![]() ![]() What users want is a straight forward, simple to handle multi channel Montage. But the discussion now seems to go a bit into semantics here. L/R, LFE, C, Ls/Rs) without any busing stage. I recall, that with the multi-track system of WaveLab 11, you have the big advantage to use plugins on discrete clusters (eg. Really, I’ve gone on far too long with all this - all I’ve been fishing for is some insight about how/if others are missing it (surround panner) in WL11 and whether the alternate on offer is ok or any better/worse, etc… We’ll see. I recall keeping the multi-channel interleaved file on one track (Montage/Editor) was a favourite request, in forum debates. The Surround Panner in WL10 allowed convenient, ease of use audio positioning, in the Montage, via a fun/direct visual interface.Īnd that’s now gone - because WL is hurting Cubase/Nuendo sales.? The other way round (shock.!).? Has the purchasing decision for a new user, (suddenly, after all these years) become too confusing across SB products.? Don’t know my thoughts are, this was high-end audio software being sold to (not only, but primarily) high-end audio professionals. Lots of folks expectations for future development were all about truly taking things to the next level. Handling/support for interleaved files in WL has been a big topic of debate over the years. I’ll wait and see how things are in WL11, when the Trial is released. Ok well, thanks anyway Dan - and no worries lots of good info you gave there nonetheless.! I have to admit my knowlege is very limited, wrt game audio and all the handling of associated file naming/labelling, etc… same with ambisonic formats. So to answer your question I don’t have an answer. Otherwise I haven’t gotten deep enough to know about the panner issue you’re mentioning, could you summarize that for me given what I said here? ![]() interleaved in one and not the other), as that just complicates the already complicated pipeline. No reason to have different formats between Nuendo and WL (e.g. So WL then will need to accept those and spit out the same. But now with WL, I think what we’ll probably do is, all the MIDI massage and initial mix is Nuendo, and filenames are pipeline determined (e.g. (1st order), and 7.1 are individual channels, but I’ll need to check my notes. Surround, let’s see IIRC are single channel wav files I think with an extension. Unreal accepts Ambisonics tracks as four channel wav and automatically detects via file name extension. We haven’t yet gotten to music track production. My engineer will massage that and do final mix. Anyhow, I have a surround template ready in Nuendo to receive it, however the data comes across. I’m hoping they get to that - maybe with Dorico 4 later this year, before I need to export MIDI from Dorico. Rumor has it the team is working on Cubase/Nuendo integration. Working towards your question here … so all the composition is in Dorico with temps rendered in stereo from there. And as I said, I’m encouraging him to use WL for SFX, if that works for him better. The previous plan was to do final mastering (by my engineer) in Nuendo, but now with the latest WL we’re going to do it there. And otherwise we’re in early production so all the work is SFX anyhow, the music is being composed (by me, I spend most of my time here over on the Dorico forum). That is done right now is all in Nuendo b/c WL didn’t have it. This provides ‘glue’ that helps mix the fx together.Īnyhow … music is composed in stereo and mixed in 7.1 for reasons I won’t go into. SFX could as well be mono, but we do field recording in stereo with the three mic setup, the stereo mics are mixed very low to provide a natural kind of reverb. The player moves in world space but the ambix is fixed world space surround spatialized. General environmental ambients (wind, thunder, distant sounds …) are (ideally) ambisonics as that provides ‘baked spatialization’. gunfire) are stereo and the game engine spatializes. ![]()
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