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.
Entries in avid (67)
I was just about to go and buy a new copy of Adobe Photoshop and as I always do I scanned the internet for the best price, the cost varied widely with the lowest being £329 and the highest over £1000. Then I went to Adobe to check the features and saw an advert offering me both Photoshop and Lightroom for around £8 per month, 30 days to cancel on a 12 month rolling contract. I thought this must be a mistake, it must be a version with limited features, but no, what it is as far as I can tell is pretty awesome.
It’s a paradigm shift from the old buy the product, own it (you never did, you licensed it, but who is splitting hairs?), you then wait for it to devalue and then get stung when a new version is released with a costly upgrade fee. I think it’s a smart idea and I think people would be less likely to be tempted to pirate software only costing £8 a month than several hundred or thousands of pounds.
Even better the cloud app gives you all you need in one place.
It got me thinking, what if Avid did the same thing and offered Pro Tools on a monthly plan, as well as what you could see below, just imagine… Pro Tools, plug-ins, storage and a place to showcase your work all in one place, Adobe have done it - which DAW will be first to go this way, perhaps one of them already offers this? I for one hope there’s a Pro Tools monthly plan in the future. I hope this is part of the Avid Everywhere strategy, if so it could be very good for all of us.
So take our poll, would you rent Pro Tools on a monthly plan if you were not penalised in any way?
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
See that ‘X’ in the graphic above, on this occasion it means ‘DON’T!’
Avid have posted a knowledgebase article warning Pro Tools users and those with Avid hardware not to upgrade to Mac OS X 10.9 Mavericks. Sadly those needing to read and take this advice have perhaps already proceeded, if you are smart enough to wait a while then here is the advice.
It is not recommended to use Media Composer, Pro Tools or Sibelius with Mac OS X 10.9 (Mavericks) as they are not supported at this time.
If you want to use an older Pro Tools interface such as a 192 or 96 I/O with Pro Tools then you may find yourself scratching your head as you try and make them work.
In our tests neither Pro Tools 10 or Pro Tools 11 will see a second interface when connected to the Expansion port on the Avid Omni interface, we were using Pro Tools HD Driver v11.0.1 for Mac, but when the second interface is connected to the card directly they appear within the hardware and I/O configurations. We do not seem to be able to find any documentation either confirming this is expected behaviour or a bug. We also tried connecting first to the 96 I/O and then to the Omni and as we expected this did not work either.
Mike also had an extensive conversation with Avid and another community member who had equally puzzling behaviour when trying to connect Avid Omni and MADI HD interfaces to a HD Native card. He was told that using 2 MADI interfaces and an Omni is not one of the configutations Avid test, so although the planned configuration wouldn’t have gone over the number of I/O, Avid could not be sure it would work.
So if you wish to extend an Avid Omni by adding another interface, then you will need to connect it directly to the second port on your card - unless of course other community members have had success where we have not? Discuss.
- Who is the target customer?
- How can those with ongoing Eucon issues trust this protocol?
- Why are users penalised for wanting to start on the smaller chassis?
- How is Avid responding to diminishing budgets?
Now that pricing is announced for a the new Avid S6 console, we thought we would look at see what you could get for the same kind of money. To be clear, the Avid S6 is a control surface, it contains no audio components, it’s simply a way of controlling your DAW. That is not to take anything away from the Avid S6, simply to make clear that when considering an Avid S6 then you need to factor in pre-amps and anything else found on a conventional desk.
But if you are going to shell out this kind of money for your productions then what could you get instead? Here’s what we’ve found you could splash the cash on instead.
An update from Avid with pricing for the new Avid S6 consoles.
Avid S6 will be available at Avid resellers worldwide in Q4 2013. As a modular system, S6 is available at a variety of prices, with M10 configurations starting at $21,995 and M40 configurations starting at $43,480.
Avid have announced that that September 4th 2013 as the “end-of-sale date” for the ICON D-Control™ ES and D-Command® ES control surfaces. However they want to reassure existing owners that Avid will continue to support these products for at least five years through to September 4, 2018.
At the IBC show in Amsterdam, on September 13th, they will be unveiling the ICON’s replacement the new S6 which they describe as….
the next-generation, professional control surface based fundamentally on feedback from customers. We hope you can join us at IBC — in person or online September 13th — to check it out!
Check out the sneak peek video for the Avid S6
Avid have just released a tease video #mixingredefined as a tease to an announcement at IBC for the new S6 mixer.
More details to follow as soon as we have them.
Join our friends from iZotope and Avid with their audio for video webinar (Insight plug-in in image not actual size). Representatives from industry leaders Avid and iZotope will demonstrate how to:
- Use Media Composer 7 and iZotope plug-ins to solve audio issues
- Keep your mixes compliant with the new loudness standards
- Plus, get your questions answered in a live Q&A
Register today and see how to use Media Composer 7, and iZotope’s Insight*, Nectar, and Ozone plugins to deliver great-sounding mixes that meet the new audio for video standards.
The Avid S3L, compact system with its brand new modular networked design for live sound mixing, is now shipping.
What is it?
The modular Avid S3L System is comprised of an HDX-powered processing engine running AAX plug-ins, scalable remote I/O that can live on stage or in a rack, and a compact control surface that’s built for the road, but equally at home in the studio.
Host Robert Scovill from Avid hosts a webinar on the Avid SL3L.
Get a complete overview of the new Avid S3LThe new ultra-compact Avid® S3L live sound system features a first-of-its-kind modular, networked architecture that will enable expansion and customization well into the future to meet all your production needs.
Join veteran live sound engineer Robert Scovill (Tom Petty, Rush, Prince, Def Leppard) for an in-depth look at the innovative new S3L and see how it can transcend everything you thought a live sound system could be.
- Learn how S3L delivers the tightest-ever Pro Tools® integration
- Get your questions answered in a live Q&A
Register for the webinar to see what this powerful new system can do for you.
Updated on Friday, August 9, 2013 at 9:21PM by Neil Hester
When Pro Tools 11 was announced to the public back in what seems like many moons ago, we were also told of a list of hardware that would either no longer be “supported” but may work”, or would just flat out no longer work - for anyone wanting to make the jump to this new version. (see the article we posted at the time with links to supported list here)
Since hearing of this news, and the actual release of Pro Tools 11, a portion of the Pro Tools user community have become somewhat frustrated and upset with Avid’s decision to drop the functionality of the Pro Control and Control 24 control surfaces.
After seeing other hardware that was originally on the “won’t work” list (such as the 002 series) given a second chance, and come back into the world of the working, there was a glimmer of hope for these much-loved and ubiquitous control surfaces could make a comeback too, after all the C24 using the same protocol is still supported and working - how hard could it be?
Avid announced that, in conjunction with Timeline Television, BT Sport, BT’s new group of sports television channels, competing for the Sport TV market in the UK with Sky, has implemented an Avid end-to-end tapeless asset management, storage, and audio and video editing workflow to efficiently create, access and distribute the hundreds of hours of sports content that will pass through the new facility each year.
The channels, which include BT Sport 1 and BT Sport 2 and ESPN, are based in iCITY, London’s new digital quarter in the former International Broadcast Centre (IBC) at the Queen Elizabeth Olympic Park, London. BT Sport will go live on 1 August 2013.
Avid announced new research findings that reveal consumer television viewing trends and preferences in today’s multi-screen environment. The independent study, conducted by Ovum and commissioned by Avid, surveyed more than 3,000 consumers globally. The survey revealed that quality content remains the strongest driver of viewer engagement and that there are growing opportunities for profit in archived content.
65% of consumers surveyed identified image and audio quality as the key driver of enjoyment, and 37% said they would pay for archived episodes of their favourite shows. However, their willingness to pay is highly dependent not just on their personal preferences, but also on the situational context in which a content offer is being made. A summary of the findings can be found here. Additional conclusions from this research also include…
- Second screens create opportunity in mass media events: It is becoming vital for live broadcasters to deliver content to the second screen that can capitalise on the additional engagement potential of these devices.
- Local or national pride and excitement were the biggest reasons viewers watched mass media events such as the Olympics.
- While watching the Olympics on TV, 63 percent of viewers were simultaneously using PCs, tablets or smartphones to gain access to related information.
Avid have done well here to commission this research especially as there is no direct ‘sales’ gains to be made from it. The figure of 37% for people who would pay for archived shows is born out by the model Apple is pushing forward on. You can also see it in Netflix and other on line providers, however if the asset owners could get their act together then they could take all the revenue and profit from this channel rather than give it to 3rd parties.
We have spoken on many occasions during podcasts and also in other articles about where we felt both Avid and Apple were going with their audio business strategies.
Now we have both Pro Tools 11 and Logic Pro X shipped it seems clear who both brands regard as their CORE markets. That word core is written is caps for a simple reason, the minute we suggest that Avid Pro Tools is aimed at professional users, some people think we are implying that no professionals use Logic, we are also not suggesting that Pro Tools is not for home or prosumers. What this article is about is who we think both brands regard as their core market. We know there are other DAWS on the market with large user bases on both Mac and PC, but for many Mac users the choice is often between Pro Tools and Logic. What this article is about is what you should expect, if you are considering another DAW, then the principles of this article will still apply.
When Avid jettisoned their M-Audio and other consumer brands it was a clear sign that they were heading to the professional user as their CORE market. Pro Tools is part of a bigger product portfolio for Avid which includes Media Composer and also much more high end broadcast equipment and storage. It makes perfect sense for Avid to concentrate on the requirements of this constituent, which demand industry standard workflow and interoperability.
Apple have clearly made similar decisions and chosen to concentrate on their CORE markets which now largely stem from a consumer base. When Apple chose to drop products like Xserve, Xsan, Final Cut Server and Shake and then release a product like Final Cut X, they too made a clear signal as to where they were heading - consumers and prosumers. Conversely this CORE target group do not need to worry as much about workflow and interoperability. We know a large number of professionals use Apple products (me being one of them) but they are largely small businesses, often one-man bands and not large organisations. I know there are exceptions, a good friend runs a successful post facility in Soho, London built around Final Cut, but I will add he has no intentions of moving to Final Cut X, because of workflow and interoperability.
The best DAW is the one that’s best for you and for Mac users trying to decide between Pro Tools or Logic, that choice may have just got easier.
If you need industry standard software with excellent sonics, workflows and interoperabilty then there is only one choice and that is Pro Tools. Pro Tools can be used as a composition tool if you are willing to do some work and spend money on additional plug-ins, but on the whole that’s not what a large proportion of studios, post houses and broadcasters use it for and despite the constant protestations in forums and social media by a vocal minority Pro Tools is the industry standard - like it or not.
If you need a powerful DAW to compose in then Logic Pro X is without doubt an outstanding value proposition, you can buy it for less than $200 and get everything you need to make amazing compositions, there’s no extra plug-ins or instruments to buy, you even get the iPad controller free - Apple really threw the candy into this release. Yes it can be used an an audio tracking and editing tool, but again you won’t find most professional studios, post houses or broadcasters using Logic for that. In many cases professional music studios and producers have both, Logic for the writing and Pro Tools for the recording and mixing, this is born out in our recent survey results, with over a third of those polled saying they will use both.
Perhaps the biggest issue for both Avid and Apple is managing user expectations.
What I mean by this is don’t expect Avid to treat you like a consumer company will, Avid don’t have the infrastructure for genius bars and free phone support. Professionals are used to paying Sage or Adobe for support plans, so it should come as no surprise when Avid do it too. What a lot of purchasers (especially at the lower price points) fail to appreciate, is that a retailer is your first point of service and support. Sadly this isn’t always the case and so users are driven back to Avid to try and get Apple style consumer support and then get annoyed when they are asked to pay for that support. If you want to direct your anger anywhere then it should be at the dealer who decided to undercut decent dealers that offer the support you need by selling you a cardboard box at the cheapest possible price. What it does create is a proliferation of forums and blogs like ours, essentially taking up the role of free customer support for an organisation illequipped to deal with consumer style support. It also diverts resources from professionals seeking support on an investment that’s 40 times more costly than the average Mbox system.
What you do get is hardware exchange schemes, upgrade paths, pro application specialists and a dealer network. With Apple don’t expect to find dealers to support your App Store purchase, pro application specialists to give you pre-sales advice and technical information on audio interfaces, or upgrade paths for software or hardware, that’s not how consumer retailing works.
In the last few years this distinction wasn’t always as easy to see partly due to both Avid and Apple trying to venture into the respective markets of consumer and professional, so one can’t really be blamed for the confusion it created. Now it may be good that both Avid and Apple have chosen distinctive roads, mostly by necessity than design, but irrespective of why they did, it makes it far easier for buyers to know what to expect from the brand they chose to buy from.
So all the clues are there for those willing to see them; workflows, cost, support and upgrade paths - there are clear differences on all these things for both brands and designed for the CORE markets they are aiming to reach. If you chose to be the exception then don’t expect any special treatment. First decide what features you want, price you want to pay and the kind of after sales support you want, then make your choice.
Pro Tools or Logic? Avid or Apple? It’s up to you. If you want some homework go visit any forum talking about Pro Tools and Logic and you’ll see exactly the same stuff been said, but much of the dissatisfaction users have with both brands is down to unrealistic expectations in the first place. Caveat emptor.
Today, Avid released a Pro Tools 11.0.1 update for registered owners of Pro Tools 11.
The update addresses some minor post-ship issues and fixes detailed in the readme files:
The ReVibe II plug-in is now available with support for Pro Tools 11.0.1 (and higher) and Pro Tools 10.3.6
- Pro Tools now receives MIDI input on Windows 8 when logged in with a non-administrator account.
- Touching a VCA Master while in automation write or latch no longer causes all members of the group to become audible (when volumes are set to –INF dB). Also, signal is no longer incorrectly sent to the VCA tracks’ corresponding sends.
- When using ASIO applications with the Avid ASIO Driver with HDX or HD Native hardware, audio will not distort.
- With the JL Cooper Surround Panner declared, Pro Tools will not quit unexpectedly when using the Shift Key for various commands.
- The ReVibe II plug-in is now available with support for Pro Tools 11.0.1 (and higher) and Pro Tools 10.3.6
- Certain third-party plug-ins no longer cause your computer to hang when quitting Pro Tools
Registered owners of Pro Tools 11 can find the installers, HD Drivers, etc., in the “Your Products” section of their Avid Account.
Full details are available on the Pro Tools 11.0.1 update page of the Avid website
Avid have just announced the new Avid S3L, which delivers the sound quality, performance, and features of Avid live systems in an all-new modular, networked design. The open and flexible system is comprised of a high-performance HDX-powered mix engine running VENUE software and AAX DSP plug-ins, scalable remote I/O, a compact EUCON-enabled control surface, and Pro Tools software for integrated live sound mixing and recording.
For artists and musicians, S3L delivers the audio clarity and familiar studio processing they need to sound and perform at their best. For engineers, having a high-performance engine at the core empowers them to create richly layered mixes quickly and champion their clients’ signature sounds, without worrying about technical limitations. The streamlined networked design simplifies system set-up and configuration with drag-and-drop functionality, while direct Pro Tools recording and mixing capabilities open opportunities for live album releases.