Entries in Pro Tools (515)
No it’s not a Photoshop job, that really is Pro Tools on an iPad and even better it’s using the power of the Mac to run, let us explain.
Duet Display is a new Mac application for OS X and iOS that tethers your iOS compatible device to your Mac and making it a secondary monitor, but rather than being connected by laggy WIFI it uses the cable and some clever software.
Developed by an ex-Apple engineer the new Duet Display app gives you an instant second monitor, even better it allows you to use touch on the iOS device to control whatever application is on screen.
We’ve tested it with Pro Tools and it offers menu functions, faders, mutes, solos and more. It does not allow pinch pull editing, but many common features such as control over plug-ins, MIDI and timeline editing and work. As an instant second monitor with touch control for Pro Tools, it’s a handy little app to have. It even charges your iPad as you use it.
At £6.99 Duet Display is going to be a very popular app - all we need now is Apple to make a large iPad. At the moment it is Mac only but rumours suggest a Windows version is coming.
For more information on the Duet Display for Mac and iOS clcik here
A lot of Pro Tools native owners wonder if Pro Tools HDX is for them. It’s a big decision to invest even in a basic Pro Tools | HD hardware system, comprising of an Avid Pro Tools HDX card and an Avid Omni interface.
It is said that there is nothing more attractive than something you don’t have, in some ways Pro Tools | HD hardware can fall into the category, for some its seen as the pinnacle of the Pro Tools family. In technical terms it is, Pro Tools | HD hardware offers a number of benefits over Pro Tools native, these include;
- Low latency
- High track counts
- Greater headroom
Avid want us to all to think that we’ve not arrived unless we have Pro Tools | HD hardware.
However Russ and Mike decided it would be a good article to tell you why Russ, who has owned a Pro Tools | HD hardware system based around an Avid Omni and HDX card, has decided to sell his and why Mike, who owns a Pro Tools | HD hardware system based around a HDX card, and an 8x8x8 interface with a cheese grater 2.4 GHz 8 core Mac Pro is keeping his.
We hope that this article, giving both sides of the story will help those of you considering Pro Tools | HD hardware the right information to make the right choice for YOUR SITUATION.
Another Pro Tools quick tip, this one is the cool way that Pro Tools HD users can convert volume automation to clip gain and vice versa.
Some people are not aware of this feature but it has several uses including;
- You may want to commit your automation to the track as clip gain and then render it to the audio track for exporting as a completed audio track.
- You may have a track with a lot of clip gain changes written to it and may want to convert that to volume automation instead, leaving the original audio unaffected.
Here’s how to do it.
From Creation to Final Mix: Episode 2 is now available featuring producer Fab Dupont helping the band The Arrows to produce a new track.
In this episode they look at using Boom, laying down a bass guitar and synth line in Pro Tools.
Sign up to download the tracks, watch next episodes and more.
Updated on Sunday, December 14, 2014 at 11:08AM by Pro Tools Expert
We sometimes get people saying how amazing it must be to get gear to review all day. To be honest it’s a bit like working in a chocolate factory, the novelty soon wears off and in fact it can have the opposite effect and leave one cynical and unmoved by most new offerings.
So when Apogee announced the new Apogee Ensemble Thunderbolt, I even surprised myself by how excited I was after reading the specification. As I’ve already said I’m rarely excited by new product announcements, but I wanted to be the one reviewing the Apogee Ensemble Thunderbolt.
Why? It seemed to tick all the boxes for what I needed in terms of an interface, I was days away from moving to a second Apollo, but neither the Apollo or the Apollo 16 had exactly the I/O I needed for my workflow. Thankfully I have an Apollo Twin and a 4-710D, as well as an Octo card so I still have an Apollo tracking workflow when I need it, I couldn’t live without my UAD stuff.
- 30×34 Thunderbolt™ 2 Audio Interface for Mac
- 8 Mic preamps with up to 75 dB of gain and Advanced Stepped Gain circuit
- Thunderbolt connectivity for ultra-low latency (1.1ms round trip with Logic Pro X)
- Front panel Guitar I/O with Class A JFET inputs, dual mode re-amp outputs
- Talkback functionality with built-in mic and control button
- 2 PurePower headphone outputs
- 10 separately assignable analog inputs
- 16 analog outputs of premium Apogee conversion
- Core Audio optimized DMA engine frees up Mac CPU for plug-ins and software instruments
However the large I/O count on the new Apogee Ensemble along with the flexible connectivity looked like it was designed just for me…how often does that happen? I have to be honest and say that I’ve become less and less happy with my Avid Omni interface, not because of the sound, but because I’ve always seemed to be working around it to get what I need, including if you recall having to replace a noisy fan. The only other reason for owning the Omni was that it gave me an easy way into Pro Tools HDX, which to be frank for a composer using a lot of virtual instruments (of which there are zero running AAX DSP) was becoming somewhat of a waste of time and money for my needs - I use the Apollo solution when I need to track with plug-ins at low latency. I’m not tracking orchestras or mixing Hollywood blockbusters so I’m really not going to miss the HDX. This is not to say that HDX is not of use to some such as large studios or sound stages, but in my experience and for my needs it offered no real benefit. I’m also unable to use it when working in other DAWs as they can’t take advantage of the DSP, so I wanted an interface that was not just limited to a single application. A recent survey we ran showed that around two thirds of us are using two or more DAWs in our work so interfaces need to be able to deal with that.
Anyway back to the review, getting hold of the new Apogee Ensemble Thunderbolt was proving difficult, right now it’s easier to find unicorn poo, they seem to be in short supply. However thanks to Richard at Eastwood Sound and Vision one finally arrived at Pro Tools Expert HQ.
The gang at Tokyo Dawn have released another cool free plug-in, the TDR Kotelnikov standard. This is what they have to say about it;
TDR Kotelnikov is a wideband dynamics processor combining high fidelity dynamic range control with deep musical flexibility. As a descendant of the venerable TDR Feedback Compressor product family, Kotelnikov has directly inherited several unique features such as a proven control scheme, individual release control for peak and RMS content, an intuitive user interface, and powerful, state of the art, high-precision algorithms.
With a sonic signature best described as “stealthy”, Kotelnikov has the ability to manipulate the dynamic range by dramatic amounts, while carefully preserving the original tone, timbre and punch of a musical signal. As such, it is perfectly suited to stereo bus compression as well as other critical applications.
The concept is “proudly digital” in the sense that it doesn’t try to emulate any previously existing device. This is the original!
TDR Kotelnikov Features
K Research have updated their free KR-Delay plug-in which now offers AAX 64 and 32 bit suppport for Pro Tools 10 and 11. Don’t forget to check out our other free Pro Tools plug-ins here
About KR Delay
This release of KR-Delay FS comes with many new features like host sync capability for durations from 1/64 to 1/1 plus Triplet and Dot modes, three operating modes Stereo,Link and Ping-Pong, fully independent controls for all parameters in Stereo mode, independent Low Pass / High Pass resonant filters and Panning controls. The graphical display has visual representations of all the parameters of the effect processor for easier preset creation and adjustment.
Here’s a super quick tip for those mixing with Pro Tools. Ever had a stereo track like a synth or pair of overheads and wanted to pull both of them into the centre by an equal amount?
It is possible using panner linking using the Output Window. To open the Output Window click on the small fader icon on the output settings of any channel, see below.
Community member Shannon Bliss-Kelly has run our speed test on his Macbook Pro Retina 13” to see how it handles Pro Tools 11. This is the ‘stuck on a plane or in a hotel room’ test, just the Macbook Pro, internal soundcard and internal drive, it’s just you, your Mac, an iLok, headphones and a USB micro keyboard.
Is it just fit for a few demo tracks or can you get some real work done… find out below.
The best option is always to get a great performance when recording a band, no amount of editing is going to make up the difference. However there are times when you’re given a track to mix and the you have no option but to try and sharpen the track up.
In this Pro Tools video tutorial ‘Get Your Audio Into The Pocket Using Elastic Audio’ Russ shows how to get three tracks sounding like the band played together, even if they didn’t.