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Avid Trim

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Page last updated Aug 11, 2025

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Elevate your audio production with the Avid Trim plugin, a versatile gain tool designed to seamlessly integrate into your digital audio workstation. Perfect for both professional studios and home setups, Avid Trim provides precise gain control, allowing you to adjust levels effortlessly without compromising sound quality. Whether you're fine-tuning a mix or preparing tracks for mastering, this plugin ensures every detail of your audio is captured with clarity and precision.

Avid Trim is engineered to handle a variety of audio sources, from vocals to complex instrumental arrangements. Its simple interface is user-friendly, making it accessible for both seasoned audio engineers and beginners looking to refine their skills. The high-resolution metering offers accurate visual feedback, ensuring that your adjustments are spot on. This plugin is compatible with all major DAWs, providing flexibility and reliability across different production environments.

Key Features:

Precise gain adjustment for a wide range of audio sources
Compatible with all major DAWs for seamless integration
High-resolution metering for accurate level monitoring
User-friendly interface suitable for all skill levels
Optimized for both professional and home studio use

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Owner Insights

We analyzed real musician discussions from forums and Reddit to find what players love, question, and tweak about Avid Trim.

Features and functionality

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Avid's trim tool excels in asymmetric trims, allowing audio and video to move independently while maintaining sync, which is crucial in complex edits.
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Dynamic trimming in Avid enables real-time edits, enhancing the artistic process by allowing intuitive, on-the-fly decisions.
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Use cases and applications

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Particularly useful for smoothing complex sequences with multiple video and audio tracks, Avid's trim tool simplifies managing intricate edits.
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User experience

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Users transitioning from other NLEs find Avid's trim mode faster and less cumbersome once they adapt to its workflow, emphasizing its efficiency in complex projects.
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Adele

Singer

The Gangbang

Verified via Sound On Sound

Used for the backing vocals on "Rolling in the Deep", as stated by mix engineer Tom Elmhirst in this September 2011 Sound on Sound interview.

Vocals: Waves Q6 & De‑esser, Digirack EQIII, Lo‑Fi & Trim, Pultec EQ, Urei 1176, Tube‑Tech CL1B, various spring reverbs and delays.

"I had the Q6 on the chorus vocal, notching out 930, 1634 and 3175 Hz very, very heavily: ‑18dB, ‑18dB and ‑12.1dB respectively, with very narrow Q. I also had the EQIII on the lead‑vocal sub, notching something out again. Something obviously needed to be taken out. The vocal is the most important thing in the track, and taking those frequencies out allowed me to keep it up front in the mix, particularly in the chorus. You can never account for what mic the vocals were recorded on, and whatever it is that bugs me, I can take it out. 'T' on the lead vocal bus is the [Massey] Tapehead plug‑in, which wasn't used, but I did use two Waves De‑essers, one taking out at 5449Hz and the other at 11004Hz. Rather than use one to try to cover all the sibilance I used two. I do that quite often.

"Regarding the outboard, I had the Pultec EQ, Urei 1176 and the Tube‑Tech CL1B on the lead vocal sub insert (desk channel 25). The Pultec boosted around 100Hz and 12k. It's colourful, but not drastic. There was not a lot of gain. The blackface Urei had fast attack and fast release, whereas the Tube‑Tech had slow attack and slow release, it was more evening out the level. You can use compression as an effect, but on the vocal you mainly want control. You want to set it up right so you're not constantly moving the channel fader to fit the vocal in the mix. If you're constantly moving the fader, rather than just doing the occasional ride, you know that you need to look at your compression. There's also Paul's Roland Space Echo track, which I used throughout, and which was the only lead vocal effect in the first chorus. On the backing vocals I had the Digirack Trim, again the Lo‑Fi, and the EQIII, cutting a bit around 405Hz and boosting a little around 3.17k. I used quite a few spring reverbs on the backing vocals, because I wanted them to have a lot more ambience. In the choruses I would also have added several delays. The delays make the backing vocals swing a bit, and they also fill up the space and make sure that they fit in the mix.”