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When I first started using the VENUE systems, I was on the larger D-Show surface, but switched to the Profile for both tours and have really grown to appreciate its more compact size and efficient ergonomics. “For Peter, we’re running 96 inputs, and for Robert, 48 inputs.
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“We’re using a VENUE Profile on both ,” Findlay says. Today Findlay is very busy indeed, manning the faders for Peter Gabriel’s current Back to Front tour, as well as for the Robert Plant and the Sensational Space Shifters tour through South America.
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The interoperability between VENUE and Pro Tools is a massive advantage. I can set the VENUE up exactly the way I like, leave for a few days, and when I come back it’s easy to pick up exactly where I left off.” It’s so logical, incredibly easy to learn, and the ability to save and retrieve settings is really powerful. “That environment is reflected beautifully in the VENUE’s workflow. “I’ve done quite a bit of studio work, so I’m very comfortable working within the Pro Tools environment,” explains Findlay. It’s no surprise, therefore, that topping his list of preferred live consoles are Avid VENUE systems. It was this early exposure to both sides that sparked a zeal for new technology and marked the origins of Findlay’s unique ability to balance old-school methodologies with modern production tools. These are the very qualities that have helped make Ben Findlay the top choice for a diverse roster of clients, including Paul McCartney, Sting, Robert Plant, and even Dame Edna Everage, to name just a few.Ī student of the UK’s prestigious Real World Studios, Findlay honed his skills in the early transitional days between analog and digital, when trusted analog technologies were still the prevailing workflow of choice. Becoming one of the industry’s most respected live sound engineers requires ample amounts of talent, versatility, and passion.