What’s New in EUCON 3.7

Regardless of where you are in your audio career, Avid has a control surface that’s right for you. For those just starting out, Avid Artist Mix combined with a Pro Tools | Dock will provide incredible functionality in a small footprint. Pros looking to enhance and advance their DAW, might go for Pro Tools | S3 or Avid’s flagship Pro Tools | S6. But what brings Pro Tools and control surfaces together like nothing else, is EUCON 3.7, allowing you to be more nimble and more in-tune with your mixes than ever before.

How EUCON 3.7 is Speeding up Professional Mixing on the Pro Tools | S6 

The latest version of EUCON elevates the Pro Tools | S6 workflow by creating more shortcuts that speed up monotonous tasks. New in 3.7 for the S6 is EQ and DYN Cycling, which will allow you to cycle through plug-ins faster simply by double-pressing the EQ or DYN Function buttons. Doing so will quickly bring you to the next plug-in in your chain.

3.7 also includes the Master Meter Module, which will help you stay on top of your mix with enhanced feedback. This new feature makes it possible to use any Pro Tools | S6 Display Module as a monitor for your master and bus metersーwhich makes them visible at all times. Display up to four rows of meters that can be stored as presets and recalled with layouts, and you’ll be able to view your mix in a way that suits your workflow.

Connecting the Entire Pro Tools Surface Family

EUCON 3.7 goes beyond enhancements to the flagship Pro Tools | S6. It also includes some major features that bring together the Pro Tools | S3, Avid Artist Mix, and Pro Tools | Dock. With the new option for VCA Spill from Pro Tools | Control, the iPad app that turns your tablet into a mixing surface, you can enhance your workflow by getting an even faster way of working with multiple VCA-controlled tracks. A VCA track is a single track that a group of tracks can be controlled by—which makes it incredibly easy to quickly make adjustments to entire sections of your mix.

The update also includes automation feedback improvements on the OLED, which make the Rec LED indicate Write mode and writing when flashing.

Click here for more on what’s new for EUCON 3.7 & Pro Tools | S6 or EUCON 3.7 & other Control surfaces.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

What’s New in Pro Tools 12.8.2 — Now Available

Following the release of Pro Tools 12.8, which brought integrated Dolby Atmos workflows to Pro Tools | HD and Cloud Collaboration to Pro Tools | First, we want to make sure there is a steady flow of beneficial enhancements coming your way. With 12.8.1, we brought integrated time compression and expansion with zplane, and with Pro Tools 12.8.2, we are continuing to bring many more game-changing solutions and enhancements to Pro Tools.

This latest release includes major improvements and new functionality across the Pro Tools family. One of the biggest changes across the lineup—MIDI. Today’s music producers and composers have an expectation of how their tools should enable and inspire creativity, and so the Pro Tools team has listened and implemented much of their feedback in this update of  Pro Tools.

With the latest release, we’re bringing a ton of MIDI enhancements such as MIDI Input Display, Pencil Tool enhancements, Record Progress Indication, and much more. All of these new features are going to help drive your creative process, speed up your workflow, and bring your ideas to life faster than ever before.

While improvements are being made on the MIDI front, we’re also bringing VR workflows to Pro Tools | HD. For the first time, you can now work with 1st, 2nd and 3rd order Ambisonics to create an immersive soundtrack for your virtual reality contentーand we’ve teamed up with Facebook to make it easier than ever to get started.  With Pro Tools | HD 12.8.2, we’re including the Facebook 360 Spatial Workstation!

We’re also bringing major improvements to Pro Tools | First, our free version of the platform. Users are going to benefit from some major improvements that are hitting the entire lineup of Pro Tools, but just for Pro Tools | First users, you can now open a Pro Tools session as a project using Pro Tools | First. What does this mean exactly? If you have friends or colleagues who use Pro Tools, you can now take their sessions created using Pro Tools or Pro Tools | HD and convert them to a project format in Pro Tools | First. All you need to do is open the session and use the Convert to Project dialog that pops up to save the file as a project in your cloud space—and then you can get to work.

But that’s not all that’s coming to Pro Tools 12.8.2. Pro Tools and Pro Tools | HD will be receiving Batch Rename and Scroll to Track capabilities. For tips and tricks on the new features in Pro Tools, click here. Or for tips and tricks for the new Pro Tools | HD features, including new Dolby Atmos® enhancements, click here.

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Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Facebook 360 Spatial Workstation and Pro Tools | HD 12.8.2

With the rise of 360, virtual, mixed and augmented reality experiences, it’s apparent that immersive, dynamic, and reactive spatial audio is necessary to deliver cutting-edge content, and preserve or exaggerate the realism they deserve. Major streaming video platforms such as Facebook and YouTube already support spatial audio play back, and a number of tools and plug-ins in development for the past few years arm sound designers with the tools required to deliver such mixes easily.

Spatial audio is a powerful way to fully immerse a user, add realism, and direct attention within VR or 360 video experiences. While audio cues can help direct a user’s attention, spatial audio makes what we hear match what we see and experience. It realistically triggers audio cues from any direction, draws in the user and provides a believable VR experience.


What is Spatial Audio?

Spatial audio in virtual reality is the manipulation of audio signals so they mimic real world acoustic behavior. It not only serves as a mechanism to complete the immersion, but is also a very effective interface. Audio cues can call attention to various focal points in a narrative, or draw the user into watching specific parts of a 360 video, for example.

The user can experience spatial audio with a normal pair of headphones, with no need to invest in special speakers, hardware or multi-channel headphones.

Check out these examples of spatialized audio on Facebook. Make sure you have your headphones on!

Pro Tools | HD + Facebook 360 Spatial Workstation

In Pro Tools | HD 12.8.2, Facebook 360 Spatial Workstation plug-ins are included so dynamic and immersive spatial audio mixes can be created right inside Pro Tools | HD.  12.8.2 also supports Ambisonics (4, 9, and 16-channel tracks & busses), which adds flexibility when working with immersive audio. Ambisonics is a technology to create, capture, and render 3D sound fields in a spherical format around a particular point in space. It’s conceptually similar to 360 video, except the entire spherical sound field is audible and responds to changes in head rotation. There are many ways of rendering to an Ambisonic field, but all of them rely on decoding to a binaural stereo output to allow the user to perceive the spatial audio effect over a normal pair of headphones.

Ambisonic audio can be of n-orders comprising various channels. More channels results in higher spatial quality, although there is a limit to the perceived difference in sound quality with higher orders. Regardless of the number of channels used for encoding the original signal, the decoded binaural audio output will always be to two channels. As the listener moves their head, the content of the decoded output stream shifts and changes accordingly, providing a 3D spatial effect.

While third-party plug-ins have worked with Pro Tools | HD before this update, various methods had to employed to work around a pre-existing 8-channel limitation. The new updates supports Ambisonic audio, tracks and busses natively, making the workflow infinitely easier.


Facebook 360 Spatial Workstation

The Facebook 360 Spatial Workstation is an end-to-end pipeline that allows sound designers to drop in audio sources, pan and sync to scene elements, and render to a single Ambisonic file to play back on Facebook, Oculus Video, and other platforms. Originally developed by Two Big Ears, Facebook 360 Spatial Workstation is now a free tool provided by the Audio 360 team at Facebook.

Facebook 360 Spatial Workstation is a collection of plug-ins for DAWs that include a Spatialiser, 360 VR Video Player, Encoder, and rendering SDK, just to name a few. These plug-ins help authors create and position spatial audio content, encode it with platform-specific metadata (for Facebook, YouTube, etc.), and publish.

Content Creation

The Facebook 360 Spatial Workstation is a collection of plug-ins for creating interactive spatial mixes for 360 videos.

The Spatialiser plug-in allows the sound designer to place a sound source in space. The source could be mono, an Ambisonics recording, or multi-channel such as a surround recording or reverb. Non-mono sources act as a “bed,” while diegetic mono sources, such as dialogue and sound effects, are usually placed in a scene. Non-diegetic audio, such as narration or background music, is usually routed to the head-locked stereo bus, which does not rotate as the user looks around.

The Control plug-in acts as the command center controlling how all audio is routed for real-time binaural playback through headphones. This plug-in also manages global settings of features such as early reflection modelling and mix focus.

The 360 Video Player is “slaved” to the DAW timeline, and allows the sound designer to preview the mix with the 360 video in real-time, either in VR or on the desktop. Desktop mode allows designers to rotate the video with the keyboard or mouse, which will rotate the sound field instantly, providing instant feedback during the authoring stage.

The Facebook 360 Encoder application takes a video file and combines the audio files into the video container, suitable for playback on Facebook and other supported platforms. It is also possible to convert between audio formats, such as getting a 1st order ambiX output from a 2nd order ambiX input and adding metadata to the file describing values for the Mix Focus feature. This process also injects relevant spatial metadata into the tool, making the final asset ready for upload to supported platforms.

The Converter plug-in is a utility that can rotate a mix after it has been created, or output to other formats such as 4-channel ambiX.

The Loudness meter provides an overview of the loudness of the entire spatial mix. Loudness for spatial mixes is considerably different than legacy channel-based formats. Spatial audio for 360 videos is considerably more complex, and this meter provides useful data that will prevent the final published content from distorting when played back on the target device.

Supported Platforms for Playback

  1. Facebook on Desktop (Chrome browser) and mobile apps
  2. Oculus Video on Gear VR and Rift
  3. .tbe format: Apps with Rendering SDK
  4. YouTube 360
  5. Other platforms with support for Ambisonics or quad-binaural format. Note that these platforms have specific instructions for preparing assets.


Further Reading

Here are some key resources to get started with Facebook 360 Spatial Workstation.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Speeding up MIDI Workflows with Pro Tools 12.8.2

Since the introduction of Pro Tools 12 just over two years ago, we started the journey of bringing new features and workflows to you, at a much faster pace than ever before.  With Pro Tools 12.8.2, we are proud to continue on that path.  While the version number screams “dot release”, it’s clear that this is far more than addressing bugs (although that is a part of the release).  This is a release rife with an important slew of MIDI enhancements, guaranteed to further the ease of music creation within the most powerful DAW on the planet.  As Avid’s Principle Product Designer, Connor Sexton puts it,


 “When you’re looking at MIDI in Pro Tools, over the years you couldn’t fault anyone for considering it an afterthought; something we had to do to remain relevant. Of course, when you really get into writing in Pro Tools, you see where there are strengths that set us apart, and you also know that there is a lot of possibility left open. When we looked out across those possible improvements we noticed how many small things could be better and with 12.8.2 we’ve cleaned them up. It’s ground work, and while we have more exciting improvements in the works, we felt we had to really take stock and address the nuances: sustain pedal merging, Notes view behaviors with the grid, working with CCs, interacting with MIDI more with the keyboard and on laptop keyboards in particular, making several basic editing and navigational operations more consistent between MIDI and Audio, and fixing up just a ton of bugs you can see in the release notes. These things are items we culled from Ideascale, our beta program, conversations at trade shows and out in the world. Things that we knew we had to make better first to truly enhance MIDI from the bottom up and make it easier to take bigger next steps without tripping over tiny obstacles.”


This release should make it crystal clear that we take MIDI and music creation in Pro Tools very seriously.  We are setting the stage for even more great enhancements and features, which are creation focused.  But, for now, let’s take a look at just a few of my own personal new favourite MIDI enhancements in Pro Tools 12.8.2.


The Left + Right Arrow Keys

These two keys are now your best friends while navigating notes in either the MIDI editor or Notes view.  You can now use the left and right arrow keys to move to the next or previous MIDI note, respectively.  Previously, the Tab key would advance to the next note.  Chords, or multiple notes, that take place at the same time on the grid/timeline, will be navigated from the lowest note, to the highest note moving forward, and the reverse order, moving back.  Now, you can easily move back and forth using the arrow keys.  Additionally, holding the “Shift” key while using the right arrow, will allow you to select multiple MIDI notes in succession.  Not only will you have the ability to navigate your MIDI notes with ease, you’ll also hear the notes as you navigate, similar to how the “tab” key worked with MIDI previously.  Speaking of “Tab to MIDI”, that function will now move to the next note-on position, without selecting it.  This creates a more cohesive set of functions between the left and right arrow keys, and the “Tab” key. Editing MIDI clips becomes far easier, quicker, and quite frankly, a lot more fun!

Selecting multiple MIDI notes in succession using the Shift + Right Arrow keys

MIDI Input Display

Located in the Edit Window Toolbar, you’ll now see a MIDI Input Display. Using this new display, you’ll be able to see MIDI data, as it’s recorded or played back as chords or notes, using a MIDI controller. Single notes will give you three different pieces of information:  the actual pitch of the note, the attack velocity of the note, and the velocity of the note when it’s been released.  Composers and song writers will find this addition extremely helpful, as it helps them to be faster and more efficient, allowing them to stay focused on the task at hand…creating.  Even if you don’t read music, the MIDI Input Display can be used to “learn” notes and chords as they are entered.  The barrier and fear of trying to figure out which note is what, or “what chord is this?” is removed in an instant with this small, but powerful addition to Pro Tools.

The new MIDI Input Display at work, showing notes and chords

MIDI Record Clips

At Avid, we are sticklers for consistency.  One of our primary goals in Pro Tools, is to have every user feel next to no difference when working with either audio or MIDI.  To bring that even closer to fruition, all MIDI clips are now coloured red, while the MIDI recording is taking place.  Once recording has stopped, the recorded clip will revert back to its default colour.  This enhancement brings visual consistency between how MIDI and audio are expected to look and feel while being recorded.

Recording MIDI clips displays a red clip while recording

While these new enhancements may seem like subtle additions, the efficiency with which you’ll be navigating through MIDI notes, chords, and clips has to be experienced to be fully understood and appreciated.  As a music creator myself, these enhancements have already become an essential part of my writing, editing, and mixing workflow in Pro Tools.  I have only showcased three of the many MIDI enhancements in Pro Tools 12.8.2.  For the full rundown of every single enhancement, please visit this link.  Additionally, make sure to check out the MIDI Enhancements video:

If your Pro Tools subscription is current, head to your account, update to 12.8.2 and get writing!  If you have been waiting to upgrade, or are considering making Pro Tools your DAW of choice, there’s never been a better time to jump in!  Visit avid.com for more information.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Rename Groups of Tracks and Clips in Pro Tools 12.8.2 with Batch Rename

In this blog post we are going to look the new Batch Track and Batch Clip Renaming features in Pro Tools 12.8.2.

Like many of the features in Pro Tools 12.8.2 the batch renaming comes directly from customer feedback and aims to answer real world workflow needs across many types of audio production, from Scoring stages to File naming in gaming and more.

To begin with let’s quickly look at the Batch Track Renaming Dialog.

You can instantiate the Batch Track Name Dialog by right clicking in the track title in the Mix or Edit Window or in the Tracks List, or, by the shortcut Shift Option R on Mac, Shift Alt R on Windows.

As you can see this is a fairly intricate dialog with several selectable tabs, but don’t worry, starting at the very top we have presets which we can recall commonly used presets by either clicking or Control 1-5 on a Mac or Win 1-5 on Windows.

Like other Pro Tools dialogs you will be able import and export settings so once you get your favourite and most used rename settings sorted you will be easily be able to share or use in other systems.

Batch renaming is applied to the currently selected tracks only.

The first section is “Replace”, here you can simply find a alpha numeric text match and replace it, as well as a check box to “Clear Existing Names” for the following rename functions and “Regular Expressions” to enable advanced matching and replacing.

“Regular Expressions” allows for powerful and advanced use of Regular Expressions, meaning you can search and replace using string search algorithms allows for multiple complex match and replace in one pass.

There are some handy guides to regular expressions at www.regex101.com.


Also in the What’s New Guide

• You can quickly enable or dis-enable this section of the Batch Track Name Dialog by using the shortcut Command R on Mac or CTRL R on PC.

• The next section is “Trim”, allowing this you to trim characters from the beginning, end of the name, a range of characters in the middle or a combination of both. The number is simply the position of the character in the track name.

• You can quickly enable or dis-enable this section of the Batch Track Name Dialog by using the shortcut Command T on Mac or CTRL T on PC.

• “Add”, allows you to add text at the beginning, at a specified point, at the end of a name, or a combination.

• You can quickly enable or dis-enable this section of the Batch Track Name Dialog by using the shortcut Command D on Mac or CTRL D on PC. Unfortunately Command A is already used by “Select all”

• Numbering allows you add numbers, or letters, at the beginning, end, at an index, in increasing increments, or, with or without a separating character.

• You can quickly enable or dis-enable this section of the Batch Track Name Dialog by using the shortcut Command N on Mac or CTRL N on PC.

• The process order follows the sections, from top to bottom.


Wow, that’s a lot of options, thanks for being patient through the explanation, let’s look through a few real world examples.

A simple one that I regularly have to deal with is receiving AAFs from editors. I personally like to keep a duplicated, inactive and hidden copy of my imported AAF for safety and comparison later.

So after importing the AAF I have had to manually add a date or version number to these tracks, with the new Rename Function I can do this all in one step. In this case I can use the Add Function add a version number and a date to the end.

Importantly the track renaming is able to be easily undone in-case you need to tweak your renaming options.

Another is managing takes in Scoring Sessions. In scoring sessions there are common track naming conventions for organising, Cue, Track, Material and Take.


The starting point might look something like this:

1m1 0000a Mix1

1m1 0001 Vln1 tk.00

1m1 0002 Vln2 tk.00

1m1 0003 Vla tk.00

1m1 0004 Vc tk.00

1m1 0005 Cb tk.00

1m1 0006 Fl tk.00

1m1 0007 Ob tk.00

1m1 0008 Hn tk.00

1m1 0009 Tpt tk.00

1m1 0010 Tbn tk.00


When needing to make another pass with a significant change or picture edit we would want to duplicate the tracks but remove the duplication information and increment the track information.

In this example I have used regular expressions to search for a range of text matches and replacements as well as the trimming function to suit my particular name length and the add function where I can easily adapt the number as required.

This allows me to easily and quickly duplicate and rename a range of tracks.

Example result Names:

1m1 0000a Mix1.dup1 > 1m1 0000a Mix1
1m1 0000 Mix2.dup1 > 1m1 0000 Mix2
1m1 0001 Vln1 tk.dup1 > 1m1 0101 Vln1 tk.00
1m1 0002 Vln2 tk.dup1 > 1m1 0102 Vln2 tk.00
1m1 0003 Vla tk.dup1 > 1m1 0103 Vla tk.00
1m1 0004 Vc tk.dup1 > 1m1 0104 Vc tk.00
1m1 0005 Cb tk.dup1 > 1m1 0105 Cb tk.00
1m1 0006 Fl tk.dup1 > 1m1 0106 Fl tk.00
1m1 0007 Ob tk.dup1 > 1m1 0107 Ob tk.00
1m1 0008 Hn tk.dup1 > 1m1 0108 Hn tk.00
1m1 0009 Tpt tk.dup1 > 1m1 0109 Tpt tk.00
1m1 0010 Tbn tk.dup1 > 1m1 0110 Tbn tk.00


The same batch renaming logic and functions also apply to a new a new Batch Clip Rename, with the addition of the option to rename clips either in timeline order or from the Clip list sort Order.

Being able to to use the Clip List Sort Order allows for advanced sorting by a number of different clip attributes such as Original Timestamp, length format and many others in ascending or descending order.

This allows you to rename based on the order that files were recorded rather than how they appear on the timeline for example, even in channel format or length giving many options to suit the different kinds of projects you are working on.

The Batch Clip Rename will apply to the currently selected clips on the timeline or in the clip list.

As the Clip Batch Renaming names the clips rather than the files themselves this allows for instances where Cues or files will have the same name but will be exported to distinct folders.

An example would be in gaming where you have multiple languages and each cue is named the same for each language but will need to be exported to the specific languages master folder.

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Find Tracks with Ease using Scroll to Track in Pro Tools 12.8.2

In Pro Tools 12.8.2 Scroll to Track has been improved, giving you the ability to identify a track by name, rather than a number, and scroll to it in the Edit or Mix Window.

As sessions become larger and more complex, due to ever increasing demands on time, and due the flexibility of the Pro Tools audio and editing tools, it is difficult to easily remember tracks location by a track number.

The ability to find and scroll to a track by its name enables users to navigate quickly to the track they want without using multiple commands or zoom levels.

Recall the scroll to track dialog by Command+Option+F on Mac or, Ctrl+Alt+F on PC, and enter the first few characters of the track you are looking for and push enter.

That track will then selected and displayed in your timeline or mix window if it wasn’t previously visible.

In a music session you may not know the track number but it’s very likely that you will know the tracks name, for example if I enter “Bass” in the Scroll to Track dialog, all the tracks with Bass in the Track name will populate in the list and then I can simply use the arrow keys to select the particular track with “Bass” as part of the track name and have that scroll to the top of my timeline. In a Post Production Session it’s not uncommon to have hundreds of tracks, so similarly I can enter SFX to populate the drop down and then choose the particular track Im looking for, in this case, SFX Stereo 2.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Ambisonics and VR/360 Audio in Pro Tools | HD

Pro Tools | HD 12.8.2 opens up new 3D audio workflows using Ambisonics, and gives you the tools to start creating virtual reality (VR)and 360 audio content with Facebook’s Spatial Workstation plug-ins, now included as standard with Pro Tools | HD.

Ambisonics is a system for capturing or representing a spherical sound field using regular audio channels. An Ambisonics mix is not tied to any particular playback system; it can be decoded to playback on any arrangement of speakers, or on headphones. It’s the audio format commonly used for Facebook 360 videos, as well as for 360 video on YouTube, and VR headsets like Oculus Rift and Gear VR.

Pro Tools 12.8.2 adds new bus and track formats for first, second and third order Ambisonics, providing the framework for plug-ins to create and manipulate Ambisonic audio and mixes. First Order busses have 4 channels, and are the format produced by traditional sound field microphones. Higher order Ambisonics uses more channels (9 for second Order, and 16 for third Order) to increase the positional resolution of point sources in your mix.

You Spin Me Right Round

You’ve probably watched 360 videos on your phone, or used a Head Mounted Display (HMD) such as Samsung Gear VR or Google Cardboard. These experiences present a complete spherical view in which you can look around, either by swiping with your finger or turning your head.

To create a truly immersive experience, you need an audio world as compelling as the visuals. Ambisonics is an ideal medium for 360 and VR sound as it carries a uniform surround audio field that can be matched with the visual experience at the point of playback.

In most cases, the sound of 360 video and VR is delivered via headphones. As you move your screen or turn your head, your device (phone, Rift, etc.) rotates the Ambisonics sound field to match your viewing direction and turns it into a stereo headphone feed. Binaural processing creates a convincing impression of sounds coming from all around, including from above and below. The results can be startling.

Ambisonics Workflows

Ambisonic audio content can be captured with Ambisonic mics, or found in Ambisonic sound libraries. Once in Pro Tools | HD these can be manipulated in various ways by plug-ins. For example, you could rotate the sound field, or isolate or rebalance sounds from specific directions.

But, this is only a small part of the picture. You can also create Ambisonic format content from the ground up using familiar post-production or music mixing workflows. Ambisonic panner plug-ins, like those in the Facebook Spatial Workstation collection and Audio Ease’s 360pan Suite, let you position mixed sources (mono, stereo, 5.1, etc.) into an Ambisonic mix.

In the accompanying video, you can watch how we created a Facebook-ready audio bed for our home-made 360 video from the 2017 IBC show. Each audio track uses the Spatialiser plug-in to convert its audio to second-order Ambisonics. The plug-in uses a flat video overlay display to make panning easy. Regular Pro Tools automation is used to track moving objects, or to keep sounds tied to their visual source when the camera is moving.

The Facebook Audio 360 format also provides for static (non-headtracked) elements in the mix, which can be used for voice over and music, for example. These are routed to a separate stereo mix bus in your project.

Getting Started

You can start working with Ambisonics and VR sound today if you have a current Pro Tools | HD Subscription or Upgrade & Support Plan. Log into your Avid Account and update to Pro Tools 12.8.2. The installer includes the Audio 360 Spatial Workstation plug-in suite.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.

Transformizer Pro — Composition and Sound Creation Plug-In

The invention team behind Transformizer comes from Denmark and has over 25 years of experience in sound design within the film, TV, advertising and music business. Transformizer utilizes extensive digital signal processing and a UI with clear graphic visualization, together with additional separate outputs. It offers a big advantage in recording, as Transformizer also developed an AAX plug-in for Pro Tools, hence dramatically reduces editing time in various post processes and optimizes idea creation and composition workflows.

Transformizer was conceived in 2015 and built for the purpose of making sound design easier and more inspiring. It has been refined together with experts designing sound for today’s blockbuster Hollywood movies and sound tracks for TV and advertising. It is built for creative usefulness and practicality. It is like a ”Swiss army knife”, delivering innovation, craftsmanship, and quality for modern sound design and fast sound idea generation. A tool with which only you set the limits of what is possible

The technology behind Transformizer is based on advanced analysis of the pitch, amplitude, duration, and timbre of a Parent section sound, ‘master sound’ and hereafter applying these parameters to control an additional set of Child section sounds. Through creative composition of sources and intuitively tweaking of parameters new sounds will be brought to life in seconds.

“I’ve found a new buddy and its Transformizer! What a tremendous playground for designing sounds! And cool stuff at every turn. This thing is a lot of fun!”

—David Farmer, Skywalker Sound

“We want to empower users with powerful tools, to easily and fluently create original sound design. It’s all about creatively transforming your idea into something concrete in seconds — and with minimal attention to technical setups and complicated plug-in workflows.”

—Lars-Bo, Chief Technology Officer and co-founder of Transformizer

Transformizer Pro AAX for Mac and Windows is available on the Avid Marketplace for $499 USD — that’s $100 off the normal price.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.