Along with the upcoming release of Avid Pro Tools 12.8, we’re also excited to announce a new promotion. From now until 30th June, when you buy or subscribe to Pro Tools, you can claim a full licence of a Pro Series or other Tier 2 plug-in absolutely free!
So as well as the audio recording and precision editing tools to create your most professional-sounding mixes in Pro Tools, you can now take your mixes even further with Avid’s premium plug-ins, without having to fork out extra. Bring powerful mastering tools to your workflow with Pro Limiter or Pro Multi-band Dynamics, give your mix unmatched depth with Reverb One, and create beautifully detailed mixes with other premium Tier 2 plug-ins.
The full list of Tier 2 plug-ins available includes: Classic Compressors Bundle; Focusrite d2/d3; Impact; JOEMEEK Bundle; Moogerfooger Bundle; Pro Limiter; Pro Multiband Dynamics; Pro Subharmonic; Pultec Bundle; Reel Tape Suite; Reverb One; Smack!, and Sound Replacer.
Any new Pro Tools perpetual licence activations or new Pro Tools annual subscriptions are eligible for the offer, although educational and institution perpetual licences and subscriptions, and Pro Tools | HD perpeutial licences and subscriptions are not available for the offer. This promotion is automatically fulfilled electronically by Avid through your Avid Account.
You’ve only got till 30th June to take advantage of this great offer though, so act now and get a free perpetual licence of any Tier 2 plug-in of your choice when you buy or subscribe to Pro Tools.
Avid and Dolby collaboration delivers the industry’s deepest integration and the most efficient audio mixing workflows for powerful immersive audio experiences.
Avid have announced that the forthcoming release of Avid Pro Tools, the leading professional digital audio workstation, will offer native Dolby Atmos mixing. Through a collaboration between Avid and Dolby, Pro Tools will streamline complex workflows and facilitate the most fluid, efficient audio mixing for the leading immersive audio format.
This collaboration is a further demonstration of Avid’s commitment to providing the most comprehensive tools and workflow solutions to create, distribute and optimise media. Avid will showcase Pro Tools with native Dolby Atmos mixing at the Avid booth during NAB 2017 (Booth #SU902).
Pro Tools will feature a comprehensive suite of Dolby Atmos workflows to enable audio post professionals to work more fluidly in the multi-channel and object-based audio format. New features will include built-in Dolby Atmos panning, deep Avid pro mixing control surface integration, advanced automation with the Dolby Rendering and Mastering Unit (RMU), and more. And as a key component of the Avid MediaCentral Platform – the industry’s most open, tightly integrated and efficient media platform – Pro Tools delivers the most integrated end-to-end workflow in the industry.
“Dolby Atmos is becoming the hottest thing in cinema and home theatre, enabling filmmakers to deliver bigger, more immersive audio experiences,” said Dana Ruzicka, chief product officer, Avid. “We’ve worked closely with Dolby to deliver an unparalleled workflow to empower our user community of world-class audio professionals to raise the bar for immersive sound in movies, TV, music, and video games. It’s another example of the deeply integrated workflow you won’t find anywhere else, powered by the Avid MediaCentral Platform.”
Pro Tools enhancements include support for Dolby Atmos 7.1.2 audio stems with built-in fold-down logic. On-the-fly switching and automation between surround and object outputs give mixers the ultimate flexibility. For the most fluid re-recording workflows, Pro Tools also synchronises audio and automation punches between input and playback modes in conjunction with the Dolby RMU. And support for ADM BWAV files, containing object metadata, makes remixing more efficient and economical for repurposing content.
Combined with Pro Tools | S6 and Pro Tools | HD, the premium suite of Dolby Atmos mixing tools delivers the most powerful, integrated and affordable solution for mixing Dolby Atmos soundtracks for theatrical releases. Dolby Atmos support for the fully cloud-enabled Pro Tools application enables customers to futureproof their workflows and make mixing for immersive content a flexible, collaborative process.
Pro Tools with native Dolby Atmos mixing will be available in Q2 2017.
When it comes to tuning or correcting your room, we’re really into the Intonato 24 by JBL. This new 24-channel monitor management and room tuning system allows even the most complex multi-channel surround sound systems to be tuned to give optimal sound reproduction in any room.
The JBL Intonato 24works particularly well with JBL Pro by HARMAN speaker systems, but will work equally great with any speaker system. It features 24 analogue and digital inputs and outputs, and has the Dante format as standard too, so it will
connect directly to anything Dante-enabled (such as other Jigsaw24 favourites, the Focusrite RedNet range). It’s also really easy to set up, and gives automated calibration and comprehensive control of professional monitoring systems.
The JBL Intonato 24 features:
– Compatible with all professional studio monitors.
– Input connections for 24 analog, AES/EBU inputs; up to 256 channels of networked audio in HARMAN BLU link or Dante format (with optional BLUDAN interface).
– Software-controlled analogue input sensitivity switches, level indicators and gain trims.
– Output connections include 24 analogue outputs to powered speakers and power amplifiers; BLU link output allows networked connection to HARMAN Crown power amplifiers.
– Selectively monitor via one or more monitoring systems of up to 24 speakers.
– Volume, mute and dim controls, plus individual speaker mute and solo.
– Automated speaker calibration with included microphone precisely balances, tunes and aligns all speakers to deliver greater accuracy to the mix position in any room; 12 bands of room EQ, delay, and level per speaker.
– Per-speaker, 8-band user EQ allows standard and customised response curves such as X-Curve and compensation for perforated screen transmission loss.
– Sophisticated subwoofer integration for LFE channels and bass management.
– Variable audio/video sync delay allows compensation for video display latency.
– Stereo aux out with dedicated level control, EQ and talk back system allows an independent feed to be sent to talent or a remote green room.
– Create, store and instantly recall project-specific configurations and speaker tunings.
– Intuitive setup and control with included Macintosh, Windows and iOS/Android tablet software or optional Intonato Desktop Controller.
If you’re creating virtual reality video and want to match your VR video content with proper VR audio too, take a look at Sennheiser’s new AMBEO VR mic, designed to seamlessly record 3D immersive audio for captivating VR experiences.
From the outside, the AMBEO VR looks and feels like any other Sennheiser mic, but it’s the clever bits inside that give it its VR capturing capabilities. Fitted with four matched KE 14 capsules in a tetrahedral arrangement, the ambisonic mic captures the sound that surrounds you from a single point, giving you fully-spherical, 360-degree sound to complement your VR video content – all in an easy-to-use, elegant design.
The Sennheiser AMBEO VR has been developed in conjunction with virtual reality content creators, and with cinematic VR in mind, as well as live action capture for traditional film. Other uses also include live-streamed virtual reality content, live-streamed content for sports or current events, and audio capture for virtual reality games and other interactive VR content. Bundled in with the mic is also Sennheiser’s A-B encoder software plugin, which can be seamlessly embedded in your post-production process. Check out the recording workflow diagram below for an idea of how it all works:
Those Sennheiser AMBEO VR key features at a glance:
– Single-point microphone for Virtual Reality content.
– Four matched capsules in a tetrahedral cluster.
– Captures spherical, fully spatial audio in Ambisonics format.
– Pairs well with 360/VR video capture.
– Portable and rugged for various recording conditions.
– A to B format encoder included: VST and AAX (for Mac and Windows; a standalone version will be available at a later date).
Jigsaw24 welcomes the launch of the Avid Pro Tools | MTRX, a new versatile audio interface for Pro Tools | HDX and HD Native. Developed by Digital Audio Denmark, the Pro Tools | MTRX features include modular interface options, Eucon-controlled monitor functionality, a massive integrated router and exceptionally high quality analogue input, output and Mic Pre card options.
The Pro Tools | MTRX offers Pro Tools | HD users the superior sonic quality of DAD’s legendary AD and DA converters – along with incredibly flexible monitoring, I/O, and routing capabilities – all in one powerful unit. Powered by the MediaCentral Platform, it integrates seamlessly with the Avid Pro Tools | S6 and Pro Tools | S3 control surfaces.
Pro Tools | MTRX will enable users to:
– Gain extended monitor control and flexible routing withPro Tools | S6, S3, and other EUCON surfaces.
– Use the converter as a high-performance 64-channel Pro Tools | HD interface.
– Connect and route their entire studio through AES3, MADI, Dante, and/or SDI I/O (MADI, Dante and SDI I/O option cards sold separately).
– Add high-quality mic preamps as an option and remotely control them from Pro Tools.
– Customise Pro Tools | MTRX to their needs through eight available 8-channel card slots.
– Keep everything in sync through Word Clock, AES11, Video, and all digital I/O.
– Get automatic sample rate conversion on AES inputs.
We’ve got a great team of Pro Audio Experts based across our three offices in Nottingham, MediaCityUK and Soho. And recently we’ve added new faces to our super Soho squad, so we thought it was about time we introduced you to them. Meet our London-based Pro Audio Experts…
Introducing… Andy Brooks, Head of Business Development | Pro Audio
With over 25 years experience supplying over 500 Avid audio solutions, we’re thrilled to have Andy Brooks on board as part of our Pro Audio team. Andy counts some of the world’s most respected audio production facilities, record producers, recording engineers and music artists among his long-term customers, including Abbey Road Studios, Deluxe Media, Halo Post and Warner Brothers.
Introducing… Dave ‘Saxon’ Greenep, Senior Creative Consultant | Pro Audio
Saxon has enjoyed a varied 15-year career in the Pro Audio industry. From being the in-house engineer and musician at Mute Records/EMI Studios (where he worked with the likes of Depeche Mode, Goldfrapp, Nick Cave, The Bad Seeds and Mute’s founder Daniel Miller), to being the composer/mix engineer and editor on commercials for Wrangler, Urban Outfitters and Shepperton Studios, it’s safe to say he knows his stuff!
Saxon’s broad knowledge of Pro Audio allowed him to found ‘The Global Music Community’, a thriving social network for members of the audio industry. In the six months Saxon’s been with us, he’s completed major on-site audio installations for Channel 5, Halo Post, SNK Studios, Sound 24, Splice Post and Steve Lipson/Near Perfect Productions.
Introducing… Matt Lewis, Senior Technical Consultant | Pro Audio
We’ve also added Matt Lewis to our master lineup. He’s been in the game for over ten years now and has worked as an audio producer and engineer, gaining experience in post-production, live entertainment, broadcast, recording studios, corporate enterprises and teaching academies. He’s worked alongside some of the most prestigious companies in the world too, including Apple, BBC, Warner Brothers, Universal Music and Evolutions Television.
Here’s what Oscar and BAFTA award-winning Film Sound Mixer Niv Adiri had to say about Jigsaw24’s Pro Audio Experts…
As well as being Experts with Pro Audio, don’t forget you can also count on us for supplying your complete, end-to-end Broadcast and Post-Production solutions. Visit www.Jigsaw24.com/broadcast to see how we can help you!
The Pro Audio team at Jigsaw24 know the sound of a good thing when they hear it, and currently blowing us away is the amazing sound of the DAD (Digital Audio Denmark) AX32 and DX32 range of digital audio convertors.
Already the preferred choice of many of the world’s most respected professional audio production facilities, such as the legendary Abbey Road Studios, the AX32 and DX32 range of DAD convertors not only sound amazing but also bring a whole new level of functionality to any EUCON-based DAW control surface via their recently released, ground-breaking PRO|MON monitor controller option.
DAD PRO|MON is a solution for monitor controller for the Pro Tools | S6 and other EUCON 3 enabled control surfaces. It takes monitor control to a whole new level by providing functionality of both the Avid XMON and Studio Monitor Pro in one and the same platform with various I/O that will easily adapt to any Pro Tools HD, HDX or HD Native S6-based hardware environment, enabling music and post-production facilities to benefit from interfacing to both analogue and digital domains with speaker formats from stereo, 5.1 and 7.1 all the way to 64 channels for Dolby Atmos.
The PRO|MON Monitor Control is available on the AX32 AD/DA convertor and digital matrix, as well as the DX32 Digital audio interface and matrix, to operate as an audio signal processor providing high resolution signal summing and low latency routing of monitor signals. The monitor control is managed via the DADman 4.2 software application, which has support for the EUCON 3 control protocol, enabling full control of the monitor functionality.
The versatile I/O and matrix platform comprise up to 48 channel analogue inputs or outputs, 16 channel AES/EBU I/O, 64 to 192 channel MADI I/O on up to three MADI ports, 64 channel interface for Pro Tools HD, HDX and HD Native, 64 channels of DANTE networked audio I/O as well as an embedder/de-embedder of audio from Video SDI. This enables the DAD products to perform very flexible signal routing using all the interfaces of the unit, as well as summing processing with 256 inputs and 32 outputs. With the optional DANTE audio over IP functionality, the AX32 or DX32 can deliver sample accurate audio to other DANTE-enabled devices or route signals around a facility using an existing network infrastructure.
Flexible AD/DA interface configuration, with mic-pre option
8 to 48 analogue channels.
8 channels on a card.
8 channel line in AD card.
8 channel line/mic pre in AD car.
8 channel line out DA card with output level control.
Sample rates 44.1kHz up to 384kHz/DSD.
High precision internal clock and PLL.
Versatile digital interface structure
8 AES3 I/O interfaces.
MADI coax and optical I/O.
64 channel interface for Pro Tools.
Ethernet IP audio interface for 64 I/O channels using Dante.
Sync via word clock, AES11, video and all digital I/O.
Adapt to incoming sample rate.
Optional channel patching and multiplexer engine.
Easy control of convertor parameters
Settings control via front panel knobs and large LCD display.
Operation via DADman control software for Windows and OS X.
The Pro Audio team at Jigsaw24 are major fans of the Avid Pro Tools | S3 Control Surface, the compact, cost effective DAW controller that not only works with Avid Pro Tools, but also any Media Content Creation application that is compatible with the widely available EUCON control protocol.
The Pro Tools | S3 Control Surface is a streamlined, versatile mixing solution that gives sound engineers the powerful, intelligent control they need to work more ergonomically and efficiently, create the highest-quality mixes, and expand mixing capabilities and job opportunities. When used together, the Pro Tools | S3 and Pro Tools software – deliver the most streamlined, economical, and tightly integrated approach to mixing and recording in smaller-sized studios or mobile settings.
Introducing Avid Pro Tools | S3
The S3 Control Surface is designed to help sound engineers:
– Expand mixing capabilities, and take on a diverse range of projects: Based on the award-winning Avid S6 control surface, the S3 features open integration with Pro Tools Software and other EUCON-enabled digital audio workstations such as Logic Pro, Cubase, and more.
– Meet strict project deadlines: By combining traditional console layout with the proven advancements of the S6, S3 delivers highly intuitive recording, editing, and mixing control—along with the power and efficiency to meet fast turnaround times.
– Mix on-the-go: The compact form factor fits into any space, making S3 ideal for small project studios or on-the-go music and post mixing.
– Work the way they want: Engineers can customise the surface to their unique needs by creating custom channel layouts, all recallable at any time. S3 can switch between two applications with ease, giving users the choice to work however they want, and the capability to take on the largest, most demanding mixes.
– Fit well into any studio and workflow: S3 easily integrates with solutions across the Avid MediaCentral Platform, as well as a studio’s existing systems and workflows to deliver deep hardware software integration and control at a fraction of the price of high-end consoles.
Full hardware controls include:
– 16 channel strips, each with a touch-sensitive, motorised fader and 10-segment signal level meter (supports up to 6 fader banks).
– 32 touch-sensitive, push-button rotary encoders for panning, gain control, plug-in parameter adjustments, and more.
– 32 high-resolution OLED displays for viewing track names/numbers, detailed metering data (from mono to 5.1 surround), parameter names/values, current automation mode, and more.
– Solo, mute, channel select, and record/automation-enable keys on every channel.
– Touch strip provides easy access to transport controls.
– Dozens of dedicated buttons and switches for navigation, automation, control assignment, and software control.
– Built-in 4×6 AVB Core Audio interface includes 2 XLR mic/line inputs, 2 TRS line inputs, 2 XLR line outputs, 2 TRS line outputs, and a stereo headphone output.
EUCON 3.2.2 and Pro Tools | S3 Enhancements:
The latest EUCON improvements and enhancements now include support for Mac OS X 10.10 “Yosemite”. For the Pro Tools | S3, there is now a Soft Key editor that allows users to map their favourite controls and commands onto key areas of the surface. For Pro Tools 12 and higher, the preference for Mix and/or Edit windows to follow surface bank selection is now working—which is the inverse of the existing feature that allows a user to click on a track in Pro Tools and the surface follows. In Pro Tools, go to Pro Tools > Preferences > Mixing to enable the functionality.
If you’re looking to record video on a DSLR or a camera like the Blackmagic Pocket Cinema Camera, you’re very quickly going to notice that, although you’re extremely well catered for in the lens and recording media departments, the majority of DSLR cameras don’t have anything like the audio connectivity that a traditional video camera offers.
There are some great on-camera mics such as the RODE VideoMic Pro but if you need multiple sources, you need to think about the workflow.
The old field mixer way
A traditional way of approaching this is with one of the many field mixers out there, which allow you to connect multiple sources and then submit this down to your camera’s audio input – usually a stereo minijack. However, this approach has a couple of pitfalls. Firstly, many of these are passive devices and don’t offer phantom power for higher quality shotgun mics. Secondly, you are limited to the audio recording capability of your camera, which is typically a compressed audio format and may have poor noise performance.
Most critically, you have no way of monitoring levels accurately – you may have adequate levels if you plug headphones into the mixer, but you can’t monitor the audio that’s actually being recorded onto the camera itself, which may be too quiet or, worse, too loud and distorting.
The better audio recorder way
A better approach is to use a separate audio recorder. A recorder such as the Tascam DR-60D (or its bigger brother, the Tascam DR-70D) attaches to the bottom of the camera via the tripod mount (and in turn provides its own mount fixtures on the base) and offers dedicated XLR inputs with phantom power, high quality converters, 24bit/96kHz uncompressed recording of up to four tracks at once, and the ability to monitor the actual audio which is being recorded.
As well as meaning you’ll never come back from a shoot to find you have no usable sound, these units also simultaneously pass a mixdown back to the camera, so you have a backup and a guide for easy sound alignment in post. And the best thing is, with all these additional features, they work out better value than most of the rather more inferior camera mixers available.
This month, we’ve been looking at MetaRecorder, Apogee’s new field recording app for iPad, iPhone and iPod touch (and Apple Watch too). With high quality audio recording, comprehensive metadata and Final Cut Pro X integration, find out why we think this is going to be one to interest pros as well as consumers…
What is Apogee MetaRecorder?
Years ago there was a piece of software called MetaCorder, developed by Gallery. New app MetaRecorder is very similar, but developed for iOS and now with the Apogee name on it. Apogee are hailing it as the “first two-channel audio recording app for iPhone, iPad and iPod touch to offer intuitive multi-take recording, tagging and file organisation for any field recording scenario”.
How does it work?
First of all, connect a microphone, audio interface or use the built-in microphone on your iOS device to record mono or stereo audio up to 96kHz/24-bit resolution. MetaRecorder then lets you add keywords, markers and notes, designate ‘favourite’ takes and customise auto file naming for a unique, informative and easily searchable name. Once you’re done, save your session as an FCPXML file from the app. When opened in Final Cut Pro, metadata entered in the field makes searching and organising your media fast and effortless.
Who is it for?
While Apogee are positioning this as a simple high-quality setup to record podcasts, presentations, news reports, interviews or meetings, as well as a consumer app for recording school plays, wedding speeches and the like, we can also see it being used in more professional applications. The FCP X workflow is certainly very interesting for audio post.
MetaRecorder lets you apply metadata tags like keywords, favourites, markers and more to your audio files while recording in the field, then share the recorded audio and Final Cut Pro XML files directly to Dropbox. Once you’ve imported it into Final Cut Pro on a Mac, the captured metadata gives you a much simpler way of organising and parsing your media, substantially accelerating your post-production workflow.
What’s the best feature?
OK, we’re going out on a limb here to suggest a feature that we may not have yet actually used, but can see being very useful – Apogee have already developed an Apple Watch version of MetaRecorder, enabling you to have a remote control for the iPhone or iPad app. Essential features that can be controlled from Apple Watch include start and stop recording, adding a take to favourites, adding markers and setting your microphone input level. Now, just wake us up when our Apple Watch delivery gets here, will you?
How much and where can I get it?
Apogee MetaRecorder (Apogee Electronics Corp, free) is free to download from the App Store on your iPad or iTunes. Just a word of warning – the free version of MetaRecorder does limit you to just 60 seconds’ continuous recording time. For a limited time, if you have a compatible Sennheiser or Apogee device, you can unlock unlimited continuous recording for free by connecting to MetaRecorder (check iTunes for a full list of compatible devices), or purchase the full version in the app to unlock the recording time restriction.