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.
Little did I know when I started this blog that music legend and one of my heroes Buddy Miller would be a regular part of this community. Buddy is a brilliant songwriter and also an awesome producer, his work on the ‘Band of Joy’ album with Robert Plant is simply production bliss. He had been honoured with both Grammy and Dove Awards and is Excutive Music Producer on the hit TV show ‘Nashville’.
Enough of my gushing, Buddy has sent his wishes to the blog on our 5 year anniversary:
“Hey Russ, Congratulations on your first 5 years!
Right back at you Buddy - the music world needs more like you!
With the support of iLok, more tips & tricks from the community. Here is winner from Podcast 91 from Roman Strack…
Pro Tools has some left-overs from the time we used to work with video from TC linked VCRs. To be specific, these are the timecode commands mapped to the Y, U,I and = (equal) keys in Command Focus Keyboard Mode. While U,I and = don’t have any function when no external TC is present, hitting the Y key moves a selected clip to the start of the session. If you’re like me, editing all day, sometimes with your hands faster than your brain, chances are good that by the end of the day, you’ll find a couple of clips at the start of your session and you have no idea where they belong to.
I’ve found a solution for that. I call it: the Bumper. Put an empty, edit-locked clip group across all tracks of your session. Make this clip group one frame or one bar or one second long, it does not matter, but it has to be at the very start of the session. Now when you accidentally hit the Y key while a clip is selected, Pro Tools will present a dialog, warning you that this will affect an edit-locked region. Just click cancel (or hit Command+period) and everything is good.
Put this in your session template and remember to copy a portion of the edit-locked clip group to a new track if you create any. You can do this without unlocking the group.
If you would like the chance to win a stormtrooper iLok, like Roman hascourtesy of iLok, send in tips you think no one has thought about. Please don’t just send shortcuts which are easily found elsewhere, or pull ideas from the manual; instead, be creative about your tips & tricks. Please use the Contact Us page to send us have your tips.
Just posted on their Facebook page, head over to McDSP to download Windows AAX for Pro Tools 11.
For use with Pro Tools 10.3.6 or higher. Windows support for Revolver (AAX) will be coming soon.
Courtesy of our friends at Time & Space Distributon Ltd, we are pleased to be able to offer you a great deal on the Rob Papen RP-Verb plug-in. What’s more you will also get the RP-Delay included too. Check out Mike’s Show & Tell video and the Rob Papen audio samples too.
RP-Verb is the fruit of Rob Papen’s decades-long study of reverb and endless hours of exploring, testing, and tweaking by Rob and Jon Ayres. The result is a musical reverb that brings an a unique dimension and fullness to your mixes.
Synchro Arts have just announced the public beta of VocALign Project 3 and VocALign Pro 4 as AAX plug-ins. They say:
VocALign Project 3 and VocALign Pro 4 are now available as AAX plug-ins.
They are designed to work with Pro Tools 11 and later. They will not work with Pro Tool 10.
They are available for Windows and OS X and support the same operating system versions as Pro Tools 11.
The look and function of the plug-in is nearly identical to the earlier Audio Suite plug-ins which work on Pro Tools 10 and earlier and so the same operating manuals and tutorials can be used.
The AAX plug-ins use the same licences as other plug-in versions of VocALign Project 3 and Pro 4 so current owners of the iLok licences for these products can use the AAX versions at no extra cost.
You must have an VocALign Project 3 or Pro 4 iLok license to use the beta plug-ins.
Very Important Note
There is an issue in the current versions of Pro Tool 11 which can result in the length of the output audio created by VocALign being to long. The signal will be followed by an area of silence.
With the support of iLok, more tips & tricks from the community. Community member Richard Shapiro has been in touch to let us know about an issue with some of the Sonnox plug-ins when going between AAX Native and DSP. Richard says….
If you start a session on an HDX system and use Sonnox AAX DSP plug-ins when you move that session to a HD Native system Pro Tools will not automatically open the EQ plug-ins into AAX Native. It makes it inactive and says that “the plug-in can not be found”.
However, you can click on the insert and re-instantiate the EQ to restore all the settings but it switches the ‘Type’ selector to 4. Type 4 has much wider Qs and will make everything sound really off if you were using type-1. I have also noticed that this is not always the case. Sometime it will remain correct on ‘Type-1’ if lets say you are only using the roll-off.
I have also noticed with the EQ that if you use the ‘A’ and ‘B’ setting to create different EQ settings that if you leave it on ‘B’ and close and reopen the session it will revert to ‘A’. This doesn’t seem to be DSP or Native dependent like the other issue.
Sonnox responded to Richard with this email.….
Moby is offering a track from his album ‘Innocents’ as a Pro Tools session via blend.io
‘The Perfect Life’ features Wayne Coyne and you can download it and open the entire session up in Pro Tools.
Members of blend.io can download it for FREE.
We’ve teamed up with our friends at RSPE to bring you this exclusive video of first impressions of the new Avid S6 console from some top engineers and producers including Grammy winning mixer Mick Guzuaski.
For more info and expert advice on the new S6 console in the USA contact RSPE here
Cedar Audio have released a version of their Studio Suite and DNS One that will now run on Pro Tools 11 as it is available in AAX 64 bit.
The CEDAR Studio suite, available as a range of RTAS, AAX and AudioSuite plug-ins for the Mac and PC, comprises advanced processes that allow you to eliminate a wide range of common problems and significantly improve the sound quality of your audio. Check out Mike’s show & tell review of the Cedar Studio for Pro Tools plug-ins that he did earlier on the year with the RTAS version running on Pro Tools 10.
Russ shows a workflow he uses when wanting to test out sounds from hardware analogue synths that have no presets.
In this issue:
- A close up look at the new Avid S6 console - lots of detail about the different options and modules.
- New Loudness control standards explained
- Profiles of new IMG Studios and Farm William facilities
- Technology round-up - everything that’s new and important in audio technology
Updated for version 2.0, Russ is back with this highly anticipated ‘Explained’ title. Russ takes you through the Hybrid power synth plug-in from start to finish, exploring every part of the synth and finishing off with some sound creation examples that will get your creative juices flowing.
“Not only does Russ deliver in his usually great fashion, but he has a knack for picking sounds which are entirely appropriate for the type of effects that Hybrid can produce.” David R
Russ begins with the important basics such as navigating the GUI, and loading and saving presets and patches. He then gets into the powerful sequencer section and insert and master effects. Up next is the heart of the synth, the oscillator sections with all of its filters, amps and mods.
Russ then shows you how to control Hybrid with Morph Groups and MIDI CC messages. Next, Russ gives several sound creation tutorials, showing you how to make various patches from scratch, that will be sure to get your mind racing with creativeness. Wrapping it up, the new version 2.0 features and functions are examined in detail, giving you full coverage of this amazing virtual synth.
If you use Hybrid for your productions, you must add this to your video arsenal. See how to harness the power of Hybrid today… Get “Hybrid Explained”.
With the support of iLok, more tips & tricks from the community. Here is one from David Finnamore….
Everybody knows that iZotope’s RX Denoiser does a brilliant job of removing broadband noise. But its plug-in version also excels in a perhaps unexpected way in dialogue and other spoken word editing. When material that was recorded in an ambient environment needs to be edited, there are often verbal stumbles we’d like to remove, but attempting to do so sounds awkward because the room reverb from the stumble rings into the following word(s) that are needed. Making the edit results in a sudden appearance of reverb from sounds the listener hasn’t heard, which is disconcerting, to say the least. Here’s how to handle that.
1. In Pro Tools, open the Audio Suite Denoiser plug-in and set it to the best quality algorithm. Select the last syllable or two of the material that needs to be removed - the stuff that’s causing the reverb you want to get rid of.
2. Press the Learn button. That will define the harmonic character of the unneeded sound as noise. Extend the selection to cover the range over which the offensive reverberation occurs. Set the Noise Reduction to around 6 to 12 dB, depending on how heavy the reverb is, with a smoothing factor of 1 or 2. Press Render.
3. Crossfade the original with the processed audio and adjust the shape and length of the fade such that the least amount of damage is done to the audio you need, while keeping the unwanted reverb below the masking threshold.
4. Then do your edit as desired. With a little practice, it’s possible to remove almost any problematic ring transparently.
If you would like the chance to win a stormtrooper iLok, courtesy of iLok, send in tips you think no one has thought about. Please don’t just send shortcuts which are easily found elsewhere, or pull ideas from the manual; instead, be creative about your tips & tricks. Please use the Contact Us page to send us have your tips.
I may as well come out and say it, if you want to hate the MicroBrute then stop reading now, I’m about to gush. Not any ordinary gush either, the kind of excitement a little kid gets when they open their first Scalextric, or their first surprise puppy. When I was a kid I loved Lego, my Mum tells me I played with it for hours just messing around and coming up with new inventions. The MicroBrute is synth Lego for musicians. If you like stuff handed to you on a plate then the MicroBrute is not for you, if you want to get lost in exploring sound and the wonderful sonic accidents you might have, then the MicroBrute is for you.
If I was President then I would make it compulsory for every musician using synths to spend a day with a MicroBrute - not many things make me smile, but the MicroBrute does. I love French wine and French cheese, now the MicroBrute is on the list too. It almost makes me able to forgive them for the appalling cars they made in the 1970s.
See, I said I was going to gush… just imagine if I worked for Arturia?
So after that over-effusive, rhapsodic introduction what else is there to say? Plenty.
Source Elements have released this tease video about a new verion of Source Talkback with an Auto-On feature. As you can see from this little video that they have put out on Facebook, is exactly what the post community has been looking for.
There is a beta is available now, just get in touch with Source Elements Support. Source Elements expect to release this AAX 64 bit version of Source Talkback in early December.
Workspace may have had the audio engine improved in Pro Tools 11, whilst that may be nice the workflow continues to be about as useful as a chocolate teapot. Constantly having to chase hidden windows around Pro Tools to find the clips, samples or loops is frankly nuts, yes I know there are shortcuts, but with a rethink of the Pro Tools layout it should not be necessary. The thing that always made Pro Tools so powerful was the simple two window Edit and Mix workflow… some design work needs to be done to restore this strength to the Pro Tools workflow.
Surely Avid could integrate the dreaded Workspace and Clip Browser into one window that remains available all the time, or hidden if you wish. Just like it does in Logic Pro, in fact in virtually every other DAW on the planet including Garageband. Right now it should be renamed Woeful Space.
I’ve created a Photoshop version of my dream version of Workspace above. I know that Mike has equally passionate views about Workspace which I’m sure he will add to this story.
Now I’m off to find some Valium before I take a hammer to Pro Tools.
Mike here, for rant number 2 about the Workspace in Pro Tools 11.
I have been using the Workspace and more specifically the the Digibase Pro browser since Pro Tools 7 to search and catalogue my 50,000 plus sound effects. I used to use CDs and a Filemaker Pro database. So when I ripped all my sound effects, I used a bit of Applescript code I wrote, to transfer the data from my FMP database into the OS 9 Finder Comments (yes its that long ago!) for each of the sound effects files. From that I used the Import Finder Comments into Database Comments feature in Workspace and Digibase Pro.
All has been OK until Pro Tools 11. With PT11 however, Avid have chosen not to provide a conversion feature, to convert the PT10 catalogs into PT11 catalog format. No problem, I thought, I will just create a new catalog in Pro Tools 11, but I can’t because Avid has also taken away the Import From Finder Comments feature in Pro Tools 11 so I am screwed both ways.
I now cannot search my sound effects from the Workspace at all. I have had some suggestions which involve using Soundminer temporaily or permanently, but Avid, to break the Catalog system two ways in this so called new, and easier to use Workspace makes it a joke.
Russ takes a look at UAD’s new version of the classic Fairchild 660 and 670 compressors.
Here we are during our session at BVE North. You can hear what we had to say by listening to Podcast 90.
Thanks to John Crumpton for taking the pictures.
iZotope who make products like RX3, Nectar, Alloy, Ozone and Iris are expanding and what’s more they came out well in a survey undertaken by The Boston Globe as a top place to work.
What employees say….
“Every day is a new adventure! We work hard, and it is a very fun environment. iZotope operates like one big family!”
“I am constantly learning new things and maintaining my footing within the industry. ”
“I get to work on innovative and interesting products.”
“The people are enthusiastic and work well together. Hours are flexible. Products we create are great.”
Check out their careers page, there are all kinds of jobs going. if I were to move to the US, I couldn’t think of a nicer place to live and work.