[{"_id":"project-settings","settings":{"translateMetaTags":true,"translateAriaLabels":true,"translateTitle":true,"showWidget":true,"isFeedbackEnabled":false,"fv":1,"customWidget":{"theme":"custom","font":"rgb(0, 0, 0)","header":"rgb(9, 129, 240)","background":"rgba(9, 129, 240,1)","position":"right","positionVertical":"bottom","border":"rgb(255, 255, 255)","borderRequired":false,"widgetCompact":true,"isWidgetPositionRelative":false},"widgetLanguages":[{"code":"ja","name":"日本語"}],"activeLanguages":{"es-LA":"Español (América Latina)","pt-BR":"Português (Brasil)","ja":"日本語","en":"English"},"enabledLanguages":["en","es-LA","ja","pt-BR"],"debugInfo":false,"displayBranding":true,"displayBrandingName":true,"localizeImages":false,"localizeUrls":false,"localizeImagesLimit":false,"localizeUrlsLimit":true,"localizeAudio":false,"localizeAudioLimit":false,"localizeDates":false,"disabledPages":[],"regexPhrases":[],"allowComplexCssSelectors":false,"blockedClasses":false,"blockedIds":false,"phraseDetection":true,"customDomainSettings":[],"seoSetting":[],"translateSource":false,"overage":false,"detectPhraseFromAllLanguage":false,"googleAnalytics":false,"mixpanel":false,"heap":false,"disableDateLocalization":false,"ignoreCurrencyInTranslation":false,"blockedComplexSelectors":[]},"version":19733},{"_id":"en","source":"en","pluralFn":"return n != 1 ? 1 : 0;","pluralForm":2,"dictionary":{},"version":19733},{"_id":"outdated","outdated":{"#With LISTENTO from Audiomovers you can stream uncompressed multichannel audio to and from any DAW. Ready to go in five minutes. Just send a link.":1,"#4 May 2024":1,"#20 May 2021":1,"#Please refer to your DAW’s user manual.":1,"#Next payment date: <strong ljsid-1=\"\">16 November 2025</strong> <a ljsid-3=\"\">View invoices</a>":1,"#Next payment after today: 16 Nov 2025 <a ljsid-1=\"\">UTC</a>":1,"#4 Jun 2020":1,"#Next payment date: <strong ljsid-1=\"\">27 October 2025</strong> <a ljsid-3=\"\">View invoices</a>":1,"#24 Dec 2023":1,"#26 Apr 2021":1,"#17 Nov 2021":1,"#22 Dec 2021":1,"#7 Apr 2022":1,"#15 Mar 2021":1,"#Whether on Mac or PC, iPhone or Android, you can find the right version of LISTENTO Pro Yearly + INJECT for your needs below.":1,"#Download the right version of LISTENTO Pro Yearly + INJECT for your machine below. <a ljsid-1=\"\">View license details</a>.":1,"#Expiry date: 03/2031":1,"#Next payment date: <strong ljsid-1=\"\">30 October 2025</strong> <a ljsid-3=\"\">View invoices</a>":1,"#Dolby-Atmos-Renders-LISTENTO":1,"#A bit of history":1,"#This requirement for a flat neutral frequency response is well understood. A second requirement, which is sometimes less well understood is the necessity for extended headroom and system protection. When streaming music, playing back broadcast, material or playing CDs or vinyl, this material has a restricted dynamic range compared to the raw, unprocessed sounds which are likely to be encountered in a studio. The difference between the quietest and loudest sounds encountered by a consumer are significantly less than those encountered when recording live sources through a microphone, or even from electronic sources. A greater potential for damage exists and good quality monitors are designed with this in mind. As well as the physical construction of the drivers, many feature electronic protection to limit the damage which can be caused by unexpected and unpredictable signals hitting the drivers.":1,"#The design goal of a loudspeaker designed for listening pleasure is to make music sound as good as possible. A studio monitor is designed to represent the audio in as accurate and neutral a way as possible. These two design goals overlap to some degree in that both require distortion-free, full bandwidth reproduction from the deepest bass to the highest treble, but if a hi-fi speaker is deliberately voiced to flatter the music by emphasising a particular region of the spectrum, as long as the result sounds ‘nicer’, then that speaker is improved for its intended use. This differs from a studio monitor in that the sound of the monitor influences the decisions made at the mixing and mastering stages of production, and making those decisions based on a response that deliberately emphasises or attenuates any part of the spectrum will result in less predictable results when played out in the real world on playback systems of varying quality.":1,"#Remember the influence of your room is probably just as significant as the difference between one monitor and another. Basic acoustic treatment doesn’t have to be expensive but there is a practical limit to how much you can do to a room for a reasonable cost.":1,"#If possible buy the best you can afford and keep them, unlike computers and software, monitors have a potential service life of decades. Every studio can find a use for a second pair of quality monitors.":1,"#It’s possible to spend a great deal of money on high-end hi-fi speakers, in some cases more than you’d spend on professional monitoring. While the hifi and pro worlds occasionally overlap, there are two principal differences between speakers designed for consuming music and speakers designed for producing music. The first is voicing.":1,"#Monitors are cheaper and better than they have ever been but you still get what you pay for.":1,"#Closing thoughts":1,"#These are comments on speakers I know well. I haven’t tried everything, not many people have, but:":1,"#What would I recommend?":1,"#The difference isn’t one of cost or quality.":1,"#At the top end of the market it’s often about balancing personal preference against features. Some high-end brands are overtly technological whereas others are about refining purely analogue approaches which have been with us for decades. Both are legitimate.":1,"#If you’re buying better quality monitors then consider buying from a pro audio dealer rather than a ‘box shifter’. Some allow auditioning in your studio pre-purchase and some manufacturers sell direct to the public. Brand perception is much more of a factor if you are a pro running a public-facing studio or mastering room so if you feel influenced by brand, there is nothing wrong with that. A friend of mine specifically chose to equip his Atmos studio with a brand of monitors he considered ‘neutral’ in terms of the brand’s perception because he felt choosing either of his other two choices might have alienated fans of the other brand!":1,"#More upmarket monitors":1,"#Once you’re away from the extremely inexpensive end of the market it’s hard to buy objectively ‘bad’ monitors. Much of it is about what you like. If there was such a thing as a perfect monitor it would have been found by now. Preference is perfectly legitimate. If you’re uncertain about your choice then check the returns policy before buying.":1,"#If you’re looking for a first pair of monitors reviews are useful to tell you about features but keep in mind that comments on how they sound are always subjective and are affected by the room in which the reviewer is listening, what they hear in their room won’t necessarily translate you your room. Also consider the experience of the person sharing their views. The only way to really tell is to hear them in your room, but if you’re buying a first pair of monitors you might not have a great deal of experience to draw on. One thing anyone should notice with a better set of monitors is that mixing becomes easier. You get better at it because you can hear what you are doing better. That’s something everyone should notice even if you’re not sure exactly why it’s happening.":1,"#Budget monitors":1,"#So far this article has been a general discussion of the considerations and issues facing someone purchasing monitors. A few specific products have been referenced but what about some more specific advice?":1,"#Specific purchasing advice":1,"#Speaker calibration is extremely worthwhile as a complement to adequate acoustic treatment but shouldn’t be considered an alternative to it.":1,"#If you are setting up your first studio, you may well wonder why you can’t just use the system you have at home which you use for listening to music? It’s a good question and like most people as old as me, my first ‘studio’ was a four track and my bedroom hifi and my principal reason for using them was so that more than one person could hear the music without passing the headphones around the room. So it does beg the question. Why do we have special ‘monitor’ speakers at all? Are they really that different?":1,"#More correctly referred to as ‘speaker calibration software’ these products are very clever and genuinely useful but it’s important to understand their limitations. This isn’t a deficiency in the products, it’s just a fact of physics. Speaker calibration software can’t fix ‘nulls’ caused by standing waves in rooms and these are some of the most audible acoustic issues we face. Without getting into the details of this, the most serious issues facing most small studios are in the bass and if you’ve ever noticed how some bass frequencies build up at points in your room and disappear at others, that is a standing wave. Speaker calibration software can’t fix these issues, though they can help to some degree. To fix these standing waves you need bass trapping.":1,"#You’ve probably already noticed that much of the advice given thus far has balanced the contribution of the monitors with the room in which they are being used. This is inescapable, the monitors and the room together make your monitoring system. The frequent references to acoustic treatment is part of that, and dealing with acoustics is often closer to DIY than production and engineering. Isn’t there a quick fix? What about “room correction software”?":1,"#Can I use room correction software to improve my room?":1,"#If your reason for upgrading is that you’ve outgrown your current monitors and you want to upgrade to more professional monitoring then make sure you are genuinely moving up rather than sideways. Quality monitor brands as favoured by the pros are great and if you are prepared to pay for it you’ll get better results, but don’t ignore your room and its acoustic treatment. If you upgrade well you can retire your old pair and replace them with something you can keep for years to come.":1,"#Do you need more power or low frequency extension? If so consider adding a subwoofer. The advantages of using a dedicated subwoofer is a big enough subject to be an article of its own but be aware that using a well-matched subwoofer (preferably one from the same manufacturer as your monitors) not only delivers more and deeper bass, but because of the work it relieves your monitor of, it can improve the performance of your monitors.":1,"#It’s natural to want to upgrade equipment when budget allows, and if you’re looking to change your monitors rather than buy a first pair then a couple of questions might help. Firstly, why do you want to upgrade? What don’t your current monitors give you? If the answer is that they don’t sound good enough or your mixes don’t translate well then consider looking at your room as well as, or even instead of, upgrading. This often isn’t the answer people want to hear, but in spite of the fact that installing appropriate acoustic treatment is more complicated than buying new monitors, unless your room has already been properly treated, your current monitors are almost certainly affected by your room at least as much as the difference in sound between your current monitors and whatever you’re considering replacing them with – Sorry…":1,"#What if I want to upgrade?":1,"#Buying quality for the long term has much to be said for it so if you want to keep costs down, rather than buying cheaper large monitors, consider buying smaller, high quality monitors. You will lose out on bass extension and volume but if you add a matching subwoofer at a later date you can rectify this, and its the midrange which is really important anyway. Many people overestimate the importance of bass performance, understandably because ample, deep bass is impressive, but if you are looking for good mix translation most of the difference between a good and a poor mix is in the midrange.":1,"#If you look online you’ll notice there are a lot of 2 way active monitors with bass/mid drivers around 6’ in diameter. These are popular for a reason. Offering the best compromise between simplicity and performance, you’ll find great value here. Do be aware that monitors are priced both individually and as pairs. This confuses search results!":1,"#If you don’t have the budget to buy some proper entry level monitors, don’t buy super-cheap. If you can use what you already have, including headphones, and wait until you can afford what you want then do that. Unlike computers and software, monitors can have a working life of decades. Some of the very cheapest monitors aren’t very different from entry level hifi speakers but are marketed as professional monitors and you’re best waiting if you can of your budget isn’t yet sufficient.":1,"#How are monitors different from consumer speakers?":1,"#What features should I look out for in a first pair of monitors?":1,"#On the subject of acoustic treatment, comprehensive acoustic treatment is difficult and expensive to do but the same Law of Diminishing Returns that influences monitoring also operates here and modest treatment can yield very worthwhile results. If you are renting your space solutions which don’t damage the walls, or even free-standing treatment products are available, so even if you have a landlord from hell you can still treat your space.":1,"#Like most questions, it depends. The Law of Diminishing Returns is very much in play here, with smaller and smaller gains in performance coming with greater and greater increments of expense. But while it’s possible to spend a great deal of money on studio monitors, there has never been a better time to get really great value studio monitoring. The first piece of advice would be to consider your studio and what it needs to do the work you do now, and hope to do in the future. The room and the monitors are one system and there is little point in investing all of your budget in speakers when investing some of your budget in some appropriate acoustic treatment would yield better results.":1,"#How much should I spend?":1,"#With that overview of key developments in monitoring over the years we’ve introduced a lot of issues, but returning to the key point of this article, how much should you be spending on your monitors and what do you need for your purposes?":1,"#Being able to accurately create the experience of listening to speakers in a room using a binaural rendering has always given unpredictable results because the specific cues which have to be accurately recreated in the headphones are specific to our unique physiology. The combination of ear shape and even the shape of the shoulders and torso all affect the results. They can be measured and reproduced in a Head Related Transfer Function (HRTF) and this has been incorporated into the best of the current generation of products. Generic HRTFs are available. These are what is used to create binaural mixes of Atmos and Apple Spatial content on streaming platforms, but a more convincing effect can be gained using a personalised HRTF based on the specific physiology of the listener.":1,"#Moving into the second quarter of the 21st century a rapidly developing, and improving area of studio monitoring is in virtual monitoring – creating virtual loudspeakers in virtual rooms, all delivered via headphones. You might wonder why headphones aren’t already the answer to many of the issues around studio monitoring. After all, the room in which people work inevitably influences the performance of speakers, and usually negatively. Using headphones bypasses the sound of the room. Headphones are an important part of studio monitoring, particularly as so much more music is consumed on headphones now that streaming via mobile devices is so ubiquitous, but headphones bring their own set of issues and using loudspeakers as well as headphones is almost universally recommended.":1,"#Near field monitors are speakers which are used in the acoustic ‘near field’, a region close to the speakers at which the direct sound from the speakers is louder than the sound which has been reflected off one or more surfaces before reaching the listener. Typically mounted between 1 and 2 metres from the listener, this approach reduces the influence of the room’s acoustics making it particularly suitable for home studios with less than ideal acoustic characteristics. Near field monitors in studios are overwhelmingly the most common approach in studios today. Larger monitors, often described as mid field are often found in larger rooms but the large, soffit mounted main monitor is increasingly rare these days.":1,"#Near Field Monitors":1,"#Recording studios commonly featured large main monitors which were designed as part of the control room and built into the walls, known as ‘soffit-mounting’. But these were frequently complemented by pairs of small speakers designed to give an alternative, and more real-world, perspective on the music. Small, single driver Auratones became a common sight during the 1970s and during the 1980s the Yamaha NS10, a two-way speaker with a distinctive white speaker cone, became popular as an addition to main monitors. This was originally a hifi product, which flies in the face of the commonly accepted requirement for a successful monitor loudspeaker to be flat (it was not) and to be specifically constructed for studio use. But it was popular and did much to promote the use of small, free standing two way speakers, fundamentally identical to hifi speakers, as ‘nearfield’ monitors.":1,"#In the very early days loudspeaker monitoring existed principally to check for technical faults, like buzzes and intermittent signals. The frequency response of very early speakers was poor. The first monitor speaker which was valued for its accuracy, was the Altec 604, versions of which stayed in continuous production from 1944 until 1998, an astonishing 54 years!":1,"#The variety, quality and value for money offered by studio monitors today is greater than it’s ever been. Much of the discussion around studio equipment holds the best quality vintage equipment of decades ago in high regard. Old microphones, mixing consoles and outboard equipment are seen as the pinnacle of design by many. But the same cannot be said of monitoring which has improved demonstrably over the decades and the best monitors of years ago cannot compete with modern offerings on technical performance.":1,"#24 Feb 2024":1,"#3 Jun 2021":1,"#Next payment date: <strong ljsid-1=\"\">31 October 2025</strong> <a ljsid-3=\"\">View invoices</a>":1,"#24 Sep 2021":1,"#1 Oct 2021":1,"#7 Mar 2022":1,"#Looking to A/B test your Atmos mixes with published Atmos productions? <a ljsid-1=\"\">Here’s how you do it. </a>":1,"#<strong ljsid-0=\"\">Video: </strong>Demonstration within Logic Pro":1,"#<strong ljsid-0=\"\">Diagram: </strong>Pro Tools and Logic Pro":1,"#We’ve pulled together these resources to help you understand how you can stream Atmos rendered audio via Pro Tools and Logic Pro using our LISTENTO and OMNIBUS software.":1,"#Términos de uso":1,"#Now separated by an 11-hour flight and restricted by lockdowns, they needed to find a creative solution that allowed them to finish the album they were working on remotely.":1,"#Phil Gornell was already a regular user of the LISTENTO plugin before the pandemic struck, using the software to get real-time mix critiques from his clients from as early as 2019. Fast forward to 2020, when just four weeks into writing sessions with pop-rock artist Heart of Gold, their entire process was halted by his visa expiration and the COVID-19 pandemic.":1,"#20 Jun 2024":1,"#23 Jul 2022":1,"#3 May 2024":1,"#28 Jun 2024":1,"#Start date: <strong ljsid-1=\"\">22 December 2021</strong>":1,"#11 Jul 2022":1,"#13 Oct 2023":1,"#ALL EPISODES":1,"#Audio MIDI Setup:":1,"#Next payment after today: 15 Nov 2025 <a ljsid-1=\"\">UTC</a>":1,"#4 Apr 2024":1,"#DSP":1,"#It offers an intuitive interface and streamlines the audio routing workflow, making it accessible for all users, from beginners and absolute professionals.":1,"#OMNIBUS is a software solution for seamless audio routing within your Mac. It allows you to route between applications and hardware inputs and outputs, split audio from one source to several destinations for easy A/B, combine audio input devices for DAW outputs and quickly sample audio from various sources.":1,"#Why use OMNIBUS with OBS?":1,"#Thanks to our newly updated OMNIBUS tool, it has never been easier to live stream audio from multiple applications using OBS. Below we break down how you can use OMNIBUS in conjunction with OBS when live-streaming sessions to an audience.":1,"#However, setting up your live stream can be a complicated process. Most opt for OBS (Open Broadcaster Software), a free, open-source software for video recording and live streaming.":1,"#Live streaming is an incredible way for artists, producers and engineers to create secondary revenue streams, and establish and nurture their online fan bases. It can also provide them with the opportunity to learn new skills, techniques and workflow hacks.":1,"#Once you’re happy with your setup, you can go back into OMNIBUS and save this routing configuration for later use.":1,"#Before you start streaming, it’s good practice to test out your stream. Simply start recording and pass some audio from your daw and your microphone. Now play this video back and see whether the audio is being recorded.":1,"#7. Now we’ve got our DAW’s audio and mic’s audio we’re now ready to start streaming or screen recording.":1,"#As this is a mono channel, however, you will notice on the input level for our mic in OBS that it is only capturing audio from the left channel. We’ve selected a mono signal and OBS is thinking it’s a stereo input. To amend this, simply navigate to advanced audio properties in your audio capture device for your microphone OBS and navigate to the mic input capture you created and change it from stereo to mono.":1,"#If you have a USB audio microphone such as a Snowball mic, you could select this right here. However, for this example I have a microphone plugged into my audio interface that I wish to use as my commentary microphone. All I need to do is route channel 1 from my audio interface into OMNIBUS C channel 1.":1,"#6. Let’s repeat the same steps as before in OBS and set up an audio capture device but this time, let’s use OMNIBUS C.":1,"#If you’re just starting and don’t have a microphone yet you could always use your computer’s built-in microphone.":1,"#5. Now, let’s set up a microphone to use for our video commentary. As OMNIBUS 2.0 supports hardware inputs, we can utilise any channel from any of our hardware inputs and route them through OMNIBUS to another designated input for OBS. Doing this will allow you to adjust the levels between your microphone and your DAW audio.":1,"#3. In OBS, set up an audio input capture and assign it to one of the OMNIBUS drivers, here we’ve got it set to OMNIBUS A channels 1&2 as we’re only sending our stereo masters output to OBS.":1,"#2. Before moving to OBS, you’ll first need to route your DAW’s audio to your designated monitor output so that you can hear your DAW. Simply drag channels 1 and 2 from OMNIBUS B to your chosen monitor output. In this case, a UAD Apollo interface.":1,"#1. Set your DAW’s playback engine as one of OMNIBUS’ virtual drivers so that your DAW’s output will be travelling through the OMNIBUS application. For this example, we are using OMNIBUS B.":1,"#For this example of using OMNIBUS and OBS, we are using the DAW Logic Pro. The same logic will also apply to your DAW of choice.":1,"#OMNIBUS & OBS in action: How to live stream a music production session":1,"#Let’s see how OMNIBUS makes capturing application audio easy with OBS.":1,"#OMNIBUS has an easy-to-use routing matrix, allowing you to simply click the connections between devices you want to make. It also allows you to save and recall complex routing setups with ‘snapshots’, which you can label for ease of finding in future and also has precise metering and support for hardware inputs and outputs meaning it can adapt to even the most demanding scenarios.":1,"#20 Jul 2024":1,"#24 Nov 2021":1,"#Remote audio collaboration made simple":1,"#Once you’ve pasted a streaming link into the receiver, you can check whether MIDI is being transmitted by looking out for the MIDI activity indicator flashing red. It will appear dark grey when not logged in or if your subscription doesn’t enable you to pass MIDI.":1,"#An unstable internet connection may cause MIDI data loss when receiving streams, something that will lead to the MIDI integrity error message appearing. At this point, be sure to increase your MIDI latency with the latency slider.":1,"#To stream MIDI using LISTENTO, open an instance of ‘LISTENTO’ onto a virtual instrument/MIDI track, select your session settings, login and start your transmission.":1,"#Some tips for best harnessing MIDI sync include:":1,"#Tips for making the most of remote MIDI collaboration":1,"#The LISTENTO App, this enables you to generate MTC to use when syncing remote DAWs.":1,"#The LISTENTO Instrument plugin, as this enables you to transmit MIDI information from your DAW. It also comes with a sidechain input that allows you to transmit MIDI information and audio simultaneously.":1,"#Greater scheduling flexibility – With no need to travel in order to play, record or produce music with others, remote music collaborations are a lot easier to organise.":1,"#What software you’ll need":1,"#You can also synchronise remote DAWs with transmitted or newly generate MIDI time code (MTC) through the LISTENTO app, opening up greater flexibility for mixing remotely and controlling your collaborator’s DAW with MIDI control surfaces, synchronising remote DAW’s playback and using the MTC generators to synchronise remote DAWs or video playback when streaming scoring sessions between studios.":1,"#Because our solution now supports real-time MIDI streaming, you and your collaborators are able to trigger and record each other’s MIDI-enabled virtual instruments remotely, facilitating collaborative music production.":1,"#Our LISTENTO plugin facilitates uncompressed audio streaming to and from any DAW, enabling you and your collaborators to make use of your respective DAWs to record and edit HQ audio together in real-time. This makes it the perfect tool for remotely collaborating with other musicians to produce music.":1,"#3. Stream and record MIDI in real-time":1,"#Monitoring your audio in real-time to check for issues like dropouts and distortion.":1,"#Turning off video playback in other tabs or browsers to minimise the network bandwidth use and CPU resources.":1,"#Optimising your network connection to reduce latency and packet loss. You may even want to use a wired connection.":1,"#Investing in a high quality microphone. By buying a purpose-built mic for music recording, you’ll get much better results seeing as these microphones can deal with higher sound pressure levels, have fantastic frequency response characteristics, and are more robust than consumer-grade models.":1,"#Collaboration wherever you are – Remote collaboration enables you to work with each other no matter where you are, even if it’s the other side of the world.":1,"#Recording in an appropriate environment – somewhere with no background noise or echo.":1,"#To <a ljsid-1=\"\">make the most out of your remote recording session</a>, we recommend:":1,"#Tips for getting the best results from remote recording":1,"#Studio monitors":1,"#A laptop or mobile phone":1,"#You’ll need the following equipment to record a remote music session:":1,"#Let’s look at the advantages of remote music collaboration more closely:":1,"#What equipment you’ll need":1,"#After pasting the streaming link, you’re ready to record. Assign the aux tracks’s output to an audio track to record into your timeline or use the LISTENTO receiver’s built in recorder.":1,"#Add the LISTENTO RECEIVER plugin to an insert slot of the AUX track, and then open the LISTENTO RECEIVER plugin and paste the session link.":1,"#Create an AUX track and assign the audio input to the AUX channel.":1,"#Log in to LISTENTO, set the session name and send it to your collaborator.":1,"#Within your DAW, select the track you wish to transmit and insert the LISTENTO plugin.":1,"#In order to set up a remote recording session using the plugin, you’ll need to:":1,"#Remote recording is extremely difficult with most recording tools owing to the poor audio quality and frequent drops in latency. With LISTENTO, however, you can <a ljsid-1=\"\">record real-time HD audio</a> any time, anywhere, with almost no latency.":1,"#How to set up a remote recording session":1,"#2. Record your collaborator remotely":1,"#The benefits of collaborating on music remotely":1,"#Make sure to test the stream link before sending it to somebody else.":1,"#For extra security, you can add a session password.":1,"#Be sure to adjust <a ljsid-1=\"\">latency</a> and streaming quality so they’re in line with your preferences.":1,"#Although you can use the same session name for different sessions, we suggest choosing names that relate to the particular project if you’re jumping from multiple projects at a time.":1,"#Our tips for making the most out of live streaming with LISTENTO include:":1,"#Tips for making the most of live streaming collaboration":1,"#There isn’t a LISTENTO chat function to communicate with your collaborator during a live stream. Because of this, we recommend using the plugin in combination with tools like Zoom, Teams and Skype.":1,"#How to communicate with your collaborator during the live stream":1,"#Press “Start Transmission” to begin streaming":1,"#Prepare your stream and name it":1,"#With that in mind, we’ve outlined three ways to start effectively collaborating on music remotely. Firstly though, what exactly are the benefits and potential pitfalls of collaborating with musicians online?":1,"#Add the LISTENTO plugin to an audio or MIDI channel on your DAW":1,"#All you need to do to stream audio from the LISTENTO plugin is:":1,"#DISCOVER LISTENTO":1,"#DAWs generally don’t allow you to stream audio to others, so you’ll need a plugin to achieve this. Audiomover’s LISTENTO plugin enables you to stream uncompressed audio from your DAW to anybody with a link, on either their web browser, LISTENTO mobile app or DAW. This allows you to share your music with collaborators no matter where either of you are.":1,"#How to set up your DAW for live streaming":1,"#1. Stream your ideas live from your DAW":1,"#Because of this, it’s important to find remote music collab methods that work for your requirements. Here are three you might want to try for different purposes, from remote recording to production.":1,"#Incompatible technology – Even if you have the best remote music technology in the world, it’s no use if it’s incompatible with your collaborator’s, which is a big risk with remote collaborations.":1,"#Poor sound quality – Similarly, not all remote music solutions have HD streaming quality, which is particularly problematic when it comes to producing and recording music.":1,"#Latency and variable bitrates – Noticeable delays can make remote collaborations extremely difficult, if not impossible.":1,"#However, seamlessly streaming, recording or producing music with others remotely is easier said than done, and there are more challenges to doing so than you might think.":1,"#6 May 2021":1,"#The compressor was brought in from America to be used as an automatic volume-control device. Finding it not quite up to their high standards, the technical engineers at Abbey Road redesigned it. The new design was called the EMI RS124. Just a few dozen were made, and only a very small number survive today.":1,"#Expiry date: 08/2030":1,"#4 Apr 2021":1,"#2 of 5 activations remaining":1,"#here":1,"#However, remote music collabs don’t come without potential problems, including:":1,"#The challenges of collaborating on music remotely":1,"#Reduced costs – While you’ll have to spend money on essential equipment like microphones and headphones, remote music collaboration helps you cut costs as you don’t have to travel to and rent out a recording studio.":1,"#Although there are many ways to collaborate with other musicians remotely, only Audiomovers’s LISTENTO offers the all-round experience of long distance music streaming, recording and production that makes it feel like you are in the studio together, even if you’re hundreds of miles away.":1,"#How to stream Atmos rendered audio | Audiomovers":1,"#“OMNIBUS makes complex audio routing easy whether you’re an audio professional or enthusiast. Now with OMNIBUS 2.0, there is hardware input support and a new and much-improved user interface for greater flexibility. “":1,"#17 Oct 2024":1,"#Click to show TTS button":1,"#Expiry date: 05/2028":1,"#7 Oct 2024":1,"#毎週":1,"#17 Sep 2024":1,"#11 Feb 2024":1,"#You are currently logged in.":1,"#Or, it could be related to an autofill function executed by a built-in web browser or a third-party password manager.":1,"#We recommend copying and pasting your login information to a simple text editor to verify it. It sounds too obvious, but a majority of our support tickets with a similar issue are resolved by following these simple instructions.":1,"#If you’ve ruled out the above, and you still can’t login to your Audiomovers account in a web browser, please request a password reset by clicking on ‘Forgot Password’.":1,"#You have 1 of 3 activations remaining.":1,"#LISTENTO supports lossless multichannel audio, provides up to 7.1.4 surround sound, and allows users to adjust latency and bit rate to their preferences.":1,"#Password and confirm password must match.":1,"#Adjust latency from 0.1s and stream bit rate for ultimate stability":1,"#What’s LISTENTO?":1,"#In addition, all existing Pro Tools subscribers will be offered 25% off either a LISTENTO Basic or LISTENTO Pro annual subscription.":1,"#The offer to any new Avid Pro Tools Subscribers is twofold:":1,"#Stream 16-channel multichannel audio, or spatial up to 7.1.4":1,"#Stream audio in real-time from Pro Tools in up to 32-bit PCM/96 kHz quality":1,"#Whether mixing hip hop or recording orchestral sessions for major motion pictures, Pro Tools and LISTENTO have become essential parts of the audio engineer’s workflow for rapid client feedback.":1,"#Those who opt for Pro Tools Studio will receive a free year of LISTENTO Basic, while those who opt for Pro Tools Ultimate will receive a free year of LISTENTO Pro.":1,"#Listen to the stream via a link – open in your web browser, on your phone, or in Pro Tools via Receiver plugin":1,"#LISTENTO from Audiomovers is a remote collaboration plugin that allows users to share uncompressed audio straight from the DAW. Users create and share links with clients or collaborators, which can then be opened in the DAW, in a web browser window, or on Audiomovers’ own apps for iOS and Android.":1,"#Click track:":1,"#Next Payment Amount: $9.08":1,"#Audiomovers OMNIBUS 3.0":1,"#<strong ljsid-0=\"\">Error</strong>: Please enter your old password":1,"#Your feedback will be used to help improve Google Translate":1,"#Untitled":1,"#Using AirPods with Pro Tools becomes effortless with Omnibus 3. I simply select the Omnibus virtual bus as the Playback Engine in Pro Tools, select AirPods as the output device, and route both channels to my AirPods, with sample rate conversion happening invisibly in the background.":1,"#While this may sound trivial, it wasn’t something I could do before. Once I realised Omnibus 3 could fix this issue, I quickly began exploring other potential uses for the software. Why is this so difficult? When using my MacBook Pro, each AirPod shows up as a separate audio device in the Pro Tools Playback Engine. Because Pro Tools only allows the selection of one device at a time, this prevents audio from being sent to both AirPods simultaneously. As a result, I used to carry wired headphones exclusively for working in Pro Tools while travelling.":1,"#The first problem Omnibus 3 solved for me was simple, yet frustrating – I can now route audio from Pro Tools to my AirPods.":1,"#Routing Pro Tools To AirPods":1,"#I’d read about how powerful the latest version of Audiomovers’ Mac-only audio routing software was. How it could route hundreds of channels between multiple sources and share them between multiple users on multiple computers. It’s impressive. But like the majority of people, I work on my own in my studio, principally on a single computer and with only occasional in-person visits from collaborators and clients. Routing 256 channels of audio over a local network to multiple workstations isn’t something I need to do. But that doesn’t mean Omnibus 3 doesn’t do things I do need.":1,"#Omnibus 3.0 is an extremely flexible tool, but at first glance, its full potential might not be immediately obvious. It wasn’t until it solved a simple but recurring problem for me that I realised just how useful it could be across my entire workflow. Let me explain.":1,"#So those are five specific uses I’ve found for OmniBus 3 in my studio. There are many, many more but these were the ones which were most relevant to me. What problems with routing do you have in your studio? You probably have ways to get around them but ask yourself, would a single solution to all of your routing issues be a good thing? Omnibus 3 could be the solution you didn’t know you needed. Why not give it a try and see how it can simplify your workflow.":1,"#If there is a takeaway here it’s that the idea of software which can be used to route audio between applications and hardware isn’t new and I’ve had experience of other software which does the same thing. But this feels both easy and complete. I’ve tried others but they haven’t worked for me and I’ve always gone back to hardware. This one fixes the problems I actually have and the longer I’ve been using the more reasons I’ve uncovered for keeping it as part of how my studio works. It’s important to point out that the sheer flexibility and scalability of Omnibus 3 might not seem relevant to someone working alone in their studio, but there is no downside to this capability. The examples in this article are modest in scale, but as your needs grow the same tool which can solve these simple issues can also solve the biggest and most complex of projects.":1,"#From here you can use the Hot Snapshots feature controlled from the Mac’s keyboard or from an Elgato Stream Deck so you can very neatly toggle between monitoring formats, achieving in software something which otherwise requires a significant investment in hardware. When the time comes to invest in Atmos monitoring, Omnibus might be a crucial part of that move.":1,"#This is possible precisely because Omnibus 3 does such a great job of managing inter-application routing. When running an Atmos session in Pro Tools, rather than using the internal renderer, I could use the Dolby Audio Bridge to send audio to the external Dolby Atmos Renderer application, and then use Omnibus 3 to store and recall the audio routing of the re-renders to my monitoring system.":1,"#I don’t currently mix Dolby Atmos but like many people I’m feeling more and more reasons to do so, and Omnibus can be very useful as a way to store and recall live re-renders. Many Atmos-equipped Pro Tools studios use a combination of Avid hardware such as the Matrix Studio together with the DADman monitor control software and a DAD MOM controller to manage the monitoring of live re-renders. This is a great way of working, though not inexpensive, giving the freedom to check a mix at multiple channel widths, from 7.1.4 or higher all the way through surround formats down to stereo. Once properly set up Omnibus 3 can be used in a similar way to switch between various live re-renders.":1,"#Instant Recall of Dolby Atmos Live Re-renders":1,"#Crucially Omnibus 3 doesn’t have to be installed on the guest Mac. No conversion and vanishingly low latency courtesy of AVB, which is built into MacOS. Do be aware that Ethernet switches need to be AVB compatible so direct machine to machine connection is the safest bet. Your off the shelf switch might not support AVB. Best of all, this AVB Aux Cord can be left live, ready to go all the time. You can’t do that with an analogue lead, buzzing away and making loud noises when it’s touched or plugged in!":1,"#What about other simple yet common issues in the studio? For example letting someone play audio from their computer through the studio monitors? The dreaded ‘Aux Cord’. There’s nothing wrong with having a 3.5mm jack lead dangling in the studio ready to pipe analogue audio into a pair of inputs on the interface or monitor controller. But if it’s a Mac and you have an Ethernet to Thunderbolt adaptor it’s incredibly simple to use an AVB connection instead. First set up the guest machine in the Omnibus AVB configurator, set the output in the guest machine to ‘Omnibus AVB: 2’ and route from that to your desired output, in this Aux Cord replacement application it would involve two channels but an AVB connection into Omnibus can be up to 256 channels if you need them.":1,"#A Better ‘Aux Cord’":1,"#The way the routing works is that you route your DAW to Omnibus A and the system sound on your Mac to Omnibus B (or vice-versa) and use the routing snapshots to AB between them. It’s simple and flexible. One tip is that while there are volume controls for the busses in the device list in Omnibus, these settings are saved with the snapshot so unless you are prepared to constantly update your snapshots you’re better off matching the levels at source in the streaming software and the DAW.":1,"#For a tool to truly catch my attention, it needs to solve a significant problem I encounter in my daily workflow more effectively than alternative solutions. Tools that focus on a single problem have an edge—if they solve a need I have, they can demonstrate their value to me quickly. And if that tool tackles a task I don’t enjoy or removes a barrier to something I do enjoy, all the better.":1,"#Multiple Snapshots of routing schemes can be saved in Omnibus. They can be recalled using a keystroke and if they are also saved as Hot Snapshots they can be recalled instantly from the Hot Snapshots Panel in the Omnibus UI. If you have a Streamdeck they can of course be recalled literally with the touch of a button. If you use references but you prefer the open endedness of using your streaming service ‘live’ rather than importing files of reference tracks, this is ideal.":1,"#I’ve already referred to using the Omnibus virtual bus. There is a fixed two-channel bus which is always present in Omnibus but there are three additional busses which can be added, at widths from 2 channels up to 256 channels. A/Bing between a DAW mix and a reference track relies on using two virtual busses in conjunction with the snapshot feature in Omnibus. If more flexibility is needed—for example monitoring multiple sources such as browser audio and Spotify at the same time and to different destinations—then this is straightforward, and the four Omnibus busses are always there to accommodate these scenarios.":1,"#Referencing mixes against records you aspire to sound like is a well known strategy. But I’ll be the first to say it’s not super-convenient. I’ve tried the dedicated plugins, which has to be said do a great job. But my favoured technique is to route my streaming service of choice via a separate audio interface and into the B input of my monitor controller, allowing me a convenient way to A/B between the mix and reference at the touch of a button. Omnibus offers an alternative to this hardware based approach and it’s beautifully simple and effective.":1,"#A/B DAW Mixes Against References":1,"#The ability to route Pro Tools to my AirPods was the “killer application” that drew me into Omnibus 3. After solving this issue, I began exploring what other common workflow hurdles it could help me overcome.":1,"#Routing audio from Pro Tools to AirPods":1,"#The problem with using AirPods with Pro Tools":1,"#Julian Rodgers – Editor of Production Expert – explores five use cases he discovered in his studio for OMNIBUS 3.0.":1,"#LISTENTO Pro Yearly + Renderer":1,"#BINAURAL RENDERER software is non-refundable, once purchased.":1,"#You currently have an active subscription for LISTENTO Pro Yearly so your choice of plans is limited to only those you can upgrade to.":1,"#Supported plugin formats:":1,"#11 Nov 2021":1,"#When you plug your iPad/iPhone into your Mac and go to audio MIDI setup, it will appear in the audio device list with a 'enable' button next to it. Click on enable and INJECT will now be able to utilise your iPad/iPhone as an audio device.":1,"#Full license INJECT":1,"#4 Nov 2024":1,"#There are no plans available.":1,"#ZoomAudioDevice (Virtual)":1,"#14 Oct 2021":1,"#2 of 150":1,"#You already have a demo license for OMNIBUS 3.0.":1},"version":19733}]