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Since its release, Dolby Atmos has exploded in popularity and proven to be the next big thing in post-production. But making the switch to Atmos can be intimidating, especially when it comes to buying the right equipment and setting up a certifiable Atmos mix room. Thankfully, the new Avid MTRX Studio makes it easier than ever to incorporate Dolby Atmos into your studio setup. Throughout this blog, you’ll learn everything you need to know about setting up a Dolby Atmos mix room using the new Avid MTRX. To get the details, we spoke with Vintage King’s Dolby Atmos expert, James Good. James has more than 15 years of experience in pro audio and has helped build, design, and maintain some of the best studios around the world. James helped us break down each component Continue reading →

It's that time of year again as the worlds of advertising, audio, digital, film, gaming, live events, podcasting, post-production, television and more descend upon Las Vegas for the annual NAB Show. The 2019 NAB Show promises to be the biggest and brightest yet. For those that haven't been to the NAB Show before, it is a huge networking event that brings together the latest in broadcast technologies, post-production workflows, and content delivery to the floor of the Las Vegas Convention Center. This is a fantastic event to attend and learn about ways to elevate your work to the next level in 2019. Continue reading →

In a recent blog, we covered the basics of Audio Over IP networks and how they can benefit your workflow. We’re diving in deeper with a more focused look at Dante and the way this technology works with gear from Focusrite.    What is Dante? It's the leading AoIP technology created by Audinate. Dante allows the use of the same Ethernet technology in consumer and commercial networks for uncompressed multi-channel audio distribution, minimal latency, and sampling rates of up to 192kHz. You can even use Dante AoIP in conjunction with conventional network traffic. There's support for Cat 5e, Cat 6, and even fiber optic cables. Continue reading →

The evolution of the listener's audio experience has led the post-production world to the vast frontiers of immersive mixing. Thanks to Dolby Atmos, mix engineers can now plunge their listeners into lush three-dimensional sonic worlds that feature well-placed, accurate sounds. The best part? With Dolby Atmos Mastering Suite, it's easier than ever before. If you've heard about Dolby Atmos and have been wondering why you need to start thinking about it when it comes to your mixes, you've come to the right place. Throughout this blog, we'll be outlining the concepts behind Dolby Atmos, the creation process for immersive mixing and some of the tools of the trade that you'll need to do the job right.  Continue reading →

All Sound is a North Hollywood-based post-production space helmed by Nick Couscouris, a veteran in recording and mixing for advertising campaigns, films, TV shows, sports and more. Prior to his recent work on Happy Ending With Nando Vila and A Quiet Place, Couscouris teamed up with Vintage King's Chris Bolitho to bring in an incredible package of new gear to All Sound. Dubbing his workflow as "streamlined with constant creativity," it was clear from the beginning that Couscouris wanted a set-up that would enable him to work quickly and keep ideas flowing. With that in mind, Bolitho and Couscouris envisioned a centerpiece in the new space with two Avid S3 control surfaces flanked by two Avid Docks. Each surface alone is a powerful tool, but the combination of the two enables you to use some timesaving custom controls. Continue reading →

Over the last couple of months, I’ve had the chance to sit in on two Trinnov ST2 Pro installations and detailed listening sessions. When you’re working in a room that isn’t treated properly, most of the time you don’t even notice the problems, you just get used to them and work with what you have. This is where the old car test and listening on multiple sets of speakers in different listening environments came into play. Most of the time when the song leaves your mixing room for the first time, you often say, “Wow, there is way too much bass” or “Where did all the bass go?” Continue reading →

Surround monitor controllers are a vital link in the chain for today’s composers and post-production professionals. Situated between your DAW or console I/O and speakers, this tool serves as the control for volume attenuation and routing of your audio at the final stage of reference. The need for transparent and accurate control is shared by pretty much everyone, but there are a wide array of features and capabilities that require some decision making. Do you need a simple 5.1 desktop unit for an editing suite? What about something that will let you expand for additional channels down the road? How about a complete solution that will handle immersive content and also provide room and acoustic correction? Continue reading →

Do you trust your monitoring environment? Do your mixes translate as you expect them to? For most of us, the likely answer is “no”, or at best, “somewhat”. If you think the problem might be your monitors or room acoustics, you’re right, but that doesn't necessarily mean your gear or space needs a complete overhaul. Continue reading →

The National Association of Broadcasters, which holds its annual convention in Las Vegas, opened its doors to anyone working in the converging worlds of media, entertainment and technology this past weekend. While many of the exhibits focused on television, radio, cable and internet production, distribution and delivery, there were still plenty of audio products on display for content producers working in other fields to check out. Continue reading →

The news broke earlier today that Apple is finally looking at making significant changes to their Mac Pro computer. While the company said that they would not be releasing a new product this year, they did announce that they would be offering new configurations of the current edition of the Mac Pro in 2017. Continue reading →