Video summary

An introduction to surround mixing in Pro Tools

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Technology

Summary — Intro to Surround Mixing in Pro Tools (5.1 / 7.1, incl. Atmos)

Goals & scope

  • The video provides an overview of surround mixing fundamentals in Pro Tools, focusing on 5.1 and 7.1 concepts and practical guidance for working in surround.
  • It also covers how to handle LFE, key surround panner parameters (center percentage, divergence), basic routing/bouncing workflows, and a brief look at Dolby Atmos integration.

5.1 and 7.1 surround concepts

5.1 layout

  • Uses five full-bandwidth channels plus a dedicated LFE (Low Frequency Effects) channel.
  • The ITU speaker layout is referenced: Left, Center, Right, Left Surround, Right Surround.
  • Speaker placement: ideally equidistant from the mix position.
  • LFE concept: a supplementary low-end channel (commonly enhanced/extra low frequencies).
    • Mentions a THX-related perspective that 5.1 is sometimes thought of as “5.0 + extra bandwidth for LFE,” but “5.1” is the practical naming.

7.1 layout

  • Moves left/right surrounds toward the sides and adds extra channels: side surround left/right.
  • Historical aside: mentions Sony Dynamic Digital Sound (SDDS) (a 35mm cinema sound system) and notes Pro Tools retains an SDDS 7.1 mixing option, even though the format is largely obsolete.

Pro Tools surround panner UI and behavior

  • Shows two surround panner panels:
    • 5.1 panner
    • 7.1 panner (adds controls such as side percentage and an additional surround pair)
  • Demonstrated primarily for mono sources:
    • For stereo tracks, pan controls are duplicated, because each side of the stereo image can be positioned across the surround field.
  • Video references a separate resource: a “two-part” surround panner video by the creator (for deeper details).

Dolby Atmos integration (brief but key points)

  • Pro Tools can create a bus in 7.1.2 format (“7.1 plus height channels”), enabling use of the Dolby Atmos planner.
  • The Atmos planner adds height panning (not just left/right/front/back).
  • Mentions additional software: Dolby Atmos Production Suite with Atmos tools.
  • For cinema Atmos releases, you still need a Dolby-approved monitoring/mixing environment and an RMU (Rendering and Mastering Unit).
  • Core conceptual distinction:
    • Atmos uses object-based audio (each sound object has positional data like X/Y/Z), in addition to a conventional channel bed.
    • Objects are mapped to available speakers dynamically, making it scalable.
  • Mentions Dolby offers a free online Atmos training course.

Example surround session & practical mixing decisions (5.1)

The video demonstrates a simple 5.1 session using a live performance recording (with a video reference). Even though it plays as stereo on YouTube, it illustrates surround principles.

Downmix indicator (important for understanding what you hear on YouTube)

  • Wherever you see a “>” symbol, Pro Tools automatically downmixes 5.1/7.1 to fewer channels (e.g., stereo L/R).
  • This means some surround intent is “theoretical” when listened to via YouTube.

Vocal processing and surround panning strategy

  • Vocal (recorded via an SM58, mention of Neve 1073 preamp, some mic pops handled).
  • Processing described:
    • high-pass filter
    • small high-end boost
    • compression
  • Surround panning uses center percentage:
    • Panning fully center with 100% center percentage isolates the vocal mainly in the center channel.
    • The creator reduces center percentage (e.g., to ~60%) so the vocal spreads as a phantom center between L/R speakers, sounding less “isolated” in surround listening.

Acoustic guitar

  • Mic described as close/mic’d and staged relative to the performer’s on-stage position.
  • Panned toward left to match stage placement.
  • Optionally reduces center percentage to 0 to broaden the front image and separate acoustically from the more centered vocal.

Room mics for realism

  • Room ambience captured via PCM / pressure-zone type mics (hemispherical pickup), mounted high to emphasize reflected sound (natural reverb/ambience).
  • Processing includes:
    • a high-pass at 50 Hz to reduce rumble (since low end is intended to be handled via LFE send later)
  • Panning toward the back, but with care:
    • Straight-to-back panning can sound isolated
    • Options discussed:
      • Pull toward the room/front a bit (via main panning behavior)
      • Adjust divergence to control spillage into adjacent speakers

5.1 reverb integration

  • Uses a 5.1 reverb plugin (Exponential Audio R2 referenced).
  • Describes follow behavior using FMP / Follow Main Panel:
    • when enabled, reverb pans/follows the track’s surround position automatically.
  • Demonstrates sending vocal to the reverb and listening at least in downmixed form.

LFE channel fundamentals (and how Pro Tools routing differs)

What LFE is

  • LFE is a dedicated low-frequency channel in contrast to full-bandwidth mains.
  • Intended to supplement base content and support subwoofer playback.
  • LFE has no direct effect on directionality (direction cues come from main channels).

How LFE is used in Pro Tools

  • Each surround panner includes an LFE send control (defaults to -∞).
  • Increasing LFE send routes content to the subwoofer output.
  • LFE send is post-fader:
    • if the channel fader is down, it won’t reach the sub via that LFE send control.

Why “base management” matters

  • Many consumer systems use bass management that redirects bass from main channels to the subwoofer.
  • If you send content to the sub using LFE send and bass management also redirects main bass, the result can be doubled low end.
  • Recommendation implied: create dedicated LFE content rather than relying solely on LFE send for existing full-range mixes.

Dedicated LFE workflow described

  • Instead of only using LFE send, the creator:
    • Routes mono to a 5.1 LFE output path so it goes directly to the LFE
    • Creates LFE-specific audio by manipulating an explosion:
      • pitches it down slightly (warns not to go too far to avoid artifacts)
      • adds a subharmonic generator (Avid Pro Sub Harmonic referenced) using presets like “earthquake / thumping club / thunder”
    • Routes that dedicated material to the LFE/sub.

LFE filtering and encoder considerations (important technical guidance)

  • Pro Tools LFE send does not automatically filter to 120 Hz; it can contain frequencies above the intended LFE band.
  • Demonstrates that bouncing an output containing LFE may include more than just bass.
  • Solution presented:
    • Use an LFE low-pass filter such as Waves LFE 360 (steep 60 dB/oct low-pass)
    • Apply filtering at the main 5.1 mix output/master for control
  • Dolby Digital encoding detail:
    • When encoding to Dolby Digital, the LFE sample rate may be reduced so max reproducible frequency effectively becomes 120 Hz (Nyquist reasoning).
    • Without pre-filtering, content above that threshold may cause aliasing.
  • Notes that some encoders (example referenced) may allow LFE filtering at encode time.

Track routing, layback, and bounces (cinema post workflow)

Layback within Pro Tools

  • Recommends internal lay back:
    • real-time recording onto print tracks within the session, so final checks can happen immediately.
    • if changes are needed, punch-in mode allows re-recording only the changed parts (destructive record/punch-in described).

Stereo downmix creation

  • Shows routing conceptually:
    • Tracks feed buses (dialog/music/SFX/etc.)
    • These feed a sub master for the overall mix
    • From the sub master:
      • one send goes to a 5.1 print track
      • another goes to a down mix aux (5.1 to stereo conversion via the down-mix matrix/plugin)
  • Notes: typically mute LFE in stereo downmix to avoid over-coloring low end. Either omit/limit LFE for online stereo, or rely on mains’ content.

Destructive punch modes

  • Mentions constraints for destructive punch:
    • destructive punch requires existing content and has strict rules (content must exist, timing constraints such as needing to start at session zero)
    • may render silence to cover the whole duration if not prepared properly

Offline bounce alternative

  • Mentions in Pro Tools HD / Ultimate:
    • can bounce up to 16 sources at once offline (useful for stems/variants)

Main speakers / sources

  • Speaker: The video creator (unnamed in subtitles), presenting and demonstrating Pro Tools surround mixing (including surround panner and LFE workflows).
  • Referenced external sources/brands:
    • Tomlinson Holman (THX) (referenced for 5.1 bandwidth commentary)
    • ITU recommended 5.1 speaker layout
    • Dolby Atmos (training and integration concepts)
    • Exponential Audio R2 (5.1 reverb referenced)
    • Avid Pro Sub Harmonic (subharmonic generator referenced)
    • Waves LFE 360 (LFE low-pass/filter referenced)
    • Dolby Digital / Dolby-approved monitoring chain (Dolby requirements referenced)
    • Sony SDDS (historical cinema format referenced)

Original video