[{"_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":22023},{"_id":"en","source":"en","pluralFn":"return n != 1 ? 1 : 0;","pluralForm":2,"dictionary":{},"version":22023},{"_id":"outdated","outdated":{"#A bit of history":1,"#This requirement for a flat neutral frequency response is well understood.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,"#DSP":1,"#Audiomovers for Students":1,"#Dolby Audio Bridge":1,"#MacOS 10.15+":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,"#here":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,"#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,"#Follow the steps below to connect your AirPods as a monitoring source:":1,"#Software":1,"#Afrikaans":1,"#3 of 150":1,"#English":1,"#ZoomAudioDevice":1,"#“It’s in there somewhere but the key is to not give up” – F. Reid Shippen #MixTricks":1,"#We’ve updated LISTENTO with new features. Here’s what you need to know.":1,"#If you’re a user of Cubase 12, you’re in luck.":1,"#LYRE MUSIC on collaborating remotely with songwriters and producers":1,"#We caught up with producer, songwriter and mixer Phil Gornell to learn more about how he completed an entire album remotely during the pandemic.":1,"#7.3.4. depicts sexually explicit images;":1,"#7.3.3. facilitates illegal activity;":1,"#7.3.2. is unlawful, harmful, threatening, defamatory, obscene, infringing, harassing or racially or ethnically offensive;":1,"#7.3.1. infringes the intellectual property rights of any third party;":1,"#7.3. You shall not create, stream, access, store, distribute or transmit any viruses, or any material during the course of your use of the Software that:":1,"#7.2.3 each Authorised User shall keep a secure password for their use of the Software, that such password shall be changed periodically and each Authorised User shall keep their password confidential.":1,"#7.2.2. you will not allow or suffer any Access Passes to be used by more than one individual Authorised User. You acknowledge that we may charge additional Licence Fees for any breach of this condition; and":1,"#7.2.1. the maximum number of Authorised Users that it authorises to access and use the Software shall not exceed the number of Access Passes you have purchased from time to time. You acknowledge that we may charge additional Licence Fees for any breach of this condition;":1,"#7.2. In relation to the Authorised Users, you undertake that:":1,"#4.5. We reserve the right to restrict or remove any Trial Subscription at any time, including if we have reasonable grounds to believe that you or someone in your household has previously signed up for a Trial Subscription.":1,"#4.4. Trials Subscriptions are limited to one per household.":1,"#3.7 Our payments provider processes all subscription payments between 00:00 and 04:00 UTC.":1,"#for perpetual licences, will be perpetual.":1,"#for time limited subscriptions (such as monthly or annual subscriptions) will be automatically extended for successive periods of the same length unless you cancel your Subscription (see conditions 2.4 and 12 for further details); and":1,"#2.2.1. the duration of the Subscription you have selected (the “Subscription Term”), which:":1,"#12.4.6. For the avoidance of doubt, no refunds shall be made in respect of Subscriptions cancelled part-way through the Subscription Term or in respect of Subscriptions which you have automatically renewed and you have not cancelled in accordance with this condition 12.":1,"#12.4.5. If you have purchased an annual Subscription and cancel part-way through the Subscription Term, you will continue to have access to the Software until the end of the then current Subscription Term when your access will cease. No refund will be made in respect of the then current Subscription Term,":1,"#(f. any special, indirect or consequential loss, damage, charges or expenses (including without limitation loss or damage of the types set out in condition 11.4.2(a) to condition 11.4.2e).":1,"#11.4.1. We only supply the Software for internal use by your business, and you agree not to use the Software for any re-sale purposes":1,"#10.5 In respect of Software sold subject to a perpetual licence, we make no guarantee that the Software will continue to be maintained and/or supported.":1,"#v1.06 | Last updated 17th June 2024":1,"#Dolby and the double-D symbol are registered trademarks of Dolby Laboratories Licensing Corporation. All other trademarks remain the property of their respective owners. © 2023 Dolby Laboratories, Inc. All rights reserved.":1,"#Apple, Apple Music, the Apple logo, Apple TV, iPad, iPhone, iPod touch, iTunes, Apple AirPods (3rd generation), AirPods Pro or AirPods Max and Mac are trademarks of Apple Inc., registered in the U.S. and other countries and regions. Copyright © 2023 Apple Inc. All rights reserved.":1,"#Audiomovers Binaural Renderer for Apple Music is solely a product of Audiomovers, and not created or endorsed by Apple Inc.":1,"#Audiomovers Binaural Renderer for Apple Music":1,"#Peter Deutsch":1,"#Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.":1,"#The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.":1,"#This notice may not be removed or altered from any source distribution.":1,"#Altered source versions must be plainly marked as such, and must not be misrepresented as being the original source code.":1,"#This source code is provided ‘as-is’, without any express or implied warranty. In no event will the author be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:The origin of this source code must not be misrepresented; you must not claim that you wrote the original source code. If you use this source code in a product, an acknowledgment in the product documentation would be appreciated but is not required.":1,"#16.7 This Licence constitutes the entire agreement between us relating to the Software. Where we agree separate terms in writing, such terms will only override the terms of this Licence where such terms are expressly stated as overriding the terms of this Licence and are signed by an authorised representative of Virgin Records Limited.":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,"#Rock band Elbow discuss how they used the process for their ninth studio album to experiment with new recording and songwriting methods.":1,"#With a 35-year legacy built on writing and producing some of the biggest ’80s hits and kickstarting the career of Janet Jackson, ex-members of The Time, Jimmy Jam and Terry Lewis discuss their exploration of new sounds and technologies for the creation of what is incredibly their debut album ‘Jam & Lewis: Volume One’.":1,"#How the legendary super-duo Jam & Lewis finally created their debut solo album":1,"#Product Update: LISTENTO now supports Cubase 12":1,"#Long gone are the days of having to squeeze multiple people into the same room or studio to jam or lay down a new track together. Like with most things in life, the internet has transformed music collaboration.":1,"#“I love pieces of kit that make my life easier” – Jeff Braun #NerdingOut":1,"#“I do a lot of AAA mastering – it’s fun but expensive” – Pete Lyman | #NerdingOut":1,"#Remote reinvention: how new methods helped Elbow relocate their mojo":1,"#Maximizing Quality: Tips for Remote Music Collaboration":1,"#“I thought it was a friend playing a prank on me” – Chuck Ainlay | #OffTheRecord":1,"#<b ljsid-0=\"\">Boost Software Licence</b> – Version 1.0 – August 17th, 2003 Permission is hereby granted, free of charge, to any person or organization obtaining a copy of the software and accompanying documentation covered by this licence (the “Software”) to use, reproduce, display, distribute, execute, and transmit the Software, and to prepare derivative works of the Software, and to permit third-parties to whom the Software is furnished to do so, all subject to the following: The copyright notices in the Software and this entire statement, including the above licence grant, this restriction and the following disclaimer, must be included in all copies of the Software, in whole or in part, and all derivative works of the Software, unless such copies or derivative works are solely in the form of machine-executable object code generated by a source language processor. THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, TITLE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE COPYRIGHT HOLDERS OR ANYONE DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY, WHETHER IN CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.":1,"#Nothing herein is intended to convey to you any patent, trademark, copyright, trade secret or other intellectual property owned by NDI or its licensors in the SDK or in any NDI software, hardware, products, trade names, or trademarks. NDI and its suppliers or licensors shall retain all right, title, and interest to the foregoing intellectual property and to the SDK. All rights pertaining to the SDK not expressly granted herein are reserved by NDI.":1,"#NEITHER NDI NOR ITS SUPPLIERS OR LICENSORS SHALL BE LIABLE FOR ANY INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES OR LOSS (INCLUDING DAMAGES FOR LOSS OF BUSINESS, LOSS OF PROFITS, OR THE LIKE), ARISING OUT OF THIS LICENSE WHETHER BASED ON BREACH OF CONTRACT, TORT (INCLUDING NEGLIGENCE), STRICT LIABILITY, PRODUCT LIABILITY OR OTHERWISE, EVEN IF NDI OR ITS REPRESENTATIVES HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.":1,"#THE SDK IS PROVIDED TO YOU ON AN “AS IS” BASIS AND “WITH ALL FAULTS”, WITHOUT ANY TECHNICAL SUPPORT OR WARRANTY OF ANY KIND FROM NDI. YOU ASSUME ALL RISKS THAT THE SDK IS SUITABLE OR ACCURATE FOR YOUR NEEDS AND YOUR USE OF THE SDK IS AT YOUR OWN DISCRETION AND RISK. NDI AND ITS LICENSORS DISCLAIM ALL EXPRESS AND IMPLIED WARRANTIES FOR THE SDK INCLUDING, WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. ALSO, THERE IS NO WARRANTY OF NON-INFRINGEMENT, TITLE OR QUIET ENJOYMENT. SOME STATES DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU. YOU MAY ALSO HAVE OTHER LEGAL RIGHTS THAT VARY FROM STATE TO STATE.":1,"#You shall: (i) not modify the entire NDI® Software Development Kit (“SDK”) or any part thereof, (ii) not reverse engineer, disassemble or recompile the SDK or any part thereof, or any protocols used in the SDK, or attempt to do so; and (iii) comply fully with all relevant export laws and regulations of the United States to assure that the Software or any part thereof is not exported, directly or indirectly, in violation of United States law.":1,"#NDI® Software Development Kit (SDK) License Agreement licensed by Vizrt NDI AB (“NDI”)":1,"#In this conversation, Chuck reveals how a personal recommendation from Nashville steel player Paul Franklin helped him land the dream gig of working with Dire Straits.":1,"#The article breaks down INJECT, its functionality, features and the various ways you can use it to streamline your music production workflow.":1,"#8.4 In respect of the Software we make available as the “Audiomovers Binaural Renderer for Apple Music”, this Software is solely our product and not created or endorsed by Apple Inc.":1,"#7.4. You agree not to take any action which imposes an unreasonable or disproportionately large load on the Software’s infrastructure. In addition and without prejudice to the foregoing, you agree to comply with any acceptable use policy published by us from time to time.":1,"#7.3.7. is otherwise illegal or causes damage or injury to any person or property;":1,"#7.3.6. is discriminatory based on race, gender, colour, religious belief, sexual orientation, disability; or":1,"#7.3.5. promotes unlawful violence;":1,"#How an Abbey Road mastering engineer REALLY gets client feedback":1,"#The Gear Behind: Abbey Road Studios":1,"#How to record remotely with ProTools (Free Templates Inside)":1,"#When streaming audio to another device over the internet, you want the experience to be as close as possible to playing audio in-person.":1,"#Production Expert | How to use INJECT":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,"#Mix with the Masters | Mixing Summit with Jaycen Joshua":1,"#What is lossless audio streaming?":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,"#“Don’t second guess yourself too much, there’s power in momentum” – Nathan Dantzler | #MixTricks":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,"#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,"#The gear behind Abbey Road Studios: The RS124 Compressor":1,"#Centralized license management":1,"#<span ljsid-0=\"\">Bespoke LISTENTO receiver limits</span> tailored specifically to your requirements for any class size.":1,"#Low Latency Audio Streaming Made Simple":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,"#BINAURAL RENDERER":1,"#Backstage with Phil Gornell":1,"#****** UTF8 Validation logic (utf8_validation.hpp) ****** utf8_validation.hpp is adapted from code originally written by Bjoern Hoehrmann . See http://bjoern.hoehrmann.de/utf-8/decoder/dfa/ for details.":1,"#Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:":1,"#Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicence, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:":1,"#Curl – COPYRIGHT AND PERMISSION NOTICE":1,"#[*] Delete as appropriate":1,"#17.2.2. if you reside in the EU, the European Commission provides for an online dispute resolution platform, which you can access here: https://ec.europa.eu/consumers/odr. We will not charge you for making a complaint and if you are not satisfied with the outcome you can still bring legal proceedings.":1,"#15.2. As stated in condition 3, we use a third party payment service provider who will also process your personal data for administration of billing and collection of the Licence Fees. Such processing shall be subject to the terms of their separate privacy policy available via their website.":1,"#12.4. If you are a Consumer User:":1,"#12.2. We may terminate this Licence immediately by written notice to you if you commit a material or persistent breach of this Licence which you fail to remedy (if remediable) within 14 days after the service of written notice requiring you to do so. No refund will be due if we terminate in accordance with this condition 12.2.":1,"#11.4.2. We shall not in any circumstances whatever be liable to you, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, arising under or in connection with the Licence for:":1,"#10.2. The Software is hosted by a third party cloud service provider and your use relies upon internet and telecommunications infrastructure and we do not have responsibility or liability in respect of such services, their performance or for any defect in or unavailability of such services.":1,"#2.5.2. an Access Pass shall permit an Authorised User access to the Software for a defined Subscription Term as set out at the time you purchase such Access Pass. Following the end of such Subscription Term, the Access Pass and the Authorised User’s access to the Software shall terminate;":1,"#2.3. You may cancel your Subscription at any time, further details are provided in condition 12.":1,"#1.3. Installation of the Software shall be your responsibility. To use the Software, your device must meet certain system requirements. These will be updated from time to time and can be found on the Audiomovers website.":1,"#Model Cancellation Form – for Consumer Users only":1,"#9.1.4. the Software is subject to the additional terms and conditions and legal notices set out in Schedule 2, and":1,"#function as a component of a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012 for the WebSocket++ project. The changes are released under the same licence as the original (listed below) Copyright (C) 1999, 2002 Aladdin Enterprises. All rights reserved. This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:":1,"#Except as contained in this notice, the name of a copyright holder shall not be used in advertising or otherwise to promote the sale, use or other dealings in this Software without prior written authorization of the copyright holder.":1,"#All rights reserved. Permission to use, copy, modify, and distribute this software for any purpose with or without fee is hereby granted, provided that the above copyright notice and this permission notice appear in all copies. THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.":1,"#SCHEDULE 2":1,"#Name of consumer(s),":1,"#17.2.3. If you are a Business User, you agree to submit to the exclusive jurisdiction of the English courts.":1,"#17. GOVERNING LAW AND JURISDICTION":1,"#16.3. This contract is between you and us. This Licence does not give rise to any rights to any third party to enforce any term of this Licence.":1,"#13.2. If we have to contact you or give you notice in writing, we will do so by emailing the email address you provided in registering your account.":1,"#11. OUR RESPONSIBILITY FOR LOSS OR DAMAGE SUFFERED BY YOU":1,"#9.2. You acknowledge that we are the sole and exclusive owners of any and all anonymised data relating to your use of the Software (for example activity records, availability monitoring, system performance data and analytics based on user segments) and that such anonymised data can be used by us for commercial, development and research purposes, including in supporting, developing, testing, and improving the Software.":1,"#17.2.1. if mandatory statutory consumer protection regulations in your country of residence contain provisions that apply by application of applicable law, such provisions shall apply irrespective of the choice of English law. As a consumer, you may bring any judicial proceedings relating to this Licence before the competent court of your place of residence or the competent court of our place of business in England. If we wish to enforce any of its rights against you as a consumer, we may do so only in the courts of the jurisdiction in which you are a resident.":1,"#17.2. If you are a Consumer User:":1,"#14.2.2. we will use our reasonable endeavours to find a solution by which our obligations under this Licence may be performed despite the Event Outside Our Control.":1,"#(a. accessing the My Account section of the Software and following the cancellation instructions set out; or":1,"#(b. business interruption;":1,"#11.3.2. When we are liable for damage to your property. If defective digital content that we have supplied damages a device or digital content belonging to you, we will either repair the damage or pay you compensation. However, we will not be liable for damage that you could have avoided by following our advice to apply an update offered to you free of charge or for damage that was caused by you failing to correctly follow installation instructions or to have in place the minimum system requirements advised by us.":1,"#10.4. To the maximum extent permitted by law, we disclaim any and all implied conditions and warranties that the Software and the information and services available through it are of satisfactory quality, accurate or fit for a particular purpose.":1,"#9.1.1. all intellectual property rights in the Software throughout the world, as between you and us, belong to us,":1,"#****** MD5 Library (common/md5.hpp) ****** md5.hpp is a reformulation of the md5.h and md5.c code from http://www.opensource.apple.com/source/cups/cups-59/cups/md5.c to allow it to":1,"#THIS SOFTWARE IS PROVIDED BY Micael Hildenborg ”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 Micael Hildenborg 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.":1,"#Permission to use, copy, modify, and distribute this software for any purpose with or without fee is hereby granted, provided that the above copyright notice and this permission notice appear in all copies.":1,"#16.4. Each of the conditions of these terms operates separately. If any court or relevant authority decides that any of them are unlawful, the remaining conditions will remain in full force and effect.":1,"#16.1. We may transfer our rights and obligations under these terms to another organisation. We will always tell you in writing if this happens and we will ensure that the transfer will not affect your rights under the contract.":1,"#15. HOW WE MAY USE YOUR PERSONAL INFORMATION":1,"#12.3. Upon termination for any reason:":1,"#(d. loss or corruption of data or information;":1,"#11.2. We are not responsible for ensuring the Software meets your individual requirements. You acknowledge that the Software has not been developed to meet your individual requirements (including, if you are a Business User, any particular cybersecurity requirements you might be subject to under law or otherwise) and that it is therefore your responsibility to ensure that the facilities and functions of the Software meet your requirements.":1,"#10. AVAILABILITY AND DISCLAIMER":1,"#Copyright (c) 1996 – 2017, Daniel Stenberg, daniel@haxx.se, and many contributors, see the THANKS file.":1,"#14.1. An “Event Outside Our Control” means any act or event beyond our reasonable control, including without limitation failure of public or private telecommunications networks.":1,"#14. EVENTS OUTSIDE OUR CONTROL":1,"#12.3.1. all rights granted to you under this Licence shall cease;":1,"#11.1. We do not exclude or limit in any way our liability to you where it would be unlawful to do so. This includes liability for death or personal injury caused by our negligence or the negligence of our employees, agents or subcontractors or for fraud or fraudulent misrepresentation.":1,"#Open Market permits you to use, copy, modify, distribute, and licence this Software and the Documentation for any purpose, provided that existing copyright notices are retained in all copies and that this notice is included verbatim in any distributions. No written agreement, licence, or royalty fee is required for any of the authorized uses. Modifications to this Software and Documentation may be copyrighted by their authors and need not follow the licensing terms described here. If modifications to this Software and Documentation have new licensing terms, the new terms must be clearly indicated on the first page of each file where they apply.":1,"#THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.":1,"#The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.":1,"#17.1. This Licence is governed by English law":1,"#13. COMMUNICATIONS BETWEEN US":1,"#(b. completing the Model Cancellation Form set out in Schedule 1 and returning it to us.":1,"#(a. loss of profits, sales, business, or revenue;":1,"#10.3. You agree that your use of the Software is at your own risk. We will not be liable to you if for any reason the Software is unavailable at any time or for any period.":1,"#10.1.1. the operation or use of the Software will be error-free or uninterrupted or free from bugs or viruses or that any defect will be corrected; or":1,"#* Neither the name of Micael Hildenborg nor the":1,"#The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. The Software shall be used for Good, not Evil.":1,"#11.4. If you are a Business User:":1,"#10.2.1. you will be able to achieve any results or particular outcome from use of the Software.":1,"#8. THIRD PARTY PLUG-INS AND SERVICES":1,"#(b. if you purchase Access Passes, on one CPU for you and on one CPU for a single Authorised User for each Access Pass you purchase.":1,"#4. FREE TRIALS":1,"#3.5. If you fail to pay any Licence Fees by the due date for payment, your access to the Software will be withdrawn until payment of any outstanding Licences Fees is made.":1,"#Third party and open source software – legal notices":1,"#Address of consumer(s),":1,"#14.2.1 our obligations under this Licence will be suspended and the time for performance of our obligations will be extended for the duration of the Event Outside Our Control; and":1,"#PCM 32 Bit":1,"#PCM 16 Bit":1,"#PCM 24 Bit":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,"#10.1. While we will use commercially reasonable endeavours to make the Software perform materially in accordance with any descriptions we provide regarding functionality, available 24 hours a day, seven days a week and to correct any errors in the Software, we do not warrant that:":1,"#9.1.5. you have no right to have access to the Software in source code form.":1,"#9.1. You acknowledge that:":1,"#8.1. Where the Software allows for integration with third party plug-ins, apps or services or contains links to third party websites (collectively “Third Party Services”), we have no control over the contents or performance of those Third Party Services and your use of purchase of the same is solely at your own risk.":1,"#(a. is used only for the Permitted Objective;":1,"#7.1. Except as expressly set out in this Licence or as permitted by any local law, you undertake:":1,"#6.2.1. install and use the Software for your personal purposes only (or for your internal business purposes where you are a Business User):":1,"#6. GRANT OF LICENCE":1},"version":22023}]