What is new in Pro Tools 2019.10?
Avid announced that customers can now use 130 channels of Core Audio with the Dolby Audio Bridge and Dolby Renderer (up from the previous limitation of 32).

What does this mean?
This means that you can now send all 128 channels of a Dolby Atmos mix from Pro Tools to a Dolby Atmos Renderer using the Dolby Audio Bridge. This is important for two reasons:

  1. This eliminates the complexity of needing send plug-ins on aux tracks for every audio feed to the renderer.
  2. Automatic Delay Compensation is now being applied to all tracks feeding the renderer, as they are coming directly from track outputs, rather than being tapped off at the plug-in point.

This also makes session interchange between DAPS and DAMS systems much simpler as you just need to change the output routing, as opposed to previously needing two completely different routing schemes – one for Send/Return plug-ins, and one for physical outputs.

Does this mean that you don’t need DAMS and a dedicated rendering workstation?

The simple answer is no. We still recommend DAMS on a dedicated rendering workstation as the right tool for mission critical Atmos mixing and delivery workflows.  While the announcement from Avid dramatically simplifies the workflow for people using DAPS, and removes the previous ADC issues, there are still a variety of key features that are only available in DAMS:

  • Multi-system source/record workflows
  • Room EQ/b-chain calibration in the renderer
  • Down mix and trim controls
  • Connect a Renderer Remote (to control the renderer from another machine)

Can you now use Dolby Audio Bridge with HDX hardware?

Yes. In addition to supporting more channels, Avid have also made it possible to use the Dolby Audio Bridge with HDX hardware as customers audio interface.

However, it is not possible to use HDX DSP Processing when using the Dolby Audio Bridge, only to use it as an audio interface.

What about more advanced features necessary for post-production workflows like clocking, syncing, video playback, satellite etc.?

Since running with the Dolby Audio Bridge as your Playback Engine in Pro Tools removes the ability to use an Avid SyncHD for synchronization and reference, we recommend running the Dolby Atmos Mastering Suite on a separate rendering workstation if you need to lock into a larger workflow.

Does this update solve some of the other previous limitations of Dolby Audio Bridge and DAPS?
While the announcement from Avid makes things much simpler for most DAPS users, there are still a few limitations, including:

  • It is a one-way audio path, Pro Tools > Renderer > Audio Interface.
  • No re-renders back into Pro Tools (e.g. for loudness measurement).
  • Record Sync - no send/return sample sync, relies on LTC track if you want to lock the renderer for recording.
  • Avid SyncHD support - no ability to lock to external sync, video reference etc. so only really designed for stand-alone systems.
  • General processing overhead requirements to run the Dolby Atmos Renderer alongside Pro Tools causes a reduction in the amount of tracks and processing that can be done in Pro Tools.

Can I create a master file using DAPS?

Yes, as in previous versions of DAPS, it is possible to record a master file. If you are using the Dolby Audio Bridge you will need to sync the recording using either MTC or an LTC audio track in Pro Tools.

Is DAPS supported on Windows?

No, at this time DAPS is only available for Mac.