I was messing around with the Blue channel on the RB-01b, and it occurred to me that it should be possible to get pretty close to the XTC’s Plexi mode and maybe even an actual Plexi, by setting the boost to around zero, the master Volume to ten and making some adjustments with the Para EQ. When looking at the XTC’s schematic you can definitely see considerable similarities to a Plexi circuit. There’s also some additional shelf filtering in the Treble Channel of a Plexi, which I found can easily be approximated with the Para EQ.
I’d describe the end result as a “modern” Plexi with a more refined sound. In particular, ghost notes and the intense harmonic “swirl” found in an actual Plexi are missing, but I think it sounds great in its own right. Also, I turned off the RB-01b's bright filter, and used the Para EQ to dial in an appropriate high-frequency boost that better matches the effect of the bright filter capacitor in a Plexi.
Here are a couple presets for your listening pleasure. Let me know what you think.
Last post, I talked about setting up preproduction for Rush’s Time Machine tour and made VENUE Link operational. VENUE 2.9 software’s main new features are its interoperability with Pro Tools through VENUE Link, giving you the ability to set up and get recording rapidly, as well as mark sessions and “locate to markers” on playback. Through VENUE Link, I had created a brand new session in Pro Tools from my VENUE setup, with tracks arranged just as they are on the desk, and saved it as a Template.
Here’s a suggestion regarding this new Pro Tools session. At this point, VENUE must reboot to play back from Pro Tools in “Virtual Soundcheck” mode. This requires over four minutes for the Rush show. When the band hears that you are recording, they are going to come into your space and say, “Hey dude, can I hear the ______?” About the tenth time I had to say, “Sure, let me finish what I’m doing and restart. Bring me back a latte.” I decided to find a better way—here’s what I did.
Start with your main mix, but break out other items like the drum groups, bass group, and guitar group and assign these to the Pro Tools Assignable outputs available e in the patchbay. VENUE Link will automatically create tracks for these when you open a session, so you can easily return the tracks to channels through the User Assignable inputs. Use PQs or Matrices as alternate outputs, and effects inputs as returns. Now when Alex Lifeson (the guitarist) asks if he can hear himself, I just solo the corresponding channels and press the space bar. No waiting. You can even try plugs and equalization on these returns, though you’ll still need to reboot if you want to affect the actual channels. Musicians often just want to hear a part, and this is an expeditious way to let them.
Today the band will join us in the Time Machine to shake off the rust with an abbreviated run-through. I’ve laid my VENUE Profile out the way I want, checked through the lines, and I’m standing by for rehearsal, with all Pro Tools tracks armed and ready to record.
As the band begins to play, focus on gain structure first and use Pro Tools to get your gain right. Gain structure is the most underestimated component of live mixing. If I have a band for ten days, I might spend the first day or two getting proper levels at the head amps. Maybe you don’t have the luxury of a couple of days, but don’t rush the process. “Right” doesn’t mean “super hot,” nor does it mean that all of your faders line up at exactly zero. It means you have solid level at the head amp, allowing you to run your faders in a useable range without blowing up your outputs. Spend time getting proper level through the console. You can work on other details during playback.
When setting the head amps for the first time, gain the channels all the way down (with the pads in) and bring them up to get good level. One way to get levels quickly is to start with faders down and select “Gain” for the encoders on the Profile. Press the encoder down while someone plays the instrument. On release, the desk will “guess” the proper level, and the desk’s guess is often perfectly usable. At least it will be a functional starting point, and you can get to it posthaste. VENUE can even “guess” on more than one channel at a time. You can have someone play the drums and then “guess” on the kick, snare, hat, and overheads—all at once!
I encourage you to track in Pro Tools while getting levels. I like to check meters in Pro Tools’ Mix window in Narrow Mix View to get a view of a number of channels simultaneously. Also, I like Pro Tools’ metering better. I find the default metering on VENUE to be very conservative, leaving plenty of headroom even after a channel lights up red (tip: use RMS metering and set the clip threshold on the Interactions page to your liking). I’m absolutely not suggesting that the VENUE should look like a Christmas tree during your show, but if you’ve got good level on Pro Tools, you’re going to be sterling on the VENUE.
After the band plays through several songs and you are happy with the levels, drop a marker in on the session and let them play a while more. Once you’ve committed a few songs to hard drive and the band quits for the day, reboot in Virtual Soundcheck mode to allow playback and go get that cup o’ Joe. With the band gone, this is the time to start working on sounds. Locate to your “I’m happy with the gain” marker and start listening back. Even now, continue to work with gain structure foremost in your mind. If you see something that bothers you regarding head amp gain, fix it! When you reboot to the Stage Racks, VENUE will ask you if you want to transfer those changes to the head amps. Why yes, you do!
The guitar tone of Brian May is legendary. The common folk lore is that he used a treble booster into the Normal channel of an AC30. The AC30’s Normal channel is very dark, especially in comparison to the Brilliant channel, so combining it with a treble booster makes a lot of sense. Reportedly Brian used a Dallas Range Master treble booster early in his career, and then later switched to a custom built booster with a slightly altered circuit. The Range Master essentially does two things. It high-pass filters the input with a cutoff frequency of about 1 to 1.5 kHz, and it boosts the gain by up to 30dB. But the Range Master also has one other important aspect, which is often overlooked. It has a very low input impedance, which loads your guitar pickup and makes it less trebly.
Even though Eleven Rack does not have a treble booster effect, you can get pretty close using the built in Parametric EQ and manually setting True-Z. Set the Low Band of the Parametric EQ to the HP6 type, which is a 6dB per octave high-pass filter. Set the frequency to around 1kHz, and the output gain to +24dB. Then go to the input block and set True-Z to “32k Ohm + Cap”. Now max out the Normal channel on the AC Hi Boost model, and you’re done. The Range Master has a little bit more gain at the max setting, so if you want you can add another Parametric EQ or the Dyn 3 Compressor before the amp to add a little bit more gain, or you can bump up the gain by mixing in a little bit of the Brilliant channel.
I’m also familiar with the Matchless DC-30 circuit, and it’s quite interesting how similar the DC30’s Channel 2 is to a treble booster into the normal channel of an AC30. I’m sure this is not just a coincidence. The rotary tone switch on the DC-30 is basically a variable 6dB per octave high-pass filter. The cutoff frequency of the high-pass filter can varied from approximately 20 Hz to 700Hz. At the highest setting the result is quite similar to a typical treble booster.
Even though we did not model Channel 2 of the DC-30, it’s possible to get pretty close using Eleven Rack. First set True-Z to “1 Meg + Cap” to match the impedance of the tube input circuit. Set the Parametric EQ to the HP6 type. Set the frequency to between 20Hz and 700Hz and the gain to +18dB. Then run that into the AC Hi Boost Normal channel. On the DC-30 there is also a gain bypass capacitor, which has the effect of increasing the relative amount of high-frequencies as the gain is lowered. You can approximate that with the HiShelf filter in the Parametric EQ, by setting frequency to around 2kHz and the Q to 0.5. Adjust the gain to taste, depending on how bright you like it.
Here are some presets you can download, so you can try it out for yourself.
Have you been to a professional sports event lately? If so, chances are you saw live and recorded video of replays, players, and promotional features on videoboards and monitors throughout the venue. And, you’re certain to see more and higher quality video in sports venues in the future. With the high price of professional sports tickets, teams know they have to compete with every other form of entertainment. They are using video to help create memorable experiences that will build their fan base and keep them coming back for more.
Today most pro sports teams or venues have some kind of in-house production group to create short related features and promotions that keep fans involved and continuously entertained from the moment they enter the stadium to the time they leave. But, as with sports competition, they have to continually raise their game and stay ahead of the competition by increasing output and being more efficient. Sports fans are used to the high production values of broadcast sports, so quality and creativity need to be top-notch. Asset management and a file-based archive are crucial for the ability to swiftly find and incorporate clips from past seasons or games. Most venues still need to migrate to HD. And, they need to do all this with limited budgets and staff.
Avid is now helping teams and venues meet these challenges with the Avid InGame sports production solution. Using the same approach as the NewsVision news production solution for broadcasters, InGame is an affordably-priced turnkey package that provides all the production capability a club needs plus the on-site installation, commissioning, workflow implementation, project management, training and support that helps to ensure fast ramp-up and success.
Until now, teams have faced many obstacles sourcing production solutions such as complexity, incomplete integration and system qualification, poor coordination between vendors, missing functionality and documentation, inconsistent vendor or integrator on-site services and training, and lack of knowledgeable support.
Avid InGame changes all that because it is designed, integrated, and qualified for real-time editorial workflow with support by experienced pros from a single source. Four seats for Media Composer software and two seats of PostDeko for Editors provide the creative editorial and graphics speed needed for great-looking, fast-turnaround segments. Yet the system is open, with complete support for Final Cut Pro, and seamless EVS server integration allowing teams to incorporate existing systems. Interplay Production asset management and 32TB (64TB optional) Avid ISIS 5000 shared storage provide coordinated workflow power that propels production efficiency to a new level. The instantly accessible archive capability is delivered by a combination of Interplay Archive, SGL FlashNet software, and a Spectra T50e LTO data tape library.
Combine all this with the comprehensive on-site services and training, and then back it up with one year of Avid Priority Support, and you can see why we think InGame is a game-changer for team sports promotion.
In my 16+ years at Avid, it's been my good fortune to be part of a lot of cool
opportunities, but none of them could top standing on a stage last week with
Kevin Smith at NAB 2011. Leading up to the big event, I got a lot of
questions about what our presentation would be, how I would lead Kevin through
it, and what he might or might not say during the presentation.
The thing you have to remember when you're
presenting Kevin Smith to an audience is that you're nothing more than a lion
tamer. You can stand there in your sequined jumpsuit (or in my case, hockey
jersey) holding the leash, but no matter what you do, the lion is going to be a
lion. And that's a good thing, because a lion is exactly what people came
to see. They want to see something memorable and a little
dangerous. And as always, Kevin gave the audience just what they wanted.
at the Avid booth
Our first presentation with Kevin took place in the Avid booth at 1 pm on
Tuesday. There had been some concern that with all of the confusion
surrounding the SuperMeet
situation, not a lot of people were aware that he would
be in our booth as well. Those concerns proved to be pointless as
evidenced by the biggest crowd I can recall seeing at any NAB booth
presentation. It was better than standing room only. People were
actually sitting on the floor surrounding the stage.
crowd at our booth was overwhelming (Kevin and I are those two orange-ish
specks on the left).
Kevin spent the hour talking about the process
of making (using Media
Composer) and self-distributing his new film, Red State,as well as giving a personal assessment of his filmmaking career,
and why his next film will be his last. His language was predictably
colorful and undeniably not what you'd expect at a corporate
event. Relatively few people seemed genuinely turned off by the language,
but for those that were, it's unfortunate because the truth and honesty that
Kevin always gives is rich with insight and truths from which every creative
professional can learn.
The hour flew by and at the close of the presentation, Kevin was mobbed by
audience members who wanted pictures, autographs, or just to say "thank you"
for inspiring them. Personally, the frenzy scared the hell out of me, but
I'm easily spooked. It was also the first time we almost needed security
to help our guest off the stage.
how he cut together Red State with
Media Composer during our booth presentation.
After the presentation, Kevin and I had a few
quiet moments to talk about how things went. He was pretty happy with
everything. This was his first trip to NAB, and he really enjoyed the fact
that the audience was made up of people who all had experience (or at least an
interest in) visual storytelling. As for the NAB Show, overall, he said it
reminded him of Comic-Con in terms of the excitement and the layout of the show
on the John Lennon Educational Tour Bus
We didn't have too much time to talk, because we
had to zip over to the John Lennon Educational Tour Bus so Kevin could check it
out and answer questions from UNLV students. Kevin is a pretty gracious
guy with all his fans, but he genuinely enjoys talking with aspiring
filmmakers, so this was a treat for him. Not to mention that The Bus is
tricked out with state-of-the-art recording and editing equipment. It
seemed to give him a few ideas for what he wanted to do with his own bus.
sidekick Jason Mewes (aka, "Jay and Silent Bob") also made the trip to hang out
with us at NAB.
Kevin reacts to an audience
question at his NAB keynote presentation.
The next morning we had one final presentation
to do. This time it would be the NAB keynote speech, which all came
together at the last minute in place of the aborted SuperMeet
presentation. On this occasion, it would be the audience's turn to ask Mr.
Smith the questions. While he would have liked to have answered everyone's
question, Kevin's "thoroughness" in his responses tends to eat up lots of
time. But once again, everyone walked away having had a good time and
learning a few things in the process.
I certainly did.
If you missed it, the videos will be online
soon (check back for additional links on this page). And Kevin will definitely
be back to talk with the Avid community again as well. He's just too much
fun not to have around.
We’re journeying back to before the tour to explore what goes into building the mix.
We loaded in some days ago, and I tinkered a bit with the new VENUE software (VENUE 2.9) and settled into my little control room. Here I want to second Greg Price’s recommendation of the "Live Recording Guide for VENUE Systems and Pro Tools.” I consulted it during the process I’m describing below and found it helpful.
The band’s gear is set up in a treated room about 60 feet wide and 45 feet deep, arranged as if it were on a stage, facing one of the long walls. The techs are in the same room restringing guitars and programming keyboards. The FOH console (VENUE Profile) and Pro Tools rig are in a much smaller treated room (hung drapery and carpeted floor) across the hall. Behind the curtains is wood shelving stacked with cable to diffuse the slap, flutter, and standing waves that’d otherwise manifest with five hard walls and a concrete floor. While not completely isolated, it’s acceptable. The monitors mask leakage sufficiently, and I’ll do most detailed work when the band isn’t playing.
My FOH comprises a five-DSP Mix card VENUE Profile System, an 8-core Mac Pro (running Mac OS X 10.6.6), and Pro Tools HD 9.0.1. The computer is connected to the VENUE FOH Rack with three DigiLink cables from two HDx cards, and I’m monitoring on a set of Genelec 8040As with a 7060 Sub.
Job one is to implement VENUE Link to enable VENUE and Pro Tools to directly communicate with each other. One needn’t be an IT expert to do this (thank goodness, ’cause I ain’t). While it’s not exactly the most exciting endeavor you’ll ever undertake, I thought it worthwhile to walk you through my experience of setting it up for the first time.
I “borrowed” an Ethernet cable, ran it between the VENUE ECx card in my FOH Rack and the Ethernet port in my Mac, and fired everything up. Router-less, the VENUE and Pro Tools systems require manual configuration as follows:
1. On the Options page in the VENUE software, click the Interaction tab and under Ethernet Control, click Network Settings.
2. In the resulting dialog, select “Use the Following Address,” enter the following settings—IP Address: 10.0.0.1, Subnet Mask: 255.255.255.0, Default Gateway: 10.0.0.1—and click Apply.
3. Back under Ethernet Control, select the “Enable VENUE Link” checkbox and you’re set.
If a router is involved, the process is simpler, as you would set the VENUE console and Pro Tools computer to configure automatically.
To ensure that these settings match my Pro Tools system, I turned my attention to my Mac and made these adjustments:
1. Choose Apple Menu > System Preferences and select Network.
2. Select Ethernet in the left pane and from the Configure IPv4 pop-up menu, choose "Manually.”
3. Enter the following settings—IP Address: 10.0.0.2, Subnet Mask: 255.255.255.0—and then click Apply.
4. In Pro Tools, choose Setup > Peripherals to open the Peripherals dialog.
5. Click the VENUE tab and from the VENUE System pop-up menu, choose “Enter IP Address.”
6. Enter the address of your VENUE system (10.0.0.1).
7. In the Advanced Network Settings, enter the same TCP/UDP Port number as your VENUE system (29291, in my case), and click OK.
I’d been forewarned that this might require a restart of the system to gel, so I shut down and started back up. Success! Upon Pro Tools launch, on the Options > Interaction > “VENUE Link Status” page, it showed “Connected to Default 10.0.0.2.” (As an aside, we did this later with the Monitor desk, and it synced right up without the restart.) Super exciting stuff, huh? The good news is that this concludes the dreadfully dull portion and it’s time to play!
Upon sitting at the desk, I observe that my snapshots have sprouted glowing green diamonds next to them. Has the leprechaun added a new marshmallow treat to my Lucky Charms? Sort of: these enable marker creation and location functions. With the diamond highlighted while recording, snapshot recall writes a marker in Pro Tools. Firing a snapshot locates to the corresponding marker in Pro Tools during playback.
This feature becomes useful when focusing on certain passages and tweaking the snapshots. I find myself listening to a bit of Subdivisions to rebalance the bass a bit. Being able to locate playback without turning my attention to the computer keeps my head forward, focused on the mix and the Profile’s screen. I find that I don’t necessarily want to mark every snapshot though. Mainly the start of the songs, guitar solos, and any special sections that warrant extra attention. I’ve gone through and disabled a number of snapshot markers and kept the significant ones.
Another feature VENUE Link enables in Pro Tools is “Create New Session From VENUE”. Upon finally setting up the layout on your console just right, the realization that you’re gonna spend 20 or 30 additional minutes creating, naming, arranging and assigning corresponding tracks in Pro Tools can be a vibe crush. Now Pro Tools imports that information straight from the VENUE system.
The “New Session” dialog box in Pro Tools now allows the option to “Create New Session from VENUE.” Just give it a name and hit enter. Pro Tools goes to work and presently we have a fresh session with new audio tracks corresponding to channels patched in the VENUE patchbay. Track outputs are assigned to the corresponding HDx returns to the desk.
Items assigned to Pro Tools through Assignables are slightly more complicated. I assigned the Left and Right to Pro Tools in the VENUE Patchbay, and the computer created a stereo track for it. However, it doesn’t seem to know what to do with the output, which I usually return to an effects input. I had to make that assignment manually. Saving the session as a template allows convenient future startup. Boom! Ready to rock! This eliminates tons of tediousness when initially implementing Pro Tools recording from VENUE.
So there’s an introduction to VENUE Link from preproduction. The band will be coming in soon, and it’ll be time to record, playback, and program.
We have found a stage for Kevin Smith at NAB—thanks to the amazing community of indie filmmakers, post production professionals, and the NAB Show. We’re happy to announce that Kevin will be featured during an NAB General Session which is open to all. Join us on Wednesday morning at 9:00 AM in room S222 of the Upper South Hall. All you need to attend is an NAB Exhibit Badge or a SuperMeet badge.
Your feedback posted here on the blog, on Facebook and Twitter made it clear—in addition to the main stage, hearing Kevin speak in his own unique style, at a bigger space was a priority.
We think this is a great opportunity to have Kevin interact with all of you. We’re looking forward to hearing his story with you. See you there!
Having watching hours of clips of customers doing some inspiring things with their Eleven Rack, I’ve finally managed to select our winners. There are more clips than I can count where folks show off what they can do with a piece of gear. A lot of the Eleven Rack clips seem to be more about what they are playing and less about the fact that their using the product. That’s kind of the way I like it. We’re in the business of getting out of the way of realizing your music and as much as I like to geek out on the specifics of the gear, it was great to see customers just simply playing their ass off.
With that in mind, the first award is for the “Best Clip Showing Somebody Using the Product in Exactly the Way I Envisioned” category. The “L’Arancia” goes to Tristan Klein.
Set up in his project studio, keys on the table, diet coke off to the side, Tristan looks like he just sat down to knock out some killer tracks. You’ve got to love the joy in his facial expressions and the tasty bit in the middle where he backs off on the volume pot to coax some sweet tones before opening it up for some serious shred. Also, don’t think I didn’t notice that famous 100W head sitting idle next to the desk. I wonder what his neighbors think now that he’s picked up an Eleven Rack.
The next award is for the “Best Clip Channeling Angus” category. The “L’Arancia” goes to Fil Olivieri.
In stunning HD, Fil is masterfully nailing of my favorite ACDC tunes. I've witnessed numerous attempts at covering this tune and very, very few ever have captured the tone and feel. When someone actually does do it right, it's obvious that they've dug deep and intimately know every detail in the playing and sound. Again, love the facial expressions and don’t think the Angus-like movements don’t have something to do with the tone. If you’re going to sound this close to the legend, you’ve got to put your whole body into it.
Next up, the “Best Clip Showing That Yes, the Amp Emulation is That Good”. The “L’Arancia” goes to ‘vaisatchatrucci’.
I honestly thought we would see so many more of these shootouts with real amps when Eleven Rack launched but I guess when the emulation gets as accurate as it does, everyone just moves on to making music. Still, I love that he took the time to do this and respond to all the comments on YouTube. As much as we like to toot our own horn, it's exceptionally gratifying to see satisfied customers doing this for us.
Finally, what would a sham of an awards show be without the “Best Documentary” category? For this, the award goes to James Santiago for his work scoring the film “Crybaby: the Pedal That Rocks the World.”
James used Eleven Rack for all the amp tones in this righteous soundtrack with a collection of vintage and recent production wah pedals. The cues are loaded with authenticity as they underscore all the different musical genres and eras made famous by this legendary effects pedal. Kudos also goes to the fine folks at Dunlop who put this gem of a story together.
There were so many other clips that deserve mention but I hear music and see a flashing light which means it’s time for me to head off the stage in the wrong direction. We’ll be reaching out the winners to deliver the financially insubstantial but yet meaningful prizes. Until next time...
There’s been a lot of buzz about Avid at the Las Vegas SuperMeet. We’ve been excited to participate in this great community gathering. And, we lined up the noted indie filmmaker, Kevin Smith, to talk to the FCP user community.
We’re very disappointed to let you know that at the last minute the SuperMeet event organizers cancelled Kevin Smith’s talk.
Many FCP users reached out to say they’re really upset about this and want to hear Kevin speak. We hear you. We thought this was a great opportunity to have Kevin interact with all of you. The good news is Kevin will be speaking at the Avid Booth Tuesday midday, and at some other Avid activities—but attendance is limited. So we’re exploring options to find a bigger space so more of you can hear his story. What do you think? If we book it, will you come?
Let us know. Add your thoughts as a comment on this blog, or join us on Facebook and Twitter.
Never heard of FIMS? Can’t blame you, it’s so new. If you care about media workflow, design and architectures you should care about FIMS.
As the logo above hints, FIMS is about media services. The idea of services is not new. Google, Twitter, YouTube and 1000s of other web sites offer service interfaces to remotely initiate an action, export data, import a file, query for something, and other you-name-it things. FIMS specs how media services should operate and cooperate in a professional, multi-vendor, IT environment -- not just through a web site interface.
FIMS is an effort sponsored by the Advanced Media Workflow Association (WWW.AWMA.TV) and the European Broadcast Union (WWW.EBU.CH) -- http://wiki.amwa.tv/ebu/index.php/Main_Page. Avid is a major supporter of FIMS and other AMWA activities.
FIMS is a vendor-neutral, common framework for implementing interoperable media workflows using a Service Oriented Architecture (SOA). FIMS applies SOA principles to create solutions for broadcast, production, post production, media distribution, and media archive applications. The framework supports interoperability, interchangeability and reusability of media specific services across vendors and networks. Yeah, it's a mouthfull so a demo might help to decode it.
At NAB 2011, Avid is participating in a joint technology demo along with Sony, IBM, Cinegy, Radiant Grid and Cube-Tec. These six vendors are working cooperatively and showing file-based camera capture, ingest, transcoding, audio processing and final display in a Media Composer timeline. This is the world’s first demo of FIMS and promises to be the start of a new way to build efficient media workflows.
The demo will be shown at the FIMS booth N3134, a booth dedicated for this purpose.
So, you are pondering, is FIMS firm? Think crawl, walk, run and the NAB demo is the crawling phase. The current state of FIMS has the framework and a few key services defined (media transfer, transcode, ingest). The next phases will add lots more services and test over a broader range of vendors and products.
When will Avid products be FIMS enabled? No announcements at present but we are enthusiastic about FIMS so stay tuned.
I will be presenting on the values/benefits of FIMS at the FIMS booth. Come hear what all the buzz is about;
Imagine ► Achieve. Our theme for NAB 2011 gets right to the heart of our goals at Avid. Very simply, it defines the relationship between us and you, our customer. Whatever you can imagine, we can help you achieve.
You wanted better sound, easier collaboration, and more flexibility with your music and audio creation systems. Our response was Pro Tools 9. We heard you wanted a faster, more powerful and efficient film and video editing system. Our response was Media Composer 5.5, offering advanced search tools like PhraseFind, and new third-party hardware options like AJA IO Express, and audio and finishing interoperability features.
Now, we hear you want to get more work done faster and do it more collaboratively. You want to move from technological islands to more integrated, open, and interoperable workflows. You imagine having the ability to access, retrieve, edit, archive, and distribute your content easily over web and mobile. And you want to do it cost effectively.
Here at Avid, what we imagine is a great partnership with you. Our research and development is about what you imagine. It’s about helping you entertain, inform, create and build a more competitive business. In short—it’s about freeing you to do the work you love, and gain the recognition it deserves. That’s what makes us tick.
If you’re with us in Las Vegas, stop by the booth, we’ve got some exciting news. Or, stay tuned to Avid Community for the latest updates from the show.
Look forward to meeting you at the show, and online.