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.
Xfer Records have updated LFO Tools to version 1.2 adding AAX support for Pro Tools 10 and 11.
LFOTool is an FX utility plug-in for both Macintosh OS X® and Windows®. It empowers music producers to create tremolo, auto-pan, trance-gate, side-chain compressor simulation, and dubstep-type wobble effects with minimal effort.
LFOTool will process incoming audio as well as generate a MIDI message stream for controlling other instruments.
This unique plug-in also allows users to sculpt custom LFO curves and shapes and comes equipped with dozens of presets to achieve desired results quickly.
Consistent with other products in Xfer Records’ software lineup, LFOTool is coded entirely in C++ in order to minimize the CPU load during operation.
Waves have announced a Refer A Friend programme where you earn money towards purchases from your referrals. They say:
“Share Waves with your friends and earn 10% of their next order in credit towards any purchase at Waves.
Referral rewards credits are issued on new plugin and bundle purchases at waves.com only.
(Upgrades, Waves Update Plan, Rentals, and YourWaves purchases are not included).”
HHB Communications Ltd. and Scrub, its Soho-based subsidiary specialising in serving the post production industry, began taking orders for the new Avid S6 control surface at a special preview event held at the Union Club in Soho, London.
Avid’s new modular control surface has been extremely well received since its launch at IBC 2013 and now has a shipping date of mid-December. Customers of HHB and Scrub were given in-depth, private demos of the S6’s ground-breaking features by Avid Audio Solutions Specialists Dave Tyler and Simon Sherbourne.
Russ, Mike, Neil and James are back for another packed show of talking points, tips, tricks and questions answered.
- The Big One
- Travelling around - BVE North & The Music Show
- Neil’s interview with Garth from Chicken Systems
- Two new Video pages on the site Free Videos & Video Reviews
- OSX Mavericks, Pro Tools 10 & 11 OSX Mountain Lion on The Apple Store
- Softube now AAX
- 5 Myths Of Vintage Recording Many Of Us Should Stop Believing
- Magma Roben-3 Series Details & Pricing
- Thunderbolt 2 developments
- In A Dialogue About The Future Of Digital Distribution Corporations Need To Start Using The F Word
- Zynaptiq Announce Pitchmap v1.5 - Editors Choice
- Iosono Anymix Pro AAX version out today
- Movember - Mo Tools
- Phil Tuttle - James, what are your thoughts on the Avid S3L
- Paul Hands - Thank you
- Anthony Dominello - Thank you and understands the need for comments moderation on occasions.
- Chris Many - Update on the DUY saga.
- Andy Goldberg - Sharing songs and mixes suggestion
- Jens Busch - Thank you
- Winner - Roman Strack Helping to stop moving a clip to the start of a session mis-hitting the Y key on Keyboard Focus
- Several questions on ADC Compensation from Hans Vermeersch
If you cannot see the audio controls, listen/download the audio file here
In this short video, I show you how to take a “groove” or “feel” from a stereo audio file and apply that feel to a MIDI track within Pro Tools 11. It’s very simple.
If you would like the chance to win a stormtrooper iLok, like Tony Molica has 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.
It doesn’t matter how long one uses Pro Tools for, it seems there are some mistakes one can keep making, they fall in the really dumb category, these are my 5:
- Creating a mono track instead of a stereo one and vice versa.
- Hitting record and forgetting to arm the track and then getting the message that seems to have the same voice that my wife uses when I miss a turn when driving.
- During high speed editing hitting the ‘W’ instead of the ‘E’ key and finding the window disappears rather than an edit occurring. No I don’t use focus I use CMD, old habits die hard.
- Hitting the wrong keyboard combo when consolidating regions and ending up with a screen shot… or 10 if I think it isn’t working!
- Creating my third click track after forgetting I already have two inactive and hidden.
So those are my 5 face palms, what are your recurring moments of stupidity?
It seems that whilst we may not have got AAX from UAD in version 7.4, it has made all UAD plug-in now compatible with the Blue Cat MB7 and PatchWork plug-ins, enabling UAD users to host them as VSTs in Pro Tools 11 until we get our long overdue AAX 64 bit versions.
Thank you Blue Cat!
Our friends at Universal Audio have announced UAD v7.4.
The release includes:
- Fairchild Tube Limiter Plug-In Collection
- Maag EQ4® EQ Plug-In
- Mac driver enhancements to address -38 issues (Apollo, UAD-2 Satellite)
Full release note are here
Alas no AAX64 bit support was announced which meant the email felt like a cruel game I used to play on my sisters when we were kids where we would say that a long invited guest had arrived at the house when they hadn’t… the game isn’t as fun now I’m nearly 50!
This is a continuation of my article on defining your unique position as a modern music producer. Here is some more food for thought:
That’s Right. Only $49 for the LM2 Plugin This Week!
Heres what TC Electronic have to say about it:
If you produce audio for broadcast, it is absolutely essential to monitor your loudness levels. In fact, no matter what, you should always monitor your loudness levels.
The best loudness monitoring solution you can get your hands (and eyes) on is our Loudness Radar Meter - and this week you can get our LM2 native plug-in for just $49!
The LM2 plug-in is a stereo version of our Loudness Radar Meter that supports all the major native plug-in formats: AAX Native, RTAS, Audio Suite, AU and VST. To use LM2 you need an iLok 2.
This offer only applies to purchases made at www.tc-now.com from 18 November to 24 November 2013.
Iosono is pleased to announce the release of Anymix Pro AAX. This surround mixing plug-in is now supporting Avid’s new AAX Native Format, and as you can see in my video Anymix Pro is both a surround panner and a surround upmix plug-in in one plug-in.
Anymix Pro AAX now features support for Avid control surfaces via EUCON (System 5 series), Avid C|24 and ICON. The update also includes new automatable parameters and shortcuts for a better workflow. Katja Lehmann, Marketing Manager for IOSONO says…
“We have received great feedback on Anymix Pro, our users have been especially happy with time saving tools like the distant-dependent feature as well as the high-quality upmixing functions. We’re always trying to incorporate user feedback into our software and so we’re happy to now offer the much awaited AAX support,”
Anymix Pro AAX 64-bit for Mac and Windows is now available for EUR 299,00 in the IOSONO online shop as well as selected distributors.
The update will be free for all existing Anymix Pro customers already using the VST/RTAS version.
Rebekah and all the Source Elements team have sent 5th Anniversary greetings to the Pro Tools Expert team…
“Dear Pro Tools Expert - we are in awe of, and deeply appreciate, your enthusiasm and keeping track of the latest methods - may there be 50 more years.”
Maybe the answer is get both. In the previous post we explained the differences between them especially in regard to the VST hosting features that they share. So if you are still hesitating, maybe its because you need both?
They Can Extend Each Other
If you need parallel processing or an individual “Mix” control for each plug-in within your multi band setup, you can simply use Blue Cat’s PatchWork inside one or more bands of Blue Cat’s MB-7 Mixer, and here you go: multi band VST processing with parallel chains and dry/wet control!
With the support of iLok, more tips & tricks from the community. Here is one from Dave Zimmerman who has made a video to show ths tip…
This is a super quick/easy way to print Melodyne back to an audio track. Everybody seems to always do this in such a complex way.
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.
Loudness requirements opening the door to new creative potential may seem like a very strong claim to make but recently Jon Schorah, creative director at Nugen Audio wrote a piece which I feel helps to explain how the loudness requirements and liberate us from the loudness wars where we have to crush the life out of our audio to make it sound louder than anything else. Jon writes…
By now, most of us are well aware of the need to measure and manage programme loudness in broadcast operations. With loudness standards and regulations now being introduced and enforced in many different countries, coupled with a real threat of fines for loudness infractions, the responsibility for compliance is increasingly falling on audio post-production engineers.
The good news: after working with loudness for even just a short time, many post-production engineers are finding new creative potential that simply wasn’t there with peak-level normalisation. Far from adding another complicating factor to the mixing process, loudness requirements actually allow the engineer more freedom to be creative, and they also reward expertise.
Russ shows the new Zynaptic Pitchmap plug-in and what can be done with this innovative pitch manipulation tool.
It’s almost inevitable that each one of our lives is touched by male cancer, either directly or with our friends and family having to fight this devastating illness.
Many of you will be aware of Movember, as an official global charity, Movember’s vision is to have an everlasting impact on the face of men’s health. During November each year, Movember is responsible for the sprouting of millions of moustaches on men’s faces around the world. Through the power of the Mo, vital funds and awareness are raised to combat prostate and testicular cancer and mental health challenges.
You may not be able to grow a moustache, or as one of our female readers even want to! However here’s a fun way to show you support by changing your Pro Tools icon for November to be a Mo Tools icon, more imprtantly head over to their site and make a donation. If you want to know how to change your app icon then see this story here.
Please also share this story and spread the news of the amazing work of this charity.
Russ shows how to use Warp audio to get timing right in the pocket.
With the release of Blue Cat’s PatchWork, the team at Blue Cat Audio have been asked many times about the differences between this new plug-in and the recently released Blue Cat’s MB-7 Mixer, their multi-band processor that is also able to host VST plug-ins. Since both plug-ins are very different despite a few common features (mainly regarding VST hosting capabilities), it seems that a short summary is necessary, so here it is, but please note that the comparison here focuses on the VST hosting aspect of the plug-ins, since that’s mainly what they have in common.
Blue Cat’s MB-7 Mixer is a spectral re-mixer plug-in which is able to host VST plug-ins, whereas Blue Cat’s PatchWork is an plug-ins patchbay (or chainer), dedicated to plug-ins and instruments hosting, and plug-ins chains building.
So VST plug-ins hosting is a bonus in Blue Cat’s MB-7 Mixer, and lets you apply effect to several frequency bands, whereas Blue Cat’s PatchWork is built around plug-ins hosting, and does not include any spectral processing of any kind.