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.
We recently ran a sweepstakes with our friends from RSPE Audio, who donated a full set of Avid Pro Series plug-ins. We are pleased to announce that Will Durno from Fort McMurray, Canada is the winner of that prize. Will writes…
“Thank you for everything. You have made me a very happy man! Wishing you greatness … rock on!”
Congratulations Will and enjoy your prize.
Can you assemble flat pack furniture? Do you like watching Mama Mia on re-repeat play? Have you got a really big beard, (that question is also for the men reading this too)?
Then you may be the person to join the Softube team in Sweden, not only are their beards, but Softube is growing rapidly, and they need a Quality Assurance Manager to join the team. Apply now if you think you have got what it takes—see the entire job and profile description below.
When dialogue editing do you use playlists at all for alternate takes, cues, ADR or do you only use work and junk tracks?
There seems to be a real debate about whether to use playlists in the post workflow. In music sessions especially in vocals playlist are used a lot with the vocal comping feature we have in Pro Tools. This feature should work well for dialog editing or ADR editing where we need to check and compare alternate takes to produce a master track, but how many dialog editors are using this feature? We have a poll here and do add your thoughts too into the comments section.
I’m pretty confident that like me, the overwhelming majority of visitors to this site spend an unhealthy amount of time ogling gear. Much has been said of the importance of getting to know the equipment you already have rather than being distracted by shiny new toys. We all know that the most important studio equipment we have is our ears but how many of us actually try to develop our listening skills?
Upgrade Your Ears With How To Listen Software
How to Listen is a desktop software application for Mac and PC, developed by the Harman International R&D group for the purpose of training and selecting listeners used in audio product research, development, and testing. By auditioning audio and having to select the EQ curve being applied by A/Bing against a flat version it is possible to genuinely blind test your perception of frequency content. You can find the free download Here
Usefully it is reasonably straightforward to upload you own audio rather than rely on the supplied examples using the practice session and selecting choose. It doesn’t seem to play AAC files but is happy with WAVs and Mp3s and comes supplied with a selection of 48 and 96KHz WAV files to use. The user has control over the type and amount of filtering applied, cuts, boosts, cuts and boosts, high pass or low pass and there are options for incorporating unwanted artefacts such as noise though I haven’t tried them myself.
This software is quite addictive, with a task like this which requires such close attention it is surprising just how tiring it is and how your results are affected by fatigue. Proof if it were needed that taking regular breaks can make your mixes better. I thoroughly recommend this software, just a word of warning, you might find you’re not as good as you think you are.
I don’t know if it is just me but most of the plug-ins I go for in a post workflow are for corrective work rather than for creative use and this is reflected in my list.
10 Plug-ins & Tools I Reach For In Post Production Work - iZotope RX3 Advanced
RX2 and now RX3 are tools I go to every day to resolve problems with audio. If you haven’t looked at RX3 Adavnced yet then I do commend it very highly. I have been able to save the lives, projects and money of many of my clients with this suite of tools. The new modules in Advanced like De-reverb and especially the Dialog De-noiser are quick and easy to use and work really well too. If you do have RX3 or RX3 Advanced and you aren’t sure if you are getting the most out of it then my video tutorial series from Groove 3 - RX3 Explained is 4.5 hours of video tutorials looking at each part of RX3 and RX3 Advanced.
10 Plug-ins & Tools I Reach For In Post Production Work - Exponential Audio Phoenixverb and R2 Reverbs
Ever since I cam across these they have become my firm favourites. I thought I would prefer the more neutral sounding Phoenixverb but in practice I find myself using R2 more. Check my video above, from a while back, where I demonstarte these gresat reverb plug-ins. Exponential have recently changed the GUI on both reverbs and if you work in surround then there are surrond versions of them both too.
10 Plug-ins & Tools I Reach For In Post Production Work - Avid EQ III
Yes I know there are loads of EQ plug-ins including the Maag EQ4 but for me the Avid EQ III is a very versatile tool that has all the options I need especially for corrective work which is what I end up doing mostly with EQ. Again it is quick and easy to use to get the results I need.
OK after Part 1 of 10 Things You Should Do Before Sending Your Mix To A Mastering Engineer your mixes are definitely ready, now in part 2.
I’ll discuss 5 final things to do that will make for a smooth mastering process with no last minute screw ups and enable you to get the best results and therefore value for your mastering money.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 6 - Check
Double check all bounced tracks are OK before delivering to the Mastering Engineer. Seems obvious right? You would be surprised how easy it is to forget to unmute that percussion you just muted to check something or to do a faster than real time bounce on your DAW software and not realise something went wrong and you’ve got digital distortions. It’s that simple a mistake to make and could be costly.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 7 - Compression
If you’ve used a mix bus compressor consider sending a version without it as well as one with. This really is about your level of experience. A lot of experienced Mix Engineers have a buss compressor on the mix bus from the start and mix into it, it becomes part of the sound Andy Wallace, Cenzo Townsend, CLA, being prime examples and of course they would just deliver the finished mix with it included as it’s an integral part of their sound. Less experienced mixers though should beware, they often add a buss compressor plug in as an afterthought or have it working far too hard, the Mastering Engineer may also simply have better quality compressors that may sound better, so play it safe, if in doubt send with and without versions. It may well be “with” is best and you’ve nailed it, but better safe than sorry.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 8 - Less Excitement
Also be wary of “Warmerizers/Exciters” if you have used a soft saturation type plug in on your mix bus such as PSP Vintage Warmer, Sonnox Inflator, Slate VTM etc, just double check that you haven’t overdone them. A lot of these effectively soft limit your tracks and whilst not as obvious as hard Peak Limiters can cause similar issues at Mastering. A B with and without and make sure you have made the right choice. If in doubt back off the settings a little. I use these Plug Ins myself and they are awesome in getting some of that virtual analogue warmth, but I tend to always be very careful when deploying them on mix busses. If still in doubt bounce one mix with and one without.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 9 - No Limits
If you have used a peak Limiter on your mix buss please remove it and re bounce making sure that now the Limiter has been removed there is no digital clipping. If the track has been smashed by a limiter there is very little dynamic range left and this makes it very hard to bring out sounds with the Mastering EQ or add further Mastering dynamic processing. Limiting should always be the last stage of Mastering before dithering down to 16bit.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 10 - Sample Rates
Export the finished mixes at whatever sample rate and bit depth your “parent” session was i.e. if your session is 24 bit 44.1Khz send your mix file at that, if it was done at 32bit 96Khz bounce the mix in that format. Too often people are careless at this point and send 16 bit versions or may have unintentionally done an unnecessary sample rate conversion process that can affect the quality. Any Mastering Engineer can easily convert all files to the destination format at the highest quality so just don’t worry or think you need to do it yourself.
A Final note. If you’re on a label but you’re sending the files to the Mastering Engineer make sure you get your ISRC codes from the label too and send them to the Mastering Engineer along with 100% accurate final song names, artist name and, project title. If you want adding sequential numbers as the first part of each of the song name e.g. 01 before what will be track 1, 02, 03, etc would be super awesome!
ISRCs are usually only for large scale commercial releases and are supplied by your record label you can read about those here http://www.ifpi.org.
Neil Pickles is an award winning mastering engineer and Pro Tools Certified Expert instructor at Alchemea College.
Alchemea are currently offering 30% discount off their weekend recording, mixing and mastering courses for people who mention PTE when booking (offer ends midnight April 30th).
Audiotech Digital Ltd has announced today the release of the new Penteo 4 Pro plug-in that discretely converts stereo to 5.1, offering exacting control over sound image placement to create high-quality, sonic-free and natural-sounding surround.
Check out Mike’s detailed Show & Tell Video Review and find out why he likes this so much and Penteo 4 Pro Surround is his ‘go to’ upmxing plug-in and why he has awarded it Editors Choice. We aso can announce that we are offering this plug-in on our Deals page at 33% dicount for £399. Go and snap it up whilst you have the chance.
Penteo 4 Pro is 100-percent ITU down-mix compatible to the original stereo. The plug-in features an intuitive visual interface modeled after vintage gear, and offers six automated preset modes as well as advanced manual controls for fine- tuning.
Native AAX64 Support For Pro Tools 11
Penteo 4 Pro now natively supports Avid Audio eXtension (AAX) for true 64 bit processing. As a result, Penteo 4 Pro AAX64 uses 52% less CPU processing power thereby allowing a sound designer more flexibility to simultaneously use more tracks in a mix than ever before.
- Touch Screen Controls – In addition to mouse operated controls, Penteo 4 Pro is the first up-mixer to support multi-touch controls. Mixing is not a linear, sequential process — Penteo’s unique multi-touch interface allows a sound designer to control more than one Penteo feature at once, thereby creating a natural mixing experience through simple hand contact. Penteo 4 Pro is the world’s first multi-touch plug-in designed for use with the Raven MTX Surround console.
- Pro Tools Automation Keyboard Shortcuts for all parameters - Quickly add and select parameters for automation using standard control/alt/cmd shortcuts.
- Usage Preferences – With choice of circular or vertical knob drag usage options, a sound designer can select the most natural feeling knob movement for mouse or multi-touch.
- New bypass channel routing - Stereo bypass channels now routes to the ProTools channel output standard.
Russ, Mike & James bring you another packed show of talking points, tips, tricks and questions answered.
- Win a Elysia 500 series X-Filter 500 module on Facebook
- New prize draw - Win A Copy Of BFD3 From FXpansion
- Blue Cat Audio PatchWork £32 - 33% Discount
- TAL-Bassline-101 Monophonic Bass Synthesizer £27 - 25% Discount
- G-Force Oddity Analog Synthesizer £55 - 33% Discount
- EdiPrompt From Sound In Sync For Your ADR Sessions £345 - 20% Discount
- Exclusive Announcement - ADL Penteo 4 Pro Surround Upmixing Plug-in £399 - 33% Discount
- Sonnet Qualified by Avid - great range of chassis very quiet - will be getting review models
- Avid’s results
- Old and new Mac Pro - choosing the best old style Mac Pro
- The Plug-ins I Reach For When Mixing In Pro Tools - What Are Yours? Poll
- Catchin’ Sync - to sync check your system
- How To Record Virtual Instruments Via Hardware Effects
- Softube Console 1 Review
- D F Tweedie - Problems with the Pro Tools Expert’s Android App.
- David Stockden - Thanks for a great show and good to meet Jivey at The Guitar Show
- Flavio Buonerba Thanks for all you do and you have inspired me to start my own blog
- Ken Burk - Thanks for the stormtrooper iLok and a tip about fixed price repair from Apple
- Chris Linder - Are you coming to Muiskmesse?
- Maschine 2.0 now won’t see my Abbey Road Libraries, what should I do?
- Just installed Pro Tools 10 on a PC. Pro tools won’t run reports it can’t find the hardware, what should I do?
- Which Mbox should I get for am iMac with 10.7.5?
- What options do I have to upgrade Pro Tools Express to Pro Tools 10 or 11?
- Do I need hardware to run Pro Tools and would a Focusrite Liquid Saffire 56 interface work with Pro Tools.
- James, what is your chain when you record guitars for your videos?
- How can connect a Durrough 40A level meter to Pro Tools with a Control 24?
Show & Tell Review Of Waves Metafilter Plug-in On Bass Synth
Russ shows the extent to which the Wavesmetafilter can mash up a bass sound using some of the built in features.
Show & Tell Review Of Waves Metafilter Plug-in On Drums
In the second example he shows how automation can be used in a DAW to change the filter in Waves Metafilter.
Show & Tell Review Of Waves Metafilter Plug-in On Hi-Hats
In this final example Russ uses the Follower function in the Metafilter to change how hi-hats sound.
Is this a filter on steroids? Watch this review and decide.
Our friends at Universal Audio are having a sale offering $50 off the top selling plug-ins of 2013.
The plug-ins include;
- Fairchild Tube Limiter Plug-In Collection
- API Vision Channel Strip Plug-In
- Lexicon® 224 Digital Reverb Plug-In
- Ampex® ATR-102 Mastering Tape Recorder Plug-In
- FATSO™ Jr./Sr. Tape Sim. & Compressor Plug-In
There’s also some other hot offers with a ton of cash off, check out the UA site for more info.
Catchin’ Sync is an iOS app that will work on iPhone or iPads allowing you to capture and determine any sync errors in your playback system. These usually occur when video and audio go throughout separate devices like the Audio passing through a receiver or more commonly the video through and LCD screen or worse still a Projector etc.
Catchin’ Sync has been around for over a year now and has been steadily improving. The latest version - 1.0.7 has really brought Catchin’ Sync into the frame, because it now uses the high frame speed video recording that Apple introduces in the iPhone 5 and 5s. This has to be a ‘must have’ for anyone who works with video with a DAW like Pro Tools, which is why we have awarded it The Editors Choice Award.
You can use a range of iOS devices and there are a range of compensation settings for the older Apple devices on the Catchin’ Sync web site. But with the high frame rate and that there is no need to add an offset the iPhone 5 and especially the 5S are the best devices to use with Catchin’ Sync. People have asked if there will be an Android version of Catchin’ Sync but unfortunately not, we understand they won’t because there are so many hardware variations between Android devices. With Apple there are only a handful of devices to measure the delays from the cameras, but to provide the same service with Android, they’d have to test every device and calculate the offsets.
We asked Neil Pickles, Mastering Engineer and Director of Short Courses at our training partner’s Alchemea, to give some advice for those thinking of sending their mixes to a mastering engineer. His advice is comprehensive so it is in two parts so you have chance to grab a second coffee!
In part 1 I’m going to talk about 5 things that can be useful in checking your mixes to make sure that they are good enough to send for mastering. A good mix equals a good master; a bad mix cannot be made great with the best Mastering Engineer in the world, so it all should start with the mix.
In Part 2 I’ll discuss 5 final recommendations once you’re confident you have the mixes ready to go, that will make for a smooth mastering process with no last minute screw ups and get the best results and therefore value for your mastering money.
The following are 5 simple recommendations based on my experiences and anecdotal discussions with other Mastering Engineers. That can help you decide that your tracks are ready to go to mastering.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 1 - Quality
Stop worrying about volume and worry about the quality of your mix instead. It’s my personal experience that a well arranged song, with a good mix in terms of balance and EQ, can be made as loud as any other regardless of whether it comes to me at .1dB or -8dBfs from 0dBfs. In fact a mix that has clearly had a lot of unintentional internal clipping in a fight to make it seem as loud as a master at the mixing point often doesn’t scrub up so well.
Focus on a good mix and a good song arrangement, not some imaginary battle with volume. If it doesn’t sound as loud as a mastered track don’t worry they’ve been pumped up in volume, just turn up your volume knob, focus on the quality of your song, it’s arrangement, your choice of sounds/instruments and your mix.
10 Things You Should Do Before Sending Your Mix To A Mastering Engineer 2 - Check
Check your balance. Balance is the relative volume differences between the different instruments. A good balance is fundamental to a good mix and a good mix equals a good master! A bass guitar that is 6dB too loud and drowning out the bass drum cannot be fixed in Mastering as well as, if at all, as simply correcting it at the mix does. Always listen to your mixes on as many different systems as possible and at a variety of volumes. If you suspect your snare or vocal is too loud or too quiet check it out at the lowest possible volume. Did you know that our hearing sensitivity changes at different volumes and if the snare sticks way out at low volumes it’s too loud? (If you want to know more about this read up on the Fletcher-Munson Curves).
Designed around a multimode filter with extensive modulation options and powered by Waves’ Virtual Voltage technology first found in the Waves Synth Element synth, Waves MetaFilter is described as having everything you need in a sound-shaping filter plugin.
MetaFilter lets you individually modulate the filter’s cutoff, resonance and delay time using three separate modulators – a 16-step sequencer, an LFO, and an envelope follower with a sidechaining option – making it easy to achieve effects such as filter sweeping, tremolo, auto wah, rhythmic gating, ducking, and hypnotic modulating delays with saturation buildups.
- Three separate modulators:
- 16-step sequencer,
- LFO, and envelope follower with sidechaining option
- Fat analog sound quality
- Intuitive MIDI Learn
- Fully modulatable analog delay
- Powered by Virtual Voltage technology
I have to admit I never really understood the Softube Console 1 until I started to use it. I remember the first time I saw it last year and I couldn’t help thinking to myself, oh another control surface, it’s not like we don’t already have too many of them and I have never been a huge fan of those kind of things. I had a Focusrite Liquid Mix and soon sold it, I’ve got numerous other controllers for Pro Tools, but when push comes to shove I still end up using my keyboard and mouse, for me it’s just the way that works best for me. Until now.
I’ve not really had a lot of in depth conversations with the Softube gang about the Console 1, we are buddies so most of our conversations are usually about the Saunas, Abba, The Chef from the Muppets, Ulrika Johnson, Volvos, Meatballs or IKEA furniture.
So having missed out on the chance to grill them regarding the Console 1, I have to guess what was going through their minds (other than Ulrika Johnson) when they decided to create the Console 1. There’s a nod in the manual to the fact that too often we mix with our eyes, rather than our ears, so I’m guessing this was one of the core ideas when the decided to make the Console 1.
I’ll get to the meat of the review in a minute but at the very outset I do think they missed a huge trick with the name, after the bar being set so high by IKEA calling everything from Billy to Skanka (really) I wish the guys at Softube had given this baby an equally fun name – perhaps Miksbich? I might see if they will run a contest to give this baby another IKEAesq name.
Anyway, enough rambling for one review – the Console 1.
Softube Console 1 Review - The Hardware
A box, a mixer, a USB lead. Simple as that.
The hardware is built like a Volvo and could double up as a deadly weapon, in the event that some scumbag tries to rob you in your studio then the Console 1 would do the trick at flooring them.
You go to Softube register the serial number and then they deposit a licence to your iLok account. You need an iLok account, but the Console 1 license is the new type of iLok license that can be placed on the computer. So no iLok hardware required. The user can install the license on three different computers, then you download the software which is a new version of the Softube plug-in package. It installs Console 1 as plug-ins on your computer.
You plug the USB cable into the back (no annoying PSU) and start your DAW of choice. Then you simply insert the Console 1 as a plug-in on every channel you want to use it on, I decided to put it on every channel, as suggested in the manual (which I read after using it, not because I had to). The CPU usage is low and should allow an instance of Console 1 on every channel of even big mixes.
So now my mix has an SSL4000 on every channel, plus a few other goodies such as transient processing and Drive that can be used to add extra warmth or sheer filth, depending on how hard you drive it.
I tried two mixes with the Console 1, one of James’ tracks with a live set-up of guitars, drums, bass, keys and vocals and one of my new tracks with lots of Vis.
You may have read a recent article I wrote about my go-to plug-ins that I use for mixing, I decided to not use those and simply use the Console 1 SSL4000 for all EQ, Filters and Dynamics. The only thing I used other than the Console 1 was a reverb and delay.
As I’ve already said, I’ve never been a fan of control surfaces, I always find myself looking at the screen and that then defeats the object of using them in the first place, however this was not the case with the Console 1, in fact I had been mixing for some time and the screen on my Mac went to sleep. I was mixing with my ears!
However as there’s no visual feedback on the Console 1 to tell me what is on each track I had to revert to the screen, I suppose I could have simply soloed each track to check what was on it, but even a simple read-out to tell me what was on each track would have been nice and then I could have turned my monitor off altogether.
Anyway, without getting too wrapped up in the operation, what about the sound?
There’s something special about using hardware, it can take an average virtual instrument and make it sound great. Russ shows you who to get the routing done and then how to get the track recorded in Pro Tools.
Our friends at Izotope are offering this free guide to mixing, aimed at convering the essentials.
Izotope say “If you don’t know anything about mixing or mixing software, this Guide is a great place to start.
If you don’t fully understand mixing this Guide can help you better understand the powerful sound-shaping tools at your disposal. Each chapter demonstrates many useful concepts that you can apply to your next mixing project. You can also follow along with the free 10-day trials of Alloy 2, Trash 2 and Nectar 2 available at www.izotope.com.
If you already have any of the products mentioned above and already know the basics of mixing, this guide can show you new tricks or techniques that are possible. Just read through and say “Yeah, I knew that” when appropriate for the other parts.
Looking at the guide you can see that a great deal of care has been taken in putting it together, it is filled with some great ideas that even the most advanced user might find useful.
Also don’t forget that Russ has a video training series for those new to mixing “Mix School 101” from Groove 3. This series, although shown in Pro Tools 10, will help anyone on any DAW craft and hone their mixes into much better, professional sounding tracks that you can be proud of, as the theories presented apply to any DAW. It features 19 tutorials, total runtime 4 hours.
There’s a lot of plug-ins on my Pro Tools rig but the reality is there are some that I reach for time and time again when mixing. I feel sure you will have a completely different list, but I would be interested to see if there are any on my list you use and any you think I really do need to check out.
Take the poll at the end to tell us which ones you use and leave comments with some tips.
The Plug-ins I Reach For When Mixing In Pro Tools - Maag EQ4
Our People’s Choice winner in 2013. This is such a fantastic EQ, it sounds amazing on vocals and guitar, in fact it sounds amazing on almost everything. Best of all it’s so easy to get a great sound with the Maag EQ4, some plug-ins fight you, this one is my best friend. Check out our review of it here
The Plug-ins I Reach For When Mixing In Pro Tools - UAD DBX160
In the absence of owning the real thing, the UAD dbx160 is such a great compressor/limiter, again it’s easy to use and sounds great. You’ll find this on most of my tracks, it loves bass guitar, vocals and electric guitar. It so damned fun to use too and that has to count for something.
The Plug-ins I Reach For When Mixing In Pro Tools - Softube TSAR Verb
A favourite of both me and James Ivey, while many people love to use Convolution this Algorithmic reverb is sweet and versatile - it’s sitting on a buss somewhere in every mix I do.
As we revealed in Podcast 105 we would have some new deals on Synth products on our Deals page this month. We can now reveal that we have great deals on Blue Cat’s PatchWork, Oddity from G-Force and the Bassline-101 from TAL.
Blue Cat PatchWork £32 - 33% Discount
Blue Cat’s PatchWork is an plug-ins patchbay (or chainer), dedicated to plug-ins and instruments hosting, and plug-ins chains building and is built around plug-ins hosting, and does not include any spectral processing of any kind. Blue Cat’s PatchWork’s sole aim in life is to host VST plug-ins and instruments and can handle up to 64 VSTs in one instance. Patchwork also has an instrument version that lets you use virtual instruments seamlessly within most host applications like Pro Tools and it supports multichannel audio tracks up to 8 channels.
G-Force Oddity £55 - 33% Discount
The multi-award winning Oddity is modeled on the classic ARP Odyssey synthesizer, manufactured between 1971 & 1981 and used by artists as diverse as Gary Numan, John Foxx, Herbie Hancock, Kraftwerk, Chick Corea, Roger Powell, George Duke, 808 State, Portishead and countless others. Its place in synth folklore is assured and very well-deserved, but due to the small numbers produced and the desirability of the instrument the chances of finding one in good working order nowadays for less than a king’s ransom is slim.
TAL-Bassline-101 £27 - 25% Discount
TAL-BassLine-101 is a monophonic bass synthesizer and a very accurate emulation of the popular hardware device. The GUI is intuitive and easy to use. It produces the raw sound you know from analogue devices without any effects. It is now available in AAX format and so can now work natively in Pro Tools 11.
We are also delighted to offer these great deals as bundles too with an extra 5% discount so you can save even more money.
Blue Cat PatchWork & G-Force Oddity Bundle £82 - Extra 5% Discount
Because Oddity from G-Force isn’t available as an AAX plug-in but with PatchWork from Blue Cat Audio that isn’t a problem so if you would like to use Oddity with Pro Tools 11 and you don’t have a VST hosting plug-in yet then this bundle would be the best to go for if you don’t want Bassline-101 from TAL.
Blue Cat PatchWork, G-Force Oddity & TAL-Bassline-101 Bundle £108 - Extra 5% Discount
As a special celebration of Synth Month we are making all 3 plug-ins available as a bundle with an extra discount. This bundle would be great if you want to use Oddity with Pro Tools 11 and want to use Tal Bassline-101 too.
We have run out of EdiPrompt at £259 - 40% discount, but have been able to negotiate some more but this time at £345 which is still more than 20% discount
EdiPrompt reads MIDI commands sent from any DAW (Digital Audio Workstation) and uses them to display a variety of on-screen prompts. It can also automate the ADR and foley recording process when using Pro Tools by locating to each cue and renaming the record track.
- Overlays visual cues on top of any movie window from any Mac-based DAW (available for Apple desktop displays only – not compatible with external video display units)
- Reads midi files generated by EdiCue or EdiPrompt. Also compatible with Tesla- style streamer and flutter sysex commands
- Enables you to record several cues in the one take
- Displays a cue’s text, prompts, counters, streamers, flutters and progress bar
- Plays audio cue beeps using internal or external samples
- Configures up to two independent ‘Paths’ of A/V cues with their own settings
- Saves and recalls five global user settings
As well as announcing some great new products at BVE this week from Nugen Audio and TC Electronic our friends at HHB & Scrub are also very proud to announce that they have been awarded Avid’s Pro Audio Partner of 2013 award in Europe, the Middle East and Africa (EMEA) for excellence in Pro Tools sales and support in the region. Avid Pro Audio Sales Manager for EMEA North Ben Nemes told us…
“HHB and Scrub are an extremely talented group of people and one of Europe’s most knowledgeable Pro Tools specialists. From leading post houses to world renowned recording studios and broadcasters, HHB is relied on for technical and sales support by Europe’s biggest Pro Tools users. We are very happy to honour them for their outstanding services.”
“Our team of dedicated Pro Tools specialists are revered by the industry as a trusted source of support for Avid’s range of Pro Tools systems. We will continue to provide the high levels of support that our customers have come to expect with new Pro Tools systems like the S6 console.”