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1 : 0;","pluralForm":2,"dictionary":{},"version":17099},{"_id":"outdated","outdated":{"#Windows users may choose to use OPUS codec which sounds great and utilises less bandwidth than PCM.":1,"#LYRE MUSIC on collaborating remotely with songwriters and producers":1,"#K-pop songwriter, 1/2 of ‘LYRE MUSIC GROUP’ and record producer Alina Smith outlines how she collaborates with other songwriters and producers across the world using a combination of Zoom and the LISTENTO plugin.":1,"#Please refer to the <a ljsid-1=\"\">Binaural Renderer User Guide</a> for OMNIBUS routing workflows.":1,"#There are a number of methods with tools such as Dolby Audio Bridge, Aux IO and <a ljsid-1=\"\">OMNIBUS</a>.":1,"#Please refer to your DAW’s user manual.":1,"#To output the binaural renderer to your headphones you should utilize your DAWs routing capabilities.":1,"#Emerging artist, producer and content creator Amber Ryann & producer and multi-instrumentalist Zach Golden tell their story of developing Amber’s sound remotely during the pandemic.":1,"#Amber Ryann & Zach Golden on finding their sound remotely":1,"#View Streaming Audio FAQs":1,"#View LISTENTO Plugin User Guide":1,"#If you're a Basic subscriber, you can <a ljsid-1=\"\">upgrade here</a> to access the Custom Branding feature (as well other features like streaming MIDI and an increased listener count).":1,"#There you can upload an image and choose to set as the default background on the sessions you create (and also delete if you wish to remove a background image).":1,"#Navigate down the page, you will see a 'Custom branding' section (see right image).":1,"#Then, visit <a ljsid-1=\"\">My Products</a> to set your custom background.":1,"#Firstly, you must have a Pro subscription to access this feature.":1,"#If you’re on a mobile phone browser, we recommend instead using our LISTENTO mobile app. You can download Android and iOS versions from the <a ljsid-1=\"\">Google Play Store</a> and <a ljsid-3=\"\">iOS App Store</a> respectively.":1,"#Hard Refresh to your webpage":1,"#Make sure JavaScript is enabled":1,"#Clear you web browser cache":1,"#Berklee graduate and Grammy & Latin Grammy award-winning Engineer Vago Galindo takes us into the entire remote creation process for Elvis Costello’s albums ‘The Boy Named If’ and ‘The Resurrection of Rust’, touching upon the importance of education for aspiring producers and his time in the film and voiceover industries.":1,"#How Grammy & Latin Grammy award-winning Engineer created two Elvis Costello albums completely remotely":1,"#Grammy-nominated songwriter, producer and mix engineer Nico Stadi shares the story of Kylie Minogue’s escapade into the world of remote recording for her 15th studio album ‘Disco’.":1,"#Real Groove: The Princess of Pop’s plunge into remote recording":1,"#Awards":1,"#“Binaural Renderer is a breakthrough for mixers.\"":1,"#Author: Audiomovers Team":1,"#And, a web browser based version known as <a ljsid-1=\"\">'Web Transmitter'</a>.":1,"#The LISTENTO standalone app (a download, accessible <a ljsid-1=\"\">here</a>).":1,"#The LISTENTO plugin (a download, accessible <a ljsid-1=\"\">here</a>).":1,"#You can stream, record and collaborate with HQ audio in real time, via:":1,"#LISTENTO comes in a few different formats.":1,"#WATCH: #DreamCollabs | Alina Smith":1,"#In this latest #DreamCollabs we speak to the number-one-selling songwriter, record producer, and co-founder of LYRE Music, Alina Smith (ITZY, Red Velvet, Fall Out Boy) in her LA home studio.":1,"#OMNIBUS 3.0 boasts new networking options, a revamped UI and enhancements to existing features, offering significantly greater flexibility in audio routing. OMNIBUS 3.0 updated features include:":1,"#<span ljsid-0=\"\">1.</span> Legal Disclaimer":1,"#Learn more about which LISTENTO version might be most appropriate for your OS <a ljsid-1=\"\">here</a>.":1,"#When/if installing a legacy version of LISTENTO due to your OS, make sure to uninstall LISTENTO if installed on your system before installing a legacy version of the plugin/application.":1,"#Click the Start Transmission button to begin streaming.":1,"#Copy the link of your session and send it to your collaboratIon partner":1,"#Set the Session Name":1,"#Log-in using your account settings":1,"#11 Oct 2021":1,"#2 Mar 2021":1,"#View LISTENTO FAQs":1,"#Ensure that your collaborator has a LISTENTO Pro subscription. They won’t be able to transmit MIDI if you don’t have a LISTENTO Pro subscription.":1,"#Snapshot and Parameter Control: Recall snapshots and adjust parameters using Elgato Stream Deck or MIDI program change.":1,"#<strong ljsid-1=\"\">Session Management:</strong> Save and export entire OMNIBUS 3.0 sessions as files.":1,"#<strong ljsid-1=\"\">Application Capture:</strong> Separate system and application audio outputs.":1,"#<strong ljsid-1=\"\">Configurable Virtual Audio Devices:</strong> Four virtual devices, each supporting 256 I/O channels.":1,"#<strong ljsid-1=\"\">Networking Capabilities:</strong> Route multichannel audio between different machines on the same network via AVB or NDI®":1,"#Next payment date: <strong ljsid-1=\"\">4 July 2025</strong> <a ljsid-3=\"\">View invoices</a>":1,"#30 Jul 2022":1,"#You could also check out our <a ljsid-1=\"\">Getting Started page</a>.":1,"#Yes. We have User Guides available for <strong ljsid-1=\"\">all</strong> of the products we offer. They can be viewed <a ljsid-3=\"\">here</a>.":1,"#30 Jul 2023":1,"#22 Jun 2023":1,"#Both have the option to choose your audio input (I/O) source, whether it’s simply an existing audio file, your device’s built in microphone, a usb microphone or audio interface.":1,"#7 Mar 2022":1,"#20 Aug 2021":1,"#And then it’s the business side, the radio team, promotion management, coming up with cool marketing ideas, and then just getting that snowball to really take off.":1,"#Having recently reached the coveted number one spot on Billboard’s Top 100 Chart with Jason Aldean’s ‘Try That In A Small Town’, as well as a number one on the Country Radio chart with Jelly Roll’s ‘Need a Favor’, Grammy-nominated, multi-platinum-selling mixing engineer Jeff Braun (Jason Aldean, Kane Brown, Jelly Roll, The Band CAMINO, Nelly) shares his unique insight into the key components necessary to turn a great song into a number-one selling hit – from the original song, to the production, to marketing and everything in between.":1,"#That it needs to have that. So the song itself has to be great. And then the production should enhance and support the emotion coming from the song. And then we hopefully stay out of the way. And what we do, and we just add ideas, delay throws, spins, effects moments that like amplify and sweeten.":1,"#I feel like I’m lucky ’cause I hear all these songs before everybody else does. Sometimes it’s like a year before, like we’re mixing something and it comes out a year later and then it’s like, Okay. That one feels big. That one feels special.":1,"#A number one song takes a lot of things to make it work. The song has to be there. I mean, it all starts with a song. There’s a lot of stuff that can be production driven. Maybe the song is being supported by the production more than. The song is actually very strong. You know, a good test is like, can you play it on a piano and just sing it, or a guitar vocal, and if it still feels like a hit, like.":1,"#Having recently reached the coveted number one spot on Billboard’s Top 100 Chart with Jason Aldean’s ‘Try That In A Small Town’, as well as a number one on the Country Radio chart with Jelly Roll’s ‘Need a Favor’, Grammy-nominated, multi-platinum-selling mixing engineer Jeff Braun (Jason Aldean, Kane Brown, Jelly Roll, The Band CAMINO, Nelly) […]":1,"#It’s a lot of stages that have to click for a song to really work. Anytime a session comes in from Jordan Schmidt, Dan Huff, Josh Kerr, all these guys, it’s gonna sound great and it’s gonna be a great song.":1,"#Routing Matrix":1,"#Device List":1,"#User Interface":1,"#Free Demo":1,"#Authorization":1,"#Installation":1,"#Technical Specifications":1,"#Saving/Recalling OMNIBUS Configurations":1,"#Elgato Stream Deck Support":1,"#Communicating with an OMNIBUS AVB Host":1,"#OMNIBUS AVB Configurator":1,"#AVB in OMNIBUS":1,"#AVB Title":1,"#Setting Up NDI Receivers":1,"#Setting Up NDI Transmitters":1,"#Creating OMNBUS Devices":1,"#What's new in OMNIBUS 3.0":1,"#Legal Disclaimer":1,"#20 Jun 2024":1,"#20 Jul 2024":1,"#24 Mar 2023":1,"#18 Oct 2024":1,"#11 Jan 2022":1,"#6 Jun 2022":1,"#6 May 2021":1,"#How to stream Atmos rendered audio | Audiomovers":1,"#WATCH FULL VIDEO":1,"#Jeff Braun":1,"#<a ljsid-0=\"\">LISTENTO</a> is the industry standard for remote audio. Get an extended free trial when you use the code TILYOUMAKEIT at checkout.":1,"##TilYouMakeIt is a collection of stories chronicling those moments and capturing wisdom from the game’s most esteemed producers, mixers and engineers.":1,"#A great example of this is routing 7.1.4 discrete outputs from the Dolby Renderer into the LISTENTO app to be transmitted.":1,"#The LISTENTO application allows you to select your I/O in session settings.":1,"#<a ljsid-0=\"\">Get in touch</a>, or learn more on our <a ljsid-2=\"\">Audiomovers for Education page</a>.":1,"#And, for our <a ljsid-1=\"\">OMNIBUS</a> and <a ljsid-3=\"\">INJECT</a> products.":1,"#Try LISTENTO <a ljsid-1=\"\">free for 7 days</a>.":1,"#More troubleshooting FAQs":1,"#More system info FAQs":1,"#Access these Legacy Versions <a ljsid-1=\"\">here</a>.":1,"#You can reference the matrix below to check which LISTENTO legacy version may be appropriate, on Windows or Mac.":1,"#We encourage use of the latest versions of all products. However, we have legacy versions available for various operating systems. Please check the version information below and your OS to check compatibility.":1,"#Over-filling the side surrounds is probably the most common mistake I hear in mediocre Atmos mixes. This tends to occur when starting an Atmos mix with a collection of stereo stems. All the stems start up front in the Left and Right, and the consistency between stereo and Atmos is very high. The mixer is then tempted to fill the space, and the very first thing they reach for are the Front/Rear pan knobs and pan a stereo stem halfway back into the room. In headphones, this sounds a bit more dimensional, and you might think it’s fine. I almost made this mistake recently while mixing an orchestral piece of music for a television show. The harp had a pair of close mics which made glisses move from left to right through stereo space in a very nice (somewhat clichéd) way. But panning this pair halfway back and listening on a 7.1.4 loudspeaker system made the harp sound like it was 19-feet wide and each gliss sounded like a stomach-churning side-surround roller coaster. Great Atmos mixes do fill the room. But we all got into the habit of making things (even individual instruments) sound as wide as possible in stereo. The Atmos loudspeaker-canvas is much bigger, there’s no need to make everything super-wide. Pushing the harp mics closer together and steering them more into their natural orchestral position was the answer, along with some immersive reverb. The harp was still impressive, but it was no longer racing across the room. Again, this problem was difficult to hear on headphones and obvious on loudspeakers.":1,"#SIDE SURROUNDS":1,"#Grammy-winning classical and jazz producer Silas Brown talks about the heights in a recent conversation: <em ljsid-1=\"\">“I would find it very challenging to mix an Atmos release on headphones without at least being able to check it periodically on speakers. Some concerns I would have would be getting the height dimension and also the surround material balanced just right. But these raise different issues for me. When the height material is integrated well on speakers, I feel it adds tremendously to both the ‘3D’ quality and the suspension of disbelief, where the listener stops hearing a recording and starts connecting to the music. It’s not just about having energy above you, it changes the way I perceive an instrument in front of me, making it more 3-dimensional and ‘real’ for lack of a better term. But to get it just right is often a difference of a few degrees, or a very small change in ‘Size / Divergence’. I find that when judging the height relationship on headphones, I usually can’t tell when I’ve hit this narrow ‘sweet spot’ and the mixes therefore don’t have as much of this dimensionality.”</em>":1,"#Careful with those height channels!":1,"#Let’s imagine you’re working on a pop or EDM mix and you’ve already firmly established the bass and drums mostly in the Left/Center/Right speakers. Additional, lighter elements, such as an added synth part, background vocals, or percussion overdubs can be safely pushed into the height channels for excitement and added dimension. It’s unlikely you’ll make a mistake in headphones here. However, if you’re working with multiple microphones in an acoustic mix, and you have a mixture of spot microphones, room mics, or even ceiling mics at your disposal, the height channels need to be dealt with more carefully. One of my biggest Atmos mixing mistakes was during the production of a classical string quartet album. I had ceiling mics, and as I raised the level of the ceiling mics, there was a fine line between those microphones adding space, and those microphones putting a second string quartet up on the ceiling! This was nearly impossible to hear on headphones, but embarrassingly obvious on loudspeakers. Fortunately, I fixed the mistake before delivering an ADM to the record label.":1,"#HEIGHT":1,"#We’re in the middle of a seismic shift in the music industry thanks to the continuing demand for immersive mixes in addition to the stereo mixes we’ve been doing for decades. I think this is a positive for the industry. It opens up opportunities to hear music in ways that were difficult or impossible before, […]":1,"#Author: <a ljsid-1=\"\">Nathaniel Reichman</a>":1,"#Connect with Nathaniel –":1,"#For context, I’ve listened to a great deal of music in great Dolby Atmos studios, and have mixed a lot of music in these studios, as well. Here are some of the drawbacks of mixing on headphones, along with some of the lesser-known benefits of mixing on headphones which I have observed. The best way to work on immersive mixes with headphones is with Audiomovers’ <a ljsid-1=\"\">Binaural Renderer for Apple Music</a>.":1,"#Written by Nathaniel Reichman – Grammy-nominated producer and mixer with over twenty years of experience in the audio industry. He is the immersive-music mixer at Dubway Studios, a television re-recording mixer at Beatstreet NYC, and the audio producer for composer John Luther Adams. As co-founder of the new software company Immersive Machines, LLC, Nathaniel is pushing the envelope in both the art and science of Dolby Atmos™ home theater mixing.":1,"#For those of you using only a pair of headphones to mix and who were hoping to release an album in Dolby Atmos, I am sorry to say that the accepted wisdom is still true. Don’t send out an immersive mix until it has been heard on loudspeakers. But that doesn’t mean <em ljsid-1=\"\">you</em> have to hear it on loudspeakers. Buy a couple of hours of time in a Dolby Atmos studio with an engineer who shares your aesthetic and send them the ADM for feedback. This could be a mastering session, or just a critique. I guarantee it’s worth doing and it’s worth convincing your clients to spend a little extra to get this done. All of the pitfalls I’ve outlined above (and more) will be avoided, and you’ll be confident that your mix is playing well in every consumer listening environment.":1,"#From an acoustician’s point of view, the binaural headphone reproduction of a real loudspeaker-based immersive mixing studio should be indistinguishable from the real thing. During the height of the Covid-19 pandemic, I became aware of bespoke HRTF headphone models that Sony was making for its mix engineers so they could mix at home, but perceive the sound of one of their very large (and very expensive) film mixing stages while doing so. While that was a great solution to very unusual circumstances, I have yet to hear a headphone model that could replace even my modest 7.1.4 mixing studio. Grammy-winning recordist and mastering engineer Mark Donahue was describing his workflow on the phone to me, <em ljsid-1=\"\">“I almost never listen to it on headphones. I will listen to it for maybe three minutes, checking a few spots – just to make sure I haven’t done something horrifically wrong.”</em> This comment is ironic, because I’m listening to his recent recording of Tchaikovsky’s Symphony No. 5 on headphones right now and it’s stunning. But maybe Mark’s comment is also informative. He knows that if the loudspeaker mix is right, the headphone mix will be, too.":1,"#CONCLUSION":1,"#This one goes down to 11! (11 Hertz)":1,"#Touching on frequency range and bass, accomplished sound supervisor John Bowen writes, “<em ljsid-1=\"\">Full frequency response, crosstalk, and room feedback – all missing to some extent on headphones. Some things that you’d never notice in headphones will pop in speakers. And speakers are a must for all things bass, including LFE balancing (if you’re using it). After years of going back and forth, I feel like I’ve developed a good feel for what I’m hearing in both cases, and that’s the real goal.</em>” Bowen has spent many hours on film and television mix stages. These stages are typically designed to reproduce very low frequencies accurately. While I am personally impressed by the new generation of headphones, I do take Bowen’s advice and carefully check the low-frequency impact of my music mixes on a bass-managed loudspeaker system with an LFE channel.":1,"#It’s wise to remember that Atmos is a format that does bass-management evenly anywhere in the three-dimensional Atmos canvas. What this means is that you can mix an absolutely earth-shaking record with literally nothing in the LFE channel. Some mastering engineers take this approach. But in practice, many mixers in post-production and also in hip-hop, pop, and EDM will utilize the LFE for what it is meant for:- as an effect. With this generation of headphones, it’s important to remember where and when your LFE channel will be heard. When Dolby was building the Rrenderer, they thought long and hard about the LFE and decided to include it in the binaural AC-4 render. Apple’s Spatial Audio also includes the LFE channel. But in a <em ljsid-1=\"\">stereo</em> re-render from Atmos, the LFE is dropped. That said, the majority of stereo album mixes today are done independently of the immersive mix, and the engineer has the choice of bringing that energy into the stereo channels or not.":1,"#This is more anecdotal, but I feel like the quality of bass response in high-end headphones has improved considerably in the last few years. Focal, Campfire, and AirPods Max headphones reproduce frequencies I am unaccustomed to hearing without a full-range speaker or subwoofer. The headphone brands we were using in recording studios and on film sets fifteen years ago are simply not up to today’s standards. My advice is to get AirPods Max at a minimum and use them as a consumer reference. There are a startling number of young people who own these headphones. The old maxim that ‘it doesn’t matter what the mix sounds like because the kids are listening on earbuds’ no longer applies.":1,"#BASS, LOW FREQUENCY EFFECTS CHANNEL AND HEADPHONES":1,"#You might call it “stereo with decorations.” The great majority of the energy is in the L and R. The center channel (C) has just a little ambience in it, the LFE is a bit overcooked, and the rest of the channels have a few lightweight overdubs. To be fair, this distribution of energy translates well between loudspeakers and headphones, so if you are unsure of the balance of your Atmos music mix, you could use this picture as a guide. But, I find that too much adherence to this distribution underutilizes the format. Some of my favorite, more adventurous albums tend to have a more even distribution of energy around the room.":1,"#Adapting to this shift is, however, comparatively expensive. A proper immersive mixing studio is a big investment. The question of just how much immersive music mixing work can be done on headphones comes up frequently. The accepted wisdom is always ‘<strong ljsid-1=\"\"><em ljsid-1-0=\"\">don’t send out an immersive mix until it has been heard on loudspeakers</em></strong>.’ I believe this to be true. But simply saying that is unhelpful without going into more detail.":1,"#Meters are not all that informative when it comes to the aesthetics of mixing. But if there were one image that could sum-up a safe, and somewhat bland style of Atmos mixing, this would be it:":1,"#METERING":1,"#Note that this single object set to a 100% size value is delivering energy to all of the speakers in my 7.1.4 system.":1,"#The object “size” control in the Dolby Atmos panner used to be one of the riskiest knobs to tweak while monitoring in headphones. This was because as the size value went up on an individual object, there was additional correlated signal being sent to the surrounding loudspeakers. But it was nearly impossible to hear this problem on headphones. I referred to this correlation as “dead-spots” in the Atmos canvas and rarely turned any object up over 10-12%. But to Dolby’s credit, they recently re-engineered the size algorithm with much smarter psychoacoustical filtering, and the result is now musically useful and a bit easier to hear on headphones. Regardless, less is more when it comes to using size in music mixes. If you are mixing in headphones, use size judiciously. High percentage values are probably best suited to television and film projects and less useful for music.":1,"#SIZE":1,"#Is your stereo image so wide that there’s a giant hole in the middle?":1,"#In most cases, immersive mixing is very revealing of any problems you might have in your recorded tracks. But in one notable case, conventional headphone stereo playback can reveal imaging problems that would otherwise be missed while working in immersive—drum overheads, stereo choral mics, the spaced pair in front of an orchestra—all of these techniques aim to create a coherent soundstage where the placement of instruments or voices is well-defined from left to right. When these mics are too far apart, it creates an incoherent stage. This problem is somewhat harder to hear on loudspeakers because of natural room crosstalk. But even worse, monitoring in an immersive headphone format like Apple’s Spatial Audio, and to a certain extent Dolby’s AC-4, actually glosses over the problem because those immersive headphone formats introduce artificial crosstalk between the channels. This is a case where the engineer should always check these pairs in standard stereo on headphones. The incoherence will be easily heard as a gap in the middle, and highly incoherent imaging can cause aural discomfort. The fix is usually to toe-in the mics and/or the panning until the image is consistent. And in this case, headphones win out over loudspeakers for fixing this classic problem.":1,"#IMAGING":1,"#“You know, I think the side-surrounds are a little loud…”":1,"#Multi-platinum mixer Joseph Chudyk weighs in on this issue. Chudyk has a wide-ranging discography in country, indie rock, metal and pop. <em ljsid-1=\"\">“One of the things I notice when I start a mix on headphones, and then transition to speakers, is that the location of musical elements is usually unnatural sounding and uncomfortable. The reason I’ve found for this is that these elements are pulled too far off the front wall with no solid foundation for the mix. And this is almost impossible to anticipate if you aren’t working in an Atmos-enabled room with speakers. This is something that even an Atmos mastering engineer would have difficulty remedying. Also, I have found that making the mix sound great in speakers almost ensures better translation to Apple Spatial Audio and Dolby Binaural. While working the other way around can create more issues and almost guarantees “chasing your tail” to get the mix to work on all consumer playback mediums.”</em>":1,"#We’re in the middle of a seismic shift in the music industry thanks to the continuing demand for immersive mixes in addition to the stereo mixes we’ve been doing for decades. I think this is a positive for the industry. It opens up opportunities to hear music in ways that were difficult or impossible before, and it demonstrates the music industry’s ability to keep pace with technological advancement.":1,"#Headphones vs Loudspeakers – A guide to immersive mixing":1,"#© Copyright Audiomovers 2024. Audiomovers is part of Abbey Road Studios, the trading name of Virgin Records Ltd. Registered in England no. 01070953. Registered office: 4 Pancras Square, Kings Cross, London N1C 4AG":1,"#Audiomovers and associated logos are registered trademarks of Audiomovers. All other trademarks are the property of their respective owners and use of them does not imply any affiliation with or endorsement by them.":1,"#The information in this document is subject to change without notice and does not represent a commitment on the part of Audiomovers. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Audiomovers.":1,"#Navigate to <strong ljsid-1=\"\">Sound</strong> and click <strong ljsid-3=\"\">\"Sites can play sound\"</strong>":1,"#Navigate to <strong ljsid-1=\"\">Content</strong> and click on <strong ljsid-3=\"\">\"Additional Content Settings\"</strong>":1,"#Site Settings":1,"#Security & Privacy":1,"#Chrome may have the setting \"Sites can play sound\" disabled. To allow sites to play sound, follow the below steps:":1,"#Pascal Pahl: An award-winning mix engineer with close to fifteen years of experience in music and film, Pascal has mixed a plethora of Dolby Atmos/Spatial Audio releases as an advocate for making the technology accessible to non-label-affiliated independent artists. He now heads PMC New York.":1,"#Teezio: A GRAMMY-winning and multi platinum-selling mix engineer famous for his work in pop and hip hop, Teezio has worked with artists like Chris Brown, Victoria Monét and Coi Leray.":1,"#Steve Genewick: A key figure in the adoption of Dolby Atmos for music, Steve’s collaboration with PMC began when Dolby approached him at Capitol Studios, requesting him to essentially invent a system for mixing music in Dolby Atmos. He worked alongside PMC to build the world’s first Atmos-equipped music mixing room in Capitol Studio C. His techniques have set industry standards and his Pro Tools templates have been integrated as defaults in the software. He was an early adopter of both Audiomovers and Dolby Atmos, and frequently produces both stereo and Atmos mixes for his clients.":1,"#Meet the Presenters":1,"#Learning Dolby Atmos on traditional online platforms like YouTube has proved difficult without the ability of users to hear what the presenter is demonstrating in its native format. In this event users around the world can tune in from their own Dolby Atmos-equipped studio, iPhone, or Mac and learn intermediate and advanced Atmos mixing techniques from the industry’s top engineers.":1,"#This workflow sparked an idea: what if the world’s top Atmos engineers could open up their Dolby Atmos mixing sessions and share exclusive insights and techniques with anyone around the world? This new capability would remove barriers to aspiring Atmos engineers around the world who don’t have the means to attend Atmos workshops in person.":1,"#Audiomovers’ flagship software LISTENTO boasts the unique capability to stream up to 16 channels of Dolby Atmos to multiple listening devices, which can then be re-rendered locally on the listener’s device as Apple Spatial Binaural or transferred directly to Dolby Atmos-equipped mixing or listening rooms. North Hollywood-based studio Just for the Record was quick to adopt this new technology, hosting in-studio listening and mix feedback sessions for engineers in New York, London, and other cities around the world.":1,"#For the first time, four of the world’s leading mixing and mastering engineers will share their techniques in a worldwide livestream event, presented by PMC Speakers, Audiomovers and Dolby Laboratories":1,"#A New Way to Learn Dolby Atmos":1,"#Get more information and register for the event":1,"#Just for the Record: A premier multi-room recording and mixing facility in North Hollywood, CA, Just for the Record boasts a PMC-equipped mixing room that’s been used to craft Atmos mixes for Billie Eilish, St. Vincent, and more. As an official Dolby Partner, JFTR is uniquely positioned to stay at the forefront of best practices and new developments. JFTR’s Head of Audio, Matt Cerritos, has been instrumental in pushing innovative immersive mixing techniques and is committed to fostering creativity in the format. He is a true specialist, revolutionizing the immersive audio space and bringing artists’ visions to life on countless Major and Indie Label projects alike.":1,"#Audiomovers: Since 2017, Audiomovers has connected audio professionals, systems and devices across the world, simplifying audio workflows with tools designed by engineers, used by the best, and available to all. From leading real-time lossless remote collaboration platforms, to creating new workflows for immersive content production, to giving artists greater control on approvals of their releases on streaming platforms, Audiomovers creates next-generation solutions for powering up the music industry. Audiomovers’ solutions are used on over 90% of recording sessions at Abbey Road Studios, almost half of the Current Billboard Top 100, and have been utilized on over 50 GRAMMY-winning projects.":1,"#PMC Speakers: The choice of the world’s top Atmos mixing, mastering, and QC rooms, PMC speakers are trusted by leading engineers like Teezio, Dale Becker, F. Reid Shippen, and more, as well as industry giants like Universal and Apple. Artists from Prince to Eminem have benefited from the unparalleled sound quality that PMC delivers.":1,"#About the Hosts":1,"#here":1,"#To tune in, sign up for the event":1,"#Live Stream masterclass":1,"#Kurt Martinez: Head Atmos mix engineer for Dean Street Studios London, 2 x Platinum Recording & Immersive Mix Engineer Kylie Minogue / Rita Ora / Central Cee / Nathan Dawe / Duran Duran / Billy Idol / Switch Disco / Nina Nesbitt.":1,"#For the first time, four of the world’s leading mixing and mastering engineers will share their techniques in a worldwide livestream event on Thursday 3 October—sending multichannel lossless Dolby Atmos 7.1.4 audio in their PMC-equipped mixing rooms directly to any Dolby Atmos-equipped studio—or even to any iPhone or Mac—using Audiomovers’ LISTENTO technology.":1,"#<strong ljsid-0=\"\">Error</strong>: Password must be 8 characters or more.":1,"#Windows OS:":1,"#19 Aug 2022":1,"#You can also add vinyl noise and crackle, apply a gradual slow-down/stop turntable effect, and add wow and flutter effects for extra analog warmth. Take a look <a ljsid-1=\"\">here</a>.":1,"#Due to the strong popularity of these lathes, Abbey Road Studios teamed up with Waves Audio in 2016 to create the Abbey Road Vinyl plugin, to as faithfully as possible, reproduce every stage of the vinyl production and playback process. You can choose between the sound of a pure acetate (lacquer) cut or the print master vinyl pressing from the factory, play the records on two distinct turntable types with a choice of three classic cartridges, and even add the EMI TG12410 mastering console on the path into the vinyl lathe.":1,"#Watch mastering engineers Miles Showell and Geoff Pesche demonstrate the process of cutting vinyl at Abbey Road.":1,"#“No one’s made a new lathe for 35 years since the mid-80s. The latest one they made was Neumann VMS-80. It was revolutionary when it came out in the way that the groove spacing computer can work out the shape and size of the grooves and shoe horns everything close together. Although that had been done previously it was a lot more steam-powered, this was very high-tech for its time.”":1,"#On the topic, Miles explains how these lathes have stayed relatively unchanged since the ‘80s:":1,"#The basic process of cutting vinyl is to get the master tape onto the disc with as fair a representation as you can, so the record can sound as close as it can to the master tape. Disc cutting is still just as prevalent today at Abbey Road Studios, where their four trusty Neumann VMS 80s carry out the responsibilities. One of the four lathes has also been modified for half-speed mastering, which is used by mastering engineer <a ljsid-1=\"\">Miles Showell</a>.":1,"#In the image above you can see Alan Blumlein’s moving coil wax cutting machine. The wax cutting process was carried out in rooms next to each studio and stayed this way for more than three decades.":1,"#Alan Blumlein pioneered explorations in the creation of stereo sound, sound recording and many telecommunications devices and his first invention was the moving coil cutting lathe, designed to replace Western Electric Corporation’s older model. Before Blumlein’s invention, a large royalty fee was paid to Western Electric for each record released. Naturally EMI management wanted to put a stop to it.":1,"#Want to discover more of Abbey Road Studios’ legendary gear? Recap the series so far on our blog, or head back next week as we reveal another piece from their rich treasure chest.":1,"#7 Oct 2024":1,"#Let us help. Reach out to us today and someone from the team will assist you directly.":1,"#The complete collection of products for streaming, routing and reviewing multichannel audio. Designed for audio professionals and multi-room studios.":1,"#View all LISTENTO FAQs":1,"#MY ACCOUNT":1,"#Login WP":1,"#How to Record Audio From Browser to DAW":1,"#Stream up to 32-bit PCM / 192 kHz multichannel audio in real time, direct from any DAW to the world. No dropouts, no variable bitrates, and no signup required to listen to a stream. Just send a link.":1,"#Collaborate with <mark ljsid-1=\"\">LISTENTO</mark>: Audiomovers sponsors the 2024 Anti Social Camp – offering all participants an exclusive three-month <mark ljsid-3=\"\">LISTENTO</mark> Pro trial.":1,"#<mark ljsid-0=\"\">LISTENTO</mark> – Anti Social Camp":1,"#How can I upgrade my <mark ljsid-1=\"\">LISTENTO</mark> Basic subscription to Pro?":1,"#<mark ljsid-0=\"\">LISTENTO</mark> for Business":1,"#3 of 150":1,"#This December we are giving you the chance to win the Immersive Pro Bundle as part of Production Expert’s Christmas prize draw.":1,"#Win the Immersive Pro Bundle in this year's Experts Christmas prize draw":1,"#First-Ever Live-Streamed Masterclasses in Dolby Atmos and Spatial Audio to be Presented by PMC Speakers, Audiomovers and Dolby Laboratories":1,"#You will need to open Apps & features and uninstall LISTENTO Audio plugin.":1,"#To manually uninstall LISTENTO, you will need to remove it manually from the default installation folders:":1,"#To uninstall, LISTENTO use the <a ljsid-1=\"\">LISTENTO uninstaller</a>.":1,"#6 Jul 2022":1,"#LISTENTO Pro also allows users to transmit MIDI information as well as audio.":1,"#You can assign a MIDI output for the MTC generated to go into your DAW to enable remote transport sync.":1,"#Select your FPS, select your MTC output and offset frames if you wish.":1,"#The LISTENTO App’s MTC Generator allows you to generate MIDI Time Code from your collaborators LISTENTO stream, enabling you to sync to remote sessions together.":1,"#21 Jun 2023":1,"#Expiry date: 05/2028":1,"#28 Aug 2024":1,"#Password must be more than 8 characters long.":1,"#Listento works on macOS 12.0, however it is pending proper testing":1,"#Mac OS X 10.13 - 11.6 (Intel and Apple Silicon)":1,"#Supported Operating Systems":1,"#Internet connection with at least 3 Mbit download and 1 Mbit upload speed":1,"#100 Mb Ethernet or Wifi – 802.11n":1,"#Screen Resolution: 1440×900 pixels":1,"#443- HTTP Secure (HTTPS) over TLS/SSL":1,"#80 – Hypertext Transfer Protocol":1,"#Network Ports":1,"#When using a mobile browser, ‘silent mode’ must be switched off for Listento to work correctly.We recommend using LISTENTO iOS or Android players for the best experience.":1,"#On much older macOS systems, Chrome and Safari may not support the Listento web player. Please try installing <a ljsid-1=\"\">this special Firefox</a> web browser version if on an older machine.":1,"#8 Gb Ram":1,"#Other web browsers will work, but haven’t been fully tested.":1,"#Mobile browsers on Android OS: Firefox":1,"#Mobile browsers on iOS: Safari, Firefox, Chrome":1,"#Windows and Mac OS: Chrome, Firefox, Safari, Microsoft Edge":1,"#Supported Web Browsers":1,"#44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz":1,"#Supported Sample Rates":1,"#Other hosts will likely work but haven’t been fully tested.":1,"#Logic Pro X, GarageBand 10, Cubase 9.5-11, Nuendo 10-11, Pro Tools 12 and later, Ableton Live 9 64 bit, Ableton Live 10-11, Studio One 4-5, Reaper 6, Adobe Audition CC2019, Wavelab 10":1,"#Supported Hosts / DAWs":1,"#CPU: i3 @ 1.4 Ghz":1,"#Service files – C:\\Program Files\\Audiomovers":1,"#64 bit Windows – C:\\Program Files (x86)\\Common Files\\VST3":1,"#32-bit Windows – C:\\Program Files\\Common Files\\VST3":1,"#VST 2 – C:\\Program Files\\VSTPlugins VST2":1,"#AAX – C:\\Program Files\\Common Files\\Avid\\Audio\\Plug-Ins":1,"#Default Plug-in Installation Locations":1,"#Supported Plug-in Formats":1,"#For Win 8.1 and Win 10 32-bit install the previous Listento version":1,"#For Mac OS X 10.11 – 10.12 install the previous Listento version":1,"#Windows 10 64-bit only":1,"#LISTENTO allows real-time streaming of several lossless or compressed audio formats. LISTENTO Receiver allows receiving and recording an incoming audio stream from a remote LISTENTO plugin. <a ljsid-1=\"\">Try LISTENTO free for 7 days</a>.":1,"#See all mobile FAQs":1,"#You can download the iOS player here":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,"#Remote Collaborator Mic Receiver Aux – for receiving collaborator’s mic/instrument":1,"#Click/Backing track audio track – for recording":1,"#Transmitting via LISTENTO":1,"#Click/Backing Track Receiver Aux – for receiving backing track/click track":1,"#Please note that the IO settings of the Pro Tools template for receiving may require some changes depending on your setup":1,"#For bridging Collaborator’s Microphone Aux to audio Track":1},"version":17099}]