Introducing the Trinnov Audio D-Mon Series

Introducing the Trinnov Audio D-Mon Series

Jigsaw24 welcome the launch of the Trinnov Audio D-Mon Series, a new range of digital integrated monitoring processors, with the acclaimed optimiser room correction and X-Mon replacement capability for an Avid Pro Tools | S6 control surface.

The D-Mon features the Trinnov Optimiser at its core, providing the user with the ability to have perfectly tuned speakers set for the room and an astonishingly accurate listening environment, allowing for faster workflow and higher quality results.

As part of Avid’s third party programme, the D-Mon Series has been developed primarily to meet the Eucon protocol specifications to provide Avid Pro Tools users with a comprehensive alternative to the X-Mon analogue processor for the S6 and S3 control surfaces, and is also backwards-compatible supporting Avid ICON D-Control and D-Command.

The D-Mon is designed to not only replace the Avid X-Mon, but also interface with any DAW studio and act as a console centre section. It offers the user a number of features alongside the optimiser room correction at its core, like switching, routing, summing, assigning inputs to cue, stem mixes, sends for foldback, listen and talkback feeds. The D-Mon is a complete monitoring solution for the modern studio and then some…

D-Mon-Advert-940x440

D-Mon Series Highlights

– D-Mon|8 (5.1/7.1 studios): 24 Digital I/O | 8 Analogue I/O | 8 Analogue High Definition Outputs.

– D-Mon|4 (Stereo/LCRS studios) : 8 Digital I/O | 4 Analogue I/O | 8 Analogue High Definition.

– Globally acclaimed optimiser for perfect acoustic tuning of multiple stereo up to 7.1 speaker sets, with comprehensive functions and processing for advanced monitoring.

– Compliant with Avid control surfaces, including Eucon (S6, S5, S3), and X-Mon Midi (D-Control & D-Command).

– Full audio routing matrix.

– User-assignable functions (main, alternate, cues, talkback, listen-back, headphones).

– 18×16 internal mixer (D-Mon|8) 12×8 internal mixer (D-Mon|4).

– Digital and analogue inserts.

– Fully assignable intercom control, talkback and listen-back inputs with phantom power.

– Outstanding sonic performance and processing from the world leader in room correction.

Trinnov D-Mon Diagram 2015

Want to check out Trinnov D-Mon yourself? Come on down to our Soho-based ‘Steampunk’ demo studio and hear the D-Mon range in action, fully functioning with the Avid Pro Tools | S6 and our unique JBL Professional 7.1.4 Dolby Atmos Premix-capable monitoring system.

Call us on 03332 409 306 or drop an email to our pro audio solutions specialists at audio@Jigsaw24.com. For all the latest news, follow @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook.

Guide to Avid Pro Tools 2016: Pro Tools, HDX and HD Native

Guide to Avid Pro Tools 2016: Pro Tools, HDX and HD Native

Avid’s Pro Tools audio recording and editing software, now in its 26th year, is pretty much omnipresent wherever sound production is taking place, whether that’s in a band’s project studio, a commercial recording facility or post-production.

And for good reason – engineers like the intuitive interface, powerful processing and solid stability that can take on the most demanding projects. And the sheer number of users on board means that using it makes you compatible with more other studios than any other software package available, regardless of whether you’re working in a Mac or PC environment.

While opting to use Pro Tools may be a straightforward choice, deciding which system to go for can be anything but. Avid currently offer a software only version of Pro Tools and two different hardware platforms – Pro Tools HDX and Pro Tools HD Native. Which one is best for you depends entirely on what your requirements are, so we’ve tried to break it down a bit below…

Pro Tools (software only)

Go for this if… you need a flexible entry-point DAW and are only working in stereo.

Pro Tools software on Jigsaw24

The software only version of Pro Tools offers up to 96 audio tracks (@48kHz, 24 tracks at 192kHz). 32 simultaneous inputs are supported, with 128 instrument tracks, unlimited busses and 128 auxes, plus support for a single video track.

All software mixing and plugins (AAX format) are handled by the computer and you can use pretty much any audio interface you like, whether that’s a budget 2-in, 2-out or a pro level interface such as an Apogee Ensemble, RME, MOTU or the excellent DSP-laden Universal Audio Apollo range. The software-only licence of Pro Tools is stereo-only, so if you need to work in surround, you’ll want to investigate the HD systems.

Options: Available as a perpetual licence for £599 ex VAT (with a yearly support plan required after the first year to stay up to date), or a 12 month subscription licence for £199 ex VAT per year.

Pro Tools software on Jigsaw24

Pro Tools HD Native

Go for this if… you’re working with big sessions or in post-production.

Guide To Pro Tools HD Native

Pro Tools HD Native is the mid-tier platform and is fast becoming one of the more popular choices. It’s an integrated hardware and software solution that consists of an Avid HD audio interface, a core card which connects it to the host computer (either PCI or Thunderbolt) and Pro Tools HD software.

HD Native can support 64 channels of input and output, and the Pro Tools HD software can handle bigger sessions than the software-only version: up to 256 audio tracks, 512 aux tracks and 64 video tracks. Importantly for post customers, Pro Tools HD software also supports full surround mixing. All processing is still handled by the computer though, so if you are running a heavy session you’ll need a powerful computer.

Options: Various combinations of Avid HD audio interfaces and core cards are available, and we offer a wide range of systems ready bundled – click on the banner to see your options.

Pro Tools HD Native on Jigsaw24

 

Pro Tools HDX

Go for this if… you need the very best for a professional post-production customer or commercial studio.

Guide To Pro Tools HDX

Pro Tools HDX is the top tier. Like HD Native, it’s a hardware-based system, but the big difference is that the core card is loaded with hugely powerful DSP chips and these are used to run the mixer and effects plug-ins, meaning a huge session doesn’t slow your computer to a crawl. Its also scaleable – you can use multiple HDX cards in a system to increase I/O count and processing horsepower (up to 192 inputs and 768 tracks).

Because of the extra power, an HDX system can handle massive surround mixes with lots of spatial effects. It’s also the best choice if you’re recording bands where people want individual monitor mixes with realtime effects, because you don’t have to deal with the processing delays you get when the computer is handling all the number-crunching.

Options: As with HD Native, Pro Tools HDX is scaleable and we offer various systems depending on your needs, including full studio solutions with control surfaces included. See the full range by clicking the banner below.

Pro Tools HDX on Jigsaw24

Want to know more? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. For all the latest news, follow @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook.

 

 

 

The 6 Waves Gold audio plug-ins I couldn’t live without

The 6 Waves Gold audio plug-ins I couldn’t live without

These days, most DAW packages come with enough built-in plug-ins and instruments to get you through a mix or a songwriting session comfortably, and to produce something pretty good. But what if you want to squeeze something a bit more professional sounding or just plain different out of your software? Or if your favourite DAW doesn’t have the effect you need?

Then you should look to a package of plug-ins like the fantastic Waves Gold Bundle. I’m a long term Apple Logic user (I bought Logic for Atari ST when it first appeared and have been using it on every computer I’ve owned ever since!), and I bought the Waves Gold Bundle many years ago after falling in love with a couple of the plug-ins.

Waves Gold Bundle on Jigsaw24

Here are my favourites:

Compressors. You get no fewer than five compressors in Waves Gold, plus mastering dynamic effects. Renaissance Compressor is my go-to modeller for optical compression, and I use H-Comp for tube compression, particularly on drum sub-mixes.

EQ. You get a graphic and a paragraphic EQ, but my favourites are the V-EQ vintage desk channel emulations. These EQs are warm and lovely, and everything just sounds better with them!

PAZ Analyser. Proper metering. I always have this across my stereo output when I’m mastering, giving master frequency graph, phase correlation, peak and RMS metering. If you’re mixing for broadcast, this superb plug-in is pretty vital.

L1 Ultramaximizer. This is the mastering plug-in for adding loudness to a demo mix or radio version of a track. Used appropriately, this will fatten any mix, or just catch stray peaks before they clip. I’m not a huge fan of loudness for loudness’s sake, but I do love L1.

Enigma. A modulation effect like no other I’ve ever used. A combination of phasing, flanging, comb filter and LFO mod capable of sounding very lush or very psychedelic. It’s far more interesting than standard DAW mod effects.

Doubler. Basically it’s Automatic Double Tracking (ADT) and it’s one of the best out there. Very simple to use and very natural sounding, my backing vocals generally get a dose of this one.

There’s so much more in Waves than I can cover here. Chorus, flanging, delay, stereo imaging, guitar amps and pedals… it’s a huge bundle. But one thing is common to all of the plug-ins – the quality and tonal detail is exceptional in every single one of them. I couldn’t do without my Waves and I really do use them on every mix I create.

– The Waves Gold Bundle collection is available to buy now from Jigsaw24, and is currently on sale for just £165 ex VAT (an incredible 60% saving on the normal £449 ex VAT list price!). This offer is only available while stocks last though, so grab your Waves Gold Bundle now!

Waves Gold Bundle on Jigsaw24

Want to know more about the Waves Gold Bundle audio plug-ins? Call 03332 409 306, email audio@Jigsaw24.com or leave us a comment below. You can also keep up with more news, reviews and offers on our Twitter (@Jigsaw24Audio) and Facebook page.

Apple release Logic Pro X

Apple release Logic Pro X

For the first time since Logic Pro 9 four years ago, Apple have released a major update to their professional music recording and production software for Mac, with Logic Pro X. The numeral-savvy among you may have noticed that Apple have gone with an X rather than ’10’, mirroring video-editing app Final Cut Pro’s name change to FCPX.

As with Final Cut Pro X, it looks like this time round Apple have revamped the user interface of Logic Pro X, making it a bit more intuitive and user-friendly (think a more advanced version of GarageBand). It’s not just a cosmetic change though – new tools and a broader collection of virtual instruments and effects make Logic Pro X the most advanced and feature-packed version of Apple’s DAW to date. Here are a few of the standout features we’ll be most looking forward to…

Drummer. Logic Pro X now comes with its own virtual session drum player that will play along with you in a range of styles and techniques. Apple say, of the 15 drummers from the rock, alternative, songwriter and R&B genres, “each drummer has a custom kit, delivers his or her own signature sound, and can perform over a million unique groove and fill combinations”. There’s also Drum Kit Designer for creating your own deeply sampled, realistic-sounding drum kits.

MIDI Plug-ins. Logic Pro X features a number of MIDI plug-ins that can be applied to software instrument tracks, including a chord trigger, arpeggiator, transposer, randomiser and modulator. The MIDI plug-in engine is also scriptable which opens up a whole wealth of possibilities for the ardent programmer.

Track Stacks. Helping you manage complex sessions, Track Stacks allow you to consolidate tracks together either as a simple folder or summed to an Aux bus for sub mixing

Arrangement Track. Now you can use markers in the Arrangement Track to define sections such as verse, bridge and chorus, and then easily move or delete sections from your arrangement.

Flex Pitch. The Flex Pitch plug-in means you can now fine-tune pitch when you’re tuning instruments or vocals, and manipulate melodic content in pitch and time domains. Roll over each note so the parameters show up, then you can adjust the gain of individual notes without excessive compression or time-consuming automation editing.

Logic Remote. Now you can control your Logic Pro workflow wirelessly from anywhere using iPad, and even play instruments directly on iPad using the multitouch interface.

One of the caveats of Logic Pro X is that it is now exclusively 64-bit, and compatibility with third party plug-ins is limited to those which have 64-bit versions. While Logic Pro X is backwardly compatible with sessions made using 32-bit versions, and plug-ins that are 32-bit only won’t run, tread carefully if you have a lot of older plug-ins. This might be a short term bugbear, but hopefully it will prompt developers to update their plug-ins to 64-bit sooner rather than later.

We’re going to be taking a more in-depth look at how Apple’s Logic Pro X really performs soon, but in the meantime don’t hesitate to post any comments or questions in the box below, or get in touch with one of the team…

Want to know more? Give us a call on 03332 409 306 or email audio@Jigsaw24.com. You can also follow @Jigsaw24Audio on Twitter or ‘Like’ us on Facebook

Nuendo 5: A real alternative to Pro Tools for audio post-production

Nuendo 5: A real alternative to Pro Tools for audio post-production

I’ll confess it has been a while since I took a long hard look at Steinberg’s Nuendo. When the audio post-production package was first released in 2000, Steinberg were aiming squarely at the Pro Tools’ market share. They promised a real alternative for both professional recording facilities and post-production, and it was announced alongside Nuendo-branded interfaces from RME and Apogee.

Sadly, at the time, it failed to make the impact Steinberg had hoped, partly due to the perception that this was just Cubase with extra features, and also due to a lack of sync and controller options that could measure up to Avid’s offerings. Over the next few years (somewhat confusingly) Cubase and Nuendo continued to leapfrog each other with features. While the post-production community didn’t really jump on the Nuendo train, it gained a lot of uptake among sound design departments in computer games companies.

Fast forward ten years: the landscape has changed markedly and Steinberg have released Nuendo 5. Apple’s Final Cut Pro and the revitalised Adobe Premiere have carved a huge chunk out of Avid’s user-base, allowing smaller film production companies to compete successfully, without massive outlays on editing stations. Many of the larger TV production companies have folded, with their experienced engineers setting up shop for themselves.

Avid’s Pro Tools HD may still be the post-production platform of choice for the main studios, but Nuendo 5 may have just quietly come of age to offer a professional standard of audio post for the rest of us. Here’s an overview of why every video production company should take a good look at Nuendo for its audio post needs.

What is Nuendo? In short, Nuendo is an audio production environment which allows a near infinite number of audio tracks with full automated and clip-based mixing. It offers native surround support for formats from 5.1 right up to 10.2 and fully synchronised in-session video playback with a vast array of online and offline sound processing plug-ins for realtime mixing. Nuendo supports media exchange, audio up to 192kHz and full hands-on control from a variety of control surfaces.

Native and cross-platform. Like all high performance digital audio workstations, it requires a pretty hefty machine to run at its best, but you can run it on a Mac or Windows machine. In other words, you’re not bound to an audio production platform based on your preferred OS. No hardware restrictions mean you have your choice of audio interfaces and converters based on your needs.

Full interchange support. Nuendo can handle media exchange formats such as MXF, OMF, XML and also reads CMX 3600 EDL lists provided by the video editor as well as exported and imported CSV formatted spotting and ADR lists.

Full resolution video playout. Nuendo uses the QuickTime codec for video playback and can play out via FireWire or through Blackmagic or AJA cards.

Video follows edits. In edit mode, Nuendo will scrub the video with the edit, so you can trim from the beginning or end of a region. When performing moves or copies, the video will follow the cursor.

Centralised storage of sound libraries. Nuendo has an impressive feature called Media Bay – a fully searchable dynamic database that can be used to catalogue audio files. Media Bay can work with local storage and networked volumes meaning that sound effects databases can be stored centrally and accessed by multiple users. Its speed allows the user to search for sound files, store multiple searches, preview files and set regions for import.

Multiple marker tracks and cycle markers. Nuendo allows the creation of multiple marker and cycle regions so you can work easily on dialogue, foley or SFX. Uniquely, marker information can be imported via .csv files, meaning the video editor can use a spreadsheet program to provide all the notes with timing points. The sound editor can then import these directly into Nuendo where they will appear as markers complete with all the notes. Great for EDL and post conforms too.

Single-pass batch export of all stems. Once a project is finished, Nuendo allows you to export or bounce your project faster than realtime, using the full processor power of the computer. Not only can it bounce the full mix, it can simultaneously produce bounces of all your stems, so you can have a finished mix, your dialogue stem, audio stem, SFX stem etc. This is a huge advantage that Pro Tools users are longing for – no more bouncing in realtime. One bounce for every stem means you can output all of your audio files for a half hour TV show while you have a cup of tea, rather than it being a two or three hour job.

Clip-based editing. The most requested feature from users of older Avid audio systems is the ability to edit volumes of clips without using a realtime mixer. The person doing the mix for a show will typically not be the person editing the audio, so they don’t want to inherit a session chock-full of automation. Nuendo offers clip-based volume control so you can adjust levels without ever touching the mixer.

Comprehensive control room monitoring. Nuendo’s monitor matrix lets you choose to listen to the full mix or individual stems, busses or outputs at the click of a button.

Clip Packages. Nuendo allows you to group sound clips together and save them as clip packages so that complex sound effects made up of multiple sound files can be reused without having to be rendered first.

Jog and shuttle control for transport and editing. Deep integration with Euphonix controllers means that these can be used not just for mixing but also for editing via the jog wheel.

SystemLink and SyncStation. SystemLink allows multiple Nuendo stations to be harnessed for really large projects, with sample accuracy. Steinberg’s SyncStation allows for control of multiple devices including decks and consoles.

Although far from exhaustive, the list of features above shows that Steinberg are really paying close attention to the needs of the post-production community. But will Nuendo replace Pro Tools? It’s hard to say, with Pro Tools being so firmly entrenched in so many existing facilities. With the features on offer, those setting up new ventures will be hard pushed to justify the expense of an HD system over the cost of a Nuendo system – particularly with Nuendo’s ability to exchange files with Pro Tools.

If you would like more information or to arrange a demo, please call 03332 400 222 or email our team at broadcast@Jigsaw24.com.