BURLINGTON, Mass.—Avid has today announced the release of Pro Tools 2025.10, a feature-rich update that the company said offers notable advances in immersive music creation and workflow efficiency.

Designed for music creators and postproduction professionals, the latest Pro Tools version introduces powerful new immersive audio capabilities with Sony’s 360 Reality Audio, integrated SoundFlow automation, in-app tutorials, and six new Inner Circle Rewards.

“This new version of Pro Tools is all about access and ease of use – making complex immersive audio more intuitive, workflow automation more seamless, and high-value creative tools more available to users,” said Chris Winsor, director of Pro Tools Product Management at Avid. “Whether you’re mixing spatial music, speeding up repetitive tasks, or exploring Pro Tools for the first time, this updated version delivers capabilities that help creators stay in their flow and elevate their work.”

The Pro Tools 2025.10 release continues Avid’s momentum in music and post innovation by streamlining creative workflows, accelerating routine tasks, and enhancing access to professional-grade tools that empower creators to deliver exceptional audio content from anywhere, the company explained.

Notably, Pro Tools 2025.10 delivers native support for 360 Reality Audio, enabling artists and producers to position sounds all around the listener – above, below, and on all sides – placing them at the center of an immersive musical experience. Built on Sony’s object-based 360 Spatial Sound technology, this integration enables seamless 360 Reality Audio content creation directly within a Pro Tools session, while offering:

The upgrade provides effortless format conversion from Dolby Atmos to 360 Reality Audio, with stems and settings carrying over automatically, which means that users can continue to mix and edit in both formats within the same session

Included limited versions of the Audio Futures WalkMix Panner and 360RA WalkMix Renderer for Pro Tools Studio and Ultimate subscribers and perpetual license holders with a current support and upgrade plan.

“By integrating Sony’s 360 Reality Audio directly into the Pro Tools environment, artists and producers can now explore new creative dimensions – all without switching out of their trusted workflow,” said Winsor. “This is a powerful step forward in delivering the immersive experiences today’s listeners are seeking.”

Jordy Freed, senior director, deputy head of Sony’s Personal Entertainment Business, added: “360 Reality Audio opens a bigger creative canvas inside Pro Tools – making immersive music creation more accessible and giving artists and producers the tools to push the boundaries of spatial sound and connect with listeners in bold new ways.”

The new version also allowed users to automate complex tasks with SoundFlow in Pro Tools

Avid has integrated SoundFlow, the industry’s leading workflow automation platform, directly into Pro Tools. All users now gain access to 1,700+ free prebuilt macros, allowing them to automate repetitive actions like bouncing stems, creating tracks, and navigating complex sessions.

Available in all versions of Pro Tools, the new SoundFlow panel keeps creators in the zone by enabling powerful shortcuts at a keystroke. Premium SoundFlow subscribers can unlock deeper functionality, including access to their full macro library, Flows, and an AI-powered Session Assistant – a natural language automation tool that understands context and runs complex tasks instantly at the user’s command.

“Avid’s integration of SoundFlow is a pivotal step toward a more intuitive studio future,” said Christian Scheuer, founder and CEO of SoundFlow. “Together, we’re putting world-class automation directly in the hands of every Pro Tools user – enhancing productivity and empowering creativity.”

A new “Learn” tab, powered by SoundFlow, offers interactive tutorials that walk users through key workflows such as audio recording, MIDI editing, and navigating the UI. These hands-on demos make Pro Tools more approachable for new users and faster to master for pros looking to expand their skills.

Pro Tools 2025.10 delivers six new Inner Circle Rewards from Avid’s top-tier plugin and content partners. Available to annual Pro Tools subscribers and perpetual customers on active upgrade plans, the latest rewards include:

• Acon Digital Verberate 2 – transparent reverb with realistic spatial simulation
• Acon Digital DeBleed:Snare – AI-powered snare bleed removal
• Nightfox Audio Rendition Lite – MIDI chord/arpeggio plugin for fast songwriting
• Three Leap Expansions for Kontakt Player – loops and samples to inspire new ideas

Other enhancements to Pro Tools 2025.10 include: speech-to-Text enhancements, including offline and batch transcription; and UI Customization, Dark Mode support, and MIDI workflow optimizations

Pro Tools 2025.10 is available to all Pro Tools Artist, Studio and Ultimate subscribers and perpetual license holders on active plans as well as Pro Tools Intro users. Learn more about the new features at www.avid.com/pro-tools.

BURLINGTON, Mass.—Avid has unveiled the latest version of Media Composer with several new features that significantly speed up the post production process between editorial and audio post teams and produce significant production efficiency by bringing video and audio post teams and workflows closer together. 

One key development is closer integration with Pro Tools. With the upgrade, Media Composer sequences can be directly exported into Pro Tools with video, audio and metadata combined into one export .PTX file that can be opened directly in Pro Tools.

This new capability enables teams to complete projects faster and eliminate costly, time-consuming mistakes, while accelerating content creation and delivery for post production workflows, Avid said. 

Avid noted that this is the first step in delivering ground-breaking collaborative workflows between Media Composer and Pro Tools, which was identified as a critical need during customer workshops and will allow Avid to introduce a differentiated set of capabilities not available in the market today.

“Media Composer interoperability with Pro Tools was accelerated by collaborating with the Avid Community Association to deliver the workflow enabler our industry has been asking for to accelerate production of high-quality content,” said David Colantuoni, vice president, product management video and media solutions, Avid. “The ability to easily export files into Pro Tools, combined with the expanded ‘remote editorial’ experience in Media Composer, enables production teams to more easily complete projects on time and on budget.”

The new version also offers full support for Avid’s completely reimagined MBOX Studio audio interface, providing editors with a powerful solution for recording, punch-ins and multichannel monitoring of sequences in up to 7.1 surround sound. Access to the exceptional preamps and audio converters in MBOX Studio also enables users to capture every sonic nuance of every performance with low-latency monitoring.

Other improved features include:  

• Improved Media Management. Avid said it has improved Media Composer’s groundbreaking media management capabilities by simplifying the media relink workflow and improving performance around the ability to find paths to previously linked files. Users can locate all content within the relink window to easily re-establish broken paths and avoid losing time searching for a file’s previous locations.
• Simplified UI for New Users. Media Composer now includes a new project creation setting that creates the project format from the editor’s media with one click. The enhanced UI also generates default bins and offers suggestions to guide a new user through project set-up, enabling new users, students and editing teams alike to easily initiate the editing process.
• Remote Editing and Proxy Workflow Capabilities. Continuing to enable the industry’s sharp rise in remote collaboration, Avid has enhanced the remote editing experience and seamless integration of the Media Composer | Enterprise editing tool and the Avid NEXIS® | EDGE solution. This integration enables editing teams to better collaborate on projects while working remotely in post production environments. Remote production teams using Media Composer can collaborate more efficiently by using Avid NEXIS | EDGE to build innovative proxy workflows. This enables editors to seamlessly flip between high-resolution and proxy content from a single click and with no relinking required, saving production teams time and reducing complexity.
• Content Review Capabilities for Editors. Media Composer’s new Multiplex IO feature enhances the “over the shoulder” experience by giving users the ability to have up to 10 active I/O plug-ins simultaneously. This allows output from Media Composer to multiple streaming platforms and devices through SRT (Secure Reliable Transport), NDI and any connected and supported I/O hardware, enabling local monitoring while streaming to remote viewers. This integration enables editing teams to better collaborate on projects while working remotely in post production environments, Avid reported. 

More information is available at https://www.avid.com/media-composer.

BURLINGTON, Mass.—Avid and Dolby have created a joint training and certification course for the integration of Dolby Atmos Renderer and Avid Pro Tools.

The course consists of 40 hours of self-learning, 18 hours of instructor-led training, held over three days, and a professional certification exam. When the course is completed and the exam passed, participants will receive the Avid Certified Professional: Pro Tools | Dolby Atmos certification credential.

Dubbed the PT210D Pro Tools Dolby Atmos Production course, it enables Pro Tools mixers to recognize the components of a Dolby Atmos content creation studio and outline workflows for creating immersive audio in Pro Tools. The course also provides instructions on techniques for working with Dolby Atmos beds and objects, Pro Tools sessions management, Dolby Atmos Renderer configurations and final delivery formats.

“This course provides core learning opportunities to fill the need for Dolby Atmos training and validates the skills and competencies of sound technicians and engineers to prepare and deliver Dolby Atmos content,” said Rob D’Amico, senior director of Product Marketing, Audio Solutions at Avid. “For students, this course addresses the lack of formal learning related to immersive audio. Launching the Pro Tools Dolby Atmos course and certification and building it into the Pro Tools learning paths and certifications accelerates their education and career path.”

The PT210D Pro Tools Dolby Atmos Production course is available through Avid’s website. 

BURLINGTON, Mass.—Avid is set to showcase the latest version of its Pro Tools digital audio workstation at AES 2019, featuring updates that enable it to support higher video resolutions and frame rates for post-production audio workflows.

The 2019 Pro Tools system enables sound editing teams by enabling the playback and display of 4K resolution files and higher frame rates to seamlessly work with videos in Avid’s MediaComposer. Users can select frame rates and resolutions independently and work with non-standard video sizes.

The audio platform also now features full Core Audio support of the Dolby Audio Bridge that will allow users to send 130 channels to the Dolby Atmos Renderer, simplifying Dolby Atmos “in the box” mixing and playback workflows with Pro Tools | HDX and other Core Audio devices.

In addition, users now have the ability to deliver multiple mixes in a single WAV file to allow for easier delivery of localized mixes to streaming services.

Avid will be displaying the updated Pro Tools technology at booth 503 during AES 2019, Oct. 16-18 in New York.

Audio technology has changed faces many times during the decades I’ve been in the industry. However, the biggest change by far was the transition from analog to digital, and once audio was turned into bits and bytes it enabled us to do things that seemed inconceivable in the past. Not only do we no longer record linearly, most of us no longer do anything in a linear fashion, with random access now being the way we record, work, and live our lives.

We’re currently undergoing another monumental transition in the audio industry, when audio technology can enhance user experience and drive quality forward or increase individual isolation, with instantaneous delivery often done at the expense of quality. The following technologies are all linchpins in our audio future and how we use or abuse them will determine the course of professional broadcast audio production.

MACHINE LEARNING

Most discussions of artificial intelligence seem to focus on robots taking jobs from humans while also performing all of our mundane household chores, leaving us simultaneously unemployed and free to get in some really serious binge watching. AI already has the ability to analyze and learn from itself, a process called “machine learning,” and this has helped create some powerful tools for audio production.

It is a brilliant use of computing power to have processes analyze themselves and their outputs or, in our case, analyze what we’re doing and offer suggestions to improve how and what we do. Anyone who mixes using presets is already relying on someone else’s idea of a good starting place, but machine learning takes this concept to the next level by analyzing in real time rather than just giving us a static starting point.

I was among the skeptics when it came to what are often touted as “automatic mix” tools until I discovered they are very useful for analysis, similar to using console meters in spectrum mode during mixes to monitor the overall tonal balance. These tools can act as a second set of ears listening for you, and that is almost always a positive thing. These machine learning audio tools are perfect for handling mundane tasks such as compliance and correction, which means they may one day free us from managing loudness and monitoring immersive audio down mixes.

IMMERSIVE AUDIO TOOLS

Immersive audio is the most exciting development for mix engineers since 5.1 surround, and it is the technology that makes me want to get back into daily audio production work. It seems like every month there is a new surround microphone coming to market to help create immersive content.

The possibilities for creativity and error with immersive audio are immense. Fortunately, there are now more tools than ever to help keep things from getting out of hand. Multichannel meters and panners that work across immersive busses are being released in software as well as in hardware form. These tools are accessible to just about everyone now, to the point that even the two primary workstations in my home studio, Pro Tools and Nuendo, include immersive panning, bussing, monitoring and authoring tool connectivity.

VIRTUAL AND AUGMENTED REALITY

Before 4K and HDR, 3D was the next big thing. Now the next big thing is supposed to be virtual reality. Slip on a VR visor and closed ear headphones and you become part of another world, that is, if the visuals are engaging enough to draw you in and the soundscape is enveloping and convincing.

This technology may be impressive, but a more intriguing alternative is augmented reality, where an enhanced version of the real world is presented through the screens of our devices. AR may actually present more challenges for sound designers than VR because many sounds need to be organic while others, such as audible cues, often work better when they sound totally artificial.

Since AR is viewed through portable device screens instead of visors, soundscapes are presented in virtualized surround on earbuds of dubious quality or through tiny device speakers. The challenge for audio professionals is to somehow make the augmented audio experience truly immersive and keep the viewer engaged when they can easily peer beyond their screen back to the real world.

THE COST OF CONVENIENCE

The era of personalized audio began with the introduction of the Sony Walkman in 1979 and it may finally have reached critical mass. We now find ourselves at the point where there is more individualized media consumption taking place than at any other time in history, yet very little of that media is the highest quality available.

Delivering digitized content using limited bandwidth requires widespread bit reduction to the point that it can be almost impossible to find digitally uncompressed content at the consumer end of the chain.

We’re balancing on the precipice of a very perilous chasm between convenience and quality. It may soon be the case that the only way to experience true uncompressed audio is to attend an unreinforced acoustic performance; or perhaps we’ll just have to start listening to the people around us.

Now more than ever, the goal of every audio engineer should be to create the best sounding, highest-quality audio imaginable every time we have the opportunity. We must strive to make people crave quality audio every time they listen or they will stop caring. We must use the incredible tools we now have at our disposal to create truly exciting, immersive and engaging audio for every single project, no matter where or on what device it will be heard.

In closing, this is my final Inside Audio column and I wish to thank everyone who has taken the time to read the column since I started filling it with words back in 2013. A very special thank you to Tom Butts for granting me this opportunity and to Terry Scutt for transforming my cogitations into sentences fit for print. Each column was an incredible learning experience and I can’t wait to read what Dennis Baxter will be sharing in this space in the future. His insights come from the leading-edge work he is doing in the very areas our industry is moving toward.

Jay Yeary is an audio engineer who has had the good fortune to spend his entire career in broadcasting. He is a member of AES, SBE, SMPTE, and TAB. He can be contacted throughTV Technologymagazine or attransientaudiolabs.com.

NEW YORK—At the AES Convention, Avid announced a new version of Pro Tools, 12.8.2, that adds immersive audio capabilities and enhances MIDI functionality.

Pro Tools | HD users can edit and mix audio in a 3D space with support for first-, second- and third-order Ambisonics formats across Pro Tools | HD tracks and busses, and then output and deliver to the required formats for playback. Pro Tools | HD also includes Facebook 360 Spatial Workstation for enhanced VR functionality.

Also included in this version of Pro Tools | HD are enhancements to the Dolby Atmosworkflows, enabling users to mix and deliver immersive experiences for theaters and homes.

Musicians and composers using Pro Tools will be able to use enhanced MIDI functionality, MIDI input display, a new Scroll to Track feature, and a new batch rename feature.

Aspiring musicians and aspiring professionals using Pro Tools | First, the free version of Pro Tools, gain the same MIDI enhancements as Pro Tools users. In addition, they can now turn session documents from earlier Pro Tools versions into Projects that are ready for cloud backup and collaboration.

Avid also debuted a EUCON software update that reportedly delivers tighter integration between Avid control surfaces and Pro Tools and third-party applications. EUCON 3.7 delivers new integrated features and workflow enhancements between Pro Tools software and Pro Tools | S6, Pro Tools | S3, Pro Tools | Dock, Pro Tools | Control and Artist Series.

This story first appeared on TVT's sister publication ProSoundNetwork.

Pro Tools is the most ubiquitous digital audio workstation in use for audio production and also the one that generates the most controversy. Most of this stems from the fact the program is owned by Avid, a company with a long history of making decisions that exasperate its user base.

The 2015 NAMM release of Pro Tools 12 announced a version with no significant new features, leaving users scratching their heads about whether they should upgrade. With the 2015 NAB Show approaching, Tom Graham, Avid Worldwide Pro Audio and Pro Segment marketing manager contacted me to set up a meeting to discuss Pro Tools 12 at the show.

What follows was gleaned from my discussion with Graham, some time spent with Gil Gowing, manager for Avid’s Pro Audio Solutions Specialists-Americas on the NAB Show floor, NAB Show demos, and the audio sessions at Avid Connect. Hopefully this information helps clear up some of the confusion surrounding this release and gives a clearer picture of Avid’s direction for the software.

FEATURES AND IMPROVEMENTS

Tom Graham and Gil Gowing demonstrate Avid Cloud Collaboration at the 2015 NAB Show.
Features making their debut in Pro Tools 12 are subscription and service options, the Avid Application Manager, the ability to locate and install plug-ins from within the program while it’s running, a new monitor path setting that insures the monitoring paths move from machine to machine, and the Metadata Inspector.

Improvements include Dashboard (to replace Quick Start), down and upmixing of outputs, and all-around bussing and I/O improvements. The ability to install plugins while Pro Tools is open, and built-in down-and upmixing could prove very useful, but most of the features in this first pass of version 12 seem more iterative than generational. Avid says we’re only seeing the tip of the iceberg and that this version is aimed at getting users onto their new platform, actually allowing a faster method of delivering enhancements and fixes to the software.

Graham pointed out that the traditional release cycle for software is about 18 months and includes bug fixes and new features and moving to the new modelwill change that. The new Avid platform looks similar to the Adobe model where software patches and new features are released to users as they become available. Users can control how and when updates are applied using the Application Manager and previous version installers will be available from the Avid website if the software needs to be rolled back.

Installing version 12 removes version 11 from the machine, unless you rename the application to Pro Tools 11.3.1 for instance to keep both versions. Licenses for versions 10 and 11 are included with upgrades. Version 10 can also be installed alongside. 11 and 12 keep compatibility with older plug-ins.

Collaboration, the feature everyone anticipated would be in Pro Tools 12, remains unreleased as of the NAB Show. There were demos of Collaboration at the show, but they were all done over a local network with no long distance contribution and no video or text chat. These demos consisted mostly of sending tracks back and forth with some “post-as-frozen” examples. Things did not always work smoothly, hinting that Collaboration is not quite ready, but likely isn’t far off.

The most compelling argument made for Collaboration came from the sound crew for the television show “Person of Interest.” This large crew works from multiple locations and typically has more than 300 tracks of audio in each show. They said the most challenging part of their workflow is managing the changes caused by editorial and visual effects changes made throughout the production process. This team could actually benefit from collaborative tools that smooth out their workflow, yet their needs also highlight just how far Avid has to go to achieve their collaboration goals.

Media Composer and Pro Tools still don’t have seamless integration, which is necessary if the entire production team is meant to work together collaboratively. True cross-team collaboration won’t happen until this long-standing issue between Avid’s two core software products is ironed out.

Pro Tools 12 also signals the rollout of Avid Cloud, which is getting is first workout through the cloud-reliant Pro Tools | First. Avid Cloud includes storage, as well as the Artist Community and Marketplace, which are interesting because they give users the ability to market themselves and get paid. Future components of Avid Cloud include Collaboration and a private version of Marketplace that allows asset protection and sharing among creative teams.

DECISIONS, DECISIONS

The “Person of Interest” sound team talks about collaboration with Tom Graham at the NAB Show.
The primary reason for the release of Pro Tools 12 is that Avid wants everyone on a subscription or upgrade plan by the end of 2015. All current users are expected to upgrade their existing software or purchase a subscription or upgrade plan before Jan. 1, 2016 in order to continue receiving new versions of Pro Tools, otherwise their software will be frozen at the version current as of Dec. 31, 2015.

Upgrading Pro Tools after a license is frozen requires either a new license or a new subscription purchase; the previous perpetual license will no longer be eligible for upgrades. There actually is some level of support included with all of the options, but they are really annual software subscription up-to-date plans. Support plans for HD systems were still in development as of the NAB Show, but HD users are still expected to upgrade to version 12 before the end of 2015 to remain current.

Deciding on the move to Pro Tools 12 really comes down to whether you want or need the tools that have been announced and whether you want to stay up-to-date with Pro Tools past the version you’re currently using.

The collaboration features look like a potential winner for large organizations, and Marketplace, with its social media features, may offer individuals the opportunity to build their personal brand. Those who choose not to upgrade or purchase by the end of 2015 can continue using their existing systems just as they do today, but without any new features Pro Tools may gain as it continues to mature. Thankfully, we all have a little time to make up our minds.

Editor's note: Pro Tools 12.1 was released on July 1 with significant enhancements.

Jay Yeary is a Pro Tools owner/user and a media engineer specializing in audio. He is an AES Fellow and is a member of both SBE and SMPTE. He can be contacted through TV Technology magazine.

In this episode of “Inside Audio,” we’ll look at the most important topics from Avid Connect, the DTV Audio Group meeting, and the 2014 NAB Show, the three events that drew me to Las Vegas this year for what I’m now calling “NAB Show Week.”

The NAB Show itself has become so busy with meetings that it is almost impossible to see everything in all the exhibit halls, not to mention the offsite vendor locations. Fortunately, all three of these events turned out to be worth the time invested and valuable information was learned in each of them.

AVID CONNECT
Avid Connect started off with meetings of the new Avid Customer Association (ACA) Advisory Councils, followed by an introduction of the Avid Everywhere platform. Then it moved to breakout sessions for Audio Everywhere, Broadcast Everywhere and Video Everywhere.

Fig. 1: Avid Everywhere stack diagram

The Avid MediaCentral platform is comprised of a lot of component pieces including the Artist Suite, which contains Pro Tools, Media Composer and Sibelius, the Media Suite for asset management and distribution and the Storage Suite.

Supporting these suites is MediaCentral, which provides collaboration and administration. Connectivity comes from MediaCentral UX, which is designed to distribute to pretty much every computing platform and over practically any Internet connection. Finally there are the public and private marketplaces and service and support.

The Audio Everywhere breakout sessions were primarily centered on Pro Tools and the new collaboration features in the application. Pro Tools may be the component of this platform most ready for rollout because it contained collaborative features in a past life. Avid introduced DigiDelivery in Pro Tools 7 to send files between users, but after just a few years the technology was sold and the features were removed from Pro Tools. Collaboration has returned to the program and thanks to faster Internet speeds it may finally be a useful part of session workflow.

The demos, all running in Pro Tools 11 were only pseudo-remote since both participants were in the same room. Collaboration can take place in non-real-time, near real-time or real-time and will partly depend on network speed and bandwidth. So to minimize bandwidth hogging, users can share only the tracks or stems needed for the session. Any plug-ins needed for the shared session can be purchased or rented from the built-in store and then downloaded, installed and activated while the session is open.

To dismiss concerns about plug-in or system compatibility, audio routed to aux tracks can be committed or frozen, then shared. Other real-time collaboration features include text and video chat, with review and approval done by streaming high-quality audio from the session to whatever device the approver is using. Once the session is complete it can be posted to the private or public Avid marketplace for distribution.

The new platform also comes with the announcement that, starting with Media Composer, new pricing models will be available, including subscriptions, floating licenses and full license purchases. In addition, the company is opening up the platform to third-party developers through publication of an API/SDK and they promise to be more open to customers and the industry as well.

For instance, the new PXF session format shuns company branding and is instead named the “Production Exchange Format.” The advisory councils are made up of customers that represent a cross-section of the user base and are charged with helping the company set future direction. Avid appears to be taking steps to address the changing marketplace as well as how it relates to customers, but only time will reveal whether the company is committed to making these changes work.

DTV AUDIO GROUP
The DTV Audio Group meeting is always an interesting event with lively discussions from people working on the bleeding edge of audio for television.

This year’s meeting included presentations on IP audio infrastructure for the 2014 World Cup, AES67 adoption followed by an audio-over-IP interoperability panel, audio for the Sochi Olympics, a 3D audio case study and an overview of advanced music delivery formats.

The discussion I found most interesting was on object-oriented audio. While there was some discussion of immersion, virtually everyone on the panel agreed that when object-oriented audio does arrive it will be to deliver personalization and solve regulation-related issues first.

For instance, rather than riding the coattails of the primary language broadcast, alternate language voice or descriptive audio services could simply replace the primary language while maintaining the full surround image. Value-added services such as director’s commentary could accompany a movie or television program.

Driving all of these new capabilities and services will be more robust metadata than we currently have and it seems unlikely that any system with so many options and channels could function without it. There were some concerns expressed about this new technology including whether broadcasters will be willing to spend money on these new services and whether production of content containing them can be done affordably.

NAB SHOW
When I finally made it to the NAB Show I found an encouraging trend taking shape through the widespread adoption of the AES67 Audio-Over-IP interoperability standard. It seemed to be everywhere and it was a pleasure to see.

Yamaha Nuage accelerator card Dante, Ravenna and LiveWire, although competing technologies, have all announced AES67-compatibility and manufacturers are hopping on board as a result.

One of the most surprising developments regarding AES67 was Calrec’s announcement that they are partnering with Ravenna after holding off to see if audio-over-IP was going to catch on. Joining the Ravenna camp along with Calrec are Digigram, with their PCIe card; and Telos, with a compatibility mode for LiveWire. We also saw AES-67 compatible audio gear from Wheatstone with the Dimension Three and Series Four consoles.

New additions to the Dante partners include Studio Technologies, who introduced the new Model 214 announcer box; and Yamaha, with their Nuage accelerator card.

There are still some audio-over-IP technologies that are not AES67-compatible, but it was nice to see so many of the major manufacturers are now supporting the standard.

It will be interesting to see how these technologies and issues fare between now and the 2015 NAB Show Week.

Jay Yeary is a member of the Avid Products and Solutions Council, the DTV Audio Group, and AES working group SC-02-12. He can be reached through TV Technology or via Twitter at @TVTechJay