In this video shot from the show floor at NAMM 2018, James Ivey takes you through some of his show highlights. From a software controlled analog patchbay, via 3D binaural microphones to Dante adaptors for Audio over IP. James shares the stuff he has found most interesting from day 4 of NAMM 2018.
In this video shot from the show floor at NAMM 2018, James Ivey and Dan Cooper take you through some of their show highlights. From very expensive microphones and affordable monitor speaker to a channel strip plug-in and bass pedal. James and Dan share the stuff they have found most interesting from day 3 of NAMM 2018.
In this video shot from the show floor at NAMM 2018, James Ivey and Dan Cooper take you through some of their show highlights. From Mic preamps with Dante and vocoders to mastering limiters, microphones, and storage upgrades. James and Dan share the stuff they have found most interesting from day 2 of NAMM 2018.
Why no Pro Tools 13? Is there a black cat at Avid HQ? Russ explains the reasons for this change of numbering.
Avid has announced a new version of Media Composer and it is labelled 2018.1. Also, I updated my Avid Application Manager app and that version number has changed to 2018.1, and now in an update to this story, it has been confirmed that Avid is finally dropping version numbers for all their software.
Surely learning to use the stuff we have and exploiting it to its full potential is wiser than continually buying new things which often satisfy a desire in us rather than a need?
This year the blog celebrates its 10th year, something of which I'm enormously proud and in many ways amazed by, why? Well read on and see how the simplest little act thing can change your life forever.
Like the Creme, The Schwerkraft Maschine is slowly changing my stubborn mindedness about using plug-ins exclusively in audio production. The Creme got me interested in the idea of working occasionally out of the box but The Schwerkraft Maschine has got me taking this workflow much more seriously.
I also have to admit to being a fan of the Waves signature series plug-ins. The Waves Scheps (Andrew Scheps that is) Parallel Particles plug-in is one of the new range of Waves plug-ins that is very simple to use but you know there is a lot of clever stuff going on behind the GUI.
In this article, each team member is going to share which of all the article they produced for the community during 2017 was their favorite and why.
There are two schools of thought about what is OK to put in the LFE channel (the 0.1 channel) in 5.1, 7.1 etc. In this Heads or Tails article, Mike and Alan present their reasons for favouring one over the other.
We get a lot of people asking us what we think is going to be happening in the world of recording during any given year. First, we look back at our predictions for 2017 before offering our 5 audio recording industry predictions for 2018.
In 2016 we predicted that A.I. would be seen in more Pro Audio applications - that prediction wasn't far wrong. Coming out of 2017, I would go as far to predict that 2018 will explode with even more new and exciting A.I. algorithms that hopefully do more amazing processes that could speed up our audio production workflows and make us more efficient in the studio.
In this article for Pro Tools Expert James Ivey and Julian Rodgers go head to head with their preference of stereo microphone techniques.
Julian chooses the Sonnox Dynamic EQ as his favourite new plug-in of 2017. Great sound, flexible in use and a really streamlined interface which lets you get on with the job in hand with the minimum of fuss. See Julian's video review to see why he likes it so much.
Tonal Balance Control is a new plug-in by iZotope. It bridges EQ workflows between iZotope's latest versions of Ozone 8 mastering & Neutron 2 mixing suites. Tonal Balance Control claims to help users produce more consistent mixes and masters - tonally. Julian & Dan have opposite opinions about Tonal Balance Control... read to find out why
Last year Avid ran a survey through their Avid Customer Association about future directions for Pro Tools and their other product ranges. They have just launched a follow-up survey which I have already just completed and wanted to share what I found with the Pro Tools Expert community. See what questions they are asking, are they the right ones?
So you've amassed a load of 'classic' plug-ins, but the real treasure is not in gear but the classic and often lost art of recording.
I recently forwarded a Pro Tools Session to a collaborator friend who was surprised to see that I didn't use any stereo audio tracks in my mix. I wasn't working in mono, I recorded several stereo instruments. instead of using stereo audio tracks I used two mono tracks, something I've done for several years. My friend emailed me "Dude, why not use stereo audio tracks?" It's a good question; Why don't I use stereo audio tracks?