If like me you started out on Pro Audio at the beginning of the new millennium or close to that time you might have come across the Digidesign 001 Audio Interface, Back then the computer audio world was just starting to blossom for the home and small project studio user, gear was becoming more accessible and computer power was beginning to get to the point where it was actually possible to do a decent amount of multi-track recording with fairly large sessions.
I'd like to introduce a guest post for you today by Our friend Mike Aiton, a Post Production dubbing mixer & sound designer among many other talents. Mike is also a Pro Tools PC owner running Pro Tools 12 HDX from his purpose build studio in London UK.
As a Post Production specialist the concept of collaborating or at least exchanging files with clients is a core requirement on almost every session so what's Mikes first impression of Pro Tools 12.5 and its new cloud collaboration features from ..... a Post Perspective?
These day's not even a few weeks can pass without one computer tech website reporting on security flaws identified in desktop Operating Systems, Web browsers, Mobile OS's or API's and this week is no different with security firm Trend Micro reporting and advising on two vulnerabilities found in Apple's Quicktime media software specifically on the Windows version
VCA faders give us the ability to create faders in order to control groups. This, by itself, will speed up your workflow. Now, we’re going to focus on using the automation options available on your VCA fader.
The release of Pro Tools 12 ushered in a host of new features and a range of pricing options. It also promised revolutionary new way to work together with other artists, producers and mixers through Avid Cloud Collaboration. But what does it really mean for Pro Tools users today, and in the near future? And how can you apply the technology to expand your own creative opportunities?
Audio Giant Focusrite have just published a rather nice information resource webpage dedicated to and named Focusrite Precision Conversion.
The page details the important factors to consider when designing and manufacturing the best possible Analogue to Digital / Digital to Analogue audio converters as well as hosting a very good video interview with one of Focusrites key early product designers Dave Malham.
Hello my friends, and welcome back to part two of the How to Land a Band series! If you haven’t checked out Part 1, I suggest you check it out now. So far we’ve learned that our most advantageous technique for scouting bands is our good old friend the internet. I’m going to give you a few of my own personal methods for finding leads, so please feel free to incorporate them with your approach and mix/match where you see fit.
Believe it or not, attracting clients is a huge part of our job description. I can almost guarantee that most up and coming producers aren’t even aware of the countless hours that go into finding a project – and it isn’t their fault. It’s just something that isn’t talked about.
Far too many young producers are obsessed with finding the perfect reverb technique for their vocals, or when they should be using parallel compression. And mind you, these things are important. But what good is practicing a skill set without the means to implement it? It’s the equivalent of practicing with a band for years, but never putting together a show. Sure that band may be amazing, but how will anyone ever know?