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Welcome to Pro Tools Expert a huge community for users of Avid Pro Tools for both music and post production. With over 3 million visits a year, we’ve grown to be the place to come for training, resources, tips tricks and news. We offer advice for users of all versions of Pro Tools both current and legacy formats. We’re independent and are not affiliated with Avid or their associated companies.

Drumbank's Top 5 Drum Virtual Instruments

If you missed Podcast 112 then you would have not heard us talking about this email from community member El Sidius. 

Thanks for inspiring me over the last 2 years in getting more deeply in love with what I already love and that is music production. Without you I would have never finished my degree in audio technology.  

Since then I have found the strength and motivation to set up a new community dedicated to drum programming and virtual drumming software. Drumbank will offer the community everything to know about drum programming, specially authentic realistic drum programming from tutorials, tips and  tricks to software news, events, tailored midi drum packs and in the not so distant future, other exciting ventures which will be announced soon.”
We were thrilled to read this email and want to do everything we can to see El Sidius’ idea flourish as he seems to pay it forward. So we asked him to share his Top 5 Drum Viritual Instruments. Here’s the response.

Drumbank’s Top 5 Drum Virtual Instruments

It’s every bands dream to have a reliable, hardworking and committed drummer who doesn’t turn up late to every rehearsal session usually hungover and stinking of whiskey and cigarettes. While this is a very broad stereotype, in some cases it’s not far from the truth. Add to the fact that hiring one to play for you is even more of a pain in the backside, let alone recording one. “What’s a condenser?…Who’s Glyn John?…Why does his snare sound like a tin cat?”

Fortunately, If you really cant be bothered to find the answers to these questions, help is at hand by means of drum sampling software instruments. Sampling drums is nothing new. In fact if you listen to the song ‘Amen Brother’ by The Winstons and fast forward to about 1:26 you’ll instantly recognise the “famous loop” used on hundreds of early hip hop, drum-and-bass and Jungle music that inspired a youthful generation for decades to come. So what am I actually going on about I hear you ask? Fast forward about twenty years and you will see that it’s all in the software.

At it’s heart, drum samplers are powered by the individual sampled sounds of the drum and cymbal hits mostly at different velocities. It’s these velocities that adds realism to your beats. A real drummer would never hit the same drum at the same force, power and attack more than once. While this is the basis of any drum sampling software instrument, they also offer the songwriter and producer the ability to “go in deep” and shape/contour the sound suitable for your mix. Modern drum samplers offer monolithic mixing options. Anything from controlling the room /ambient microphones to even  mixing in/out the “bleed” and spill on each individual drum, like you would in a real drum recording session.

Naturally, it’s these artefacts that make the overall drums sound more realistic and organic. Add these to your drum programming ability and humanization skills and you’ve got yourself a “real” drummer in your music without any actual human contact. Of course, extensive sample libraries exist that can be used with sampler plug-ins like Kontakt and others sample players but they do not offer an all in one solution like dedicated drum virtual instruments offer. While these features are expected by today’s top producers and professional songwriters, software manufacturers are quite forgiving to most of us bedroom musicians by offering presets and templates for us to quickly load up without losing focus on the actual song we’re writing. The recorded samples in most drum samplers come pretty much pre-mixed and sometimes you don’t even have to do a lot to have yourself a decent sounding drum kit. While these features are a given, CPU power isn’t and most samplers are very RAM hungry, so the way this is overcome is by software manufactures offering RAM saving features that help your computer deal with all the sample stress without having to upgrade to the latest tech. Although most modern DAW’s include a drum sampler built-in, it never feels as satisfying to use as a dedicated third party drum sampler. In this article, we run down five of our favourite Drum VI’s. They are in no particular order as each one is different and suited to a particular user. 

Click to read more ...

Julian Rodgers Joins Pro Tools Expert Team

We are delighted to announced that Pro Tools Expert contributor Julian Rodgers has now joined the Pro Tools Expert team as a full time member. 

A Pro Tools user since 2001 Julian has a background in live sound. He has been working in education since 2006, during which time he has introduced many new users to Pro Tools.

He is a Certified Pro Tools Trainer and is very familiar with the mistakes and misconceptions common to new users. He plays piano, bass and guitar equally badly and is an keen collector of microphones and keyboard shortcuts.
We know how well received Julian’s contributions have been received so far, we look forward to what he will add to the team. Welcome!

Show And Tell Review Of Plug-in Boutique Big Kick

Russ checks out a new plug-in from Plug-in Boutique, Big Kick that offers the chance to create huge kick sounds by mixing samples and synth kick drums to create synth kick parts or enhance existing performances.
Russ takes a look to see if this new plug-in from new developers Plug-in Boutique is enough to get them noticed and even more importantly good enough to add to your music production toolbox.
Find out what he things and listen to the samples in this full show and tell review.

Free iZotope RX3 Tutorial On Using Declip In Pro Tools & Standalone

Here is our very own “Mr RX It” showing in another free video tutorial, courtesy of iZotope, how to use the Declip plug-in module in iZotope RX3. 

In self shot documentaries the sound is often the thing that suffers, as the crew have too many other things to think about. In this example we suspect the camera operator was concentrating on the pictures and missed the meters warning that the audio was going into the red. See how Mike was able to improve it using the RX3 Declip plug-in and also when a problem needs more forensic treatment, how to export the clip from Pro Tools, work on it in the standalone RX3 application and then import the fixed version back into Pro Tools.

RX3 and RX3 Advanced are on special offer until 1st May 2014. Check out the offers available from our friends at Time+Space or you can buy direct from iZotope.

Waves Offering Special Prices On Their Signature Plug-ins

Our friends at Waves are offering a number of special offers at the moment…

Waves Audio Manny Marroquin Signatute Series Special Offer

Six personalized hybrid plugins created in collaboration with GRAMMY Award®-winning mixing engineer Manny Marroquin (Rihanna, Bruno Mars, Alicia Keys) and inspired by Manny’s own workflow.

Waves Audio CLA Signatute Series Special Offer

Created in association with GRAMMY Award®-winning mixing engineer Chris Lord-Alge (Green Day, Bruce Springsteen, My Chemical Romance) these six application-specific plugins deliver the sound of the Lord of the Mix himself.

Waves Audio Tony Maserati Signatute Series Special Offer

Designed in collaboration with multi-platinum mixing engineer and GRAMMY Award® winner Tony Maserati (Black Eyed Peas, Beyoncé, Jason Mraz), this collection delivers Maserati’s signature sound in seven easy-to-use audio plugins.
Check out the Waves Specials page for more deals

 

My Audient ASP880 And Avid Omni Workflow

Last week I did my Audient ASP880 review class A 8 channel pre-amp, I then went and bought it. As an Omni user who wants more I/O but doesn’t want to buy more Avid hardware it was a no brainer.

Some have asked why I selected the ASP880, so here’s how I’m using it.

Here’s my set-up to show you what I now have in terms of flexibility. This set-up requires this recipe;

  • Avid Omni
  • Audient ASP880
  • Patchbay and cables
  • 3 x DB25 to jack 8 way looms
  • 2 x ADAT optical cables
  • Optional, but recommended - 8 way XLR/Jack/Combo stage box
  • Hardware to taste

ASP880 And Avid Omni Workflow Tracking

I now have 8 XLR/Combo connectors when tracking through my Class  A Audient ASP880 class A pre-amps. Also included are variable filters for cleaning up the signal from 25Hz to 250Hz.

The audient AD also alllows me to use 8 insert points on record, so I can really start to use the hardware in the rack on all channels. This is simply a case of 2 of the DB25-jack loops out to the patchbay then I can put any of my hardware across any of the 8 channels.

ASP880 And Avid Omni Workflow Mixing

When it comes to mixing the flexibilty remains, using a DB25-jack into the patchbay I can then use hardware effects on up to 8 channels, sending them out of the Omni and then back into the ASP880 via the AD inputs.

ASP880 And Avid Omni Workflow - Using Pro Tools For Input Switching

I also own an Avid Eleven Rack so if I want to use that to track guitars then that is coming into Pro Tools via the AES/EBU connection on the back of the Avid Omni and then it is simply a case of swapping over the inputs on the hardware settings in Pro Tools.

ASP880 And Avid Omni Workflow - Why This Set-up?

There are other solutions when it comes to haging something off the Omni via ADAT but for me the ASP880 with it’s Class A pre-amps, variable filters and inputs via the AD gives me the quality and flexibilty I have been looking for.

Did Audient pay me to write this? No, I paid them!

Be Prepared With 6 Tips For Planning Your Session - Part 1

Ciaran Robinson responded to our shout out last week asking for people to contribute to the site to help make the community a fuller and rounder place, enabling you to hear from more than just the team. Over to you Ciaran….

I’ve had a series of sessions recently, where the clients have come in utterly unprepared - ranging from a score written in entirely the wrong clef and with impossible note ranges for the instrument, to not having decided on even the basic song structure or tempo. 

This approach may be fine for home recording, but when you’re paying for a day in a studio, you will want to spend your time more productively.  This is where session planning and preparation become absolutely essential.

On the other side of the spectrum, I ran a session recently where there were more than 15 musicians, all playing on a song they were unfamiliar with.  As I was involved in the project at the earliest stages, I’d had the chance to prepare everything well in advance.  As a result, we were able to finish the session over an hour early. So here’s a few of the things I like to have prepared for before I get to the studio:

Be Prepared With 6 Tips For Planning Your Session - Referencing

I always try and sit down with the client, boot up Spotify, and get an idea of the production style they’re looking for.  I’m rarely trying to clone the exact sound of an album, but obviously I’ll approach the recording totally differently if the band want to sound like Slayer than if they want to sound like Led Zeppelin.

I’ll want be be able to quickly access this reference material during the session, so I’ll import a few songs to my Pro Tools project, and put them on hidden, inactive tracks.   

To avoid any master fader levels etc. affecting my reference tracks, I also make sure that they’re on a discrete bus, and route this to the same output as my main stereo mix.

 I/O setup shown with routing for Reference tracks 

Be Prepared With 6 Tips For Planning Your Session - Live Room setup, Mic and Studio Routing 

I’ll pencil out a plan of how I’d like the live room set up, and show which mics I’ll be using on each instrument, along with the way I’m intending to get the signal into Pro Tools.  

This is more for my assistant than anything else - I can pass this to him a day or so before the session, so I can get on with the meet & greet and coffees that start most days, while he does all the hard work setting everything up.

Things are still likely to change on the day (and it’s usually far from complete), but at least I have a starting point to work from.  I’ll then create all my tracks, and put my mic choices into the comments boxes.  

I don’t do all my I/O routing yet though, as my home Pro Tools setup doesn’t have much in the way of inputs. 

PDF sent to my assistant before a recent session 

Be Prepared With 6 Tips For Planning Your Session - Song structure and Memory Locations 

There are few things that show lack of experience in a studio more than not knowing your way round a song - if the producer asks you to play them the third chorus, you need to be able to jump straight to it, not hunt through the track, asking “is this it?” until you find what you’re looking for.  

Memory Locations are the key to this, and the earlier I can set these, the better. 

 Song structure Memory Locations

If the band can’t provide the song structure breakdown, I’ll either analyse the structure from a demo version of the song, or I’ll make a very rough recording at a band rehearsal and use that instead (iPhone recordings are usually good enough for this, but I usually bring along my Tascam DR-40 portable recorder).  

As you can see from the screenshot, I use a numbering system for my locates - verses are  11 to 19, and choruses are 21 to 29.  This way if I need to get to the second chorus, there’s no need to refer to the Memory Locates window  - it’ll always be locate 22.

In part 2 we will conclude this look at best practice for planning your sessions in the studio.

Avid S6 Tutorial: VCA-Group Creation By Mix Engineer Gary Lux

A few weeks ago veteran Hollywood mixer, Gary Lux, did an Avid S6 video tutorial on how to use VCA groups on the S6. There were some questions as to how he sets up his Pro Tools session with those VCA groups, and how they work in relation to edit groups.

Well in this new tutorial, Gary shows you step-by-step how he sets up the VCA groups in his sessions and how they translate over to the Avid S6.

Check out our exclusive Avid S6 microsite in association with our friends at RSPE Audio.

40% Off All Softube Dynamics Plug-ins Until May 13th

Our friends at Softube are offering 40% off their Dynamics plug-ins until May 13th.

The deal includes some classic compression and limiting on the following Softube plug-ins;

40% Off  Softube Summit Audio TLA-100A
Dynamic control with mild authority.

40% Off  Softube 
FET Compressor Classic for a reason.

40% Off  Softube Tube-Tech CL 1B
The compressor with that opto sound.

40% Off  Softube Valley People Dyna-mite
Compressor, gate, expander—a Swiss army knife with an attitude.

Click here for more information on the Softube Dynamics sale

UAD v7.6 Software - New Chandler GAV19T, Brainworx bx_saturator V2 And Brainworx bx_refinement Plug-In

Universal Audio has just announced UAD v7.6 software which includes 3 new plug-ins, one guitar, one mix and one mastering plug-in.

The software is free to all UAD users and includes UAD-2 and Apollo Interface driver improvements (Mac).

With the UAD v7.6 software release 3 new plug-ins have been announced;

Chandler Limited GAV19T Amplifier Plug-In

Universal Audio say “Developed by the amp modeling gurus at Brainworx, the Chandler Limited GAV19T Amplifier plug-in is an exacting emulation of this ultra-responsive, dual EL84-powered boutique guitar amp. Inspired by British classics such as Vox and Marshall — and lesser-known gems from Watkins and Selmer — the Chandler Limited GAV19T Amplifier plug-in goes from supple clean textures, grinding blues tones, and rowdy distortions that gush with character.”

Brainworx bx_saturator V2 Plug-In

Universal Audio say “A powerful multi-band M/S (Mid/Side) processor that allows you to add saturation, drive, and distortion exactly where you want it, the Brainworx bx_saturator V2 plug-in for UAD-2 DSP Accelerators and Apollo-equipped workstations goes from subtle to twisted. Not only can you mangle signals beyond recognition, you can dial-in analog warmth and overdrive on individual tracks, put it across the stereo bus to thicken an entire mix, and bring out delicate nuances of vocals, acoustic guitars, and percussion”

Brainworx bx_refinement Plug-In

Universal Audio say “Tastefully remove the harsh, hard edges of your tracks without dramatically altering the character and tone of your source material with the Brainworx bx_refinement plug-in. An exceptional mastering tool that will impart a tube-like analog smoothness, the bx_refinement for UAD-2 DSP Accelerators and Apollo-equipped DAWs is also a boon for mix engineers looking to tame unpleasant digital hardness on individual tracks.”

Click here for more information visit and to download the UAD v7.6 software.

Running Your Own Creative Business: Part 2 - What's The Plan?

In the first part of my series on running your own creative business I talked about the intrinsic link between who you are, what you need and your business.

I remember sitting in a business class years ago and one of the attendees said ‘I need to write a business plan for the bank manager” without blinking the tutor retorted “you first person you need to write the business plan for is you.”

So in this session I want to talk about the plan.

So What Are You Going To Do?

Do you have an answer to this question? I don’t have that answer for you, no one else does either, I would go as far as saying that if you need someone to come up with an idea for you to turn into a business then you’re probably not the right kind of person to start a business – a self starter.

Only you know what your skills are and how you can go about using them to create a living and build a business. The grand term for this is vision – what’s the vision for your business? Vision is an overused word in business seminars and on the golf courses as CEOs wheel their trollies around – often turned into verbose sessions of boardroom bullshit. However just because it has been hijacked by those who prefer words to action it doesn’t make the idea of having a vision a bad one.

You need to sit down and think about what you are going to do, who your customers will be, and what will make people want to buy from you instead of someone else?

Originality Is Sometimes Overrated

It does not have to be a new idea; sometimes it’s a new way of thinking about an old idea – a better way. 

Several years ago Nokia owned the phone market, they made phones, lots of different phones – what could anyone do with a mobile phone that Nokia hadn’t already done? Nokia were the kings of the phone market, they had a long history and millions of customers, and they were invincible. Then a computer company decided to think differently about the phone – that company was Apple and the product was the iPhone, the rest, as they say, is history. Irrespective of whether you think the iPhone is any good, enough people bought them to kick the feet from under Nokia and then the rest of the industry followed Apple.

Apple was late to the party, but they did an old thing in a new way.

No one is expecting you to reinvent recording, simply doing it better may be enough to help you build a successful business.

Write It Down

You need to be able to write down your vision, your plan and how you intend to make it happen. You need to have an internal message that makes sense to you and one you can write down. Your plan doesn’t have to be the size of War and Peace, it can be a sheet of paper, as long as it makes sense and answers all the questions that matter.

Three Questions You Need To Answer

So you want to run your own business, to work for yourself? Answer these simple questions; 

  • What you are going to do?
  • Who are your customers going to be?
  • Why will people want to buy from you instead of someone else?

Until you’ve answered these fundamental questions then don’t even think about it.

Pro Tools Expert Podcast Episode 112

Russ, Mike & James bring you another bumper show with talking points, tips, tricks and questions answered.

Competitions

Deals page

Talking Points  

Community Feedback Kindly Sponsored by RSPE Audio Solutions 

  • Jeffrey Lober - We sound like The Young Ones to his American ears
  • Sid Naghdi Known to us as El Sidius following our example and setting up Drumbank for the drum programming and virtue drumming community.
  • Grant Hall - Update to the old Mac Pro to New Mac Pro comparison story.
  • Tony Molica - Confession to buying too much gear and a resolution to learn to use what he has first.
  • Steve Nolte Thank you for all you do.
  • Kris Lawrenson - Can I download your videos?

Questions - Kindly Sponsored by Alchemea   

  • Why do I get AAE Error -6101 intermittently on small and large sessions?
  • Which plug-ins should I use when mixing vocals On - From Groove 3 Mixing with Free Plug-ins or Mix School 101
  • How do I prove to Avid that I am eligible for the Student version of Pro Tools - PTE FAQ page
  • Is it possible to feed the sends post inserts on tracks?
  • Problems with Faders move between recording and mixing in Pro Tools. What’s happening?
  • Can I put my Pro tools 10 license that  came with Pro Tools 10 onto a 1st generation iLok?
  • Why do I get AAE Error -6101 intermittently on small and large sessions?
  • Which plug-ins should I use when mixing vocals Mixing with Free Plug-ins Mix School 101?
  • How do I prove to Avid that I am eligible for the Student version of Pro Tools?
  • Is it possible to feed the sends post inserts on tracks?
  • Problems with Faders move between recording and mixing in Pro Tools. What’s happening?
  • How can I get the click to be included in offline stem mixes?
  • Can I put my Pro Tools 10 license that  came with Pro Tools 10 onto a 1st generation iLok  

Listen on to the Pro Tools Expert Podcast on iTunes
Download the Pro Tools Expert Podcast as an MP3

Pro Tools Expert Sonnox Community Award - Hall Of Fame So Far

Don’t forget that every month there is a chance to win a Pro Tools Expert Sonnox Community award, sponsored by our friends at Sonnox.

So far our winners have been;

All of them did some came up with some great ways of helping the Pro Tools community and in doing so also got themselves a Sonnox Elite plug-in.

To win, simply hang around here and share your expertise with great tips and tricks - it could be you!

Aphex USB 500 Rack - Review 

In this video James takes a look at the USB 500 Rack from Aphex. Is it a 500 series rack? Is it a USB interface?

Is it an all in one hardware audio solution. James checks it out and puts it to work.

Watcht the Aphex USB 500 Rack review.

Native Instruments Announce Maschine 2.1 Update

Native Instruments have announced version 2.1 software for Maschine, offering a host of new features, these include;

  • New Grit Kick and Shaker in the Drum Synth.
  • Sounds accessible on pads on sample recording screen
  • A batch function to set all sounds in a group to the same MIDI channel. MIDI export available on the Group and Sound levels
  • Undocked NI plug-in windows can be pinned to remain active when not in focus
  • Scenes can be selected/triggered via MIDI input when MASCHINE is running standalone
  • Mix page on MASCHINE and MASCHINE MK2 controllers has been expanded and now provides access to level and pan settings for groups and sounds
  • A setting that only turns the metronome on when the Record button is enabled
  • Real time group erase function.
  • Shift functions allow fast scroll browsing.
  • Play quantize option –notes played live on the pads are quantized in real time
  • Control software views from the navigate page on MASCHINE and MASCHINE STUDIO controllers
  • Instantiating the first plug-in on an empty sound updates the name of that sound to the plug-in name
  • Sound, group volume & pan knobs are only displayed on hover
  • ALT+Drag for copy-pasting single elements (patterns, scenes, plug-ins) in the Groups / Sounds lists and the plug-in chain
  • Browser performance improvements
  • Numerous bug fixes, as well as performance and stability improvements

There’s a ton more of stuff too, so check out the NI web site for the whole shooting match.

Even better it is free to existing users.

More on the Maschine 2.1 software here.

A Case Study On Using A Focusrite Rednet System In Education

Recently James reviewed the Focusrite Rednet range in his studio and pointed out it wasn’t best suited to his setup. Community member Neil Martin, who wrote a series on how to install Pro Tools in labs and also a tip about securing iLoks too, reached out to us to describe how he uses Rednet in the institution where he works.

Regarding Wes Mitchell’s question about Rednet in podcast 111, I just wanted to share how I use it in the institution I work for.

We use Rednet to provide multi channel audio recording from our large theatre spaces to a control room running a Pro Tools HDX system. We have 3 theatre spaces in total and can use Rednet with any one of them as what is basically a large live room.

This gives us a lot of versatility, from allowing a large ensembles to be recorded, all the way to multi-tracking the direct-outs of our 24 channel Allen and Heath console straight into Pro Tools during a live gig.

We own a Rednet 2 (16 line in/out), Rednet 4 (8 mic/line) in and Rednet 5 (Pro Tools HD bridge).

The Rednet 2 and 4 are installed in a rolling rack case that is set up in the theatre studio we want to use. It provides a total of 24 inputs and 16 outputs to Pro Tools.

The Rednet 5 is installed in our Pro Tools HDX control room and sits aside a HD I/O interface, with the HD I/O being set as Loop Sync Master. The Rednet 5 forgets its slave status every time it’s switched on, which if ignored, causes audible pops and clicks whilst trying to record or playback through it. A bit of a pain having to set it every time but that’s the only gripe I have with the system as a whole.

We use a Cisco SG200-08 managed gigabit switch, tweaked with Focusrite’s recommended settings, to connect everything together. It’s installed in the rolling rack with Rednet 2 and 4, so that we only have the one ethernet cable to plug into the wall at that end.

Using screen sharing/VNC, it’s even possible to operate Pro Tools in the control room remotely via a laptop in the theatre space being used for recording.

Overall, I find Rednet to be very stable and the versatility it gives us by being able to instantly turn any number of spaces we have into what are basically big live rooms, is awesome.

Thanks Neil for taking the time to explain how Rednet can be used in a larger setting.

Want To be Able Isolate Or Remove Vocals From A Track?

Check out ADX TRAX from Audionamix. We thought it was an April fool at first but it does seem legit.

Audionamix ADX TRAX Software Videos

Check out the videos on Vimeo and their web site

Audionamix ADX TRAX Software Background

Founded in 2008, Audionamix works in audio source separation. Based on years of research, the company developed the patented ADX Technology and continues to pioneer audio solutions for the film, broadcast and music industries. Audionamix’s technical expertise in isolating and separating elements from a master recording empowers content owners, engineers, producers, and artists to create new arrangements, and unlock television and movie assets for expanded distribution.

Audionamix has released ADX TRAX software that utilizes the company’s technology to easily, quickly and effectively isolate vocal elements from its accompanying music track. Located in Los Angeles and Paris, the company’s technology and services provide solutions to a wide range of audio challenges. 

Audionamix ADX TRAX Software Key Features

  • Non-destructive, automated audio source separation software, powered by the cloud.
  • Significantly reduces time consuming manual editing required to effectively isolate a lead vocal or create an instrumental.
  • Multi-Algorithmic Matrix allows you to select a multitude of processing combinations to optimize separations for a wide variety of source files.
  • Integrated post separation enhancement tools allow you to customize and refine your separated results.
  • Intuitive Graphical User Interface, with industry standard navigation and editing tools to further accelerate your workflow.
  • Familiar comping feature combines your best results.
  • Compatible with multiple bit depths, sample rates, and even mono files.
  • Free software updates and online user support for the term of your license.

What do you think about Audionamix ADX TRAX Software?

Friend of the site Michael Wabro has been looking at it. He said It does really work but it takes an age to get it right, but I was pretty gob-smacked at the result”. What do you think?  

Its a cloud based subscription model but they do have a 3 day free trial. It is stand alone and Mac only at the moment, but they are talking about plug-in versions coming soon.  Check it out and let us know how you get on with it.

Community Member Of The Month Award - March Winner

The winner of our Community Member Of The Month Award sponsored by Sonnox is Tony Molica.

Over the last month Tony has made outstanding contributions to the community with his helpful comments and insights and videos - all aimed at supporting other community members.

Mike and Russ and the Sonnox folks:  Wow! Thank you so much.  This totally made my week. Last time I felt this lucky it was when my wife Lori said she’d go out with me back 18 years ago when we first met. (still happily married btw and 4 little ones that look like us). So this is a real treat and I’m humbled and grateful. Well done Tony - you deserve it!

You can win an awesome Sonnox plug-in by making regular contributions to the Pro Tools community.

FabFilter Celebrate 10 Years In The Plug-In Business

Our friends at FabFilter are celebrating 10 years in the business of making great plug-ins.

FabFilter - Started with Fabfilter One

Ten years ago they launched their first product FabFilter One, which today is still part of their line up of plug-ins ranging from Saturn to Pro-Q and Pro-MB. To celebrate with their customers, they are running an amazing 10-year anniversary sale offering 40% discount on everything!

Check out our reviews of some of the FabFiliter plug-ins

Congratulations to FabFilter for 10 years in the business, here’s to the next 10 years.

Community Tip - Super Fast Boom Separate Outputs

Community member Donald Crees sumitted his tip on a superfast way to create separate outputs in Boom. 

I love working with Boom. However, not everybody is that keen, rightly point out, the drum machine lacks the means by which to send each pad to separate tracks for further processing.  I’ve realised a work around, so simple, I feel it maybe stating the obvious – but as I couldn’t see a video doing the same, I thought I’d share what I’m calling The Boom Midi Method:
  1. Firstly, create all the desired Boom patterns and sequentially lay them out in the track’s mdi note playlist, from the start to the end of the song.  
  2. In Boom, open the standard Preset menu and select Save Settings As. Name your preset and save it in your Boom user folder (create one, if you haven’t done so).  
  3. Right click on the track name containing the Boom plugin and select Duplicate from the menu.  
  4. The Duplicate Tracks window should open. In the number of duplicates dialog box select the corresponding number of individual Boom pads you would like to use as separate tracks in Pro Tools. For example, in my project I wanted to independently process Boom’s kick, snare, and clap, so I selected 3 in the number of duplicates dialog box. Click on Okay.
  5. At this point, the duplicated tracks should be highlighted, and it’s good opportunity to right click on one of them to Rename each individual track as the desired pad (e.g. I renamed my three duplicates, Kick, Snare, Clap).  
  6. The duplicates have created several instances of Boom with same midi notes in the playlist of each track. Our final tasks, therefore, are to solo the Boom pads for each duplicate track and mute the corresponding pads in the original instance of Boom.  In the Kick track of my example, I clicked on the solo button of the kick pad in Boom. I did the equivalent for the Snare and Clap track.
  7. Finally, select the original instance of Boom and mute all the pads that now have individual tracks. I clicked on the mute button of each pad for kick, snare, and clap.
  8. You now have individual control of the duplicated pads in separate tracks of Pro Tools. If for some reason you need to make a change (pattern or tone) in Boom, save the preset again (as in the step 2), and select that same preset for each instance of Boom.    
Well, there you go, if this is all very obvious, my excuse is I’m only a hobbyist!
 
Best wishes and thanks for your work at PTE.
For more Boom tips and tricks then check out our Boom video tutorial collection.