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Entries in pro tools 11 (237)
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….
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 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.
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.
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.
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.
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.
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.
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.
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 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
- Impulse library browser for quick and easy auditioning
- Supports 44.1, 48, 88.2, and 96 kHz sample rates
- 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 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-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 220.127.116.11 and 7.0.3 and higher using Mac OS X 10.9 Mavericks
- 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.
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.
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.
Our friends at Sounds In Sync have been busy updating their screen cueing software EdiPrompt. EdiPrompt v1.8 adds to the visual overlays that EdiPrompt can generate on an Apple Desktop Display to record ADR cues or foley. v1.8 is also Pro Tools 11 compatible.
EdiPrompt reads MIDI commands sent from any DAW (Digital Audio Workstation) and uses them to display a variety of on-screen prompts. It can also automate the ADR and foley recording process when using Pro Tools by locating to each cue and renaming the record track. If you are doing any kind of dialog replacement of foley work then EdiPrompt makes it so much easier. Sounds in Sync produce a range of products including EdiLoad which we featured with a walk through video.
Clip Info Window In Pro Tools 11 is also resizable….
In this Pro Tools video tutorial Russ shows how to get the best from the Pro Tools AudioSuite Normalize plug-in.
Pro Tools 11.1 came with a new FREE plug-in - Avid Pitch II, both in Native and DSP formats.
We will shortly be releasing some free Pro Tools video tutorials to show you some cool ways to use Pitch II in your productions, in the meantime here’s a quick guide to this great new Pro Tools plug-in.
Realtime & Offline Pitch Changing
Pitch II should not be confused with autotune type plug-ins, it does not fix tuning but changes pitch, either in realtime via AAX native or DSP or as an AAX AudioSuite plug-in for offline processing.
Pitch II can be used to thicken instruments and voices by making fine tuning changes or to transpose audio.
How Pitch II Works
Avid’s Pitch II plug-in uses granular technology to make the changes to the audio, this chops up the audio into tiny grains and then ressembles them adding small crossfades - this means any pitch shifting does not affect timing.
This kind of effect has been used for several decades, previously done using hardware such as Eventide or Yamaha SPX units. One of the most popular uses for this kind of effect is to make stereo out of mono signals, the great news is that Avid Pitch II works as a mono to stereo effects as well as a stereo-stereo effect.
Excellent Delay Effects
As well as pitch changing tricks, Pitch II offers delay effects too, add the LPF filter and you have an additional and flexible delay line in the tool-box.
We’ll be posting some videos in the next few days and weeks ot show you how to get the best from the new Avid Pitch II plug-in
Both Russ and Mike noticed a comment by community member Robert SH on the What Have Avid Changed In The Pro Tools 11.1 Update? story..
Anyone recognized the new rename tab? It’s kind of nice one…
Yesterday we took a look at it and its a neat little addition so we thought you might like to see it. As you can see it includes a hideable Clip Info section with alot of data including what the parent clip’s name is as well as alll the time stamp info and how many times the clip has been used in the session.
Its slightly different when you select a parent clip…
Although not world changing it is a neat little feature, and being able to identify the parent clip’s name easily will be very useful.
Both Russ and Mike have been critical of the New Workspace in Pro Tools 11. Avid have very quietly fixed Mike’s issue with the Workspace….
I have been using the Workspace and more specifically the the Digibase Pro browser since Pro Tools 7 to search and catalogue my 50,000 plus sound effects. I used to use CDs and a Filemaker Pro database. So when I ripped all my sound effects, I used a bit of Applescript code I wrote, to transfer the data from my FMP database into the OS 9 Finder Comments (yes its that long ago!) for each of the sound effects files. From that I used the Import Finder Comments into Database Comments feature in Workspace and Digibase Pro
After assurances on the DUC that there would be a number of OMF and AFF fixes coming in the Pro Tools 11.1 update in our story on What Has Been Fixed in Pro Tools 11.1 we see that there are two points relating to OMF and AAF imports…
- PTSW-182253: **made a point to mention audio only, since OMF files containing video are not supported. “Fixed an issue that would prevent Pro Tools from importing some audio-only OMF files.”
- PTSW-167656: Improved handling of AAF files that contain source material of mixed frame rates.
We have now seen an early report from P. J. in Finland that it is now possible to import an OMF from FCP7 into Pro Tools 11.1 succesfully.
Please let us know if 11.1 has fixed your OMF and AAF problems or not.
Many people find getting started with Pro Tools a bit daunting and a while back we produced a series called “First Steps” on starting out with Pro Tools, taking you through setting up your PT system, creating your first session, some tips & tricks and finally some basic troubleshooting advice.
- Part 1 - Choosing An Interface
- Part 2 - Choosing A Computer
- Part 3 - Configuring Your Computer
- Part 4 - Creating A New Session
- Part 5 - Creating New Tracks
- Part 6 - Setting Record Levels
- Part 7 - Using The Smart Tool
- Part 8 - Backups
- Part 9 - Template Sessions
- Part 10 - Using Clip Groups
- Part 11 - Playlists And Comping
- Part 12 - Sorting Plug-ins
- Part 13 - Using Mix Groups
- Part 14 - Clip List Management
Although these were created nearly 2 years ago they are still very revelant to choosing, setting up and starting to use Pro Tools 11 today.