Immersive Master Pro - Frequently Asked Questions:
Q. There are two modes in Immersive Master Pro. What does “Edit Mode” do?
A. “Edit Mode” is designed to extract sections of a long .atmos master file or ADM and turn those sections into ADMs or re-renders as needed. For example, a live music concert in which the artist played (35) pieces of music that now need to be delivered to digital streaming platforms as (35) separate ADM files. In Edit Mode, a timecode event list from Pro Tools or any spreadsheet program can be imported or pasted into Immersive Master Pro and that list will define the in and out of each exported track.
Q. What does “Batch Mode” do?
A. “Batch Mode” loads multiple DAMFs or ADMs and performs batch operations on all of the loaded masters simultaneously. For example, if you are mixing an album and have twelve ADMs and want to quickly make twelve stereo re-renders for the client to hear, that can be done in one step. More powerful operations, such as sample-rate converting a 96k DAMF to 48k and exporting re-renders, binaural mixes, etc. can also be done in one step, significantly speeding up delivery workflows.
Q. .atmos and ADM Dolby Atmos Master Files are a complex, proprietary file format. How can Immersive Master Pro process these files?
A. Immersive Machines, LLC is a licensed Dolby development partner. In every possible operation, Immersive Master Pro relies on the latest Dolby SDKs to perform editing and processing. As the Atmos ecosystem evolves, Immersive Master Pro will evolve, too.
Q. Many of the features in Immersive Master Pro are already in other Dolby applications. Why do I need this app?
A. Immersive Master Pro excels at low-maintenance, elaborate batch-processing operations that would otherwise be very time-consuming to perform one-at-a-time by hand in other applications. Immersive Master Pro operates efficiently as a background process behind your DAW and renderer, and can complete its jobs without access to audio hardware and with no impact on your system’s sampling rate or current operation. We wrote this app for the busy producer to use in the background while getting other jobs done in the foreground. Additionally, Immersive Master Pro preserves your arrangement of beds and objects, and performs mastering operations that do not result in consolidated beds or re-ordered objects.
Q. Help! I loaded an Atmos Master File into the app, but the Process button is greyed-out. What am I doing wrong?
A. It’s likely that you loaded the file into the left panel, called “Edit Mode.” The Process button will be greyed-out until an event list for editing is added to the lower panel. If all you are doing is loudness and re-renders (i.e. no editing), use the right panel, “Batch Mode,” instead. “Batch Mode” is useful even if you are processing just one Atmos Master File.
Q. There’s a feature that I wish Immersive Master Pro had. Will you be adding it in the future?
A. We want to hear from you. No matter how small or how large your needs are in your immersive mixing workflow, we want to be guided by our users and future users. Contact us at Immersive Machines, LLC.
The latest version of the software manual is here: Immersive Master Pro - software manual
Immersive Master Pro - Deep Dive:
Q. I see that Immersive Master Pro supports sample-rate conversion of 96Khz masters. Can you tell us more about the algorithm used?
A. IMP utilizes the well-regarded “r8brain” sample rate converter designed by Aleksey Vaneev of Voxengo. R8brain scores well on the Infinite Wave comparison test and meets the high standard needed in immersive music production.
Q. I get slightly different integrated loudness and true peak values for my ADM in other audio applications. Why is this the case?
A. IMP follows Dolby’s guidelines and creates an intermediate 5.1 re-render as the basis for loudness measurement. IMP uses the “libebur128” algorithm that implements the EBU R 128 standard for loudness analysis. Avid, Dolby, and the streaming platforms are aware of the small variations inherent in the existing loudness measurement tools. We have found EBU R 128 closely aligns with the Dolby Atmos Renderer and should therefore be a reliable reference for hitting loudness specs.
Q. Why can’t I play my master file in Immersive Master Pro?
A. Building a truly accurate immersive playback application requires control of the audio hardware and sampling rate of the devices involved. Most studios already have the Dolby Atmos Renderer, Pro Tools, and/or the Dolby Reference Player, all of which provide excellent playback functionality. We decided it was best for IMP to stay out of the way and run as an application that wouldn’t interfere with these established players.
Q. The user-adjustable gain function looks very useful. Is there anything to prevent me from setting too high a gain level and clipping the output?
A. There is no limiter or any other post-processing of output files after the gain function. The dbTP (decibel true peak) function will recalculate with a new gain setting and indicate clipping, but there is nothing stopping you from doing it. Watch those numbers!
Q. How does Auto Correct Loudness function?
A. “Auto Correct Loudness” takes the “Integrated Level Target” in Settings and uses that as a reference to lower individual tracks or all highlighted tracks that are above the target, depending on whether your preference is set to “Independently”, or “Equally”. Auto Correct Loudness will not raise the level of tracks below the target, it will only lower track levels.
Q. I am using Edit Mode to break up an album into tracks. Does Immersive Master Pro support gapless playback?
A. Yes. IMP is designed to export ADMs and re-renders for gapless playback. Note that Edit Mode is a frame-based editing architecture, so the end timecode of one track should be the start timecode of the next track to preserve gapless playback.
Q. My master files aren’t based on timecode start and end. What happens to them when processed in Batch Mode?
A. Loaded master files in Batch Mode will display start, end and duration in timecode. However, all processing in Batch Mode happens on the sample-level, so exported ADMs and re-renders will be the exact same length as your master files, even if you see rounding in the timecode display.