In this special episode of The Pro Audio Suite, join hosts Robbo, Andrew, and George as they dive deep into the latest advancements in remote collaboration technology with Source Connect Four. Joined by special guests Rebecca, Ross, and Vincent from Source Elements, the team discusses the game-changing features and improvements that make Source Connect Four a must-have tool for audio professionals. The episode kicks off with introductions and sets the stage for an in-depth discussion on Source Connect Four. Celebrating the recent accolades and advancements in remote collaboration with Source Connect Four, the team explores the groundbreaking features, including the Auto Restore/Replace function, which has been improved and made more user-friendly. They also delve into the future integrations with Nexus and other platforms, promising further enhancements for audio professionals. Discover how Remote Overdub Sync revolutionizes the overdub process, ensuring seamless synchronization in remote recording sessions. Exciting news for iOS users! Learn about the upcoming iOS compatibility for Source Connect Four. Wrapping up with congratulations and gratitude, the team reflects on the insightful discussion and looks forward to the future of remote collaboration in the audio industry. Tune in and stay ahead of the game with Source Connect Four, the ultimate solution for remote audio production!

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  loading Summary
In this podcast, the Source Elements team celebrates their success and discusses the latest updates to Source Connect 4, including support for Dolby Atmos, improved user interface, and the Restore Replace feature. The software has been redesigned to simplify remote connections and enhance the user experience. The COVID-19 pandemic has accelerated the adoption of remote recording technology, making it a necessity in the audio industry. The podcast also explores the potential integration of Source-Connect and Nexus, as well as the benefits of Source-Connect's remote overdub sync system. Finally, the host expresses gratitude to various individuals as the show concludes. #SourceConnect4
#DolbyAtmos
#RemoteCollaboration loading loading Timestamps
(00:00:00) Source Elements Wins NAB Best in Show (00:01:40) Source Connect 4: Dolby Atmos Support (00:05:52) Source Connect 4: Improved User Experience (00:08:36) Recorded Files in Pro Tools (00:10:08) Port Forwarding Simplified in Source Connect 4 (00:11:10) COVID's Impact on Remote Recording Technology (00:16:11) Streamlining Remote Audio Engineering (00:20:03) The Future of Source-Connect and Nexus (00:22:27) Remote Overdub Sync in Source-Connect (00:24:27) Farewell and Gratitude
Transcript
: Y'all ready? Beat history.
: Get started.
: Welcome.
: Hi. Hi, hi. Hello, everyone to the pro audio suite. These guys are professional. They're motivated.
: Thanks to Tribooth, the best vocal booth for home or on the rote voice recording and austrian audio making passion heard. Introducing Robert Marshall from source elements and someone audio post Chicago, Darren Robbo Robertson from voodoo radio imaging, Sydney tech to the Vo stars, George the tech Wittem from LA and me, Andrew Peters. Voice over talent and home studio line up learner.
: Here we go.
: And welcome to another pro audio suite. Thanks to tributh. Don't forget the code Tripap 200 to get $200 off your tributh. And austrian audio making passion heard. Just imagine a New Zealander, an American, a Canadian, an Australian and a half Englishman walk into a podcast. It's just happened. We have, apart from Robert Marshall, we have Rebecca Wilson, we have Ross and we have Vincent from source elements.
: Ooh, here we are.
: Wonderful.
: An Argentine too.
: Can you talk from our laughter who is here?
: Yeah.
: And welcome to the party in Las Vegas, by the sounds of it.
: Now, we should say the award winning team.
: Yeah, I was going to say there's a bit of a party going on because there's a new trophy in the cupboard. By the sounds of things, there is best in show.
: We're holding it up right now. It's brilliant. Shining blue and it says, nab. Best in show. And it's gonna go under Robert's trophy case.
: Exactly. I don't have a trophy case, but I have a trophy shelf.
: Trophy shelf, yeah.
: So, Phyllis, in best in show for.
: Remote collaboration, remote production. Yes.
: This is the new baby source connect four. Yeah.
: Yes, it does. Atmos, amongst other many cool things, source Connect used to do and more than it does now.
: So go and fill us in on the atmos thing because that's a massive leap forward.
: Yeah. It allows you to have all sort of the raw atmos stream, so not just a rendered mix going across a remote connection, so someone can listen, but instead it gives you the flexibility to send what's called the bed. Then all the objects, these are all separate audio channels, as many as it will be, as many as 128 and the time code. And then most importantly, the metadata that steers all these objects around so that whatever the receiver has, as Atmos does, is it just conforms it. It renders it specifically for their speaker setup. So you could have a stage mixing a film with, say, 20 speakers and a director reviewing that mix in real time over source connect with, say, twelve speakers or even ten speakers. And maybe another person's connected at the same time and they just have headphones. So they're getting it as binaural.
: It takes a lot of the thinking out of the equation, right? You just let the renderer on the remote side deal with the translation. So just lets the host, or the mix host, if you will, put one stream up and have it divvy out to everyone accordingly.
: So everybody's end basically decides what it's. What it wants to hear.
: Exactly.
: Yeah.
: Right.
: Well, no, they'll hear the same thing. They'll just experience it in spatialization differently.
: It'll be optimized for their speaker set up because it'll be coming out of a renderer directly on their side and.
: The spatialization would be compatible from what you hear in binaural or 5.1. It's what someone's hearing in nine 1.6. But just with that lesser detail, I.
: Guess the end goal is sort of like listening parity, which is almost impossible to achieve because everyone's going to have different speakers and configurations. But this is the most optimized version to get closest to that.
: It's not like we're dropping like, you know, one of the voice channels so you only hear one side of the conversation.
: It's the purpose that Atmos was made for so that there'd be one deliverable and then whatever your speaker set up. The person with the really nice speaker setup doesn't have to compromise for the person with the really simple speaker setup.
: And the other way around.
: And the other way around. The other person with a simple setup is not sort of burdened, in a