[{"_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":22037},{"_id":"en","source":"en","pluralFn":"return n != 1 ? 1 : 0;","pluralForm":2,"dictionary":{},"version":22037},{"_id":"outdated","outdated":{"#A bit of history":1,"#This requirement for a flat neutral frequency response is well understood.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,"#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,"#agora":1,"#Step 2: Setting up INJECT in your DAW.":1,"#Step 1: Enabling your iPhone as an audio device.":1,"#Now all you need to do is arm your audio track, and start recording, allowing the audio from your iPhone/iPad to travel into the INJECT plugin and then into your timeline.":1,"#By routing audio through a bus track, you are able to record external audio coming into INJECT directly into your session timeline.":1,"#Recording directly into your timeline:":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,"#Built In Recorder:":1,"#ZoomAudioDevice (Virtual)":1,"#1 of 150":1,"#Get in touch":1,"#0 of 150":1,"#The link has been copied to the clipboard":1,"#Audiomovers for Education":1,"#Session Name. Stop streaming to change":1,"#Stop Streaming":1,"#BINAURAL RENDERER":1,"#* Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.":1,"#This FastCGI application library source and object code (the “Software”) and its documentation (the “Documentation”) are copyrighted by Open Market, Inc (“Open Market”). The following terms apply to all files associated with the Software and Documentation unless explicitly disclaimed in individual files.":1,"#16. OTHER IMPORTANT TERMS":1,"#15.1. Under data protection legislation, we are required to provide you with certain information about who we are, how we process your personal data and for what purposes and your rights in relation to your personal data and how to exercise them. This information is provided in our privacy policy available at https://www.umusic.co.uk/privacy.html and it is important that you read that information.":1,"#12.1. We may terminate this Licence at any time for convenience by providing you with 30 days’ notice. If we terminate the Licence under this condition 12.1, we will provide you with a pro-rata refund of any Licence Fees paid in respect of the unused portion of the Subscription Term.":1,"#****** SHA1 Library (sha1/sha1.hpp) ******":1,"#Copyright (c) 2014, Peter Thorson. All rights reserved.":1,"#(Complete and return this form only if you wish to withdraw from the Licence)":1,"#12.4.1. you have a legal right to change your mind within 14 days of first signing up for your Subscription (including any Trial Subscription) (“cooling-off period”). You can cancel your Subscription by:":1,"#12.4.4. Following the cooling-off period, you may cancel your Subscription at any time and, provided we receive your request to cancel prior to forty eight (48) hours before the expiry of your current Subscription Term, such cancellation shall take effect at the end of your then applicable Subscription Term.":1,"#(e. loss of business opportunity, goodwill or reputation; or":1,"#6.4. From time to time we may automatically update the Software to improve performance, enhance functionality, reflect changes to the operating system or address security issues. Alternatively, we may require you to update the Software for these reasons.":1,"#14.1We will not be liable or responsible for any failure to perform, or delay in performance of, any of our obligations under this Licence that is caused by an Event Outside Our Control.":1,"#12.3.2. you must cease all activities authorised by this Licence; and":1,"#12. TERMINATION":1,"#11.4.4. This Licence sets out the full extent of our obligations and liabilities in respect of the supply of the Software. Except as expressly stated in this Licence, there are no conditions, warranties, representations or other terms, express or implied, that are binding on us. Any condition, warranty, representation or other term concerning the supply of the Software which might otherwise be implied into, or incorporated in, this Licence whether by statute, common law or otherwise, is excluded to the fullest extent permitted by law.":1,"#Please read these terms carefully before you start to use the Software. By using the Software, you confirm that you accept these terms and that you agree to comply with them. If you do not agree to these terms, you must not use the Software.":1,"#(c. is not used to create any software that is substantially similar in its expression or purpose to the Software, including building a product or service which competes with the Software; and":1,"#5.5. You are responsible for all activity under your account even if someone else uses your account. You authorise us to act on instructions received under your account and we will not be liable for any loss that you might suffer through following such instructions whether by you or another person.":1,"#2.5.4. you shall be responsible for payment of all Licence Fees in respect of each Access Pass you purchase;":1,"#6.1. Subject to you purchasing a Subscription in accordance with condition 2 and agreeing to abide by the terms of this Licence, we hereby grant to you a non-exclusive, non-transferable, non-sublicensable (save as expressly set out herein) limited licence to use the Software on the terms of this Licence solely during your Subscription Term.":1,"#3.2. When you purchase a Subscription, Paddle will be the seller of record and you will be entering into a separate legal agreement with Paddle, subject to Paddle’s terms and conditions available at https://paddle.com/legal-buyers/ which you are required to agree to in addition to the terms of this Licence.":1,"#3. PAYMENT OF LICENCE FEES":1,"#2.4. If we have not received your request to cancel your Subscription prior to forty eight (48) hours before the expiry of your Subscription Term, your Subscription will automatically renew for successive terms equal in length to the original Subscription Term and you will be charged additional Licence Fees for such periods until you decide to cancel your Subscription in accordance with condition 12 or we otherwise decide to terminate this Licence. Subject to any statutory right to cancel that you may have, we cannot provide refunds for any Subscription that has automatically renewed and that you have not cancelled in accordance with this condition.":1,"#2.2.2. the fees payable for the Subscription you have selected (the “Licence Fees”);":1,"#Different terms of this Licence will apply depending on whether you are a Consumer User or a Business User – the applicable terms will be highlighted where relevant.":1,"#The original licence:":1,"#names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.":1,"#Main Library:":1,"#12.4.3. If you or any Authorised User start using the Software during the cooling-off period (including by activating any Subscription), the cooling-off period will end, you will lose your right of cancellation and will not be refunded the Licence Fees in respect of that Subscription Term, save that in respect of Trial Subscriptions, if you use the Software during the cooling-off period you will still be able to cancel up until the Trail Subscription end date.":1,"#12.3.3. you must immediately delete or remove the Software from all computer equipment in your possession.":1,"#and we reserve the right, without liability or prejudice to our other rights, to disable your access to the Software if you breach this provision this condition.":1,"#7.1.3. not to disassemble, de-compile, reverse engineer or create derivative works based on the whole or any part of the Software nor attempt to do any such things, except to the extent that such actions cannot be prohibited under applicable law because they are necessary to decompile the Software to obtain the information necessary to create an independent program that can be operated with the Software or with another program (“Permitted Objective”), and provided that the information obtained by you during such activities:":1,"#6.6. We may also suspend, withdraw, discontinue or change all or any part of the Software, or any features of it for business or operational reasons. We will try to give you reasonable notice of any suspension or withdrawal.":1,"#****** Base 64 Library (base64/base64.hpp) ****** base64.hpp is a repackaging of the base64.cpp and base64.h files into a single header suitable for use as a header only library. This conversion was done by Peter Thorson (webmaster@zaphoyd.com) in 2012. All modifications to the code are redistributed under the same licence as the original, which is listed below.":1,"#THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL PETER THORSON BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. Bundled Libraries:":1,"#9.1.3. you have no intellectual property rights in, or to, the Software other than the right to use the Software in accordance with the terms of this Licence,":1,"#7.1.4. not to provide, or otherwise make available, the Software in any form, in whole or in part (including, but not limited to, program listings, object and source program listings, object code and source code) to any person without prior written consent from us.":1,"#(b. is not disclosed or communicated without our prior written consent to any third party to whom it is not necessary to disclose or communicate it in order to achieve the Permitted Objective; and":1,"#6.2. You may:":1,"#5. YOUR ACCOUNT AND PASSWORD":1,"#3.4. Licence Fees shall be payable in full in advance of the start of the Subscription Term to which they relate.":1,"#1.4. If you download the Software onto any device not owned by you, you must have the owner’s permission to do so. You will be responsible for complying with this Licence, whether or not you own the device.":1,"#2.6. From time to time we may offer additional premium plug-ins, features or functionality to the Software, access to which may be subject to additional Licence Fees (“Additional Features”). If you select to receive such Additional Features, the Licence Fees for your Subscription will be amended accordingly and you shall make payment for such amounts. If any additional or different terms apply to such Additional Features, we will provide details of such terms at the time you sign up for them.":1,"#in a personal capacity for your own private non-commercial use (a “Consumer User”); or":1,"#THE SOFTWARE AND DOCUMENTATION ARE PROVIDED “AS IS”.":1,"#I/We [*] hereby give notice that I/We [*] cancel my/our [*] contract for the supply of the following service [*],":1,"#To: Virgin Records Limited, trading as Audiomovers of 4 Pancras Square, London, N1C 4AG, United Kingdom, or info@audiomovers.com":1,"#16.5. If we do not insist immediately that you do anything you are required to do under these terms, or if we delay in taking steps against you in respect of your breaking this contract, that will not mean that you do not have to do those things and it will not prevent us taking steps against you at a later date.":1,"#16.2. You may only transfer your rights or your obligations under this Licence to another person if we agree in writing (provided that this will not prevent you providing Access Passes to Authorised Users in accordance with these conditions).":1,"#13.1. If you wish to contact us in writing, or if any condition in this Licence requires you to give us notice in writing, you can send this to us by email to Audiomovers at info@audiomovers.com. We will confirm receipt of this by contacting you in writing at the email address or postal address you provided to us in your order.":1,"#11.4.3. Subject to condition 11.1, our maximum aggregate liability under or in connection with this Licence whether in contract, tort (including negligence) or otherwise, shall in all circumstances be limited to a sum equal to 100% of the then applicable Licence Fees for your Subscription.":1,"#(c. loss of anticipated savings;":1,"#11.3.3. We are not liable for business losses. If you are a Consumer User, the Software is made available for your own private non-commercial use. We will have no liability to you for any loss of profit, loss of business, business interruption, or loss of business opportunity.":1,"#11.3.1. We are responsible to you for foreseeable loss and damage caused by us. If we fail to comply with these terms, we are responsible for loss or damage you suffer that is a foreseeable result of our breaking this Licence or our failing to use reasonable care and skill, but we are not responsible for any loss or damage that is not foreseeable. Loss or damage is foreseeable if either it is obvious that it will happen or if, at the time this Licence was made, both we and you knew it might happen.":1,"#11.3. If you are a Consumer User:":1,"#9. INTELLECTUAL PROPERTY RIGHTS":1,"#7. RESTRICTIONS":1,"#6.3. The Software incorporates elements of third party and open source software which are subject to additional terms and conditions and legal notices, details of which are set out in Schedule 2 and from part of this Licence.":1,"#4.2. At any time you may choose not to convert or continue to a paid Subscription by cancelling your Trial Subscription prior to the expiration of the trial period. You can cancel your Trial Subscription via the My Account section of the Software.":1,"#2.7. From time to time, we may amend the Licence Fees applicable to any Subscriptions. We will notify you not less than seven days before any change to Licence Fees taking effect and any increase in the applicable Licence Fees will not apply before the end of your current Subscription Term. Accordingly, you will always have the opportunity to cancel your Subscription in accordance with condition 12 below prior to any increase taking effect.":1,"#2.5.3. each Access Pass shall be for a single user and may not be transferred or reassigned and in no event should account or log-in details be shared between users;":1,"#2.2.4. if applicable, the number of users who you will be able to permit to access the Software under your Subscription by issuing an access pass to such users (an “Access Pass”). You may add additional Access Passes from time to time subject to payment of additional Licence Fees.":1,"#1. SUPPLY AND DOWNLOAD OF SOFTWARE":1,"#2.2.3. the type or tier of Subscription; and":1,"#7.1.1. not to copy the Software, except where such copying is incidental to normal use of the Software or where it is necessary for the purpose of back-up or operational security;":1,"#5.2. If you register with us, you must provide true and accurate information about yourself. Should the registration information provided prove false or misleading, we may suspend or terminate your account.":1,"#2.1. We offer a number of subscription packages which provide access to the Software including monthly, annual and multi-user subscriptions (each a “Subscription”), which may include one-off purchases of a perpetual licence for certain Software products. Full details of our currently available Subscription models, fees and duration which will be shown on our website or in the sign-up process accessed via the Software at the time you request a Subscription.":1,"#in a business capacity, where you intend to use the Software commercially or otherwise acting in the course of your business, trade or profession or where you are a business or corporate entity or are otherwise purchasing on behalf of a business or corporate entity (a “Business User”).":1,"#8.3. We do not endorse or approve any Third Party Services made available via, or used in conjunction with, the Software. We are not responsible for any damage caused to your device or any disruption caused to your use of the Software by using any Third Party Services, nor do we guarantee that such Third Party Services will function with the Software.":1,"#8.2. Any contract entered into and any transaction completed by or for any Third Party Services is between you and the relevant third party, and not us. We recommend that you refer to the Third Party Services’ terms and conditions and privacy policy prior to using the relevant Third Party Services.":1,"#7.1.2. not to rent, lease, sub-license (save as expressly permitted by the terms of Access Passes), loan, translate, merge, adapt, vary, alter or modify, the whole or any part of the Software nor permit the Software or any part of it to be combined with, or become incorporated in, any other programs;":1,"#3.6. Licence Fees shall be payable in the currency specified during the sign-up process for your Subscription. You may be charged additional fees if you pay using a payment card or method using a different currency.":1,"#2.5.6. you shall be responsible for the acts and omissions of all of your Authorised Users; and":1,"#2.5. In respect of each Access Pass:":1,"#* Neither the name of the WebSocket++ Project nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.":1,"#OPEN MARKET MAKES NO EXPRESS OR IMPLIED WARRANTY WITH RESPECT TO THE SOFTWARE OR THE DOCUMENTATION, INCLUDING WITHOUT LIMITATION ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL OPEN MARKET BE LIABLE TO YOU OR ANY THIRD PARTY FOR ANY DAMAGES ARISING FROM OR RELATING TO THIS SOFTWARE OR THE DOCUMENTATION, INCLUDING, WITHOUT LIMITATION, ANY INDIRECT, SPECIAL OR CONSEQUENTIAL DAMAGES OR SIMILAR DAMAGES, INCLUDING LOST PROFITS OR LOST DATA, EVEN IF OPEN MARKET HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. THE SOFTWARE AND DOCUMENTATION ARE PROVIDED “AS IS”. OPEN MARKET HAS NO LIABILITY IN CONTRACT, TORT, NEGLIGENCE OR OTHERWISE ARISING OUT OF THIS SOFTWARE OR THE DOCUMENTATION.":1,"#14.2. If an Event Outside Our Control takes place that affects the performance of our obligations under this Licence:":1,"#9.1.2. rights in the Software are licensed (not sold) to you,":1,"#6.5. If you choose not to install such updates or if you opt out of automatic updates you may not be able to continue using some or all of the features of the Software and we will not liable for any loss or damage caused by failure to update.":1,"#(a. if the Licence is used pursuant to a single-user Subscription, on one central processing unit (CPU); or":1,"#4.3. Unless you notify us that you want to cancel your Trial Subscription prior to the end date, your Trial Subscription will automatically convert into a paid Subscription of the type selected during sign up and subject to the applicable Licence Fees for that Subscription.":1,"#5.6. We reserve the right to suspend and/or disable your account and access to the Software if you fail to comply with these Terms, or if we have reasonable grounds to believe such a failure has occurred. Except in the event of an emergency, we will provide you with reasonable advance notice of any such intended suspension, including the reasons for such suspension.":1,"#5.1. You must be 18 years or older to be eligible to register with us, and to use the Software. By using the Software, you represent and warrant that you are 18 years or older.":1,"#3.1. We use a third party payment service provider, currently Paddle.com (“Paddle”), for collection of Licence Fees and administration of the billing process.":1,"#2. SUBSCRIPTIONS AND LICENCE FEES":1,"#1.1 We shall make the Software available for download, in object code form, in electronic format only via our website and/or relevant third party app stores.":1,"#You may use the Software either:":1,"#5.4. You are responsible for maintaining the confidentiality of your account details, including any user identification codes, passwords or any other piece of information that forms part of our security procedures, and you must not disclose these to any third party.":1,"#4.1. From time to time we may offer trial subscriptions for which no payment will be due for an introductory period (a “Trial Subscription”). Trial Subscriptions shall be subject to the terms of this Licence unless otherwise stated in separate terms provided at the time you enter into a Trial Subscription.":1,"#2.5.7. if your Subscription is suspended or terminated in accordance with the terms hereof, we reserve the right to suspend or terminate all Access Passes you have purchased.":1,"#2.5.5. each Authorised User will be required to create an account with us and agree to the terms of this Licence in order to use an Access Pass;":1,"#We license use of the Software to you on the basis of this Licence. We do not sell the Software to you and we remain the owners of the Software at all times.":1,"#2.5.1. you may assign each Access Pass to a single third party user (each an “Authorised User”), for example an artist you are collaborating with;":1,"#2.2. At the time you sign-up for a Subscription you will be shown:":1,"#1.2. If you wish to use the Software you will be required to create a user account and purchase a Subscription (details of the available options are set out below) to access the functionality of the Software and the associated audio streaming capability.":1,"#Save":1,"#Can I use Binaural Renderer when mixing in 9.1.6?":1,"#JSON – Copyright (c) 2002 JSON.org":1,"#Copyright (C) 2004-2008 René Nyffenegger":1,"#Audiomovers is a proud member of Universal Music Group, and therefore falls under the UMG privacy policy.":1,"#Make sure you have Dolby Atmos ‘always on’ in Apple Music’s preferences, this will output the discrete 7.1.4 channels into OMNIBUS for routing.":1,"#What is the Audiomovers privacy policy?":1,"#How do I get audio to pass through OMNIBUS?":1,"#Can I minimise the view of OMNIBUS?":1,"#Why can’t I control levels for my interface from OMNIBUS?":1,"#What does OMNIBUS do?":1,"#Using any VPN service can greatly impact the streaming latency and may also cause audio dropouts, as using a VPN will generally lower your normal upload and download speeds.":1,"#OMNIBUS is a one-time purchase, with no subscription needed. You can also get a 7-day free demo of OMNIBUS before buying.":1,"#To pass audio through OMNIBUS you’ll need to select your computers audio device as one of the 4 OMNIBUS Drivers.":1,"#How many LISTENTO MIDI streams can I have in one session?":1,"#Where can I find LISTENTO Logs, the Audio Cache and my LISTENTO Preferences in MacOS?":1,"#Yes, on the top left of each device in the device list there is a button where you can hold and drag devices up or down.":1,"#You'll need to send us a direct message from the registered email address with the confirmation that you want us to delete your account.":1,"#What affects LISTENTO streaming quality?":1,"#Are there AAC 256 or 320 options when using LISTENTO on Windows?":1,"#How does a LISTENTO stream work?":1,"#Discounts":1,"#How do I fix a ‘No Network’ message when using LISTENTO?":1,"#OMNIBUS allows you to route audio between applications and audio devices for Mac.":1,"#Can I move audio devices in the OMNIBUS View?":1,"#Why isn't the LISTENTO plugin showing up on my Windows system?":1,"#Some audio devices may say “Device with no OS level control”.":1,"#How can I login to my Audiomovers account?":1,"#EXPLORE THE SUITES DESIGNED FOR PROFESSIONAL AUDIO ENGINEERS AND STUDIOS":1,"#Is OMNIBUS a subscription or a one-time purchase?":1,"#You can update your payment details from within Billing, in My Account.":1,"#What happens when my LISTENTO subscription ends?":1,"#Unless you have cancelled your subscription before the end of your current billing period, your subscription will automatically continue.":1,"#How can I cancel my LISTENTO subscription?":1,"#Yes. If you want to buy 10 or more licences, you can take advantage of our Business plan.":1,"#Why can't I get MIDI to come through to my DAW when using LISTENTO?":1,"#Do Audiomovers offer plans for businesses?":1,"#If you’re not able to login to your Audiomovers account, it could be possibly caused by any white spaces where you’ve typed your login information.":1,"#Switch routing snapshots from an Elgato Stream Deck, MIDI controller, key commands or Hot Snapshot panel":1,"#Route multichannel audio between different machines connected to the same network via AVB or NDI":1,"#The Binaural Renderer plugin supports MacOS 13 onwards and is available on Apple Silicon Mac computers.":1,"#Why don’t I see Binaural Renderer in the list of plugins on my DAW?":1,"#Do you offer an educational discount for LISTENTO?":1,"#Can I try LISTENTO for free?":1,"#How can I update the payment method I use with Audiomovers?":1,"#Choose your plan":1,"#You will need to have purchased a license and to be connected to the internet to authorize the Binaural Renderer plugin.":1,"#LAUNCH WEB TRANSMITTER":1,"#No. This is because Binaural Renderer for Apple Music utilises technologies available exclusively on Apple devices.":1,"#How can I delete my Audiomovers account?":1,"#Is Binaural Renderer for Apple Music available for Windows?":1,"#Binaural Renderer for Apple Music allows you to monitor your Dolby Atmos 7.1.4 audio through the same binaural rendering that is used on Apple Music.":1,"#What can Binaural Renderer for Apple Music be used for?":1,"#How do I authorise Binaural Renderer?":1,"#Why is Binaural Renderer stating that “Headtracking data is not available” or “personalized profile not found”?":1,"#The OMNIBUS Stream Deck plugin is included in the OMNIBUS installer and can also be downloaded in the OMNIBUS 3.0 release notes.":1,"#Save $129.97 on the full suite of products.":1,"#Where can I download the OMNIBUS Stream Deck plugin?":1,"#How do I connect OMNIBUS to my Stream Deck?":1,"#You will need to install the OMNIBUS Stream Deck plugin. This is included in the OMNIBUS installer and can also be downloaded from the Elgato Stream Deck store.":1,"#Is OMNIBUS 2 still available for purchase?":1,"#You will require an AVB and thunderbolt enabled ethernet adapter to connect two machines via AVB.":1,"#Can I use any ethernet port/adapter to utilise AVB with OMNIBUS?":1},"version":22037}]