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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 →

The need to create content has never been higher and when doing so, it's important to ensure that you are creating high-quality output for the world to consume. To keep up on the latest trends in content, the annual NAB Show gives creators the ability to learn about new technology that can help push their creations to the next level. Continue reading →

Whether leading an orchestra, writing his own compositions or handling large-scale mixes for film, television and video games, Jeffery Alan Jones has relied on an incredible sense of organization to keep himself on top of his work. In order to further his ability to work on projects in an orderly manner, the Los Angeles-based creator recently teamed with Vintage King when looking for a new control surface and brought home an Avid S6. Continue reading →

After meeting at an impromptu jam session in 2010, Ken Cain and Brett Bach both realized that they had a new ally in the world of post-production. The duo, who says the only difference between them is that "Brett wears Vans and Ken wears Converse," began hiring each other for different freelance jobs until finally joining forces and founding Sound Brigade in 2013.

Since going full-time with Sound Brigade, the duo has built an incredible track record for sound supervision, sound mixing, sound design, sound editorial and ADR/VO recording. In 2016, Bach and Cain teamed up with Vintage King's Alex Oana to upgrade their control surface and bring an Avid ICON into their studio space. We caught up with the duo and talked about the difference the ICON has made, how they pick gear for their studio and what they love about working in the world of post-production. Continue reading →