Following the Dolby Atmos installation in the flagship Studio 1 film mixing stage at London’s Halo post facility, a major upgrade of the AMS Neve DFC mixing console thas been completed. Now a v11 DFC3D with DAWSync plug-in, Halo’s facilities are aligned with those of the major US mix stages, helping to bring Dolby Atmos mixing to a wider client base.

A 24-fader Avid S6 M40 mixing console has also been integrated into the existing DFC surface, providing access for DAW control for a hybrid mixing experience. ‘We seized the opportunity to do the Atmos installation at relatively short notice, so didn’t have much time to think about anything other than the main build at the time,’ recalls Halo Head of Audio Operations, Richard Addis. ‘Since the studio relaunch, we’ve turned our sights to the one major aspect which wasn’t addressed as part of the main build, namely the mixing console.

‘The DFC continues to be the gold standard in film mixing, and AMS Neve’s ongoing commitment to developing for and streamlining the Dolby Atmos mixing experience is fantastic. That said, with Pro Tools 12.8’s Atmos integration, there are other options out there, which means Atmos is now highly accessible to projects of all sizes and budgets, and not just for Film. We needed a solution to cater for all, and with the S6 integration, we now have that.’

‘A great many films want to either mix entirely in-the-box, or work in a hybrid fashion, whereby certain elements are mixed using the much beloved DFC,’ says David Turner, Head of Film at Halo. ‘We have upcoming projects with the FX being mixed entirely in the box, and dialogues and music on the DFC. This has been the case for a number of years, but now with S6 integration we have a solution that is both progressive and ergonomic.

‘With Dolby Atmos deliverables also beginning to appear on delivery specs for providers such as Netflix, investing in upgrades that streamline the Dolby Atmos production workflow are of clear benefit to us across the business as a whole, not just for film.’

Dolby Atmos mixing has been possible on the DFC since the release of DFC v8 software; however, the additional features afforded by the DFC3D upgrade made the proposition extremely attractive. ‘The DFC3D v11 update, combined with the integration of the Avid S6, means you really do have access to everything you need on the surface,’ explains Halo Lead Mix Technician and Re-Recording Mixer, Johnathan Rush.

‘As well as control over the Dolby Atmos Rendering and Mastering Unit (RMU)’s monitoring level and re-renders, the integration between DFC and the RMU allows for direct control and display of all object pan information, regardless of whether those objects come from the DFC, Pro Tools, or any other DAW.’

‘DFC3D’s new meter bridge provides complete feedback of the session, from level and waveform and routing displays, plug-in displays for EQ, dynamics, de-esser and subharmonics, to the Spatial Panning Display and Dynamic Display of Dolby Atmos Object usage that are key to mixing in Dolby Atmos,’ says AMS Neve Software Development Manager, Dave Critchley. ‘Having a long heritage of mixing with the DFC, upgrading Halo’s console to the latest platform made perfect sense. This configuration mirrors the systems of the major US stages, and having the DFC3D with access to the S6 controls offers great versatility to the stage.’

With a growing number of systems all vying for control, Rush required a way to quickly lock everything together, regardless of where a transport command is issued from. ‘By combining the new AMS Neve DAWSync plug-in with our existing SoundMaster Atom and Avid Satellite network, we have an elegant solution to instantly lock all Pro Tools systems, the DFC and the VCube together, no matter where you press Play,’ he says.

‘By having use of the DFC’s surround monitor and Pec/Direct module, we retain accurate Bus/Tape metering, which is a must when working with multiple playback and record rigs.’