Видео

I have problems trying the profiling part, I got disconnected every time I play the start buton on unity. Does any one knows how can I solve this problem?

Das ist der Hammer! Danke Danke Danke für dieses Video! Ich bin Bitwig User, habe bei Ableton Live 8 den Wechsel zu BW gemacht, weil die PDC nicht funktioniert hat. Ich arbeite momentan an einem immersiven multimedialen Livekonzert für 2025 (da ist übrigens wahrscheinlich auch die Uni Graz beteiligt) und frickele das in BW mit Grid, FX Sends, jeder Menge Modulatoren etc. hin. Also selbst gebaute 3D Panner etc. Funktioniert auch. Aber mit dem Ergebnis, dass die BW GUI nun nur noch mit 3fps refreshed. Das BW Grid bietet keine Möglichkeit, ein Bus Encoding wie bei M4L zu realisieren, deswegen funktioniert bei einem 3D Sound Projekt der Mixer nicht mehr. Es ist ein Graus. Dagegen ist das hier vorgestellte Verfahren einfach genial mit dem Two Channel Encoding und Decoding. Ich probiere das jetzt alles aus und sollte das wirklich funktionieren bin ich wieder zurück bei Ableton. Echt ein Bärendienst, den Du mir hier geleistet hast!! Vielen Dank!

Such a helpful tutorial! thank you for your hard work on this. Can't wait to check your next videos!

You didn't mention Audio Brewers

thats a really cool delay. im surprised they didnt implement the low/high pass filtering as well. i love sound particles but i really feel they should work on more methods of coloring and effecting the particles in different ways , timbre wise.

The end really catched my ear: Both ambisonics and Atmos can be used also in game design, but in other ways than wwise etc. How are they different and how can they still be used for game audio what are their limitations and why? Thank you for these awesome videos! 💯

Excited to hear your take on Sound Particles' InDelay

Hey Michael, thanks for the video! Has there been any developments on this field in the last years, what would you recommend these days? :) (I use Reaper and Bitwig)

Thanks Arnold

Thanks so much for this informative and well reasoned video. A very great deal for the courts to consider .I hope they will seek expert witnesses who have the type of understanding of AI and AI training that you have . Fascinating that it appears that in training the AI "just listens " and of course in that way it does not take copies ,. The longer I study copyright law the more convinced i become that it is not fit for purpose in our rapidly changing world . I am more minded to agree with the late Jon- Luc Goddard who said "It's not where you take things from - it's where you take them to.”

Michael, what are the chances of something similar but which allows third part plug-ins to be loaded onto the "Dolby Atmos master bus"?

Hi Michael, I always come back to your videos after watching manufacturers tutorials and then it clicks in full…thank you. I would like to learn how to use Audio brewers abverb in conjunction with Fiedler audio DA composer…hopefully then I won’t need to pan my reverbs…is that possible? I haven’t bought abverb and tested because I’m not sure it will work, I’m using Fiedler and I’m not a fan of their reverb workflow tbh

Michael, you're not quite correct re. Windows. You can't use the Dolby Panner plugin or Dolby Audio Bridge with Windows DAR because Dolby don't release it for Windows, but ProTools Atmos panner and DAR works fine through ASIO, JACK ASIO, MADI and DANTE. You do need Ultimate though because ProTools is limited to 64 i/o through ASIO in the Studio version.

So you can’t bounce mp4 directly from pro tools?

Incredibly useful, thanks a lot !

I have tried with the Dolby Atmos composer Essential and i don't have what you have in your video. Can you do a video with the Dolby Atmos composer Essential and Dolby Atmos Beam Essential?

Good information

It's pretty insane that Ableton decided not to pursue mulitchannel support for Live 12 after years spent on the update while Dolby Atmos exploded as a household format in that stretch of time. That said, your workarounds are much appreciated. Question on the area around 25 min in your video here: what happens without the Bidule plugin? Would those channels just get trimmed out of the signal, or would they fold in - for example would the .6 just sum to .2? I simply want to exploit the M4L multichannel support without encoding or panning, using the Dolby Atmos Renderer and the Dolby Panner per my usual workflow within Live, but am reluctant to spend yet another $100 on a plugin which you admit crashes on the regular to solve the 9.1.6 to 7.1.2 dilemma shown here. Thanks much!

The end-user of these models has the same responsibility to not infringe as they ever did. I've done about 50 songs with A.I. In 48 cases it worked as it should have--as they claimed. But 2 cases sounded damned close to famous voices. One case--because I loved the song so much--I put in a DAW, and changed the pitch of the voice so it didn't sound like the Artist. The other case I don't intend to try to monetize in any shape or form, but I will give it away for free because it's a good song with a much heralded singer. I'll just use another version on the album.

What are the benefits of using the external renderer? Are all the features in the “internal renderer”?

Have you tried the Dsoniq Realphones plugin? It's another mixroom style plugin and I've really enjoyed using it. They don't have an HD490 profile yet but they work with a ton of headhones and you can load custom eq profiles, or just use the environment functions without eq.

Why is the LFE omitted from the 2.0mix? I actually prefer the binaural mix with the binauralization setting all set to off more than the 2.0 mix, even in monitors.

thanks for the run through on the PT built in renderer. is it possible to still use the dolby panner in addition but with the built in renderer? asking since i do love the dolby panner's sequencer to easily add movement without having to write automation.

Thank you so much great video

Amazing video as always. Except you didn't want to, You did however forgot to set the monitoring format to binaural. You can do that easily with the monitoring settings button, top right of the Renderer window. Cheers!

they could got musicians to feed training data, I bet a lot of musicians would feed it. Now as for these labels, all they are interested in is creating music without paying the big artists. I think a few artists will endup using ai to generate music with lyrics in styles, and then reproduce the music with real instruments and real singer. ect.

A very nice review Michael ! I've a question : do you know if the unit can work without Dirac Live ? I've already invested a lot of time with REW/RePhase, so i would prefer not to change the calibration software.

Cool Mastering software. Currently I use Hornet SAMP as a mastering plugin for Dolby Atmos. I see in the comments in the Fiedler Audio video that they have an EQ module coming soon. Is the module version of Gravitas included freely with Mastering Console, or do you have to purchase Gravitas MDS seperately for that function?

it seems like a better deal then Nugen Upmix , as you get a downmixer to any format included (binaural too) and it does HOA . but the main audience seems to be the people who needs to convert from various formats to Atmos .

One thing you didn’t mention are that apparently Suno was in negotiations with one or more labels when the suits were filed, and that apparently the AI companies are not opposed to discovery. This suggests that either: -The AI companies are bluffing on the discovery aspect. -The communications with the record labels contain information that the AI companies think puts the labels in a bad light (could be a wide variety of things-comments about users, pricing, artists, etc.).

Thanks for such good info! We just buy it! Thanks for the plugin info because Zylia site does not show clear.

Hi, in you Audio Midi Setup you have speaker layouts I have never seen in my MacOS, I can only select 7.1.4, that is the maximum. Did you have to install extra software to enable these layouts? Or are these part of MacOS, and I have to do something to enable them? I have audio devices with 60+ outputs, so I have enough outputs still I can't get these options. (Never mind, I figured it out, you have Ventura in the video, which did have these settings, but in Sonoma there is only 7.1.4, and no one knows why Apple removed the rest.)

I appreciate your open-minded approach to the situation. I have a few things to add: -It’s worth noting that certain elements might be too small to merit copyright, even if the output mimics them very closely. I could see producer tags falling into that category, or be considered a trademark rather than copyright issue. -Any discussion of music AI training needs to consider what’s happening in other forms of expression. The artist lawsuits against image generators seem to be trending in the image generators’ favor, which could make the record labels’ cases more difficult. -Sound generators aren’t and won’t be exclusively made by companies with well-defined structures. The optics will change drastically if the record labels eventually start taking individuals or small groups of people to court.

Thanks so much for these tutorials! As someone who is just getting into game sound implementation, is there a way around adding custom code? I have never used any sort of scripting before. Is that knowledge generally required to put sound into a game? Or is there different software that is more straightforward? I am following line by line what is done here and its working, but I don't really understand why or what I am doing. Thanks!

Great video. Thanks! But what if I need many beds with different FX on them? What if I need, for instance, a bed for the reverb to route some objects, and then another bed with a delay to route other objects, but don´t necessarily want to put the two FX on the same bed? Can I make multiple beds for a more complex mix?

THINK OF THIS... AN IDIOT COPIES AN ELVIS SONG WORD FOR WORD LIKE ALL OF THE PEOPLE TRYING TO SHOW THAT MUSIC GENERATION AND AI IS SO EVIL... THOSE ARE PEOPLE SIMILAR TO idiots who try to crazy rocks and use them instead of updating and trying to blame the technology because they dont understand hammers. Even if you say something like auto generate,.... the AI and music is so dumb it likes NEON and other silly phrases. THOUSANDS OF AI SITES AND PEOPLE ARE USING THE TOOL OF TECHNOLOGY TO MAKE AMAZING THINGS... BUT JUST LIKE ARTIST AND ALL HUMANS they want to go try to copy and get as many experiences like listening to radio and they dont pay any artist for it. THE RECORD LABEL is greedy.

Hey there, You're talking about Dolby Atmos decoder... but is it hardware or an app ?

Step back two or three steps and you gain the perspective that the choice of words surrounding AI blinds the eye for some very basics. AI is not an autonomous entity that secretly asks itself "will I dream?". It is a software. A tool like a gun or a car. The wielder of the tool is responsible for whatever damage the tool makes. The AI doesn't infringe on copyrights. It's the owner who didn't check its output. The question how the AI did it is as irrelevant as the question what made neighbour's mastiff break into my yard and kill all the chicken. Also AI don't listen to music. The computer on which the software is run reads the data and analyses the values. That means it downloads it into its RAM. In the end the method of recreation is irrelevant. You can recreate something by storing and rereading bit for bit, or you can establish a procedure that computes the values of the bitmap anew. In the end you have copied the bitmap nonetheless. So the big question is not: what happened in the process? But: what came out? Is it too similar?

AI always takes the easy path when training, maximizing "rewards", and if that means overfitting parameters to data, it will do it. this is why making good generalized AI hard, you need absolutely massive data sets so the risk of overfitting goes down, or you need to spend countless VERY expensive training sessions patching up whatever shortcuts the AI finds.

So unless they played the music and listening to that via a mic.. you kinda always end up reading data from a download. Even streaming buffers data on your system storing it till read then later discarded so your almost certainly downloading then reading the data into the ai

This war with AI on all fronts is just stupid. AI is just a tool to quickly get to results. As any other tool. Are we going to ban AI tool just because it is deemed "too effective" by the people manually doing the stuff right now? Just imagine if some big accounting company sued IBM for using "AI" to replace manual "innovative" work of adding up numbers in the 1950's. We wouldnt't have the internet today, probably. Law salad aside (it's just irrelevant to the point and philosophy of this), every living musician learned from large body of work of other people, and didn't have the copyright for all the stuff they learned from. Listening to average music - it's all the same, copies of copies of copies of something good written a long time ago. The same that these LLM's do in couple of seconds. Who has the copyright is of course a large money grab and has nothing to do with morality, philosophy, commons sense or logic. Just big industry trying to to survive and burning money on lawyers. And of course, from now on, every musician on the planet who now claims AI is "stealing the work" is going to use the same AI tools to write their "copyrighted" music, together witl labels themselves, who are just trying to cancel out the "authors" from the money altogether. Well, breaking news - in the most money producing music today there are no real "authors" left - perhaps a few - it's just a bloody industry producing hits like sausages in a factory. The real music you can find if you dig or go to a local pub is not going to be affected by AI at all. The real creative stuff is going to only shine more in the sea of AI generated crap.

Training AI should never be subject to barriers, as much as i have to pay anyone if i train myself listening to some record. That's just beyond stupid. If they are stealing music, voices, screenplays, in part or in total to make their own pieces, then yes go after them. People lost sight of reasonable thinking.

That sounds like storing the data in a different format, nothing else.

By my observation, the industry that's been most effected by AI is voiceover actors. I've heard what appears to be AI generated voices that sound SO MUCH like a real person I've heard. I do believe that many actresses and actors as well as other people with notable voices have had their voices used to train AI such that they real people no longer own their voice and all money generated from their voice goes to the AI company. Scarlett Johansson had her voice stolen from her even after she told them no.

Not all music is not owned by record labels and as an artist, I don’t want my music training AI models but if Suno and Udio just got given a login to Spotify, then I think that my copyright has been breached. I don’t want labels to act on my behalf as it has been proven many times that they look after their own interests first…. Always…..

AI should be washing dishes and doing laundry, so we can create in peace.

The main defensive argument from the side of AI companies is that AI is trained like a young musician who learns songs and later plays similar songs, so it's not like sampling and, therefore, falls under fair use. This is bogus, at least. A young musician will have to pass years of learning and training and eventually will create some songs, while an AI computing system can be trained much faster, retain and access a vast amount of information instantly, and spit out thousands of songs per second. So, any judge and jury with common sense should understand that we are talking about two different things, we cannot say that a musician and an AI system are the same thing. It's like a country that develops nuclear weapons, saying that essentially, what happens inside the nuclear weapon is what happens when we light a candle with fire but in a more efficient, powerful, and innovative way, and therefore, by prohibiting the development of nuclear weapons it's like prohibiting Prometheus on giving fire to humans. As I said, it's a bogus argument, to say the least. The AI companies' lawyers also know what they're doing by their counterargument that the music industry tries to monopolize creativity. They hit the nerves of new musicians and creatives who are not fully developed into professionals, taking advantage of populism, and invoking a sense of innovative creativity that covers their true motive: staying in business without regulations. Any advanced technology that shifts the economy so rapidly must be regulated. All those AI companies that advocate "ethical" AI are nothing more than companies for profit, and that's how we should see them; that's their true image. I'm all for new tech, and I love what we can achieve with innovations like GenAI, but we should regulate and do it right for the future of human creativity.

Nice Video Michael very interesting

Hello, I found a different way of doing this for free with Opentrack and "Head Tracker OSC Bridge." Basically you use the OSC output in opentrack and then you use the bridge to convert the quat data that opentrack outputs into whatever format you want. No need for OSCII bridge or any scripting, and there are lots of presets in the OSC bridge program. This also probably works if you use your phone to do the head tracking as you can just send the data directly to OSC bridge. Still, I think its best to use Opentrack and do the tracking on your computer for minimal latency. That's all.

I don't think the producer tags are overfitting. If something appears many times in the training data, then the model will consider that a normal part of music, no different than say a triangle ding. It doesn't know that it's a sort of signature, it just knows it's popular in certain music. A generative AI model *should* copy things if those things are a core part of what it's generating. Imagine a world in which *every* piece of music started with the same tone. Generative AI should reproduce that tone if it's generating music. Since it doesn't know what a producer tag is, the producer tag is no different. This is fairly easily solved by explicitly training it on what a producer tag is and then adding it as a negative prompt to generation, or just filtering it out of outputs manually.