Some Windows users may have been experiancing blurred graphics particularly with menu titles in certain applications as shown in the image above.
I certainly experianced this upon the release of Windows 8.1 and searched around for the cause and a soloution.
The cause is with Windows Display Scaling with is how the operating system is able to dynamically optimise the display of graphics irrespective of the resoloution of your screen.
You may be using an older display running at 1024x768 or ne of the very latest running at 3840x2160 and so Windows needs to try and make on screen graphics look their best wherever possible.
As far as I’m aware some applications are not optimised to use this dynamic scaling so it may well be pot luck as to whether they look right on your screen or not.
Thankfully there is a soloution if you are seeing slightly blurry results and that is to turn the display scaling off or rather fix the scaling to one value.
Follow these easy steps and see if it works for you:
How I Run Two Macs With Pro Tools - Screens, Keyboards, Mouse, Audio, MIDI, Files And Licences All Shared
As you can imagine life at Pro Tools Expert HQ can get complicated, we test a lot of gear, that includes hardware and it also includes more than one Mac. Right now I have a Mac Pro 12 core running HDX on Mountain Lion and a Mac Mini running Pro Tools on Yosemite for testing which I have to jump between, so I wanted to find a solution that gave me the greatest flexibility with the minimum of pain.
I also have a second hard drive on the Mac Pro which has a third install of Pro Tools on a clean OS.
A few things needed addressing, screen, keyboard and mouse sharing, audio and MIDI input and also plug-in licences, this is the solution I came up with.
Sharing The Cinema Display Screen
To get both Macs hooked up to my Apple Cinema display I went for the Kanex SnapX. This offers a 2 x Mini DisplayPort and USB splitter with a handy switch right in front of you. The SnapX sends all the usual USB options available for those with Cinema displays so any USB pass through still works including iSight camera, audio and USB ports. The USB ports options are helpful as it means anything plugged into those ports is shared between the 2 Macs.
Sharing The Mac Keyboard
I use one of the Editors Keys wired Pro Tools keyboards so that simply plugs into the back of the Apple Cinema Display. What is also great about the display is that it also offers me a couple of extra USB ports that I can use to plug in things like iLoks and other dongles, see below.
Audiomodern create quirky sound libraries for both Kontakt and Ableton.
You can download four free Kontakt instruments of synths and glitches in exchange for your email address.
- Echotone: A multi-layered sytnh patch from a custom analog synthesizer with a unique sound
- Statique: A glitch & cuts rhythm generator
- Node: A Low end sytnh patch from a custom analog synthesizer with a unique Sub bass sound
- DeciBell: DeciBell is a Bell-tone analog synth patch routed to a TC Electronics Reverb 4000
Last week in part 4 of this series on Audio Post Production Workflows Using Pro Tools, dialog editor Michele Woods continued her look at what a dialog editor does, at the ADR process and the rest of the work as a dialog editor. Michele continues….
Once I have marked up ADR and found alternate takes, an ADR list will be sent to the post production supervisor who will organise the actors and crowd to come in for a session. For the ADR session, we use the same QuickTime I have been working to, we have scripts with all the lines that actor(s) will need to do, and I often provide a bounce of my dialogue edit with alternate takes. This gives an opportunity to check with the director that he/she is happy with the alternate take(s) and therefore we possibly do not need to record the line(s) for ADR.
When the ADR and crowd are recorded, I edit them into my master session and provide fill (a bit of atmosphere from the original recording of that scene) to make the transition from ADR to sync as smooth as possible and unnoticeable. I have in the past recorded whole lines of ADR and used only a word that was needed (either for technical problems or as an additional line) into the ADR and smoothed it out with fill.
Meanwhile a few more passes on the entire project are done, smoothing edits by using fades between bits of audio, removing sync SFX and moving them to the sync SFX tracks for M&E, and possible level adjustments. I tend to do a general nominal level adjustment to monitor properly between microphones and shots to hear background noises that may need filtering or denoising. The mixer will obviously do a more intricate level mix against the SFX and music while adjusting EQ, reverb and whatever processing that may be required which will affect the level of the audio.
The rerecording mixer receives from me a session which should need minimal editing. If any processing has been done by me to the original audio, it is necessary to have the original unprocessed audio (muted) edited in the same way so that if the mixer wishes to change the processing the mixer can take your edit and adjust it accordingly. Same goes with giving alternate takes. Always have the original audio available in case the client does not like the new alternate take and can then hear the difference between the two. The session provided is usually a saved session copy of the final dialogue edit which I either upload to an ftp or deliver personally (since depending on the length of the project and the amount of ADR, it can become quite a large file).
As mentioned earlier, for the mix I always provide the original AAF files and all alternate ADR takes inactive tracks in case the client wishes to monitor other takes. Ideally, they should have chosen their preferable take on the day but in the mix things can change and it’s best to have the mixer have all available takes in case.
So after all that, and the magic provided by the rerecording mixer, the dialogues, sound effects and music should all work together smoothly without allowing the viewer to notice anything but the story telling.
In part 6, we will look at the ADR process on location.
Previous Parts Of The Audio Post Production Workflows Series
The Declicking tools in iZotope’s RX3 are not only good for dealing with vinyl records or digital clicks. In this video, Mike Thornton shows how to use RX 3’s Declick module to remove mouth noises from an intimate vocal recorded close to the microphone and how to combine Spectral Repair’s attenuate mode with the Brush tool to remove mic pops and plosives.
Let’s clear one thing up, if you don’t want to buy a Mac then stop reading now. This article is not about the merits of Macs v PCs, been there, done that, got the t-shirt.
If you are thinking of building a home studio and want a Mac then you might be tempted to get a Mac Pro or full spec MacBook, but before you dive in don’t write off the Mac Mini.
I own a Mac Pro, a Mac Mini and a MacBook Pro, which gives me a unique view on the pros and cons of all three Macs. I have to say that the Mac Mini has a lot going for it for a home studio, here are my thoughts.
The Mac Mini has a lot of connectivity for the small footprint it has. Thunderbolt, Firewire 800 and 4 USB3 connectors. This offers the most comprehensive range of choice when considering an audio interface, giving all three protocols. Connectivity is also important for hard drives and other interfaces such as keyboards. One small thing to be aware of, in some cases USB3 creates issues and a hub is needed to make items such as iLoks and some drives work.
One reason some people don’t even consider the Mac Mini is the lack of internal expansion, however the Thunderbolt and Firewire 800 connectivity allow for the use of expansion chassis, both Magma and Sonnet make solutions that can give users HDX and HD Native card connectivity, Avid also make the HD Native Thunderbolt box that will connect to the Mac Mini.
Mac Mini Size
When building a home studio one thing to consider is size, the Mac Mini has one of the smallest footprints out there, so can sit on a desk and hardly be noticed.
Mac Mini Fan Noise In The Studio
The Mac Mini is whisper quiet, in fact far quieter than the older Mac Pro silver tower. If you want to record through microphones in the same room as your computer then fan noise is an important consideration - I’m impressed by the lack of noise from the Mac Mini.
I’ve pimped my Mac Mini, installing 16gb of RAM and a Crucial SSD, both of these options cost around $300 and around 30 minutes to install. Now the little baby flies like a rocket.
Having run some tests my pimped Mac Mini can easily record 64 audio tracks in a single pass on a low buffer setting and play them back too with plug-ins installed. It may be Mini by name, but the performance of a Mac Mini belies its unassuming size.
If you are building a home project studio and want to take the Mac route then the Mac Mini is well worth consideration.
Eleven Rack Amps
Eleven Rack Reverb
When I was about eight and bashing disinterestedly through my piano practice I noticed that more often than not if I hit a wrong note I’d hear my mum shout “F sharp!” from the next room. I remember asking her why it was always F sharp. Some mumbo-jumbo about key signatures and the circle of fifths was said but by then I was probably thinking about Star Wars…
I find myself thinking about this when almost every time I suggest someone use a modifier with a left-click in Pro Tools its always option (PC users please substitute alt for option for the rest of this article). It’s just so useful. As an experiment I thought I’d write a list of every use I could think of for the option key, used on its own with a left click. There are of course many, many uses in combination with other keystrokes and with a right-click but for the purposes of this article I decided to limit it to just option+left-click.
Starting with the two most common uses, if you are new to Pro Tools learn these two and try them everywhere:
Do To All
Endlessly useful, common uses are selecting tracks, solo, mute, record arm, setting inputs and outputs or creating sends and plugins. Although I’m avoiding option in combination with other keystrokes I’ll have to make an exception for option+shift for “do to selected tracks only” as it is probably more useful than option on its own. Less obvious examples would be option+clicking the default button in IO setup to set all tabs in one click (also works for importing IO settings), bypassing repeated warnings like when deleting from the clip list and having to OK each warning about the undo queue or using option + drag from workspace or finder when importing video to avoid the video import options window opening.
Set To Default
The other really significant use of option. Clicking faders, pans, sends and plug in parameters will set these controls to their defaults (0dB for faders, centre for pans and -inf for sends unless you choose to change it in prefs). This is a real crowd pleaser when using a control surface.
Hide A Section Of Mix Or Edit Window
Often overlooked, if you option-click the name at the top of a section of the mix or edit windows, for example I/O or SENDS A-E, then that section will be hidden. Annoyingly this action is not reversible using a modifier+click as there is nowhere to click! Sections can of course be brought back from the view menu or the show/hide drop down at the bottom left (mix) or top left (edit).
Option-click and dragging makes a copy. This can be used for clips, midi notes, sends and inserts. It should be noted that it is not possible to drag an insert from a track to another track where the number of input channels does not match (e.g. stereo to mono).
While not strictly speaking option+click, using option and the mouse wheel zooms the timeline horizontally (other modifiers move the timeline in other ways, explore and you’ll find them).
Option + Click In Playlist For Pre/Post-roll
If you don’t know this one you must try it. Simply option-click on the waveform where you want pre-roll to begin (having already set your record “in” point) and the pre-roll flag will move to that point, so much more intuitive than changing the pre-roll value numerically.
Return To Previous Zoom Level When Using The Zoom Buttons
If you use the zoom buttons my first question would be why? Learn a shortcut or use the mouse wheel with option, but if you really must use these buttons then option will return you to your previous level of zoom.
Option can be used in combination with the grab tool to delete automation breakpoints, key signature changes, meter changes, chord changes, midi events in the midi event list editor, memory locations in the memory locations window, sync points and warp markers.
Audition In The Clips List
Option-clicking a clip in the clips list will preview it, allowing you to audition material without bringing it onto the timeline. Audio is previewed via the audition path as set up in your IO settings, Midi can be previewed via the default midi thru instrument as set up in the midi preferences.
Multi-mono Plug Ins
To open separate plug in windows for each channel of a multi-mono plug in, option-click on the channel selector drop-down.
Do The Opposite
With the edit tools, option usually offers another version of the same tool:
Pencil tool - becomes an eraser tool (upside down pencil) this can be used for midi notes or breakpoints.
Zoom tool - zoom out
Trim tool - reverse direction of trim
High speed Scrub tool - Option momentarily changes the scrub tool to a “turbo” version which scrubs the timeline far faster.
Note selector tool - this tool only selects notes, not other midi data, unlike the selector tool it plays midi notes when selecting.
There are a few uses tucked away in beat detective but they are just applying the broad uses of option as a way to do the opposite action:
Option+click the scroll next button in beat detective to go to the previous trigger.
Option+click to delete a trigger
More Uses Of Option
There are a few more, for example if you option+click on the play or record buttons you will prime the transport. Prime for playback cues the system ready for instant playback, useful as a noticeable lag can become apparent when running high track counts, Prime for record does the same but cues for instant record. Getting more obscure, if you are using dynamic transport with timeline and edit selections unlinked, option+dragging the timeline selection temporarily links and moves both selections in tandem - Nope, never used that one… In the fades editor using option can not only reset the crossfade shape to the default but option allows you to edit only the incoming fade (different modifier for outgoing). These are only in the list for the sake of getting every single use I can think of in this list but for something genuinely useful, if you are using HD you can toggle any of the write on stop automation buttons to remain active after a pass by option clicking - useful (and potentially destructive unless you remember to switch it back out…)
So what does this have to do with my early piano lessons? Well when teaching Pro Tools I find myself barking out “Option!” so regularly its become my F sharp. What uses of the option key have I missed? There are lots using more than just the option key that I could have included. Which would you like to have seen?
3 more great plug-ins at great prices from our friends at Waves, but hurry these will finish on Sunday.
- Waves Renaissance Axx Native plug-in $39 till Sunday - normally $75
- Waves GTR3 Collection $49 till Sunday - normally $140
- Waves CLA Guitars Collection $49 till Sunday - normally $100
Grab them whilst you can. Also check out the Specials page too for other great deals.
The BBE Sonic Sweet bundle has been one of the plug-in bundles that I have been missing since I went Pro Tools 11. Sonic Sweet v3 Optimised has been released and so I can use it again. Its a little different, for example the modules are how “19” Rack form factor instead of half rack and there is a new module in the pack….
This has been a good week for me on the AAX front, BBE Sonic Sweet and Speakerphone available to work in Pro Tools 11 in one week, very nice ;) I will be doing a Show & Tell review of the sweet suite very soon and look out for it on the podcast from next week too.
Sonic Sweet “Optimised” has been completely re-worked from the ground up to be compatible with AAX and Pro Tools 11. The bundle has also been fully tested on the latest operating systems including Mac OS 10.10 (Yosemite) and Windows 8.
The BBE Sonic Sweet “Optimised” is a complete rewrite of the plug-ins that were included in the original “Sonic Sweet” plug-ins bundle. but there is a new 4th plug-in added to the collection, the Mach 3 Bass. At the heart of the bundle there is still the software version of BBE’s famous Sonic Maximiser hardware range,
If you haven’t come across it before, BBE’s Sonic Sweet “Optimised” will add clarity to the top end and fatness to the bottom, just like their famous hardware processors do without the “fizz” or digital “sizzle” common to most other sonic enhancers. The refinements brought by this new “Optimised” version extends to a new optimised GUI and improved controls for fine-tuning your sound.
Unfortunately because Sonic Sweet “Optimised” was completely rebuilt, it is not compatible with previous versions of BBE Sonic Sweet Plug-ins. Any sessions with a previous version of Sonic Sweet loaded into it must continue to use the old versions of the plug-ins or you must use the new plug-ins and recreate the settings.
To celebrate this new version, BBE Sound has partnered with Don’t Crack to offer a special introductory price of ONLY $69 instead of the regular $149. Previous Sonic Sweet owners can upgrade to the NEW Sonic Sweet v3.0 with the new “Mach 3 Bass” for ONLY $29 !!! The promo is available from today through-out July, 2014.
Sonic Sweet Modules
- Sonic Maximizer : The best way to get that professional sound and extra sparkle that is so difficult to capture,
- Harmonic Maximizer : Increases Presence and Clarity, restoring Natural Brightness and adding Deeper and Extended Low Frequencies,
- Loudness Maximizer : A mixing and mastering multi-band limiter plug-in. Its ultimate transparency allows the Loudness Maximizer to ‘dramatically’ increase the overall level of your mix without audible pumping effects
- Mach 3 Bass : Take your low end to new sonic depths…
Sonic Sweet v3 System Requirements:
- Windows XP, Vista, 7 & 8
- Mac OS 10.6 and above (including 10.10 Yosemite)
- AAX - VST - AU - RTAS
- 32 & 64 bit Support
- Up to 5 computers authorisation
Waves have updated their StudioRack Native installer to fix a install issue that meant some Pro Tools users were unable to install it.
In an email to customers they say “We have uploaded a new SoundGrid & Native Applications V9r2 installer which solves these difficulties. We apologize for the inconvenience.”
You can see the review video posted on this site earlier today.
The download can be found in Waves accounts.
Post peeps and audio manglers….. the wait is finally over. There is a new, free, Speakerphone 2.1 update from Audio Ease for Mac that adds AAX and 64 bits support for Pro Tools 11, some modern speakers and Retina display support.
Speakerphone 2.1 Details
- fully backward compatible with Speakerphone 2 (and 1), reads presets, settings and automation and sounds the same.
- 64 bits, all available plug-in formats (AAX, AudioUnit, VST and MAS)
- AAX (does require Pro Tools 10.3.8 or up, and of course also fully supported: Pro Tools 11)
- New smartphone, tablet and flatscreen TV speaker IRs added !
- New preset browser
- Factory presets also available in host format (Pro Tools, AudioUnit, VST)
- Retina display support
For Speakerphone 2.1 please however note the following:
- This new Speakerphone however requires an iLok 2 usb key (the black one with the blue led).
- This version is Mac only, Windows support is in the works, but not ready yet
To use Speakerphone 2.1 (or up) if you are an Ilok 1 user:
- you have to run the iLok License Manager app (available at www.ilok.com) to move the Speakerphone 2 license to the newer iLok 2 key.
- An iLok 2 usb key can be purchased at a not-for-our-profit price at the Audio Ease Store
Once you have the Speakerphone 2 license on an iLok 2 usb key you can download your Speakerphone 2.1 plug-in updater from here
As always before installing updates or changes, we strongly recommend you backup your system first - just in case (yes that includes you James!)
Now what does Led Zepplin sound like through an Ipad2 in a laundry room recorded with a U47? This is like “Audio Cluedo”! Have a manglytastic time……
As we announced on this week’s podcast, the winner of our Community Member Of The Month Award sponsored by Sonnox is Chris Linder for posting comments helping others and adding constructive feedback. Chris told us…
I feel so honoured to receive the Sonnox community award and I am glad that my comments help others! Since I work a lot with field recordings, sound effects and sound design, the Sonnox TransMod will aid me very well, when I’ll bend and twist my samples. I will use it mainly, to sharpen the attack of my field recordings and to make the samples suitable for further processing. The overdrive function will surely help me, to really push the limits of my recordings. I look forward to put this gem across my tracks :) Thanks Sonnox and PTE.
Congratulations Chris - you deserve it! You too can be like Chris and can win an awesome Sonnox plug-in from their Elite Collection by making regular and positive contributions to the Pro Tools community.
Our friends at RSPE Audio are at it again. They’ve already built a virtual Avid S6 builder, and now they’ve created a cool interactive walkthrough of the S6’s channel strip section.
This Virtual Channel Strip is a great way to visualize the control surface’s functionality and see how it interacts with Pro Tools 11.
The Virtual Channel Strip allows you to click and select any of the S6’s process modes: Pan, Sends, User, EQ, Dynamics, Inserts, or Input. Selecting the mode changes the color-coded rotary encoders to the proper color, shows you a Pro Tools window with what parameters can be edited and gives an explanation of the button’s main functions.
It’s not the real thing, but it really gives you a sense of the S6’s functionality.
Check out the Virtual S6 Channel Strip for yourself.
Russ takes a look at the new Waves StudioRack plug-in chained and sees what features it has and how useful it is for both Pro Tools users and these using other DAWs.
I love plug-ins, I love them all, but for me there is something special with compressors. I can easily spend a whole night testing out a new plug-in and totally forget about eating and everything else.
But do we need all these plug-ins?
We really cannot skip the fact that if you got a guitar for 1000€ it would probably and hopefully sound better and be more suitable to more kinds of music then 100€ guitar. Similarly, that a more expensive microphone pre amp will sound better then the one built an the Mbox. But does a 200€ plug-in add anything more than the plug-ins that comes with your DAW?
Do we need to spend all our money on new software products?
I remember back when my interest for audio engineering started. I sat at home in my room and tried to record a Guns N Roses cover with a cheap interface and Pro Tools LE. I was told that LE stood for ‘Loser Edition’ so I always blamed my failure to make a rock cover on my ‘Loser Edition’ plug-ins that I got with Pro Tools. A friend of mine (who is a really successful songwriter now) gave me a CD with a almost 100 quality plug-ins. So I installed all of them, the temptation was too great not to. I remember I was thinking that nothing can possible stop me now from doing my kick ass Guns N Roses cover. I was wrong.
I started to do my mix, but I faced my first problem. I had to make some frequency adjustment to my kick drum. So I went to the mix-window, my plug-in folder, EQ and boom. Instead of just one EQ, there were suddenly ten EQs to choose between. I picked the first in that list and played around with it for a while, and then I tried the next one, and then the next one after that. And after spending way too much time finding the right EQ I lost interest for the track. The mix took me almost a month do to, and when I was done I was so sick of the song that I threw it away. I also removed all the plug-ins away that I got a month earlier.
Mistakes help us to learn
Hopefully we learn by our mistakes and now I am mixing for some of the biggest clients in the business with less plug-ins then I had when I started out.
I often hear people complaining that their mixes does not sound right because they cant afford the Waves Ultimate Superbundle or the UAD DSP cards. But I think if someone gave them all the best plug-ins around they may still be failing because having a different plug-in isn’t always the answer to the problem.
Spend time playing around with the plug-ins you already own, testing them out in different situations, do something unexpected to really know what your plug-in actually can do. Michael Carnes from Exponential Audio said this in a recent article “The best thing you can do is play with a piece of gear like it’s the only thing you’ve got”
A 200€ compressor won’t sound any better than compressor supplied with your DAW if you don’t understand how to use it correctly.
Don’t get me wrong I am not saying that you should stop buying plug-ins. My suggestion is to learn all your gear really well before reaching out for something new. Maybe you are not in need of the new super cool IR-Verb, maybe you could achieve the same results with a plug-in you already got? A lot of top tracks have been mixed using Dverb, stock EQ and Avid compressors.
As a suggestion when thinking about investing in extra plug-ins:
- One workhorse: This should be a EQ that is fast, simple, clean sounding and CPU-friendly.
- One precision EQ: This EQ should be able to do high Q-values without any artifacts.
- Two characteristics: You should have at least two EQs with character maybe with some nice analog warmth and color.
- One workhorse: A compressor that you really can rely on. Same principal here as for the workhorse EQ. Clean sounding and CPU-friendly. Should be able to set really fast attack and release values.
- Two characteristic: Compressors with character. Maybe one more aggressive sounding and one that’s more soft.
I guess my punch line is: Don’t be tempted to use cracks, they won’t solve your mix problems. Spend your money wisely on plug-ins that you need.
Our friends at Sonnox have announced SuprEsser DS. As a compliment ot their already popular SuprEsser, the SuprEsser DS offers low latency monitoring for users of the Avid S3L and HDX systems, citing a sub 2ms latency.
The SuprEsser DS is AAX DSP only and features a simple ‘quick fix’ mode for those who need to get a result quickly, however it still has a complete feature set for those needing to get more detailed results.
- Highly featured professional De-Esser
- Linear Phase Dynamic EQ
- Operates from 1kHz - 20kHz
- Latency of 1.9ms (at 48kHz sample rate)
- Supported Sample Rates: 44.1 and 48kHz
- Transparently controls aggressive frequencies
- Automatic Level Tracking follows energy levels (no need to automate threshold)
- Large intuitive graphic display makes finding frequencies very easy
- Three different ‘Listen’ modes
- Advanced Mode for ultimate control of the Dynamic EQ
- Many creative as well as corrective uses
- 64-bit compliant
- Presets giving good starting points
Tomorrow, July 24th Apple will ship the first public beta of their latest version of the Mac OS Yosemite.
We’ve been talking a lot about Pro Tools reliability a lot recently, not all issues with a DAW are down to the software, so as we always say please take caution when considering using a beta of any software.
Here are a few things to consider:
- Are you in the middle of a mission critical project? If so then do not even think about using a beta.
- Have you got all your projects and systems backed up? If not then do this before doing anything.
- Do you have the time to deal with any bugs and crashes and incompatibilities, however minor?
It is tempting to try the latest version of something, but many professional Pro Tools users do not upgrade even on first generation releases of software, let alone beta releases. Many top studios are still running earlier versions of Pro Tools and operating systems - keeping their systems rock solid is their biggest priority.
Please take care and remember you can’t blame Avid or any other software developer if you run into trouble trying to use a beta.
Cocell Productions have created an Empirical Labs Distressor emulation plug-in which runs in VST, AU 32 and 64 bit modes and RTAS 32 bit all they request is a $1.00 donation.
It’s a fully featured offering;
- Modelled Classic Compressor pluginBased on acclaimed 8X Compressor.
- Gain Reduction meter.Input control (Relative threshold).
- Threshold Controlled Circuitry(-30 to -50 dB).Ratio switch (1, 2, 4, 8, 20 and NK)
- Attack time control (0.05 ms to 4 secs).Release time control (0.30 ms to 3 secs)
- Distortion modes switch (Static Custom C1, Static Custom C2, Odd D1, Even D2)
- Output control (0 to 40 dB).Side-Chain Filter modes Clean(0) HP 80Hz(D), HP 80Hz Audio(A), BE 6kHz(B)
We’ve downloaded it and tested it - if you own Bluecat MB-7 or Patchworks it runs in that for Pro Tools 11.
The $1.00 donation price tag belies it’s features and sound, so for anyone looking for something like this then check it out. Our only advice is give them more than the requested $1.00, people like this deserve our support. We gave them $5 but give what you can afford.
Our friends at Flux Sound & Picture Devleopment have relased their last piece of their AAX jigsaw pzzle, the amazing Spat v3, a sophisticated tool for room acoustics simulation and localisation and v3 now supports 64 bit in AAX Native as well as VST and AU formats.
Flux Spat v3 Release Special Offer!
During the release period Flux are offering Spat v3 as well as the Ircam Tools bundle and a selection of bundle upgrades with a 30% discount until August 4th 2014. To find out all about the release special offer go to their online store. If you’re already a Flux:: Ircam customer then enter your iLok user account id or your Flux:: dongle serial number to find out more about your personal upgrade offers, or contact your local dealer.
Flux Spat v3 Availability
For all current Flux customers the v3 software is a free update, simply download the corresponding v3 installer for your software and install it.
AAX Versions. If you previously own a native licence (AU/VST/RTAS) then download and install the Native installer.
Epure TDM owners. Download and install the +AAX DSP (HD-X) installer, that now in addition to the AAX DSP version also includes the AU/VST/AAX Native versions.