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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.

Entries in pro tools 11 (244)

Step Input Bug - Another Broken Feature In Pro Tools 11

Users of Pro Tools 11 are reporting a step input bug which seems to be getting worse rather than better as each update of Pro Tools 11 is released.

Some may think that step input is something from the dark ages of early MIDI, but for many composers MIDI step input is the only sure-fire way of getting accurate rock-solid MIDI performances.

In the release version of Pro Tools 11 some users were reporting step input working intermittently. In 11.1.2 step input seems to have stopped working altogether for some and for others it still has issues with it working on the right tracks.

Watch this space.

Lexicon Announce Public Alpha Versions Of Plug-ins In AAX 64Bit

They have released what they are calling “public Alpha” versions of Lexicon PCM Native Reverb and Effects Plug-ins that are 64-bit AAX for Pro Tools 11compatible.

It seems strange that they are public and yet alpha versions, because alpha versions are normally just for in house testing. Then it goes to beta testing with approved testers and finally some developers release a public beta. However which ever way they come, for Lexicon users it should be good news that they are on the way. 

  • PCM Total Bundle
  • PCM Native Reverb Bundle
  • PCM Native Effects Bundle

Lexicon ask that you use their Support portal for all feedback regarding the plug-ins. 

More here

RSPE Audio “No Brainer Deal” Metric Halo At Silly Prices

 

This is no April Fools’ joke! RSPE Audio Solutions has teamed up with Metric Halo to offer two of their most popular plugins, ChannelStrip 3 and TransientControl, for the No Brainer Deal price of $30 each (retail $129 - over 75% off) or $45 for both (retail $258 - over 80% off)!

Metric Halo Channel Strip 3 - Low Price

Channelstrip 3, the newest version Metric Halo’s best-selling and most feature rich plugin, is  the recognized leader in console style channel stri­p audio processing for digital audio workstations. As the first plug-in to offer the combination of exceptional audio quality, incredible DSP efficiency and a comprehensive user interface, ChannelStrip lets users work as efficiently and interactively as they would with a dedicated, world-class mixing console.

Metric Halo Transient Control - Low Price

TransientControl, Metric Halo’s easiest-to-use and highly desirable plugin, allows you to modify dynamics in ways that aren’t possible with traditional compressors. You can directly change the transient (“attack”) and sustain of your audio; this allows you to make your tracks more punchy, or smooth them out so they sit in a mix.

Don’t miss out! This is the only time on record these plug-ins will be available at these blow-out prices anywhere in the world.

The Metric Halo No Brainer Deal is available for purchase via electronic serial number until midnight April 30, 2014, exclusively from www.rspeaudio.com.

About the “No-Brainer Deal”

The No Brainer DealTM has an exciting 7 year history and reputation for offering “Flash Sales” at irresistible prices, hence “No Brainer Deal”. When you see “No Brainer Deal” it means at least 75-90% off the hottest, most useful software and plugins for music and audio production.

RSPE have asked to add that if you are purchasing this product outside of the US, just enter “United States” as the country that you are shipping to, since this is a download, it will not adversely affect your purchase. They apologize for the minor limitation, we are addressing this with their host company.

Update: RSPE has fixed the issue with international credit card processing. You should now be able to complete your purchase normally, using your actual billing address and country.

 

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.

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.

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

How To Perform A "Clean" Uninstall Of Pro Tools 11 On Windows 7 And 8

What Is A Clean Pro Tools Install On A Windows 7 And 8 Machine?

When a new update to Pro Tools 11 comes along it is often said that a “clean” installation is the best way to go about the update, But what does this actually mean?

Well, when you run the packaged uninstaller for Pro Tools regardless of whether you chose the option to uninstall everything or not some files are actually left behind, not removed or deleted as part of the uninstall process and are not even overwritten by the update installer.
If these leftover files are not cleaned up manually and left to remain after the new update they can cause issues and instabilities for Pro Tools so are best dealt with before any new updated installation is carried out.

You can of course just run a new installer over the top of a current installation but all of these files will be present and can cause quite a mess, but this isnt always the case and you may get away without any trouble at all but best practices recommended by Avid and Myself are to keep things tidy so heres how….

Click to read more ...

Signal Flow Explained In Pro Tools - New Video Series

Friend of the blog and Pro Tools guru Kenny Gioia has released a new Groove 3 title, Pro Tools Signal Flow Explained.

There’s no short measures with this video series with over 48 video tutials covering every aspect of signal flow in Pro Tools. In the words of Groove 3;

Kenny starts with the basics of signal flow using diagrams and pictures so you can easily understand the concepts. Next, Kenny reveals the sometimes puzzling I/O Set Up Window and explains each section in detail as well as how to route, name and organize your inputs, outputs, busses, inserts and more.

Track Types is next on the menu and Kenny serves up complete understanding of all the different track types and their uses. Setting up to record is then looked at so you’ll know exactly how to name tracks, prepare inputs, enable tracks to record, setting the right level to avoid clipping and overloads, all the different record modes and how / when to use them, as well as the different monitoring modes.

Kenny now goes deeper showing you all things MIDI, such as MIDI Setup, Input Devices and MIDI Thru, MIDI input Filters, Wait For Note Recording, Click Tracks, MIDI Merge, Real-Time Properties for non-destructive editing, Input Quantize, using Multiple MIDI Tracks, Punching MIDI, and Loop Recording MIDI.

If that wasn’t enough, Kenny goes even further with awesome videos on Mixing techniques utilizing Hardware Inputs, FX Sends & Returns (both Hardware & Software), FX Sharing, Parallel Compression, Master Faders, Submixing, Headphone Mixes and much, much more. Kenny wraps up this detailed series with advanced Insert & Sends videos, Pre and Post Headphone Mixes, Printing Stems and Sidechain Compression techniques.

If you really want to master the ins and outs of Pro Tools, there is no better way than to watch this series… Get “Pro Tools Signal Flow Explained” today.

Source: Groove 3

Flux Add AAX 64 Bit Support To Their Dynamics Tools

Flux have updated their range of Dynamics Tools, The Pure Series; Pure Compressor, Expander, DCompressor, DExpander to v3 and they now support 64-bit and AAX Native and DSP.

In addition, the following bundles are now also available in 64-bit and AAX;

  • Elemental Pack,
  • Pure Pack
  • Recording Pack

All of which means they can now on be used on all major native platforms (AU/VST/AAX Native) in both 32 and 64 bits, as well as on the AVID HD-X AAX DSP platform with Pro Tools 11 in 64-bit.

What Do You Think Of Video Implementation In Pro Tools 11? Poll

Mike has recently ran an article Avid Still Have Serious Problems With Video In Pro Tools 11 about concerns that many professionals have about the new Avid video engine found in Pro Tools 11. It garnered a lot of comments from industry professionals.

How are you getting on with it, take part in our poll and let us know what your experiences are.

HHB Scrub Supports Real World Studios With Pro Tools HDX Upgrades

Scrub, the Soho-based subsidiary or our friends HHB Communications, has supplied equipment and services to renowned UK music recording facilities Real World Studios for upgrades to Avid Pro Tools HDX and version 11 software.

We featured Real Word Studios recently as Ben Findlay has been working there recently mixing two of the shows on Peter Gabriel’s “Back To Front” tour for cinema and DVD release.

Real World Studios are located near the City of Bath in the UK, and Scrub Technical Sales staff supplied Pro Tools HDX hardware I/O and version 11 software for the Big Room, an HDX system for the Wood Room and Pro Tools HD Native for the new Producer’s Cottage.

As you can see from the image above, the Big Room is Real World’s 800sqft main area that is centred around a 72-channel SSL 9000 XL K series analogue console and the studio is now benefiting from the increased headroom and track count provided by HDX as well as 5x more DSP per card, and up to 4x the track counts and 2x the I/O of Pro Tools HD Accel. Real World Recording Engineer Patrick Phillips told us….

Real World is an internationally renowned recording facility that is known for having the best recording equipment in the world. These Pro Tools upgrades ensure that we are at the leading-edge of audio technology, and the enhanced sound quality and efficiency of the equipment will be passed onto our clients. Scrub were very helpful by making the upgrades a seamless transition.

Avid Still Have Serious Problems With Video In Pro Tools 11

More recently I have only being doing the occasional project with video and so I haven’t been personally aware how much trouble my audio post colleagues have been having with video playback and Pro Tools 11. However last week it came and but me at an awkward moment.

My client’s client had come up to Manchester from London specifically to sign off on a final mix for a cartoon project. The night before my client send me the revised video file and seeing it was a .mov video, thought had would be OK in Pro Tools and imported it onto the timeline, reconformed the session to the new video ready for the session in the morning.

However within the first 2 minutes of the session playing the video to the client’s client, I was getting freezing. It would play for a bit and then freeze - very embarrassing. So whilst continuing to discuss the changes and revised style brief with the client and their client I dropped out of Pro Tools, opening up MPEG Streamclip, saw that the .mov was actually an H264 video, so transcoded it to Avid DNxHD and imported that into the session. It was a long 6 minutes or so, but that fixed it for me and the session and the video were rock solid, scrubbing was excellent all be it I am displaying the video in a window on my desktop even though the video file size had jumped up from 105MB to 15GB.

Click to read more ...

Matching Levels Between Mics Using PhaseScope In Pro Tools

To me capturing instruments and especially groups of instruments using stereo mic arrays is one of the simplest but most enjoyable parts of the recording process. With the exception of mid-side arrays it is important for all stereo mic arrays to have their gains carefully matched if the stereo image is not to be tilted to the right or left.

It will never be enough just to plug in in two mics and set the gains on the preamps to the same apparent level. Each microphone and preamp will have its own sensitivity which, while similar, can never be assumed to be identical. The most accurate way to match mic gains is to match them using nulling. To do this arrange both mics side by side and on axis to the sound source. Set the gain of one mic to a level appropriate for the source. Both mics should be panned to the centre. Importantly the second mic should have its polarity inverted. Then, using the first mic as a reference the second mic should have its gain adjusted until the point where the two mics null, at this point there will be the dip in output as the signals cancel, accompanied by a significant dip on the meter showing the summed output of the two mics. 

I have to admit that while I have used this procedure in practice I tend to use an alternative which requires less setting up and is more flexible, using the PhaseScope plugin in Pro Tools.

A phase scope displays mono signals as a vertical line, perfectly out of phase signals as a horizontal line and signals present only on the left or right as 45 degree diagonal lines. This plugin can be used to balance gains between stereo mic arrays very accurately and quickly. I have seen many people use a stereo level meter to quickly balance gains but I have found using this PhaseScope method to be more accurate and just as quick. 

PhaseScope windows showing matched gains (L), matched gains out of phase (C) and right channel muted (R).

To set your mic gains using this technique just set the gain for one of the mics exactly as you would for a mono source. Then bring up the gain of the second mic to approximately the same level.

Because the overall gain of the array has already been set, it is unnecessary to use the same instruments as will be recorded when matching gains, I often ask someone to stand on the centre line of the array and clap. The important thing is that the PhaseScope is being used to match the gain of the mic whose gain has already been appropriately set for the material being recorded. Using a sound source placed on the centre line the PhaseScope will display a thin, approximately vertical, line. Using fine adjustments it is possible to match the gains until the PhaseScope shows a perfectly vertical line. 

Click to read more ...

MuteTone Plug-in Now Available In AAX 64 Bit For Pro Tools 11

MuteTone is a plug-in designed to provide a workaround the inability to shut off input monitoring in Pro Tools Vanilla. It will just cut the input signal whenever Pro Tools is recording, allowing you to use your external console, or sound card mixer for live monitoring with no latency.

It has been available as a freeware plug-in in RTAS format for a while now bt they now have released an AAX 64 bit version for Pro Tools 11 for the price of 1 Euro.

Avid Announces Massenburg MDW EQ 5 Plug-In Now Compatible with Pro Tools 11

Here is another plug-in to go AAX Native and AAX DSP too. Its the Massenburg DesignWorks MDW Hi-Res Parametric EQ 5® plug-in. It has been developed by the creator of the parametric equaliser George Massenburg.

Version 5 offers new AAX Native 64 and AAX DSP 64 formats for compatibility with Pro Tools 11.1 and above. Massenburg, who has spent a lot of time refining this AAX 64-bit version, says….

The latest MDW® EQ5-AAX DSP continues the MDW tradition of highest-quality, double-precision maths, resulting in the highest measurable performance–the lowest artifacts–of any commercially available digital equaliser. The MDW EQ user interface presents a finely tuned EQ human interface, with controls that reflect a deep understanding of the ergonomics of EQ control and use, and the expectations of what an engineer expects to hear when a knob is turned. MDW EQ controls are always easily readable and controls are easily settable. The MDW EQ and the MDW EQ5-AAX continue to be the standard against which all other EQ plug-ins are measured.

Avid Space Is Now Available

Avid have updated the TL Space page on their site and now show the Space plug-in instead and it is available in AAX Native and AAX DSP formats.

More good news in that if you already own TL Space (TDM) or TL Space Native? Your upgrade to Space (AAX DSP/Native) is free. You can find installers for your free upgrade in your Avid Account and even better you can use your same iLok authorization.

  • 64-bit AAX plug-in performance, optimised for Pro Tools
  • Snapshots mode supports rapid seamless changes between 10 different reverb scenes
  • Full input and output surround metering on screen at all times
  • Impulse responses stored in Pro Tools session for easy sharing
  • Zero latency on Pro Tools|HDX systems
  • Fully featured reverb engine for mono, stereo, and with Pro Tools HD surround formats up to 5.0
  • Includes a library of reverb and effect impulses for music and post
    applications
  • Impulse library browser for quick and easy auditioning
  • Supports 44.1, 48, 88.2, and 96 kHz sample rates

System Requirements

  • Pro Tools|HDX (AAX DSP/Native) running Pro Tools 11.1 or higher software
  • Pro Tools|HD Native or other Pro Tools system running Pro Tools 11.1 or higher software (AAX Native, AudioSuite)
  • iLok 2 USB Smart Key for authorization; not included

Avid Release Pro Tools 11.1.2 Update

Avid have released v11.1.2 for Pro Tools. Make sure you read al the information before you update. There are a number of small fixes in this new version…

  • Fixed a case where some plug-ins could not be switched out of bypassed state.
  • Automation now properly interacts with linked plug-in parameters.
  • C|24 HD-specific features are now available when using Pro Tools HD with non-HD hardware, including Aggregate I/O. 
  • Automation thinning no longer occurs improperly to breakpoints outside the most recent pass. 
  • Pro Tools now correctly extracts audio from imported AAF files. 
  • When there are missing files in an open session, mounting a volume no longer causes the Relink dialog to open. 
  • Pro Tools no longer quits unexpectedly on launch with networked home folders via OS X Open Directory.
  • Pro Tools now recognizes Finder folders that contain a forward slash “/” in their name. 

System Requirements and Compatibility with Pro Tools 11 Software

  • Pro Tools 11.1.2 supports Mac OS X 10.9 (Mavericks) and Mac OS X 10.8.5 (Mountain Lion)
  • Pro Tools 11.1.2 supports Windows 8 and Windows 7

Pro Tools 11.1.2 Read Me & Additional Notes

Co-Installation 

  • Co-install of Pro Tools 11.1.2 and Media Composer does not allow Media Composer to be a Video Satellite (details)
  • Co-installing Pro Tools 11 with Pro Tools 10.3.6 or higher, do NOT update to HD 11 Drivers if using HD Accel TDM hardware

HDX Firmware Update 

  • Pro Tools 11.1.x requires a firmware update for HDX cards
  • Firmware update takes place during Pro Tools launch
  • The firmware update was tested for backwards compatibility with Pro Tools 10.3.6 and later

Late Breaking Technical Issues

  • Pro Tools 11.1.x Satellite Link and Video Satellite compatibility updates
  • Pro Tools 11.1.x co-install with Pro Tools 10.x is not supported using Mac OS X 10.9 Mavericks
  • Pro Tools 11.1.x co-install is now supported with Media Composer 6.5.4.1 and 7.0.3 and higher using Mac OS X 10.9 Mavericks

Downloads

  • Registered owners of Pro Tools 11 - Log In to your Avid Account to download Installers from the Your Products section
  • Review the Read Me file before installing or updating Pro Tools 11.1.2 for known issues that could impact your workflow

 As we always say, don’t update if you are in the midddle of a job. Wait until you have finished and have some down time before undertaking any update.

One You May Have Missed - Using The Softube Saturation Knob In A Pro Tools Mix

In this FREE Pro Tools video tutorial Russ takes a look at the FREE Softube saturation knob on a mix to see just how good it is, even better it’s now available for Pro Tools 11.

HHB Scrub Supplies Pro Tools 11 To Absolute Radio For Station Upgrades

Until recently the winner of the Arqiva Commercial Radio Station of the Year title in 2012 - Absolute Radio in London was a Pyramix based facility. However Absolute Radio’s producers were attracted to several new features introduced by Pro Tools 11 and chose to upgrade all four studios with the latest Pro Tools systems with the help of our friends at HHB Scrub.

Studio C now features a Pro Tools HD Native Thunderbolt system with an HD MADI interface, while three other studios are now utilising version 11 software with new iMacs, MBox Pro interfaces and Artist Series controllers. 

Absolute Radio’s Head of Broadcast Technology and IT Dean Woodcock explains that the new offline bounce feature was a major factor in switching to Pro Tools:

Our producers are often expected to turn around content in minutes, so the faster-than-real-time offline bounce is essential when they are working on the station’s branded content. For live sessions we are able to record 24 tracks of audio in Studio C with the HD MADI interface feeding into Pro Tools. We also have a Thunderbolt connection for ultra-fast processing. Pro Tools’ built-in plug-ins provide most of what we need to produce great sounding recordings. We have seven stations under our umbrella and they are all benefitting from the enhanced workflow and sound quality of Pro Tools 11.

Scrub provided training for the engineers and went out of their way to help us with the transition to Pro Tools, and they have continued to help us with technical support after the sale. It is great having them just around the corner because it means we don’t have to fix things over the phone or online; they can just pop in and help us with any queries in person. Scrub has been brilliant throughout the process and we are very happy with their service. 

If you ever wonder what a good dealer brings to the table when buying new equipment and systems then this is a great example of why it is worth having a good relationship with a great dealer that cares about you.