Best Surround Encoder?

[PTGuy]

What is the best surround encoder these days? Is the 'Kind of Loud' stuff still good or what about the Dolby? A solid rec. would be greatly appreciated.

Also we are configuring our PT HD studio for video and are adding a Mojo and Avid Xpress Pro HD. Besides that what other odds and ends should we need to get to make our live's easier?

Thanks!!!

[minister]

for...what kind of work?

check out the Neyrink plugs. very good, fast, and you can audition your work.

i still use Dolby, and it works great.

Minnetonka is also coming out with a PLII RTAS....

[EarHole]

I like the SRS Circle Surround. It does a 5.1 PL2 Compatible matrix encoding.
It also lets you hear the mix processed in mono, stereo, or surround while you work.

[pneyrinck]

What is the best surround encoder these days? Is the 'Kind of Loud' stuff still good or what about the Dolby? A solid rec. would be greatly appreciated.

The Kind Of Loud plug-ins were never developed beyond OS 9 which was why I made the SoundCode for Dolby Digital and DTS plug-ins which are compatible with OS X and Windows XP. See www.neyrinck.com for more info.

[1150Post]

I like the SRS Circle Surround. It does a 5.1 PL2 Compatible matrix encoding.
It also lets you hear the mix processed in mono, stereo, or surround while you work.

Ditto... also with the new extraction options in the latest release, it's a real winner. Big fan.

[c.evans]

I've been using the Neyrinck plug for about six months and it is very cool.

The punch if feature is a huge time saver if you work on long form video as I do. If I need to insert a 20sec repair into the 2 hour existing ac3 file it is very simple, a little quirky at first use, but man does it save time when you are in a crunch to get your files out to authoring.

Another cool feature is being able to import the ac3 file back into PT and then stream it out the spdif port to a receiver for decoding. It is a great way to check your mixed program after the encode without having to create a dvd. I will also lock up my PT rig to the Avid rig via time code and then we will watch the full program in HD on our viewing screen while streaming the ac3 to a pro-sumer audio system. It is a great way to get my head out of my mix room. Kind of like the old aurotone mix check on steroids.

Good Luck!

Chad

[dopplah]

We're mixing for TV broadcast, and I've been using a hardware Dolby Surround encoder. Frankly, I hate what the encoding is doing to my mixes, and I feel that Dolby Surround is somewhat of a dead format anyway.

I'm trying to decide whether to make the jump to the SurCode Dolby Pro Logic II plug, or to stay with "classic" LCRS encoding. It seems that a PLII plug would be the most up-to-date way to do broadcast surround.

Can you convince me one way or the other for Dolby Pro Logic II vs. Dolby Surround?

dopplah

[RenderBot]

I saw this Gem at AES:

http://www.dolby.com/professional/pr...ng/DMP_01.html

Looks like the future of encoding workflows to me.

[jimlongo]

Priced like a Gem too!
11,000 for that suite of software . . . I'll stick with the individual tools available.

[soundsteve]

Hey Brad

Tell me - do you know how the xtract "ability" of the SRS Circle Surround software works in real life?
e.g we have an entire 24 part series that has been mixed previously in stereo that we now need to redeliver in Dolby E.
Client can't afford the ideal scenario of enhanced tracklay and 5.1 mix from scratch so I'm wondering if this software will help.
Can we pull in the stereo mix off the masters, create 5.1 stems on Protools using Xtract, and then o/p to a Dolby E encoder??
thanks a lot
Steve