Under the my hp console games Setup Menu, on the I/O setup page, youll see an option for default.1 path order.
There is often some confusion regarding the way channels map on.1 audio track in Pro Tools.Then make the new path a surround output assignment by clicking on the box to the right of its name (image below).Now choose a channel strip in the mixer window and set the output to your surround channel path. Regardless of what kind of crazy output you have your.1 audio track going to, the audio on the track itself must be ordered this way: L, C, R, Ls, Rs, LFE. So even though you are probably going to use the smpte order for the main output to your speakers, the audio on the track itself it always in film order. Lastly, the sixth channel has some unique modulation that is sparse, so this is probably the LFE.Setup menu then, i/O, go to the, output menu and create a new path by clicking the new path button (image below). You could even set up a goofy output like this if you wanted ielts book 2012 pdf to: However, the most likely output option youll use is the smpte standard, like this: Whats the main benefit of the smpte standard over any other?Drenkrom is correct, if however, you need a poly wave in a specific format (smpte for example then that is program for you). Its simply a matter of convenience.Given the naming convention used by Pro Tools (.L,.R, etc) you should be able to just go to the audio files folder (or where ever you exported to) and pick the individual files, and then load into say, an AC-3 encoder program.When doing a bounce to disk or exported as files command, you end up with discrete files, as Pro Tools doesn't support poly wave files in tracks or on export.
Assign the outputs of the new surround path by simply clicking on the first one in the line up (image below).
The audio channels on the track itself must be in film order. It gets even messier because Pro Tools lets you route the channels of your.1 path to any physical output you want!You can see in parentheses the descriptions of the different channel orders.For our example we will use.1.Pro Tools has to have an absolute somewhere, in order for the I/O page to make sense and function.When working in Pro Tools, the tracks support Dolby order (lcrlsRsLFE). So this must.
This is due to the fact that there are these different standards in the first place.
From this one consistent starting-point, you can then route things anywhere you like!