…
Mike Aiton posted…
quadraphonics added…
laki replied…