Is Nuendo 11 too good to be true?

Without the need of any other software like Dolby Atmos Mastering Suite (Around 1,000$) or any hardware like Dolby Atmos RMU (Plus or Minus 10,000$), is Nuendo 11 offering really everything in the box (Dolby Certified) that is equivalent to all that thousands of dollars worth software and hardware? OMG!

On top of that, Netflix Metering and Leq measurement which reminds me of VisLM from NUGEN Audio (around 450$) although it probably offers more than the Nuendo Supervision (Or does it?)

Now, with all that plus many other features improvement, plugins, etc, Nuendo 11 is priced at around 1000$ or an update from 10 is around 200$!

What’s the catch? (If there is any)

Odd question ?

We have yet to see, but I think the Atmos ‘in the box’ will need an RMU for theatrical - essentially they have bundled the Atmos Mastering Suite in (around $299?) - still nice though.

We probably all have 3rd party metering plugs so that new plug is nice but most who are doing netflix work have that covered.

I’ve been hugely underwhelmed at the C11 update and the lack of fixes and ‘promised’ (implied?) improvements.

For me, atmos in the box is great - but for others probably not ? So the update may well be some ARA2 fixes - some new plugins and some freebie SFX samples… ?

Timo promised the “'Most comprehensive update ever created in the product history” . That sets the expectation pretty high.

We will find out in a few days :slight_smile:

+1 :unamused:

Even though I bought the Dolby Atmos Production Suite just a couple weeks ago am pretty exited about the new Atmos possibilities in Nuendo. I use a windows computer to mix and the workflow to mix down music to 7.1.4 or 7.1.2 and copy over to the MacBook Pro is not perfect. And the real-time recording is quite time consuming for a full record.

The Dolby Atmos Production Suite might still be useful as I really like the binaural re-renderer and mp4 files for QC is also nice to have. I guess that will not be in Nuendo.

So far I have remixed 3 records and 2 singles in 7.0.4 and tried to upmix a choir recording to 7.0.2 quite successfully and some of it is released on TIDAL in Dolby Atmos. Hope to do a new 7.0.4 mix next year of an opera that I did in 5.0 and stereo many years ago. It really is the next step after 5.1 surround. At least for classical music.

That sounds great. Keep going in the grace. Godspeed.

About Mac and Windows, not having to move to a Mac for Dolby Atmos is probably another plus or minus 2000$ savings for a Windows user, let alone the infrastructure investment.

I could be completely wrong, but I don’t think this latest move by Dolby means the RMU is no longer required. If I understood things correctly it’s still a requirement for some outputs, just not all of them. But either way this is pretty great I think. And I think this is a Dolby move since Fairlight and Pro Tools is gaining the same capability… I think.

Are you referring to the Dolby Atmos Production Suite? Because the Dolby Atmos Mastering Suite costs around $995 (Not $299)

Edit: I may have made a mistake too in my original post that I have edited now.

Here is a difference,

You may be right too.

However, in the live event on YouTube (, Jordan Glasgow from Dolby says,

‘‘Nuendo 11 is a huge step forward for Dolby Atmos content creation. With native Dolby Atmos rendering and ADM export built-in, you can now create Dolby Atmos content inside of Nuendo without a Dolby rendering application connected. Define all of your objects, beds, and metadata settings inside Nuendo and then monitor in speaker configurations from 7.1.4 to stereo. When you are ready, export your final mix as ADM BWAV for delivery. Having all this functionality inside of Nuendo really streamlines the workflow as you no longer need to toggle between two applications or wait for your final master file to print in real-time. We worked really closely with the team at Steinberg to integrate Dolby’s rendering technology including certifying that the final output aligns with all of our specifications. I think this release is definitely going to make a lot of Dolby Atmos content creators very happy’’

This makes me wonder if we may be getting much more, in terms of Dolby Atmos, than we may expect from Nuendo 11.

yep - it’s the the other way round - but the point is you will still need the RMU for theatrical…I suspect. As Mattias suggests, this is 100% a dolby initiative as other DAWs are getting it.

And it’s still fairly niche and not relevant for many (most ?) users - It could already do Atmos beds and do you have an Atmos monitoring system ?

your question was “Is Nuendo too good to be true?” - the answer is “we don’t know…yet”

Yes of course.
Because your room needs to be Dolby Certified for that.


At the time of commenting, I do not. I only have a 5.1 surround monitoring system. But I am very interested in Dolby Atmos even if that is monitored with headphones.

You know Nuendo 10.3 already supports Dolby Atmos - so nothing to stop you getting started :slight_smile:

True :relaxed: But without a Mac or RMU? I will rather pass and wait for Nuendo 11. :ugeek:

works in windows :slight_smile:

Wow! Objects or beds?

beds …but if you’re starting out and experimenting then you have no excuse :slight_smile:

From my understanding, the major point of the upgrade is that it includes mixing Atmos objects and this can be done natively (without an RMU). Nuendo already has Atmos bed mixing capability. I think this update makes a lot of sense, as what differentiates Nuendo from Cubase is essentially its post-production capabilities, and Atmos objects is really the post-production forefront at them moment. I think the main criteria we would be looking at here to judge the quality is how CPU efficient the integration is. Is the processing distributed well in workstation and HEDT processors with a high core-count?

I would like to see some benchmark tests when it comes out so we know how well it performs with every object engaged and automated.

Yes. You are probably right. Thank you :slight_smile:

The first step is adding speakers. I started in the roof with four Genelec 8010 forming a 5.1.4 system and experimented a bit with ambisonics. Just before I started remixing my pop-record one again I found out that you really should have a 7.1.4 setup then mixing for Dolby Atmos. So I got a second hand Genelec 8020A and decided that I did not need a Genelec 8020A as a talk back speaker for location recording and I was set. Or I thought I was but then a second hand identical Genelec sub showed up and I thought that doesn’t happen often and was also the perfect solution for the 7+4 speakers to have bass management. At the same time two subs solves the issue that everything was mono below 85Hz.

I also find it easier to mix for 7.1.4 than 5.1. And now with Dolby Atmos streaming with TIDAL finally there is hope again for surround music.

You guys are light-years ahead of me, but I have been insulating the additional .4 monitors with my current 5.1 system that I’ve worked on over the past 10+ years, and just about passed-out at Timo’s video of Nuendo 11. This is such great, great news for AE’s like me! I have been over the moon since seeing that presentation. I just wish more AE’s in music recording/mixing/production would embrace the big, better, spacious format to work in. Once ANYONE is exposed to surround/immersive audio, they have then lost their virginity forever (& don’t care to get it back)!
Semper Fidelity.

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