What’s New in Pro Tools — October 2019

Since its launch, Pro Tools 2019 continues to empower users to create, record, edit, and mix their work better and faster, with access to more tracks, voices, smoother playback interaction, and new workflows, features, and enhancements. At AES 2019 in New York City, we we previewed the October release of Pro Tools 2019, which is now available. It features some new improvements and functionality, geared primarily for post-production users.  However, many other users will find these additions useful as well.  Let’s have a quick look at what’s new in Pro Tools 2019!


Avid Video Engine Improvements

With this update, Pro Tools and Pro Tools | Ultimate now supports 4K/UHD video and higher frame rates. This allows more precise editing to picture, as the video will display as intended on the main timeline, both in terms of resolution and frame rate.  The added benefit of having the ability to set the resolution and framerate independently is a welcome addition for users, providing the ability to work with the many different types of video file types being used in the industry.  Also, it’s important to note that Pro Tools now mirrors Media Composer in its support for high resolution video, allowing engineers to import media directly into Pro Tools without the additional step of transcoding the file format or resolution.  With these video engine improvements enabling users to work with a wider variety of video file types in sessions, the addition of smoother H.264 video playback adds even greater performance and reliability.

Enhanced CoreAudio Support for Dolby Atmos Production Suite

Pro Tools | Ultimate users now have the ability to enable up to 130 CoreAudio channels using the Dolby Audio Bridge.  This is a huge jump from the previous limitation of 32 channels available for Dolby Atmos via CoreAudio, and a huge improvement over the workflow using Send and Return plugins.  This drastically reduces session complexity with routing.  It also helps to eliminate the tedious managing of delay compensation. All of this adds up to time-saving improvements as users can now setup a session created with the Dolby Atmos Production Suite, in Pro Tools | Ultimate, in the exact same way that their session would be setup using the Mastering Suite or Cinema Renderer. Whether you’re using HDX, HD Native, or any CoreAudio audio interface, this is a great addition, increasing efficiency and usability.  HDX users also benefit in the fact the fact that HDX is now fully compatible with the Dolby Audio Bridge, which can be selected and used as a playback device. It is worth noting that when HDX is selected as the output device with the Dolby Audio Bridge, DSP processing is disabled.

Multi-mix WAV Bounce

The ability to bounce multiple stems, interleaved into a single WAV file is another new addition for Pro Tools | Ultimate users.  This time-saving feature reduces the complexity of deliverables for audio post engineers, by streamlining stem selection and rendering workflows, removing the need for using workarounds.

Netflix Post Technology Alliance

While not a feature or workflow, per se, it’s worth mentioning that with this release, Pro Tools joins the Netflix Post Technology Alliance (PTA). Started in 2018, this alliance is a Netflix-designed program for products that manage and produce sound, image, and/or metadata for post. Products bearing the Netflix Post Technology Alliance logo have been tested to ensure that they meet all of Netflix’s technical and workflow requirements. Avid is proud to participate in the program, supporting all creative users to produce their best work at the highest standards.

With the addition of Pro Tools into the Netflix Post Technology Alliance, Avid is working closely with Netflix to ensure its solutions support technical and workflow requirements today, and into the future.

To learn more about Avid’s involvement in the Netflix Post Technology Alliance, read our blog.


Get Updated Today

With so much happening in the world of immersive audio for both post and music, these new features and additions (over 140 stability improvements in this release!) are designed to power greater creators with more access to the tools they need to push the boundaries of their creative output with greater efficiency. If your subscription is current, grab the update via Avid Link or from the products section of your Avid.com account! Don’t forget to check system and OS requirements first! There’s much more to in store for Pro Tools and audio at Avid, so stay tuned!

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.

Avid’s End-to-End Audio and Video Solution Joins the Netflix Post Technology Alliance

At AES 2019 in New York City, we announced that with the October release of Pro Tools 2019 (now available), Pro Tools will join the Netflix Post Technology Alliance—one of the first audio products to participate in the program.It joins Media Composer – which was  one of the original products when the program when the program first launched. Therefore, with this announcement, Avid is pleased to be working closely with Netflix to develop and deliver the complete end-to-end audio and video workflow solutions, so our customers are able to meet Netflix’s high standards of quality with confidence.

The Post Technology Alliance was designed to help facilitate standards of excellence across the many different solutions that contribute to a Netflix production, from capture to video editing, through to audio post production and final delivery. And in turn the logo is a powerful indicator to picture and sound professionals, that the solutions they rely upon enable them to confidently deliver top results for Netflix.

In joining the Alliance Avid remains committed to continued support of Netflix’s technical and workflow requirements, serving the evolving needs of the production and post-production communities now and into the future.


New Pro Tools features support the Post Technology Alliance

In combination with Pro Tools’ industry standard audio post production toolset, the next release of Pro Tools 2019 this fall introduces improvements that are key to Netflix technical and workflow requirements.

The release simplifies Dolby Atmos in-the-box mixing with full Core Audio support of the Dolby Audio Bridge. You can now send 130 channels from Pro Tools (up from 32) to the Dolby Atmos Renderer enabling you to use Pro Tools | HDX as your playback device and significantly reduce the tedious track management required when using Dolby’s Send / Return plugins.

Also, users can now bounce multiple mixes—for example a 5.1 and stereo mix—in a single WAV file. This reduces the number of asset deliverables when submitting multiple mixes in different formats and enables users to deliver multiple localized mixes in a single file.

Finally, a special preset has been added to Avid’s Pro Limiter plugin, making it easy for engineers to locate the proper settings when preparing final mixes.


Key Media Composer features support PTA

With the release of the updated and reimagined Media Composer 2019 earlier this year, Avid has set its sights on fully supporting new media and digital-first delivery workflows for OTT and streaming media. Media Composer now provides basic support SMPTE Standard 2067-21 IMF Application #2E packaging and delivery for Netflix.

Additionally, Media Composer now enables full 32-bit color and timeline playback, which allows online and VFX editors to work natively with hi-res HDR media, import OpenEXR files, and display and transform ACES (Academy Color Encoding System) compatible color gamuts, so they can always be confident they are seeing and delivering their content to the highest industry specs.

By meeting the high standards of the Netflix Post Technology Alliance, Media Composer is aligning with our vision to power the world’s greatest storytellers and be the video editing software professional creators need today AND tomorrow.

Visit the Netflix Post Technology Alliance website to learn more.

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Create surround mixes with up to 384 audio tracks with Pro Tools | Ultimate.

AES Partner Pavilion — 20 Avid Developers to Show Us What They’ve Got

Customers and friends who visit Avid at the AES Show this year from October 16-18 at the Javits Convention Center in New York (Stand #503) can cross the aisle to the 2019 Avid Audio Partner Pavilion (Stand #504)  and the biggest  display of its kind, ever.   This year’s Partner Pavilion boasts 20 participants, and a visit to AES is not complete without checking every one of them out.  From AAX plugins to solutions that compliment Sibelius, VENUE and Media Composer, the Pavilion is a snapshot of what’s new and what’s next for Avid’s audio production platform.

Check out the exhibitors, an innovative mix of newcomers and veterans, who will join us:

  • Arturia
  • Dolby Laboratories
  • Eventide, Inc.
  • HitMix/Neuratron
  • IHSE GmbH
  • KROTOS Audio, Ltd.
  • McDSP
  • Newfangled Audio
  • NUGEN Audio
  • PACE Anti-Piracy
  • Pro Sound Effects
  • Audio
  • Roland Cloud
  • RTW & Co. GmbH
  • Skytracks
  • Sonnox, Ltd.
  • Source Elements
  • TAC System
  • Townsend labs
  • Wedge Force

Since the advent of the audio developer program in the mid-90’s, our partners have been indispensable in extending our reach and multiplying our development efforts with their certified solutions.   Year after year, they add the incomparable variety that gives color to our platform, taking solutions to market  that are collectively, a “killer feature” for our tools.  The Avid Partner Pavilion offers these companies the most cost-effective way to exhibit, taking advantage of the prime real estate offered by  integrating with our own exhibit.  Here is what some of them have to say:

“Team Roland Cloud is pleased to be a part of the Avid Partner Pavilion at AES 2019. We look forward to sharing our suite of virtual synthesizers, drum machines, and sampled instruments with the vibrant conference community. Drop by our booth and play the TR-808, TR-909, JUNO-106, JUPITER-8, TB-303, JX-3P, SYSTEM-8, and the rest of Roland Cloud. We can’t wait to see you!”

And a reflection from the one and only Fabrice “FAB” DuPont, legendary producer and owner of  Flux Studio’s in New York, and more recently the founder of Process.Audio:  “The AVID Partner Pavilion makes it possible for small developers like us to display our products at AES in an affordable and supportive environment. We definitely would not be there this year if it weren’t for the Pavilion.”   Well, it’s an honor to have you, Fab!

And here’s a note from Chris Townsend, one of Avid’s most admired alumni.  “Before starting Townsend Labs, I worked at Avid for 13 years so I’m delighted to be working closely with Avid again. It’s an honor to be included in the Partner Pavilion this year (our first time). Given Avid’s wide range of industry-standard products, they are one of the most important platforms we support. We added HDX support to our Sphere plug-in, which has made a big difference to our business.”

Make the Avid Partner Pavilion part of your visit to AES and take the time to learn more about these partners and friends of Avid and about the unique and powerful solutions they offer. See you at AES!

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.

Five Ways to Supercharge Your Pro Tools Session Using Roland Cloud

Roland Cloud’s collection of virtual synthesizers, drum machines, and sampled instruments has been a go-to tool for producers, electronic artists, and beatmakers since its inception. In celebration of Roland Cloud’s spot at AES in the Avid Pavilion, here are five tactics to enrich your Pro Tools sessions with classic Roland sounds.


1. Drop in the TR-808 for Seismic Low-end

Whether you are working on modern R&B grooves or frothy pop tracks, the gargantuan 808 kick has become a key component for modern music fans—so much so that many simply associate booming bass with the 808. While there are many soundalikes on the market, using Roland Cloud’s TR-808 as your primary drum sound, or layering in an 808 kick, is a surefire way to add bottom end that is both contemporary yet classic. Plus, Roland Cloud’s 808 has bonus features like “Drag and Drop” MIDI. See how that function works in the video below.

2. Add Waves of Thick ‘80s Texture with the JUPITER-8

The massive sounds of the JUPITER-8 are perfect for everything from atmospheric indie rock to post-punk. For decades, artists like Howard Jones and Duran Duran relied on the King of Planets to color their sound on tunes like “What is Love” and “Save a Prayer,” respectively.

Pull up a patch like “1981 Fuzzy Fifth” or “PL Ploy Stack” to hear the dimensions a JUPITER-soundscape brings to the table. Roland Cloud’s version of the iconic synth even boasts some new functionality and pairs perfectly with controllers like the SYSTEM-8. Check out this video for a peek into the JUPITER-8 universe.


3. Double Your Pleasure with a JUNO-106 Bassline

With the popularity of Stranger Things and ‘80s centric acts like M83 and CHVRCHES, it’s no surprise Roland’s JUNO-106 keeps popping up in the cultural conversation.

One great method for adding a richer tone to your low end is doubling bass sounds with a JUNO-106. Try duplicating your bass track with a JUNO playing the same MIDI information to your Pro Tools session. Watch the sound grow exponentially—as in the video below where the JUPITER-8 is paired with a SYSTEM-8. If you’re feeling daring, pitch the second bassline up or down an octave to produce powerful effects.

4. Paint Your Track with a Cinematic D-50 Patch

The D-50 was unlike any instruments that came prior. Its DCB (Digital Circuit Behavior) modeling allowed for a cinematic array of sounds. Patches like “Fantasia” and “Digital Native Dance” are the stuff that ‘80s and early ‘90s hits were made of.

Roland Cloud’s D-50 has all the familiar sounds of the original hardware as well as some extra fun nuggets. For even more fun, explore the rich “Beyond Fantasia” patch collection, a new batch of textures destined to take the instrument to places unknown.

Listen to how contemporary electronic artists like ANDR3X and Mystery Skulls use the D-50 in their tracks. Then, picture what you could do within a Pro Tools session with the instrument. Maybe instead of bringing in that third guitar layer, use a “Beyond Fantasia” patch with AIR Multi-Delay to broaden your scope—without chewing up the frequency spectrum.

5. Boost a Song’s Energy with the TR-909’s Iconic Swing

909 Day was just a few weeks ago, shining a light on the enduring qualities of this classic instrument. From the grimy industrial vibes of Skinny Puppy to the smooth swing of Madonna’s “Vogue,” few genres are untouched by the silver and gray beatmaker. If your tastes veer to the esoteric side of the dancefloor, Tangelene Bolton created some 909 grooves sure to lead you to rhythmic revelations. Snap one of her exclusive patterns into your Pro Tools MIDI window and see where they lead your work.

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.

HEAT and the Crane Song Plugins from Dave Hill Take the Joy of Audio Production to their Highest Levels in Pro Tools and VENUE

Being a designer of both hardware and plugins for Pro Tools, I find that I need to balance doing research and design testing during a project and make it sound good for the client.  A recent project with a new client turned out to be interesting. First, I asked if they could do the lead vocal live with the rhythm track, we tried it and it worked a good amount of the time.  It makes better music when the parts are played together and is more fun for everyone.  The fun comes across in the recording.  When it comes to mixing one does not want to lose the excitement and feeling that is captured in the recording.

At Crane Song, our company and studio in Superior, Wisconsin, we’ve developed three unique Plug-Ins for sale on Avid Marketplace to enhance your mix, recreate desirable analog character and solve some common sonic problems.  Phoenix II, Peacock and RA stand on their own as powerful AAX tools for your mix, and also work great when they’re used together. I also developed the HEAT module, now included in all Pro Tools subscriptions, used everywhere to add analog warmth and color to your tracks. HEAT is now also available at 60% off the regular price if you want to just own it forever.

I’m going to recap the basics of each plug-in and walk through an example of how all three can cooperate to add analog warmth, create desired effects and get rid of the artifacts we don’t need or want.

Phoenix II is the go-to solution for Tape-Analog emulation, bringing our widely recognized expertise in analog electronics and tape recording to Pro Tools and VENUE, countless users rely on Phoenix II to smooth out harsh digital artifacts.  The Plug-In offers five flavors of emulation of analog tape machines,  RA is a flexible AAX Plug-In  used to modify harmonic content, do soft clipping and bring out detail in your audio content. Peacock emulates the sound of a vinyl record and can enrich the bottom of a recording and fatten the vocal in isolation or in a mix.  All are available for AAX DSP and AAX Native, so whether you’re a Pro Tools | First user or a professional working with Pro Tools | HDX or VENUE | S6L, you’re good to go.

So, let’s look at a real-world example.  By using harmonic manipulation, you can change a sound in a very desirable way which cannot be done using an eq. along.  Harmonic manipulation can reduce the need for compression and equalization.  Suppose we have a stereo track that is a bit on the harsh side, lacks fullness and detail.  This is a common problem that many mix and mastering engineers face.  By using a little of each plug-in one can go a long way towards solving the sonic problems of the track and, at the same time, creating a newly fat and full sound in ways that can’t be achieved using EQ and Dynamics plug-ins on their own.  First adding Phoenix II will smooth out harshness and fatten the sound.  If you follow this with RA and use the low-level control you will bring out detail in the track, this works by bringing up the low-level part of the track and not smashing the peaks down.  Besides increasing detail, the average level of the material will increase.  It will be louder, and you will not have applied compression or peak limiting. Using the EVEN harmonic controls, you can add some second harmonic if desired and do some soft clipping with the PEAK controls.

Enter Peacock, which you can now add to the chain and experiment with the EVEN HARRMONIC and PEAK controls. While you’re working with Peacock you can use the “elliptical or sabetha” preset as a starting place. The bottom of the vocal range will fill out and become smoother and fatter.  Depending on the desired sound and the source material increasing the COLOR setting, driving the HARMONIC control harder and the DYNAMIC control softer will result in a very fat and full sound. Vinyl has massive amounts of second harmonic content which is part of what Peacock does.  The DITHER function can be used by itself to dither to 16 bit.  It has the spectrum of vinyl surface noise.  It also modulates internal settings with in the plug-in.  Peacock can create a sense that projects that were tracked separately sound more like they were played together.

I analog sum when I mix, but I do use plug-ins; Phoenix, RA and Peacock, the Crane Song plug-ins, Massenburg’s EQ, and HEAT.  A question I receive a lot is how do I replace HEAT with Phoenix or which one is better.  Well, one does not replace the other, they are different sounds, they work differently, and they also work very well together

When engineers want to color or make the sound more real or interesting, they need to take care not to destroy dynamics and transits.  It is also important to use coloring devices on each track, this is more like the real analog world, it works better than just a plug-in on the output bus. If you think of the all analog days, using a console and then due to the variations in components no two channels were exactly the same and then you would add external gear for eq, compression, and so on, because the outboard gear gave you a different sound

To start with I use HEAT on almost all of the tracks, (there is a bypass for each track) and then add the other plug-ins to individual tracks for variation. A good starting place for HEAT is with the DRIVE 2 clicks clockwise and TONE 1 click clockwise. The end result is a rich and full recording.  I then add Phoenix or one of the other plug-ins to the desired tracks. This gives you a way to have different colors on each track and you end up with a more complex, bigger and real sound.

I have made a mix of a song, two versions, one with HEAT and one without. to provide an example at cranesong.com. Check it out, then use these tools on their own or in combination, experiment and enjoy!

Dave Hill with Ed Gray, Avid Director, Partnering Programs, at AES 2019 in New York

Own HEAT Forever

Add some HEAT to your mix. Get the warmth and sonic character of analog “in the box” with HEAT (Harmonically Enhanced Algorithm Technology)

How First-Class Mixes Have Changed Over 40 Years

This blog post is a chapter from How Pros Make Hits by Tom Frampton, posted with permission. 

Stayin’ Alive is known to most as a defining track of not only the Bee Gees career but also of the disco genre. As the opening track of the Hollywood film Saturday Night Fever, the track got much exposure, and the single spent four weeks at number one in the US when it was released in 1977. It was nominated for Record Of The Year at 21st Grammy Awards in 1978 and won the Best Arrangement For Voices and Album Of The Year categories. Whether you like the genre or not, Stayin’ Alive’s place in music history is significant. Let’s explore the attributes of the song, mix, and approach to see what we can learn.

1977 Mix vs. 2017 Mix

In 2017, Stayin’ Alive was re-released with a new mix from Serban Ghenea who is widely regarded as the best mixing engineer in modern times. It was mastered by 7 times Grammy winner and 28 times Grammy nominated engineer Tom Coyne of Sterling Sound. Capitol Records employed the best of the best engineers to make sure this re-release reached it’s fullest potential. Comparing the original mix to the new mix shows how mixing has developed over time.

I’ve analyzed the difference in tonal balance, stereo width, and dynamic range using Mastering The Mix plugin REFERENCE. I have the new Serban mix in a project, and I’m comparing it to the original. I’m using the level match feature to match the loudness for a fair comparison, and we can see that reference has turned down the Serban Mix by 6.8dB.

The Trinity Display at the bottom of REFERENCE is showing that the low-end from 0-100Hz is 2.3dB louder in the Serban Mix. This makes sense as modern tracks tend to have a weightier bass than tracks that were originally pressed on Vinyl, and today’s audience playback systems are more capable of generating a good low-end response. We can also see in the low-end band that the stereo width is showing -1.6SW meaning that they have made the kick and bass more mono in the newer version.

The second band between ~100Hz-600Hz shows a relative dip compared to the adjacent bands. We can hear that the new version has some EQ cuts around this area which gives it a much cleaner sound than the original, giving more clarity to the individual elements of the mix. The stereo width is showing a positive figure of 0.5SW showing that these frequencies are slightly wider in the 2017 mix.

The two bands occupying 600Hz and above show a slight increase in perceived volume, which points to the enhanced clarity of the new mix. It’s subtle in the context of the whole mix, but many off the individual elements have a new shine that helps them cut through.

Across the whole frequency spectrum, we can see that the dynamic readings are hovering around -3DR except the band covering ~3.5kHz and above which is -1.6DR. This shows that the new version is considerably less punchy than the original. There has been more compression applied to control the dynamic of the overall sound, with less compression applied to the higher frequencies to keep the integrity of the hi-hat transients. The overall compression gave the Serban Mix around 7dB more loudness overall and gave it a slight ‘pumping’ sound.

The stereo positioning of the individual channels is very similar to the original, though Serban added more width to the backing vocals and centralized the low-end as previously discussed. Had Serban dramatically adjusted where the brass, electric guitar, electric piano, etc. had been positioned it may have been too much of a change from the original for fans to enjoy. It was a safe decision to keep the panning positions consistent between the versions.


Stereo Separation

Stayin’ Alive is a very full and rich sounding mix with a dense arrangement of instruments. Many of the channels overlap in frequencies, though the conflict is reduced by the rhythms of the channel complementing each other.

An interesting characteristic of this mix compared to mixes that came before is that the stereo placement of many of the instruments is evenly balanced between the left and right channel. So the electric guitar sounds wide, but it’s also heard in both the left and right speaker without having two very different audio takes. In earlier ‘70s mixes you would find that the various elements would have either a left, right or central pan.

Barry Gibbs falsetto plays an important role as the main melodic feature. We can see that the electric guitar and piano occupy a slightly lower range adding some mid-girth where the vocal tone isn’t so strong. The strings occupy a similar range but are panned wide and out of the way for the vocal to shine through.

The electric piano goes from being balanced in both sides when the mix is more sparse to being more dominant in only the right side when the mix gets busier. This is a great way to add interest to the mix by evolving the panning, but it also makes space for the mix to become fuller during different sections of the song.

Technical Details

EXPOSE is showing the technical details of both the 1977 version (top) and the 2017 version (bottom). The most considerable difference is the compression and limiting, with the 2017 version being around 7dB louder. This lead to a reduction in the dynamic range punch by 4.8DR.

We can also see that the original kept the peak below 0dBTP, whereas the 2017 version peaked above 0dBTP several times during the track; though the loudness wasn’t pushed to the point where the audio is constantly clipping. This could have been easily solved by reducing the output on the limiter by 0.38dB, giving a true peak of -0.01dBTP.

Want To See More Songs Decoded?

 This blog post is one of 40 chapters in ‘How Pros Make Hits’, an eBook created by Mastering The Mix. Music surrounds us. It’s everywhere. Your music has the potential to connect with millions of people. Don’t produce another second of music without first learning how these pros did it to give yourself the best chance of success. Visit the How Pros Make Hits webpage to download 5 free chapters now.

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.

Mix, Record, and Create with ProFXv3

Mackie has recently updated their popular ProFX Series Professional Effects Mixers with USB to the all-new ProFXv3 Series. This mixer series is rooted in Mackie’s history of creating affordable, built-like-a-tank mixers that don’t sacrifice on sound quality. This update to the series offers big upgrades to the analog circuitry, built-in effects, recording quality and more. Ranging from 6 to 30 channels, these mixers are perfect for those looking for a professional, versatile mixing setup without breaking the bank.

With Our Powers Combined

New for the Mackie brand, is their partnership with Avid Pro Tools | First, a powerful DAW for recording, mixing, music production, and beyond, and is now included with every ProFXv3 purchase as well as several Mackie products. The built-in plugins within Pro Tools | First are powerful, but we wanted to sweeten the deal by including the Mackie exclusive Musician Collection™ plug-in bundle. This adds 23 great Avid plug-ins to your library. A huge selection of pedals, effects, and creative plug-ins open up endless possibilities. Included in the exclusive bundle is the legendary 304E EQ and 304C Compressor, both great for helping to elevate your mixes to that finished feel.

Walking the Signal Path

Not all mic preamps are created equal. Mackie’s Onyx Mic preamps were designed to rival those found in some of the most expensive gear out there. Lower output dynamic microphones will shine thanks to the up to 60dB of gain on tap and 128.5dB of dynamic range. And with ultra-low distortion, anything you plug in will sound squeaky clean. Worried about noise? Rest easy. Mackie’s custom M-80 op-amps and premium circuitry keep your signal path quiet and transparent.



ProFXv3 packs in a massive mixing toolkit to shape your sound and get it where you need it. 3-band channel EQs provide precise tone-shaping. Built-in channel compressors help keep those levels in check, essential for both live performance and in the studio. Back-lit Mute switches and high-resolution meters keep you informed of active channels and levels. Routing to Subgroups and Aux Sends are easy with brightly colored knobs and per-channel routing switches. Choosing from the 24 different high-quality GigFX™ effects is simple with a single knob interface.


The built-in 2×4 interface allows the main mix to be sent straight into Pro Tools | First at up to 24-Bit 192 kHz quality. With a dedicated blend control, you can easily choose between direct, zero-latency monitoring and your computer’s output, or a mix of the two. This is perfect for recording your live mix, tracking your next hit at home, or even live streaming. The ‘4’ in 2×4 means you can create two separate mixes in Pro Tools to send out to your ProFXv3 mixer. 1/2 will always be your monitoring mix that is sent to the headphone output on the mixer, this can be blended with a direct hardware signal for easy latency-free monitoring, great for recording over a pre-recorded track. 3/4 is always sent directly into a channel strip so you can route the audio anywhere you need it.



Content creator is a job title that is becoming more and more common these days and ProFX Series mixers have become a go-to centerpiece for many setups for years. Having a real, high-quality mixer not only ensures optimal sound quality for your audience, but also makes on-the-fly adjustments quick and easy. It’s always fun having a huge Delay+Reverb ready to go when you want to add a little drama to your stream. With all of your mixing, EQ, compression, and effects taken care of by the mixer, you can free up your computer’s processing power to take on other tasks.

This is just the tip of the iceberg of the awesome things you can accomplish with a ProFXv3 mixer and Pro Tools | First.

Want to learn more about ProFXv3? Check them out at Mackie.com/ProFXv3. For a complete list of Mackie products that now include Pro Tools | First and the Musician Collection plug-in bundle, please go to mackie.com/blog/mackie-partners-pro-tools-first.

Pro Tools | First

Get started with composing, recording, editing, and mixing music with a free version of Pro Tools, the industry’s most trusted and used DAW.

We’re Back at IBC with New Must-See Products and Refreshed Features

IBC 2019 is upon us, and Avid is excited to unveil significant solutions for media producers of all kinds, with several exciting new products and features to showcase. And, for the first time at IBC, you can get in-depth training on several Avid products that will help you get the job done better than ever.

So where can you find us September 13th-17th? We snagged space at Stand 7.B55 just like last year, with the Avid Training Room located near Hall 3 in room G103—and we’re bringing the goods to both spots.

“At IBC 2019, we will be featuring the Avid MediaCentral platform, debuting new tools that help boost their brands, beat the competition, and expand their monetization opportunities by being the first to deliver compelling content to multiple digital platforms,” says Ray Thompson, Director of Market Solutions for Broadcast and Media at Avid. “The new Media Composer will make its European debut too, highlighting the new UI and significant platform enhancements like distributed processing.”

In addition, Avid will showcase advancements for the S-series mixing consoles, new graphics capabilities with our Maestro Graphics product line-up, new cloud storage and other Avid NEXIS software-defined storage advancements, new ingest and playout capabilities with FastServe video servers, and, last but not least, new cloud SaaS offerings. That’s a lot of forward-thinking tech all at one show.


Learn from powerhouse users and specialists

Grab the ultimate IBC swag: some new skills. Get a sneak peek of game-changing solutions for on-premises and cloud workflows, and don’t miss our robust lineup of hands-on training sessions. It’s your chance to dig in and learn the ropes with experts. Psst: register fast before these sessions fill up!




IBC has a surplus of talented speakers, but if you’re interested in audio and video editing for film you can’t miss our sessions: Music editor Andy Patterson and Oscar-winning editor Chris Dickens will be on hand to talk about how they helped create the 2019 musical masterpiece Rocketman.

Avid’s Ray Thompson is joining an IBC panel on Broadcast Production in the Cloud on Sunday, to discuss how broadcasters are accelerating the production of breaking news and live events with SRT Hub and Microsoft cloud services.

We’ll also have Avid’s audio product evangelist Greg Chin at IBC to speak about new developments in audio production tools and techniques that enable content producers to capitalize on the creative power of immersive audio, while overcoming production bottlenecks.

Kick off your IBC experience by grabbing a seat before they start!

Chris Dickens, Editor of Rocketman

Andy Patterson, Music Editor of Rocketman

Greg Chin, Avid Audio Product Evangelist

Raymond Thompson, Avid Director Broadcast and Media Solutions Marketing

Rocketman: The story of the music

Paramount’s 2019 musical hit has the genius of Elton John’s music telling his epic story through the voice of Taron Egerton. Music editor Andy Patterson will be on stage with Avid’s Matt Feury to take the Big Screen audience through a musical masterclass.

Date: September 13, 2019
Time: 7:45 – 8:30 AM
Location: Auditorium


Rocketman: The story of the edit

Join Oscar-winning editor Chris Dickens as he talks with Avid’s Matt Feury about how he helped create the true fantasy of shy piano prodigy turned international superstar in Dexter Fletcher’s acclaimed biographic musical.

Date: September 13, 2019
Time: 8:45 – 9:30 AM
Location: Auditorium


Native immersive audio production: captivating the modern viewer

Avid’s audio product evangelist, Greg Chin, will present best practices for native immersive audio production, from sound design and mixing to distribution.

Date: September 15, 2019
Time: 11:00 – 11:20 AM
Location: The IABM Future Zone Theatre (Hall 8, Stand F40)


Broadcast Production in the Cloud with SRT Hub & Microsoft Azure

This panel session will feature broadcasters and Microsoft Azure ecosystem partners as they discuss their challenges and how SRT Hub addresses them.

Date: September 15, 2019
Time: 4 PM
Location: Room G104


Lead the pack when technology shifts

When news breaks, championships kick off, or creative inspiration strikes, it’s all about staying one step ahead of the competition. We adapt quickly so that you can too.

“New technologies like AI and machine learning, cloud, IP, UHD and HDR, social and OTT delivery platforms–to name a few–offer a significant amount of flexibility, scalability (cloud), and reliability. This enables companies to attack new opportunities in new ways that achieve the goals of higher efficiency, delivering more with less, all while driving new revenue streams from digital platforms.”

Whether you have questions, feedback, or you’re just curious about emerging tech in media production, we want to meet you at IBC! Gain some valuable face time and chat with us about the essential solutions needed to meet these everyday challenges, and hurdles that are on the horizon.

Can’t make it to Amsterdam? No problem. Watch our social media feeds for live videos, the latest photos, and exciting tidbits from the show! We’re also hosting a few contests and giveaways where you can win really cool prizes. Be sure to follow us on Twitter, Facebook, Instagram, LinkedIn, YouTube, and Pinterest, and watch the hashtags #Avid and #IBC2019 so that you don’t miss a beat.

How Convology XT Was Born — 3,000 World-Class Vintage Effects for Pro Tools

We’ve been asked numerous times, how Convology XT was born and here’s the short answer.  Convology XT, a vintage convolution plugin with 2,965 vintage gear impulse response files, from 126 different pieces of vintage studio gear, was a collaboration between Impulse Record and Wave Arts.

Initially, the sampling of gear, started with what most consider as the crown jewel, the German 140 plate.  While it’s true the 140 sounds incredible, they can all be a little different, depending on modifications, tube, transistors and tuning of the plate– and that’s true for all plates and manufacturers.  But after obtaining (8) 140s and (2) German 240s (Gold Foil Plates), Impulse Record reached out to studios globally and decided that they would grab every known plate manufacturer, with the plates library ending up with 17 different physical plates – one of those manufacturers only producing 250 units in total.

After completing the Plates Library, spring reverbs were sampled next and a total of (39) spring reverb units were sampled and are available from Boingy, Bright and Warm sounding.  Spring reverbs are by nature, very interesting and a growing number of producers are using spring reverbs in ways that go beyond traditional uses.

Next came the early German DSPs with the 245, 246, 248 and the 250 being recorded.  A number of these units contain files from several studios.  Early on, Impulse Record set out to partner with studios who not only had the gear, but worked with Grammy artists and most importantly, who could deliver the quality of impulse response capture, that was required for this project.

An interesting side note – some of the files were up sampled to stay consistent with the 96/24 format, simply because with A/D converters being a work in progress back in the day, we had to work with each studio and piece of gear, to accommodate the unit, the path to the unit, to avoid unnecessary aliasing when running sweep tones.  Many early DSP units weren’t going much above 7,500 Hz and using a 96/24 sweep tone, had undesired results like aliasing, so we had to be cognoscente of which sweep tone to be used with each piece of gear.

A total of (36) 80s & 90s DSP units were recorded and we leaned on experienced engineers and producers, to give us the “sweet spots” of each piece and with so many presets each unit represented, made it challenging.  The 80s & 90s are divided into three categories – Basic, Classic and Pro.

The Echo Space library is unique, with different tape delays, oil can delay and some of the early Space Station units.  With the ability of the plugin to not only add or adjust chorus, reverse, amplitude and EQ, the envelope stretch, decay time scaling, and frequency-dependent decay time scaling, are very helpful when working with tape delays and delays in general, to dial in a specific delay BPM.

The Convology XT Vintage Amp collection, contains 17 different amps, including tone control variables, spring reverb settings, etc.  Vibrato and Tremolo are generally handled through developer software emulations.  There are a number of rare pieces in this collection thanks to our friend Brent, who wishes to stay anonymous.

Impulse Record is now working on a collection of True Stereo impulse response files, with libraries being released fall of 2019. As a side note, users can import their own True Stereo files in the current Convology XT plugin, along with their own AIF or WAV files.

For more info visit impulserecord.com/convology-xt and to download Convology XT visit impulserecord.com/cvxt-download.

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.

A World of Opportunity with Avid Link

One of the coolest things to come to the audio world since the DAW itself, is the ability to collaborate with other people in the same room, the same town, the same state, the same country, or even around the world.

Avid Link, in combination with Pro Tools, has created a way for creatives to become absolutely engaged with the music that they are creating at any time and at any level. This is remarkable, considering that just a few short years ago, ideas were committed to a DAW, then file sharing services had to be used in order for band members, or session players, to input their ideas to the session as well.

As much as file sharing services offered a way to collaborate, it came at a sacrifice. This sacrifice was inspiration. When one person is inspired and they are alone, the inspiration generally begins to fade as the minutes and hours clock forward. To maintain that level of inspiration, an outside stimulus is required. This can be in the form of another musician or another instrument. Pro Tools has come to the rescue of inspiration with Cloud Collaboration, but now they’re giving us a new creative community to elevate collaboration even further with the introduction of Avid Link.

I personally remember the first time I was exposed to cloud collaboration; I could not believe how incredibly effective this tool was at solving my personal dilemma of having musicians not be available because they are at great distances from my studio. I immediately jumped on board and convinced my clients that this was the wave of the future. Ideas travel at the speed of light, and can be heard at the speed of sound.

I’m finding that my global clients are now within reach and the only thing stopping us from working together is a need for sleep. Which at times, is negotiable.

With the introduction of Avid Link, collaborating has never been easier. The Lounges area is an amazing way to create dialog with users around the world. A user can post a question and anyone in the community can reply. If the poster finds the replies helpful, this will foster more dialog. I personally like to reply to the poster’s questions with as much knowledge from my analog & digital world experiences as this can solve their particular problem or improve their workflow. I also enjoy listening to mixes posted on a user’s profile in Avid Link and, if I’m asked, I’ll have a listen to works in their portfolio. Many times, the next request is how they can improve. I always try to be helpful with good suggestions to encourage the community to communicate. My reward is how my contact list grows rapidly and I’m proud to have had the opportunity to lend an ear.

One of the wonders of Pro Tools Cloud Collaboration is track freeze. This tool is indispensable for collaborating with other users found through Avid Link because it allows two creatives to work on the same project who may or may not have the same plugins. By freezing the track, the user at the other end of the project can hear exactly what the originator had in mind. The ability to freeze a track allows for extreme flexibility and is powerful as it allows another plugin to be instantiated after the frozen plugin. How cool is that! (Pun intended).

I am currently offering my 50-plus Avid Link contacts the ability to be tutored online in their project that has been initiated by Avid Link. There are many creatives in my contact list that have tracked their instruments exceptionally well and their music is ready for mixing. As I’m mixing and using plugins that they already have, I push to the cloud these changes in the mix so they can learn on their end, how I’ve mixed their music. They can stop the mixing at any time and ask questions so they can learn for themselves. I’m happy to be mixing their music at the same time they are listening and learning from their own studio.

Tutoring is a wonderful way to learn. Avid Link has allowed me to connect with other artists looking to improve their craft by letting me dive into music they created themselves and showing them in a hands-on fashion exactly what they can be doing to improve their mixes!

Avid Link

Your creative community to connect, collaborate, and get discovered.