let me know if anything is not clear enough…also if you need a Template/Video for any specific project, please don’t hesitate to PM me.
I’ve been using Thomas’ PT templates most of 2023. They’ve helped me immensely with delivering dipped and undipped stems.
Just forget to mention that you can duplicate any track as many times needed and it maintains all the routing including stereo to 7.1.4 anymix upmix trick for Ambience, Music, BG etc. as well as ducking.
The above template easily translates for documentary work.
Thanks, to all who provided Nuendo Templates much appreciated.
Same opinion here. I went to the YT channel and couldn’t find any links. It’s a bit of a mess. @Phil_Pendlebury, you might want to rework that a bit. Never could get there: Phil Pendlebury (gumroad.com) without the indication of GWC_Music.
The Gumroad link is in pretty much all of my (relevant) video descriptions. So is my Discord.
These are below the actual video chapter descriptions obviously. As the GR links are not the priority.
You just have to scroll down.
Also, all links are available in my Linktree which you can see by clicking my profile on this very forum. (The picture and name at the top of each post).
What Lukas means is that the forum members who offered these tempates did so without any idea of ownership or creation, but as simple users, without asking for any acknowledgement in return. That’s why he didn’t see fit to memorize and indicate these mentions.
What you say, for your part, is quite right, commendable and true in a general creative context, and we have to follow the instructions you mention most of the time. It’s not easy, however, to delimit the zones in a community such as this, especially if the template authors are more like members who only pass on their own configuration, like simple craftsmen.
There’s no intention here of questioning your position, a position I defend. I’m just highlighting a dimension concerning the reality of forums and some of their ordinary members. It’s true that, in any case, it would be good if sources were always indicated, and this thread will perhaps have served to establish the rule.
p.s. In midi files available on the Internet, authors often use this trick: they name first empty tracks with their name, identification, address and copyright. This is then used as a reference, as we all too often forget where we find material.
How do you know this? Where are the threads? Where did these people say feel free to give all this away without mentioning where you got it from?
Even in this thread where some very kind people have posted templates, they will still very much appreciate folks being directed to their original post. Rather than someone just redistributing them all with no acknowledgment whatsoever.
There are those of us that spend time trying to help people and all that’s expected in return is a little credit where it’s due. For me, my “credit” Is to make people aware of the YT channel also to have some nice chat about it.
Certainly we don’t expect criticism and people saying that your YouTube is a mess when we’re giving away things for free.
About the MIDI files thing. That’s also been done for donkey’s years. It’s nothing new. All my templates have a notepad with various information in them.
However, I’ve seen my templates redistributed on some forums with the notepad removed.
There’s nothing to argue about here. People give things up for free. They have the right to expect a little mention in return. Even if that is just a “Thanks” on a forum. (Which goes a long way).
Another very important point is that when you know the source of this free stuff directly, it enables us to support it. So if someone gets my Atmos templates and has no idea where it comes from, they won’t have a clue what some of the items are for, unless they are able to ask about it directly.
The same goes for most of these kind of things. It’s all about context…
Right that’s enough from me on this one.
To those of you who have received these little freebies without moaning or arguing about it, a huge thanks from me, it’s much appreciated.
I should add though, that I do appreciate your points in this. I’m certainly not trying to make rules. I just believe that people who do things for free should be able to at least receive thanks for it. And be able to answer questions and support it. None of these can happen if their work is redistributed by someone anonymously.
I’m assuming this in a very reasonable way. If there had been express mention of authorship, as you do for your material, there would have been respect for that. That said, without disagreeing on the substance.
We agree. Let’s leave it at that.
I’m talking, of course, about the position of someone arriving in your space for the first time. But I’m probably a bit slow on the uptake. And I’m not on Discord. But thank you for all the work you do. It’s very useful. I’m a subscriber to your YT channel and I’m watching everything excellent you have on gumroad.
Thanks for sharing this template. I’ve looked around in it and have learned a lot!
A few things I want give feedback on:
The PSP aural control is all over this template and not native, right? Maybe add that to your description because it has a big influence on the usage of the template it seems.
Anymix Pro: to bad it is not Atmos compatible so interesting to get to understand your trick. However the inserted plugins make it hard for me to judge what is going on. Can you explain what their role is in getting anymix to fill the top?
And I was wondering why you don’t make an up mix group/bus for sounds? Do you want more control per track or is it because it doesn’t take a lot of cpu resources?
Bed MG & BED MUSIC: how do you get it to convert from 7.1.2 to 7.1.4 exactly? does aural control have anything to do with that? Or is it just because you route it to the Stem group (which is 7.1.4) and if so how do you get sound to play in the .4 and not just the .2?
Sorry for all the questions I mostly work in Atmos for project I make for binaural playback (radioplay) and never for film… but I want to be prepared and learn.
Usually I get a lot of arthouse films and almost everyone wants a 5.1 fold down.
The best part is that most of the time the location ambience arrives in stereo and listening to pilot audio from the camera and the recorded ambience I usually have to make a judgement and recreate the ambience to situate the characters in.
It’s not very different to what was explained here with an example from a Radio Play: https://www.youtube.com/watch?v=Qw2fxfqiUK0&t=6s
This is where PSP aural control comes in, it allows me to make detailed judgements regarding what goes where and how much. It also helps me to get an accurate 5.1 fold down.
Exponential Audio Reverbs have tremendous control and I can solo the tops and get just that right Aural feel of Ambience and then fine-tune and mixi it to XX4 to XX2.
This may seem a lot of work but in Radio Drama and Arthouse films Ambience is used like music. To get the character live in his her space is like getting 90 percent there.
Personally for me the heart of Drama and Cinema are to be found in the Center/front with the sides assisting as most energy are always focused there and the way I work, 7.1 is the undeniably the main area of action even in a 7.1.4 Atmos world.
That is the reason why Animix is routed to a 7.1 bus and certain elements from there are routed to reverb tops which are further folded to 2.
Do try the Radio Drama template for your Binaural mix. Let me know how it translates to Binaural.
About PSP aural control thrown everywhere for me PSP aural control works like a Swiss Army knife, of course Nuendo comes with Mixer Delay which can substitute PSP aural control and I do use it when needed and works as good and even better.
Thanks. I was thinking a fold down through the Atmos renderer should also sound good, but i guess you have other experiences?
With regards to binaural atmos mixes: I have my own template but will incorporate some of your ideas (the upmixer and top reverbs).
oh and i totally agree ambience is the most import mood establisher for ‘radio drama’ after the voice of course.
So sorry for the massive delay! Work chaos and wrapping up projects kept me tied up.
Anyways, here’s a link to my current 7.1 project template. I won’t go into every little detail since that would take hours so here’s just a few things on how I have it setup and the workflow:
There’s 10 mix configurations set. Since you can only create shortcuts for 8 (please raise this to 12, Steinberg ) I have the first 8 as my main layers. Dx, Msx, SFx, Foley, BG/Amb, Final Dub, Sub Masters, Print Masters. The last two, configuration 9 and 10, are FX Sends and AAF Import. This allows me to quickly get to all reverb and LFE sends when needed. And for the AAF Import layer I like to organize project tracks here, copy them to each food group, then kill the faders of the AAF Import tracks. Always good to keep a copy of the raw import
For the AAF Import configuration, all tracks are Mono. Once things are organized I convert the L/R tracks to stereo and copy from there. All mono L/R tracks have the panning set to L/R so you don’t have to worry about forgetting that before converting. If you need more than what’s already there just duplicate a like-track.
Each configuration besides FX Sends, Sub Masters, Print Masters, and AAF Import will have the big three VCAs in the left zone: Dx, MSx, SFx. Very easy to solo food groups through these when working.
Each food group has their own reverb and LFE sends: Dx, MSx, SFx, Foley, and BG/Amb. All sends are on by default but -infinity. Saves a few seconds when automating.
SFx layer is broken up into the following families: SD (Sound Design), ED (Every Day’s; i.e. doors, lights, etc), VEH (Vehicles), Ani/Crea (Animals or Creatures that aren’t apart of BG/Amb (Backgrounds/Ambiances)), Fighting, PFx/PFx Futz, Temp mono and stereo SFx from import, Weapons, and Gore. This has covered me fairly well so far but add whatever else you may need
For each food groups reverb I have 5 setup and labeled, so pretty self explanatory. INT Small, INT Large, EXT. The last two are part of one send named “Cine Verb.” Cine Verb is a trick I picked up from Matt Yocum’s reverb video with Pro Sound Effects. It’s a really cool effect! (about 31 minutes in): https://www.youtube.com/watch?v=pLF7Fu3ajOc
Control room is setup to quickly listen to the four main outputs: 7.1 Print, 5.1 Print, Stereo Print, and Stereo Print WEB. The downmix monitoring is setup on A, B, C, and D. A 7.1, B 5.1, C Stereo, D Mono.
Supervision is on the 7.1 Print Master Sub Master track, post fader under a safety limiter. Easily swapped out with whatever plugin you want there to check loudness. There’s also one on the Print Master track for 2.0 Stereo Print Master WEB to check streaming loudness.
Control Room Inserts: The only insert I have in CR is Waves NX to monitor in 7.1/5.1 if I need to check a mix at home. Saving for genelec surrounds at the moment. Please remember to check your mix in a proper stage if you can! At the very least, rent out a local theater and check it there
Other plugins I use are Pro Q 3 and Pro R from Fabfilter, Waves LoAir, SA2 Dialogue Processor, Auto Align Post for Boom/Lav, iZotope for cleanup if SpectraLayers needs a hand, and Altiverb. Everything else in the template is stock. When working on projects I add only what’s needed, and mostly stock Nuendo plugs. They have some great stuff! Krotos is probably the second most used bunch of plugs I use for heavy sound design. Obviously these aren’t included in the template but definitely worth checking out as you progress.
Downmixing is done on the Sub Masters layer. The 7.1 channels feed each other and the 5.1/Stereo tracks to get everything where they need to go. I just use MixConvert to downmix from there, nice and easy. If I have the time and I really want to get technical with it then I just take the multi-mono print exports, drag them in a new project, and downmix by hand that way. But that’s if I run into major phasing issues/have time and budget for it.
LFE Send Tracks have an EQ at 120Hz and Waves LoAir Mono as inserts for obvious reasons.
2.0 Print Master WEB Sub master track has a multiband compressor and limiter inserted to get a quick streaming mix printed.
All submaster tracks have brickwall limiter post fader at -2 as safety.
Print Master tracks are labeled. To print the project just record arm them all and record the project. Easy to punch in changes down the road.
Delivery folder is included in the template folder so you can batch export stems where needed.
There’s also an AAF Media folder there so you can put all your media from the editor in with your project folder. Helps to relink things if you change workstations.
I added a -20 dBU dolby pink noise file for room calibration. Just drag it onto the track labeled -20 dBU Dolby Pink Noise. Outputs through the main 7.1 and has an LFE send setup ready to go. Pan, calibrate, and your days started right!
Up at the top I have a Scenes track, Video track, REF audio track from the video, 2Pop/Tail Pop track, and the Dolby Pink Noise track always visible. For the 2Pop/Tail Pop you can just cut that from the REF audio and paste it on the 2Pop/Tail Pop track. It’s already sending to everything so every Print Track/Stem should have the pops printed during export.
That’s about it! Easy enough to adjust this to what you need, add inserts, etc. If you run across projects that need more tracks then what’s already made easiest way is just duplicate a like-track and all inserts/routing/sends/VCAs will be set for you. Only caveat there is that you’ll need to update the mix configurations with each new track added, which is a major bummer. Wish new tracks weren’t auto added to every mix configuration but that’s how Steinberg has it at the moment. Hint Hint, devs
Other than all that, go nuts and have fun! Just remember to set your output channels in Studio → Audio Connections → Control Room. You’ll want to connect the 7.1, 5.1, Stereo, and Stereo Print WEB next to the speaker icon (for our beginner friends )
While this may be an extensive template I’m sure there are things that could be better, or even things that are busted that need fixing. Feel free to make this yours to fit your workflow. This is a good starting point, not the end-all! Every project I find something to fix/improve on and save as a new template at the end. Never stop learning
If you do come across anything that’s just straight up broken feel free to let me know, too.
That’s much appreciated, Sean - thanks for posting
FWIW, there are two Nuendo projects available for download on the Steinberg site, one of which definitely tick the ‘post-production’ box. Whether they serve as templates is down to personal preference, but I found they helped clarify routing concepts and workflows in general.
This thing is a monster. Thanks for sharing, definitely going to dive in and see how you’re doing everything!
No problem! I plan on selling this one and other templates soon so enjoy the “beta version.”
If you have any questions about it feel free to ask