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Today at The NAMM Show, Audiomovers announce a landmark update for OMNIBUS – OMNIBUS 3.0.

As well as new networking options, OMNIBUS 3.0 also features a revamped UI and improvements to existing features for far greater flexibility when routing audio.

Read the full story and see the full feature breakdown here.

Keep up to date with all the latest at #NAMMShow here.
Binaural Renderer for Apple Music – ver 1.56 – Released 16th January 2024
- Introduced wave meters that display intensity of an input audio signal.
- Users can now rearrange the input signal flow in the plugin by dragging and dropping.
- Introduced ability to solo an input channel before reordering (for convenience).
- Introduced a “reset by default” button for the plugin, that resets plugin back to standard I/O flow. Based on the channel order of the DAW.
- When the plugin is used in Pro Tools, there are different types of “reset to default” button options for input channel routing, based on preferred I/O setup.
download latest version

System requirements:
- Apple Silicon Macs running Mac OS X 12.6+, 64 bit (Render mode will not have the full list of render mode profiles available if running MacOS on an Intel processor)
Supported DAWs/hosts:
- Pro Tools 2023.6+, Logic Pro 10.7+, Nuendo 11.0.3+, Cubase Pro 12+, Reaper 6.66+
Supported channel widths:
- 5.1, 7.1.4
Download and install, then follow license activation guidance.
Check out Luke Goddard’s deep-dive of INJECT, out today on PRODUCTION EXPERT.

The article breaks down INJECT, its functionality, features and the various ways you can use it to streamline your music production workflow.

INJECT is now available as part of the New Year Collection’s Production Essentials bundle.

The New Year Collection includes six exclusive suites for audio professionals and studios, covering multiple audio production workflows with a focus on immersive content production.

discover the suites
Binaural Renderer for Apple Music – ver 1.51 – Released 5th January 2024
- Introduces Mute buttons to Spatial Renderer, Aux 1 and Aux 2 blocks.
- Binaural Renderer can now Mute Pass through Out when the checkbox is flagged (yellow checkbox is now consistent with main colour of the channels).
- Binaural Renderer now saves settings of Mute/Solo status.
- Bug fix: For when switching Render Audio Output from *Audio Device* to AirPods when BS >= 512 caused Audio Buffer to get stuck.
- Bug fix: For GUI inconsistency with ‘Authorize’ section.
- Bug fix: For a crash for when product transitions from trialing (with a time counter) to a perpetual license.
- Bug fix: For inconsistency in capital letters of the name of devices(Input/Output/Pass True).
- Bug fix: For ‘Cancel’ button causing a crash of app when “Pass thru mute” button flagged and ‘Cancel’ button is pressed.
download latest version

System requirements:
- Apple Silicon Macs running Mac OS X 12.6+, 64 bit (Render mode will not have the full list of render mode profiles available if running MacOS on an Intel processor)
Supported DAWs/hosts:
- Pro Tools 2023.6+, Logic Pro 10.7+, Nuendo 11.0.3+, Cubase Pro 12+, Reaper 6.66+
Supported channel widths:
- 5.1, 7.1.4
Download and install, then follow license activation guidance.
Filmed across two sold-out Summits in London and Barcelona, this Mix with the Masters special will take you through some of Jaycen’s best moments. You will learn his disciplined approach to gain-staging, sidechain compression and harmonic excitement – all techniques that enable him to craft mixes that are detailed, dynamic and loud all at once.

Later on, Jaycen calls up his close friend and mentor, Dave Pensado, to help answer the audience’s technical and philosophical questions. Together they reveal the tools that give them a competitive edge in the industry, and they offer wisdom on how to find your own sound and carve your own path to the top.

This summit was filmed at Abbey Road Studios 2 and proudly supported by Audiomovers.
This month we are giving away the Immersive Pro Bundle (worth £429.99), as part of the Experts Christmas Prize Draw.

The Immersive Pro Bundle provides access to the complete collection of Audiomovers products and allows you to stream, route, review and share your immersive audio sessions in 7.1.4 and Binaural.
- Annual LISTENTO Pro Subscription
- Binaural Renderer for Apple Music (perpetual)
- OMNIBUS (perpetual license)
- Total value of $429.99
Discover More
Grammy-nominated producer and mixer Nathaniel Reichman tested the new Binaural Renderer For Apple Music (standalone) for Production Expert. Nathaniel takes a deep-dive into how spatial audio is bring produced and consumed and the important role tools like Binaural Renderer play, concluding “Binaural Renderer for Apple Music is a breakthrough in ease-of-use for mixers.”

try free 7-day demo

Binaural Renderer applies Apple Spatial Audio rendering to Dolby Atmos 7.1.4, allowing you to monitor how the spatialized audio will sound when uploaded to and streamed on Apple Music.

With Binaural Renderer for Apple Music you can choose headphones or speaker profiles for music or movies with headtracking and personalized HRTF options available with supported headphones, giving you peace of mind and confidence in your mix or master. Now available as a standalone application for desktop.

buy now for $79.99

Read the article
The nominations for the 66th Annual Grammy Awards are in. Sending a huge congratulations to all nominees, and a special shoutout to our collaborators and all those using Audiomovers in their sessions.

Jesse Ray Ernster

Best Global Music Album
“I Told Them…” – Burna Boy

Best Melodic Rap Performance
“Sittin’ On Top of The World” – Burna Boy feat. 21 Savage

Best Reggae Album
“Born for greatness” – Buju Banton

Best Global Music Performance
“Alone” – Burna Boy

Best Compilation Soundtrack for Visual Media
“Black Panther: Wakanda Forever”

Best African Music Performance
“City Boys” – Burna Boy

Vance Powell

Best Country Solo Performance
“White Horse” – Chris Stapleton – Engineered and Mixed by Vance Powell

Chuck Ainlay

Best Immersive Audio Album
“Blue Clear Sky” – George Strait | Immersive Mix & Master by Chuck Ainlay

Pete Lyman

Best Folk Album
“Jubilee” – Old Crow Medicine Show

Best Country Album
“Zach bryan” – Zach Bryan
“Rustin’ in The Rain” – Tyler Childers

Best Country Song
“White Horse” – Chris Stapleton
“I Remember Everything” – Zach Bryan & Kacey Musgraves
“In your love” – Tyler Childers & Geno Seale
“Buried” – Brandy Clark & Jessie Jo Dillon

Best Americana Album
“Brandy Clark” – Brandy Clark
“Weathervanes” – Jason Isbell And The 400 Unit

Best American Roots Song
“Cast Iron Skillet” – Jason Isbell
“Blank Page” – Michael Trotter Jr. & Tanya Trotter (The War and Treaty)
“Dear Insecurity” – Brandy Clark & Michael Pollack

F. Reid Shippen

Best Country Group / Duo Performance
“High Note” – Dierks Bentley Feat. Billy Strings | Produced and Mixed by F. Reid Shippen

Bainz

#GrammysNextGen Engineer Ambassador | Class of 2024

Teezio

#GrammysNextGen Engineer Ambassador | Class of 2024
Today the five-time Grammy Award-winning mixer, engineer, and producer F. Reid Shippen (Kenny Chesney, Ingrid Michaelson, Gloria Gaynor) opens up about the turbulent nature of the music industry, and how in the space of twenty-four hours he went from being fired twice to landing the dream job of working with country music megastar Kenny Chesney.

#HorrorStories is a series where the world’s biggest producers, songwriters, and engineers unveil the most outlandish blunders of their careers — providing a much-needed reminder that even the greats make mistakes.

INJECT from Audiomovers is an always-on plugin that allows you to route audio in and out of any channel in your DAW without changing your playback engine.

WATCH VIDEO

TRANSCRIPT

I got fired twice from the same record, which has to be some sort of record.

I did this record with Jay Joyce on a band called Little Big Town. They had a really big hit on that record called Pontoon and it blew up and all of a sudden Little Big Town was back on the map and we were all riding high and it was like crazy. And it’s like, cool, well now it’s time to do the next record.

So I was supposed to track it but they had been in with Jay doing pre production at his studio and by the time I got there, They were already into the recording process. It’s like, it’s already working, people are comfortable, the music’s flowing, we don’t need you for tracking, we’ll just come back on the mix.

I screwed up the mix by, I was in the middle of like, moving my studio around and rejiggering it, and I just didn’t do it right. I wasn’t paying enough attention, I don’t know, I f’d it up, mea culpa, right? And they were just like, this isn’t working for us, this isn’t the direction we want to go. And so I was like, you know, what can you do?

The day after that happened, I got a call. It was like, hey man, this is Kenny Chesney. Eric Church gave me your number, I’m wondering if you’d be interested in mixing my new record. That’s turned into a collaboration with Kenny that we’re on like record five or six right now. So, 24 hours of hyperventilation, actually that time worked out.
In this episode of #HorrorStories, we are joined by Chuck Ainlay, the music producer, recording engineer and mixer known for his Grammy-winning and multi-platinum-selling work with iconic acts like Peter Frampton, Dire Straits, and Taylor Swift. In this conversation, Chuck reflects on a session with Mark Knopfler and the legendary Van Morrison and the moment the tapes stopped rolling and they missed Van’s magical first take of the day.

#HorrorStories is a series where the world’s biggest producers, songwriters, and engineers unveil the most outlandish blunders of their careers — providing a much-needed reminder that even the greats make mistakes.

With LISTENTO from Audiomovers you can stream uncompressed multichannel audio to and from any DAW. Ready to go in five minutes. Just send a link.

WATCH VIDEO

TRANSCRIPT

If you know Van Morrison, he’s like one take. That’s it. That’s really all he’s going to give you.

Mark Knopfler and I were doing a record and Mark had in mind Van Morrison doing a duet on one of the songs. We fly to Bath where Van had his studio. The talkback is a phone call. So Van calls up, says, I’m ready to do it. The engineer who works for Van was operating the tape machine and Van was singing.

It was amazing. I mean, it was just fabulous and about halfway through the song, the engineer stops the machine and, and I was like, what? He goes, well, I’m just not familiar with this machine. I, I guess I put it in rehearse. We’re not actually recording. And I was just like, Oh my God, I have to get on the phone and tell Van, look, we didn’t record that.

Do you think we can take it again? There was a long pause and I was just like, Oh God, Van says, give me a minute. It felt like an hour, but I think it was maybe more like a half an hour or something like that. So anyhow, Van calls up, I’m ready to go again. He sings the song, and it’s great, of course, it’s Van Morrison, you know, but it wasn’t what the first take was.

Unfortunately, we never got that first take, which is a life lesson. Always get the first take.