Avid Blogs https://www.avidblogs.com Powering Greater Creators Thu, 13 May 2021 14:53:47 +0000 en-US hourly 1 https://wordpress.org/?v=5.4.6 https://www.avidblogs.com/wp-content/uploads/2015/01/cropped-AVID-BLOGS-AVATAR-32x32.png Avid Blogs https://www.avidblogs.com 32 32 Avid Audio Community Plugin https://www.avidblogs.com/audio-community-plugin/ Thu, 13 May 2021 14:54:36 +0000 http://www.avidblogs.com/?p=186349 The post Avid Audio Community Plugin appeared first on Avid Blogs.

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Join the Avid Audio Solutions Specialist team as they cover a range of topics and interview leading engineers and sound designers from around the world. Check back often to see what webinars are coming up and watch past webinars on-demand.

Upcoming Webinars

Tuesday, June 15, 2021

17:00 London (BST)/12:00 New York (EDT)

TBA

Join us for the next Avid Audio Community Plugin!  We’ll be announcing the next one soon…so stay tuned!

Don’t wait—space is limited, so register today to secure your spot!

 

Register Here

Watch Past Webinars

Pro Tools + Auto-Tune: A Pitch-Perfect Combination

In this session, we are joined by our friends at Antares, Henrik Bridger and Anthony Gordon, who showcase what makes Auto-Tune® and Pro Tools a lethal real-time tuning and production powerhouse, including the Avid DSP specific version, Auto-Tune Hybrid, for HDX and Pro Tools | Carbon users!

Using MPC Beats and Reason+ in Pro Tools

Audio Application Specialist, Simon Sherbourne shows how to use MPC Beats and Reason+ in Pro Tools.  Simon will explore show these two powerful music production tools integrate closely with Pro Tools, and bring a wealth of creative possibilities to your music.

Pro Tools | Carbon Early Adopters

Audio engineers and music producers Sam Pura and Jean-Marie Horvat join us to share their insights on putting the Pro Tools | Carbon hybrid audio production system to work!

Get to know the Noise Engineering Plugins

Noise Engineering and artist/producer Matt Lange joins us to discuss the three newly released AAX-exclusive plugins for Pro Tools based on their popular Eurorack modules, with a Pro Tools demo by Matt.

Year in Review

In the final Audio Community Plugin of the year we take a look back at the world of audio from Avid in 2020, from Pro Tools and EUCON software releases, to ground-breaking new hardware, followed by one last Q&A session with the team.

Accessibility in Audio

In this Community Plugin, we are joined by special guest, musician, producer, and engineer, Jason Dasent, an expert Pro Tools user, without eyesight. Jason discusses the unique challenges he encounters while  working in the music industry and demonstrate his use of the accessibility features in Pro Tools . We are also  joined by Ed Gray from Avid who is instrumental in driving accessibility into Pro Tools and Sibelius.

Avid Audio Update

In this Community Plugin, we are joined by Avid’s François Quereuil, and Kyle Splittgerber, to discuss the brand new hybrid audio production system, Pro Tools | Carbon and the latest Pro Tools 2020.11 release.

The Best of Audio Plugins

Two of the audio industry’s leading plugin developers, Colin McDowell (McDSP) and Dirk Ulrich (Plugin Alliance), discuss the power of the AAX and Pro Tools platforms and share their respective design philosophies.

Get Up and Running with Pro Tools | MTRX Studio

Take a tour of the powerful and versatile Pro Tools | MTRX Studio interface and learn how to configure use the system to support a range of music, post, and even Dolby Atmos® setups and workflows.

The Immersive Musical Journey with Pro Tools, AvidPlay and Dolby Atmos

Explore how to create and deliver music in Dolby Atmos®, using Pro Tools and AvidPlay with a distinguished panel of experts, including producer and engineer Mert Özcan, Jacaranda Records’ Capomaestro Ray Mia, producer and engineer Mark Gustafson, along with Dolby’s Ceri Thomas and Avid’s Greg Chin and Rob D’Amico.

Setting Up a Home Studio

Avid Audio Application Specialist and Producer Gaurav Harrish shares his tips for Pro Tools beginners, including how to set up a studio and start recording.

Mixing Atmos for TV

BAFTA winner and Head of Audio at The Farm, Nick Fry shares his creative process and discusses the advantages of working in Dolby Atmos to create the best possible audio experience.

In the Studio with Greg “Stryke” Chin

Electronic dance music recording artist/remixer/DJ and Avid Audio Evangelist, Greg “Stryke” Chin shares some of his workflows and explains his approach to music creation using Pro Tools.

Remote Music Mixing with Yaron Fuchs and Michael Brauer

Veteran mix engineers Yaron Fuchs (Herbie Hancock, Annie Lennox, Ben Harper, Paul Simon, Sting) and Michael Brauer (Coldplay, Rolling Stones, Aerosmith) discuss their approaches and workflows for remote, collaborative music production.

Folder Tracks Deep Dive

Learn about Folder Tracks, the powerful feature and workflow enhancement introduced in Pro Tools 2020, including some creative uses for Folder Tracks in your music and post production sessions.

Remote Workflows in Audio Post

Discussion about remote workflows in audio post with special guests Tom Dalton (Brown Bear Audio), Avi Laniado (Harbor Picture Company), Lew Goldstein (Parabolic Post), and Ken Hahn (Audio Post @ B).

Using EUCON Surfaces with Folder Tracks

Learn how to use Avid’s EUCON control surfaces to navigate and mix Pro Tools Folder Tracks. This video also covers the latest QuickTime workflows on macOS Catalina.

Pro Tools 2020.3, Pro Tools | MTRX Studio, and Avid S1

Discover what’s new in Pro Tools 2020.3, and get in-depth tours of the new Pro Tools | MTRX Studio interface and Avid S1 control surface.

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.

The post Avid Audio Community Plugin appeared first on Avid Blogs.

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Reason and Pro Tools — The Perfect Match https://www.avidblogs.com/reason-and-pro-tools-the-perfect-match/ Mon, 15 Mar 2021 13:06:10 +0000 http://www.avidblogs.com/?p=181414 The post Reason and Pro Tools — The Perfect Match appeared first on Avid Blogs.

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It’s an exciting time to be producing music. Reason, the celebrated rack of virtual gear, is no longer just standalone music software. With Reason 11, Reason Studios (formerly known as Propellerheads) has brought the entire rack to all other DAW users with the Reason Rack Plugin. We’ve spent some quality time with the brand new AAX version and wow, it’s great to be back!

Originally conceived way back in 2000, Reason’s walked a different path than other music software. While it’s grown from a synth rack into a full-fledged DAW, the focus is and always has been on the masterfully designed devices. Stacking up your rack with instruments, effects, utilities and MIDI effects is both exciting and addictive. It’s that explorative part of music making, where ideas are generated and inspiration strikes, that Reason’s all about. Tapping into that within Pro Tools with the AAX Native Reason Rack Plugin is even better, while ReWire remains a viable option for other products to work together with Pro Tools.

This tight integration of Reason Rack as an AAX plug-in within Pro Tools allows creators to access all the powerful music creation features and workflows with speed and efficiency, with no workarounds and low host CPU usage.   The combination of Reason’s veritable bounty of instruments, effects, and MIDI utilities, paired with the world’s industry standard DAW, Pro Tools, with its unmatched editing capability and sonic fidelity, is truly a match made in heaven.

Pro Tools and Reason Rack are both iconic, in their own right.  Pro Tools is known the world over, with its familiar edit/arrange and mix windows.  Reason is immediately recognized by its easily accessible rack. Then of course there are the cables. The dangling virtual audio and CV cables when you flip the Reason Rack around still evoke a smile as much as ever. With the ever-growing array of devices and numerous third-party Rack Extensions, you can go super deep with the modularity of the Reason Rack. Everything is automatically patched together in a logical way, but you can freely change the routing and experiment to find your sound.

While checking out the Reason Rack AAX Plugin in Pro Tools, we’ve been reminded why we love devices like Thor Polysonic Synthesizer and Redrum. The flexibility and raw synthesis power of Thor makes it the choice for those iconic synth sounds while Redrum’s drum machine workflow is super intuitive. It’s perhaps strange to talk about “classics” in software, but these devices definitely check the boxes for it.

If you haven’t checked out Reason in a while, there are many new devices to explore. The Europa and Grain synthesizers, a wavetable and granular synth respectively, deliver a vast array of sounds that feel at home in anything from chart toppers to expressive film scores. The dynamics and EQ from Reason’s mixer are in there too, so you can stack up as many Master Bus Compressors as you want. We could go on about the instruments and effects in Reason for many more blog posts, there are over 70 devices in the Suite version of Reason, but we’ll leave it there for now.

There is something natural to having the Reason Rack inside of Pro Tools, just like having that trusted hardware rack next your favorite console that you turn to for every track. And with the breadth of devices and possibilities in Reason, there’s something for everyone in that rack. Reason is for sale today on the Avid Marketplace and we’re really happy that you’ll be able to put this dynamic duo to work again.

There are many ways to enjoy Reason, from purchasing a perpetual license for Reason 11 on the Avid Webstore, to purchasing the brand new one-year license there. If you want to try out Reason + and subscribe to it monthly, you can do so at the reason Studio Site. No matter which way you go, we know that Reason will offer endless creative enjoyment.”
And here are links to purchase the two new items on Avid webstore:

 

MORE INFO REASON 11 FULL LICENSE REASON ONE YEAR

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.

The post Reason and Pro Tools — The Perfect Match appeared first on Avid Blogs.

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Drum Set Notation in Sibelius Roundup https://www.avidblogs.com/drum-set-notation-in-sibelius-roundup/ Tue, 23 Feb 2021 06:44:05 +0000 https://www.avidblogs.com/?p=190532 The post Drum Set Notation in Sibelius Roundup appeared first on Avid Blogs.

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As a summary of my “Drum Set Notation in Sibelius” blogs, I’ve created this video demonstrating many of the techniques discussed over the 5-part series.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

The post Drum Set Notation in Sibelius Roundup appeared first on Avid Blogs.

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Drum Set Notation in Sibelius: Part 5 https://www.avidblogs.com/drum-set-notation-in-sibelius-part-5/ Mon, 25 Jan 2021 20:51:34 +0000 https://www.avidblogs.com/?p=190018 The post Drum Set Notation in Sibelius: Part 5 appeared first on Avid Blogs.

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Combination notation and cues

In this blog I’ll be covering two topics:

  1. Combination notation, where a bar is partially slash notation and partially notated with notes and rests
  2. Various methods of cueing in drum set parts

Note: I will recommend a couple of plugins in this post. You will find them both under File>Plug-ins>install plug-ins>Notes & Rests. If you need a refresher on installing plugins see my previous post in this series.

 

Combining full and slash notation

As you can see from this example above, sometimes you have bar that is fully notated for part of the bar and then goes to slashes for some reason—in this case a fill. One way to do this is to notate the bars as needed and then notate slashes by putting notes on the midline and changing the notehead. The snag is that you end up with this:

You’ve got rests in voice 2 that really need to be hidden. You could select each rest and hide them individually, but there is a faster way by using the plugin Hide Rests in Voice.

To start, select the part of the bars that you need to hide rests in (in this case beats 3 and 4 of the first bar and beats 1-3 of the second bar). Your selection should look like this:

Now opt click the rest on beat 3 of the first measure in my example and the slashes will be pasted in with the rests in voice 2 already hidden.

Cues

Sometimes the simplest way to add a cue is a piece of text. I would recommend using technique text.

But for other situations, more information is required. With a help of a handy plugin and some builtin features in Sibelius, that is easy to do.

 

Cues for kicks

If you do any big band or pit band arranging, you are probably familiar with the technique of cueing horn section figures in the drum set part for “kicks.”  The drummer reads the rhythms and creates a drum pattern to accent and support what is being played by the horns. The horn section rhythms appear above the top line of the staff as cue sized notes and rests along with slashes (beat no stem) on the midline of the staff. It’s not difficult to create, but it will take quite a few steps. With Make Pitches Constant-Drums plugin you can achieve all of this in two steps.

Here’s an example of a trumpet staff and a drum set staff. The trumpet staff has the notes and rests that represent the phrase you want to show in the drum set part. Copy the trumpet phrase into the drum set part, using copy and paste or opt/click method.

Now run the Make Pitches Constant-Drums plugin. The plugin window opens with these parameters selected. DON’T CHANGE ANYTHING, just click OK.

And the plugin creates this in the drum set part:

Cues for navigation

There are often situations where there is no conductor, or perhaps the conductor is also playing piano or it is just clearer to notate an instrumental or a vocal line into the drum set part to clarify the situation. For example, maybe the vocalist takes great liberties with the time of a phrase and your drummer really needs to know that the drums start time is right after the word “is.”  Sibelius makes this type of cueing pretty easy.

Let’s assume that you have the vocal part written on a separate staff on the score.

Select the vocal line you wish to use as a cue and use the keystroke Cmd C to copy.  Next click on the drum set staff where you want it to end up and go to Home>Clipboard>Paste>Paste as Cue or use the key stroke shown here:

And Sibelius creates the cue sized notes for you with text indicating which staff the cue originated on.

As you can see in my example above, I changed the text to read “vocal cue” and I moved the whole measure rest up out of the staff. There are several parameters you can setup for the paste as cue command. You will find them under the menu File>Preferences>Paste as Cue.

That wraps up my Drum Set Notation Sibelius | Ultimate tutorial series. I hope you found it useful—now go write some great drum set parts!

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

The post Drum Set Notation in Sibelius: Part 5 appeared first on Avid Blogs.

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Creating your Dolby Atmos Mix Using Headphones https://www.avidblogs.com/creating-atmos-mixes-with-headphones/ Thu, 21 Jan 2021 15:54:12 +0000 http://www.avidblogs.com/?p=188739 The post Creating your Dolby Atmos Mix Using Headphones appeared first on Avid Blogs.

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With the new Dolby Atmos Renderer 3.5, you now get an even better binaural headphone experience that lets you create in Dolby Atmos from anywhere, so you can start creating and releasing today. Unlike 2012 when creating in Dolby Atmos would have required a large mixing stage, you can now create Dolby Atmos mixes via headphones with your Pro Tools | Ultimate setup and the Dolby Atmos Production Suite.

 

Binaural

Dolby Atmos has earned its place as the premiere immersive audio experience in theatres and studios with very large speaker installations, and the CE industry has continued to deliver Dolby Atmos to consumers via home installations that make more use of upward firing speakers and virtualization. This has allowed Dolby Atmos to be experienced on all types of consumer entertainment devices, right down to the release of the highly capable Amazon Echo Studio smart speaker in 2019.

Headphone playback of Dolby Atmos has been possible since the early virtualization capabilities of Dolby Atmos on the Amazon Fire tablets. Currently, a similar mechanism can be found in the latest release of iOS 14, which will allow playback of Dolby Atmos via Apple’s AirPod Pros. This is not the end of the story though.

Pro Tools | Ultimate Dolby Atmos panner

Dolby Atmos Music Panner AAX plugin for Pro Tools

In the last few years Dolby has been putting a lot of work into its binaural rendering, starting with work in Virtual Reality as its first commercial endeavor. During that time, a dedicated panner was used not only to set the location information for an object, but also one of three render modes: “Off” which allowed for straight stereo renderings of the object, “Near” which allowed for objects to be externalized in such a way that they felt close by, and “Far” which allowed for rendering of sounds to be more on the speaker cone of a virtual environment. These modes allowed a user to select how a listener might perceive the sound to be played back when using headphones. Now those controls are built directly into the Dolby Atmos Renderer and can be controlled from an AAX Plugin.

The new Dolby Atmos Binaural Settings AAX plugin

Externalization

Dolby Atmos Binaural has two elements. The first is a “head model.” The “head model” is generic, in that it is an average which captures a wide range of listeners physical characteristics so that more listeners can have a good experience. The second are the render modes described previously. These two elements, when combined together, allow a creative to virtually position and control the playback of sounds over headphones without affecting the speaker playback in any way. In the latest version of the renderer (v3.5), these models have been improved upon to greatly increase the resolution and reproduction of the Dolby Atmos experience on headphones.

 

What headphones do I need?

Any headphones should be capable of receiving this experience because the rendering to two channels is occurring in the Dolby Atmos Renderer. However, we recommend using wired headphones versus Bluetooth.

 

Do I need to create a separate headphone mix?

No, as the metadata associated with the mix has allowed a large catalog of music releases to be created that play over speakers and headphones without needing two separate mixes. The metadata is used by the encoders to create the deliverables for the respective playback devices. Today the AC4-IMS codec is used by Tidal HiFi on Android devices to give a Dolby Atmos Binaural experience.

 

What do I need then?

 You need Pro Tools | Ultimate and the Dolby Atmos Renderer to be able to mix and monitor all of the different formats and use the more advanced features, like re-renders and binaural monitoring. Alongside the introduction of the Dolby Atmos Renderer 3.5, Dolby also introduced the free Binaural Settings Plugin, which should be hosted in your DAW’s session file. This plugin allows you to define the binaural render modes of the audio channels in your Dolby Atmos session from inside the plugin, offering easy and consistent recall of the metadata. This will then be included when bouncing to the BWAV ADM needed for delivery.

Tips, tricks and defaults

By default, every channel of a Dolby Atmos mix will use the “Mid” setting for binaural rendering. This ensures that every mix has the capability to be encoded and played back with a binaural experience. The ability to set Binaural Render Modes allows you, the creator, to define that experience for your listeners.

In the music world a “mullet” layout has become popular for many mixers; that is “Near” at the front (L C R), “Mid” for sides (Lss Rss), and “Far” for overheads and rears (Lt, Rt, Lsr, Rsr). This layout is for the bed channels. Beyond that, rhythmic elements are often set to “Near” mode, pads will be found in the ethereal “Far” mode, etc. These are by no means hard and fast rules, and experimentation is encouraged.

A soloist in an orchestra, for example, may benefit more from being set to “Far” mode to allow the room model to do a little more work, instead of being more present in “Near” mode. Similarly, mixing and matching render modes for objects in the same location can provide a sense of depth when listening on headphones.

Before you distribute your finished mixes via AvidPlay, we still recommend listening to your mixes in a speaker-based environment, whether this is in a mixing room with Dolby Atmos speakers or just checking your final mix on consumer systems with an MP4 exported from the Dolby Atmos Renderer.

Discover Dolby Atmos Music

Explore how Dolby Atmos brings more space, clarity, and depth to your music, creating a whole new listening experience that puts you inside the song.

The post Creating your Dolby Atmos Mix Using Headphones appeared first on Avid Blogs.

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Drum Set Notation in Sibelius: Part 4 https://www.avidblogs.com/drum-set-notation-in-sibelius-part-4/ Wed, 23 Dec 2020 06:16:10 +0000 http://www.avidblogs.com/?p=189550 The post Drum Set Notation in Sibelius: Part 4 appeared first on Avid Blogs.

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Repeat bars, slash and rhythmic notation

In this blogpost I’ll take you through repeat bars and slash notation. As in previous posts, I’ll cover plugins and built-in features that will really speed up your workflow when creating drum set parts.

 

Repeat bars

Let’s face it, most drum set parts consist of a lot of repetition. The drums create that steady undercurrent that moves the piece along. If you want the drummer to play exactly the same pattern over and over, the best way is to use repeat bars.

It’s easy to do this in Sibelius | Ultimate. You simply select the bars you want to designate as repeat bars and press keypad “5”.

You can click on the symbol or on your numeric keypad type “1” for one bar repeat, “2” for bar repeat, or “4” for bar repeat. Music notation purists will tell you a four bar repeat is incorrect notation, but I’ve seen it come in handy many times in real world charts—especially arrangements for live performance.

If you look at the example above, you’ll see a number in parenthesis (2, 3, etc.) over the bars. This helps the drummer see at a glance how many times the figure is repeated.

The parameters of this feature are defined in the Engraving Ruleson the “Bar Rests” page. You can set your one bar repeats to be numbered every 1, 2, 3, 4, or 8th bar. For most drum charts it’s less cluttered to number the bar every four or eight bars.

Underneath the table are new options to this release that are now also present when you import a MIDI file and MusicXML file. These allow you to control the preview on the right hand side. For very large scores, importing can take a second or so for each assignment, so you can now untick “Generate Preview after every change”, and you will notice that the score preview is blurred out. Now each assignment is instant, and you can click “Generate Preview” to check on progress.

The other bonus with this type of notation in Sibelius | Ultimate is that it plays it back too. So, if you play your score the drum pattern will repeat the specified number of times.

Slash notation bars

Next on the list is slash notation. This type of notation is used when the arranger wants to let the drummer continue a pattern with the freedom to vary it, or when the arranger really doesn’t have an exact drum pattern in mind and is leaving all the details up to the drummer. In Sibelius | Ultimate, this type of notation is created by placing quarter notes on the midline of the staff and then changing the noteheads to “beat no stem.” This is easy enough to do, but not particularly efficient. But there is a faster way to fill 1 or 1000 bars quickly with this type of notation.

You will need to install the Fill selection with Slash Notes plugin from File>Plugins>Install>All plugins>Notes and Rests. With this plugin you can create as many bars of slash notation in as many bars you need in one move. The plugin works on other rhythm section parts as well and will put the slashes on the midline no matter the clef or key.

Once you’ve installed the plugin, select the bars you want to fill (blue box) and then go to the Plug-ins menu (or use your keyboard shortcut) and select the Fill selection with Slash Notes. This window will come up:

Click “OK” and you are done! If you have this plugin on a keyboard shortcut you can really fly through this type of notation in rhythm parts. For this situation the defaults are just fine, but you can explore other plugin options for other situations.

Sibelius | Ultimate ships with the Number Bars plugin. Just like with repeated bars, if a drummer sees a page full of slash bars, he will appreciate some numbering so he can see the form at a glance.

To number the bars, select the slash bars you want to number and then go to Text Tab>Plug-ins>Text>Number Bars and this window will come up:

I normally use these settings as I like to number every fourth bar and have the numbering reset at double bars. You can adjust the parameters to your needs.

Click “OK” and you get this:

This lets you set up the bar numbering for an entire drum part in one move—pretty cool and your drummer will thank you!

Rhythmic notation bars

Similar to Slash notation bars, with rhythmic notation the arranger is giving the drummer freedom to use his discretion as to what to play. The difference is that the arranger defines the rhythmic pattern on which the drummer bases his decision. These rhythms are usually based on an ensemble figure or a strong rhythmic element stated somewhere in the ensemble. Like Slash notation, this type of notation is created by inputting the rhythm on the midline of the staff and changing the noteheads, but this time to “Beat,” which includes a stem on the notes. But as you may have guessed by now, there is a plugin that will do this for you.

You install the plugin Move Pitches to Transposed Midline at File>Plugins>Install>All plugins>Notes and Rests. With this plugin you can create as many bars of rhythmic notation in as many bars you need in one move. The plugin works on other rhythm section parts as well and will put the slashes with stems on the midline no matter what the clef or key.

For this example, the right hand of the piano part has the rhythmic figure I want to represent in the drum part.

Select the bars in the treble staff and copy into the drum part and you’ll have this:

If you’ve use opt click to copy, there will still be a blue selection box around the bars. If not, click on the bars so they are selected. Now go to the Plug-ins menu and find the Move Pitches to Transposed Midline plugin. This window will come up. The defaults work for most case, experiment with the parameters as you like.

Click “OK” and you get this:

Pretty slick, eh? Notice the plugin deleted the extra notes in the chord and has moved everything to the midline. It works just as well on single note phrases as chords.

In the next post in this series, I will cover cues in drum set parts.

Express yourself with Sibelius

Create beautiful, captivating scores more quickly than ever before with the world’s best selling notation software.

The post Drum Set Notation in Sibelius: Part 4 appeared first on Avid Blogs.

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Unwrapping Media Composer 2020.12 https://www.avidblogs.com/media-composer-2020-12/ Mon, 21 Dec 2020 17:11:32 +0000 http://www.avidblogs.com/?p=188722 The post Unwrapping Media Composer 2020.12 appeared first on Avid Blogs.

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What can I say about 2020 that hasn’t already been said? There have been highs and lows. And then more lows. And then some really low lows. There have been a number of bright spots along the way, too, and we think our latest release of Media Composer is one of them. We’re thrilled to present some of our most exciting features to close out the year.

It’s time to celebrate the holidays and ring in the New Year with a gift you’ll be happy to receive!

Mix audio with ultimate speed and ease

With the new Audio Mixer, you can mix dialogue, sounds, and music faster and more easily than ever before. The modern channel strip layout is dynamically responsive, enabling controls to be displayed or hidden—based on your visibility priority—when you resize or reposition the Mixer window. You can also copy, paste, and move track effects to other slots, map fast menu items to your keyboard, and have always-present access to the Master fader to accelerate mixing tasks.

Decode and export H.265 content

Work directly with HEVC (High Efficiency Video Coding) video (aka H.265), which provides the same or higher level of image quality as AVC (H.264) but at up to a 50% smaller file size. That means you can open, link to, play, and edit H.265 video files captured by mobile phones, GoPro cameras, and other consumer devices directly in Media Composer. Plus, you can export H.265 media* too.

 

Create stunning titles and text more easily

Titler+ now includes two new modes—Text and Move—that make creating text of any kind much easier. Text mode enables you to click and type anywhere to create a text layer at that location and return to edit it at any time. Switch to Move mode and you can move the text layer and even change its attributes without fear of editing the text itself.

 

Edit easier with new enhancements and improvements

The latest Media Composer offers many new capabilities, including some highly desired feature requests we’ve received from you all.

  • Dock together tools in floating panels, giving you more freedom to configure and organize your windows and layout the way you want
  • Drag and drop content from one bin into any other open bin in the sidebar
  • Customize your interface further with new brightness sliders in bins, the ability to set your own viewer and Timeline background colors, and more*
  • Export only newly referenced media files in an AAF sequence, eliminating media duplication*
  • Export only newly referenced media files in an AAF sequence, eliminating media duplication*
  • Get support for ACES CLF and CDL files, furthering compliancy with ACES specifications*
  • Deliver content in different color spaces with the ability to select a custom color space when exporting a sequence to a MOV or MP4 format*
  • Reveal and save a copy of your user profile to another location for backup or to bring to another system*
  • Get support for Indonesian, Dutch, Tagalog, and Swedish languages in PhraseFind and ScriptSync*
  • Transcode imported matte keys and classic titles to other resolutions, including cross-frame rate*

 

Gain more control over your organization’s workflow (Media Composer | Enterprise only)

No need to search through a long Send to Playback (STP) menu to find the desired device. With the latest Media Composer | Enterprise, administrators can now specify which STP targets are visible to team members, simplifying the experience while reducing human error. Administrators can also enable and disable access to Media Composer | PhraseFind, ScriptSync, Symphony, and NewsCutter at the group or individual level.

 

So say “goodbye” to 2020 with style and get the latest Media Composer today.

 

* Feature supported in all versions of Media Composer except for Media Composer | First.

Avid Media Composer

Industry-standard video editing software for independent editors and moviemakers

The post Unwrapping Media Composer 2020.12 appeared first on Avid Blogs.

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Avid VENUE 7 Software Now Available! https://www.avidblogs.com/venue-7/ Mon, 21 Dec 2020 17:00:41 +0000 http://www.avidblogs.com/?p=188914 The post Avid VENUE 7 Software Now Available! appeared first on Avid Blogs.

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If Avid released software with post-fader inserts in it, it would be a big release. If Avid did a release with HEAT processing on every input channel it would be huge. A launch with bus-to-bus routing would be epic. So, what do you call it when it’s got all of those AND a heck of a lot more? We called it VENUE 7, and it’s packed with updates including over 400 bug fixes and an almost unreasonably long list of new features. We went through almost every S6L user request, identified which were the most requested, figured out what was actually achievable within the year, and got them done. Get ready for the biggest live sound console update that you’ve ever seen!

 

VENUE 7.0.0 Features:

 

HARDWARE AND CONFIG UPDATES:

  • I/O sharing & gain tracking for 3 Systems
  • MLN-192 Milan option card

NEW MIX FEATURES:

  • HEAT processing on every input channel
  • Bus-to-bus routing
  • Parallel mix control on all Channel Dynamics
  • Mix control on all Channel EQ
  • HPF, LPF and GEQ on all outputs
  • EQ pre-Dynamics
  • Post-fader insert point

EXPANDED FUNCTIONALITY:

  • 400 plugin slots
  • 2-Track USB recording and playback

UTILITY FEATURES:

  • Matrix Mixer polarity switch
  • All-new Delay Compensation
  • Align Total Delay on attentioned strips

VISUAL UPDATES:

  • Big Meters
  • Mute and Solo indication on Meters View
  • Shortened channel names added to Strips Area
  • Shortened channel names added to Group Assign buttons and indicators

EASE OF USE UPDATES:

  • Make/Break Stereo button on MLM
  • Dialogue for active events
  • Improve restore and activation procedures
  • Add System ID and Serial Number to software
  • Integrated System Guide, Troubleshooting Guide, and Handbook in the software

Let’s take a closer look at some of these key features in VENUE 7:

I/O Sharing & Gain Tracking for 3 Systems in Star Configuration

In previous versions of VENUE, engineers could connect up two systems and share the Inputs and Outputs of stage racks to both systems. With VENUE 7, three systems can be shared, with all inputs showing up to all three systems, so Front of House, Monitors, and Broadcast can now all be connected to the same I/O without that pesky copper splitter. Similar to two systems on I/O sharing, when running three, head amp gain is automatically compensated seamlessly via Avid’s True Gain technology, with no need for a user to ever deal with any complex setup.

Once your system is wired up in a redundant star configuration, the systems will immediately see one another and realize that they’re in an I/O sharing scenario and enable the appropriate gain compensation.

Watch the I/O Sharing video

MLN-192 Milan Option Card

If you’ve been watching the networked audio space over the past few years, you may have heard of Milan™, but what is it? It’s a format of AVB that guarantees interoperability with other Milan-certified devices. The Milan format was created by a group of audio companies—including Avid, d&b, L-Acoustics, Meyer Sound, and many others—as a sample accurate, plug-and-play network format. What does this mean for you? Plug the MLN-192 Milan Option Card into an E6L engine, and you’ve got 128×128 channels of I/O at 96kHz to and from any Milan certified device over a single Ethernet cable. This means you can send audio back and forth between multiple S6L systems, send out discrete audio to immersive processors for object-based mixing, or simply distribute signal across networks in a secure and reliable manner.

MLN-192 Milan Option Card

Watch the MLN-192 Milan video

HEAT on All Input Channels

If you’ve followed the Pro Tools world, you’ll have heard about HEAT. Designed by the legendary Dave Hill of Crane Song, HEAT stands for “Harmonically Enhanced Algorithm Technology.”  It’s a saturation algorithm that can add analog color or saturation uniquely to each instance, with zero latency. In VENUE 7, HEAT can be applied to any or all input channels, adding tape or tube-type saturation while also allowing the engineer to adjust the tonality of the saturation. When the drive control is pushed in the negative direction, you’re driving the tape saturation harder. When psuhed into the positive direction, you’re driving the tube saturation harder. The tone control goes from dark (the low setting of 1), to bright (the high setting of 6), and allows you to brighten or darken sources using saturation rather than EQ. You can even snapshot this setting, so you can apply different amounts of drive during different songs. Don’t be afraid to open up some old Virtual Soundcheck recordings, turn it on, and listen to how HEAT can open up your mixes with warm, analog-modeled saturation.

HEAT controls

Watch the video about HEAT, GEQ/HPF/LPF on outputs, Big Meters, and more

Bus-to-Bus Routing

For those of you coming from some other platforms, bus-to-bus routing may be a workflow that you’re already familiar with, but what’s going on in VENUE 7 is quite a bit deeper than the basics. With VENUE 7, any Aux or Group can be routed to any other Aux or Group. This means that you can send the Kick out to a group, and then send that Kick group to a Drum group, and process in both places. This also means that a monitor engineer could send an orchestra group straight to a monitor mix. When routing Groups or Auxes to another Aux, send level control is available just like it is for inputs, and even functions as expected in Sends on Faders. When routing Auxes or Groups to other Groups, the routing is also available just as it is on inputs, but there’s an added bonus. The software automatically detects and prevents any bus-to-bus routing assignments that would create feedback loops. If you attempt to make a feedback loop though, the system will block the loop and warn you exactly what routing is creating the loop. That’s not all though. Bus-to-bus routing is also part of the new delay compensation.

Bus-to-bus routing

Watch the video about VENUE 7 Processing and Signal Flow Enhancements

Parallel Mix Control on All Channel Dynamics

One of the really common uses for bus-to-bus routing is parallel compression—the blending of uncompressed signal into a parallel duplicate of the audio that often has heavy compression. VENUE 7 provides you with a much simpler way to do that. Every single channel on the console now has a parallel mix control allowing you to achieve that parallel compressed sound with a single encoder. This means that, not only can you parallel compress output busses, but you can also parallel compress input channels. For those of you deep into immersive audio workflows, I’m sure you’ve found that it can be challenging to do parallel bussing with object-based mixing, fortunately this removes all of that complexity. Not only is the workflow ridiculously simple, but it’s also snapshot-able, and it can be triggered from Events. But why stop at just compression? The expander/gate also has a parallel mix control, and with one knob, it can get you sonically into a place similar to some other revered noise-reduction tools.

Parallel mix control on channel dynamics

Mix Control on All Channel EQs

Unlike on dynamics, this control parameter isn’t actually a parallel control, but rather a scaling of the EQ gain.  This means that when you have it set to 100%, the Gain value for each band is at 100%. The amount of Gain applied to each band will be a reflection of the percentage that you have set. For example, if the Band 1 Gain is set to +6dB, and you reduce percentage to 50%, Band 1 will be applying +3dB of gain. Sometimes in a busy mix, an engineer may be forced to EQ channels heavily to make all of the elements fit, but when instruments play solo, they may sound thin or odd. In those moments, having a single knob that allows the engineer to back off the amount of EQ applied for a moment and then spin it back up to 100% will be invaluable. Additionally, the engineer could choose to simply apply the EQ Gain change by pressing a single button.

Mix control on channel EQs

HPF, LPF and GEQ on all Outputs

High Pass and Low Pass Filters have been on input channels since the beginning of S6L, but with VENUE 7 you now have them on all outputs as well. They show up exactly as you’d expect on the external display, on the encoders, and are also shown on the channel touch displays of the desk. HPF and LPF aren’t all—Graphic EQs were added to every single output bus as well.

HPF, LPF and GEQ on all outputs

EQ Pre-Dynamics

The standard signal flow for channels in the S6L system start with the input stage, followed by the Gate, Compressor, and then Channel EQ. The EQ Pre Dynamics button has been added to every channel in order to add flexibility to the internal processing of the system. If an engineer wishes to have changes in the EQ affect the signal before the channel’s dynamics processing, pressing this button will swap the process order. This signal flow control is available on the external display, the encoders, and can even be stored into Snapshots or Events.

 

Post-Fader Insert Point

Another change to the signal flow of the system are post-fader inserts. Not just one or two—every channel now has four additional plugin slots that are for processing the audio after the fader. But that’s not all—there’s also a second hardware insert slot that’s also post-fader. This means you can insert automixing hardware in the appropriate place, or even just add post-fader limiters to prevent anyone from overloading your livestream broadcast or PA. These insert points are in addition to the four plugin inserts and one hardware insert that already existed, meaning a user could stick eight plugins and two hardware inserts on a single channel, if desired.  Of course, this all works with Snapshots, and loads up legacy files without issues.

Post-Fader insert point

400 Plugin Slots

Since we doubled the number of available plugin inserts available on channels, VENUE 7 now also supports double the plugin slots—400 plugins on all engines. This means that, not only can you now insert an absurd number of plugins on a show, but you no longer need to keep track of which engine type you’re using (E6L-192, -144, or -112), as they ALL will give you 400 slots. Since plugins use HDX-DSP processing, the number of plugins you can load on a system is obviously going to be related to how much available HDX-DSP you have available. But this increase in slots is particularly useful when using immersive audio plugins, as they don’t take up any DSP, and it’s likely that any complex immersive show could have up to 128 immersive object controlling plugins. We did also sneak in a little bonus feature. When in CONFIG mode, users can now just hit a “+” symbol in any channels Insert area to quickly instantiate a new plugin on that channel. And the routing will be done automatically with the correct format (mono/stereo) pre-selected, just to save you a few extra button-clicks.

2-Track USB Recording and Playback

Added to the Control tab are two new pages: Record, and Playback. Plug any FAT- or NTFS-formatted USB drive into the console, and record your show as a stereo 96kHz, 24-bit .Wav file. Or conversely, play any MP3 or .Wav file straight from a USB drive connected to the console. The routing to and from the USB Recorder and Playback show up in the patchbay, allowing you to route playback directly to a channel, or patch the recording directly from the Mains or any other output. Beyond the basics, the recorder can also automatically be enabled by Snapshots to automatically create new recordings for each song, with the file name pulled directly from the Snapshot’s name.  But if that wasn’t enough, you could even set the walk-in music for your event to trigger at exactly 7pm, or walk-out music to trigger as soon as your show ends and you pull down that “band” fader.

2-track recorder

Stereo playback

Matrix Mixer Polarity Switch

The Matrix Mixer in S6L already affords engineers quite a bit of control, offering matrix inputs from any channel (or bus) from any pickoff of each level and pan control. VENUE 7 adds a few new things to the Matrix Mixer, the most obvious being the polarity switch on every mixer input. Less obvious is that Milan and USB playback are available directly in the matrix, meaning a user doesn’t have to use up input channels to route those inputs into the matrix.  Now let’s talk about polarity. It’s pretty simple: just invert one source coming into the matrix. But this gets really interesting with the ability to create mix minuses. A mix minus is effectively a whole mix, minus one (or more) elements, and these can be incredibly useful. For example, a mixer may send the Mains mix into a matrix, and additionally send one dialogue microphone into the matrix but invert the polarity. When this dialogue microphone is also in the main mix, adding this to the matrix with inverted polarity will audibly cancel it out of that matrix mix.  Since the new delay compensation in VENUE 7 sorts out all of the relative timing issues, a user could even cancel out a group. For example, the matrix may have the main mix as a source, and the background vocalist group as a second source with its polarity inverted. That matrix would then effectively have a mix without BGV’s.

Matrix Mixer Polarity Switch

All New Delay Compensation

With the many new routing capabilities introduced in VENUE 7, it was understood that S6L’s delay compensation needed to be updated to keep up. Since users can route busses to other busses, compensation was added not only for routing and plugins there, but compensation was also added to manage inputs relative to other inputs: parallel bussing to mains, inputs into matrixes, outputs from matrixes, and more… Latency and compensation is one of those challenges that can quite quickly get overwhelming for a user, and the intent was to make it “just work” without the user having to worry about too much—and it does.

When an engineer loads a show file from version VENUE 6.3 or earlier, the system will default to “Use Legacy Mode Delay Compensation.” This means that the show file will sound exactly like it did on previous VENUE versions without you having to make any changes. On the Options > Pickoffs page, the engineer has the option to turn off “Use Legacy Mode Delay Compensation,” which will enable a few functions under the hood, including aligning all inputs to matrixes so that they’re phase coherent. Once that option is off, you’ll notice a few new options show up.

“Align all Input Channels to Mains & Matrixes” will automatically, and in real-time, compensate for plugins instantiated on input channels. This means that all inputs can be compensated to align in-time regardless of how many plugins are on each.

“Compensate for Bus-Fed Plug-Ins to Mains & Matrixes” sorts out an interesting problem. The most common use of a bus-fed plugin would be reverb and delay. Let’s use an example to lay this out. My lead microphone channel may have an aux send routed straight into a reverb, with that reverb returning on a stereo channel. In this example, the lead is going to the mains, the reverb return is going to the mains, but the reverb return has added latency that you can clearly hear if you bypass the reverb plugin. For the most part, engineers aren’t too worried about a bit of latency in reverbs or delays because the pre-delay control in reverbs purposefully adds delay anyway. But with other effects like pitch, chorusing, saturation, or overdrive, latency really does matter. This compensation option will ensure that the effect return and the original signal in are in perfect time-alignment with one another.

“Align all Matrixes” is an option that will ensure that the outputs of every Matrix are perfectly aligned with one another. This is particularly relevant in scenarios where matrixes may be fed by differing sources, but the output time for each needs to be in phase and time-aligned. For example, you can drive the PA from a matrix that is sourced by the Mains, and drive the subs from a matrix sourced from an Aux. In previous versions of VENUE, adding plugins to the mains or matrix used for main PA would add some latency to the mains, but the sub aux send would no longer be in-time with the mains. The “Align all Matrixes” option solves that issue and aligns all of the matrixes to the longest path.

“Align Total Delay on Input Strips” is similar to the “Align All Inputs” function of ADC, but should generally not be used at the same time. The biggest different between this functionality and “Align All Inputs” is that it only affects channels that have been Attentioned, and does NOT align ALL inputs. Monitor engineers are always trying to reduce total latency, especially out to IEMs. In the monitor engineer workflow, it’s not always beneficial to delay all of the inputs to the input with the most plugins, but it can still be incredibly useful to align a few, such as multiple inputs from Bass, or multiple microphones on a guitar rig. This delay alignment uses the “User Delay” encoder on the channels to input delay time, which means you can see the delay that has been applied. Just Multi-Attention a few channels that you wish to align, right click (or long touch), and hit “Align Total Delay on Input Strips.” The system will find the attentioned input that has the longest total plugin latency, and will calculate and apply the appropriate amount of delay to the attentioned channels to align them with the latest channel. It’s a one-shot action, and calculates the delay at the time you hit the button.

Big Meters View

For those of you that want to see a larger meter bridge, your time has come! You can now swipe down on the meters area of any channel to get a full-screen channel meter. This functions on a channel-by-channel basis, and is even stored to your show file. If you want all meters big, you can hold “Default” and drag down on any meter, and it will expand all. Just want all of one-type of meter? Hold “Default” and “Fine” and drag down. Returning the meter back to its smaller view is just as simple with a swipe up on the big meter. It’s even possible to trigger big meters in events—the options are endless.

Mute and Solo Indication on Meters View

To make it easier to see which channels are Muted and/or Soloed, Meters view on the MTS and CTM now displays both. A dim red overlay appears on all channels that are muted, and a yellow outline on the channel name appears for any channel that is soloed. This works for both explicit mutes and implicit mutes, such as mutes by mute group or a muted VCA master.

 

Shortened Channel Names in the Strips Area

The strips area of the External GUI has always been dense with information and control, but it’s sometimes hard to see what you’re doing. In previous releases, we found a way to sneak in the channel colors, but with VENUE 7 we pushed the limits and have added a shortened version of the channel name right below each strip. This means that when you’re dragging strips around or rearranging layouts on the external display (or standalone software), you’ve got a much clearer indication of what you’re looking at. It’s two characters of the name and then two characters that follow the same algorithm used in all other places in the software where a shortened name may need to be shown. The system will show numbers as highest priority, then capital letters (consonants over vowels), then lower case letters (consonants over vowels).

Shortened channel names in the Strips Area

Shortened Channel Names in the Group Assign Buttons and Indicators

With bus-to-bus routing in VENUE 7, knowing what you’re routing where becomes more important, so of course we had to find a way to make that clearer. Similar to the naming in the Strips area, two characters are shown in the bus assign area of every input and output, along with the user-assigned color of each bus. In addition to being displayed there, these shortened names and colors are also displayed on the CTMs and MTS in Meters View and Channel View.

Shortened channel names in the Group Assign buttons and indicators

Make/Break Stereo Button on MLM

It was always a bit annoying to go back and forth between the control surface and the external display when setting up a new show on the system, so we’ve introduced a slightly quicker workflow in VENUE 7. When in CONFIG mode, attention any two mono channels and you’ll see a “Make Stereo” button appear on the MLM. You’ll also see a “Make Stereo” button on the Multi-Select dialogue that appears on the External GUI. In addition to that, when in CONFIG mode, attention any stereo channel and the MLM will show you a “Make Mono” button—no need to right click on tiny strips anymore!

Make/Break Stereo button on MLM

Dialogue for Active Events

This feature is really about making sure that your show file stays exactly as when it was saved. In previous versions of VENUE software, the Events system allowed some seriously complex and amazing workflows, but had a limitation. When you saved your show file, you might have actually had Events active, and the system did not remember this for you—instead you would have to reactivate those Events by toggling things on/off or moving faders past trigger points. VENUE 7 sorts this out for you. When loading a legacy show file that has Events that SHOULD be active based on a trigger condition being satisfied, it will ask you if you’d like to activate them, and then automatically activate them. Additionally, it will save the state of active events, so that when you load your VENUE 7 file again, it will remember the Event conditions from when it was saved, and will activate the appropriate ones.

Dialogue for Active Events

Improve Restore and Activation Procedure

The Engine Restore procedure was always a bit painful, so we spent some serious time to make this as simple as possible. With VENUE 7, create an Engine Restore key as you always have, stick it in your engine, connect a keyboard, and turn it on while pressing F10 for about 30 seconds. The engine will sort out the rest—no need for a mouse or display, or even any manual intervention—the engine will restore itself and reboot. Once it’s complete, the front LEDs will light. Connect the engine to a console that’s already updated to VENUE 7, and the engine activation procedure happens from the console. The console will ask you to connect the engine’s ECx port to the internet and will either do all of the activation automatically, or guide you through the few simple steps to activate Windows and RTX on the engine. Once you’re done, power cycle everything, and go enjoy VENUE 7.

 

Add System ID and Serial Number to Software

There’s a lot to unpack here in this simple little feature. Every component of the S6L system has Serial Numbers and System IDs, some companies use this for their own inventory management, but Avid also uses this information when providing support for customers. This little pop up may be annoying when you first see it, but I promise that it will make things a lot simpler. When you first fire up a system on VENUE 7, the system will let you know that you have components that do not have a serial number entered and will navigate you to the devices page where you’ll see a Serial and System ID field for every device. If you enter this information into a device, that information will stick with the device, through all subsequent updates and restores. This device information will get exported into logs if you ever need them, and it gives you a really easy place to view System ID and Serial if you ever end up on a call with support and they need that information—no need to dig into the back of racks or doghouses.

Add System ID and serial number to software

Integrated System Guide, Troubleshooting Guide, and Handbook in the Software

This is the first thing you’ll notice in VENUE 7. When you launch the updated system for the first time, you’ll open right to the “What’s New” guide, so you can read about the new features while the rest of the system is updating.  That’s not the only guide though. Almost every guide that exists for the S6L system is now in the software, so there’s no need to try and find them online if you have any questions about the system. Additionally, a new troubleshooting guide has been added to aid in problem solving for engineers on-site.

There are some massive features in this release: bus-to-bus routing, post-fader inserts, comprehensive delay compensation, HEAT on every input, parallel dynamics and EQ on every channel, certified Milan support, and much more. VENUE 7 is unquestionably the biggest VENUE update that we’ve ever released, and is packed with as many user requests as we could possibly fit. Loaded with tons of new capabilities, stability improvements and massive optimizations to achieve the lowest system latency of any VENUE release, VENUE 7 will move the S6L system forward in stability, functionality, and technical features.

VENUE 7 is now available to download at no charge if you have an S6L system and a valid Avid Advantage Elite Live support contract—you’ll find the installer in your Avid Account.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.

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Embody and Avid Revolutionize Mixing & Mastering on Headphones with Immerse Virtual Studio Plugin https://www.avidblogs.com/embody-and-avid-revolutionize-mixing-mastering-on-headphones-with-immerse-virtual-studio-plugin/ Fri, 18 Dec 2020 19:27:04 +0000 http://www.avidblogs.com/?p=188861 The post Embody and Avid Revolutionize Mixing & Mastering on Headphones with Immerse Virtual Studio Plugin appeared first on Avid Blogs.

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Many of us music producers, mixing, and mastering engineers work in studios that may be less than ideal acoustic environments. Whether for work-from-home, bedroom production, on-the-go mastering, we rely on our headphones for critical monitoring. However, headphones alone don’t give us the full benefit of working in an acoustically-treated listening environment with high-end monitors. Given the growing availability to bedroom producers of affordable, easy to use gear and plugins, the next brick to fall is the access to world-class studios, to audition mixes in amazing sound rooms.

Travel cost and travel time, knowing the right people, and the cost of studio time are barriers that prevent the vast majority of independent artists and mix engineers from having the same monitoring environment as big-name artists. But with the right tools, music producers can virtually be in an iconic studio and give their mixes the benefit of auditioning in a remarkable acoustic space without traveling while only paying a fraction of the cost. Over the last decade, these virtual studio plugins have become very popular for these reasons. However, historically these plugins have not delivered a truly immersive and realistic experience as they often suffer from inside-the-head localization and tonal coloration. The plugins have not kept the promise of making artists feel like they’re sitting in the actual studio.

Immerse Virtual Studio - a plugin which puts you in the sweet spot of any mixing and monitoring environment

When we heard that the folks at Embody have been working on innovative technologies like Personalization, we realized that this was the missing piece of the puzzle in developing virtual studio plugins. Embody’s approach includes an accurate model of how an artist, you, hear. Thus it made perfect sense to partner with Embody to create the perfect virtual studio.

Together with Embody, we offer the Immerse Virtual Studio with Avid so that you can gain all of the benefits of auditioning your mixes in multiple world-class iconic sound studios from the comfort of your home. Immerse Virtual Studio plugin puts you in the sweet spot of iconic sound studios by modeling your unique ear shape using artificial intelligence (AI) algorithms developed by Embody, all directly inside your Pro Tools session – Anywhere. Anytime!

Bringing trusted studio monitoring to home producers and artists on the road on their favorite headphones

What makes Immerse Virtual Studio different from other virtual studio plugins?

The most critical part of a high-quality listening experience is, of course, your ears! “Your ears are as unique as fingerprints, and can be considered an acoustic fingerprint,” explains Dr. Kaushik Sunder, Head of Engineering at Embody. “Modeling these complex ear features or Head-related transfer functions (HRTFs) is extremely critical in rendering an immersive experience that sounds natural and perceived outside the head. However, accurately measuring HRTFs using state-of-the-art methods is a complex and tedious process that is also expensive in compute time and engineering resources. Making a complete HRTF measurement requires a person to sit in an anechoic chamber for several hours.”

Embody has developed a highly optimized artificial intelligence-based technology called Immerse that computes the listeners’ personalized profile or HRTFs in under 30 seconds. Embody built the Immerse engine based on three keystones: 1) delivering natural-sounding spatial sounds, 2) a robust and fast AI-based infrastructure, and 3) an intuitive user design. The result is the most authentic virtual experience for even the most demanding monitoring needs.

Combining precisely measured sound studios with your personalized profile using AI technologies

Combining your Personalized HRTF with measured Studio Acoustics 

Studios are not just spaces but an intimate environment. They carry the traits of the engineers who work in them. The studio’s signature sound is a creation from engineers meticulously selecting the gear and optimizing the setup and acoustics for the type of listening environment they desire. Part of the experience of Embody’s indelible personalization is bringing you the opportunity to explore these studios and find out for yourself in which studio you prefer to work.

To accurately characterize the studio’s sound, the team at Embody carries out detailed measurements of the acoustics of the studio with the help of a binaural dummy head. The secret sauce is that Embody’s algorithms personalize, to your ear shape, the directionally dependent studio reflections. Also, during the measurement, Embody accurately captures the acoustic characteristics of each speaker in the studio. The measurement process maintains the integrity of the signal chain and gear used in the studio.

The studio responses are not only precise, but award-winning engineers and producers from each studio certify the truthful representation of the room all the way from the acoustics, through the signal chain, and to the monitor speakers’ frequency responses.

 

Putting it all together 

The plugin Immerse Virtual Studio with Avid is a culmination of this project. Immerse Virtual Studio puts you in the sweet spot of iconic sound studios by modeling your unique ear shape using AI algorithms and combining it with the precisely measured sound studios’ response. Certified by each studio’s mix/mastering engineer, Immerse delivers an authentic studio mixing experience over headphones never before possible. Besides auditioning in world-class studios, the plugin allows you to select your favorite reference headphone from an exhaustive list.

Immerse Virtual Studio plugin in ProTools

Our partnership with Embody is an essential step in revolutionizing the world of virtual studio plugins for professional workflows in Pro Tools. Together we aim to elevate the experience that Immerse Virtual Studio brings to Pro Tools users, wherever you are doing your mixing and production.

In a nutshell, Immerse Virtual Studio is one plugin with infinite possibilities. We can’t wait to hear what you create! For Pro Tools | Carbon users, a 1-year complimentary license of Immerse Virtual Studio is included in your purchase, which you can redeem here.

You can purchase a lifetime copy of the Immerse Virtual Studio plugin by visiting the Avid Marketplace. To learn more and get a free trial of the Immerse Virtual Studio plugin, please visit embody.co/proaudio/avid.

Gain all of the benefits of auditioning your mixes in multiple world-class studios from the comfort of your favorite headphones. Mixing on Headphones just got Real!

Pro Tools | Carbon

For artists, bands, and producers, Pro Tools | Carbon is a new breed of audio interface—built to capture brilliance.

The post Embody and Avid Revolutionize Mixing & Mastering on Headphones with Immerse Virtual Studio Plugin appeared first on Avid Blogs.

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What’s New in Sibelius — December 2020 https://www.avidblogs.com/sibelius-2020-december/ Thu, 10 Dec 2020 14:55:49 +0000 http://www.avidblogs.com/?p=188412 The post What’s New in Sibelius — December 2020 appeared first on Avid Blogs.

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We’re excited to introduce the December 2020 software update—our fifth release of the year. If you’d like a summary of all these releases and more, please visit the new “What’s new” page. We’ve been working hard from our home offices to bring you a release that completes the work we started around a year ago on the new File > Import page. There’s also a new addition to our ManuScript plugin language, as well as the usual collection of bug fixes to round out the 2020 releases.

If you can’t wait, you can download the update via Avid Link or from your account at https://my.avid.com/products. If you need to renew or crossgrade up to the latest version, you can find the options, here:

https://www.avid.com/sibelius/upgrades-and-renewals

If you’re new to Sibelius and would like to try out the new version, you can get started with our free 30-day trial.

 

File > Import: Sibelius files

Following on from our recent Intelligent MIDI and Intelligent MusicXML import features, we’ve added the ability to import a Sibelius file into an existing score. You may think, “Why can’t you simply copy and paste what you need from one score to another?” But when you do that, you won’t easily bring over the system objects, musical structure, repeats, tempo markings, key signatures, and so on.

With the December 2020 release for Sibelius, you can combine several scores together by simply importing them into an open score. As this is based on the existing MIDI and MusicXML import processes, you now have complete control over what is imported, and you can arrange the music during the process as well.

Usually, you’ll start off with a blank template into which you import your music. You can repeat the process as many times as needed, so you can import just a few instruments at a time, and even import from several files too. The following examples show three scores being imported into a blank template. Each score has its own House Style that’s different from the template, and in the case of the Strings (on the left), it contains a piano reduction that doesn’t need to be imported. In short, the import process is really flexible and will allow you to achieve the results you need:

These three files and blank template

import as

How-to:

When importing a file, start by opening the file you’re going to be importing into, such as your template. Your template will likely contain the instruments you’re going to be arranging or orchestrating for, as well as have all the engraving and house style setup you need for your score’s look and feel. Then, go to File > Import and click Browse to choose a file that you’d like to import:

Those familiar with the MIDI and MusicXML import workflows will notice the same Instruments table, where you can assign the incoming instruments to the staves in the score. At the bottom right corner of this table is the “Auto Assign” button (available only in Sibelius | Ultimate), which will dramatically speed up the import process by comparing the instrument names with the names of the staves and matching these up. As before, it will match abbreviations (such as Vln → Violin etc.) and use our unique system of using hashtags, which was covered in June’s blog post, allowing you to automatically bring across music from any number of staves in a single click.

Underneath the table are new options to this release that are now also present when you import a MIDI file and MusicXML file. These allow you to control the preview on the right hand side. For very large scores, importing can take a second or so for each assignment, so you can now untick “Generate Preview after every change”, and you will notice that the score preview is blurred out. Now each assignment is instant, and you can click “Generate Preview” to check on progress.

Import and overwrite House Style from file

This allows you to simply import a House Style from any incoming Sibelius file—really useful if you have a score that looks great, and you’d like to import just the House Style to replicate the same appearance.

 

Import and overwrite Document Setup from file

As with a recent release, we separated the Import House Style capabilities so you can independently control the Document Setup and the House Style. Here, you can do the same by choosing the option above, and choosing to overwrite the Document Setup too.

Both of these options are off by default as it’s going to be more common that you don’t want to overwrite the look of the template that you’re importing into, but it’s sometimes useful to bring these over too.

As with the MIDI and MusicXML import features, you can choose whether to arrange the music across multiple voices, or reset the note spacing after the import has completed, and also to explode the music when arranging across multiple instruments. Behind the scenes, this is using the Arrange feature, which we’ve also enhanced to better handle tuplets.

 

Limitations

There are some limitations to what you can import. The structure of the scores you’re importing needs to either match (e.g., have the same Time Signature changes throughout the score), or the score you’re importing into simply needs to have no time signature at all, which is the case with the template above. When you try this, you’ll see a message that offers you the choice to open the file instead, allowing you to copy/paste and import the House Style between the two scores.

 

Font handling

A small but important change is to the way Sibelius handles fonts on Windows and Mac. Sibelius is now much more consistent in how it identifies and interprets fonts that support symbols.

Sibelius now prefers Latin 1 as the fallback for symbols when the font is not marked as supporting the “Symbol” code page, and we do this on both Windows and Mac for more consistent results on both. With this change, there’s general improvement on Windows across the board, but if you encounter any problems, it’s important to check that you’re using the latest version of the fonts. In particular, if you’re using the excellent Pori fonts, be sure to get the recent update from Notation Central.

The following types of legacy music fonts are not supported:

  • Music fonts which are not flagged as providing Symbol Character Set mapping
  • Music fonts which are so old that they have an internal “OS/2” table of version number zero

ManuScript plugins

ManuScript is the simple, music-based programming language built right into Sibelius, allowing you to build your own plugins to speed up your workflows in Sibelius. We often make changes to the underlying language to fix bugs or to enable new functionality, and this release is no different.

Currently, a plugin can obtain a list of installed House Styles via the Sibelius.HouseStyles command, as well as apply these house styles to a score. Now, it’s possible to export a House Style using

ExportHouseStyle(house_style_name) or ExportHouseStyle(path/house_style_name) :score.ExportHouseStyle(“ExportedStyle.lib”)score.ExportHouseStyle(“C:/Users/username/Desktop/ExportedStyle.lib”);

The new ExportHouseStyle ManuScript function mirrors the functionality of the in-app Export House Style Dialog. Files are saved (by default) into the users House Style folder, or to the path specified.

 

General bug fixes for plugins

In this release, we concentrated on improving the way you work with plugins too:

We’ve fixed a bug where Sibelius wouldn’t retain any changes to the locations of plugins, so you can now move them around the Ribbon (and they’ll stay put)!

When unloading a plugin, it really is unloaded and won’t reload when you restart Sibelius. We’ve also fixed some UI issues related to unloading and reloading plugins.

Keyboard shortcuts that have been assigned to plugins are no longer mismatched after unloading/deleting a plugin. This enables you to assign a shortcut to a plugin, then unload that plugin and find that the shortcut now doesn’t trigger another totally different plugin(!). Thank you all so much for your help and patience in helping us get to the bottom of this bug.

We hope you enjoy all these improvements to Sibelius. Please let us know how you get on via the Sibelius.com support forum, or via our official Facebook and Twitter pages.

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The post What’s New in Sibelius — December 2020 appeared first on Avid Blogs.

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