Dolby Atmos Renderer

Installation and Configuration Guide

15 March 2023
Software v5.0
 Notices

Notices
Copyright
© 2017-2023 Dolby Laboratories. All rights reserved.

Dolby Laboratories, Inc.

1275 Market Street
San Francisco, CA 94103-1410 USA
Telephone 415-558-0200
Fax 415-645-4000
[Link]

Trademarks
Dolby and the double-D symbol are registered trademarks of Dolby Laboratories.
The following are trademarks of Dolby Laboratories:

Dialogue Intelligence™ Dolby Theatre®

Dolby® Dolby Vision®
Dolby Advanced Audio™ Dolby Vision IQ™
Dolby Atmos® Dolby Voice®
Dolby Audio™ Feel Every Dimension™
Dolby Cinema® Feel Every Dimension in Dolby™
Dolby Digital Plus™ Feel Every Dimension in Dolby Atmos™
Dolby Digital Plus Advanced Audio™ MLP Lossless™
Dolby Digital Plus Home Theater™ Pro Logic®
Dolby Home Theater® Surround EX™
All other trademarks remain the property of their respective owners.

Patents
THIS PRODUCT MAY BE PROTECTED BY PATENTS AND PENDING PATENT APPLICATIONS IN THE UNITED
STATES AND ELSEWHERE. FOR MORE INFORMATION, INCLUDING A SPECIFIC LIST OF PATENTS PROTECTING
THIS PRODUCT, PLEASE VISIT [Link]

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 Contents

Contents
1 Introduction.................................................................................................................................................6
1.1 About this documentation.................................................................................................................... 7
1.2 Channel abbreviations.......................................................................................................................... 7
1.3 Contacting Dolby................................................................................................................................... 7

2 Renderer setup with the Renderer and DAW on the same Mac.................................................................8
2.1 System requirements for installing the Renderer on the same computer as your DAW.................... 9
2.2 Installation overview for a system with the Renderer on the same computer as your DAW............. 9
2.2.1 Installing the Renderer and DAW on a Mac (using Dolby Audio Bridge and DAW object 9
panners) overview...........................................................................................................................
2.2.2 Installing the Renderer and DAW on a Mac (using Dolby Audio Bridge and Dolby Atmos Music 10
Panner plug-ins) overview..............................................................................................................

3 Renderer setup on a Dolby Atmos Renderer workstation......................................................................... 12

3.1 System requirements for installing the Renderer on a Dolby Atmos Renderer workstation............. 13
3.2 Installation overview for a system with the Renderer on a Dolby Atmos Renderer workstation...... 15

4 Optimizing a Dolby Atmos Renderer workstation on PC........................................................................... 17

4.1 Making Control Panel optimizations.................................................................................................... 18
4.2 Making Device Manager optimizations.................................................................................................20
4.3 Making Computer Management optimizations................................................................................... 20
4.4 Disabling live tiles..................................................................................................................................21
4.5 Making Group Policy Editor optimizations...........................................................................................21
4.6 Making Service Editor optimizations....................................................................................................22
4.7 Making Settings optimizations............................................................................................................. 23
4.8 Displaying file extensions......................................................................................................................23

5 Configuring a Dolby Atmos Renderer workstation with Dante I/O........................................................... 24

5.1 Dante I/O with Dolby Atmos Renderer workstation setup considerations ........................................ 25
5.2 Making Dante audio and LTC connections........................................................................................... 25
5.3 Connecting the Renderer workstation to the Dante network on Mac or PC hardware......................27
5.4 Configuring the Dante interface............................................................................................................28
5.4.1 Configuring the Focusrite PCIeR card on PC or Intel Mac..............................................................28
5.4.2 Configuring NTP DAD Core 256 .......................................................................................................28
5.4.3 Configuring the RAVENNA/AES67 Virtual Audio Device (VAD) Premium on Mac.......................... 29
5.5 Routing audio and LTC with the Dante Controller............................................................................... 33

6 Configuring a Dolby Atmos Renderer workstation with MADI I/O.............................................................41

6.1 Making MADI connections with an RME MADIface XT card.................................................................. 42
6.1.1 96 kHz considerations..................................................................................................................... 45
6.2 Making MADI connections with RME HDSPe MADI cards and a TCO module......................................46
6.2.1 Configuring RME HDSPe MADI cards and TCO module on Mac..................................................... 48
6.2.2 Configuring RME HDSPe MADI cards and TCO module on PC....................................................... 52
6.3 Making MADI connections with RME HDSPe MADI cards and a word clock expansion board........... 55
6.3.1 Configuring RME HDSPe MADI cards and word clock expansion board on PC............................. 57

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 Contents

6.3.2 Configuring RME HDSPe MADI cards and word clock expansion board on Mac...........................59
6.4 Making MADI connections with an RME HDSPe MADI FX card............................................................. 62
6.4.1 Configuring the RME HDSPe MADI FX card..................................................................................... 64
6.5 Setting left and right monitor outputs to 0 dB (RME HDSPe MADI cards only)...................................65

7 Installing Dolby Atmos Renderer software................................................................................................. 67

7.1 Dolby Atmos Renderer installer components...................................................................................... 68
7.1.1 Dolby Atmos Renderer documentation..........................................................................................68
7.2 Activating a Dolby software license...................................................................................................... 69
7.3 Upgrade considerations........................................................................................................................ 70
7.4 Installing the Dolby Atmos Renderer on Mac....................................................................................... 70
7.5 Launching the Dolby Atmos Renderer on a Mac.................................................................................. 72
7.6 Installing the Dolby Atmos Renderer on Windows...............................................................................73
7.7 Launching the Dolby Atmos Renderer on Windows............................................................................ 74
7.8 Installing the Dolby Atmos Renderer Remote on Mac or PC................................................................75
7.8.1 Connecting Dolby Atmos Renderer Remote to the Renderer........................................................76
7.8.2 Disconnecting the Dolby Atmos Renderer Remote from the Renderer........................................ 76

8 Configuring audio input and output devices in the Renderer...................................................................78

9 Configuring the Renderer sample rate and frame rate.............................................................................. 80

10 Determining the timecode latency of your system....................................................................................81

11 Setting up a room........................................................................................................................................ 85
11.1 Configuring your speaker setup............................................................................................................86
11.2 Configuring speaker output channels.................................................................................................. 90
11.3 Adjusting the delay for a specific speaker............................................................................................ 93
11.4 Setting the delay for all speakers and headphones.............................................................................96
11.5 Creating a custom monitoring layout...................................................................................................98
11.6 Changing a monitoring layout.............................................................................................................. 103

12 Setting up a room with arrays.....................................................................................................................107

12.1 Enabling Array mode............................................................................................................................. 108
12.2 Speakers in a room with arrays ............................................................................................................109
12.3 Configuring your array setup speakers.................................................................................................111
12.4 Configuring speaker output channels.................................................................................................. 114
12.5 Adjusting the delay for an array............................................................................................................117
12.6 Displaying an array layout.....................................................................................................................120

13 Configuring the headphones output.......................................................................................................... 124

14 Configuring the re-renders output............................................................................................................. 128

15 Calibrating the Renderer outputs............................................................................................................... 132

15.1 Calibration tasks and considerations................................................................................................... 133
15.2 Sending tone or noise to a specific speaker or array........................................................................... 133
15.3 Panning pink noise through each channel sequentially..................................................................... 136
15.4 Adjusting pre-EQ gain for all speakers for headroom optimization....................................................139
15.5 Adjusting the level of a specific speaker or array.................................................................................140

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15.6 Adjusting the EQ of each speaker or array ...........................................................................................142

15.7 Copying and pasting speaker EQ settings............................................................................................ 147

16 Glossary....................................................................................................................................................... 149

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 Introduction

Introduction
1
This documentation describes how to install and configure Dolby Atmos Renderer software.

• About this documentation

• Channel abbreviations
• Contacting Dolby

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 About this documentation

1.1 About this documentation

This documentation is for engineers, sound designers, and others who install, configure, or use Dolby Atmos
Renderer software.

Mac preferences and Windows settings

For most topics in this guide, the term preferences refers to preferences (or settings) in the Renderer
Preferences window. These are accessible via the Mac Dolby Atmos Renderer > Preferences menu and the
Windows File > Settings menu, unless otherwise noted.
To scroll through the window, click on the scrollbar in the right margin and drag the mouse up or down.
Alternatively, you can use a scroll wheel on a mouse.
Use Cancel to back out of the page and not accept any changes. Use Accept (or press Enter) to save changes
made on the page. Changes to settings are initialized by the Renderer after Accept is pressed.

1.2 Channel abbreviations

This documentation uses several channel abbreviations.

Abbreviation Channel

L Left

R Right

C Center

LFE Low-Frequency Effects

Ls Left Surround

Rs Right Surround

Lss Left Side Surround

Rss Right Side Surround

Lrs [a] Left Rear Surround

Rrs [b] Right Rear Surround

Lts Left Top Surround

Rts Right Top Surround

[a] Lrs corresponds to Pro Tools Lsr abbreviation.

[b] Rrs corresponds to Pro Tools Rsr abbreviation.

In Array mode, these channels are added: Ls1, Ls2, Rs1, Rs2, Lrs1, Lrs2, Rrs1, Rrs2.

1.3 Contacting Dolby

You can contact Dolby regarding this product and its supporting documentation.
• If you have technical questions about this product, visit [Link]
• For additional questions and more information on working in Dolby Atmos, visit the knowledge base and
forums at [Link]
• If you have questions or comments about this documentation, please send an email to
documentation@[Link].

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 Renderer setup with the Renderer and DAW on the same Mac

Renderer setup with the Renderer and DAW on

2
the same Mac
The Dolby Atmos Renderer can work together with a DAW on the same Mac computer. In this setup, the
Renderer uses the Dolby Audio Bridge virtual driver device to support your Dolby Atmos content-
creation workflows.

• System requirements for installing the Renderer on the same computer as your DAW
• Installation overview for a system with the Renderer on the same computer as your DAW

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 System requirements for installing the Renderer on the same computer as your DAW

2.1 System requirements for installing the Renderer on the same

computer as your DAW
Before installing the Dolby Atmos Renderer, ensure that your system configuration meets the requirements.
Tested computers and memory specifications, operating systems, and DAWs represent the minimum
hardware and software system requirements for running the Renderer on the same computer as the digital
audio workstation (DAW).
Note: Installations on the same computer are not supported for the main Renderer in a certified
Dolby Atmos theatrical studio mix room.

Tested computers
• MacBook Pro 16,1; Intel Core i9 2.4 GHz, 32 GB random-access memory (RAM)
• MacBook Pro 15,1; Intel Core i7 2.6 GHz, 16 GB RAM
• Mac Pro 7,1; 8-Core Intel Xeon, 3.5 GHz, 32 GB RAM
• Mac Pro 6,1; 6-Core Intel Xeon E5, 3.5 GHz, 32 GB RAM
• Mac mini 14,12; Apple M2 Pro, 16 GB RAM
• Mac mini 9,1; Apple M1, 16 GB RAM
• Mac mini 8,1; Intel Core i7 3.2 GHz, 16 GB RAM
• Mac Studio 13,1; M1 Max, 32 GB RAM

Tested operating systems

macOS 10.14.6 to 13.2

Tested DAWs
• Avid Pro Tools Ultimate 2021.12 to 2023.3
• Resolve Studio 17 and 18
• Steinberg Nuendo 11 and 12
Dolby Atmos Renderer can be used with other DAWs with the addition of the Dolby Atmos Music Panner plug-
in. See the Renderer and Music Panner documentation.

2.2 Installation overview for a system with the Renderer on the

same computer as your DAW
The Dolby Atmos Renderer installer package includes the components needed to run the Renderer on the
same computer as your DAW. Installation steps are dependent on your system configuration.

2.2.1 Installing the Renderer and DAW on a Mac (using Dolby Audio Bridge and
DAW object panners) overview
This setup uses the Dolby Audio Bridge to route audio to the Renderer. It uses DAW object panners (such as
those included with Pro Tools, Nuendo, or Resolve) to send Dolby Atmos panner metadata to the Renderer.

Prerequisites
Ensure that your system configuration meets the requirements.

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 Renderer setup with the Renderer and DAW on the same Mac

Figure 1: Example of Renderer and DAW on the same Mac using DAW object panners

Digital audio workstation

DAW channel outputs to Dolby

DAW panners
Audio Bridge virtual device

Object tracks

Monitoring
Audio for beds and channels
objects
Headphone L/R
channels
Audio
Object Object numbers Headphone only mode
Dolby Audio Bridge interface
metadata and descriptions L/R channels

Re-renders
channels

Renderer input device

set to Dolby Audio Bridge Renderer outputs

Renderer inputs
Monitoring output
Headphone output
Inputs 1-10 for beds Headphone only mode output
Input 11-32 for objects and additional beds Re-renders output

Dolby Atmos Renderer

Procedure
1. Activate the Dolby Atmos Renderer license for the Mac that is running your DAW.
2. Install Dolby Atmos Renderer components on the Mac.
Required components:
• Dolby Atmos Renderer
• Dolby Audio Bridge
• Dolby LTC Generator plug-in
Note: Some DAWs and NLEs (such as Nuendo and Resolve) have built-in generators that can be
used for LTC synchronization over audio (instead of the Dolby LTC Generator).

2.2.2 Installing the Renderer and DAW on a Mac (using Dolby Audio Bridge and
Dolby Atmos Music Panner plug-ins) overview
This setup uses the Dolby Audio Bridge to route audio to the Renderer. It uses Dolby Atmos Music Panner
plug-ins inserted on DAW tracks to send Dolby Atmos panner metadata to the Renderer.

Prerequisites
Ensure that your system configuration meets the requirements.

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 Installation overview for a system with the Renderer on the same computer as your DAW

Figure 2: Example of Renderer and DAW on the same Mac using Dolby Atmos Music Panner plug-ins (with a
DAW that supports bidirectional routing of object metadata)

Digital audio workstation

Dolby Atmos Music DAW channel outputs to Dolby

Panner plug-ins Audio Bridge virtual device

Object tracks

Monitoring
Audio for beds, channels
objects, and LTC
Headphone L/R
channels
Audio
Object Object numbers Headphone only mode
Dolby Audio Bridge interface
metadata and descriptions L/R channels

Re-renders
channels

Renderer input device

set to Dolby Audio Renderer outputs
Bridge
Renderer inputs Monitoring output
Headphone output
Inputs 1-10 for beds Headphone Only mode output
Input 11-128 for objects and additional beds Re-renders output
Input 129 for LTC
Dolby Atmos Renderer

Procedure
1. Activate the Dolby Atmos Renderer license for the Mac that is running your DAW.
2. Install Dolby Atmos Renderer components on the Mac.
Required components:
• Dolby Atmos Renderer
• Dolby Audio Bridge
• Dolby LTC Generator plug-in
Note: Some DAWs and NLEs (such as Nuendo and Resolve) have built-in generators that can be
used for LTC synchronization over audio (instead of the Dolby LTC Generator).

• Dolby Atmos Music Panner plug-in

The Dolby Atmos Music Panner plug-in is available in AAX, AU, and VST3 plug-in formats (at https://
[Link]/content-creation-and-delivery).

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 Renderer setup on a Dolby Atmos Renderer workstation

Renderer setup on a Dolby Atmos Renderer

3
workstation
The Dolby Atmos Renderer on a Dolby Atmos Renderer workstation, along with a qualified DAW on a
separate machine, can be connected by Dante or Multichannel Audio Digital Interface (MADI) I/O.
Additionally, the Renderer Remote provides remote control of the Renderer. The Renderer Remote can
be on any machine on the same network as the Renderer.

• System requirements for installing the Renderer on a Dolby Atmos Renderer workstation
• Installation overview for a system with the Renderer on a Dolby Atmos Renderer workstation

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 System requirements for installing the Renderer on a Dolby Atmos Renderer workstation

3.1 System requirements for installing the Renderer on a Dolby

Atmos Renderer workstation
Before installing the Dolby Atmos Renderer, ensure that your system configuration meets the requirements.
Note: Dolby Audio Bridge, which is necessary to route audio from a DAW to Dolby Atmos Renderer on
a single computer, is available for macOS only. Customers running Dolby Atmos Renderer on Windows
must run on a separate computer from their DAW and use a hardware solution to route audio to/from
the DAW.

The Dolby Atmos Renderer has been tested on Mac and Windows Dolby Atmos Renderer workstations, and
the Renderer Remote application has been tested running on Mac and Windows.

Tested Dolby Atmos Renderer workstation configurations

You can purchase a preconfigured Dolby Atmos Renderer workstation from an integrator, or build your own
workstation.
The Renderer running on a Dolby Atmos Renderer workstation has been tested in multiple configurations,
with Dante input/output (I/O) or MADI I/O, on Mac or PC hardware.
Refer to the manufacturer of your I/O device for hardware information and additional instructions.
For a Renderer workstation that requires a chassis for PCIe cards, use a Thunderbolt chassis with the
appropriate number of slots for the selected I/O configuration.

Table 1: Tested Dante I/O configurations for a Dolby Atmos Renderer workstation on Mac
I/O device Computer Operating system Required software

Focusrite RedNet PCIeR [a]Focusrite RedNet Control

• Mac Pro 7,1; 8-Core Intel macOS version 10.14.6 to
card (Intel only) Xeon, 3.5 GHz, 32 GB 13.2 2 package: https://
RAM [Link]/en/
• Mac Pro 6,1; 6-Core Intel support/downloads

NTP DAD Core 256 Xeon E5, 3.5 GHz, 32 GB [b]Firmware and drivers:
RAM https://
• Mac mini 14,12; Apple [Link].c
M2 Pro, 16 GB RAM om/download-center/
• Mac mini 9,1; Apple M1,
[c]Merging Technologies [d]https://
16 GB RAM
RAVENNA/AES67 Virtual • Mac mini 8,1; Intel Core [Link]/
Audio Device (VAD) i7 3.2 GHz, 16 GB RAM products/aes67-vad
Premium
• Mac Studio 13,1; M1
Max, 32 GB RAM

[a] Use this package to install the RedNet Control application, Dante Controller application, and PCIeR card driver.

[b] Use the latest firmware and drivers available from Digital Audio.

[c] 48 kHz only

[d] Use this package to install firmware and drivers.

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 Renderer setup on a Dolby Atmos Renderer workstation

Table 2: Tested Dante I/O configurations for a Dolby Atmos Renderer workstation on PC
I/O device Computer Operating system Required software

Focusrite RedNet PCIeR Dell 7920 or 7910 [b]Focusrite RedNet Control

• Dell 7920: Single Intel
card (Intel only) Xeon Silver processor, 2 package: https://
• Windows 10 Pro for
Dedicated graphics [Link]/en/
Workstations
card, 16 GB RAM support/downloads
• Windows 11 Pro for
• Dell 7910: Contact Dolby Workstations
for specifications
Sweetwater CS400 v7
• NUC 12 Pro -
NUC12WSHi7 Full • Windows 10
• [a]Sweetwater CS400 v7 • Windows 11

[a] Request Pro version upon ordering.

[b] Use this package to install the RedNet Control application, Dante Controller application, and PCIeR card driver.

Table 3: Tested MADI I/O configurations for a Dolby Atmos Renderer workstation on Mac
I/O device Computer Operating system Required software

RME MADIface XT (USB3 [a]Drivers: [Link]

• Mac Pro 7,1; 8-Core Intel macOS version 10.14.6 to
audio interface) Xeon, 3.5 GHz, 32 GB 13.2) [Link]/[Link]
[b]Two RME HDSPe MADI RAM [c]Drivers and firmware:

cards and RME HDSPe TCO • Mac Pro 6,1; 6-Core Intel [Link]
module Xeon E5, 3.5 GHz, 32 GB [Link]
RAM
Two RME HDSPe MADI cards • Mac mini 14,12; Apple
and word clock expansion M2 Pro, 16 GB RAM
board • Mac mini 9,1; Apple M1,
16 GB RAM
RME HDSPe MADI FX card
• Mac mini 8,1; Intel Core
NTP DAD Core 256 i7 3.2 GHz, 16 GB RAM [d]Firmware and drivers:

• Mac Studio 13,1; M1 https://

Max, 32 GB RAM [Link].c
om/download-center/

[a] The drivers package for RME MADIface XT includes the Fireface USB settings application and TotalMix FX application.

[b] This option is for users who have a TCO card that was previously in a Dolby RMU.

[c] The drivers packages for these cards include the Hammer DSP Settings application and TotalMix FX application.

[d] Use the latest firmware and drivers available from Digital Audio.

Table 4: Tested MADI I/O configurations for a Dolby Atmos Renderer workstation on PC
I/O device Computer Operating system Required software

RME MADIface XT (USB3 Dell 7920 or 7910 [b]Drivers: [Link]

• Dell 7920: Single Intel
audio interface) Xeon Silver processor, [Link]/[Link]
• Windows 10 Pro for
Dedicated graphics Workstations [c]Drivers and firmware:
Two RME HDSPe MADI cards
card, 16 GB RAM
and RME HDSPe TCO • Windows 11 Pro for [Link]
module • Dell 7910: Contact Dolby Workstations [Link]
for specifications
Two RME HDSPe MADI cards • NUC 12 Pro - Sweetwater CS400 v7
and word clock expansion NUC12WSHi7 Full • Windows 10
board • [a]Sweetwater CS400 v7
• Windows 11
RME HDSPe MADI FX card

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 Installation overview for a system with the Renderer on a Dolby Atmos Renderer workstation

[a] Request Pro version upon ordering.

[b] The drivers package for RME MADIface XT includes the Fireface USB settings application and TotalMix FX application.

[c] The drivers packages for these cards include the Hammer DSP Settings application and TotalMix FX application.

Clocking in Dolby Atmos Renderer workflows

It is important to have a stable digital audio clock in Dolby Atmos workflows using a Renderer workstation.
With Dante I/O, one device should be designated as the preferred leader for the Dante network. This is
usually the DAW that is enabled to sync to external system clock (word clock).
With MADI I/O, the word clock should be distributed to the DAW and Renderer workstation. Word clock
should not be daisy-chained between devices. For installations that do not have external clocking sources,
the DAW can run on internal clock and the Renderer can clock to incoming MADI, rather than word clock.

Tested Digital Audio Workstations

The computer running a DAW (or other audio recording/editing software) has been tested in multiple
configurations.
Tested computers and memory specifications, operating systems, audio software, and other hardware
represent the minimum hardware and software system requirements for a DAW.
Tested computers
• MacBook Pro 16,1; Intel Core i9 2.4 GHz, 32 GB RAM
• MacBook Pro 15,1; Intel Core i7 2.6 GHz, 16 GB RAM
• Mac Pro 7,1; 8-Core Intel Xeon, 3.5 GHz, 32 GB RAM
• Mac Pro 6,1; 6-Core Intel Xeon E5, 3.5 GHz, 32 GB RAM
• Mac mini 14,12; Apple M2 Pro, 16 GB RAM
• Mac mini 9,1; Apple M1, 16 GB RAM
• Mac mini 8,1; Intel Core i7 3.2 GHz, 16 GB RAM
• Mac Studio 13,1; M1 Max, 32 GB RAM
Tested operating systems
macOS 10.14.6 to 13.2.1
Tested DAWs
Avid Pro Tools Ultimate 2021.12 to 2023.3

Dolby Atmos Renderer Remote

To remotely control the Dolby Atmos Renderer, the Renderer Remote application must be installed on a Mac
or PC on the same network as your Dolby Atmos Renderer workstation.
Additionally, the Renderer Remote must have the same software version numbers as the Renderer.

3.2 Installation overview for a system with the Renderer on a Dolby

Atmos Renderer workstation
The Dolby Atmos Renderer installer package includes the components needed to run the Renderer on a
Dolby Atmos Renderer workstation. Installation steps are dependent on your system configuration. Complete
the installation tasks for your system configuration.

Prerequisites
• Ensure that your system configuration meets the requirements.
• Configure a Dolby Atmos Renderer workstation with Dante I/O or MADI I/O, on Mac or PC hardware.

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 Renderer setup on a Dolby Atmos Renderer workstation

Note: Alternatively, you can purchase an approved Dolby Atmos Renderer workstation from a
Dolby Certified Service Partner.

• Optimize the Dolby Atmos Renderer workstation (personal computer (PC) only)
See Optimizing a Dolby Atmos Renderer workstation on PC .

Procedure
1. Activate the Renderer license for the computer that is acting as the Renderer workstation. See Activating a
Dolby software license .
2. Install Renderer components on the Renderer workstation running on Windows or Mac.
Required component: Dolby Atmos Renderer
3. (Optional) Install the Dolby Atmos Renderer Remote on a Mac or PC that is running on the same network
as your Dolby Atmos Renderer workstation.
4. Launch the Dolby Atmos Renderer on the Renderer workstation.
5. Launch the Dolby Atmos Renderer Remote on a Mac or PC that is on the same network as your Dolby
Atmos Renderer workstation.
6. Connect the Renderer Remote to the Renderer, from the Render Remote application.

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 Optimizing a Dolby Atmos Renderer workstation on PC

Optimizing a Dolby Atmos Renderer

4
workstation on PC
Before using a Dolby Atmos Renderer workstation on PC, you should make system performance
optimizations. Failure to perform these optimizations may result in performance issues. System
performance optimizations are grouped by how they are accessed in Windows.

• Making Control Panel optimizations

• Making Device Manager optimizations
• Making Computer Management optimizations
• Disabling live tiles
• Making Group Policy Editor optimizations
• Making Service Editor optimizations
• Making Settings optimizations
• Displaying file extensions

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 Optimizing a Dolby Atmos Renderer workstation on PC

4.1 Making Control Panel optimizations

Control Panel optimizations include optimizing the display, disabling system sounds, configuring basic and
advanced power options, and setting performance options.

About this task

The display of Control Panel options can vary depending on how you access the settings. The display can
also vary depending on if it is accessed from the icon or by typing Control Panel in the search field. The
display can also vary depending on whether the view shows small or large icons. If an option that is
documented in this task does not appear with your view, use the Find a setting or Search Control Panel
field to display the appropriate window.
Note: Differences and additional settings for Windows 11 are noted in the procedure.

Procedure
1. Access Control Panel settings by performing one of these steps:
• From the Start menu, click Settings (cog icon), and type Control Panel in the search field.
• From the Start menu, type Control Panel in the search field.
2. Disable system sounds.
a. In the Control Panel, click Hardware and Sound.
b. Click Sound.
The Sound window opens.
c. In the Sound window click the Sounds tab.
d. From the Sounds Scheme drop-down menu, select No Sounds.
The default is on.
e. Click Apply, and then OK.
f. Close the Hardware and Sound window.
3. Configure basic power options.
a. In the Control Panel, click Hardware and Sound.
b. Click Power Options.
c. Under Choose or customize a power plan, Preferred plans, locate the selected plan, and click its
Change plan settings.
d. Click on Change settings that are currently unavailable.
e. Perform one of these steps:
• Windows 10: In the Edit Plan Settings window, set Turn off the display to Never.
• Windows 11: In the Edit Plan Settings window, set Turn off the display to Never, and set Put the
computer to sleep to Never.
f. Click Save Changes.
4. Configure advanced power options.
a. In the Edit Plan Settings window, click Change advanced power settings.
b. In the Edit Plan Settings window, in the Power Options dialog, ensure that the drop-down menu has
[Active] preset selected.
c. Click Change settings that are currently unavailable.
d. Review the advanced power options and parameter settings present in your current [Active] plan, and
make sure that they are set as recommended.
Note: Click the security icon if needed to change selections. To change a setting, click on the
parameter setting and then select the recommended setting.

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 Making Control Panel optimizations

Table 5: Recommended advanced power options and parameter settings

Power option Parameter Recommended setting

Hard disk Turn off hard disk after Never

Internet Explorer JavaScript timer frequency Maximum performance

Desktop background settings Slide show Paused

Wireless adapter settings Power savings mode Maximum

Sleep Hibernate after Never

Allow wake times Enabled

Universal Serial Bus (USB) settings USB selective suspend setting Disabled

Power buttons and lid Power button action Shut down

Sleep button action Do nothing

Peripheral Component Link state power management Off

Interconnect (PCI) Express

Processor power management Minimum processor state 100%

System cooling policy Active

Maximum processor state 100%

Display Turn off display after Never

Enable adaptive brightness Off

Multimedia settings When sharing media Prevent idling to sleep

When playing video Optimize video quality

Video playback quality bias Video playback performance bias

e. Click Apply, and then click OK to save your changes.
f. Close the Edit Plan Settings window.
5. Set performance options.
a. In the Control Panel, click System and Security.
b. Click System.
c. Click Advanced system settings.
d. In the Advanced tab of the System Properties dialog, in the Performance section, select Settings.
e. In the Performance Options dialog, click the Advanced tab.
f. Select (enable) Programs.
The default is Programs.
g. Click Apply, and then OK.
h. In the Performance section, select Settings.
i. In the Performance Options dialog, click the Visual Effects tab
j. Select (enable) Adjust for best performance.
The default is Let Windows choose what’s best for my computer.
k. In the Data Execution Prevention page of the Performance Options window, click (enable) Data
Execution Prevention.
l. Click Apply, and then OK.
m. Close the System window.

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 Optimizing a Dolby Atmos Renderer workstation on PC

4.2 Making Device Manager optimizations

In the Device Manager, you configure USB power settings.

About this task

The display of Device Manager options can vary depending on how you access the settings. The display can
also vary depending on whether the view shows small or large icons. If an option that is documented in this
task does not appear with your view, use the Find a setting or Search Device Manager field to display the
appropriate window.
Note: Differences and additional settings for Windows 11 are noted in the procedure.

Note: Not all USB controllers listed will appear in each computer.

Procedure
1. Access Device Manager settings by performing one of these steps:
• Right-click on the Start menu, and then click Device Manager.
• From the Start menu, type Device Manager in the search field.
2. Navigate to the Universal Serial Bus controllers folder, and then click the reveal triangle to
display the controllers.
3. Right-click Generic SuperSpeed USB Hub, choose Properties, click the Power Management tab,
uncheck the Allow the computer to turn off this device to save power option, and then click OK.
4. For each Generic USB Hub, right-click the hub, choose Properties, and if the Power Management tab is
available, click it, uncheck the Allow the computer to turn off this device to save power option, and
then click OK.
5. Right-click Intel(R) USB 3.0 eXtensible Host Controller - 1.0 (Microsoft), choose Properties, click the
Power Management tab, uncheck the Allow the computer to turn off this device to save power option,
and then click OK.
6. Right-click USB Root Hub (USB 3.0), choose Properties, click the Power Management tab, uncheck the
Allow the computer to turn off this device to save power option, and then click OK.
7. Close the Device Manager window.

4.3 Making Computer Management optimizations

In the Computer Management settings, you should configure hard drive options so that your computer works
more effectively when you record and play back audio files.

About this task

The display of computer management options can vary depending on how you access the settings. The
display can also vary depending on whether the view shows small or large icons. If an option that is
documented in this task does not appear with your view, use the Find a setting or Search Computer
Management field to display the appropriate window.
Note: Differences and additional settings for Windows 11 are noted in the procedure.

Procedure
1. Access Computer Management settings by performing one of these steps:
• Right-click on the Start menu, and then click Computer Management.
• From the Start menu, type Computer Management in the search field.
2. In the Storage directory, click Disk Management.

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 Disabling live tiles

3. For each drive that you intend to use for audio, right-click on the drive, choose Properties, and uncheck
these two options: Compress this drive to save disk space and Allow files on this drive to have
contents indexed in addition to file properties. When prompted, confirm the changes.
Note: Do not change settings on the system drive.

Note: Perform the same steps for external hard drives used for audio.

4. Click Apply, and then click OK.

5. When prompted, choose the option for applying changes to the drive, subfolders, and files, and then click
OK.

4.4 Disabling live tiles

Disable and remove all live Windows tiles from your Start menu (as they consume Internet bandwidth to
update previews and notifications)

Procedure
1. For Windows 10 systems, perform these steps:
a. Click the Windows logo to reveal tiles.
b. For each tile, right-click on the tile and select Turn Live Tile off, and then right-click on the tile again
and click Uninstall (if the application is not needed), or unpin from Start.
2. For Windows 11 systems, right-click on the Task Bar, select Taskbar settings, and then clock Turn off
Widgets and Chat.

4.5 Making Group Policy Editor optimizations

You should disable complex list settings configured by a local administrator to be merged with Group Policy
settings.

About this task

A display option can vary depending on if it is accessed from the icon or by typing Group Policy Editor
in the search field. The display can also vary depending on whether the view shows small or large icons. If an
option that is documented in this task does not appear with your view, use the Find a setting or Search
Group Policy Editor field to display the appropriate window.
Note: Differences and additional settings for Windows 11 are noted in the procedure.

Procedure
1. Access Group Policy Editor settings by performing these steps:
a. From the Start menu, type run to open the Run window.
b. In the Run window, type [Link].
c. Click Enter or OK.
2. On Windows 10 systems, disable automatic updates by performing these steps:
a. Navigate to the Run dialog (by pressing Windows logo+R), type [Link] and click OK.
b. Navigate to Computer Configuration\Administrative Templates\Windows
Components\Windows Update.
c. In the Windows Update folder, locate the Configure Automatic Updates setting in the right pane
and double-click it.
d. Set Configure Automatic Updates to Disabled.
e. Click Apply, and then click OK.
For more information, see [Link]
automatically-downloading-updates/.

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3. On Windows 11 systems, disable automatic updates by performing these steps:

a. Navigate to the Run dialog (by pressing Windows logo+R), type [Link] and click OK.
b. Navigate to Computer Configuration\Administrative Templates\Windows
Components\Windows Update\Manage end user experience.
c. In the Windows Update folder, locate the Configure Automatic Updates setting in the right pane
and double-click it.
d. Set Configure Automatic Updates to Disabled.
e. Click Apply, and then click OK.
For more information, see [Link]
automatically-downloading-updates/.
4. Enable Turn off Microsoft Defender Antivirus:
a. Navigate to the Run dialog, and type [Link] and click OK.
b. Navigate to Computer Configuration\Administrative Templates\Windows
Components\Microsoft Defender Antivirus.
c. In the Microsoft Defender Antivirus folder, locate the Turn off Microsoft Defender
Antivirus setting in the right pane and double-click it.
d. Set Turn off Microsoft Defender Antivirus to Enabled.
e. Click Apply, and then click OK.
f. Disable complex list settings configured by a local administrator to be merged with Group Policy
settings:
1. Select Configure local administrator merge behavior for lists.
2. Double-click on Configure local administrator merge behavior for lists, or Right-click on the
option and select Edit.
3. Select Disabled.
4. Click Apply, and then click OK.
g. Turn off Microsoft Defender real-time protection:
1. Double-click the Real-time Protection folder.
2. Select (highlight) Turn off real-time protection.
3. Double-click Turn off real-time protection, or Right-click on the option and select Edit.
4. Select Enabled.
5. Click Apply, and then click OK.

4.6 Making Service Editor optimizations

Disable SysMain service (named Superfetch on older Windows 10 builds and below, or Windows 10 build
17763.1).

Procedure
1. Navigate to the Run dialog, and type [Link], and click OK.
2. Scroll down until you see the SysMain service (or Superfetch in older Windows 10 versions), Right-click
on the service, and then choose Properties from the context menu.
3. On the General tab, ensure that the Startup type is set to Disabled, and then click the Stop button in the
Service status section.
This stops the service from starting when you boot up your computer.
4. Click Apply, and then click OK to exit out of the window.

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 Making Settings optimizations

4.7 Making Settings optimizations

Settings optimizations include disabling automatic updates for maps, disabling tamper protection, and
turning off the Microsoft Defender Firewall.

Procedure
1. Disable automatic updates for maps:
a. Access the Settings window (by clicking the Windows logo, and then Settings), and then click Apps.
b. Choose Offline maps.
c. Turn off the Automatically update maps option. (The default is on.).
If the Map updates on/off button does not display, use the Settings scroll bar to scroll the button into
view
d. Close the Offline maps window.
2. Disable tamper protection by performing these steps:
a. Navigate to the settings:
• Windows 10: Navigate to Settings > Update & Security, Windows Security, Virus & threat
protection.
• Windows 11: Navigate to Settings > Privacy & Security, Windows Security, Virus & threat
protection.
b. Click Manage settings under Virus & threat protection settings.
c. Turn off the Tamper Protection toggle option.
3. Turn off the Microsoft Defender Firewall:
a. Navigate to the settings:
• Windows 10: Navigate to Settings > Update & Security, Windows Security, Virus & threat
protection.
• Windows 11: Navigate to Settings > Privacy & Security, Windows Security, Virus & threat
protection.
b. For each network profile, perform these steps:
1. Select the network profile (such as Domain Network).
2. Under Microsoft Defender Firewall, switch the setting to Off.

4.8 Displaying file extensions

By default, Windows 10 hides file extensions. We recommend reconfiguring your system to show file
extensions. This will help avoid confusion when browsing to load a master file or a file of a master set (such
as .metadata or .audio) and accidentally loading the wrong file.

Procedure
1. Access the Control Panel: Type Control Panel in the Windows search widget, and then click Control
Panel.
2. Click Appearance and Personalization.
3. Click File Explorer Options.
4. Click the View tab.
5. In the Advanced settings: box, locate the Hidden files and folders section, and click (enable) Show
hidden files, folders, and drives.
6. Uncheck Hide extensions for known file types.
7. Click Apply, and then OK.
8. Close the Appearance and Personalization window.

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 Configuring a Dolby Atmos Renderer workstation with Dante I/O

Configuring a Dolby Atmos Renderer

5
workstation with Dante I/O
You can build a Dolby Atmos Rendering workstation with Mac or PC hardware and Dante I/O.

• Dante I/O with Dolby Atmos Renderer workstation setup considerations

• Making Dante audio and LTC connections
• Connecting the Renderer workstation to the Dante network on Mac or PC hardware
• Configuring the Dante interface
• Routing audio and LTC with the Dante Controller

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 Dante I/O with Dolby Atmos Renderer workstation setup considerations

5.1 Dante I/O with Dolby Atmos Renderer workstation setup

considerations
Dante is a method of carrying audio over IP. A Dante audio I/O device and the Dante Controller software from
Audinate are used to route Dante signal to and from the DAW and Dolby Atmos Renderer, and to monitoring
systems.
The Dante Controller application is included in the Focusrite Rednet driver package or can be downloaded
from the Audinate website.
We recommend that the Dante device in a Dolby Atmos workflow uses a dedicated network switch. This
switch should not have EEE (energy efficient internet) capability, or if does, it should be disabled. We also
recommend that all devices on the Dante network be IPv4. The network switch can use DHCP to assign IP
addresses to Dante devices and CPU Ethernet ports. Alternatively, static IP addresses can be used.
A workstation using both a Dante device and running the Dante Controller software requires both the device
and the CPU connected to the Dante network.
A Dante network should only have one source selected as the system clock, and set to Sync to External. The
external sync source is usually a DAW receiving word clock or a PTP clock.

Most Dante connections needed in a Dolby Atmos workflow use Unicast flow (one-to-one routes that support
four channels of audio simultaneously). In contrast, Multicast flows let multiple receivers subscribe to a flow
while the transmitter only uses one of its flows.
Multicast should be used only when required to minimize the number of flows to avoid overloading the
network and potentially making devices undiscoverable on the network.
There are two scenarios in a Dolby Atmos workflow where Multicast flows are required:
• Multicast flows are required when the source of LTC for the Renderer is an LTC generator external to the
DAW feeding an analog-to-Dante converter. In this case, a multicast flow is established for the last eight
channels of the transmitting audio device, so that the converter used for LTC does not take over four
Renderer inputs.
Note: A Multicast flow is not required when the Dolby LTC Generator plug-in (or equivalent) is used
in the DAW.

• Multicast flows are required when using the Merging Technologies VAD premium AES67 driver as the I/O
for a Dolby Atmos Renderer workstation running on an Apple silicon computer. In this case, multicast
flows in groups of eight are required for all 128 channels of the transmitting Dante source (the DAW).
For tasks to set up basic routing, clocking, and multicast flows, see the connection and configuration topics
for each workstation setup. Further information about Dante networks, including tutorials, is available from
Audinate.

5.2 Making Dante audio and LTC connections

A Dante I/O device in a Dolby Atmos Renderer workstation receives Dante signal from your DAW and the
workstation outputs the signal back to the Dante network for monitoring or recording. Additionally, the card
passes linear timecode (LTC) over audio to allow the Renderer to synchronize to external LTC.

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Prerequisites

Figure 3: Renderer setup with a Dolby Atmos Renderer workstation and Dante I/O (using word clock)

Word clock
Digital audio workstation
System clock
Dolby Atmos metadata
LTC
generator Outputs 1-10 Outputs 11-127
hardware (one or more beds) (beds and objects)
(if used)

Dante
LTC

Ethernet
Dante I/O

Dante

Audinate
Analog-to- Dante
Dante-compatible network switch
Dante
converter

Dante
Dante

B-chain

Dolby Atmos Renderer workstation

A Dolby Atmos system with a dedicated Dolby Atmos Renderer workstation using Dante I/O and a separate
DAW consists of these primary components:
• Dolby Atmos Renderer workstation, which includes:
• Focusrite RedNet PCIeR card (PC or Mac Intel), NTP DAD Core 256, or Merging Technologies RAVENNA/
AES67 Virtual Audio Device (VAD) Premium (Mac only)
• Dolby Atmos Renderer software
• 128 channels of Dante I/O from a DAW using compatible interfaces, such as an Avid MTRX, Focusrite
Rednet HD32R, or the DAD NTP 256. If using an external LTC Generator, an Audinate analog-to-Dante
converter is required.
Note: On Mac it is possible to use Dante as the input to the Renderer and another Core Audio
device as the output.

• Dante I/O interface that is compatible with your DAW (such as an Avid MTRX or Focusrite RedNet HD32R).
• Dante-compatible network switch (for example, a Cisco SG350-10MP 10-Port Gigabit PoE Managed
Switch, or a TPLINK TL-SG1016PE switch).
• Additional hardware for timecode sync:
• LTC hardware specific to your DAW: Provides timecode (LTC over audio) for the system.
• Analog-to-Dante convertor (for example, a Dante AVIO Analog Input or Focusrite RedNet X2P):
Receives the analog timecode signal from the LTC hardware generator and converts it to Dante to feed
the Dante card in the Renderer.

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 Connecting the Renderer workstation to the Dante network on Mac or PC hardware

Note: LTC is used for synchronizing the Renderer transport. LTC uses a receiver channel that is
typically channel 128 of the Dante device used by the Renderer. When using an external LTC
generator, audio source transmitter channels 121-128 must be configured as multicast in order for
receive channels 125-127 of the Renderer Dante device to be active while the LTC analog-to-Dante
converter uses receive channel 128.

If using the LTC Generator plug-in or equivalent, multicast is not required and LTC from the DAW uses
Renderer receive channel 128.

What to do next
Connect the workstation to the Dante network. See Connecting the Renderer workstation to the Dante
network on Mac or PC hardware .

5.3 Connecting the Renderer workstation to the Dante network on

Mac or PC hardware
You must configure the workstation to communicate with the Dante switch prior to setting up the Dante
network.

About this task

• This task includes setting a DHCP or a static IP address on the Dante switch and connecting a network
port of the Renderer workstation to it in order to control the Dante network.
• Always use Internet Protocol (IP) version 4 (IPv4). IP version 6 (IPv6) is not supported.

Procedure
1. Access your Dante-compatible network switch application, and set a static Internet Protocol address (IP
address) or enable the DHCP Server.
Note: The switch must be set up with a Windows machine. Even if a DHCP address is desired,
disable Energy Efficient Ethernet (EEE), as recommended in the Cisco documentation.

Note: To set up a Dante switch configuration, refer to the Focusrite documentation at https://
[Link]/configuring-a-switch-for-dante.

2. If the switch is configured as a DHCP server, perform these steps:

a. Use a Cat5e or Cat 6 Ethernet cable to connect the Renderer workstation network port to the Dante
switch for control purposes.
b. Continue with Configuring communication between the workstation and Dante interfaces .
3. If the switch is set with a static IP address, perform these steps:
a. Make a note of the static Internet Protocol address (IP address) of the switch (for example,
[Link]).
You will need this IP address in the next step, and when configuring communication between the
Dolby Atmos Renderer workstation and Dante interfaces.
b. Use a Cat5e or Cat 6 Ethernet cable to connect the Renderer workstation network port to the Dante
switch for control purposes.
c. In the Renderer workstation go to Apple > System Preferences > Network (Mac) or Control Panel >
Network and Internet > Network and Sharing Center (Windows).
d. Select the network port connected to the switch.
e. Configure the IP Address, Subnet Mask, and Router/Default Gateway manually, selecting Manually
option from the Configure IPv4 drop-down menu (Mac) or Use the following IP address from
Internet Protocol Version 4 (TCP/IPv4) Properties (Windows).
Note: For the Renderer workstation IP Address, set the same network than the switch, but with
an unused host number (for example, [Link]).

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f. Click Apply.

What to do next
Configure your Dante interface. See Configuring the Dante interface .

5.4 Configuring the Dante interface

Before using your Dante interface, it must be properly configured.
Instructions are provided for configuring these interfaces:
• Focusrite PCIeR card on PC or Intel Mac
• NTP DAD Core 256
• RAVENNA/AES67 Virtual Audio Device (VAD) Premium

5.4.1 Configuring the Focusrite PCIeR card on PC or Intel Mac

Before you can use the Focusrite PCIeR card with a Dolby Atmos workstation, it must be configured.

Prerequisites
If using the Focusrite PCIeR on PC or Intel Mac, update the RedNet Control 2 application, card drivers, and
the Dante Controller application.

Procedure
1. Update the RedNet Control 2 application, card drivers, and the Dante Controller application.
2. Launch the Rednet Control Application.
3. Verify the PCIeR card is present.
4. In preferences, select the Renderer workstation control port IP as a Primary Network Interface in the
RedNet Control.
This can also be done in the Dante Controller File > Interfaces.
5. Set the tab sample rate to 48kHz is and the Tab Follow Device is set to the PCIeR card.

What to do next
Route audio to your monitoring system in the Dante Controller, and set Renderer settings to use the
appropriate input and output devices. See Routing audio and LTC with the Dante Controller .

5.4.2 Configuring NTP DAD Core 256

Before you can use NTP DAD Core 256 with a Dolby Atmos Renderer workstation, you must configure the
workstation and NTP DAD Core 256.

About this task

This task uses the DADman application.
Note: The DADman application can be run on the Renderer workstation or the DAW computer where
it may already be installed. In order to control DAD Core 256 from the the DADman application in the
DAW computer, a Cat5 or 6 ethernet cable should be connected from the DAW computer to the second
ethernet port in the DAD Core 256. If the DADman application runs in the Renderer workstation, the
Thunderbolt cable is used for connection.

Procedure
1. Launch DADman application, navigate to Settings menu, and open Device List window.
2. Click (enable) the box to connect to the DAD Core 256.
If DAD Core 256 does not appear in the device list, make sure the Thunderbolt or Ethernet connections are
properly set up, or press the refresh button.

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 Configuring the Dante interface

3. In the DADman application, route channels from the DAD Core 256 Dante or MADI inputs and outputs to
the Thunderbolt inputs and outputs, by performing these steps:
a. Route 128 Dante or MADI output channels to Thunderbolt input channels.
b. Route 128 Dante or MADI input channels to the Thunderbolt output channels.
4. For Dante, configure sync settings, by performing these steps:
a. Select the Sync tab in DADman application
b. In the Synchronization section, set Sync source to Dante Main, and DigiDly to Minimum.
c. In the Sampling section, set Sample rate to 48 kHz and Adapt To to Dante Main.
d. Click the Dante tab, and then set Sample rate to Follow and Preferred to No.
5.
6.
7. For MADI, configure sync settings, by performing these steps:
a. Select the Sync tab in DADman application
b. In the Synchronization section, set Sync source to the connected MADI input (MADI Coax or Module
1/2) or Word clock), and DigiDly to Minimum.
c. In the Sampling section, set Sample rate to 48 kHz and Adapt To to the connected MADI input (MADI
Coax or Module 1/2).
8. Launch the DADDriver Setup application and set the sample rate as needed and the channels to 128 or
256.

What to do next
Route audio to your monitoring system in the Dante Controller, and set Renderer settings to use the
appropriate input and output devices. See Routing audio and LTC with the Dante Controller .

5.4.3 Configuring the RAVENNA/AES67 Virtual Audio Device (VAD) Premium on

Mac
Before you can use the Merging Technologies RAVENNA/AES67 Virtual Audio Device (VAD) Premium with a
Dolby Atmos workstation, you must configure the workstation and Virtual Audio Device.

Prerequisites
• Install Dante Controller.
• Plug your Thunderbolt-to-Ethernet adapter to the computer and to the Dante switch.
Note: Once installed, the Merging RAVENNA/AES67 is accessible from the Mac System
Preferences. The Network Adapter, sample rate (48kHz only), and Channel Count will be set
here.

Note: If Merging hardware is not part of the hardware configuration, the System Preferences will
blink red to indicate no Merging devices are online. This is normal.

About this task

This task includes configuring the Network adapter, which is required. The VAD driver requires transmit
multicast flows to be established in the Dante Controller application before they will be visible in the Merging
RAVENNA/AES 67 settings.

Procedure
1. On your Mac workstation, open System Preferences, and then click on the Merging Ravenna/AES67 icon
to open the Merging RAVENNA/AES67 settings.

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2. Click (enable) the Locked radio button and activate the VAD Premium license, launching the License
Manager by right-clicking the computer icon under the Network Discovery section.
3. Click the RAV/AES67 tab.
Note: The remainder of the Merging VAD configuration is done from this RAVENNA AES67
webpage. This is where you will establish inputs and output to the VAD driver. To set the inputs to
VAD, multicast flows are first created in the Dante Controller.

4. In the Network Adapter section, set the Interface to a supported Thunderbolt to Ethernet adapter (such
as Sonnet, Apple or Belkin).
Note: The Apple USB to Ethernet adapter is not supported. The Sonnet Thunderbolt AVB Adapter
was tested and is recommended.

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 Configuring the Dante interface

5. In the Advance Settings sections, make these settings:

• Latency: 10 ms (480). Clicks and pops occurs with a latency less than 10 ms (480).
• Sample rate: 48000 Hz
• Inputs: 128
• Outputs: 128
• Safe Mode: Checked (enabled)
• Follow DoP detection: Checked (enabled)
6. Prior to configuring the VAD driver input, you need to configure the multicast flows in the Dante
Controller that are required for the VAD driver to see the DAW Dante device transmit channels.
a. Launch Dante Controller.
b. In the Dante Controller menu, choose Devices > Create Multicast Flow.
c. In the Create Multicase Flow window, in the Audio Flow Config (Optional) section, click (enable) the
ADS67 radio button.
d. Click (enable) the Add to New Flow checkbox (to the right of the Channel Name label) to select all
available 128 channels, and then click the Create button.
RTP Multicast Flows display in the Transmit page of the DAW Dante device(s).

7. Double-click the CPU icon in the Network Discovery center pane of the System Preferences Merging
RAVENNA/AES67 Setting.
This launches the RAVENNA AES67 Advance Settings webpage in your browser. Configuration of the
Merging VAD driver inputs and outputs is done from this web page using the Session sinks pages to
configure inputs to the VAD driver and the Session Sources pages to configure outputs from the VAD
driver.
8. Configure sinks on the Ravenna/AES67 webpage, by performing these steps:

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a. On the Ravenna/AES67 Advanced Page, click the Session sinks tab.

b. Create a session sink (in ch) by clicking on the little connection cable icon (top left).
c. Modify the configuration by setting the channel count to 8, and the CoreAudio Input 1 - CoreAudio
Input 8, and then click Apply.
d. Select the first 1-8 sinks channels and set the first RTP Multicast Flow labeled 128 from the Dante
device in your DAW workstation (such as AVID MATRX), as the source.
Note: RTP multicast flows are in reversed order: 128 is the first one.

Note: Core Audio input and output channels can optionally be renamed on the Input and
Output sections (revealed by clicking on the added session sinks). By default, the channels are
called CoreAudio, followed by the channel type and number.

e. Create 15 additional session sinks (clicking the connection cable icon), configure them with the same
channel count and corresponding CoreAudio inputs for each of them (for example, Input 9 - Input 16
for the second session sink, Input 17 - Input 24 for third sessions sink, and so on) and set the
corresponding RTP Multicast flows as source in reversed order (for example, session sink 2 - RTP
Multicast Flow labeled 127, session sink 3 - RTP Multicast Flow labeled 126, and so on).
Note: When completed, the left panel of the Session sinks page will be populated with 16
entries: 1-8, 9-6, and so on until 121-128. If these are out of order, they will need to be deleted
and re-added. Again in reverse order, starting with 121-128.

9. Configure Ravenna/AES67 Advanced Page settings, by performing these steps:

a. In the Network Discovery section, double-click on the computer icon to open Ravenna/AES67 general
settings.
b. Click the Session Sources tab.

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c. Create a session source (out channel) by clicking on the little connection cable icon (top left).
d. Configure an output stream ensuring the second octet of the multicast IP address is 69, to match the
default setting on Dante devices.
e. Modify the configuration by setting the channel count to 16, and the CoreAudio Output 1 - CoreAudio
Output 16, and then click Apply.
f. Ensure that the second octet of the IP address is 69 (for example, [Link]), to match the default
RTP multicast address prefix.
g. Create seven additional session sources (clicking the connection cable icon) and configure them with
same channel count and IP address, while assigning the corresponding CoreAudio outputs for each of
them (for example, Output 17 - Output 32 for the second session source, Output 33 - Output 48 for
third sessions source, and so on).
10. Configure the outputs routing in the Dante Controller, by performing these steps:
a. Open the Dante Controller application on the workstation, and choose Devices > Devices View, and
then, depending on your system setup, select the Dante device or devices you want to use for
monitoring and live re-renders outputs (for example, AVID MTRX).
b. Click the AES67 Config tab in each desired output Dante device, and then set AES67 Mode to
Enabled.
Note: Most Dante devices do not support 96 kHz in AES67 mode.

What to do next
Route audio to your monitoring system in the Dante Controller, and set Renderer settings to use the
appropriate input and output devices. See Routing audio and LTC with the Dante Controller .

5.5 Routing audio and LTC with the Dante Controller

Before using your Dante interface it must be properly configured

Prerequisites
• Dante Controller software installed by the Rednet drive package ([Link]
support/downloads), or directly from Audinate.
• Ensure the Dolby Atmos Renderer workstation and all Dante interfaces (DAW, Renderer, and analog-to-
Dante converter, if used for LTC) are connected to the Dante network.

About this task

• This task is performed on the Dolby Atmos Renderer workstation with the Dante Controller application,
and Dolby Atmos Renderer.
• In this example, the DAW is using HD32R Dante Interfaces and an external LTC generator with a Focusrite
X2P as the Analog to Dante converter.
• If you are using the RAVENNA/AES67 Virtual Audio Device (VAD) with the Renderer workstation, you can
skip the initial steps as the DAW transmit channels are already configured as multicast flows, and start
with the step to Route output channels from the Renderer Dante I/O device to the devices.

Procedure
1. On the Dolby Atmos Renderer workstation, perform these steps:
Note: Skip this step if you are using the RAVENNA/AES67 Virtual Audio Device (VAD) with the
Renderer workstation.

a. Launch the Dante Controller application on Mac or PC via the RedNet Control 2 application from File >
Dante Controller, or from the applications folder (Mac).
Note: The Dante Controller application can be run on the Renderer or on the DAW computer
with Dante I/O.

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b. Ensure that all Dante interfaces (DAW, Renderer, and analog-to-Dante converter if used for LTC) are
visible in the Dante Controller application.
c. Select the Renderer workstation control port IP as a Primary Network Interface in the RedNet Control
2 (Preferences menu) or Dante Controller File > Interfaces.
d. Ensure sure all Dante devices are visible. Otherwise refer to the manufacturer information to set up
the device in a Dante network.
2. In Dante Controller, when using an analog-to-Dante converter with an external LTC generator,, create a
multicast flow from the last eight transmitter channels of the device that will be routed (subscribed) to
receiver channels 121 to 128 of the PCIeR card.
Note: Skip this step if using the Dolby LTC Generator plug-in, or if you are using the RAVENNA/
AES67 Virtual Audio Device (VAD) with the Renderer workstation.

a. In Dante Controller, choose Device > Device View.

b. In the device drop-down menu, select the device that will route to receiver channels 121 to 128.
In this example, the device is RedNet HD32R-Port-4.

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c. Click Transmit to display the Transmit Flows section.

d. Click the multicast icon .
e. In the Create Multicast Flow dialog, click (check) the Add to New Flow boxes for the last eight
channels of the device (RedNetHD32R-Port-4), and then click Create.

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3. Route the first 128 channels of output from the Dante I/O devices to the Dolby Atmos Renderer
workstation by routing each of the channel outputs to a PCIeR input:
This step uses Device View. Alternatively, you can perform routing in the Dante Controller Routing View.
Note: Skip this step if you are using the RAVENNA/AES67 Virtual Audio Device (VAD) with the
Renderer workstation.

a. In Dante Controller, click Device > Device View.

b. In device drop-down menu, click the Renderer Dante device.

c. In the Available Channels section, click on a Dante transmitter channel and drag it to the appropriate
Dante receiver channel in the Receive Channels section.

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d. Make sure that the last eight channels are configured as multicast.
Note: If using the Dolby LTC Generator plug-in, skip this step.

In the Status column, the last eight channels should include the multicast symbol.

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4. Route the analog-to-Dante converter to receiver channel 128 input.

Note: Skip this step if using the Dolby LTC Generator plug-in, or if you are using the RAVENNA/
AES67 Virtual Audio Device (VAD) with the Renderer workstation.

a. In device drop-down menu, click the RedPCIeR card.

b. Click the Receive tab.
c. Select channel 128 in the Receive Channels section, and then unsubscribe it by clicking Unsubscribe
button.
d. In the Available Channels section, click on the analog-to-Dante converter transmitter channel and
drag it to the appropriate Dante receiver channel in the Receive Channels section.

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In this example, the RedNet X2P is being used as the Analog-to-Dante converter for LTC. Channel 1 of
the X2P is the transmitter channel routed to receiver channel 128 of the Red PCIeR card.

5. Route output channels from the Renderer Dante I/O device to the devices used for monitoring and live re-
renders, by clicking the Receive tab on the Dante device connected to the monitoring system, and
subscribe to the Renderer Dante device transmit channels.
Note: For the Merging VAD, these will be in groups of 16.

• For full use of arrays, route up to 30 channels of output from the Renderer Dante device to the receive
channels of the Dante device in the monitoring system.

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• If not using arrays, route enough outputs to cover the maximum speaker layout in your studio (12
outputs for 7.1.4 or 16 outputs for 9.1.6).
6. Configure the system clock source on your Dante system.
The DAW Dante interface (or the first interface, if more than one is used) should be enabled as the
preferred leader for the Dante network, set to word clock, and its word clock sent to the network to be the
leader for other Dante devices.
In this example, the first HD32R interface is locked to word clock. In the Dante controller Enable Sync to
external should be checked. Preferred Leader should also be checked so that the first HD32R becomes
the preferred leader for all the devices on the Dante network.
a. Open the RedNet Control application.
b. Ensure that all devices appear and are active.
c. For the first Dante interface, click the settings icon.
d. Enable Preferred Leader.
e. Set RedNet Clock Source to Word Clock.
f. Set Word Clock Output to Network.
7. Ensure that word clock from the leader clock is distributed to your Dante system.
8. Verify audio and sync are routed as expected:
a. Launch the Dolby Atmos Renderer on the Dolby Atmos Renderer workstation.
b. Launch the Dolby Atmos Renderer Remote on the DAW computer, and then launch the DAW.
c. From the Dolby Atmos Renderer (or Dolby Atmos Renderer Remote), do one of these steps:
• On Mac, choose Dolby Atmos Renderer > Preferences to open the Preferences window.
• On Windows: choose Dolby Atmos Renderer > Settings to open the Settings window.
d. In the DEVICES section, update settings using the respective drop-down menus:
1. Audio Driver: Select ASIO (PC) or Core Audio (Mac).
2. Audio input device: Select the Dante device being used (PCIeR, Core 256, or Merging RAVENNA/
AES67).
3. Audio output device: Select the Dante device being used (PCIeR, Core 256, or Merging RAVENNA/
AES67).
4. External sync source: LTC over audio.
5. LTC input channel field: Set the Renderer channel that will be receiving LTC signal, as configured
in the Dante Controller PCIeR routing settings.
6. Frame rate and Sample rate: Set these to match the rates of your DAW session.
e. Click Accept.

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Configuring a Dolby Atmos Renderer

6
workstation with MADI I/O
You can build a Dolby Atmos Rendering workstation with Mac or PC hardware and MADI I/O. There are
different configurations for a Renderer workstation with MADI I/O. Refer to the tasks that are relevant
for your configuration.

• Making MADI connections with an RME MADIface XT card

• Making MADI connections with RME HDSPe MADI cards and a TCO module
• Making MADI connections with RME HDSPe MADI cards and a word clock expansion board
• Making MADI connections with an RME HDSPe MADI FX card
• Setting left and right monitor outputs to 0 dB (RME HDSPe MADI cards only)

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6.1 Making MADI connections with an RME MADIface XT card

The RME MADIface XT interface in a Dolby Atmos Renderer workstation receives MADI signal from your DAW
and outputs the signal for monitoring. Additionally, the interface passes LTC over an audio track to allow the
Renderer to synchronize to external LTC.

Prerequisites

Figure 4: Renderer setup with a Dolby Atmos Renderer workstation and MADI I/O, using LTC generating
hardware

Digital audio workstation

Dolby Atmos metadata

Outputs 1–10 Outputs 11–64 Outputs 65-128

(one or more beds) (beds and objects) (beds and objects)

Timecode Ethernet
(LTC over audio) MADI I/O

Dolby Atmos Renderer workstation

MADI B-chain

A Dolby Atmos system with a dedicated Dolby Atmos Renderer workstation using an RME MADIface XT card
and a separate DAW consists of these primary components:
• Dolby Atmos Renderer workstation, which includes:
• RME MADIface XT USB3 audio interface, connected via USB 3.0
Note: If the RME MADIface XT is connected to a USB 2.0 port, only 64 channels will be available.

• Dolby Atmos Renderer software installed

• 128 channels of MADI I/O from a DAW workstation
Note: MADIface XT inputs 1 and 2 and outputs 1 and 2 are optical. Depending on the DAW I/O,
coax-to-optical converters may be required.

Note: LTC over audio is used for synchronizing the Renderer transport with the MADIface XT USB
Interface. LTC uses one of these inputs:
• Channel 128 of the RME MADIface XT card, when using the Dolby LTC Generator plug-in from
the DAW.
• Channel 129 (channel 1 of the MADI 3 input), when using the Dolby LTC Generator plug-in from
the DAW with more than 128 channels of output.

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• Channel 129, when using the mic/line input fed from an LTC generator; this requires loopback
routing in the RME TotalMix application.

About this task

The steps in this task use an LTC generator and MADIface XT to drive the Renderer.
Alternatively, you can use the Dolby LTC Generator plug-in routed directly from the DAW to a MADI channel to
drive the Renderer.

Procedure
1. Connect your MADI outputs 1 and 2 to MADIface XT MADI inputs 1 and 2 using proper optical cables.
2. Distribute word clock from the system clock to the RME MADIface XT.
3. Connect the analog LTC generator LTC output to the mic/line 1 input on the front panel of the MADIface
XT.
4. Open the RME TotalMix FX application.
5. Use the loopback function in the TotalMix FX application to route the LTC input of mic/line 1 of the
MADIface XT to input 129 of the Renderer software:
a. Convert Hardware Outputs channels 129–130 in the bottom row of TotalMix from stereo to mono by
clicking on the wrench icon and deselecting the Stereo option.
b. Select channel 129, set the fader position to 0 dB, and then click the Loopback option.
With the loopback feature in TotalMix FX, you can take the output of one software program and send it
back as an input signal for a different software program.
c. Route the LTC signal from mic 1 in the hardware inputs top row of TotalMix to output 129 by clicking
on the AN 1/2, below the mic 1 fader, and then select channel 129 from the drop-down list.
d. Set the mic 1 channel fader to 0 dB (by double-clicking the fader).

e. Press X on the keyboard to show the matrix view, and make sure mic 1 in is routed to out 129.

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6. Connect the desired MADIface XT output (1, 2, or 3) for the monitoring output.
If you want to use MADIface XT MADI 3 for monitoring audio output, note that LTC is output from the first
channel of MADIface XT MADI 3 out. Use TotalMix to route software out 1–12 (if 7.1.4) to hardware out 131–
143. For example, then select the audio 3–14 of MADI for monitoring.
7. Open the RME Fireface USB Settings application, and make sure that the Input Status and Output
Format are correct.

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What to do next
Set driver and sync settings in the Dolby Atmos Renderer (in the Driver preferences window).

6.1.1 96 kHz considerations

RME MADIface XT can operate with 96 channels at 96 kHz, but Pro Tools (using Avid MTRX or HD MADI
interfaces) has only 64 output channels available at 96 kHz.
When using an LTC generator analog LTC out to the RME MADIface XT mic/line in 1 for the LTC over audio, you
can select a channel from 65 to 96 to drive the Renderer. However, when using a MADI channel with the LTC
Generator plug-in for the LTC over audio, you can select a channel from 1 to 64 to drive the Renderer.

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6.2 Making MADI connections with RME HDSPe MADI cards and a
TCO module
The RME MADI cards on a Dolby Atmos Renderer workstation receive MADI signal from your DAW system and
outputs the signal for monitoring. The RME HDSP TCO module on your workstation provides word clock
synchronization, and on the PC, the option of a timecode input.

Prerequisites
You need four MADI cables and one sync cable to complete connections. You need four MADI cables and one
sync cable to complete connections.

Figure 5: MADI connections with HDSPe MADI cards and a TCO module on Mac

Digital audio workstation

Dolby Atmos metadata

Outputs 1–10 Outputs 11–64 Outputs 65-127

(one or more beds) (beds and objects) (beds and objects)

Timecode Ethernet
(LTC over audio) MADI I/O

Dolby Atmos Renderer workstation

MADI B-chain

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Figure 6: MADI connections with HDSPe MADI cards and a TCO module on PC

Digital audio workstation

Dolby Atmos metadata

Outputs 1–10 Outputs 11–64 Outputs 65-128
(one or more beds) (beds and objects) (beds and objects)

Timecode MADI Ethernet

(ASIO sync)

Dolby Atmos Renderer workstation

MADI B-chain

A Dolby Atmos setup with a dedicated Dolby Atmos Renderer workstation using RME HDSPe MADI cards and
a TCO module and separate DAW consists of these primary components:
• Dolby Atmos Renderer workstation, which includes:
• Two RME HDSPe MADI cards
• RME HDSP TCO module
Connect the RME HDSPe MADI cards and TCO module:
• RME HDSP TCO module connected to RME MADI card #1 via a ribbon cable. The cable from the TCO
module connects to the TCO SYNC IN 10-pin socket on MADI card #1.
• RME MADI card #1 (lower serial number) connected to RME MADI card 2, via a sync cable. The cable
connects to the OUT header on MADI card #1 and the SYNC IN header on MADI card #2.
The TCO module accepts word clock and video reference along with LTC.
On PC, the TCO module can be used to receive an LTC signal as well as either a video reference or word
clock signal. For use with the Renderer on Mac, LTC must be sent over an audio channel as the
Renderer cannot use MIDI timecode.
• Dolby Atmos Renderer software
• 128 channels of MADI I/O from a DAW as optical or coax.
Note: LTC via ASIO is used for synchronizing the Renderer transport in a configuraiton using RME
HDSPe MADI cards and the TCO module. LTC from an external generator is a direct connection to
the TCO module LTC input (BNC connector).

Procedure
1. To receive MADI signal from your DAW system, perform these steps:
a. Connect the first DAW MADI output to the MADI card #1 input on the Dolby Atmos Renderer
workstation.

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MADI card #1 is the MADI card with the lowest serial number.
You can confirm which card is the first card by verifying signal presence from lower channels (1–32)
after the workstation is fully connected to a Dolby Atmos authoring system.
b. Connect the second DAW MADI output to the MADI card #2 input on the workstation.
2. To output MADI signal from the workstation, perform these steps:
a. Connect MADI output 1 to the monitoring system MADI input or interface for routing to the DAW MADI
input, as needed.
b. Connect MADI output 2 to the DAW MADI input for live-renders, as needed.
3. For a PC setup, to receive SMPTE timecode at the workstation, connect the LTC generator output to the
timecode input port (LTC In) on the TCO module.

6.2.1 Configuring RME HDSPe MADI cards and TCO module on Mac
Before you can use a Mac with RME HDSPe MADI cards and a TCO module as a Dolby Atmos Renderer
workstation, you must configure the workstation, RME HDSPe MADI cards, and TCO module.

Prerequisites
• The RME HDSPe MADI cards and TCO module should be placed in a compatible chassis.
• Download and install the latest driver for an RME HDSPe MADI card for macOS.

About this task

Important: Use of the TCO module on Mac is for customers who already have a TCO card because
they are migrating to Mac from a previous PC installation. There is no requirement for Mac
installations using RME HDSPe MADI cards to use the TCO card, as it is used only for clock input, and
not for LTC.

Procedure
1. Configure the cards as an aggregate device, by performing these steps:
a. Launch Audio MIDI Setup, click on the + icon and then Create Aggregate Device.
b. Click (check) the box for both HDSPe MADI cards.

c. Ensure that the Drift Correction box for the second card is disabled (unchecked).

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2. Configure the settings for the RME HDSPe MADI cards, by performing these steps:
a. Launch the HDSPe Settings application.
b. In the HDSPe Settings window, select the first MADI card in the Properties For drop-down menu, and
then configure these settings, as noted.
• Sample rate: 48000 Hz
• Clock Mode: Autosync
• Pref Sync Ref: TCO

c. In the HDSPe Settings window, select the second MADI card in the Properties For drop-down menu,
and then configure these settings, as noted.
• Clock Mode: Autosync
• Pref Sync Ref: Sync In

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3. Configure the settings for the TCO module, by performing these steps:
a. In the HDSPe Settings window, click the TCO tab to navigate to the TCO page.
b. Configure these TCO settings, as noted.
• Sample Rate: 48 kHz.
Note: The TCO module does not support 96 kHz on Mac.

• Pull up and pull down: 0.

• Sync Source: WCK.
Note: Word clock is provided by a system word clock generator or DAW synchronization
device connected to the TCO module.

Note: LTC should go through an audio channel because the TCO module LTC In does not
work in Mac.

Note: The Frame Rate setting on the TCO module is not used on Mac configurations where
the Renderer synchronization is LTC over audio.

• WCK conversion: 1:1

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What to do next
Set left and right monitor outputs to 0. See Setting left and right monitor output to 0 dB (RME HDSPe MADI
cards only) .

6.2.2 Configuring RME HDSPe MADI cards and TCO module on PC

Before you can use a PC with RME HDSPe MADI cards and a TCO module as a Dolby Atmos Renderer
workstation, you must configure the workstation, RME HDSPe MADI cards, and TCO module.

Prerequisites
Update RME HDSPe drivers (with the RME Windows driver).

Procedure
1. To receive MADI signal from your DAW system, perform these steps:
a. Connect the first DAW MADI output to the MADI card #1 input on the Dolby Atmos Renderer
workstation.
MADI card #1 is the MADI card with the lowest serial number.
• For a Dell 7920, MADI card #1 should be in slot 3.
• For a Dell 7910, MADI card #1 should be in slot 6, and MADI card #2 should be in slot 7.
• For a Sweetwater CS400 v7 computer, contact Sweetwater .
• If using the qualified NUC PC, a Thunderbolt PCIe chassis with three slots should be used.
You can confirm which card is the first card by verifying signal presence from lower channels (1–32)
after the workstation is fully connected to a Dolby Atmos authoring system.
2. Power up the Dolby Atmos Renderer workstation on approved PC hardware.

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3. From the workstation task bar (the icon at the lower right of the screen), launch the Hammerfall DSP
Settings application.
The Hammerfall DSP Settings application appears as a hammer icon over the letters DSP that identifies
the application executable.

Figure 7: Hammerfall DSP Settings application hammer icon

4. Ensure that MADI (1) card is listed first in the Hammerfall DSP Settings application:
a. Click the Global tab.
b. In the Change Card Order window, verify that MADI (1) is listed first.
c. If MADI (1) is not listed first, highlight MADI (1) in the Change Card Order window, click the Up button,
and then click Apply.
5. Click the TCO tab, and configure the card with the settings listed in this table.

Table 6: Word clock RME TCO settings in Hammerfall DSP Settings application
Control Setting

LTC in Status window only; shows incoming linear timecode (for example,
from a Pro Tools machine).

Frame Rate Match the frame rate of the Dolby Atmos session in Pro Tools.
After you complete installing the Dolby Atmos Renderer workstation
on approved PC hardware, you must also set the Renderer to the
same frame rate (in the Renderer, in Driver preferences. See the
Dolby Atmos Renderer Guide .
Input State Status window only; shows incoming linear timecode (for example,
from a Pro Tools machine):
• LTC: No LTC
• Video: No video
• WCK [a]: Single Speed mode

Sync Source WCK (preferred) or Video [b]

Sample Rate 48 kHz.

The lower entries provide pull-up and pull-down values. Select 0.
Note: When working with 96 kHz, set the sample rate to
from app.

Video/Word Input 75 Ohm Term. (termination) box checked.

[c]WCK Conversion 1:1.

Frequency Status only.

[a] Word clock

[b] The clock source for the TCO module can be word clock or video reference. Word clock is the preferred clock source and should
be distributed from the system clock and not looped through other equipment. When valid word clock is connected and selected as
the TCO Sync Source, the word “lock” appears in the TCO Sync Source field. The frequency of the connected word clock will be in
displayed in the TCO status. Video reference should be connected to the TCO module if word clock is not available and selected in
the TCO Sync Source field.

[c] Word clock

6. Click the MADI (1) tab, and configure MADI card #1 with the settings listed in this table.

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Table 7: MADI card #1 settings in Hammerfall DSP Settings application

Control Setting

Buffer Size [a] 512.

If the buffer size (for MADI) is not set to 512, launching the Renderer software
may result in a fatal error message (followed by the Audio Stream Input/
Output (ASIO) system shutting down). In this case, relaunch the Hammerfall
DSP Settings application and reset the MADI buffer size to 512.
Note: When working with 96 kHz, set the buffer size to 1024.

WDM [b] Devices 32.

Clock Mode • Sample Rate: 48,000 Hz.

• Clock Source: TCO. Word clock or LTC must be present for the RME TCO
to be a valid choice.
• Pitch: 0.000%.

Options • MADI In: Coaxial.

• MADI Out: 64 (32/16) channel.
• 88.2/96 kHz: 48 kHz frame.
Note: In order to maintain 64 channels of I/O on each MADI card
when working at 96 kHz, the 88.2/96 kHz option must be set to
48 kHz frame for each MADI card in the Hammerfall DSP
Settings application.

• Word Clk Out and Single Speed checkbox: Unchecked.

MADI Input Status Status window only; shows status of MADI input activity.

SyncCheck Display window only; shows word clock lock status and MADI sync status.

[a] For MADI

[b] Windows Driver Model

7. Click the MADI (2) tab, and configure MADI card #2 with the settings listed in the table.
The settings for MADI card #2 are the same as those for MADI card #1, except for the Clock Source. Set the
Clock Source for MADI card #2 to Sync In.
Note: Sync MADI card #2 to Sync In to avoid audio being offset and playing back late.

Table 8: MADI card #2 settings in Hammerfall DSP Settings application

Control Setting

Buffer Size [a] 512.

If the buffer size (for MADI) is not set to 512, launching the Renderer software
may result in a fatal error message (followed by the ASIO system shutting
down). In this case, relaunch the Hammerfall DSP Settings application and
reset the MADI buffer size to 512.
Note: When working with 96 kHz, set the buffer size to 1024.

WDM [b] Devices 32.

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Table 8: MADI card #2 settings in Hammerfall DSP Settings application (continued)

Control Setting

Clock Mode • Sample Rate: 48,000 Hz

• Clock Source: Sync in
• Pitch: 0.000%

Options • MADI In: Coaxial

• MADI Out: 64 (32/16) channel
• 88.2/96 kHz: 48 kHz frame
Note: In order to maintain 64 channels of I/O on each MADI card
when working at 96 kHz, the 88.2/96 kHz option must be set to
48 kHz frame for each MADI card in the Hammerfall DSP
Settings application.

• Word Clk Out and Single Speed checkbox: Unchecked

MADI Input Status Status window only; shows status of MADI input activity.

SyncCheck Display window only; shows word clock lock status and MADI sync status.

[a] For MADI

[b] Windows Driver Model

What to do next
• Set left and right monitor outputs to 0. See Setting left and right monitor output to 0 dB (RME HDSPe
MADI cards only) .

6.3 Making MADI connections with RME HDSPe MADI cards and a
word clock expansion board
The RME HDSPe MADI cards on a Dolby Atmos Renderer workstation receive MADI signal from your DAW
system and outputs the signal for monitoring.

Prerequisites
Ensure that you have the hardware (and supporting cables) necessary for the system components. You need
four MADI cables and word clock terminated with a BNC connector to complete connections.

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Figure 8: MADI connections with RME HDSPe MADI cards and a word clock expansion board on Mac

Digital audio workstation

Dolby Atmos metadata

Outputs 1–10 Outputs 11–64 Outputs 65-127

(one or more beds) (beds and objects) (beds and objects)

Timecode Ethernet
(LTC over audio) MADI I/O

Dolby Atmos Renderer workstation

MADI B-chain

A Dolby Atmos system with a dedicated Dolby Atmos Renderer workstation using RME HDSPe MADI cards and
a word clock expansion board and separate DAW consists of these primary components:
• Dolby Atmos Renderer workstation, which includes:
• Two RME HDSPe MADI cards
• RME word clock expansion board
Connect the RME HDSPe MADI cards and word clock expansion board:
•
RME HDSPe word clock expansion board connected to RME MADI card #1 via a ribbon cable. The
cable from the expansion board connects to the 14-pin expansion board socket on MADI card #1.
• RME MADI card #1 (lower serial number) connected to RME MADI card 2, via a sync cable. The cable
connects to the OUT header on MADI card #1 and the SYNC IN header on MADI card #2.
• Dolby Atmos Renderer software
• Dolby LTC Generator plug-in
• 128 channels of MADI I/O from a DAW as optical or coax.
Note: LTC over audio is used for synchronizing the Renderer transport in a configuration using
RME HDSPe MADI cards and the word clock expansion board. LTC uses one of these inputs
• Channel 128, when using the Dolby LTC Generator plug-in from the DAW.
• Channel 128, when using an external LTC generator; this requires analog-to-MADI conversion
and routing.

• One or more MADI I/O interfaces that collectively support 128 channels of audio and that are compatible
with your DAW.

Procedure
1. To receive MADI signal from your DAW system, perform these steps:
a. Connect the first DAW MADI output to the MADI card #1 input on the Dolby Atmos Renderer
workstation.

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You can confirm which card is the first card by verifying signal presence from lower channels (1–32)
after the workstation is fully connected to a Dolby Atmos authoring system.
b. Connect the second DAW MADI output to the MADI card #2 input on the workstation.
2. To output MADI signal from the workstation, perform these steps:
a. Connect MADI output 1 to the monitoring system MADI input or interface for routing to the DAW MADI
input, as needed.
b. Connect MADI output 2 to the DAW MADI input for live-renders, as needed.
3. To receive LTC timecode at the workstation, perform these steps:
a. In your DAW, insert the Dolby LTC Generator plug-in on a track.
b. Set the track output to channel 128.
c. In the Renderer, navigate to the Driver preferences, and set the LTC input channel to 128.
Note: Channel 129 in MADI card #2, input 3, could be used for LTC sync, if the user system has
more than 128 I/O channels.

6.3.1 Configuring RME HDSPe MADI cards and word clock expansion board on
PC
Before you can use a PC with RME HDSPe MADI cards and a word clock expansion board as a Dolby Atmos
Renderer workstation, you must configure the workstation, RME HDSPe MADI cards, and word clock
expansion board.

Prerequisites
Download and install the latest driver for RME HDSPe MADI cards for Windows.

Procedure
1. To receive MADI signal from your DAW system, perform these steps:
a. Connect the first DAW MADI output to the MADI card #1 input on the Dolby Atmos Renderer
workstation.
MADI card #1 is the MADI card with the lowest serial number.
• For a Dell 7920, MADI card #1 should be in slot 3.
• For a Dell 7910, MADI card #1 should be in slot 6, and MADI card #2 should be in slot 7.
• For a Sweetwater CS400 v7 computer, contact Sweetwater.
• If using the qualified NUC PC, a Thunderbolt PCIe chassis with three slots should be used.
You can confirm which card is the first card by verifying signal presence from lower channels (1–32)
after the workstation is fully connected to a Dolby Atmos authoring system.
2. Install the word clock expansion board, and then connect a bus cable from the expansion card to the first
RME HDSPe card.
3. Power up the Dolby Atmos Renderer workstation on approved PC hardware.
4. From the workstation task bar (the icon at the lower right of the screen), launch the Hammerfall DSP
Settings application.
The Hammerfall DSP Settings application appears as a hammer icon over the letters DSP that identifies
the application executable.

Figure 9: Hammerfall DSP Settings application hammer icon

5. Ensure that MADI (1) card is listed first in the Hammerfall DSP Settings application:
a. Click the Global tab.
b. In the Change Card Order window, verify that MADI (1) is listed first.
c. If MADI (1) is not listed first, highlight MADI (1) in the Change Card Order window, click the Up button,
and then click Apply.

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6. Click the MADI (1) tab, and configure MADI card #1 with the settings listed in this table.

Table 9: MADI card #1 settings in Hammerfall DSP Settings application

Control Setting

Buffer Size [a] 512.

If the buffer size (for MADI) is not set to 512, launching the Renderer software
may result in a fatal error message (followed by the ASIO system shutting
down). In this case, relaunch the Hammerfall DSP Settings application and
reset the MADI buffer size to 512.
Note: When working with 96 kHz, set the buffer size to 1024.

WDM [b] Devices 32.

Clock Mode • Sample Rate: 48,000 Hz.

• Clock Source: Word clock.
• Pitch: 0.000%.

Options • MADI In: Coaxial.

• MADI Out: 64 (32/16) channel.
• 88.2/96 kHz: 48 kHz frame.
Note: In order to maintain 64 channels of I/O on each MADI card
when working at 96 kHz, the 88.2/96 kHz option must be set to
48 kHz frame for each MADI card in the Hammerfall DSP
Settings application.

• Word Clk Out and Single Speed checkbox: Unchecked.

MADI Input Status Status window only; shows status of MADI input activity.

SyncCheck Display window only; shows word clock lock status and MADI sync status.

[a] For MADI

[b] Windows Driver Model

7. Click the MADI (2) tab, and configure MADI card #2 with the settings listed in the table.
The settings for MADI card #2 are the same as those for MADI card #1, except for the Clock Source. Set the
Clock Source for MADI card #2 to Sync In.
Note: Sync MADI card #2 to Sync In to avoid audio being offset and playing back late.

Table 10: MADI card #2 settings in Hammerfall DSP Settings application

Control Setting

Buffer Size [a] 512.

If the buffer size (for MADI) is not set to 512, launching the Renderer software
may result in a fatal error message (followed by the ASIO system shutting
down). In this case, relaunch the Hammerfall DSP Settings application and
reset the MADI buffer size to 512.
Note: When working with 96 kHz, set the buffer size to 1024.

WDM [b] Devices 32.

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Table 10: MADI card #2 settings in Hammerfall DSP Settings application (continued)
Control Setting

Clock Mode • Sample Rate: 48,000 Hz

• Clock Source: Sync in
• Pitch: 0.000%

Options • MADI In: Coaxial

• MADI Out: 64 (32/16) channel
• 88.2/96 kHz: 48 kHz frame
Note: In order to maintain 64 channels of I/O on each MADI card
when working at 96 kHz, the 88.2/96 kHz option must be set to
48 kHz frame for each MADI card in the Hammerfall DSP
Settings application.

• Word Clk Out and Single Speed checkbox: Unchecked

MADI Input Status Status window only; shows status of MADI input activity.

SyncCheck Display window only; shows word clock lock status and MADI sync status.

[a] For MADI

[b] Windows Driver Model

What to do next
Set left and right monitor outputs to 0. See Setting left and right monitor output to 0 dB (RME HDSPe MADI
cards only) .

6.3.2 Configuring RME HDSPe MADI cards and word clock expansion board on
Mac
Before you can use a Mac with RME HDSPe MADI cards and a word clock expansion board as a Dolby Atmos
Renderer workstation, you must configure the workstation, RME HDSPe MADI cards, and word clock
expansion board.

Prerequisites
• The RME HDSPe MADI cards and word clock expansion board should be placed in a compatible chassis.
• Download and install the latest driver for an RME HDSPe MADI card for macOS.

Procedure
1. Install the word clock expansion board, and then connect a bus cable from the expansion card to the first
RME HDPSe card.
2. Configure the cards as an aggregate device, by performing these steps:
a. Launch Audio MIDI Setup, click on the + icon and then Create Aggregate Device.
b. Click (check) the box for both HDSPe MADI cards.
3. Configure the settings for the RME HDSPe MADI cards, by performing these steps:
a. Launch the HDSPe Settings application.
b. In the HDSPe Settings window, select the first MADI card in the Properties For drop-down menu, and
then configure these settings, as noted.
• Sample Rate drop-down menu: 96000Hz (or 48000, if you are doing 48 kHz sessions)
• Clock Mode: Autosync
• Pref Sync Ref: Word Clock
• 96 kHz: 48K Frame. This is required to provide sync via MADI output.

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c. In the HDSPe Settings window, select the second MADI card in the Properties For drop-down menu,
and then configure these settings, as noted.
• Clock Mode: Autosync
• Pref Sync Ref: Sync In

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Results
Note: With 96 kHz, the amount of channels is reduced to 32 channels per card (whereas with the aggregated
device setup with the TCO module the amount of channels is 64). The reduction in channels creates a gap in
the Renderer input configuration.
• The 32 channels from the first HDSPe card are routed to channels 1-32 in the Dolby Atmos Renderer input
configuration.
• The 32 channels of the second HDSPE card are routed to channels 65-96 in Renderer input configuration.
• In the Renderer, channels 33-64 are unused.

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What to do next
Set left and right monitor outputs to 0. See Setting left and right monitor output to 0 dB (RME HDSPe MADI
cards only) .

6.4 Making MADI connections with an RME HDSPe MADI FX card

The RME HDSPe MADI FX card on a Dolby Atmos Renderer workstation receives MADI signal from your Pro
Tools system and outputs the signal for monitoring.

Prerequisites
Ensure that you have the hardware (and supporting cables) necessary for the system components. You need
two MADI cables and one sync cable to complete connections.

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Figure 10: MADI connections with an RME HDSPe MADI FX card on PC

Digital audio workstation

Dolby Atmos metadata

Outputs 1–10 Outputs 11–64 Outputs 65-127

(one or more beds) (beds and objects) (beds and objects)

Timecode Ethernet
(LTC over audio) MADI I/O

Dolby Atmos Renderer workstation

MADI B-chain

A Dolby Atmos system with a dedicated Dolby Atmos Renderer workstation using an RME HDSPe MADI FX
card and a separate DAW consists of these primary components:
• Dolby Atmos Renderer workstation, which includes:
• One RME HDSPe MADI FX card
RME WordClock I/O card
• Dolby Atmos Renderer software
• Dolby LTC Generator plug-in
• 128 channels of MADI I/O from a DAW.
Note: Note: RME HDSPe MADI FX inputs 1 and 2 and outputs 1 and 2 are optical. Depending on the
DAW I/O coax to optical converters may be required.

Note: LTC over audio is used for synchronizing the Renderer transport with the RME HDSPe MADI
FX card. LTC uses one of these inputs:
• Channel 128 of the RME HDSPe MADI FX card, when using the Dolby LTC Generator plug-in from
the DAW
• Channel 129 (channel 1 of the MADI 3 input), when using the Dolby LTC Generator plug-in from
the DAW with more than 128 channels of output

• One or more MADI I/O interfaces that collectively support 128 channels of audio and that are compatible
with your DAW.

Procedure
1. To receive MADI signal from your DAW system, perform these steps:
a. Connect the first DAW MADI output to the RME HDSPe MADI FX card input 1 on the Dolby Atmos
Renderer workstation.
b. Connect the second DAW MADI output to the RME HDSPe MADI FX card input 2 on the workstation.

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2. To output MADI signal from the workstation, perform these steps:

a. Connect MADI output 1 to the monitoring system MADI input or interface for routing to the DAW MADI
input, as needed.
b. Connect MADI output 2 to the DAW MADI input for live-renders, as needed.
3. To receive LTC timecode at the workstation, perform these steps:
a. In your DAW, insert the Dolby LTC Generator plug-in on a track.
b. Set the track output to channel 128.
c. In the Renderer, navigate to the Driver preferences, and set the LTC input channel to 128.
Note: Channel 129 in the RME HDSPe MADI FX card input 3 could be used for LTC sync, if the
user system has more than 128 I/O channels.

6.4.1 Configuring the RME HDSPe MADI FX card

Before using the Dolby Atmos Renderer workstation on approved PC hardware with an RME MADI FX card,
you must configure the workstation and its RME MADI FX card.

Prerequisites
• The RME MADI FX card occupies two PCIe slots. An external chassis is needed if the CPU used does not
have PCIe slots.
• Download and install the latest driver for an RME HDSPe MADI FX card.

Procedure
1. Power up the Dolby Atmos Renderer workstation.
2. From the workstation task bar (the icon at the lower right of the screen), launch the HDSPe FX Settings
application.
The application appears as a hammer icon over the letters DSP that identifies the application executable.

Figure 11: HDSPe FX Settings application hammer icon

3. Configure the MADI FX card with the settings listed in this table.

Table 11: MADI FX card settings in the HDSPe FX Settings application

Control Setting

Buffer Size [a] 512.

If the buffer size (for MADI) is not set to 512, launching the Renderer software
may result in a fatal error message (followed by the ASIO system shutting
down). In this case, relaunch the RME Settings application and reset the
MADI buffer size to 512.
Note: When working with 96 kHz, set the buffer size to 1024.

WDM [b] Devices 32.

Clock Mode • Sample Rate: 48,000 Hz.

• Clock Source: Word Clock.
• Pitch: 0.000%.

Output Format • AES: Professional.

• MADI 1, MADI 2, and MADI 3: 64 (32/16) channel.

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Table 11: MADI FX card settings in the HDSPe FX Settings application (continued)
Control Setting

96kHz • Word: Uncheck the Single Speed box.

• MADI 1, MADI 2, and MADI 3: 96K Frame.

Options • Word Clock In Term.: Checked.

• Other parameters: Unchecked.

Input Status Status window only; shows status of MADI input activity and word clock lock
status and MADI sync status.

[a] For MADI

[b] Windows Driver Model

What to do next
For all platforms, set driver and sync settings in the Dolby Atmos Renderer (in the Driver preferences
window).

6.5 Setting left and right monitor outputs to 0 dB (RME HDSPe MADI
cards only)
Before using the Dolby Atmos Renderer workstation on approved Mac or PC hardware in RME HDSPe MADI
card systems, you must set the left and right monitor outputs (output channels 1/2) to 0 dB.

About this task

• You perform this task in the RME TotalMix application.
• When you install the RME drivers, the RME TotalMix application is also installed. This application assigns
outputs 1 and 2 to the main output at -10 dB.
• You will set the output of channel 1 and 2 for both MADI cards installed in your workstation.
Note: The primarily purpose of the TotalMix application is routing signal in and out of the Renderer at
unity. Additionally, TotalMix can be useful for troubleshooting, to make sure MADI inputs and outputs
are connected to the correct card.

Procedure
1. Launch the RME TotalMix FX application from the taskbar.
2. In the top-right corner, select HDSPe MADI (1).
3. At the bottom right of the application (to the right of the Main fader), click the Assign button, and set the
Main Out to None.
Note: If the Assign button is not displayed at the bottom right of the application, click the show
hidden icons button on the lower right.

Outputs 1/2 display in the HARDWARE OUTPUTS row, on the bottom, left side of the window.
4. In the HARDWARE OUTPUTS section, in the Outputs 1/2 fader, perform these tasks:
a. Double-click the numeric value below the fader to display the Input Value dialog.
b. Set the Fader value to 0.
c. Click OK.
5. In the HARDWARE INPUTS section, make sure all faders are set to -Inf.
6. In the SOFTWARE PLAYBACK section, make sure all faders are set to -Inf, except when the corresponding
HARDWARE OUTPUT is selected. In that case, the fader will change to 0.

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7. In the top-right corner, select HDSPe MADI (2), and then repeat the steps to set the Main Out to None, set
the Outputs 1/2 fader to 0, and make sure the faders in the HARDWARE INPUTS section and SOFTWARE
PLAYBACK section are correct.
8. Choose File > Save Snapshot As and save a snapshot of your settings to the desktop.
This snapshot can be used to restore the application settings (using the Load Snapshot menu command),
in case the settings are changed.

What to do next
For all platforms, set driver and sync settings in the Dolby Atmos Renderer (in the Driver preferences
window).

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Installing Dolby Atmos Renderer software

7
Installation tasks are dependent on whether you have the Renderer and DAW on the same Mac, or a
setup with a Dolby Atmos Renderer workstation. Refer to the system requirements and overview
provided for your setup, and then complete the installation tasks for your setup.

• Dolby Atmos Renderer installer components

• Activating a Dolby software license
• Upgrade considerations
• Installing the Dolby Atmos Renderer on Mac
• Launching the Dolby Atmos Renderer on a Mac
• Installing the Dolby Atmos Renderer on Windows
• Launching the Dolby Atmos Renderer on Windows
• Installing the Dolby Atmos Renderer Remote on Mac or PC

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7.1 Dolby Atmos Renderer installer components

The Dolby Atmos Renderer installer provides software for mixing and recording Dolby Atmos content.

Table 12: Renderer installer components

Component Description

Dolby Atmos Renderer This application is used to monitor, create, and play back Dolby Atmos masters.

Dolby Atmos Renderer Remote (for This optional application enables remote control of a Dolby Atmos Renderer that
setups with a Dolby Atmos is located on the same network.
Renderer workstation)

Dolby Audio Bridge (Mac only) This optional Core audio driver is used to route bed and object audio to the
Renderer when run on the same Mac as the DAW.

Dolby Atmos Binaural Settings plug- This plug-in provides remote control of Renderer settings (Binaural Render mode
in and input configuration) from a DAW session.
The Renderer installer includes these versions of the Dolby Atmos Binaural
Settings plug-in: AAX, AU, and VST3.
The installer includes documentation and presets for working with the Dolby
Atmos Binaural Settings plug-in.
Dolby LTC Generator plug-in This plug-in is required for synchronizing the Renderer to LTC sent as audio from
a DAW. (By default, the Renderer listens for LTC over audio on channel 129.)
The plug-in can also be used in a Renderer workstation setup, by using a
dedicated audio channel.
The Renderer installer includes these versions of the Dolby LTC Generator plug-
in: Avid Audio eXtension (AAX), AU, and VST3.
The installer includes documentation for working with the Dolby LTC Generator
plug-in.
Dolby Atmos Music Panner plug-in This plug-in can be used for DAWs without built-in Dolby Atmos object panners,
or for any DAW when the Music Panner sequencer is needed for syncing object
panning to the DAW tempo.
The Renderer installer includes these versions of the Dolby Atmos Music Panner
plug-in: AAX, AU, and VST3.
The installer includes documentation and DAW templates for working with the
plug-in and Dolby Atmos Renderer.
Documentation The installer includes user documentation for installing and configuring the
Renderer, and then using the Renderer for working with Dolby Atmos content.

7.1.1 Dolby Atmos Renderer documentation

When selected during installation, Renderer documentation is installed to a documentation folder on the
operating system.
• Mac: ~/Applications/Dolby/Dolby Atmos Renderer/Documentation
• Windows: C:\Program Files\Dolby\Dolby Atmos Renderer\Documentation
Documentation is also available in the Renderer. You can access an HyperText Markup Language (HTML)
version of the Renderer guide via the Help > Dolby Atmos Renderer User's Guide menu command. You can
access all Renderer documentation via the Help > Open Documentation menu command.
Dolby Atmos Renderer User's Guide
This documentation provides information for using the Dolby Atmos Renderer to create Dolby Atmos
content.

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Dolby Atmos Renderer Installation and Configuration Guide

This documentation provides information for installing and configuring Dolby Atmos Renderer software.
Dolby Atmos Renderer Release Notes
Refer to this documentation for new features and improvements, new in previous version information,
and known issues.
Dolby Atmos Renderer Third-Party Software
This documentation identifies the third-party software licensed under open-source or proprietary
licenses that is incorporated into the Dolby Atmos Renderer software and plug-ins, along with the
required notices.

Plug-in documentation
When selected during installation, plug-in documentation is installed to the respective plug-in folder on the
operating system.
• Mac: ~/Applications/Dolby/Dolby Atmos Renderer/<plug-in name>
• Windows: C:\Program Files\Dolby\Dolby Atmos Renderer\<plug-in name>

7.2 Activating a Dolby software license

Activate the license that enables your software onto a supported computer or iLok. We recommend that you
activate the license before you install the software.

Prerequisites
• Download and install the iLok License Manager from [Link].
• Ensure that you have iLok authorization for the license.
• If upgrading from an earlier version of the Renderer to Renderer v5.0, you must surrender any Dolby
Atmos Mastering Suite and Production Suite licenses via the iLok License Manager application. Follow the
instructions provided in iLok License Manager.

About this task

This task is performed in the iLok License Manager.

Procedure
1. Launch the iLok License Manager.
2. In the iLok License Manager window, sign into your account, and then click (highlight) your account
name in the navigation bar.
Your account name is shown in the upper-left panel. Your host machine and iLok USB devices are shown
as icons in the panel below your account information.
3. Click the Available tab in the iLok License Manager header.

Figure 12: Available tab in iLok License Manager

If you do not see the Available tab, widen the application window until the tab is visible in the header.
The available licenses are shown under the tabs.
4. Locate the license for your software in the list of available licenses.
5. Perform one of these steps:
• Drag and drop the license to your device or iLok icon on the left.
• Right-click on the license, choose Activate, and select an activation location.
• Click (highlight) the license, press Command + Shift + A, and then select an activation location.

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6. Follow any additional onscreen instructions.

7. In the iLok License Manager window, repeat these steps if you are installing additional licenses to other
computers or iLoks.

7.3 Upgrade considerations

If you are upgrading from an earlier version of Dolby Atmos Renderer, we recommend that you save your
Renderer settings prior to installing a new version. After you complete installation, you can then import the
saved settings into the Renderer.
Important: Saving settings is especially useful to ensure you have your re-render setup after
upgrading to a new version of the Renderer, including preserving the start channel for your re-
renders. Alternatively, you can change the re-renders start number in the Room setup window,
Routing page.

Renderer system settings

These are global settings, which are saved as an .atmoscfg file. Settings include:
• Main window settings
• Preferences
• Input and master settings for input configuration, Binaural Render mode, and re-renders
• Room setup settings
• Speaker calibration
• Remote clients
• Audio timecode alignment
• Trim controls
• Downmix controls
For details about each Renderer system setting, and steps for importing and exporting these settings, see the
Dolby Atmos Renderer User's Guide .

Configurations for input, Binaural Render mode, and re-renders

Input and master settings for input configuration, Binaural Render mode, and re-renders are saved as
an .atmosIR file.
Note: Alternatively, these settings can be saved and imported as part of a .atmoscfg Renderer
system settings file.

For additional information, see the Dolby Atmos Renderer User's Guide .

7.4 Installing the Dolby Atmos Renderer on Mac

Depending on your system setup, install the Dolby Atmos Renderer components on the Mac that is running
your DAW, on a Mac Dolby Atmos Renderer workstation, or both.

Prerequisites
• Ensure that the computer meets system requirements, including any required software.
• Ensure that you have activated the license for your software.

About this task

• When selecting which components to install, select the components that are required for your system
configuration.
• The installer also includes optional components, such as the Dolby Audio Bridge (which is required for
running the Renderer on the same Mac as the DAW), plug-ins, and documentation. Choose optional
components based on your Dolby Atmos Renderer configuration and needs.

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• When updating the Renderer or Renderer Remote software, the existing Renderer system settings are
automatically backed up as an .atmoscfg file that is saved on your local drive (/Users/username/
Library/Application Support/Dolby/Dolby Atmos Renderer/Backups).

Procedure
1. If you are updating the Dolby Atmos Renderer and supporting software, ensure that the Dolby Atmos
Renderer is not running.
2. Double-click the Dolby Atmos Renderer .dmg file (Dolby_Atmos_Renderer_osx-X.x.x-
[Link]).
This file provides access to the installer and documentation. Refer to the release notes for installation
instructions, new features and improvements, and known issues.
3. Double-click the Dolby Atmos Renderer installer package (Dolby Atmos [Link]).
4. Follow the onscreen instructions.
5. When prompted to select which components to install, select the components required for your system
configuration, and then click Continue.

Figure 13: Default Installation Type page of the Install Dolby Atmos Renderer dialog

Note: For entries that have a reveal triangle (Dolby Atmos Binaural Settings Plug-ins, Dolby LTC
Generator Plug-ins, and Dolby Atmos Music Panner plug-ins), you can click the triangle to show
individual items that can be included or excluded with the install.

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Note: You can click on an item in the Package Name column to reveal information about the
package.

6. Complete installation.
7. If prompted for permission for the Renderer to access the Mac microphone, click OK.
Note: If you do not click OK at this time, you can provide permission via System Preferences.
a. In System Preferences, choose Security & Privacy.
b. Click the Privacy tab.
c. Select Microphone in the sidebar.
d. On the right side of the window, select (enable) Dolby Atmos Renderer.

Results
All items selected for installation are installed.

What to do next
Install the Dolby Atmos Renderer Remote on the Mac that is running your DAW or on other Macs on your
network.

7.5 Launching the Dolby Atmos Renderer on a Mac

After Dolby Atmos Renderer software is installed, you can launch the Renderer.

About this task

Depending on your system configuration, the Renderer will be on the computer running your DAW or on a
Dolby Atmos Renderer workstation.

Procedure
1. Locate the Dolby Atmos Renderer application name or icon.

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 Installing the Dolby Atmos Renderer on Windows

The Dolby Atmos Renderer application is in the Applications/Dolby/Dolby Atmos Renderer

folder.

Figure 14: Dolby Atmos Renderer icon

2. Double-click the Dolby Atmos Renderer application name or click the icon in the dock.

Results
The Dolby Atmos Renderer window displays.

7.6 Installing the Dolby Atmos Renderer on Windows

Install the Dolby Atmos Renderer on a Dolby Atmos Renderer workstation running on Windows.

Prerequisites
• Ensure that the PC meets system requirements, including any required software. This includes updated
drivers.
• Ensure that you have activated the Renderer license.
• When updating Renderer or Renderer Remote software, the existing Renderer system settings are
automatically backed up as an .atmoscfg file, which is saved to C:\ProgramData\Dolby\Dolby
Atmos Renderer\Backups.

About this task

When selecting which components to install, select the components that are required for your system
configuration.
The installer also includes optional components (such as documentation). Choose optional components
based on your Dolby Atmos Renderer configuration and needs.

Procedure
1. If updating Dolby Atmos Renderer and supporting software, ensure that the Dolby Atmos Renderer is not
running.
2. Double-click the Dolby Atmos Renderer .zip file (Dolby_Atmos_Renderer_win-X.x.x-
[Link]).
This file provides access to the installer and documentation. Refer to the release notes for installation
instructions, new features and improvements, and known issues.
3. Double-click the Dolby Atmos Renderer installer executable (Dolby Atmos [Link]).
4. Follow the onscreen instructions.

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5. Complete installation.
6. Set Performance options to Programs:
a. Navigate to Control Panel > System & Security > System > Advanced System Settings > Advanced.
b. In Performance Options, click on the Settings button, select the Advanced tab, and under Processor
scheduling, choose Adjust best performance of: Programs.

What to do next
Install the Dolby Atmos Renderer Remote on the Mac that is running your DAW or on other Macs in your
network.

7.7 Launching the Dolby Atmos Renderer on Windows

Launch the Dolby Atmos Renderer application on a Dolby Atmos Renderer workstation running Windows
after completing the prerequisites for launching the application.

Procedure
1. Locate the Dolby Atmos Renderer application name or icon.
The Dolby Atmos Renderer application is in the C:\Program Files\Dolby\Dolby Atmos
Renderer folder.

Figure 15: Dolby Atmos Renderer icon

2. Click the Dolby Atmos Renderer application name or icon.

The Dolby Atmos Renderer window displays.

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 Installing the Dolby Atmos Renderer Remote on Mac or PC

7.8 Installing the Dolby Atmos Renderer Remote on Mac or PC

For a system with the Renderer on a Dolby Atmos Renderer workstation, you install the Renderer Remote on
a Mac or PC that is on the same network as the Renderer workstation. This allows you to remotely control the
Renderer workstation.

Prerequisites
• Ensure that the Mac or PC meets system requirements, including any required software.
• Ensure that you are using a Renderer software installer that has the same version of the Renderer
software that is running on your network.

About this task

When updating Renderer or Renderer Remote software, the existing Renderer system settings are
automatically backed up as an .atmoscfg file, which is saved to /Users/username/Library/
Application Support/Dolby/Dolby Atmos Renderer/Backups.

Procedure
1. If updating the Dolby Atmos Renderer Remote and supporting software, ensure that the Renderer Remote
is not running.
2. Double-click the Dolby Atmos Renderer .dmg file (Dolby_Atmos_Renderer_osx-X.x.x-
[Link]).
This provides access to the installer and documentation. Refer to documentation for what is new in this
version, release notes (including known issues), and additional information.
3. Double-click the Dolby Atmos Renderer installer package (Dolby Atmos [Link]).
4. Follow the onscreen instructions.
5. When prompted to select which components to install, select Dolby Atmos Renderer Remote.

6. Complete installation.

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Results
All items selected for installation are installed.

7.8.1 Connecting Dolby Atmos Renderer Remote to the Renderer

On the computer running your DAW, or other computer on the same network as the Renderer, launch the
Dolby Atmos Renderer Remote and connect it to the Renderer.

Prerequisites
• Ensure that the Renderer is running on a Renderer workstation.
• Ensure that the computer running the Renderer Remote application is on the same network as the
Renderer.

Procedure
1. Launch the Dolby Atmos Renderer Remote application.
• Double-click the Dolby Atmos Renderer application name.
The Dolby Atmos Renderer Remote application is in the Applications/Dolby/Dolby Atmos
Renderer folder.
• Click the icon in the dock.

Figure 16: Dolby Atmos Renderer Remote icon

The Renderer Remote window is displayed.

2. Connect the Renderer Remote to the Renderer by performing one of these tasks:
• In the Renderer Remote window, click the Server drop-own menu, and select the desired Renderer
from the Discovered addresses or Recent connections list.
• In the Renderer Remote window, click in the Server box, type in the Renderer IP address or name, and
click Enter.
Note:
For a list of available Internet Protocol (IP) addresses that the Remote has identified as
available for connection, see the list of remote clients (via Setup > Remote clients).

When the connection succeeds, the Server status light turns green.

7.8.2 Disconnecting the Dolby Atmos Renderer Remote from the Renderer
You can disconnect the Renderer Remote from the Renderer by using the Disconnect command in the
Remote main window.

About this task

You perform this task with the Dolby Atmos Renderer Remote.

Procedure
• In the Renderer Remote window, click the Server drop-down menu and select Disconnect.

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 Configuring audio input and output devices in the Renderer

Configuring audio input and output devices in

8
the Renderer
Configure the Renderer DEVICES settings to establish the routing of audio between the Renderer and
your DAW.

About this task

By default, the Audio input device and Audio output device drop-down menus are set to None and
must be reconfigured. The None option is not a valid selection and will result in an audio-driver error
message. This message tells you that the driver configuration was not applied and that you need to
return to the Preferences window (DEVICES section) to select a valid audio driver.

Procedure
1. In the Dolby Atmos Renderer, choose Dolby Atmos Renderer > Preferences to open the
Preferences window.

2. In the DEVICES section, click the Audio Driver drop-down menu, and select the appropriate driver
for your setup.
This menu sets the Renderer input and output routing to use a supported driver and DAW. Options
include ASIO (Windows) and Core Audio (Mac).
3. In the Audio input device drop-down menu, perform one of these steps:
a. If running the Renderer on a Dolby Atmos Renderer workstation, set the Pro Tools Ultimate
playback engine to HDX or other hardware I/O.
b. If running the Renderer on the same computer as the DAW, set the playback engine (or
equivalent setting) to Dolby Audio Bridge.
Note: When Dolby Audio Bridge is selected as the input device, the Renderer
receives audio (beds and objects) sent from DAW outputs that use the bridge.

4. In the Audio output device drop-down menu, select the desired output device.
Typically, an available ASIO or Core Audio I/O device is used for outputs.

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 Note: For setups with the Renderer on the same computer as the DAW, the Dolby
Audio Bridge cannot be used as both the input and output of the Renderer.

5. Set the External sync source.

This menu displays the sync source or sets the Renderer to sync to an external sync source, typically
from the DAW. Choices are dependent on the Audio driver setting.
• ASIO (Windows): The Renderer can be set to sync to ASIO sync or LTC over Audio (Linear
Timecode over audio).
• Core Audio (Mac): External sync source is set to LTC over Audio (Linear Timecode over audio) and
cannot be changed.
6. Set the LTC input channel.
This field should be set to the channel of the incoming ASIO or Core Audio source that is carrying
LTC. The available channel range is 1–130. The channel value displays in red when the selected
channel is out of range. The default channel is 129.
7. Click Accept.
8. If prompted for permission for the Renderer to access the Mac microphone, click OK.
Note: Using the Renderer with the bridge requires access to the Mac microphone in
order to pass audio into or out of the Renderer.
If you do not click OK at this time, you can provide permission via System
Preferences.
a. In System Preferences, choose Security & Privacy.
b. Click the Privacy tab.
c. Select Microphone in the sidebar.
d. On the right side of the window, select (enable) Dolby Atmos Renderer.

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 Configuring the Renderer sample rate and frame rate

Configuring the Renderer sample rate and

9
frame rate
Configure the frame rate and sample rate of the Renderer to match the DAW.

Procedure
1. In the Dolby Atmos Renderer, choose Dolby Atmos Renderer > Preferences to open the
Preferences window.
2. In the FORMAT section, set the Frame rate to match the frame rate of your DAW mix.
The Frame rate drop-down menu sets the master frame rate (in fps) for a new master recording
Available rates include 23.976 fps, 24 fps, 25 fps, 29.97 fps, 29.97 fps DF, and 30 fps. The default
frame rate is 24 fps.
Note: For configurations with the RME HDPSe TCO module on PC, you must also
change the frame rate in the DSP Hammerfall application to match.

The frame rate setting cannot be changed while a master file is opened. When opening an existing
master, the menu automatically updates to the master frame rate, turns gray, and cannot be
changed. The menu also turns gray and cannot be changed for playback operations (such as
playback and audition).
3. Set the Sample rate to match the sample rate of your DAW mix.
The Sample rate drop-down menu sets the master sample rate (in kHz) for a new master recording
(to match the sample rate of the DAW and hardware settings in systems with a Renderer
workstation). Available rates are 48 kHz and 96 kHz. The default setting is 48 kHz.
The sample rate setting cannot be changed while a master file is opened. When opening an existing
master, the menu automatically updates to the master sample rate, turns gray, and cannot be
changed. The menu also turns gray and cannot be changed for playback operations (such as
playback and audition).
4. Click Accept.

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Determining the timecode latency of your

10
system
For some synchronization setup workflows (such as synchronizing the Renderer to LTC over audio), you
need to determine the timecode latency of your system.

Procedure
1. Launch the Renderer.
2. Launch Pro Tools.
3. Create a new session in Pro Tools and make sure that the session and the Renderer are set to the
same timecode rate.
4. In Pro Tools, create a mono object track and a mono audio track.
5. On the object track, perform these steps:
a. Use the Renderer signal generator to create a one-second clip of tone, and then place the signal-
generated tone at exactly 01:00:00:00.

b. Sync the DAW to the Renderer using your chosen sync method.
For example, on the mono audio track, place a Dolby LTC Generator plug-in on the track, and
route it to the Renderer. (Alternatively, you can use LTC over ASIO.)
c. On the mono audio track, record a master starting at four seconds before the audio that you
generated with the signal generator, and ending at four seconds after the audio.
6. In the Renderer, perform these tasks:
a. Choose Export audio > Re-render.
b. In the Select re-renders to export section, select (check) re-render 2.0.
c. In the Export settings section, set the File type to Multichannel interleaved, and set Export
in/out to Entire master.
d. Change the file name and director path, as desired.
e. Click Export.
7. In Pro Tools, import the stereo re-render onto a new track, and spot to timecode (using Spot as the
Location.

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Figure 17: Audio Import Option dialog

Figure 18: Stereo re-render spotted to a new track

8. Zoom in to exactly 01:00:00:00 and highlight the difference in start time of the audio. Note the time
difference in samples.

Zoom in to the starts of audio on each track to best identify where audio starts. Do not use the Tab
to Transients feature.

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 This difference is the amount of latency you need to offset in the Renderer (in the Advanced
Settings > Audio to timecode alignment window).

Figure 19: Difference as shown in the Length display

9. In the Renderer, perform these steps:

a. Choose Setup > Advanced Settings > Audio to Timecode Alignment.
b. In the appropriate offset field, enter the value that was noted in the previous step.
You can type in the value, or click the up and down arrows to change the value.

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Figure 20: Changing the offset value in the Audio to timecode alignment window (on Mac)

Note: For a system with the Renderer on the same computer as the DAW and using
LTC over audio, set the LTC OVER TIMECODE timecode offset to 0.

c. Click Accept.
10. Repeat the test and verify that the audio now aligns.
If the audio does not align, measure the difference again, and repeat the steps for determining the
timecode latency of your system.

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 Setting up a room

Setting up a room
11
Before working with Dolby Atmos content in a room with no arrays, set up your speakers, configure
channel routing, and optionally customize your monitoring layout. Additionally, you can apply level
settings for speakers, and equalization (EQ) settings for individual speakers.

• Configuring your speaker setup

• Configuring speaker output channels
• Adjusting the delay for a specific speaker
• Setting the delay for all speakers and headphones
• Creating a custom monitoring layout
• Changing a monitoring layout

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11.1 Configuring your speaker setup

Ensure that your speaker setup settings match the physical layout of your room and its speakers. Typically,
you will need to configure these settings only once for a given room.

About this task

In this task, you configure the number and type of output speakers. The setup here is reflected as the
physical layout in the Monitoring section of the main window.
In the Room setup window, the Speaker page for a room provides a visual representation of a room with 22
available speakers.
Important: The speaker positions in this window are a graphical representation.

The default speaker setup is a typical reference Dolby Atmos listening room that has seven ear-level
speakers, one Low-Frequency Effects (LFE) speaker, and four overhead speakers.
To configure a setup that is smaller than the current physical layout (such as configuring a 5.1.4 layout when
the current layout is 7.1), you need to remove monitoring setups that contain more speakers than your
physical setup. See Creating a custom monitoring layout and Changing a monitoring layout .

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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 Configuring your speaker setup

Figure 21: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Speaker tab to display a representation of a room.

Figure 22: Clicking the Speaker tab

The Speaker page displays.

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 Setting up a room

Figure 23: Speaker page

4. For each speaker (or speaker pair) in your room, click on the speaker box (or speaker box of a speaker
pair) on the page to include it in the room, as appropriate.
Selected speakers are highlighted with a color.

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 Configuring your speaker setup

Figure 24: Clicking on a speaker

5. When finished, click Accept to save your settings.

Click Cancel if you do not want to save the settings.

What to do next
Configure your output channels for speakers, headphones, and re-renders (in the Room setup window).
After you have configured your output channels, you can check the speakers routing by monitoring a
Dolby Atmos mix or by sending signal out of each speaker individually using the signal generator in the
Speaker calibration window.

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11.2 Configuring speaker output channels

You can set the channels the audio output device uses for speaker outputs (in the physical room). Up to 128
channel paths are available. If you are using a B-chain monitor controller, you may want to control output
assignments from your monitor controller instead of the Renderer.

About this task

• You configure output channels for a room, headphones, and re-renders in the Room setup window.
• For each setting, use the relevant assignment box to enter a channel number via any of these methods:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.
Note: Invalid values display a red outline around the box. Additionally, for any effected output, a
red dot displays in the lower left of the room setup icon and in the Routing tab for a room. This
indicates where the conflict occurs.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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 Configuring speaker output channels

Figure 25: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Routing tab.

Figure 26: Clicking the Routing tab

The Routing page displays.

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 Setting up a room

Figure 27: Routing page

4. Define a channel for each speaker output.

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 Adjusting the delay for a specific speaker

Available speakers are defined in the Speaker page.

5. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

11.3 Adjusting the delay for a specific speaker

You can adjust the delay (in 0.1 ms) for each speaker in the room. If you are using a B-Chain monitor
controller, you may want to control delay settings for your monitor controller instead of the Renderer.

About this task

You can use any of these methods to change a value:
• Type in a value.

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 Setting up a room

• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

Figure 28: Room setup window

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 Adjusting the delay for a specific speaker

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Speaker delay tab.

Figure 29: Clicking the Speaker delay tab

The Speaker delay page displays.

Figure 30: Speaker delay page

4. Click (highlight) the speaker you want to adjust by clicking on its box.

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 Setting up a room

5. Adjust the speaker delay.

6. Adjust the delay of other speakers, as needed.
7. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

11.4 Setting the delay for all speakers and headphones

You can globally set the audio delay (in 0.1 ms intervals) that is applied to all speakers, including
headphones.

About this task

Typically, no additional global audio delay is needed. However, if there is significant video signal path delay,
use this setting to align audio and video. The default is 0 ms. The range is 0 to 50 ms.
You can use any of these methods to change a value:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.

Procedure
1. Choose Dolby Atmos Renderer > Preferences to open the Preferences window.

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 Setting the delay for all speakers and headphones

Figure 31: Renderer Preferences window

2. In the MONITORING section, adjust Speaker and headphone delay settings.

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 Setting up a room

This setting includes the inherent latency of the Renderer.

Note: Changing this delay value applies delay to both speaker and headphone delay, to keep them
aligned.

3. Click Accept to save the changes.

Click Cancel if you do not want to save the settings.

11.5 Creating a custom monitoring layout

You can create custom monitoring layouts, which are subsets of the speakers in your physical layout. For
example, for a room with a 7.1.4 layout, you can create 7.1.2, 5.1.4, 2.1, and so on. You can then switch
between these different layouts when monitoring.

About this task

To create a physical setup smaller than 7.1.2 (such as 5.1.4), you need to remove monitoring setups that
contain more speakers than your physical setup.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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 Creating a custom monitoring layout

Figure 32: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Monitoring tab.

Figure 33: Clicking the Monitoring tab

The Monitoring page displays.

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 Setting up a room

Figure 34: Monitoring page

4. Click Add layout.

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 Creating a custom monitoring layout

The display updates and shows a fully populated 7.1.4 monitoring layout with a generic Layout-## name.

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 Setting up a room

5. Configure the speaker layout by performing these tasks:

a. For each speaker (or speaker pair) you want to include in the layout, click (highlight) the speaker box
(or one of the speaker boxes of a speaker pair).

Figure 35: Selecting a speaker pair example (Ltf and Rtf)

b. For each speaker (or speaker pair) you do not want to include in the layout, click (unhighlight) the
speaker box (or one of the speaker boxes of a speaker pair).
6. Edit the name for the layout, if desired.
7. Add more layouts, as needed.
8. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

Results
The layout is now available when monitoring. Use the Monitoring drop-down menu in the main window to
select the layout.
Alternatively, you can click the number keys to toggle through the available layouts (where 1 = Physical).

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 Changing a monitoring layout

11.6 Changing a monitoring layout

You can change a custom monitoring layout.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

Figure 36: Room setup window

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 Setting up a room

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Monitoring tab.

Figure 37: Clicking the Monitoring tab

The Monitoring page displays.

Figure 38: Monitoring page

4. Select (highlight) one of the existing layouts.

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 Changing a monitoring layout

Figure 39: Selecting a layout on the Monitoring page

The display updates and shows the selected and unselected speakers for the layout. Additionally, the
name of the layout is displayed in the name field.
5. Update the speaker layout by performing these tasks:
a. For each speaker (or speaker pair) you want to add to the layout, click (highlight) the speaker box (or
one of the speaker boxes of a speaker pair).

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Figure 40: Selecting a speaker pair example (Ltf and Rtf)

b. For each speaker (or speaker pair) you do not want to remove from the layout, click (unhighlight) the
speaker box (or one of the speaker boxes of a speaker pair).
6. (Optional) Edit the name of the layout.
7. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

Results
The layout is now available when monitoring. Use the Monitoring drop-down menu in the main window to
select the layout.
Alternatively, you can click the number keys to toggle through the available layouts (where 1 = Physical).

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 Setting up a room with arrays

Setting up a room with arrays

12
Before working with Dolby Atmos content in a room with arrays, set up your speakers and arrays,
configure channel routing , and optionally customize your monitoring layout. You can also apply level
settings for speakers, and EQ settings for individual speakers and arrays.

• Enabling Array mode

• Speakers in a room with arrays
• Configuring your array setup speakers
• Configuring speaker output channels
• Adjusting the delay for an array
• Displaying an array layout

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12.1 Enabling Array mode

Use Array mode when mixing content in larger rooms that have speaker arrays. This mode is activated in the
Room setup window.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).

Figure 41: Room setup window

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2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click (enable) Array mode.

4. When finished, click Accept to save the setting.

Click Cancel if you do not want to save the setting.

What to do next
You are now ready to set up your speakers in the Speaker page.

12.2 Speakers in a room with arrays

Setting up a room with arrays includes working with non-array speakers (such as L, C, R, and LFE), as well as
individual speakers that are a member of an array.

Non-array speakers
When working with a room that has arrays, you can set up and apply delay to your non-array speakers (such
as L, C, R, and LFE) in the same manner that you would in a standard room, which does not have arrays. If
you decide to apply gain or EQ to these non-array speakers, go to the Speaker EQ page in the Speaker
calibration window.

Speakers that are members of an array

In Array mode (Array mode enabled in the Room Setup window), the room setup provides four arrays and
their speakers.
• Ls, Ls1, Ls2, Lrs, Lsr1, Lrs2
• Rs, Rs1, Rs2, Rrs, Rsr1, Rrs2
• Lfh, Ltf, Ltm, Ltr, Lrh
• Rfh, Rtf, Rtm, Rtr, Rrh
Important: The speaker positions in this window are a graphical approximation. To determine the
exact positions (for example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby
documentation.

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When working with a room that has arrays, you can set up and apply delay to an individual speaker in an
array in the Room setup window, and then apply gain and EQ to the speakers in an array.
You can apply gain and EQ to all speakers in an array simultaneously in the Array EQ page in the Speaker
calibration window.
Additionally, you can apply gain and EQ to an individual speaker that is a member of an array in the Speaker
EQ page in the Speaker calibration window.
Note: Gain and EQ applied to an individual array speaker in the Speaker EQ page is applied prior to
EQ applied in the Array EQ page.

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Monitoring rooms with arrays

When working in Array mode, you can monitor the physical layout (which you define in the Speaker page in
the Room setup window). Additionally, the Renderer provides channel-based renders for monitoring (via the
Monitoring drop-down menu in the main window). These are based on the physical layout. For example,
with a physical layout using all speakers and arrays, these channel-based renders are available: 7.1.2, 7.1,
5.1.2, 5.1, and 2.0.

Figure 42: Selecting a monitoring layout

12.3 Configuring your array setup speakers

Ensure that your speaker setup settings match the physical layout of your room and its speakers. Typically,
you will need to configure these settings only once for a given room.

Prerequisites
Make sure Array mode is enabled in the Room setup window.

About this task

In this task, you configure the number and type of output speakers. The setup here is reflected as the
physical layout in the Monitoring section of the main window.
In the Room setup window, the Speaker page for a room provides a visual representation of room with 22
available speakers, as well as the speakers available for a respective array. For example, the array that
includes the Ls and Lrs speakers also provides Ls1, Ls2, Lrs1, and Ls2.
The default speaker setup is a typical reference Dolby Atmos home theater listening room that has 7.0 ear-
level speakers, an LFE speaker, and four overhead speakers.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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Figure 43: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Speaker tab to display a representation of a room.

Figure 44: Clicking the speaker tab

The Speaker page displays.

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4. For each speaker (or speaker pair or speaker in an array) in your room, click on the speaker box (or
speaker box of a speaker pair or array) on the page to include it in the room, as appropriate.

Note: Changing the number of speakers in an array flattens the EQ applied to that array.

5. When finished, click Accept to save your settings.

Click Cancel if you do not want to save the settings.

What to do next
Configure your output channels for speakers, headphones, and re-renders (in the Room setup window).

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After you have configured your output channels, you can check the speakers routing by monitoring a
Dolby Atmos mix or by sending signal out of each speaker individually using the signal generator in the
Speaker calibration window.

12.4 Configuring speaker output channels

You can set the channels the audio output device uses for speaker outputs (in the physical room). Up to 128
channel paths are available. If you are using a B-Chain monitor controller, you may want to control output
assignments from your monitor controller instead of the Renderer.

Prerequisites
Make sure Array mode is enabled in the Room setup window.

About this task

• You configure output channels for a room, headphones, and re-renders in the Room setup window.
• For each setting, use the relevant assignment box to enter a channel number via any of these methods:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.
Note: Invalid values display a red outline around the box. Additionally, for any effected output, a
red dot displays in the lower left of the room setup icon and in the Routing tab for a room.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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Figure 45: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Routing tab.

Figure 46: Clicking the Routing tab

The Routing page displays.

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Figure 47: Routing page

4. Define a channel for each speaker output.

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Available speakers are defined in the Speaker page.

5. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

12.5 Adjusting the delay for an array

You can adjust the delay (in 0.1 ms intervals) for each array in the room. This can be a combined array (such
as Ls and Lrs speakers) or an array within an array (such as the Ls array in an Ls and Lrs array).

Prerequisites
• Array mode is enabled.
• Arrays are configured with multiple speakers.

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About this task

For each setting, use the relevant assignment box to enter a channel number via any of these methods:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.
Note: Invalid values display a red outline around the box. Additionally, for any effected output, a red
dot displays in the lower left of the room setup icon and in the Routing tab for a room.

You can globally set the audio delay (in 0.1 ms) that is applied to all speakers, including headphones. See
Setting the delay for all speakers .

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).
The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

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Figure 48: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Array delay tab.

Figure 49: Clicking the Array delay tab

4. Click (highlight) the array you want to adjust by inside the outline that encompasses the speakers that are
members of the array.

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5. Adjust the speaker delay.

Changes are made immediately.
6. Adjust the delay of other speakers, as needed.
7. When finished, click Accept to save your settings.
Click Cancel if you do not want to save the settings.

12.6 Displaying an array layout

For reference, you can display an array monitoring layout. This includes the configured physical layout and
the respective channel-based renders (which are a subset of speakers defined for the physical layout).

Prerequisites
Make sure Array mode is enabled in the Room setup window.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).

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The speaker positions in this window are a graphical approximation. To determine the exact positions (for
example, of Ls in a 5.1 layout, or Lss/Lrs in a 7.1 layout), refer to Dolby documentation.

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected.
3. Click the Monitoring tab.

Figure 50: Clicking the Monitoring tab

The Monitoring page displays.

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Figure 51: Monitoring page (Array mode)

4. Select (highlight) one of the existing layouts.

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Figure 52: Selecting a layout on the Monitoring page

The display updates and shows the selected and unselected speakers for the layout.
5. Click the Accept or Cancel button to close the window.

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Configuring the headphones output

13
You can define left and right channels for headphone output in the Headphones page. The headphone
routing is determined in the Preferences window when Headphone Only mode is enabled.

About this task

You can use any of these methods to change a value:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.
Note: Invalid values display a red outline around the box. Additionally, for any effected
output, a red dot displays in the lower left of the room setup icon and in the Routing tab
for a room.

You can globally set the audio delay (in 0.1 ms intervals) that is applied to all speakers, including
headphones. This is done in the Room setup window. See Setting the delay for all speakers and
headphones .

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).

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 Figure 53: Room setup window

2. Click the room icon ( ) to display the room in the Room setup window.
The icon turns blue when selected, and the Headphones page displays.

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Figure 54: Headphones page

3. In the ROUTING section, define left and right channels for headphone output.

Note: For reference, the window includes the routing settings for speakers and re-
renders.

4. When finished, click Accept to save your settings.

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 Click Cancel if you do not want to save the settings.

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Configuring the re-renders output

14
You can set the channel number where you want the live re-render output to begin.

About this task

You can use any of these methods to change a value:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.
Note: Invalid values display a red outline around the box. Additionally, for any effected
output, a red dot displays in the lower left of the room setup icon and in the Routing tab
for a room.

Procedure
1. In the main window, choose Setup > Room Setup.
Alternatively, you can press Command + M (Mac) or Control + M (Windows).

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2. Click the re-renders icon ( ).

The icon turns blue when selected, and the Re-renders page displays.

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Figure 56: Re-renders page

3. In the RE-RENDERS CHANNELS section, set the channel number where you want the live re-render
output to begin.

The maximum number of re-render channels is 64. Adjust the start channel or headphone channels
to maximize available re-render channels.

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 Note: For reference, the window includes the routing settings for speakers and
headphones.

4. When finished, click Accept to save your settings.

Click Cancel if you do not want to save the settings.

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Calibrating the Renderer outputs

15
You can calibrate the sound of the Renderer outputs in your room by using the controls in the Speaker
calibration window. Additional controls (such as delay) are in the Room setup window.

• Calibration tasks and considerations

• Sending tone or noise to a specific speaker or array
• Panning pink noise through each channel sequentially
• Adjusting pre-EQ gain for all speakers for headroom optimization
• Adjusting the level of a specific speaker or array
• Adjusting the EQ of each speaker or array
• Copying and pasting speaker EQ settings

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15.1 Calibration tasks and considerations

The steps for each calibration task are nearly the same for all configurations.

General calibration tasks

Calibration tasks include:
• Generating pink noise (or other tone signals) to a specific speaker
• Panning pink noise though each channel sequentially
• Adjusting pre-EQ gain for all speakers for headroom optimization
• Adjusting the level (dB) of a specific speaker
• Adjusting the EQ of each speaker or array
• Adjusting the level of bass and treble frequencies of each speaker or array
• Copying and pasting speaker EQ settings

Workflow considerations
When performing a calibration task in your room, you may need to reduce gain to avoid clipping.
While performing a calibration task, signal activity displays in the main window, in the room configuration
(speaker indicators) and output meters. By default, the Speaker calibration window displays on top of the
main window. If needed, move the Speaker calibration window so that it is not covering the main window.

15.2 Sending tone or noise to a specific speaker or array

You can send pink noise (or other test tones) to a specific speaker or array.

Prerequisites
Note: To generate signal to an array, make sure that Array mode is enabled (in the Room setup
window). The Array EQ tab and page are not available when Array mode is disabled.

About this task

• In the Speaker calibration window, signal generator controls are available in the Speaker EQ and Array
EQ pages.
Note: When the Speaker calibration window is open, the attenuation is set to 0 dB.

• You can use the Dim button to reduce the signal by 20 dB, or the Mute button to mute the signal.
• You can generate signal while adjusting settings in the window.

Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

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Figure 57: Speaker calibration window

2. Select a speaker or an array by performing one of these tasks:

• In the Speaker EQ page, select a speaker by clicking its box.
• In the Array EQ page, select an array by clicking inside the speaker array outline.
Note: The color of the selected speaker is dependent on the speaker position in the room.

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 Sending tone or noise to a specific speaker or array

Figure 58: Selecting the L speaker in the Speaker EQ page

3. In the first Signal generator drop-down menu, select a signal type.

Figure 59: Selecting Pink Noise

4. In the second Signal generator drop-down menu, select Speaker.

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This option sends the signal directly to the selected speaker.

5. Click the Signal generator on/off switch to the on position to generate the signal.
The switch is blue when the signal generator is enabled.

Figure 60: Pink noise on

Signal activity displays in the main window, in the room configuration (speaker indicators) and output
meters.
6. When finished using a signal, click the Signal generator button to the off position to turn off the signal.
The button is gray when the signal generator is disabled.

15.3 Panning pink noise through each channel sequentially

You can sequentially pan pink noise through each channel.

About this task

• To pan signal in a room that includes an array, make sure that Array mode is enabled (in the Room setup
window). The Array EQ tab and page are not available when Array mode is disabled.
• In the Speaker calibration window, the signal generator panning controls are available in the Speaker
EQ and Array EQ pages.
• You can generate signal while adjusting settings in the window.

Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

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Figure 61: Speaker calibration window (

2. Select the speaker where the sequence should start by performing one of these tasks:
• In the Speaker EQ page, select a speaker by clicking its box.
• In the Array EQ page, select an array by clicking inside the speaker array outline.
Note: The color of the selected speaker is dependent on the speaker position in the room.

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Figure 62: Selecting the L speaker in the Speaker EQ page

3. In the first Signal generator drop-down menu, select Pink Noise.

Figure 63: Selecting Pink Noise

4. Click the Signal generator on/off switch to the on position to generate the signal.

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The switch is blue when the signal generator is enabled.

Figure 64: Pink noise on

5. Choose whether to send signal to each channel discretely or to pan between speakers smoothly, by
performing one of these steps, as needed:
• To enable rotate, click (select) Rotate in the second Signal generator drop-down menu.

This pans the signal through each channel sequentially, while maintaining a continuous panning
volume. As signal in one channel starts to fade, the signal in the next channel begins, such that the
signals overlap in a smooth fashion.
• To enable rotate and snap, click (select) Rotate and Snap in the second Signal generator drop-down
menu.

This pans the signal through each speaker discretely (one speaker at a time) in sequence around the
room.
Signal activity is displayed in the main window, in the room configuration (speaker indicators) and output
meters.
6. When finished using a signal, click the Signal generator button to the off position to turn off the signal.
The button is gray when the signal generator is disabled.

15.4 Adjusting pre-EQ gain for all speakers for headroom

optimization
You can adjust the gain of the Renderer output before the speaker equalization stage.

About this task

• In the Speaker calibration window, the pre-EQ gain control is available in the Speaker EQ and Array EQ
pages.
• The default gain is 0 dB. The available range is -70 to 10 dB.
• You can use any of these methods to change a value:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.

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Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

Figure 65: Speaker calibration window (

2. In the Pre-EQ gain box, adjust the speaker gain.

Changes are made immediately.

3. Click Accept changes to save the changes.
Click Discard changes if you do not want to save the settings.

15.5 Adjusting the level of a specific speaker or array

You can adjust the level (in dB) of each speaker in the room.

About this task

• In the Speaker calibration window, gain controls are available in the Speaker EQ and Array EQ pages.
• You can use any of these methods to change a value:
• Type in a value.
• Use a scrollbar.
• Use up and down arrow keys.
• Click the up and down triangles.

Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

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Figure 66: Speaker calibration window (

2. Perform one of these steps:

• To adjust the gain of a specific speaker, click the Speaker EQ tab.
• To adjust the gain of an array, click the Array EQ tab.
3. Click (highlight) the speaker (or array) you want to adjust by clicking on its box.

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4. Adjust the level.

Changes are made immediately.
5. Adjust the level of other speakers (or arrays), as needed.
6. Click Accept changes to save the changes.
Click Discard changes if you do not want to save the settings.

15.6 Adjusting the EQ of each speaker or array

Use the graphic equalizer control to adjust the EQ and level of bass and treble frequencies of each speaker or
array.

About this task

• In the Speaker calibration window, EQ controls and bass and treble controls are available in the Speaker
EQ and Array EQ pages.
Note: EQ and level adjustment applied to an individual array speaker in the Speaker EQ page is
applied prior to EQ applied in the Array EQ page.

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Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

Figure 67: Speaker calibration window (

2. To adjust the EQ of an individual speaker, perform these tasks:

a. Click the Speaker EQ tab.
b. Click (highlight) the speaker that you want to adjust by clicking on its box.

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3. To adjust the EQ of an array, perform these tasks:

a. Click the Array EQ tab.
b. Click (highlight) the array that you want to adjust by clicking inside the outline that encompasses the
speakers that are members of the array.

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4. For each frequency you want to adjust, perform these steps:

a. Click (highlight) the slider handle.

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Figure 68: Frequency controls

b. Drag the handle (or use the up/down arrow keys) to adjust the gain at that frequency. The new setting
takes effect when you release the mouse.
If needed, click the Flatten button to return all sliders to their default value (0 dB). Alternatively,
Command-click or Option-click a slider to reset it to zero.

5. Adjust the frequency level of other speakers (or arrays), as needed.

6. For treble frequencies, click a frequency button (1 kHz, 2 kHz, 3 kHz, or 4 kHz) to set where you want
high-frequency shelving to begin.
Note: The bass frequency is preset, and the shape employed is a shelf for the bass cut and a bell
for the boost.

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 Copying and pasting speaker EQ settings

7. For each frequency you want to adjust, perform these steps:

a. Click (highlight) the slider handle.

Figure 69: Bass and treble controls

b. Drag the handle (or use the up/down arrow keys) to adjust the gain at that frequency. The new setting
takes effect when you release the mouse.
If needed, click the Flatten button to return both sliders to their default value (0 dB). Alternatively,
Command-click or Option-click a slider to reset it to zero.

8. Adjust the frequency level of other speakers, as needed.

9. Click Accept changes to save the changes.
Click Discard changes if you do not want to save the settings.

15.7 Copying and pasting speaker EQ settings

You can copy settings from one speaker or array to another speaker or array. Copied settings include those
for graphic EQ, and for bass and treble.

Procedure
1. Choose Setup > Speaker Calibration.
Alternatively, you can press Command + K (Mac) or Control + K (Windows).

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Figure 70: Speaker calibration window (

2. Navigate to the EQ page for the speaker EQ settings you want to copy.
3. Click the Copy EQ button.
Alternatively, you can press Command + C (Mac) or Control + C (Windows).

4. Select (highlight) the destination speaker that has settings you want to overwrite with the source settings.
5. Click the Paste EQ button.
Alternatively, you can press Command + V (Mac) or Control + V (Windows).

Results
The settings are pasted.

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 Glossary

Glossary
AAX
Avid Audio eXtension. A plug-in format for Avid Pro Tools.

AC
Alternating current.

ASCII
American Standard Code for Information Interchange.

ASIO
Audio Stream Input/Output. A soundcard driver protocol from Steinberg Media Technologies GmbH that
allows musicians and sound engineers to access PC soundcards directly without going through Microsoft
Windows.

audio definition model

A metadata model specified in ITU-R BS.2076 that describes the content and format of audio files.

audio driver
A software system that processes audio input signals by transforming them into a format that audio
devices, such as speakers and headphones, can output.

BWF
Broadcast Wave Format. An extension of the Microsoft Waveform Audio File Format (.wav) that includes
metadata important to broadcast applications. This format is specified in EBU Tech 3285.

B‑format
A speaker-independent representation of a soundfield.

CAF
Core Audio Format. A file format that was developed by Apple for storing and transporting digital audio.
A .caf file can store large amounts of data and is not limited to 4 GB, as was the case with older file
formats.

cd/m²
. A unit of luminance dictated by the International System of Units (SI); the unit describes a candela (the
SI unit of luminous intensity) per square meter (cd/m²). The nit (symbol: nt) is a non-SI name also used
for this unit (1 nt = 1 cd/m2).

channel configuration
A standard for describing a sound system with front, surround, and overhead channels. The first numeral
represents the number of front channels, the second represents the number of surround channels, and
the third represents the number of height channels.

container
A formatted file (such as an MP4 file) comprising one or more multiplexed elementary streams and
including format-specific metadata.

CPU
Central processing unit.

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DAW
Digital audio workstation. An electronic device or computer software application used to record, edit,
and produce audio files.

dBFS
Decibels referenced to full-scale digital. The amplitude of a signal relative to a digital full-scale signal.

Dolby Digital Plus

A digital audio coding technology created by Dolby that expands and improves Dolby Digital, with higher
bandwidth efficiencies, enhanced metadata capabilities, and support for Dolby Atmos.

Dolby RMU
Dolby Rendering and Mastering Unit.

downmix
Process of producing a device-specific output mix when the number of process channels is greater than
the number of output speakers on the device.

DSP
Digital signal processor. A specialized microprocessor optimized for digital signal processing.

elementary stream
A bitstream that consists of a single type of encoded data (audio, video, or other data).

EQ
Equalization. The adjustment of audio frequency responses for practical or aesthetic reasons.

FFOA
First frame of action. The point on a film reel or corresponding file at which the program content begins.

fps
Frames per second. Measurement unit of frame rate.

frame
In audio, a series of PCM samples or encoded audio data representing the same time interval for all
channels in the configuration. Metadata pertaining to the frame can be carried within the frame or
separately, depending on context.

frame rate
The number of frames decoded per second in real-time operation.

H.264
An MPEG standard for video compression most commonly used for high-definition video, such as Blu‑ray
Disc. The standard was developed jointly by the International Telecommunication Union (ITU) and
ISO/IEC MPEG. Also known as Advanced Video Coding (AVC), ISO/IEC MPEG‑4 AVC, and ISO/IEC 14496–
10:2012.

HD
High definition.

HTML
HyperText Markup Language.

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I/O
Input/output. The communication between a system and an entity outside the system, such as another
system or a human being.

IAB
Immersive audio bitstream. A frame-based audio bitstream that includes audio channels and/or audio
objects, plus metadata.

IMF
Interoperable Master Format. A SMPTE standard that defines an interoperable, file-based framework
designed to facilitate the management and processing of multiple versions of the same high-quality
finished work. See SMPTE ST 2067-2 and related documentation.

immersive stereo
A technology that delivers a virtualized immersive experience to headphones or stereo speakers through
a Dolby AC‑4 bitstream with appropriate stereo content and metadata that converts the stereo signal
into the virtualized experience.

IP address
Internet Protocol address. A numerical identifier assigned to a device that is a member of a network that
uses the IP for communication.

ITU
International Telecommunication Union.

LFE
Low-Frequency Effects. A band-limited channel specifically intended for deep, low-pitched sounds
(typically less than 120 Hz).

LKFS
Loudness K-weighted relative to full scale. A unit of loudness measurement, standardized in ITU BS.1770
and designed to enable normalization of audio levels for delivery of broadcast content, providing a
gated average loudness measurement over an audio program. For long-term measurements, LKFS is
equivalent to LUFS as defined by EBU Tech-3341.

LTC
Linear timecode. A timecode developed by the Society of Motion Picture and Television Engineers
(SMPTE) that provides a time reference for editing, synchronization, and identification.

MADI
Multichannel Audio Digital Interface. A communications protocol for an interface that carries multiple
channels of digital audio, defined by the Audio Engineering Society. Also known as AES10.

Microsoft IIS
Microsoft Internet Information Services.

MP4
A digital multimedia container format defined in MPEG‑4 (ISO/IEC‑14496, parts 12 and 14) most
commonly used to store video and audio streams.

near field
The soundfield that is close to a speaker. The distance (usually less than 1 cm) is determined by the
diameter of the cone.

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object
An audio signal plus associated object audio metadata.

OTT
Over-the-top. The delivery of audio, video, and other media over the Internet without the involvement of
a multichannel video programming distributor (MVPD) or a pay TV operator in the control or distribution
of the content.

PC
Personal computer.

PCI
Peripheral Component Interconnect. A local computer bus that supports functions in a standardized
format.

PCM
Pulse code modulation. A digital representation of an analog signal where the amplitude of the signal is
sampled at uniform intervals.

playlist
An extended .m3u8 file that contains one or more uniform resource identifiers (URIs). A URI can point to
another playlist or to a media file.

PoE
Power over Ethernet. A solution in which an electrical current is run to networking hardware over
Ethernet category 5 or higher data cabling.

RAM
Random-access memory.

rendering
Processing of audio content to adapt it to specific speaker layouts, such as 5.1‑ and 7.1‑speaker feeds, or
headphones and sound bars.

RMU
Rendering and Mastering Unit.

SMPTE
Society of Motion Picture and Television Engineers.

UI
User interface.

USB
Universal Serial Bus. A standard that defines the cables, connectors, and communications protocols
used in connections between computers and electronic devices.

Waveform Audio Format

An audio bitstream file format.

WDM
Windows Driver Model. A set of rules that enable developers to write kernel-mode device drivers (WDM
drivers) that are source-code compatible with all Microsoft Windows operating systems. Also known as
Win32 Driver Model.

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Win32 Driver Model

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 Dolby Laboratories, Inc. 1275 Market Street, San Francisco, CA 94103-1410 USA.
© 2017-2023 Dolby Laboratories. All rights reserved. Dolby and the double-D symbol are registered trademarks of Dolby

Laboratories.
All other trademarks remain the property of their respective owners.