Pro Tools

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We’re almost ready to connect with creative professionals from around the world during the third edition of Avid Connect on Saturday and Sunday, and the NAB Show starting next Monday.

Since introducing Avid Everywhere three years ago, what started as a vision has transformed into the most open, powerful, flexible, and integrated platform that’s solving the most important strategic needs in the media industry.

This year’s announcements are so big we couldn’t leave out those in our worldwide community not making the trip to Las Vegas. We can hardly wait to bring you the latest news from Avid, so make sure you check out Avid Blogs and keep an eye on your Twitter, Facebook, Instagram, and Snapchat feed.

So if you can’t be there in person, we’d love to see you online! Here’s how not to miss a beat:


Avid Connect Opening Session Live Blog

Our live coverage on social media kicks-off Saturday April 16 at 9:30 AM PT. Tune in to watch a stream of real-time updates covering the general opening session at Avid Connect 2016, where Avid Chairman, President, and CEO Louis Hernandez, Jr. will reveal the latest innovations and revolutionary announcements to usher in the next phase of the Avid Everywhere vision.



Live Coverage on Twitter

Don’t miss a single update. Follow us on Twitter for an insider’s view of our team covering Avid Connect and the 2016 NAB Show.



Follow Along on Facebook

On Facebook, we’ll provide you with tons of inside scoops, announcements, photos and video interviews from Avid Connect and the NAB show floor. Like our pages, and the updates will appear automatically in your Facebook news feed.

AvidAvid Customer Association


Capture the Momentum on Instagram

And our Instagram account will capture and share the most engaging moments of Avid Connect and NAB. If you’re at our events, tag your messages with #AvidConnect, #Avid, and #NABShow so we can like your pictures!



Go Behind-The-Scenes on Snapchat

Want to see more? Follow us on Snapchat, where we’ll be sharing ‘uncensored’ photos and videos of the Avid team working behind the scenes. There will be photos of our colleagues prepping the show. There will be booth suprise pictures. There will be Avid selfies!

You can search for us directly (we’re avidtechnology) or just take a Snapchat of the handy QR code image on the left.


Go In-Depth on Avid Blogs

Dig deeper into stories, announcements, and updates by following our team of NAB correspondents on Avid Blogs. Our blog articles will cover VIP guest presenters, product launch announcements, and general commentary on what’s new. On Avid Blogs you can also find main stage demo and guest presenter schedules, photo galleries and a detailed floor plan.


Experience this year’s Avid buzz online with our special coverage of activities, video interviews on Twitter, and exclusive photos for Avid Blogs, Facebook, Instagram and Snapchat updates.

We’re looking forward to seeing you on-site or online!

CTA NAB 2016

Avid at NAB 2016

Don’t miss a second of the excitement—our blog articles will cover VIP guest presenters, product launch announcements, and general commentary on what’s new.


On Tuesday September 22nd, the Academy of Motion Picture Arts and Sciences (London Office), together with Pinewood Studios Group and Avid, will be hosting a Q&A panel discussion with the post production team of Everest. After watching the movie at the Ham Yard Hotel in London, they will discuss the creative process, editorial workflows, and reveal some behind-the-scenes secrets.


The Ham Yard Hotel screening room in London

Live Twitter Coverage

Join @Avid on Twitter that same day at 9.30 PM BST (check your local time) for a live coverage of the discussion panel with editor Mick Audsley, sound designer and supervising sound editor Glenn Freemantle, sound design editor and re-recording mixer Niv Adiri, and sound re-recording mixer Ian Tapp. Don’t miss this opportunity to get in-depth and behind the scenes information on creating this amazing feature film.


Mick Audsley

Mick Audsley is a British film and television editor with more than 30 film credits. Audsley has had a notable collaboration with the director Stephen Frears and edited Harry Potter and the Goblet of Fire, Dangerous Liaisons and lnterview with the Vampire among others.


Glenn Freemantle
Sound Designer and Supervising Sound Editor

Glenn Freemantle is a British sound editor and sound designer with over 130 credits. He won an Oscar for Best Sound Editing for his work on the film Gravity at the 86th Academy Awards.


Niv Adiri
Sound Design Editor and Re-Recording Mixer

Niv Adiri, born in Kfar Vitkin, Israel, is an Academy Award winning sound engineer. Adiri and his fellow sound engineers won the BAFTA Award for Best Sound, and won an Academy Award for Best Sound for the 2013 film Gravity.


Ian Tapp
Sound Re-Recording Mixer

Ian Tapp is a British sound engineer. He won an Academy Award for Best Sound for the film Slumdog Millionaire. He has worked on over 120 films since 1987.


Michael Kelly as Jon Krakauer in Everest. Credit: Universal Pictures

“From an editorial point of view, it’s very much a team effort. Media Composer allows us to collaborate on a level that I could never have imagined.”

— Mick Audsley, Editor

BAFTA award-winning editor Mick Audsley faced his own mountain of challenges retelling the stories of the ill-fated alpine adventurers on Everest, including receiving, managing and cutting a huge volume of footage to ensure a seamless collaboration between director and editorial team. Embracing Avid Everywhere, Mick relied on solutions from the Avid Artist Suite and Storage Suite, powered by the Avid MediaCentral Platform, to take us on a journey to the highest point on earth.


Rob Hall (Jason Clarke) leads the expedition in Everest. Credit: Universal Pictures

“We’re all storytellers, and we rely on Pro Tools to create the next big moment of excitement with immersive sound. Avid Everywhere allowed us to seamlessly collaborate with Mick to really make the audience feel like they’re experiencing this terrifying storm on Everest.”

— Glenn Freemantle, Sound Designer and Supervising Sound Editor

Avid Everywhere also enabled Oscar-winning British sound editor and sound designer Glenn Fremantle and his team to collaborate with Mick Audsley to bring Everest to life, relying on Avid Pro Tools. The team faced continuous trials whilst bringing the sound of the mountain to life, including recreating the natural elements of the mountain and the storm, and re-recording the entire dialogue of the movie.


Don’t Miss this Event

Watch the on-demand video webinar of the Q&A Panel Session with the post production team of ‘Everest’ as soon as it comes available.


If you’re movie buffs like us, then you’ve been wowed by the vivid costumes and amusing performances in The Grand Budapest Hotel, and been in awe of the stunts pulled off in Mission: Impossible—Rogue Nation. Am I right? Well it’s quite an experience to see these films in the theater, but what if I told you we’d give you the chance to get a behind-the-scenes look at how the production of these films came together?

This is exactly what we’ll show you on the Avid stage at IBC 2015 with help from our special guests. Editor Barney Pilling of The Grand Budapest Hotel and Supervising Sound Editor/Sound Designer James Mather of Mission: Impossible – Rogue Nation will be taking over our stage this year to share their experience working on these films with Avid solutions.

But that’s not all. University of Salford’s Paul Welshman, Associate Director of Enterprise, Manchester, and Ameera Hill, Head of Technical Services, Manchester, will also take to the stage and share just why the University is among the best places to learn broadcast and multimedia production in Europe.

So if you’re touring the show, swing by the Avid stand to hear from Barney, James, Paul, and Ameera. They’re coming just for you! Get the facts on our guest speakers below, including what days and times they’ll be on the Avid stage in Hall 7 at stand J20.


James Mather

Supervising Sound Editor/Sound Designer
Mission: Impossible – Rogue Nation

In modern filmmaking, sound is just as crucial to transporting audiences to imaginary worlds as the images you see on the screen. Get insight into how James, an Emmy-winning sound editor whose credits include work on four films in the Harry Potter franchise, used Avid solutions to create the sounds that transport audiences into the thrilling world of Mission: Impossible – Rogue Nation.

And did you know that James began his career in animation, learning how to turn fantasy into reality? Yet another reason you don’t want to miss him on the Avid stage.

Saturday, September 12 at 12 PM CEST


Barney Pilling

The Grand Budapest Hotel

Join Barney, three-time BAFTA Award nominee and 2015 Academy Award nominee, as he shares his experience of working on Wes Anderson’s The Grand Budapest Hotel. Get an insider’s look behind-the-scenes as he demonstrates his techniques and workflows using footage from the movie, and see how he cut it all together in Avid Media Composer.

Saturday, September 12 at 2:30 PM CEST

Monday, September 14 at 12 PM CEST




Paul Welshman

Associate Director of Enterprise
University of Salford, Manchester


Ameera Hill

Head of Technical Services
University of Salford, Manchester

The University of Salford is on the cutting edge of educating the next generation of digital media creators. Learn how they develop their curriculum to keep students engaged from Paul and Ameera. As leaders of their divisions, they are working to make Salford a leader in media creation, proving that a University can innovate, as well as educate.

Plus, discover how their partnership with Avid has helped make their state-of-the-art facility at MediaCityUK among the best places to learn broadcast and multimedia production in Europe.

Sunday, September 13 at 12 PM CEST

So what are you waiting for? Make sure you have your free Exhibits pass for IBC 2015 and mark these presentations on your show schedule. We’ll see you there!

IBC 2015

Sign Up for IBC 2015 Daily Alerts

Sign up to receive daily emails straight from the show floor. You’ll be first to hear all the action—including breaking news, special guest presentations, and much more.


With one of the media industry’s biggest events right around the corner, you don’t want to miss any of the excitement at IBC 2015. This year, we’re opening up new possibilities with the addition of Orad—the leading provider of state-of-the-art 3D real-time graphics, video servers, and related workflow management solutions for live broadcast, sports production, events, and more.

Last year I had the unique opportunity to cover some great announcements, like the introduction of 4K editing and the powerful DNxHR codec, live from the IBC show floor. The immediate response from visitors checking out the Avid booth was overwhelming, and the positive reactions kept coming in on social media. This year, I can hardly wait to bring you the latest news from Avid, so make sure you check out Avid Blogs and keep an eye on your Twitter feed. If you’re attending IBC Show next month, pay us a visit in Hall 7 at Stands J20 and J14 to see it all in action. If you’re not able to make it in person, but want to follow along, we’ve got you covered. Head down the page to see how to follow the action.


Can’t make it to Amsterdam for IBC 2015? We’ve got you covered!

We’ll be bringing you the latest announcements, demos, and test-drives of the latest gear. We’ll also recap the live main stage presentations of some of the biggest names in the industry, sharing their stories and insight on what it will take to succeed and grow in the business.

Here’s how not to miss a beat:


Daily Alerts by Email

We’ll be handcrafting a Daily Alert email each morning.  By subscribing to the Daily Alert, you’ll be first to hear all the action—including breaking news, special guest presentations, and much more. Subscribe today so you don’t miss the first email alert on Saturday, September 12th.


Follow Along on Twitter

Don’t miss a single update. Follow @Avid on Twitter for an insider’s view of our team covering the show floor. We’ll provide you with tons of scoops, announcements, and behind-the-scenes photos and 30-second videos from the Avid booth. Ask us a question with @Avid and #IBCShow in your Tweet.


Go In-Depth on Avid Blogs

Dig deeper into stories, announcements, and updates by following our team of IBC correspondents on Avid Blogs. Our blog articles will cover VIP guest presenters, product launch announcements, and general commentary on what’s new. On Avid Blogs you can also find main stage demo and guest presenter schedules, photo galleries and a detailed floor plan.


Adam Kranitz (@adamkranitz), Timory Burleson (@Timory), and I (@editorbelga) will be your IBC Show Digital Correspondents in Amsterdam, capturing the excitement and energy happening on the floor. Experience the show’s buzz online with our special coverage of booth activities, video interviews on Twitter, and exclusive photos for Avid Blogs, Facebook and social media updates.

We’re looking forward to seeing you on-site or online!

IBC 2015

Sign Up for IBC 2015 Daily Alerts

Sign up to receive daily emails straight from the show floor. You’ll be first to hear all the action—including breaking news, special guest presentations, and much more.


Recently, Avid teamed up with our friends at GRAMMY U to present a very special live-streamed interview and Q&A with noted producer, songwriter, and artist Rico Love in Miami. About 50 guests were able to join us in person, but you can watch the entire interview here.


For those of you who don’t know, GRAMMY U is a community of college students, primarily between the ages of 17 and 25, who are pursuing a career in the recording industry. Because GRAMMY U is part of NARAS (National Academy of Recording Arts and Sciences), members have extraordinary access to the music industry and its artists. Events like these are held year-round and give students real-world perspectives on the industry from the people who truly know it the best—real working pros representing every aspect of the game.


And Miami-based Rico Love is definitely one of the top pros working in the game today. I had the opportunity to sit down with him before the live stream and talk to him about his creativity, recording, and how he found success in the music business.


As a producer, songwriter, singer, and rapper, Rico has worked with many of today’s modern legends of hip hop and R&B. Considering all of the roles he’s played in the production of so much music, it’s natural that he prefers to think of himself as an artist rather than to stick himself with any one tag.

He told me, “I’ve written songs for a lot of artists—Beyoncé, Usher, Nelly, Kelly Rowland, David Guetta to name a few. But my gift is to create music in whatever capacity I’m called for. Sometimes it’s in the form of songwriting or producing. Sometimes it’s in the form of singing or rapping. I really just see myself as an artist, as someone who creates music.”

In whatever capacity he’s working, Rico approaches every track with a sense of passion and individual perspective that has helped make him one of the most sought after talents working in music. But he didn’t start at the top. Like every other professional working on his level, he had to learn how to turn his musical ideas into actual records.


“When I started out, I used to work with these guys called the Corner Boys and we were recording on a little DAT machine before we graduated to Pro Tools. Like most people watching the GRAMMY U stream today, I was working in home studios, garages, and people’s apartments… I remember when I first got the opportunity to record in a real studio with Pro Tools, I felt like, wow, the power is yours. You could just do so much more in it.”

“When I started recording, we only had four tracks to record on and we had to bounce vocals down six, seven, or eight times in a session. So the fact that you have the ability to record 16 tracks of audio in Pro Tools | First—especially as a beginner—gives you a huge advantage.”

When asked about how Pro Tools | First might give up-and-coming producers and artists an edge, he was pretty clear on the advantages it provides.

“Pro Tools | First, and getting 16 tracks of audio in it, is amazing. When I started recording, we only had four tracks to record on and we had to bounce vocals down six, seven, or eight times in a session—maybe even more than that depending on the track. We’d have to make the music on two tracks and mix it as best as we could and import the music as a 2-track. So the fact that you have the ability to record 16 tracks of audio in Pro Tools | First—especially as a beginner—gives you a huge advantage.”

From partnering on events with groups like GRAMMY U, to working with artists like Rico Love and offering Pro Tools | First absolutely free of charge, we’re committed to creating new advantages for developing talent in the music industry.


For more info on how you can get involved with GRAMMY U, please visit the GRAMMY U page. If you’d like to download your own free copy of Pro Tools | First, you can get on the list here.  And for more info on the man himself, check out Rico Love’s website. Finally, as a little bonus for our Avid customers, check out the behind the scenes extended interview we shot with the man himself in Miami where we discuss recording, creativity and, of course, the world of Pro Tools. Check it out.

Pro Tools | First

Pro Tools | First is Here

A completely free version of the industry-standard audio production powerhouse. Sign up now and we’ll notify you when your download is ready.


My previous article introduced our NotateMe music handwriting app and how it came to be. This article highlights how to use NotateMe and integrate it into your Sibelius workflow, with a focus on the design decisions that made it revolutionary.

A brief history of notation software will put NotateMe in context, demonstrating the successive technological advancements that have revolutionized the way musicians work with their scores (a detailed account can be found at Music Printing History):

1960s The Musicwriter keyboard created punched cards to be processed by an ILLIAC supercomputer.
1970s The dedicated Musiccomp all-in-one system featured a special keyboard and computer screen.


Musiccomp Score Writer (1977)

1980s MS-DOS based SCORE ran on desktop computers.
1990s Sibelius utilized powerful mouse and windows-based systems. In order to benefit fully from the technology the creators, Ben and Jonathan Finn, designed a novel music notation interface from scratch.
2010s Touchscreen based tablets and phones became sufficiently powerful to run demanding and sophisticated handwriting recognition software.


Martin Dawe Demonstrating Neurotron’s OCR System at Acorn World 1993, London

Designing Something New

At Neuratron we have been developing recognition software since 1993. We knew our work on scanned handwritten music recognition could form the basis of a new type of notation software that took advantage of modern touchscreen technology. For me, it was a rare opportunity to design a user interface from the ground up and create an original product that felt completely intuitive.


NotateMe v1 (2013) with Split Screen Running on iPhone 5

We took the plunge in summer 2012. It was a gamble for us: There are no fixed ways of writing recognition software, and no certainties that it will ever work. In addition there were concerns over whether we could finance its development, as customers’ expectations of what they should pay for apps was too low to be economically viable. We did not even know whether anybody would want to buy a music handwriting app! But I had a hunch, it felt right, and so we went for it full steam.

Whenever I create something original, I like as little disturbance and unnecessary thought processes in my head as possible – I work best when my whole mind is working with a unified objective. I realized this was the key to inventing a music notation app that would give musicians the opportunity to imagine their most brilliant work.


Leonard Bernstein Making Annotations to a Musical Score (click photo for copyright)

I noticed that composers often reach a similar relaxed state of mind when working with pen and paper, in front of their piano or at a desk. It seemed that a portable touchscreen tablet or phone, particularly with a stylus, could become the modern-day equivalent of this whilst offering so much more, including the freedom to write anywhere.

One of the challenges when designing NotateMe was holding on to the simplicity of using pen and paper, while at the same time adding the functionality to edit, print and play back a score automatically generated from handwriting. I felt it important there should be no menus or complicated toolbars in sight, and no keyboard shortcuts to remember.

To maintain the natural pen and paper philosophy, it was also important that musicians could write in the style they were already comfortable with. From a developmental point-of-view, it would have been an easy shortcut to take, to force the user into learning a special way to write notation. Instead we designed NotateMe to quickly adapt to musicians’ handwriting styles, not vice versa.

In the same light, I also thought it important that users should be able to help NotateMe correct any misread symbols by not only erasing and starting over, but by allowing scribbles to be marked more clearly with additional strokes – in the same way people clarify their handwriting using real pen and paper.

Interactive Paper

Armed with the power of a tablet, we added various capabilities to NotateMe that are just not possible with traditional pen and paper:

  • We thought it would be cool and useful for NotateMe to immediately transcribe and play back notes the moment they were written.
  • We rethought the process of selecting and editing objects by making it possible to intuitively draw a lasso around objects to select them. The selection can be tapped and dragged to move it, double-tap dragged to create a copy, and flicked to erase it.


Selecting Musical Objects in NotateMe By Drawing a Lasso

  • We automated the following aspects of score entry to reduce time and tedium from the score-writing process:
    • Voice numbering is not generally marked or highlighted by a musician writing on paper – we thought, why do this on a computer?
    • Tuplets are automatically added once a bar is complete.
    • New bars are added automatically.
    • Clefs, time and key signatures and barlines are all pre-written – simply select and drag to adjust them.
    • Page formatting for saving PDFs or printing.
  • With PhotoScore & NotateMe 8, tap Send to Sibelius and your score will open immediately within Sibelius. Continue with more advanced editing tasks, such as setting the house style, syncing with film, and so on.

Screen Estate

When we began development, we weren’t sure how this could all fit within the confines of phone and tablet displays. Should users enter music onto staves already formatted into pages (as in Sibelius), or long continuous staves that could be navigated by swiping left/right? Was it better to keep the handwriting area of the screen separate from the transcribed notation, or should there be one set of staves for both handwritten and transcribed notation?

With the first incarnation of NotateMe, the answers ultimately arose not only from the reality that tablet and smartphone screens were quite small, but also that they lacked active pens/styluses (meaning the touchscreen could not tell the difference between stylus and finger strokes). A user’s finger/stylus would be required to both write and navigate around the score, and so the NotateMe screen was split in two – the bottom half for handwriting, and the top half for panning.


NotateMe 3 (PhotoScore & NotateMe Ultimate 8) on Microsoft Surface Pro 3

With the release of PhotoScore & NotateMe 8 and its compatibility with larger tablets such as the Microsoft Surface Pro 3 with active Surface Pen, it became possible to use the pen solely for handwriting, and the finger only for navigation.  That is why the latest NotateMe 3 gives users the option to write directly onto the main score. The split-screen option has not been abandoned however. Many users prefer to work directly with their own handwriting; and music educators find the split-screen layout the perfect way to assess and assist students learning the age-old art of music notation writing.

PhotoScore & NotateMe Ultimate 8

Sibelius has shipped with free Lite versions of Neuratron’s music scanning and recognition technology since before even the first Windows version (Optical Manuscript shipped with Sibelius for Acorn computers in 1997). Sibelius 8 is no different and includes PhotoScore Lite 8, which now features the reduced functionality version of our music handwriting app, NotateMe Now.

PhotoScore & NotateMe Ultimate 8 is currently available to purchase at heavily discounted bundle pricing both with new Sibelius 8 purchases and upgrades.

If you already own an earlier version of PhotoScore Ultimate, you can upgrade to version 8 with NotateMe.

Check out the different Sibelius bundles available from the Avid store including the Sibelius + Ultimate Bundle that includes PhotoScore & NotateMe Ultimate 8 and AudioScore Ultimate 8

Get Your Free 30-Day Sibelius Trial

Get Your Free 30-Day Trial

Experience the fastest, smartest, easiest way to write music with Sibelius—the world’s best-selling music notation software.


“As the largest cultural and concert venue in Hungary, the Palace of Arts requires a massive technical infrastructure and smooth, efficient workflows. Inside the huge building we have four sound studios that all serve as multifunctional workspaces, from recording through editing to complete post mixing.

Variety is the key. We produce about 500 shows a year, including radio, TV, galas, live broadcasts and webcasts. As an audio engineer, in the morning you may record voice overs, then in the afternoon you might edit the audio for a TV or radio show, while in the evening you may record a huge symphonic orchestra or mix a live broadcast event. Being prepared, flexible and well organised is mandatory. This is why we need tools that can properly serve our needs against very demanding deadlines.

We needed a control surface that was modular, able to control multiple DAWs, and was future proof. After much research and careful consideration we narrowed down our list to one candidate and purchased two Avid Pro Tools | S6 control surfaces in M10 24-fader configuration.”


“For us, it offers the best range of capabilities. We don’t just use the S6 surfaces for post production, but also for live broadcast and webcast mixes. Carefully built template sessions give us all the flexibility we would get from a digital console, with many added benefits. First, we can use the very same spectacular sounding and familiar plugins we use in post production. At the end of the show, we already have a fully customised and set up session with all the routing, grouping and personal needs of the engineer. And, importantly, we have fader automation already recorded which means we don’t start the post mix from zero, but from a stellar sounding, automated session. This makes an enormous difference in speed and efficiency.

We’ve tried many different layouts with the S6 as it is really like Lego. Just dream up a different configuration, and within 10–20 minutes you’re ready to mix again. My first mixing session with the S6 went surprisingly well. As I had a tight deadline with a pretty huge mix, I thought this would be the ultimate test; I didn’t know the surface very well then, and discovered new and available functions as I did the mix. What I really loved is that, after a few hours in the mix, it already felt like a natural extension. I didn’t have to overthink the process technically, it just worked. I had all the PDFs on my iPad in case I needed to look something up, but to be honest I never had to search for anything in the user manual.

The second day of mixing was even more fun. It really felt like my dream surface – so much so that I started to experiment with different things during the mix, I felt so confident that the S6 would do it properly.”


“I’m kind of a control freak when it comes to mixing so I have many VCA masters in my sessions; often I even use nested VCAs for more control and to have more options. VCA spill is dead easy on the S6 and the ability to choose where to spill the tracks (to left or right of the VCA) is a very nice add-on.”

—Tamas Dragon

“While I only got my feet wet with layout mode, I found it immensely powerful for organising and navigating a big session. After selecting and building a few layouts, it becomes quite addictive. With just a touch I can recall any of my custom fader setups. At the pre-dub stage I have more tracks in my layouts, and as I approach the final mix I have more VCAs and fewer individual groups and tracks. It’s good to know, though, that any time I need to delve in and modify some small element, I still have my detailed pre-dub layouts, so just one touch and all the necessary things will be right there in front of me.

What really helps me in a live broadcast mix is the do to all command. For example, at the soundcheck stage I can assign the input gain to the knob module so I can gain just like on any usual console, and later I switch it back to panorama. The ability to execute commands that affect all the channels is not only a great time saver but really makes the whole workflow faster.”


“Another feature I love is the ability to insert my favourite EQ and Dynamics plugins with a push of a button. Generally I use many Avid Channel Strips in a live broadcast mix, but in every situation there are certain things that need a bit more treatment; for example I use Fabfilter’s ProQ2 and Sonnox Dynamics to give me even more options. Plugin manipulation is fast and easy. What really makes it fun is that the knobs are coloured according to the process, and they’re touch sensitive. They also act as push buttons and have acceleration, which is really helpful. If I need to adjust a tiny thing, turning it slowly gives me high resolution, but also it is possible to go fast from one value to another.

An immensely helpful feature of the S6 is the ability to check the contributing channels per VCA at any time. This might seem a very tiny thing, but in a complex, large mix it’s a great help. Just push bus on the VCA strip and it automatically shows which channels have been assigned to that particular VCA. And it not only shows the track’s names, but also their levels. Since we use the S6 in post and broadcast situations, this little feature really makes the sound mixer more comfortable with the surface. There are many other seemingly small features of the S6 that makes the mixer feel confident, but somehow the whole design enhances the Pro Tools experience – not only by making manipulation and mixing faster, but the level of information we receive from the LEDs and coloured buttons is truly a great help for our workflow.

The ability to record automation while recording live performances is huge for us. On a live show I have all my VCAs in latch automation mode, so at the end of the show I end up with a well automated show, enabling me to use my time more productively in post production. Then it’s down to me if I coalesce that volume automation to the tracks or just trim the VCAs even more. It’s great to have that level of control of my session. I use the mouse less and less as it feels much slower.

As we are a multi-studio and multi-DAW facility, having the ability to seamlessly switch from Pro Tools to Nuendo and back is fantastic. It seems that the S6 integrates brilliantly with our daily challenges, be it live or post work. I think S6 has the potential to become the cleverest, most versatile surface ever.”

Pro Tools | S6

Mixing Redefined

Choose a pre-configured S6 system or build your own. Speak with our experts to determine the best fit for your workflow and business.



Sibelius has shipped with free Lite versions of Neuratron’s music scanning and recognition technology since before even the first Windows version (Optical Manuscript shipped with Sibelius for Acorn computers in 1997). The new Sibelius is no different and includes PhotoScore Lite 8, which now features the reduced functionality version of our music handwriting app, NotateMe Now. Sibelius can also be purchased as a bundle with the full versions of PhotoScore & NotateMe Ultimate 8. As the founder of Neuratron I thought it would be interesting to give you some background about these apps, how you can include them in your compositional workflow and how they integrate with Sibelius.

The way we use computers has been changing rapidly the past few years. Going are the days of clunky desktop machines controlled by mouse and keyboard; replacing them are highly mobile devices connected wirelessly to the web, controlled by touch and voice.

At Neuratron, we’ve been aware of these changes for a number of years and our highly acclaimed NotateMe music handwriting app for Android and iOS  shows how we have strived to adapt.



NotateMe makes it possible for musicians to compose digital scores anywhere, for example, on the train or plane, at the park, or on the sofa. You simply handwrite notation using a stylus or finger on a tablet or smartphone and it is converted to printed notation in front of your eyes. In fact, it’s just like using pen and paper, with the amazing benefit that you end up with an automatically formatted score that can be played back and printed out. Now that NotateMe is integrated into PhotoScore 8, it can even be sent directly to Sibelius at the tap of a button, in the same way as scanned scores.


We’ve actually been making it possible to write digital scores on the go since we released PhotoScore Ultimate 5 in 2007, with recognition of music handwritten on special PhotoScore Paper. However it was fairly obvious that the ideal solution is to write notation directly onto a computer screen using a stylus and have software convert it immediately to printed notation.

The problem back then was that the processing power of phones and tablets had not advanced sufficiently for our recognition technologies and furthermore, touchscreens were not sensitive enough to pick up small drawings such as half-noteheads. Then, in Summer 2012, Microsoft announced the Surface tablet, and we realized straight away that this was all about to change.

The first NotateMe prototypes were tested using a Samsung touchscreen device running Windows 8. However, rather than releasing for Windows, the first commercial apps were made available for iOS and Android in Summer 2013. This is partly because we thought it made more sense to integrate our technology into the next major PhotoScore release, but we were also waiting for Microsoft Surface Pen technology to reach a certain maturity.



Sibelius ships with PhotoScore & NotateMe Lite and AudioScore 8 Lite. A special bundle with Sibelius and the Ultimate versions of PhotoScore & NotateMe and AudioScore is also available including a specially priced version for educators and students. The bundle can be purchased from the Avid Store or from your local Avid Reseller.

PhotoScore & NotateMe Ultimate 8 and AudioScore Ultimate 8 can also be purchased separately or as a bundle which includes both applications. And Avid offer a trial version of PhotoScore & NotateMe Ultimate 8.

If you already own an earlier version of PhotoScore Ultimate, you can upgrade to version 8 with NotateMe.

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