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EUCON 2020.11 Now Available—What’s New

EUCON 2020.11 is a massive update for Avid’s control surfaces, and introduces many new workflow enhancing features, including Pro Tools Folder Track Spill, PECDIR metering for Film Post, the new Avid Control Desktop App for Avid S1 and S3, and much more.

 

Pro Tools Folder Track Spill (Avid S1, S3, S4, S6, Control App, Artist Mix)

From the touch screen, surface, or Avid Control App, you can now spill out not only VCA Masters, but also Folder Track members. For the S1, S3, Control App and Mix it works the same way as VCA Spill in every way—the S1 even has the S3’s Multi-master Mode. For the S4 and S6 the same applies, spilling members into zones, left or right and even on Attention. In addition, there’s the option of opening and closing the folders in Pro Tools on Spill and UnSpill.

Avid Control Desktop (Avid S1 and S3)

For the new Avid Control Desktop Application, we took the Meters View from the Avid Control iOS/Android app and expanded it, letting you run it on a Windows or OSX workstation—you can even run it on a separate workstation from your DAW. It’s fully scalable in size and can follow from one to four S1 surfaces (8-32 tracks) or one S3 (16 tracks). It can also be mixed and matched with S1’s using a tablet to monitor metering. For example, if you have three S1’s, one could have a tablet meter and the other two could use the Desktop App.

Avid Control Desktop App running in conjunction with Pro Tools

Avid Control Desktop App can be customized to your workflow and desktop layout. You can size it small with just the track name and meter, but then expand it out vertically to add routing, automation, group data, and a multi-use Function Graph. And then at the maximum height, you can display all three graphs at once (Pan/EQ/DYN), and the settings panel offers you numerous other customizations . The new Avid Control Desktop App is free and included in the EUCON Workstation Installers for Windows and OSX.

 

PECDIR Metering (Avid S4 and S6 with Post Modules)

Utilizing the same Display Module hardware already on S4 and S6, you now have the ability of linking them to your PECDIR Post Modules and displaying the tracks from Post Layouts. PECDIR Metering offers you five different views (1, 2, 3 and 4 high, plus large meters), two different color options, and up to 10 wide surround formats. Both an Input (DIR) and an Output/Playback (PEC) meter can be assigned to these Post Layout Tracks. These can be from any track, from any connected Workstation (Pro Tools and MTRX), and up to three Display Modules can be used with three Post Modules.

Red/Green color option

4 Rows View Metering

Normally the PEC meters would come from the Pro Tools Recorder, and there is now a preference to auto populate these. Pro Tools versions 2020.9.1 and later can keep meters on Disk Playback even when switching to Input when connected to a Post Display Module. The DIR meters can come from the Playback Pro Tools or even MTRX.

 

EQ and DYN Cycling (Avid S1, S3, Control App, Artist Mix)

The S4 and S6 have this feature already and now it’s on EuControl Surfaces. Tap the EQ or DYN button and Pro Tools looks at the “EUCON Surfaces EQ DYN cycling Starting at Insert” setting for which slot to start in and displays either that slot or the next one that an EQ/DYN is in. Tap the button again and it moves to the next slot that an EQ or DYN is in. The Graph and the knobs on the surface follow. Keep going and it goes through them all and then back around to the first one.

 

Track Rename (Avid S4, S6, Control App)

You can now rename Pro Tools tracks from both the Avid Control App and S4/S6 Master Module. On Avid Control, double tap a track name anywhere and you will be presented with a keyboard for renaming. Similarly, on the S4/S6 Master Module, double tap the Home Screen’s Track Name to rename it.

 

Auto Bank to Selected Track (Avid Control App)

Now Avid Control can join the surfaces and follow Track selection. Not only is there now a new preference that can sync all screens together so the same tracks are always visible, but if you want the screens to bank independently, you can still sync a single screen by pressing and holding the Screens Tab name at the top.

 

All Controls Track Automation Feedback (Avid S4 and S6 Display Modules, Control App)

Now, on both the Avid Control App and S4/S6 Display Modules, you get visual feedback whenever ANY control on a track goes into Write or Preview mode.

 

Lots of smaller features and bug fixes

As always, EUCON 2020.11 features numerous bug fixes and smaller enhancements, including:

  • Big Sur support (Intel only) for EUCON—note that Pro Tools does not yet support Big Sur (click here for details)
  • EuControl bank by whole surface
  • Save Layouts locally
  • 32 Foldowns on the Monitoring page of Avid Control
  • S4/S6 Workstation Softkeys
  • Title name and save confirmations
  • And more

Avid Control Desktop App with Avid S3 control surface

Availability and installation

EUCON 2020.11 is available now available for Avid S4 and S6 with a valid Avid Advantage support contract—just log in to your Avid Account and find the installer link.

For Avid S1, S3, Dock, Control App and other EuControl surfaces, simply log in to your Avid Account to download the new software.

Discover the new Avid S1

Get the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a slimline surface that’s an easy fit for any space or budget.




EUCON 20.5 Now Available—What’s New

Avid is pleased to announce that the EUCON 20.5 software update is now available for all EUCON control surfaces. This release offers support for the new Pro Tools Folder Tracks, as well as Layout creation directly from the Avid Control app—plus many bug fixes and performance enhancements.

Folder Tracks

Pro Tools 2020 introduced Folder Tracks, which introduces new ways of working in the software and with control surfaces. Folder Tracks can perform a simple organizational function or be part of your session routing infrastructure, and they greatly simplify and speed up control surface operation.

On both Avid S4/S6 and EuControl control surfaces, you now have the option to show not only Hidden Tracks but also Closed Folder Track Members. These can be selected individually when in Banking, Layouts, or Spill mode, giving greater flexibility for different workflows.

Nine new Softkeys offer full control over opening and closing both Parent, Child, and Sibling Folders for the attentioned track. You can also control multiple folder tracks via the Do to All and Do to Selected commands. In addition, the Tracks Screen now has buttons and icons that enable opening and closing Folder Tracks by touch.

S4 and S6 also gain a new Strip command on the CSM/fader module to open and close folders directly from the surface. You can also filter your view using the Type button on the Master Module to view your folder tracks. Stay tuned for additional EUCON Folder Track workflows in the future.

Layouts Assign from Avid Control

Layout creation for surfaces using EuControl just got a lot easier and more flexible in 20.5, and now works similarly to S6. From the Avid Control app you can build layouts quickly, directly from the Tracks Screen. Pressing the Assign button brings up a new set of buttons and track blocks that match the connected physical surfaces (S1, S3, Mix and Control). From here you can assign tracks, blank strips, attention or Auto Assign. An improvement to the previous method of creating Layouts in EuControl, you can now insert and delete tracks, and others will shuffle to make room or close the gap. Convenient Blank All and Clear All buttons make it easy to start a fresh.

Once you’re done assigning tracks, the new Layout can easily be named and stored right from the Avid Control app screen, from which Layout recall is also possible

Availability and installation

EUCON 20.5 is available now available for Avid S4 and S6 with a valid Avid Advantage support contract—just log in to your Avid Account and find the installer link.

For Avid S1, S3, Dock, Control App and other EuControl surfaces, simply log in to your Avid Account to download the new software.

Discover the new Avid S1

Get the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a slimline surface that’s an easy fit for any space or budget.




5 Reasons to Get Pumped about Avid Connect Live at Summer NAMM 2019 in Nashville

If music is in your blood, you’ll either be at the Summer NAMM 2019 conference, or super jealous you can’t be there. So check this out – we opted out of a trade show booth this year because we’ll be too busy soaking up the sun in Nashville, talking to some of our “kind of a big deal” audio friends, and hanging out with you! Although you shouldn’t need them, here are five reasons to get ready for Connect Live @ Summer NAMM 2019:

 

1. We’re announcing our new product releases

Why would you want to miss hearing about the latest innovations before everyone else? Exactly.

The festivities get underway at our Welcome Session & Panel on July 18 at 11 a.m. CDT at Belmont University’s Johnson Center. Be there when we reveal our latest audio products and innovations. Holed up in the studio? Heading out on the road? Getting creative in another country? No worries. You won’t miss a beat when you tune in to our LIVE STREAM, available on Avid.com, Avid social media, and our newest—and most importantly, free — app, Avid Link.

 

2. Panel and breakout sessions featuring top talent

Are you like us and want to know everything about everything? We’ve gathered the people you want to hear from: the industry’s leading musicians and music producers of course. They’re ready to get real with you and share their creative journeys and how they actually USE Avid tools. I mean, what’s more helpful than that?

 

3. Free, really cool on-site training sessions

We’re rolling up our sleeves to bring you two days of training covering the latest, most relevant techniques that you’ve been dying to learn:

From Sketch to Song

Get your musical ideas into Pro Tools to clean up noise, match song tempo and organize your session.

Record your Own Demo

Pick up basic vocal recording techniques, and use the virtual instruments bundled with Pro Tools to create great-sounding tracks and record your own distribution-worthy demo. #MakeYourOwnLuck

Live Recording Tips for Gigs

Configure Pro Tools for live recording and create a session template and click track for the drummer so you can easily capture those perfect moments during your live gigs.

Studio Session Recording Techniques

Make discrete headphone mixes for each band member, rapidly reset between takes and overdub parts, and get the best performance on each track using Pro Tools 2018 and 2019.

Also, make sure to REGISTER RIGHT AWAY for these first-come, first-serve sessions now.

 

4. Opportunity to claim your 15 minutes of fame and win a free Pro Tools subscription

When you see our roving Avid Street Team @ NAMM, grab your chance at a live interview and some sweet giveaways. Tell us what you’re up to in the studio, what you’re having for lunch, who’s on your Spotify list (the world is your stage) and we’ll give you an Avid-branded purple bandana just for finding us. Upload a selfie featuring that bandana and hashtag #AvidConnectLive and you’re automatically entered to win a Pro Tools subscription! Even if you’re not with us live, you can still walk away with a Pro Tools license through our social media giveaway; follow us on Twitter, Facebook, or Instagram for your chance to win.

5. Live music from the next generation of killer talent

We’ve lined up the next generation of performers to take over the Avid Stage @ Summer NAMM. Join the celebration as up-and-coming student talent from the School of Rock deliver next-level performances on the big stage, located in Music City Center. We’re super pumped, and you should be too.

If these aren’t big enough reasons to join us at Connect Live Nashville—whether you are at Summer NAMM or joining us via live stream—we give up. Just kidding, we never give up.

Visit our Connect Live page to learn more, register for free on-site training, and get ready to live stream our 2019 Audio product reveal from ANYWHERE in the world.

 

GO TO CONNECT LIVE NOW

 




EUCON 2019.5 Now Available — What’s New

We are excited to announce the new EUCON 2019.5 software update for Pro Tools | S6, S3, Dock, Control App and Artist Series controllers. EUCON 2019.5 delivers tighter mixing workflows with Pro Tools, brings advanced monitoring capabilities to the Pro Tools | Control App, and provides S6 users with integrated support for KVM and control systems. The EUCON 2019.5 update also fixes over 50 bugs since the last release.

Tighter Integration with Pro Tools

Let’s take a closer look at some of the new capabilities that EUCON 2019.5 offers to enable much faster mixing workflows when working with Pro Tools—note that these features require the new Pro Tools 2019.5 software update to be installed:

“Scroll to Track” and “Scroll into View”

The much-requested ICON features, “Scroll to Track” and “Scroll into View”, now work on EUCON control surfaces. These features makes it easy to scroll Pro Tools windows and bank your control surface accordingly to get to the tracks you need faster. With “Scroll to Track, you can quickly search for and scroll to a track by typing the first few letters of the track’s name. With Scroll into View, you can quickly scroll a track into view by clicking on the track name.

Scroll Into View: Shift-Ctrl while clicking on track in Pro Tools banks the controller to show you that track on a fader

Scroll to Track: By either using a keyboard shortcut or a EUCON Softkey, you can quickly search for a track in your Pro Tools session and have the controller bank to the corresponding track

Pan and Send Auto-Open/Close

In addition to the current feature to automatically open plugin windows when working on the surface, you now also have the option to open Pan and Send windows. These can be set to open from an Attention, a Function button press, or even a knob touch.

Quickly set what windows in Pro Tools will open when the corresponding knobs are touched

Intelligent Attentioning

We have updated the old “Attention On Select” method with a much more versatile system that provides you with seven options that control what causes the surface to Attention.

This integration between EUCON and Pro Tools gives you much greater control to customize what areas of the Pro Tools environment will attention a track and place it on the control surface.

Once Attentioned, the S6 surface can also focus the clicked-on plugin, pan or send controls and display them on either the Master Module or any of the Attention Expand Modules. For example, if you select “Name” to be actionable, you can click on any track name in your DAW and the controller will automatically attention that same track on its surface. This allows you to choose which S6 modules get populated on Attention with the plugin, send or pan parameters you need displayed.

From delivering ICON-favorite workflows to introducing entirely new ways of accessing and managing your mixing environment, this new level of integration between Pro Tools and Avid control surfaces delivers a faster and tighter experience than ever before.

On S6, you can even set your preferences as to how the corresponding Pro Tools parameters are mapped to the control surface

Full S6-Style Monitoring for the Pro Tools | Control App

You are now able to control Pro Tools | MTRX and XMON hardware via EUCON, as well as the monitoring sections in Pro Tools, Nuendo, Cubase, and Pyramix. This brings the operational efficiency of S6 to Avid’s other EUCON controllers with Source and Speaker select, Folddown, Cue and Talkback control (including footswitch).

New Pro Tools | Control Monitor View

Additional Enhancements

EUCON 2019.5 also introduces S6-style momentary faders values that allow you to determine what information gets displayed on the fader OLEDs, and a new preference to turn off the fader motors if needed. The release adds Ethernet control support for Thinklogical KVM matrix switches to S6, along with dual monitor switching, and source and destination naming for Thinklogical and IHSE KVM solutions. S6 users now also have GPIO Fader Start and Softkey Control, enabling them to trigger Softkeys from GPIs and activate GPOs from Softkeys, as well as assign one or more faders to GPIs for external fader control.

New S6 Workflows Video Series

Check out the new Avid Pro Tools | S6 Workflows for in-depth explorations of how to use Layouts, Spill Zones, Expand Zones, and much more.

Availability and installation

EUCON 2019.5 is available now for download. To install the EUCON 2019.5 software update on S6, your console needs to be on a current Avid Support Plan. Your console came with 1 year of Avid Advantage ExpertPlus support with Hardware Coverage so please check your support plan expiration date. There are several options for renewing coverage (even if your plan has recently expired). If you are a registered owner, you will receive an email with details, or you can contact Avid directly to hear about your options at: +1-650-218-4058

For Pro Tools | S3, Dock, and Control App customers, simply log in to your Avid Account to download the new software.

For Artist Series controllers, log in to your My Artist Series Account  to download the new software.

Please note that the new Pro Tools-specific features (including “Scroll to Track” and “Scroll into View”, Intelligent Attentioning, Pan and Send Auto-Open/Close) require that you also install the new Pro Tools 2019.5 software update.

Pro Tools | S6

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




Avid Live Sound and Studio Solutions at Prolight + Sound 2019

The upcoming Prolight + Sound 2019 in Frankfurt, Germany (April 2-5) promises to be an exciting show for Avid live sound and studio systems, with several VIP engineers on hand and a range of solutions being demonstrated, including the VENUE | S6L family of consoles, as well as a wide range of Pro Tools software, control surfaces, and more.

Come visit us in Hall 8 on Stand F86, to get hands-on with Avid’s latest live sound and studio solutions and get your questions answered.

The new S6L-48D, S6L-16C, and S6L-24C control surfaces

Avid VENUE | S6L

We’ll have numerous S6L systems at the show, including the newly shipping S6L-16C and S6L-24C control surfaces, as well as the eagerly awaited S6L-48D, as well as a range of engines and I/O rack, including the new Stage 32 and Local 16. VENUE | S6L is the industry’s only live sound platform that offers 100% software, hardware and show file compatibility, enabling engineers to scale systems up or down to meet their changing requirements for control, processing, and I/O. Because the VENUE | S6L platform features the same VENUE software and workflows across every model, engineers are presented with an identical user experience regardless of system configuration, and Prolight + Sound is a unique opportunity for you to get hands-on with all of the various systems.

Innenhof Studios in Vienna

Avid Pro Mixing Solutions

Experience the most intuitive, immersive mixing workflows in the industry with Avid pro mixing solutions. From the modular Pro Tools | S6 control surface to the ultra-compact Pro Tools | S3 and Dock, Avid systems provide superior ergonomics, visual feedback, and the tightest integration between control surface and DAW ever offered. We’ll have an integrated S3 + Dock system on the booth demonstrating the latest EUCON software, as well as the best-in-class Pro Tools | MTRX interface.

Klaus Scharff mixing Die Fantastischen Vier at the Barclay-Card-Arena in Hamburg

Guest Live Sound Engineers

We are honored to have two exceptional engineers joining us this year to demonstrate how they mix on S6L and share their insights and tips:

 

Chris Madden mixing Anastacia

Chris Madden – FOH: Anastacia, Pink, Jesse J, Sade

Chris has been using VENUE systems since 2005 to mix a host of world tours with multi-platinum artists, including Pink, Jessie J, Joe Cocker and Sade.

 

Marko Vujovic mixing Korn

Marko Vujovic – FOH: Korn, Bushido, Nina Hagen

Marko is an in-demand live sound engineer who has been a longtime VENUE fan and using S6L to mix Korn and his other acts.

 

As you can see, this year’s Prolight + Sound is not to be missed. Be sure to visit us in Hall 8, Stand F86, to experience Avid’s latest audio solutions and get your questions answered by Avid’s team and our special guest engineers. We hope to see you there!

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.




Avid at BroadcastAsia 2018 — Capture the Future

Visit the Avid booth 4T3-01 on Level 4 at Suntec in Singapore to learn how Avid is extending the benefits of MediaCentral® and expanding its comprehensive product offerings with ground-breaking advancements for creative and aspiring professionals, production teams and media enterprises across news, sports, live production and post production.

Guest Presentation: Using Cloud Deployment & Artificial Intelligence for Next Generation Workflows

Level 6, June 26, 13:40 pm

Gain insights from Peter Ennis, Avid’s Senior Vice President, Global Services & Delivery, and discover how to streamline news production and distribution by working with cloud migration, business intelligence and the world’s most tightly integrated, efficient global media platform to improve capacity, leverage elasticity and converge resources.

Live Demonstrations

Product Focus

Time

Presenter

Pro Tools 2018 New Features

11.00am – 11.30am

Daniel Lovell

Avid NEXIS Intelligent Storage

1.00pm – 1.30pm

Kevin Usher

Avid VENUE | S6L Unified Platform

2.00pm – 2.30pm

Drew Parsons

News Production and Media Management

3.00pm – 3.30pm

Craig Wilson

Pro Audio Mixing

4:00pm – 4:30pm

Ozzie Sutherland

Post Workflow Innovations Powered by MediaCentral

Avid’s new generation of video post-production workflow innovations deliver greater integration, speed, and collaboration for everyone from small editorial teams to global media enterprises. With MediaCentral | Editorial Management: you can powerful, simple-to-deploy asset management capabilities to your file-based editing workflow.

The expanded Artist I/O family now includes Avid Artist | DNxID which delivers highly affordable and ultra-portable, high-resolution 4K monitoring for professionals on the go,  Avid Artist | DNxIQ, which provides broad format support in a sleek yet sturdy configuration, and Avid Artist | DNxIV, offers much of the same connectivity as Avid Artist | DNxIQ, but in a smaller, more portable form factor that’s ideal for independent editors and smaller post-production and news teams.

News Production and Media Management

MediaCentral | Cloud UX, Avid’s next generation web-based tool, streamlines production and enables collaboration across teams. Avid will demonstrate MediaCentral | Cloud UX in conjunction with:

 

  • MediaCentral | Production Management: Advanced file and workflow management for mid-sized to large production teams, simplifying and accelerating media production workflows.
  • MediaCentral | Newsroom Management: Complete story creation and rundown management for news teams, providing improved workflow efficiency and speed to break news across multiple broadcast and digital outlets.
  • MediaCentral | Asset Management: Advanced media asset management for news, sports, and post-production teams that manages the entire content lifecycle, with easy asset browsing and retrieval across multiple tiers of storage for reuse or repurposing.
  • Avid Dialogue Search: Enables users to easily find and preview any media clip based on spoken words or phrase in seconds.
  • MediaCentral | Publish: An app that enables journalists and producers to deliver on-air content to audiences on websites and social media platforms.
  • FastServe | Ingest: Allows broadcast news teams to capture HD and UHD content in pristine Avid DNxHR format directly to Avid NEXIS storage via a 10GB connection. This allows quick access to assets across the organisation through MediaCentral and to Media Composer, enabling editing during ingest, while decreasing time to air for news content.
  • FastServe | Playout: A new file-based playback server for video clips, images and motion graphics that offers both IP I/O and UHD playout with the ability for both IP and SDI in the same configuration. Deeply integrated into MediaCentral-based news workflows for lightning-fast turnaround, it allows playback of media directly from Avid NEXIS without copying the content to local storage first.

Avid Real-Time Graphics Solutions

The Maestro graphics family enables content creators to work faster and more efficiently and helps them to distinguish their brand to set themselves apart from the competition and build viewer loyalty. Avid will showcase the latest versions of Maestro | News on-air graphics suite and Maestro | Designer graphics authoring software, which enable content creators to create superior, high-resolution graphics more efficiently than ever before.

Maestro | PowerWall

Avid’s next generation Maestro | PowerWall display control and management solution puts the power of UHD-quality graphics into the hands of any television broadcaster. Maestro | PowerWall simplifies production and eliminates prohibitive costs for creating and presenting 3D graphics and video content on multiple displays regardless of size, dimension, or resolution. The successor to Maestro I TD Control, it provides powerful video wall capabilities, a high-performance video processing engine, and real-time, data-driven graphics, making it quicker and easier to captivate viewers and bring excitement to news, sports, and entertainment broadcasts.

Avid VENUE | S6L Unified Platform

Now FOH engineers can get more flexibility than ever with three new control surfaces, one new engine, and two new I/O racks. Modular, scalable and offering unprecedented processing capabilities—with over 300 processing channels. The S6L live sound system delivers unrelenting performance and reliability through its advanced engine design and backs it up with modern touchscreen workflows and scalability to meet any challenge. Catch a demonstration of the new VENUE 5.7 software release for S6L that delivers the most comprehensive integration of Waves SoundGrid plug-ins found in any audio console

Pro Tools | S6 and MTRX—Mixing Redefined

Since its introduction, Pro Tools | S6 has provided engineers with unmatched Pro Tools integration with most intuitive and immersive mixing workflows of any mixing system. Countless engineers, studios and post production facilities around the world depend on Pro Tools | S6 every day to complete the best sounding mixes possible for their clients. We’ll be demonstrating the latest EUCON 2018.3 software for S6 as well as the Pro Tools | MTRX interface. Get a demo of how Pro Tools | S6, Pro Tools | MTRX and Pro Tools | Ultimate work together to deliver the pinnacle of audio recording, editing and mixing.

Pro Tools 

Avid will showcase Pro Tools digital audio software alongside the affordable and portable Pro Tools | S3 control surface and the portable, ergonomic and affordable Pro Tools | Dock surface. Pro Tools | First, Pro Tools, and Pro Tools | Ultimate provide the tools to create music or sound for film or TV while connecting users with a premier network of artists, producers and mixers around the world.

Avid NEXIS Intelligent Storage

Avid will showcase Avid NEXIS | E2 and E4 from the industry’s first software-defined storage platform specifically designed for storing and managing media. Avid NEXIS enables fully virtualised storage, so media organisations can adjust storage capacity mid-project, without disrupting workflows. It delivers unrivaled media storage flexibility, scalability, and control for both Avid-based and third-party workflows. Designed to serve the smallest production teams as powerfully as the largest media enterprises, it’s the only storage platform built with the flexibility to grow with customers at every stage of their business.

Avid Certified Alliance Partner products are a unique collection of innovative solutions with connectivity to the Avid MediaCentral Platform.




EUCON 2018.3 Now Available—What’s New

Avid is pleased to announce the release of EUCON 2018.3 software update (formerly called “EUCON 3.8”)—a release that not only brings a number of major features to the Pro Tools | S6 control surface, but also includes new functionality and stability fixes across all EUCON-enabled control surfaces, including a new Unified Workstation software installer architecture.

The EUCON 2018.3 software update includes:

  • The ability to connect the Pro Tools | Control App to S6
  • Multi Workstation Softkey Macros for S6 that enable instantaneous control over multiple DAW’s
  • New Unified Workstation Installer increasing reliability and efficiency
  • Ability to save and load user Softkey Appsets from EuControl
  • Performance enhancements to S6, particularly Layout Recall speed
  • Flexible Auto Insert EQ and Dyn and Cycling preferences in Pro Tools
  • Pro Tools | Dock Knob acceleration and automation record feedback
  • Meters on S6 Expand Faders
  • Numerous bug fixes

Unified Workstation Installer

Continuing the merge of the different EUCON teams and Products that has already shown great improvements in efficiency, reliability and feature commonality during 2017. EUCON 2018.3 (also referenced as “v18.3”) introduces a single streamlined Unified Workstation Installer that prevents incompatible versions, stale preference files and several other issues. This release now follows the new Avid versioning of year and month (in the case of this release, “2018” for year and “.3” for the month of release). This new versioning scheme matches the versioning for Pro Tools and other Avid software.

iPad Pro Tools | Control App on S6

S6 customers can now connect and use the iPad Control App with S6. Using the Pro Tools | Control app has many uses when used in conjunction with S6, from providing an extra set of Softkeys, to offering Transport Control and remote recording and monitor cue mixing. The new unified installer make setup a breeze.

Multiple DAW Softkey Macros for S6

If you work with multiple DAW’s connected to your S6, then you will find the new Multi DAW Softkey Macros a major workflow enhancement. Any combinations of commands and feedback can be sent to all your connected DAW’s simultaneously. Matching out of Automation across multiple DAWs is now possible. For example, you could match out on DAW’s 1 to 3, punch out of record on DAW 4, and save on all four DAW’s with a single Softkey press.

Availability and installation

EUCON 2018.3 is available now for download. To install the EUCON 2018.3 software update on S6, your console needs to be on a current Avid Support Plan. Your console came with 1 year of Avid Advantage ExpertPlus support with Hardware Coverage so please check your support plan expiration date. There are several options for renewing coverage (even if your plan has recently expired). If you are a registered owner, you will receive an email with details or you can contact Avid directly to hear about your options at: +1-650-218-4058

For S3, Dock, and Pro Tools | Control customers, simply log in to your Avid Account to download the new software. For Artist Series controllers, log in to the My Artist portal to download the new software.

 

Pro Tools | S6

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




Classical Temptations — Recording, Editing, Mixing, and Mastering a Wind Orchestra with Pro Tools and S6

Hello, it’s Alex Reaper here, today I am so excited to retell one of the experiences I had late last year. On the 9th of December, 2017, I participated in an opportunity to work at The Old Museum building in Brisbane with QWO (Queensland Wind Orchestra).

Myself and two other audio students from SAE were given the opportunity to record, edit, mix and master Queensland Wind Orchestra end of year performance.

The venue was a large hall fitted with acoustic paneling, and as the building was brick in structure, with extremely high ceilings, the resonance was clearly heard and needed only minor tweaking in the final process.

On the performance day, we were advised that we were to be recording an opera singer from the organ loft. After the initial mock setup  the team decided to tweak the stage right set up slightly so as to capture the full range of both the orchestra and the vocalist.

On recording day, the team arrived at the venue approximately 2 hours prior to the performance. This allowed enough time to set up, find levels and tweak our equipment before the performance.

We decided to use a pair of Neumann KM184’s and a pair of DPA 4011’s to be able to capture both the raw sound of the orchestra, the vocalist and the specific resonance of the venue.

It was decided that the two Neumann KM184’s would be the centre pair, and the DPA’s would be the side microphones, using this combination, instead of trying to achieve a sound spectral image, we aimed to achieve it within the recording process instead. With the Neumann’s at an OTRF position and the DPA’s at an on axis position also with a slight downward angle. To achieve this, the two DPA microphones were also placed around 4.5 to both the left and right of the centre microphones, flush with the edge of the stage.

They were then connected into a multicore which ran along, flush to the edge of the stage. To control the signal we used a Focusrite Clarett 8, then Pro Tools 12 which was being used on a MacBook Pro.

The entire process for the night went really smoothly, and fortunately we had no hiccups. The team was mainly focused on keeping an eye on the dynamic ranges of each song. We did, however, have to focus on the balance between the left and right sides of the orchestra due to the opera vocalist in the loft as well as having a harp, piano and heavy brass, and a double bass on opposite sides of the stage

The team recorded 8 songs on a 4 track setup. The set list was as follows:

  • Country Gardens
  • Mississippi Suite
  • How Deep the Father’s Love for us
  • Angels in the Architecture
  •  Intermission
  • Symphony No.2 (3 Movements)
  • With Every Sunrise
  • Groovy Loops
  • Paprikash

The day after the performance it was time for some editing!!

Before going into the studio on the Tuesday I decided it would be helpful to do some ‘pre-editing’ just to conserve some time as studio access was sparse. I used an Audient 8024 for around 2 hours in order to edit the heads and tails of each track. To sure that everything was at a professional standard I used the ABC’s Classical Editing Tips as my reference.

Whilst completing the heads and tails of the track I noticed a few random noises on the recordings. To resolve this, I did some sneaky edits with marginal fades and eliminated the extra noises.

The next day I, one of my team members and our mentor, Adrian Carroll headed to the Avid Pro Tools | S6. This is where we began our mixing and mastering process. This was done with minimal processing as recording too much interference in orchestral recording causes issues.  For these particular tracks we used from EQ’s, Compressors and Limiters. Firstly we sent the tracks, both Neumann and DPA to an auxiliary track with an EQ3-7Band where we rolled off the low end starting at 100Hz. Also on those auxiliary tracks we sent the signal through a Pro Compressor to give the signal a little bit of a punch.

Those signals were sent into a Main Mix Bus where we had another EQ3-7Band, then an Abby Road RS127 Rack, a Pro Compressor, a Pro Limiter and finally a Pro Multi-band Dynamic Compressor.

Ultimately, I listened to the tracks over 14 different pairs of speakers in different spaces in order to optimise the sound quality.

In summary, the entire project ran smoothly with a great final outcome. Yes, there was a good amount of time invested into the project, but I think that’s why we managed get the result that we did. This experience really gave me a reason to come back to my roots with classical music. I’m happy to say that I think this recording experience is one of the best I have done to date, and I’m sure my team members would agree as well.

In the future I will definitely utilise the skills and knowledge that I have gained from this opportunity for further endeavours. Finally, I would really like to say thank you to our mentor Adrian Carroll, as he guided throughout this whole project and also was the one to grant us this opportunity with QWO.

Peace Out.

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NDR Radio Station Invests in Pro Tools | S6 to Be Used with Third-Party DAW, Sequoia

The Avid Pro Tools | S6 console supports an intuitive and complete mixing workflow. The ergonomics and immediacy of the S6 are appreciated by modern mixing engineers worldwide, especially by those mixing complex projects. The S6 is also the only console worldwide that allows users to select the recording and mixing digital audio workstation (DAW) that matches their personal preference. With the EUCON protocol, the S6 works in perfect partnership with all professional applications, including Pro Tools, Cubase, Logic, and others. The regional broadcasting station in Hanover, Norddeutscher Rundfunk (NDR, Northern German Broadcasting) was looking for a console for radio feature productions. Because the Sequoia DAW is the broadcast standard for the ARD (the consortium of public broadcasters in Germany, of which NDR is a member), this was a case for EUCON and the S6. We met with the Music Production team leader Ingo Schwarze at the Lower Saxony regional broadcasting station in Hanover, and from him learned all about the installation and the S6 workflow with Sequoia.

Music Production team leader Ingo Schwarze at the new S6 workstation

What exactly happens in this studio and at this workstation? Here we are in control room 3 of the Lower Saxony regional broadcasting station, one of four locations of the NDR – in the cultural broadcasting area Welle NDR Kultur. This studio is mainly concerned with producing feature productions, short radio plays, readings and audio books. Thus, everything is very word-oriented. This means that we have a straightforward recording phase with one or more actors, and then extensive post-production. For post-production, in the previous studio we had already learned to value controller-based work: It is faster and more effective, and can be called up again after a lengthy period. In those days, we used a mixing console with a Mackie HUI protocol. Two or three years ago, when a renovation was pending, we began searching, and looked at what others were doing. In principle, there are two factions: One approach is to take a large production mixing console and to connect it with the DAW via audio and timecodes. We always found this a bit cumbersome. The other approach is to mix more or less in the box. Particularly for radio plays, there are many ambient sounds and Foley effects that the director may not add until production. Here it is quite easy to open a set of tracks and put the audio effects into them. At the controller, I immediately have the track available as a mixing channel, and do not need to use extensive routing to the audio mixing console. These are really great advantages.

Sequoia and the S6 – room for expansion

How does a radio play comparable to a film in terms of production? It is a major production, just like with film. Yes, one thinks in terms of scenes. The director’s script is similar to a film screenplay. Specific spaces are described that must be made audible: From the bedroom into the kitchen, then outdoors, and into the great hall. Everything must be represented without images. For this purpose, a lot of work is done with sounds, and with spatial and directional effects.    The DAW of your choice is Sequoia. Why, and how long has this been the case? Our experience with Sequoia dates back to the year 2002. This area of NDR was digitized at that time. Since the end of the 1990s, we already had a large content management system, the dira! system from SCISYS. It has its own editor which, however, is not suitable for such productions. Since the recording and editing medium was formerly a two-track analog tape, we had to decide on a new direction, and took a look at all the workstations of interest to us, including Pro Tools and Cubase. In this area, at the time ultimately version 3 of Sequoia could do much more than all the other workstations: An example is the crossfade editor, which for a long time was the domain of a single company by the name of Sonic Solutions. In addition, there was the fact that we have always cooperated well with the Magix development department, which demonstrated that it was very open to our requests. As far as I know, over the years this product became established as a multitrack system in the entire ARD radio area. There was always a collaboration between Pro Tools and Sequoia, where Pro Tools was often used in the realm of acoustic design – for jingle production and the like – and Sequoia was used more as an editing system for music and words. That was in fact the role of this product. For the renovation of the production complex, we considered what hardware we could combine with Sequoia. This coincided with the first presentation of the S6. In 2014, I was at the Musikmesse trade show, and Eric Horstmann (Avid Solution Specialist) gave me a short demo of the console. I actually thought then that the S6 was precisely what we were looking for. The fact that the interface could be used to operate not only Pro Tools but also other DAWs was very, very interesting.

Here, genuine live production is still, or again, taking place: Different walking surfaces

What exactly were you looking for? We were looking for something that would allow us to mix in the box, more completely and comprehensively. We had also done this previously, but now wanted to make it physically tangible. That meant: Operating controls for everything which we otherwise handled in the software mixer, with the mouse. We wanted excellent feedback from the hardware; in other words, naming, the display of parameter values, and very good resolution – better resolution than that of MIDI – and the S6 promised all this.   And several parameters can be controlled simultaneously… Exactly! In radio play productions, the mixing is very dynamic. In fact, there are always many parameters which change simultaneously. For example, if someone walks across a room, the volume must be changed, the panorama altered, and the reverberation modified. With a mouse, this is achieved in several steps. However, it can be managed much better and more easily if my fingers are on the faders and are turning the controls, so that I can guide it with my hands, so to speak.   Almost like a live mix… Yes, and nuanced volume changes can be achieved better with the fingers than with a mouse.

Almost like live mixing – radio feature production

How did the process evolve, and when was the decision made in favor of the S6? We have worked satisfactorily and successfully with Sequoia for a long time. Finally, we wanted to integrate a controller-based workflow with our systems. For this purpose, first there was a two-year period of becoming familiar with Avid and bringing together the 2 companies Avid and Magix. We met once at the Magix premises in Berlin. There, for the first time, we were able to see the console with a rudimentary integration of Sequoia, and to provide feedback and make our requests to both companies. Then three or four months passed, and we met here at our premises once more, to see further developments both in the S6, and in a beta version of Sequoia. A steady increase in functionality was apparent. Finally, last summer we were in the tendering phase, specifically focused on the new studio. We had to decide if we were courageous enough to follow this path. We met once again in Berlin, and the overall concept of the S6, plus the audio hardware of another manufacturer, plus Sequoia gave us the impression that we could safely proceed to an implementation phase, where we knew that we were acquiring something that would serve its purpose here for the next ten to fifteen years. The confidence that we were getting a system that was obviously stable and functioned well – that was the decisive factor. We put the studio into operation in March, following a long training phase. Eric also instructed the operators and service personnel here. That was a phase where colleagues could become familiar with the environment here without the pressure of production. We have been in productive operation since the end of April, and have now already made several productions. Of course, there are still a couple of things that could be better – that is a work in progress – but in fact with the first production, we immediately perceived and implemented precisely the advantages we had desired. Our vision has thus been realized. Does the console provide better support for the creative element? We can implement director requests much faster and present a result. This adds vitality to the entire production process. It was already evident in the first production that without using a mouse, all parameters can be affected in depth which otherwise would have to be found in the menus, and then perhaps nevertheless omitted. Everything that is a bit complex in the software is deployed much more naturally, because it is brought to the fore and incorporated into the hardware. This functions very well.

To what extent have soft keys been set up? We have done this in the meantime, but quickly noticed that we do not need many. We did not need to spend weeks searching for menu items that we would like to assign to a hardware button. In addition to pure transport field operation, there are a couple of markers and special functions that can be handled very well at the console level without a mouse. In order to make it still better, a missing feature to be added is a mapping capability for plug-in parameters, for example corresponding visually to the plug-in. At present the parameters are widely scattered and difficult to locate. For instance, my output encoder is in one place for one plug-in and in another place for another, and I constantly have to look to see what I actually need to turn. Then I must reach for the mouse. However, at least it is planned that this mapping feature will be included in one of the next S6 updates. Once again, this will help us a great deal and will be a significant enhancement.   Was the configuration carried out according to your specifications? We put a lot of thought into this in advance, playing with the modular capabilities and spreading large sheets of paper out on the table. During the entire planning phase, we allowed ourselves the freedom of not carving anything in stone. We specified only a framework, in order to be able to decide after six months whether the configuration of the modules is ideal in practice. That is a major advantage of this console. In this kind of work there are always two approaches: The mixing console in the middle and the DAW on the side, or the DAW in the middle and the console divided and on either side. We are keeping both options open. As can be seen: In addition to the actual console modules we have blank panels, and can thus go two more levels outward with the console and make space in the middle, if it becomes evident that this workflow is better than sitting centrally in front of the mixing console. In this regard, we are currently in a experimenting. We have taken a close look at the ergonomics: How can I operate the mixing console most effectively? This is related to arm length and the accessibility of operating controls. A customized feature is the elevation of the rear modules. We sat in front of a flat surface and looked at the modules, asking ourselves: At what angle can I actually read the parameter values in the OLED display, without the encoder in the front blocking my view? Or how long is my arm? Where am I able to reach? An unusual element in the configuration is the touch module, for instance. Usually, it would be positioned further back. There it would be difficult to reach with my outstretched arm, but I often have to use it. We have configured everything so that we can work as ergonomically as possible. A small detail which we had installed is the custom-designed trackball that is now positioned in front of the touchscreen. This setup is not yet available from Avid yet. Perhaps it is something that they can develop in the future … Of course, it should fit in visually. It is proving itself, because when I need the capabilities of the mouse, I do not have to move out of reach of the mixing console. I use the central trackball, and can take care of the things that I would have had to do with a mouse.

Trackpad integrated into the console workspace

There are 24 faders and the encoder module for plug-ins: Have you left the possibility open of working with more faders, or can you navigate well as is? We have that option, since we have prepared for a maximum expansion. Beneath the panels, connections for more modules are already in place. The maximum would be 48 faders. But how far can I stretch my arms, to be able to work effectively? Everything else is made possible by the mixing console itself, because I can bank channels. I can thus stay on the same work surface and can load other channels onto the surface. This is achieved very well via layouts, zones, and further banking of the DAW channels. I think this is actually a good level of expansion, where we seldom feel a lack of faders. However, a project with several people sitting at the mixing console would be a different story. Each person needs his or her own working area. However, I don’t see this for us at the moment. In really big surround film mixing, one often sees several workstations at a single mixing console, but that is not the case here.   Can you describe the first two productions? I did one production this weekend, for a nationwide competition. The NDR provided the technology, so that selected school classes that had submitted a radio play could record and produce it. Yesterday and the day before there were 15 students here each day with teachers, a director and an assistant director. On each day, we recorded a short radio play and then finished producing it the same day. The other production was a feature for the program NDR Info.   We have already discussed one feature request. Another was the waveform display, is that right? Exactly. Magix is currently working on the waveform display, which is not yet available as a feature for customers. In any case, once again it is a step forward, especially for post-production, for isolated things with short sounds that appear only once on a track. One should also be able to recognize these visually when looking at the desk. In addition to metering, the waveform display would be running, and I would immediately recognize: Here comes the sound on the track! I would no longer have to look at the DAW to orient myself, but would be able to focus on the position where I hear the best, and nevertheless see what is coming. Naturally there are many other small details, which cannot all be itemized.   What plug-ins do you use? In the “Feature / Radio play” area, which is very much concerned with the virtual representation of spaces, there are a couple of outstanding plug-ins, one example is Speakerphone from Audio Ease. This plug-in can be used, for instance, if an actor is speaking on the telephone, or is standing on a railway station platform and an announcement is heard in the background. This greatly facilities the workflow. One just needs to be careful not to use only the presets, because then the product would be recognizable in every radio play. However, everything can be adapted well so that, all things considered, a wonderful world of sounds is available. Another example is the Altiverb plug-in for representing spaces, including those that might not be required in the musical realm: A forest, a bedroom, or a kitchen. For radio plays, and certainly also in film post-production, Altiverb is a useful tool, because many parameters are already there, which would be complex to create from scratch. This makes the workflow significantly faster. We wrestled for a long time with the question of whether we can execute a project without the customary audio connection. This was usually a broadcast audio mixing console which, in addition to extensive audio, also handled intercom, source monitoring and control for us, and was what we were accustomed to in other projects. In principle, that is part of this project: Decision-making concerning the AX32 product and considering what audio technology is of essential importance to us and what can be dispensed with. One can sometimes complicate things, depending on the possibilities. We also considered for a long time how commands should be handled. Do we really have to be able to address all spaces individually? Is it not just as effective to have a general command that goes to all pathways and can be called upon by the places? We examined all the possibilities of the AX32 and ultimately fully utilized them, and at the moment we are not missing any functions.

Individually ergonomically adapted, for a comfortable, fatigue-free workflow

What audio hardware is used? For the audio, everything is based on two DAD AX32s, which provide us with the entire audio and control structure here in the room. We have 24 analog microphone connections divided between two rooms, the multichannel audio digital interface (MADI) connection to two Sequoia systems, and routing of individual AX32 signals to the Dante network, also for headphones. Incidentally, this is the first time we have used Dante in productive operation at our facility here. We have also cross-connected the two AX32s with the MADI, because we need to send the signals of both to other equipment. As well, it should be noted that the two AX32 systems are also designed to provide redundancy. We have equipped them so that we can compensate for the malfunction of one system by reconnecting cards in the AX32. This also applies to the two Sequoia machines. During recordings, we always run both systems, so that we have the recording available on two separate hard drive systems. Nothing is worse than when the actors have left the premises and the audio is gone! We also have a pool of spare parts for all the central elements of the S6, that we keep here on the premises.   Do you occasionally use several DAWs simultaneously since the S6 is capable of this… In principle, we already work with a type of combined operation for recording, where we put the hardware controls of the AX32 on the surface and in parallel, via a layout, position the corresponding Sequoia recording channels alongside. That is a great advantage for us at this workstation. Both Sequoia systems are connected to the S6, which means that I can choose between the two systems while working. We have three screens, and have to toggle on the keyboard so that the DAWs are visible; and on the S6, to call up the operating controls of the other machine.   With this installation, you have attracted considerable attention in the ARD… As far as I know, we are the first to implement this concept. In the past two months, we have received positive feedback from many ARD facilities, and some colleagues wish to travel to Hanover to look at the system and consider whether it meets their requirements. An adaptation would not be suitable everywhere, but for our needs the setup here functions very well. Everyone in the ARD who is presently dealing with this issue is eagerly observing the setup here, and for everyone this is one of the options that can currently be considered. The company Qvest Media made an excellent job of the technical and mechanical implementation of our plans. We were very fortunate with the people involved. We could see immediately that they understood us and that they contributed extensive experience to the project. In terms of furniture construction in particular, we had very good experiences with the relevant companies. With regard to the two companies, Magix and Avid, it was very gratifying to feel over a period of months that they had the will to find solutions, to take an active role, and to work together at a very good level. That was super! When different professions are involved, it can also happen that they always shift the blame. That was not at all the case here. Even problems that arose from time to time were addressed openly and solved!

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Avid, Dolby, and Cutting Edge Host an Immersive Audio Event Where Sound is the Star

It was a jam-packed ‘who’s who’ of the media and entertainment industry on July 11 at the state-of-the-art Dolby Cinema in San Francisco. Avid teamed with audio pioneer Dolby and media systems integrator Cutting Edge for an exclusive audio event to highlight Avid Pro Tools’ integration with the Dolby Atmos® immersive audio format.

We each had our own perspective on the event. For Cutting Edge, the focus was on community building and knowledge sharing as much as the technology. “This is a tight-knit industry,” says Cutting Edge’s Larry Shenosky. “Events that build collaboration and a sense of community are key, and personal relationships often drive decisions among early adopters.”

A room made for the occasion

The industry was out in force, with representatives from Sony and Pixar to Netflix and Apple. And there couldn’t have been a more perfect venue for the event than the Dolby Cinema, which sits atop the Bay Area’s BART (Bay Area Rapid Transit) system and offers the very best audio and video technology available today.

The theater is suspended by large cables and air gapped from the rest of the building. You move through an air vestibule to get into the theater, resulting in a negative space where there’s no opportunity for sound or vibration to permeate. Avid’s Ozzie Sutherland calls it “one of the greatest rooms ever built for its acoustics and video quality,” adding with a smile, “we’re ruined now.”

Explosive sound editing

The evening got all the more interesting when preeminent sound effects designer Harry Cohen gave the more than 150 event attendees insights from his experience creating rich and dramatic sounds for the film Deepwater Horizon released last year.

For Cohen, the film was “the perfect canvas” to use Dolby Atmos. He stressed the creativity and control it gave his mixing with Pro Tools and how it became an important part of the design process. He could easily pan over and over again and use samplers differently and more extensively than ever before. “I’ve always used samplers but this is the first show that I decided to do it for every endeavor,” he explains. “It helped speed up the audition process dramatically. Is this the correct sound? Does it work? Do I need to create something else?”

It also created more opportunities for spatial placement of sound, for realistic sound that comes from above – like a helicopter descending – or below – like the rich tones and reverberations gurgling up to the surface in the film’s underwater scenes. The effect is hypnotic, drawing audiences in through a far richer and immersive experience.

Sound in three dimensions

The Pro Tools Dolby Atmos integration allows sound designers to work more efficiently and creatively. As Sutherland explains it, “Sound designers have been working in this format for a few years but there have been slow downs and challenges. This integration is all about improving workflow – making it more efficient, with more creative tools and a more comprehensive integration that extends to the Pro Tools | S6.”

“Immersive audio is key differentiator today for content creators,” adds Shenosky. He points to technology’s ability to move sound in three-dimensional space so it flows around you and you feel like you’re part of the action. “Audio production quality can’t be an afterthought,” he says. “Sound, video and metadata are what it’s all about. Avid has led the path with Pro Tools —they’re the gold standard of digital audio workstations.”

Beyond cinema

While the use of Pro Tools and Dolby Atmos has been primarily for cinema up to now, there are obvious applications for immersive audio beyond the theatrical. The gaming community is increasingly looking at immersive sound for virtual reality and 360-degree video. And who knows what Apple could have up its sleeve.

No matter where you sit in the industry, the event demonstrated the power and fidelity of the program in a way that surpassed our expectations. In a fitting moment, just before the last Deepwater Horizon clip was shown, the audience demanded that we ‘turn it up’ (to nearly deafening decibels) and cheered when hearing—and seeing— the platform explosion sequence. A good night was had by all.

Visit Avid to learn how Avid Pro Tools integration with the Dolby Atmos can bring immersive audio to your next project.

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.

Pro Tools | S6

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

CONTACT US