We’ve been taking one for the team again and found out that the latest version of Apple OS X 10.10 Yosemite public beta is incompatible with Waves Licence Centre WLC
Some system running the Yosemite beta version will not allow the WLC to run correctly and may mean that Waves licences will not load when running your software.
We’ve had extensive discussion with Waves who confirm that Apple Mac Yosemite public beta is not qualified for use with WLC and is therefore unsupported.
We’ve confirmed this on two of our test machines and suggest not running the beta.
Community member Johannes Wengert sent us in this question and to date we have drawn a blank and so we thought someone else in the community may have the answer. Johannes asked…
I have a question concerning metadata in wav-files. I’ve received an AAF from Media Composer (not embedded audio, not consolidated but full copies of all wav files) and successfully imported it. Everything good so far. Now comes the problem:
I need to conform the multitrack audio (it’s a concert recording) to the rough mix from Media Composer using the “field recorder guide track” option in PT using timecode. Everything has been recorded properly with TC during the show so no problem there. Pro Tools cannot conform the tracks because there is no valid time stamp in the audio from MC - When I look at the files using the Workspace or the “Wave Agent” by SoundDevices it shows a Original Time Stamp / Start TC of 01:00:00:00 for every file
In this free video tutorial Russ shows the new Leveller feature in iZotope RX4, this can used to automate clip gain. In this example he uses it on a vocal. He also uses the de-breath module from Nectar 2 for removing extraneous breaths from the track.
Our friends at Universal Audio have announced the new UAD-2 Satellite Thunderbolt DSP Accelerators.
UAD-2 Satellite Thunderbolt DSP Accelerators are a sleek, powerful way for Thunderbolt-equipped Mac users to “supercharge” their systems and run larger mixes filled with rich, DSP-intensive plug-ins. These desktop-friendly units provide full access to UAD Powered Plug-Ins, including exclusive plug-ins from Studer, Ampex, Lexicon, Neve, Manley, SSL, and more.
UAD-2 Satellite Thunderbolt DSP Accelerator Models
Available in QUAD or OCTO models with a choice of four or eight SHARC processors, UAD-2 Satellite Thunderbolt DSP Accelerators can also be integrated alongside UAD-2 PCIe cards and Thunderbolt-enabled Apollo interfaces, including Apollo Twin, Apollo, and Apollo 16 — for truly scalable mixing power.
Our sister sites are running the A-Z of their DAWs, we thought it was a nice idea so here goes.
The A-Z of Pro Tools, some letters will yield deeper articles than others, but it will be fun to do.
A is for AAX.
The AAX plug-in format was announced on 20th October 2011, AAX being the acronym for Avid Audio eXtension. AAX was developed to replace the RTAS and TDM plug-in formats which were 32 bit and made it impossible for Avid to create a 64bit DAW.
AAX is a 64 bit plug-in format made exclusively for Pro Tools 10 and 11. 32 bit versions of AAX plug-ins worked in Pro Tools 10. It took a little longer to implement it into Avid’s video editor - Media Compser but as of v8.1 Meda Composer now supports AAX Native plug-ins too.
AAX Native And AAX DSP
There are 2 types of AAX plug-in:
- AAX Native for use in Pro Tools, Pro Tools HD Native and Pro Tools HDX systems
- AAX DSP for use in Pro Tools HDX systems.
With AAX, you can share sessions between DSP-accelerated Pro Tools systems and native-based Pro Tools systems and continue using the same plug-ins. Your sessions will sound exactly the same, regardless of the rig you’re using.
How Many Developers Have Ported To AAX?
AAX has been a huge success for Avid with many vendors porting to AAX Native, there are now several hundred AAX plug-ins and instruments for use in Pro Tools 11.
AAX DSP porting has been less popular with around 50% of developers who made TDM versions of Pro Tools plug-in only porting their TDM plug-ins to AAX native formats. However some other developers have created AAX DSP plug-ins for the first time. In reality there are far more AAX Native plug-ins than there are AAX DSP, this is partly due to the efficiency of the new Avid 64bit audio engine making DSP less of a requirement for many Pro Tools users.
Where I Can Find AAX Plug-ins?
Pro Tools Expert started the first AAX database on the web and we continue to maintain it to make sure Pro Tools users can find out what AAX plug-ins are available, check the AAX plug-in database here
We have to admit that at times the whole RedNet idea can leave us scratching our heads, we think it’s a brilliant way to connect stuff but it’s not always clear exactly what does what.
This video is the best RedNet video to date and covers so many of the questions with clear answers and practical examples.
RedNet At Sonic Fuel Studios
Chris Lennertz composes music for film, TV and video games from his studio, Sonic Fuel, in Los Angeles, California. Like most of his peers, his routine from one day to the next is anything but ordinary. He could be recording strings for a music cue in a movie one day, then scoring themes for a network TV show the next. As a result, he needs a trustworthy multi-channel audio interface system that’s flexible enough to let him work to the strict schedules and turnarounds of the film and TV industry. This means being able to to quickly and reliably transfer full musical arrangements between his Cubase composition and sequencing machine and his print rig, a Pro Tools | HD system.
Until early 2014, before discovering RedNet, Chris and his assistant Alex Bornstein were finding it difficult to maintain this flexibility, so they set out on the search for a new system, as Chris explains. “Before we implemented the RedNet system, we had just 16 inputs and outputs into the Pro Tools rig. It was getting to the point where being able to print quickly was no longer working because we were making three or four passes just to capture everything in the mix. We started looking into things like a MADI infrastructure or buying more I/Os for Pro Tools®, but then we found out about RedNet and it seemed too good to be true. Soon, we realised it was exactly what we were looking for.”
So, with Alex’s technical assistance, Chris made the switch to RedNet, purchasing a RedNet PCIe card, two RedNet 5 HD Bridges, a RedNet 2 16-channel A-D/D-A and a RedNet 4 eight-channel mic preamp. Now, thanks to the high I/O count and audio-routing flexibility of the RedNet system and the Dante network on which it operates, Chris and his team can print cues much faster and more reliably than ever before. “With RedNet, we can have 64 ins and outs, so we can print our cues in one pass, and both rigs can use the interfaces… It’s pretty crazy.”
The RedNet System
There are sonic advantages to the RedNet upgrade, as well. Because the transfer between Cubase and Pro Tools takes place in the digital domain at super-low latency, (digital audio is routed internally by RedNet without having to be converted to analogue and back to digital again), the signal quality is not degraded, as it was by the multiple stages of A-D and D-A conversion in the previous rig. RedNet also saves Chris time, and allows him to spend more time being creative, rather than focussing on arduous technical tasks. “It’s very important to me that I get as much time to write and conceive as possible, and spend as little time on tech as I have to. To be able to take back the time previously wasted on printing to either see my kids or write better music and be able to come up with themes without having the clock ticking quite as loudly is well worth it.”
There are even more upsides to the switch to RedNet: Installation of the system was straightforward, says Alex. “We spent a morning setting up the equipment and once that was done, it just worked. Since then, the boxes have been locked: every morning when I walk in, they’re still on.” Also, thanks to RedNet, other rooms in the Sonic Fuel building can be used as recording locations. Chris and Alex can take the RedNet 4 eight-channel mic preamp to the live room, for example, and record directly into Chris’ rig on the other side of the building. Tracking solo instruments and small ensembles just got a lot easier, says Alex. “Any room in the facility that has an Ethernet connection can be patched in to the RedNet network and you can record there. To be able to quickly record multi-channel audio from anywhere in this environment is huge…”
‘Mr Reverb’ Michael Carnes at Exponential Audio has written his latest reverb tips and tricks article ‘Chamber, Plate, Hall…What Do I Use?’
It gives some practical advice on the use of each type of reverb - as he says in the article there are no hard an fast rules, but these suggestions are extremely helpful.
We know that a lot of community members have questions about the Waves Digigrid system, especially when using it with Pro Tools, so we’ve team up with Waves to offer this exclusive webinar so you can ask questions.
Joins us for an exclusive webinar at Pro Tools Expert featuring Waves Product Specialists Luke Smith and Michael PA, who will demonstrate the benefits of the DiGiGrid DLS for Pro Tools Users.
Win A Waves Vocal Rider
Everyone in attendance will automatically be entered to win a Waves Vocal Rider.
Date And Time Of The Event
Date - MONDAY SEPT. 29th 20142PM EASTERN/ 11AM PACIFIC/ 7PM BST
Sign Up And Win
Take a moment to sign-up for the event, you can also ask a question. Everyone who signs up has a chance to win Waves Vocal Rider.
Everyone who attends has a chance to win Waves Vocal Rider.
Our friends at PureMix have announced their GearFest Raffle. This is a chance to win amazing prizes and also watch a fierce Mix Off between Fab Dupont and John Paterno. That’s right, filling out this form gets you a Free pureMix.net video and enters your name in the raffle where there will be 12 lucky winners of lots of great prizes from PureMix Universal Audio, Focal, Dangerous Music and Lauten Audio.
…But don’t wait, the raffle ends September 30th.
In this free iZotope video tutorial, Russ shows how easy it is to clean up sqeaaks on an otherwise great acoustic guitar part using iZotope RX4 using Spectral Repair.