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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.

The Continuing Saga Of Pro Tools 11 & Avid Video Engine Performance Issues

Continuing the long running saga of the performance, or should be the lack of performance of the Avid Video Engine in Pro Tools 11. But first lets have a recap,  cue VO - “Previously on the Avid Video Engine saga….

Some anecdotal evidence for Avid Video Engine performance in Pro Tools 11

  • Playing video on the computer desktop is much more reliable.
  • Windows users are having less problems than Mac users.
  • Using the Avid DNxHD codec gives better performance.
  • The AJA hardware may be better than the Blackmagic cards. 
    • We are arranging some tests with Mike Aiton to see if we can verify this.

Bypass QuickTime in Pro Tools 11

In recent discussions on the DUC there has been some consideration about ways to bypass QuickTime. There has been some extensive discussions on using MXF to wrap video and we looked at a free MXF4mac player that with the addition of an in app purchase could sync up to Pro Tools and bypass everything including the AVE. However there is no answer as to whether this player can route out through video hardware or not. If anyone can check this and report back, that would be very helpful.

Using MXF as a wrapper is not without its problems

Firstly you need to produce the video in MXF. You need a video app to do this, obviously Media Compser can do this, but for a content producer there is a second issue.

If you are working with a team, some of whom are running Pro Tools 10 and others Pro Tools 11, then you need to create a QuickTime for the PT10 users and and MXF for the PT11 users which creates more work.

Is Mavericks the answer for improved video performance with Pro Tools 11?

Some users are asking if the dreaded Mavericks might be the answer. It may seem strange but we have been doing some digging and the first revelation is that QuickTime is 32 bit. So we have a 64 bit Pro Tools app trying to talk to and use QuickTime components that are still 32 bit and we wonder why there are problems.

QuickTime is dead. Long live AV Foundation. 

Apple have been quietly developing a replacement to QuickTime called AV Foundation, which has been introduced in stages as far back as 10.7. More components were added with 10.8 and in Mavericks, QuickTime is still there so legacy apps like Pro Tools can still use the code but AV Foundation is now the part of the OS that handles Video and Audio. But all the areas that we depend on QuickTime 7 for rather than QuickTime 10 are those being picked up in AV Foundation.

Mike has access to the Apple Developer site and it is interesting to see that AV Foundation can be hardware accelerated and be multithreaded, neither of which QuickTime can do and most importantly AV Foundation is 64 bit.

There are some casualties in the transition to AV Foundation. QuickTime VR, RTP Streaming, QT Effects & Filters, Sprite and Flash tracks, Music (MIDI ) tracks and SMIL will not be supported in AV Foundation. 

There are also a whole raft of codecs that will no longer supported in AV Foundation, including Sorenson Video and Video 3, Motion JPEG A and B.

There are some ‘proof of concept’ apps available too but this is all a long winded explanation as to why things may be better on Mavericks with Pro tools 11 and video because again its using less of the legacy 32 bit QuickTime code.

Avid Are Working On the Problems with Video Performance in Pro Tools 11

We have reached out to our contacts inside Avid and they have reassured us they are working on addressing these video engine issues but no indication was forthcoming as to how soon.

Bypassing QuickTime is the answer?

In conclusion the answer seems to be to bypass as much of the QuickTime components as possible, whether that is using MXF or more of the AV Foundation components.

Video Tutorial - Take A Brass Performance From Good To Great 

In this free Pro Tools video tutorial Russ shows how to take a brass performance from good to great. 

In this tutorial you can learn Pro Tools techniques on tuning instruments, editing audio using tab to transients and separate at transients, time correction using quantise audio to grid as well as using Beat Detective to smooth edits. Finally you can see how augmenting with VIs can enhance an existing performance.

Join now to get access to over 500 Pro Tools video tutorials

Some Test Results Comparing Pro Tools 11 On An Old Mac Pro v New Mac Pro

Community member Grant Hall has been in touch to share some test results he has undertaken comparing Pro Tools 11 on an older 2010 Mac Pro with a new 2013 Mac Pro with a Magma chassis. Over to Grant…

Pro Tools 11 2010 12 Core vs. 2013 12 Core

Firstly I wanted to test a “real world session”  I brought up a small 96K mix session. I found some very interesting differences first of all was the voice count this was the exact same session in PT 11

On the 2010 Mac Pro it showed 117 Voices it would NOT playback with the H/W buffer size set to 512 it needed to bumped up to 2048 to get it to play.

On the 2013 Mac Pro the session load time was much faster and it only showed 77 Voices. I have no explanation as it was the EXACT same session with the EXACT same i/o set up and the session played perfectly with the H/W buffer size set to 512 on 2013 Mac Pro.

In conclusion is it worth it? Absolutely I can’t believe how much faster session load times are and the efficiency of the Native DSP- Ultimately depends on your situation - I already had a Magma Chassis for my Venue rig. I needed to buy a second HDX 2 rig But I don’t have a lot of space and want a small system with lots of jam for mixing big 96K sessions. Plus as Apple developer I get a very nice discount.  The Zodiac was in alignment for me for new Mac Pro. 

On the new Mac Pro you MUST use a USB hub for your ilok(s) This corrects all ilok issues.

What About Pro Tools 10?

Many of my colleges are still on PT 10 so I wanted to see what works and what does not. HD 10 with HDX 2 using HDX driver version labeled 11.0.3 works with a Magma 3 slot Thunderbolt (v.1) chassis.

Although the driver was labeled 11.0.3 but the installer showed it was 11.0.1 I don’t know what that is about but I though I would mention that detail.

I installed 10.3.8 and it launched so fast. One other thing I did notice PT HD 10 ran out of memory on the first launch (or any first launch after installing a plug-in among several other things as well) but the second launch always seems to be fine. I am not sure what that is about either.

Also one last minor issue I get a iLok sharing warning on Mac Pro boot up but everything seems to be OK with any of my ilok plugs and Pro tools. 

How many Dverbs does it take to kill a Pro Tools system?

From my former days as a Pro Tools beta tester I though of doing a D-Verb test as I have multiple systems over the years as comparison. The Deverb test is relative test so no people I don’t need a session with 1000 Deverbs it’s only a RELATIVE test to show improvements over the years and from one systems to another. This was a standard test we did sometimes for Digi when I was to beta testing on Pro Tools so it helped Avid as well so coders could see how efficient PT plugin DSP benchmarked.

Here are the Dverb benchmarks (note all these benchmarks are @ 44.1Khz Sample Rate  

  • Pro Tools HD 10 HDX 2-512 Voices Mac Pro 2013 2.7 Xeon E5 12 Core  1009 DVERBS
    • Buffer at 512 and 90% CPU (24 Processors) 
  • Pro Tools HD 11 HDX 2-512 Voices Mac Pro 2013 2.7 Xeon E5 12 Core  1232 DVERBS
    • Buffer at 512 and 90% CPU (24 Processors) 
       

Here are some older benchmarks to compare….

  • Pro Tools 8.1 HD3 TDM 16 Core 2.26GHZ Nehlam 2009 Mac Pro 480 DVERBS 
    • Buffer at 512 and 90% CPU (16 Processors) 192 voices 6 DSP HD3 TDM
  • Pro Tools 8.1 HD3 TDM 8 Core Dual 2.8GHZ 2008 Mac Pro 300 DVERBS
    • Buffer at 512 and 90% CPU (16 Processors) 192 voices 6 DSP HD3 TDM
  • Pro Tools 9.0 HD iMac NATIVE 2.8 i7 quad 210 DVERBS
    • Buffer at 512 and 90% CPU (8 Processors)
  • Pro Tools HD 10 NATIVE  RMBP 2.7 i7  327 DVERBS
    • Buffer at 512 and 90% CPU (8 Processors)
  • Pro Tools HD 10 Native 256 Voices Mac Pro 2010 2.66 Xeon 12 Core  720 DVERBS
    • Buffer at 512 and 90% CPU (24 Processors)
  • Pro Tools HD 10 HDX 2-512 Voices Mac Pro 2010 2.66 Xeon 12 Core  1008 DVERBS
    • Buffer at 512 and 90% CPU (24 Processors)
  • Pro Tools HD 11 HDX 2-512 Voices Mac Pro 2010 2.66 Xeon 12 Core  1170 DVERBS
    • Buffer at 512 and 90% CPU (24 Processors)

 

Thank you very much Grant for sharing these test results with us. 

What Is The Situation With Mac OS X Mavericks & Pro Tools?

We regularly get questions for the podcast about running Pro Tools with Mac OSX Mavericks on the Apple Mac platform like this one from Glenn Skinner who asks..

I’ve just bought a new MacBook that came with 10.9.2. Its very nice but Avid say its not authorised as a system yet. I’m running  Pro Tools 10.3.8  native with an Mbox 2 Pro.  What if any nasties await me? Is any one running Mavericks yet?  I’m also having a couple of weird problems with some of the Air instruments but generally OK. Bit worried about doing professional sessions on it.

Glenn, you are absolutely right to be worried about running professional sessions with this combination.

Match Your Pro Tools Version with the version of your computers operating system.

We have lost count of the number of times we have had to explain to someone why their Pro Tools system isn’t working properly and it is often down to them trying to use an older version of Pro Tools with the much newer version of Pro Tools. This often happens when people upgrade their computer so it has the most recent version of the operating system OSX Mavericks or Windows 8 and they still want to use an old version of Pro Tools, and get most frustrated when it doesn’t work properly.

Older Version Of Pro Tools = Older Version Of Your Operating System

If you want to run an older version of Pro Tools go through the older compatibility charts on the Avid web site

Make sure you use the latest version of the OS that your version of Pro Tools is supported for. Anything else is going to cause you problems sooner or later.

Latest Version Of Pro Tools = Matching Version Of Your Operating System

Notice this equation doesn’t say “Latest Version Of Pro Tools = Latest Version of Your Operating System”.  You must check the compatibility charts (see the links above) to establish what is the approved version of the operating system for that version of Pro Tools and stick to it.

If you have a new computer that can only run the latest version of the relevant OS, then you must have the latest version of Pro Tools. For example if you have a Mac with Mavericks on it, like Glenn, Pro Tools 11.1.2 or higher is what you need. Earlier versions will not play well with Mavericks. The reason for this is that any application like Pro Tools is designed to look for hooks in the operating system so that it works in conjunction with the OS the way Avid designed it to. These hooks change between different versions of an OS so it is essential that you run Pro Tools and the OS as a matched pair.

If you look at the Pro Tools 11 Mac OS Compatibility Chart on Avid’s web site then there is an expanding section that outlines exactly what version of the OS works with what version of of Pro Tools.

So coming back to Glenn’s question, Glenn you are absolutely correct in saying that 10.3.8 is not approved for OSX Mavericks. Avid specify this in the Pro Tools 10.3 compatibility charts

Use Matched Pairs for Pro Tools And Your Operating System

All of which confirms the principle that you need to consider your version of Pro Tools and the version of your operating systems as a matched pair. Just as with speakers and microphones, you can work without using matched pairs, but you don’t get the best results. Using matched pairs gives the best results.

OSX Mavericks & Pro Tools

If you have to use Mavericks, and both Mike and Russ don’t recommend it if you have a choice. But if like Glenn you have no choice, because the computer is so new it can only run Mavericks, then you must have the matching version of Pro Tools, which currently is 11.1.2. That said there are still some known issues with Mavericks and Pro Tools and Avid have posted a document covering these issues for Pro Tools, Media Compser and Sibelius.

AIR Instruments And Mavericks

And finally to answer the last part of Glenn’s question about problems with the AIR Instruments, you will need to upgrade these to the latest versions too, to work with Pro tools 11 and Mavericks.

Massive Waves Sales This Weekend Only

Waves have another monster Waves plug-in sale this weekend with some cool deals my highlights are H-Delay for $49, Reel ADT for $99 and the Scheps 73 at $99, but there are also another 25 cool deals on both single Waves plug-ins an bundles.

Head over and grab some and make you Mum a cool song for Mother’s Day!

Get Waves plug-in deals here.

Community Tip - Using Half Speed To Create Complex Automation In Pro Tools

Another community tip, this one from Michael Boettcher….

I would like to share a little Pro Tools tip with you regarding automating with a control surface like a Euphonix or Avid Artist Mix. I often have to automate vocals that vary in volume within very short time periods. In this case I play back at half speed using shift-space and record the automation with my fader. Meanwhile I can see what’s coming up in front and have enough time to react. It may seem obvious, but it took me a while to realise how easy the solution is.

Michael, hindsight is a perfect science, and it is definitely one of those face palm moments as once you see it it is obvious. The only issue we can see is that it must be more difficult to judge the mix when Pro Tools is playing at half speed because the sound is different.

Nifty Drive Show & Tell Review With Pro Tools & SanDisk Cards

Mike tries out the Nifty Drive Pro in his MacBook Pro to see if it would work as an audio drive with Pro Tools 11. Watch the video and see how many tracks he was able to record onto with 3 different SanDisk Micro SD cards in the Nifty Drive.

Details of the Nifty Drive Test With Pro Tools 11 & Sandisk Cards

  • The test was with brand new SanDisk Ultra, Extreme and Extreme Pro Micro SD cards.
  • New Sessions were created in Pro Tools on each card at 44.1K sample rate and 24 bit depth.
  • The cards were not reformatted fro Mac OS Extended, they were used staright out of the box.
  • The test system used…
    • MacBook Pro 15” Mid 2012 2.3GHz Intel Core i7 with 16 Gig of RAM
    • Mac OS Mountain Lion 10.8.5
    • Pro Tools 11.1.2
    • Apollo Twin Duo Interface connected by Thunderbolt
    • Nifty Drive Pro with Sandisk Ultra, Extreme and Extreme Pro cards.

The Nifty Drive Pro

The Nifty Drive is avaialble for 34.99 Euros from Nifty in silver or red for the MacBook Air, Macbook Pro Retina and MacBook Pro.  Buy them here.

Top Producers And Engineers Give Free Mastering Advice

 

It is not everyday you find yourself in a room where top producers and engineers give free mastering advice. A few weeks ago we posted a feature on preparing your mix for a mastering engineer with advice from professional mastering engineer Neil Pickles, many found that helpful.

Our friends over at ProToolsUsers.org posted the article on their Pro Tools support forum and got some excellent advice from their team of moderators, who also happen to be top engineers and producers.

Some of the people who posted their own mix tips and tricks include:

  • Gary Lux, renowned recording engineer and surround sound mixer
  • Frank Wolf, producer, engineer and scoring recordist
  • Steve Hall of FutureDisk Mastering, renowned mastering engineer
  • Mick Guzauski, Winner of over 7 Grammy Awards with over 27 #1 hits on the charts
  • Paul Grundman, producer, engineer and mastering

Mastering Advice From Those Making The Hits

“When we sent the Daft Punk “Random Access Memories” final mixes to Bob Ludwig, we sent the recordings with no limiting on the mix so that we could benefit from his impeccable ear and artistry.” Mick Guzauski

“Never assume that you can fix it in mastering! Steve Hall

“All things considered, the art of mastering is just that. There are some terrific guys out there.” Gary Lux

Head over and join the protoolsusers.org Pro Tools support forum and check out some of the other excellent advice, tips and tricks.

Sign Up Before April 30th For A Chance To Win A Pro Tools HD System

Don’t Forget! If you register by April 30th, 2014 you may win a new Avid Pro Tools Thunderbolt HD system with MacBook Pro Retina and Focal Professional Speakers!

Thomas Lund To Present Paper at NAB 2014 On Loudness vs Speech Normalisation

Thomas Lund, CTO for Broadcast & Production with our friends TC Electronic, has been one of the driving research forces and leading experts in the field of audio loudness for more than a decade. At NAB 2014, on Wednesday April 9th between 3:30 pm - 4:00 pm he presents a paper entitled Loudness vs Speech Normalisation in Broadcast

Loudness vs Speech Normalization in Broadcast

The paper presents an empirical study of the differences between level-normalization of programs using the two dominant methods:

  1. loudness normalization
  2. speech or”dialog” normalization

Instead of adding to the continuing debate of the subjective merits of one method over the other, Thomas will be focusing on important technical aspects. and shows that the difference in normalization level between the two measures was up to 14dB.

For all films and programs the loudness method provided the greatest headroom. All programs and a majority of the films could be broadcast at a fixed Target level of -24 LKFS without dynamics processing.

Not a single film could be broadcast under the same conditions without applying dynamics processing. The study furthermore finds a notable and systematic difference between manual speech measurement and automatic speech measurement, in some cases more than 8dB. Uncertainties in classification, in measurement and in definition are described and compared against the requirements for precision in ITU and ATSC loudness-based standards.

An Alternative View Of Loudness Normalisation

This picks up on the issues that Jake Knott raised in his Alternative View of Loudness Normalisation. Anyone who is going to NAB that works in broadcast or audio post should try and get to this session. What Thomas doesn’t know about loudness isn’t worth knowing.

 

Community Tip - TriTone MuteTone Plug-in Work Round For Pro Tools 11

Community member Warren Greveson found a work round for problems he was having with the TriTone MuteTone Plug-in. He says…

I’m using the TriTone MuteTone plugin with my Apollo connected to a MacBook Pro running under PT11 and there’s a problem. I have been getting crashes when bouncing to disk on longer tracks. Stranger still, it doesn’t happen when bouncing offline or when you play the session. Pro Tools just shuts down completely, always at the same place. I spent several days trying to find the problem and in the end it is with the fakeHUI IAC driver that you have to create and add as a peripheral. Take out the fakeHUI IAC driver and all works just fine.

I’ve been in touch with Tritone and they say (quite rightly) that the problem isn’t with their plugin. The session will crash when the fakeHUI IAC driver is an active peripheralMuteTone isn’t active in a session, or even if the plugin is moved to the unused plugins folder.

So, the workaround is to either add the fakeHUI IAC driver as a peripheral in PT when you actually need it (which you won’t if you’re bouncing to disk) or to always bounce offline.

Just letting y’all know so that you don’t waste 3 days trying to get to the bottom of why your session is crashing…

Thanks Warren for taking the trouble to let us know. Another tip if a bounce falls over at the same point every time, is to look at the audio files Pro Tools is playing at that point. One of them may be corrupted. Remove them one at a time and test. You don’t need to bounce the whole project, just select a section both sides of the problem area. Once you find the problem audio then find a replacement for it and you are good to go.

The Hybrid Animal Sound Design Competition - Win Prizes Including Pro Tools 11

Have Fun With Sound Design and Create A Hybrid Animal!

Ever wonder what a snalrus sounds like?  (That’s a snail and a walrus…)  What about a Deagle? (Dog and Eagle)  Now you have your chance to find out! Name and design the sound of your own hybrid animal, then submit it to the Hybrid Animal Sound Design Competition.  The competition features $6,000 in prizes from Pro Sound Effects, Avid, iZotope, Rode, and Ric Viers!

The Hybrid Animal Sound Design Competition Grand Prize ($5000 value)

  • Pro Sound Effects Hybrid Library (includes Rare Animals)
  • Avid Pro Tools 11 OR $699 Credit to the Avid Store
  • iZotope Iris + 7
  • Rode NTG-3 + Blimp
  • Signed copies of The Sound Effects Bible & Location Sound Bible

More Info and How to Enter The Hybrid Animal Sound Design Competition

Is The Avid S3L Coming To Studios?

There’s been a lot of noise about the Avid S6 but for many the Avid S3L control surface is an attractive proposition as a studio controller, it really is a star in the Avid product range.

Avid have recently announced the free VENUE 4.1.3 software which gives live owners access to additional free AAX plug-ins for their system.

The Avid S3L seems to bridge the gap between Artist Series Controllers and the Avid S6 offering the possiblity of a mid ranged controller for both prosumer and small studios. It is also out understanding that S3L owners get to unlock 64 channels of record in Pro Tools using a special toolkit that ships with it, more to follow on that.

Avid currently say about the LIVE version of the Avid S3 “Get unmatched Pro Tools/DAW integration now—and in the future. Simply connect your laptop (with Pro Tools or other DAW installed) to the system’s Ethernet AVB network (using a single Cat5e cable) and you’re ready to rock with up to 64 tracks of audio recording/playback. VENUE Link makes it easy to control your live mixing and recording/playback setups as one. What’s more, with EUCON functionality coming soon, you’ll be able to use the control surface to mix Pro Tools and other DAW sessions, making the system an extremely versatile solution for both stage and studio.

The S3 control surface offers;
  • Compact 16-fader surface, with six bankable layers
  • 32 touch-sensitive encoders and high-resolution OLEDs
  • Multicolor Channel Control parameter section for fast mix adjustments
  • Full complement of I/O (see Specifications)
  • Dual Gigabit Ethernet AVB ports, featuring latching etherCON connectors
  • EUCON-enabled for Pro Tools and other DAW control (feature coming soon)
  • USB connections for a keyboard and mouse (not included)

There were hints from some Avid people that the Avid S3 would be coming to the studio market, we hope this happens, it seems that Avid are missing a trick here to generate substantial revenues from an existing product line, an S3 for Live and one for the studio sounds like Avid Everywhere to us.

With current Avid S3 prices starting at $17,995 it’s a very attractive proposition. Would you be interested in a studio version of the Avid S3? Take our poll and discuss.

Five Mac OS X Tricks For People Using Macs For Audio

There are so many handy features in OS X, too many for most of us to ever know all of them, and that’s without going into the world of terminal. However, over time we all pick up a greatest hits of useful OS X time savers. These are not Pro Tools tips but some are audio specific, some are not. Here are some of mine;

OS X Audio Trick 1 - Suppress The Plips

When adjusting playback volume of built in audio using F11 and 12, you can suppress the plips by holding shift. While I’ll always be uncomfortable with running any source with a mini jack through a PA system its kind of inescapable these days. At least this can be used to hide the fact from the audience.

OS X Audio Trick 2 - Fine Control Of Volume

In some applications the jumps in volume from the built in output be a bit coarse, especially if your gain structure isn’t as it should be. While using a variable attenuator to trim the level would be better, if you need finer adjustment from F11 and 12, press option+shift.

OS X Audio Trick 3 - Straight to Sound Prefs

Option+F10, 11 or 12 opens the sound section of System preferences. Any of the volume Exposé keys will do, this also works using Option+F1 or 2 for display settings if that’s somewhere you need to go regularly. If Exposé is disabled in Mission Control (as it should be on a Pro Tools machine) you will need to press Fn to get the F keys to revert to their default Exposé behaviour. Alternatively option click the speaker icon on the menu bar to quickly change audio settings.

OS X Audio Trick 4 - Single Get Info Window

CMD+Option+I to get info for multiple files. While not specifically an audio feature I have found this to be a great timesaver when I want to inspect the properties of multiple files in Finder. Instead of using CMD+I to open a separate Get Info window for each file, CMD+Opt+I opens a single Get Info window, the contents of which update to follow the selected file in Finder.

OS X Audio Trick 5 - No More iTunes

Change file association for audio files from iTunes to Quicktime Player or VLC. Along with all the standard OS X tweaks which a Pro Tools machine ought to have I find this is a must. Although it is inadvisable to use Finder to manage the audio files in a Pro Tools session there are still plenty of times I find myself auditioning audio in Finder. iTunes is invasive and far too slow to open compared to a simple player. Quickview has made this less of a must than it used to be, but this is still useful when working with multiple files.

Pro Tools Expert Podcast Episode 109

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

Competitions

Deals page

Talking Points  

Community Feedback Kindly Sponsored by RSPE Audio Solution 

  • Andy Lindley - Where have the Structure Sound Libraries gone?
  • Eyal Grossfeld - Clip Gain shortcut tip
  • Ryan Okuly - New versions of Steven Slate  VTM Beta out.
  • Victor Sanders - Can we do an Omnisphere video review please?
  • Mick Ritchie - Recommends MIDI Patchbay to  remap drums  

Questions - Kindly Sponsored by Alchemea 

  • With graphical stuttering with Pro Tools, the cursor doesn’t run smoothly, whats the issue?
  • Problems with a Pro Tools Installer, what can I do?
  • Problems with sound not coming out with Pro Tools but System sounds are OK.
  • Problems with iZotope RX modified file and Unique File IDs in Pro Tools
  • Problems with Waves Meta Filter crashing Pro Tools. Would should I do?
  • Problems with Buffer size with an Line 6 Pod Farm with Windows 7 on an polder computer.
  • Problems with monitor mixes with a Focusrite 18i20 interface
  • Is there a good Roland TB-303 plug-in for Pro Tools
  • Whats the latest version of Pro tools that will run with a DIGI 001?
  • Are there ways to automate and access AudioSuite plug-ins with the Artist Control?

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

Peavey Revalver 4 AAX Plug-in For Pro Tools - Video

Hot on the back of our recent post of free Pro Tools plug-ins for guitars Peavey have released a new video of their updated guitar amp and effects plug-in ReValver 4, the new version now also offers AAX 64 bit compatibility with Pro Tools 11. It also allows the user to host VST and Audio Units plug-ins within Pro Tools.

ReValver is a guitar amp and effects plug-in that allows the user to geek out. 

Peavey Revalver 4 Highlights include 

  • Peavey’s ReValver 4 also features ACT (Audio Cloning Technology) modules that allow the user to mold and shape the guitar sound at both the input (before amp modeling) and output (after modeling). At the input, ACT turns ReValver into an instrument modeler by altering the incoming guitar signal to mimic the sound and characteristics of other instruments, such as acoustics, folk instruments, and even other electric guitar and pickup combinations. At the output, ACT allows the user to load presets that sculpt the signal to fit in a recording mix or mimic the sonic characteristics of famous guitar rigs.
  • With improved Impulse Responses, ReValver 4’s RIR 2 feature takes cabinet modeling to a whole new level of accuracy and realism by giving the user independent control of speaker configuration, microphone, and mic placement, allowing for almost endless tone shaping options. Plus, the new Pedal Board feature provides a familiar environment to build and edit an effects chain.
  • With ReValver 4 also comes the introduction of the ReValver Amp Store, allowing users to purchase new amps, stompboxes, effects, and ACT content through in-app purchases. Users can begin with the free version of ReValver 4, and then simply purchase the additional content they desire.
  • ReValver 4 supports the powerful new AAX plug-in format for Pro Tools®, and can now host both VST and AU plug-ins even in a Pro Tools environment. As always, the software can also be used as a stand-alone virtual amplifier. 

Check out the Peavey Revalver 4 exclusive video preview here

Community Tip - Using Input Quantise Mode With Drum VIs In Pro Tools

Community member Tony Molica reached out to us to tell us about this video he has made about using Input Quantise in Pro Tools. Tony says…

In this video, I explain the use of the ‘input quantize’ feature within ProTools and how it applies to printing drum performances in ProTools using the VI’s ‘LATCH’ mode.  The drum VIs in this video are BFD3, Breaktweaker and AIR Strike. So if you use these VIs in Pro Tools, this video may help you as you print patterns/grooves to your session. Enjoy…

Thanks Tony for this, great to see you giving back to the community.

How To Organise And Pimp Your Pro Tools Plug-ins Using Folders And Cover Flow - Mac

Over the weekend Dennis at Logic Pro Expert ran a story about a new application called Auganizer, a handy OS X Audio Unit management application that lets you rename, reorder, arrange and organize Audio Unit plugins the way you want. It currently works for both Logic Pro and Ableton Live.

Our first reaction was YES! Our second one after realising that it does not work for Pro Tools plug-ins was BOOOOO!

We have reached out to the developer to see if it would be possible to do this for Pro Tools, we have even offered to run a crowd-funding project if this is required. His response I’m not a Pro Tools user so I wasn’t aware of limitations in this format, I was always under the impression that Pro Tools users could rename plugins the way they wanted - in fact a few people have written how envious they are of Pro Tools users because of this (Before Auganizer!) but this isn’t the case? Is it only with certain formats? It is certainly something we could look into once we’ve got Auganzier 100% stable and polished.”

So watch this space, however in the meantime there are a couple of things you can do to tidy up the plug-in folder, or even pimp it up if you have a spare hour and want to really organise your plug-ins.

Create Folders To Organise Your Pro Tools Plug-ins

‘Inspired’ by the Auganizer GUI I created folders within the Avid plug-ins folder to sort the plug-ins. NOTE this only sorts the plug-ins without that folder and has no bearing on the Pro Tools sorting and display of plug-ins… BOOO!

Click to read more ...

How To Create A Pumping Synth In Pro Tools

Pumping synths are a hugely popular effects used in several music production genres.

Russ shows how to create this effect using the plug-ins that ship with Pro Tools. In this case he shows how to get the synth pump effect using the BF76 compression and a side chain input from Boom.

Community Tip - Using Consolidate & Strip Silence To Rename Clips

Jason Conanan got in touch with an interesting tip….

This is a simple renaming trick i use for clips especially when working on audio files from recorders. To quickly rename all of the clips in a track (like most of the time when you work with clips from different takes in a scene)

  1. Rename the track to what you want all the clips to be called by (eg. rename the track to DX 1)
  2. Consolidate the clip - This will produce one clip using the track name.
  3. Use Strip Silence so that all the clips have the name on the track at the start of the clip

Mike says, This is an interesting solution for a raft of back naming or to handle odd file names coming in from the video edit via an OMF or AFF. However in doing this be aware that you will loose the original meta data and time stamps from the original files, so I would duplicate the track and de-active the copy, or use a duplicate playlist, so you still have access to the original files.

Warm Audio Tonebeast TB12: Op-Amp Swap: Video

Community member Matt Blue has made this video showing how to swap the Op-Amps in a Warm Audio Tonebeast pre-amp. There’s nothing like a bit of audio DIY to challenge the old left brain, no hammer required!

Review Of The Warm Audio Tonebeast

James Ivey reviewed the Warm Audio Tonebeast several weeks ago and you can see what he thought of the pre-amp here.

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