[{"_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":20968},{"_id":"en","source":"en","pluralFn":"return n != 1 ? 1 : 0;","pluralForm":2,"dictionary":{},"version":20968},{"_id":"outdated","outdated":{"#1 Jan 2022":1,"#Opt-out date: 18 June 2024 06:06:44":1,"#1 Nov 2022":1,"#8 Jun 2022":1,"#Opt-out date: 04 September 2024 16:03:36":1,"#write a comment...":1,"#Input here...":1,"#change color":1,"#+Share to a new group":1,"#Group":1,"#Private":1,"#Ok, done!":1,"#Highlight & Sticky note":1,"#Search in Google":1,"#Write a comment...":1,"#Drag to outliner or <span ljsid-1=\"\">Upload</span>":1,"#Capture":1,"#Is lossless audio the same as high-resolution audio?":1,"#Ultimately, the choice of lossless format while streaming music may not be necessary for most users, as it depends on the specific service and device they prefer. For Apple users, ALAC is the default format, whereas other streaming platforms typically offer FLAC or WMA (Windows Media Audio).":1,"#FLAC, short for Free Lossless Audio Codec, is a popular open-source audio format used by various brands such as Tidal and Amazon Music. In contrast Apple Music uses its proprietary lossless format called ALAC (Apple Lossless Audio Codec).":1,"#Which lossless audio format is the best?":1,"#Common lossy audio formats include MP3, MP4, WMA, and AAC, while lossless audio formats include WAV, AIFF, ALAC and FLAC. Despite using compression to reduce data storage, these lossless formats still maintain the full waveform of the audio piece.":1,"#In the process of converting audio to digital file format, compression is often used to minimize file size. However, this compression can result in the loss of frequencies at the highest and lowest ends of the recording, which is why it’s called “lossy audio.” In contrast, when there’s no loss of frequencies, the resulting digital copy is considered “lossless” audio, meaning that it’s identical to the original recording.":1,"#What does ‘lossless’ mean?":1,"#Learn more about LISTENTO <a ljsid-1=\"\">here</a>.":1,"#With the popularity and necessity for high quality remote music collaboration, <a ljsid-1=\"\">LISTENTO</a> exceeds industry standards and provides a seamless and intuitive platform for music creators to collaborate in an efficient and controlled manner. Negating the need to worry about technical issues and flowing as naturally as an in-person recording session would, facilitating real-time lossless audio streaming.":1,"#Lossless audio streaming is a game-changer in the music industry, allowing users to enjoy high-quality uncompressed audio without sacrificing any of the original audio quality or information, in essence acting as a replica of the original audio recording.":1,"#For bandwidth details, please refer to page 9 of the LISTENTO User Guide under ‘Resources’ to see our recommended streaming and internet settings.":1,"#Quantization – Quantization rounds those amplitude values to the nearest available value in the digital system, based on its bit rate.":1,"#The standard lossy audio formats used by most streaming services may not be sufficient. This is where lossless audio comes in. In this article, we will explore what lossless audio is, how it differs from lossy formats, and how you can stream lossless audio to get the most out of your listening experience. Whether you’re a music enthusiast, a sound engineer, or just curious about the world of high-quality audio, read on to learn more about lossless audio and how you can start streaming it today.":1,"#<a ljsid-0=\"\">LISTENTO</a> allows you to transmit uncompressed audio in the format of PCM (Pulse Code Modulation). PCM is another method of translating analogue signals into digital data. It makes use of the binary language to store information about an audio signal in a digital medium.":1,"#<a ljsid-0=\"\">LISTENTO</a> allows you to stream uncompressed, lossless audio in real-time to anyone, anywhere in the world. Whether you’re a musician, producer, audio engineer or voice over artist, LISTENTO allows you to collaborate on projects in real-time, symbiotically prioritising audio quality and user experience. It’s easy to use and is compatible with most DAW’s, you can collaborate seamlessly with your team regardless of their location.":1,"#Yes, it is possible to collaborate remotely on lossless audio, but it does require some additional set up and consideration compared to collaborating on lossy audio or other standard file types.":1,"#Can I collaborate remotely on lossless audio?":1,"#So, while lossless audio preserves all the information of the original recording, high-resolution audio captures more detail in the recording, but still some of the original audio information is lost during compression, compared to lossless where no data is lost. It is worth noting that all high-resolution audio is lossless, and not all lossless audio is high-resolution.":1,"#On the other hand, high-resolution audio refers to audio files that have a higher sampling rate and/or bit depth than the standard lossy quality audio (44.1 kHz / 16-bit). High-resolution audio typically has a sampling rate of 96 kHz, and a bit depth of 24 bits. This means that high-resolution audio has a greater frequency range and dynamic range, capturing more of the nuances and details of the original recording.":1,"#As mentioned above, lossless audio refers to digital audio compression that preserves all the original data and information of the audio file without losing any quality. Lossless audio retains all of this valuable information and delivers a file identical in quality to the original audio recording.":1,"#Lossless audio and high-resolution audio are often used interchangeably, but they are not the same thing. While both offer better sound quality than standard compressed audio formats, there are some key differences between the two.":1,"#Start date: <strong ljsid-1=\"\">4 July 2022</strong>":1,"#13 Apr 2024":1,"#4 Jun 2020":1,"#13 May 2024":1,"#13 Jul 2024":1,"#3 Mar 2021":1,"#1 Mar 2022":1,"#13 Jun 2024":1,"#3 May 2024":1,"#11 May 2022":1,"#13 Sep 2024":1,"#No authorizations left.":1,"#Términos de uso":1,"#Post":1,"#11 Nov 2023":1,"#25 Nov 2023":1,"#MacOS 10.15+":1,"#13 Aug 2024":1,"#Encoding – Encoding is the final stage where the newly sampled audio information is written to a hard drive or other digital storage medium in a given format to be used elsewhere.":1,"#Sampling – Samples are snapshots of the incoming signal which record the amplitude of the signal at that given moment.":1,"#PCM takes place over three stages:":1,"#4 Apr 2021":1,"#Audio MIDI Setup:":1,"#Expiry date: 12/2029":1,"#Other web browsers will work, but haven’t been fully tested.":1,"#Other hosts will likely work but haven’t been fully tested.":1,"#1 Oct 2022":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,"#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,"#Expiry date: 07/2027":1,"#With iOS v3.0, we introduced new UI, the ability to receive and monitor discrete 7.1.4 or Binauralized audio from Binaural Renderer (please note: LISTENTO Pro subscription is required to transmit Binaural Audio to iOS player No subscription required to receive audio).":1,"#Highlight":1,"#6 Jul 2022":1,"#13 Oct 2024":1,"#You are currently logged in.":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,"#11 May 2024":1,"#Your subscription <em ljsid-1=\"\"><span ljsid-1-0=\"\">will automatically renew unless you cancel</span></em>. You can cancel at any time however <em ljsid-3=\"\"><span ljsid-3-0=\"\">no refunds can be given if you forget to cancel your subscription.</span></em>":1,"#It seems that you're using a mobile browser that doesn't support all functions. We recommend using Chrome or Firefox on desktop, for best experience.":1,"#19 Feb 2024":1,"#Expiry date: 01/2027":1,"#Invalid or expired link. Your account has not been confirmed. Please check your email for your confirmation link or request a new one below.":1,"#License purchased on 26th November 2022":1,"#View plans":1,"#However, there may be other plans you can upgrade to.":1,"#Plan unavailable.":1,"#9 Feb 2024":1,"#Audiomovers OMNIBUS 3.0":1,"#3 Feb 2023":1,"#Download the latest version of INJECT below.":1,"#Download the right version of INJECT for your machine below. <a ljsid-1=\"\">View license details</a>.":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,"#A demo license for Binaural Renderer has been added to your account.":1,"#Download the latest version of OMNIBUS 3.0 below.":1,"#Download the right version of OMNIBUS 3.0 for your machine below. <a ljsid-1=\"\">View license details</a>.":1,"#Incorporating USB audio devices into your music production and recording workflow has never been easier thanks to INJECT. By following the simple steps outlined in this article, you can seamlessly interrogate USB microphones and USB synthesizers into your DAW without needing to switch your preferred playback engine or dealing with troublesome I/O limitations.":1,"#INJECT provides a straightforward solution for utilizing multiple USB audio devices, allowing you to bring external audio sources directly into your sessions with ease and flexibility. Enhance your creativity and streamline your workflow with INJECT today.":1,"#Untitled":1,"#Julian Rodgers – Editor of Production Expert – explores five use cases he discovered in his studio for OMNIBUS 3.0.":1,"#There are no plans available.":1,"#Dutch - Nederlands":1,"#Danish - dansk":1,"#Croatian - hrvatski":1,"#Chinese - 中文（简体中文）":1,"#Catalan - català":1,"#Select to translate":1,"#Double-click":1,"#Swedish - svenska":1,"#Serbian - Српски":1,"#Russian - русский":1,"#Portuguese - português":1,"#Basque - euskara":1,"#Polish - polski":1,"#Persian - ‎‫فارسی‬‎":1,"#Norwegian - norsk":1,"#Maltese - Malti":1,"#Malay - Bahasa Melayu":1,"#Latin - Lingua Latina":1,"#Japanese - 日本語":1,"#Italian - italiano":1,"#Irish - Gaeilge":1,"#Indonesian - Bahasa Indonesia":1,"#Albanian - shqipe":1,"#Hungarian - magyar":1,"#Hebrew - ‎‫עברית‬‎":1,"#German - Deutsch":1,"#Galician - galego":1,"#French - français":1,"#Finnish - suomi":1,"#Estonian - eesti":1,"#Afrikaans":1,"#translator":1,"#Full license INJECT":1,"#English":1,"#Expiry date: 11/2028":1,"#OMNIBUS 3.0 software is non-refundable, once purchased.":1,"#Listento Pro license for trial period":1,"#Charged straight away.":1,"#One-off payment.":1,"#Transmitting audio":1,"#26 Nov 2022":1,"#14 Oct 2022":1,"#Conclusion":1,"#Get in touch":1,"#Request a new password reset link":1,"#Invalid or expired link. Your password has not been changed.":1,"#0 of 150":1,"#Please complete all required fields.":1,"#Sampling allows you to take inspiration from a variety of sources and we want to help you take advantage of that. We’ve compiled this guide to show you how to find and sample audio from public domain films, to add that unique flavour to your tracks.":1,"#The Gear Behind: Abbey Road Studios":1,"#If you would still like to reset your password, please enter a new one below.":1,"#You are currently logged in. If you change your password you will be logged out and need to log back in again using the new password.":1,"#How to record remotely with ProTools (Free Templates Inside)":1,"#Production Expert | How to use INJECT":1,"#0 of 3 activations remaining":1,"#Filmed across two sold-out Summits in London and Barcelona, this Mix with the Masters special will take you through some of Jaycen’s best moments. You will learn his disciplined approach to gain-staging, sidechain compression and harmonic excitement – all techniques that enable him to craft mixes that are detailed, dynamic and loud all at once.":1,"#What is lossless audio streaming?":1,"#Bespoke single-product or multi-product license packages.":1,"#Revoke and reassign product licenses across your students and faculty.":1,"#From leading online lectures to hundreds of students in multiple countries to remote one-to-one coaching, <a ljsid-1=\"\">LISTENTO</a> lets you teach direct from your DAW, in real-time lossless multichannel audio.":1,"#GET STARTED":1,"#We are excited to announce that Audiomovers have partnered with Avid on a bundle to bring remote audio collaboration to new and existing Pro Tools users.":1,"#Sampling audio from public domain films":1,"#The long awaited arrival of Greta Gerwig’s live action take on Barbie –The Movie is finally upon us. As we celebrate its release, we are thrilled to share the role that Audiomovers has played in bringing the Barbie Dream World to life.":1,"#The link has been copied to the clipboard":1,"#Centralized license management":1,"#<span ljsid-0=\"\">Bespoke LISTENTO receiver limits</span> tailored specifically to your requirements for any class size.":1,"#Whether on Mac or PC, iPhone or Android, you can find the right version of LISTENTO Pro Yearly for your needs below.":1,"#Download the right version of LISTENTO Pro Yearly for your machine below. <a ljsid-1=\"\">View license details</a>.":1,"#How to record audio remotely, from podcasts to music":1,"#The gear behind Abbey Road Studios: The RS124 Compressor":1,"#A new password reset link has been sent to to your account email.":1,"#0 of 10":1,"#28 Feb 2023":1,"#Session Name. Stop streaming to change":1,"#Stop Streaming":1,"#Contact us with your details and we will get back to you to discuss how we can meet your specific requirements.":1,"#On-hand expert support.":1,"#Flexible payment options including invoicing and bank transfer.":1,"#Bulk discounts for multiple license purchases.":1,"#Save":1,"#Notifications (F8)":1,"#There may be some exceptions, for example you are taking advantage of a particular promotion where payment is required upfront.":1,"#Thank you.":1,"#Your payment details have been updated and will be used for future payments.":1,"#<strong ljsid-0=\"\">Error</strong>: Old password and new password are same":1,"#No voucher in use":1,"#3.1. We use a third party payment service provider, currently Paddle.com (“Paddle”), for collection of Licence Fees and administration of the billing process.":1,"#2. SUBSCRIPTIONS AND LICENCE FEES":1,"#1.1 We shall make the Software available for download, in object code form, in electronic format only via our website and/or relevant third party app stores.":1,"#You may use the Software either:":1,"#Your current payment details are shown above.":1,"#If you wish to update them, please use the options <span ljsid-1=\"\">below</span><span ljsid-2=\"\">on the right</span>.":1,"#Any changes made will take effect from your next payment.":1,"#If you no longer wish to update your payment details, use the link below to go back to your account and no changes will be made.":1,"#Current payment details":1,"#How many authorisations are there for perpetual licences?":1,"#Main Library:":1,"#12.4.3. If you or any Authorised User start using the Software during the cooling-off period (including by activating any Subscription), the cooling-off period will end, you will lose your right of cancellation and will not be refunded the Licence Fees in respect of that Subscription Term, save that in respect of Trial Subscriptions, if you use the Software during the cooling-off period you will still be able to cancel up until the Trail Subscription end date.":1,"#12.3.3. you must immediately delete or remove the Software from all computer equipment in your possession.":1,"#and we reserve the right, without liability or prejudice to our other rights, to disable your access to the Software if you breach this provision this condition.":1,"#7.1.3. not to disassemble, de-compile, reverse engineer or create derivative works based on the whole or any part of the Software nor attempt to do any such things, except to the extent that such actions cannot be prohibited under applicable law because they are necessary to decompile the Software to obtain the information necessary to create an independent program that can be operated with the Software or with another program (“Permitted Objective”), and provided that the information obtained by you during such activities:":1,"#6.6. We may also suspend, withdraw, discontinue or change all or any part of the Software, or any features of it for business or operational reasons. We will try to give you reasonable notice of any suspension or withdrawal.":1,"#****** Base 64 Library (base64/base64.hpp) ****** base64.hpp is a repackaging of the base64.cpp and base64.h files into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012. All modifications to the code are redistributed under the same licence as the original, which is listed below.":1,"#THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL PETER THORSON BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. Bundled Libraries:":1,"#* Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.":1,"#Signature of consumer(s) (only if this form is notified on paper),":1,"#Ordered on [*],":1,"#12.4.2. If neither you nor any Authorised User has used the Software prior to you notifying us of cancellation within the cooling-off period, we will refund the Licence Fees in full.":1},"version":20968}]