Clik here to view.
Avid Media Composer Audio Workflows
While the vast majority of new and exciting products on display at this year’s NAB conference in April was largely relegated to video, there were still quite a few announcements from the many audio companies dotting the convention hall floors. The Avid Everywhere update brings a litany of new video features as well as heightened collaboration and features for the Pro Tools audio software, for the first time allowing editors to work with audio sessions in the cloud. This cloud-based workflow and new metadata abilities allow users to synchronize and track changes during sessions online or off-, particularly useful for remote collaborations on soundtracks or on voiceover or dubbing work when the talent is far removed from the editors, almost always the case during post. Updates are sent automatically to others involved in a project for previewing, commentary or even additional edits that are then synchronized. Mixes can now also be pushed to iOS devices for review. A new marketplace for content producers is also being integrated directly into Pro Tools, where a track or session can be published or bought by other audio professionals or projects. Following pricing moves by Adobe, Avid has announced a subscription-based plan for working with their Media Composer suite of editing tools, which has been updated with similar features as mentioned above, as well. List Price: $699 (Pro Tools 11), $49 a month / $1299 single license (Avid Media Composer). Contact: Avid Technology, Inc., www.avid.com
There was a large variety of new audio recorders on display at the show, starting with the 64-channel professional rack-mounted 2RU 970 dedicated audio recorder from Sound Devices, who was also showing the fairly new 633 6-input field mixer and 10-track recorder. They also had the PIX 270i and PIX 250i tapeless, file-based recording and playback devices with Apple ProRes or Avid DNxHD file support on hand. For DSLR users, Beachtek’s DXA-SLR ULTRA audio adapter replaces the popular DXA-SLR PRO model with new 30dB gain preamps, Neutrik combo 1/4” / XLR inputs and a detachable rail system for accessories like matte boxes or follow focus units. juicedLink’s Little DARling (as in Distributed Audio Recorder) is a diminutive belt-sized device that can provide a thru connection for dual systems, working as a recorder at the same time that it powers a transmitter for wireless work. It’s small enough to be used as a dedicated talent recorder when working with action cameras like the GoPro models or even an iPhone.
Clik here to view.
Sennheiser’s Esfera System for 5.1 surround sound from only two channels
Nipros had really nice 3-, 4- and 8-channel audio field mixers on hand, each offering high quality limiters at input, master limiter for output, illuminated front panels, switchable meters and Low Cut Filter from 20Hz-300Hz. The 8-channel FS-805 also has independent equalizer per channel, dual intercom and headphone level monitor. Sennheiser was demonstrating their imminent Esfera 5.1 surround sound system that converts a high quality stereo signal into 5.1 surround sound. At the same time they were also showing off their new MK 8 large diaphragm, super cardioid studio microphone with five selectable polar patterns. A number of other tools were on display, as well, including loudness and compliance monitoring systems like Nugen’s MultiMonitor standalone Windows software, Cobalt Digital’s SpotCheck and RTW’s Loudness Tools for both Windows and Mac OS, as well as Jünger Audio’s D*AP8 MAP Monitoring Audio Processor with real-time metadata emulation.
