Entries in Pro Tools (482)
Slate Batch Commander Pro Tools Enhancement Software Now Available To Buy Separately As Software For Mac
When Pro Tools users saw the Slate Batch Command software for Raven many of us thought, love that software but do I have to buy the Slate Raven to get it? Not anymore, from today Slate has released it in software form for Mac. It seems it is possible to get powerful Pro Tools features without having to buy hardware you either don’t need or can’t afford.
The Slate Batch Commander software for Pro Tools enables complex and often laborious tasks to be automated. They explain;
Gobbler 2.0 Public Beta Announced - A Complete Rethink Of Online Collaboration For The Creative Industry
Gobbler have announced the public beta of Gobbler 2.0 and it’s a complete rethink of how online collaboration works.
Gobbler 2.0 works with WORKSPACES and these can contain ANYTHING. They can contain a DAW project, or indeed several different types of DAW projects from different DAWS, or a Final Cut project as well, or the scripts for the voice over artist. In other words they offer collaboration for the modern creative world we all live in, a world where we don’t just use one DAW or have just one discipline, but we work in a mix of software applications and use a variety of skills on any project.
Our surveys have shown that most of us work with several different DAWs, we may use other tools within a project too, some of us are working with video too, so this approach makes perfect sense - application agnostic collaboration.
How Gobbler 2.0 Works
If you see the image above (you can enlarge it) this new browser based collaboration tool is a cinch to use. You create a new WORKSPACE to keep ALL the stuff related to that project, invite people to collaborate and then share your assets. You can see above Mike and I shared a Pro Tools session, had a chat about it and worked back and forth all within Gobbler. Mike found my session had a plug-in that he did not have so I simply froze the track and sent him an updated session… simple.
The new Gobbler Helper (right in the image) on your desktop is where you drag and drop stuff and it’s really smart. Drag a Pro Tools session into there and it figures out all the assets needed to send and collects and sends them without you having to think about it. If you then edit any assets it uploads the new version to the WORKSPACE without overwriting the original - versioning is coming soon.
Grab The Public Beta
Remember it’s beta so there may be some bugs, we found one and have let Gobbler know, this is the whole point of public betas - so go download and let’s get this thing in shape. You’ll need an account to get up and running but if you have an existing Gobbler account that will work, simply log in and switch over.
It’s OSX only right now….
Windows users are going to have to wait a little longer to get their turn to try out Gobbler 2.0,
It’s OSX only at the moment, although you can login with the web app, use the chat and see projects that you have been authorised to participate in, But you wont be able to use any other functionality until the desktop app is released for Windows.
What To Expect From Avid At AES 2014 - Pro Tools Cloud Sharing, New Plug-ins, S6 And S3 Software Updates
Trade shows are always a good place to see some new stuff hands on and with AES 2014 looming here’s what to expect to see from Avid.
Pro Tools Cloud
Avid are showing what they describe as their pre-release build of the Pro Tools cloud features, this includes track freeze, remote collaboration, metadata and other features. Of course little of this is new to the audio market, but this is the version Avid will be building into Pro Tools as part of an Avid workflow.
The New Pro Tools PXF Archive Format
For those interested in backing up and recovering entire Pro Tools sessions Avid will be showing their new PXF archival formal, this allows comprehensive archiving of Pro Tools in this new propriety file format.
New Avid Pro Series Plug-ins
As reported by Mike from the recent IBC show, Avid will be showing their new Avid Pro Tools Pro Series plug-ins. The new Avid Pro Series plug-ins are a Multiband Dynamics and Sub Harmonic. We are big fans of the Avid Pro Series plug-ins at Pro Tools Expert, so we expect these to be worth a look and listen.
The Latest Avid S6 Software
Avid will be showing the latest version of the Avid S6 control surface software, version 1.3 offers new features to enhance workflow.
The Latest Avid S3 Software
Avid will be showing the new VENUE 4.5 software which offers new functionality like the ability to share I/O across two or more systems with auto-gain tracking, fast access to channels with VCA and Group Spill and more. Mike took a look at IBC 2014.
The full details (save some minor redacted items) of the Avid complaint against Gobbler is now available to read in PDF format.
It consists of several allegations which covers;
“Avid seeks damages and injunctive relief against Gobbler for copyright infringement, trademark infringement, false designation of origin, false advertising, and unfair competition in violation of federal law, as well as state and common law claims for breach of contract, trade secret misappropriation, and tortious interference with the contractual obligations of four former Avid employees who are now employed by Gobbler.”
For legal reasons so that we do not prejudice the Avid Gobbler case we have suspended comments on this story and deleted all the comments off Disqus.
During our recent Waves webinar we ran a number of polls, two revealed a growing trend, that Pro Tools HD users are increasingly working from home.
In our first poll of around 1000 attendees around 60% of those who answered said they were owners of Pro Tools HD systems.
When the same group were asked ‘where do you mix and record’ 57% said they worked in a professional home studio and only 13% said they used a commercial studio. In some cases some users said they did both, this has always been one of the main reasons many use Pro Tools, knowing they can move a project easily between locations.
Reducing Budgets For Projects
These numbers are hardly surprising, the reduction of both music and post production budgets, the closure of many music and post facilities and the reducing cost of professional equipment make working from a home studio more likely.
Once Pro Tools HD systems and the profesionals who use them were largely found in commercial studios, but now you are as likely to find the same professionals working from their bedroom or a shed in the garden.
The Pro Tools track hack, first found by community member Philip Nicols has been one of our most popular items on the blog ever - apart from pics of Russ in a mankini. however we had to take the pics of Russ down but the good news is here is a recap of all the Pro Tools track hack videos. Enjoy
Bounce To Disk is the way in which either entire mixes or parts of a mix can be mixed down to a file using the internal mix engine in Pro Tools.
A Little History
In the ‘good old days’ of audio production whenever a track needed to be mixed then it would be sent as an analogue audio signal to another machine, or to another track on the same machine. In the very early days before multitrack recorders this would be playing off one machine, adding a live performance, and mixing them together onto another machine and then doing it over and over until it was finished.
Then as multitrack machines came along, once you had used 3 of the 4 tracks, to add more tracks, you had to mix those first 3 tracks down and record it onto the 4th track so that you could free up the first 3 tracks to record more material and so on. As multitracks expanded the need for more tracks always out stripped the tracks available so that the practice continued through into the digital world with machines like the Tascam DA88 and Alesis ADAT.
Then there was the final bounce to a separate stereo machine to make the final master, first in analog and then digital. As technology developed DAWs began to offer the option to do all of these options within the box including creating a final master file for either manufacture or more recently for digital distribution on the internet.
Robin Vincent does a full show and tell video of Pro Tools runinng on the new Microsoft Surface Pro 3.
He talks through the pros and cons of running Pro Tools on the Surface Pro 3 and considers screen resolution, performance and battery life.
Watch the full video and see the report by PC guru Robin.
We have to admit that at times the whole RedNet idea can leave us scratching our heads, we think it’s a brilliant way to connect stuff but it’s not always clear exactly what does what.
This video is the best RedNet video to date and covers so many of the questions with clear answers and practical examples.
RedNet At Sonic Fuel Studios
Chris Lennertz composes music for film, TV and video games from his studio, Sonic Fuel, in Los Angeles, California. Like most of his peers, his routine from one day to the next is anything but ordinary. He could be recording strings for a music cue in a movie one day, then scoring themes for a network TV show the next. As a result, he needs a trustworthy multi-channel audio interface system that’s flexible enough to let him work to the strict schedules and turnarounds of the film and TV industry. This means being able to to quickly and reliably transfer full musical arrangements between his Cubase composition and sequencing machine and his print rig, a Pro Tools | HD system.
Until early 2014, before discovering RedNet, Chris and his assistant Alex Bornstein were finding it difficult to maintain this flexibility, so they set out on the search for a new system, as Chris explains. “Before we implemented the RedNet system, we had just 16 inputs and outputs into the Pro Tools rig. It was getting to the point where being able to print quickly was no longer working because we were making three or four passes just to capture everything in the mix. We started looking into things like a MADI infrastructure or buying more I/Os for Pro Tools®, but then we found out about RedNet and it seemed too good to be true. Soon, we realised it was exactly what we were looking for.”
So, with Alex’s technical assistance, Chris made the switch to RedNet, purchasing a RedNet PCIe card, two RedNet 5 HD Bridges, a RedNet 2 16-channel A-D/D-A and a RedNet 4 eight-channel mic preamp. Now, thanks to the high I/O count and audio-routing flexibility of the RedNet system and the Dante network on which it operates, Chris and his team can print cues much faster and more reliably than ever before. “With RedNet, we can have 64 ins and outs, so we can print our cues in one pass, and both rigs can use the interfaces… It’s pretty crazy.”
The RedNet System
There are sonic advantages to the RedNet upgrade, as well. Because the transfer between Cubase and Pro Tools takes place in the digital domain at super-low latency, (digital audio is routed internally by RedNet without having to be converted to analogue and back to digital again), the signal quality is not degraded, as it was by the multiple stages of A-D and D-A conversion in the previous rig. RedNet also saves Chris time, and allows him to spend more time being creative, rather than focussing on arduous technical tasks. “It’s very important to me that I get as much time to write and conceive as possible, and spend as little time on tech as I have to. To be able to take back the time previously wasted on printing to either see my kids or write better music and be able to come up with themes without having the clock ticking quite as loudly is well worth it.”
There are even more upsides to the switch to RedNet: Installation of the system was straightforward, says Alex. “We spent a morning setting up the equipment and once that was done, it just worked. Since then, the boxes have been locked: every morning when I walk in, they’re still on.” Also, thanks to RedNet, other rooms in the Sonic Fuel building can be used as recording locations. Chris and Alex can take the RedNet 4 eight-channel mic preamp to the live room, for example, and record directly into Chris’ rig on the other side of the building. Tracking solo instruments and small ensembles just got a lot easier, says Alex. “Any room in the facility that has an Ethernet connection can be patched in to the RedNet network and you can record there. To be able to quickly record multi-channel audio from anywhere in this environment is huge…”
I’ve been on holiday and had some down time from the blog whilst sitting in the beautiful hills of Tuscany in Italy. The great thing about taking time out is it helps you reflect on stuff a little more, to stand back and reflect.
The team did an admirable job of the podcast without me - the jokes were better for sure, but one thing that got me thinking as I listened to the podcast, rather than host it was the whole discussion about buying extra features as bolt on apps for Pro Tools. This discussion was partly driven by our feature on the lack of surround in the new Avid Pro Tools Quartet package.
This led the team to revisit the idea of buying extra features such as surround. I nearly wrote an article about Pro Tools fantasy version where I was going to ask what that would look like.
As I reflected on this idea I changed my mind - buy 5:1 as a feature for Pro Tools in 2014? Are you joking? Give me a break, this is nuts.
Other native DAWs ship with surround support, so why in heaven’s name should anyone have to pay for surround support in Pro Tools, or be expected to buy a Pro Tools HD system that far exceeds their needs just to get surround?
Give me, in fact give everyone a break Avid.
Some of the Avid team ask why we are not always that positive about the Avid Everywhere vision, to be blunt some of it is an adventure in missing the point, offering things Pro Tools users don’t really want instead of delivering the things we are crying out for.
For example, buying a plug-in to finish a project is one of the features Avid thinks we all need. Would I buy a plug-in to finish a project? Only after I’d exhausted the other options available such as getting the project sent over with the plug-in burnt into the audio, downloaded a demo of the plug-in, or just worked on my part of a project without the plug-in. The last thing I would do is spend money on a plug-in just to finish a project, after all that’s profit lost. If I was running a post house or a studio and someone came to me to say they needed a plug-in to do the job then I would ask them to try and find alternatives before blowing cash on the plug-in. Avid run a business where they are trying to maximise profit and minimize costs, so why in heaven’s name do they think the professionals they are selling to would run their business any differently?
It’s time the Avid Everywhere vision extended to more immediate needs of those in the real world, rather than stuff we might need.
Pro Tools is CURRENTLY the industry standard, so come on Avid let’s have 5:1 as standard, as well as other features that continue to be deficient in Pro Tools. Why should we have to pay for features that come as standard in competitor products?
So what motivated this article, have I been drinking? On the contrary I think I’ve sobered up.