Entries in Pro Tools (454)
Mellowmuse first came to fame a few years ago when they offered Pro Tools users their Automatic Time Adjuster (ATA) software, this enabled Pro Tools 7 and 8 users ADC in a version of Pro Tools that did not have it as standard.
Since that time Mellowmuse have gone on to develop some excellent plug-ins, based on vintage hardware compressors and equalizers.
Mellowmuse AAX Plug-ins
In a recent news item on their website Mellowmuse have announced the imminent arrival of AAX 64 bit versions of their plug-ins for Pro Tools users, they write “Just finishing up installers for OSX, Windows versions will be out a week or so after that. The only major casualty has been the group modes in SATV and CS1V. It had been the cause of a number of stability issues, and had to go for now at least. Additions include new VST3 formats.”
Plug-ins in the new release include; CS1V, CP3V, CP2V, EQ2V AND SATV.
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Following a request from the community Russ does a full video tutorial on how to connect hardware in and out of Pro Tools. He looks at both the software set-up in Pro Tools and the hardware set-up.
This video tutorial also shows you how to account for any round trip latency that may be introduced depending on the hardware being used.
After watching this tutorial users should be able to use their favourite hardware in Pro Tools sessions.
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Russ shows how to re-amp guitars with Avid Eleven Rack in Pro Tools 11.
Previous versions of Pro Tools gave Eleven Rack users a simply way to re-amp their guitar parts, this was lost in Pro Tools 11. Russ shows how to set up Eleven Rack and your hardware to enable re-amping.
Last week I did my Audient ASP880 review class A 8 channel pre-amp, I then went and bought it. As an Omni user who wants more I/O but doesn’t want to buy more Avid hardware it was a no brainer.
Some have asked why I selected the ASP880, so here’s how I’m using it.
Here’s my set-up to show you what I now have in terms of flexibility. This set-up requires this recipe;
- Avid Omni
- Audient ASP880
- Patchbay and cables
- 3 x DB25 to jack 8 way looms
- 2 x ADAT optical cables
- Optional, but recommended - 8 way XLR/Jack/Combo stage box
- Hardware to taste
ASP880 And Avid Omni Workflow Tracking
I now have 8 XLR/Combo connectors when tracking through my Class A Audient ASP880 class A pre-amps. Also included are variable filters for cleaning up the signal from 25Hz to 250Hz.
The audient AD also alllows me to use 8 insert points on record, so I can really start to use the hardware in the rack on all channels. This is simply a case of 2 of the DB25-jack loops out to the patchbay then I can put any of my hardware across any of the 8 channels.
ASP880 And Avid Omni Workflow Mixing
When it comes to mixing the flexibilty remains, using a DB25-jack into the patchbay I can then use hardware effects on up to 8 channels, sending them out of the Omni and then back into the ASP880 via the AD inputs.
ASP880 And Avid Omni Workflow - Using Pro Tools For Input Switching
I also own an Avid Eleven Rack so if I want to use that to track guitars then that is coming into Pro Tools via the AES/EBU connection on the back of the Avid Omni and then it is simply a case of swapping over the inputs on the hardware settings in Pro Tools.
ASP880 And Avid Omni Workflow - Why This Set-up?
There are other solutions when it comes to haging something off the Omni via ADAT but for me the ASP880 with it’s Class A pre-amps, variable filters and inputs via the AD gives me the quality and flexibilty I have been looking for.
Did Audient pay me to write this? No, I paid them!
A few weeks ago veteran Hollywood mixer, Gary Lux, did an Avid S6 video tutorial on how to use VCA groups on the S6. There were some questions as to how he sets up his Pro Tools session with those VCA groups, and how they work in relation to edit groups.
Well in this new tutorial, Gary shows you step-by-step how he sets up the VCA groups in his sessions and how they translate over to the Avid S6.
Our friends over at the Pro Tools PC are running a special offer this weekend, this offer will give you even more connectivity options for free.
On their Facebook page they write;
So if you’ve been holding off then this weekend may be the time to buy.
Inspired by Russ’s article 10 Free Pro Tools Plug-ins Every Guitarist Should Try I thought I might see what was on offer for bass players. I’m not talking about EQ and compression here but bass distortion.
Using Distortion On Bass Guitar
Over the last few years I have gone from almost never using distortion on bass to almost never leaving a bass track clean. I’m not talking about Muse style fuzz here but gentle saturation effects. I have found this to be a very useful treatment for bass as introducing some distortion generates additional harmonics and can have the effect of raising the apparent level of the bass without actually turning it up by giving the ear extra information above the fundamental. Its possible to use surprising amounts of distortion on a bass track without the effect being one of distortion as much as gelling with the rest of the track. As with so many things context is everything.
The thing I look for in bass distortion is a sense of integration with the original clean sound. This is highly subjective but the least successful plug-in distortions I have heard have a sense of being stuck on top of the original sound rather than being a part of it. Additionally increasing distortion should be accompanied by a reduction in dynamic range and this compression effect makes a significant contribution to the overall feel of the effect.
At the end of the day there is no good or bad here, just personal preference but the striking thing about all of these plug-ins is that they all sound different and some dramatically so.
I restricted my choices to free AAX64 plug-ins. Some of these plug-ins were only available for a limited time. I did not include plug-ins with unlimited demo modes (for example Massey plug-ins) as they are not strictly speaking free.
To hear examples watch the free video.
10 Free Pro Tools Plug-ins For Bass Distortion - Air Distortion
Originally included to make up the numbers - I’d tested nine, ten is so much neater, this little-used by me (actually possibly never used) plugin is surprisingly flexible.
10 Free Pro Tools Plug-ins For Bass Distortion - Avid Lo-Fi
A real favourite of mine, in this application just use the distortion and saturation controls.
10 Free Pro Tools Plug-ins For Bass Distortion - Softube Saturation Knob
The biggest strength of this plug-in is its simplicity, no danger of endless tweaking here.
Another video made by a third party of the new Pro Tools Cloud collaboration feature.
Please be advised that these are technology previews so features may change and no date of delivery or price is given at this time.
Pro Tools Cloud Collaboration Preview Video Contents
The preview includes a preview of;
- Pro Tools cloud text and video chat,
- Pro Tools track freeze,
- Pro Tools upload to the cloud,
- instant Pro Tools plug-in purchasing,
- plug-in install with sessions open,
- session streaming for approval playback to those without Pro Tools installed
- Avid Marketplace
Here’s a short video showing how cloud collaboration may work in Pro Tools. We say ‘may work’ as all of the stuff being shown as part of Avid Everywhere are technology previews, so things like features and prices are not locked down yet and are subject to change.
Pro Tools Cloud Collaboration
We urge you to get past the early part of the video, a kind of cloud collaboration explained for a Sesame Street audience, then you will see some of the technology that should appear in later versions of Pro Tools as part of cloud collaboration.
Pro Tools - Avid Marketplace
The video also touches a little on the Marketplace concept, but again there’s a lot of unanswered questions around the concept such as cost of ownership, revenue split, allowed content, censorship and of course Avid’s distribution reach in comparison to other proven ways to sell and licence your content.
Watch the Pro Tools cloud collaboration video here.
Pro Tools Cloud Collaboration - Hit or Miss?
Hit or miss? Let us know, take the poll and have your say.
At their pre-NAB event, Avid spoke about the future of Pro Tools. Here are the highlights.
Pro Tools As Part Of The Avid Artist Suite
Avid are making Pro Tools part of the Avid Artist Suite of products. This is an umbrella term for the products that are available for audio and video professionals and not a box of products. In essence the Artist Suite comprises of the Pro Tools family of products currently Pro Tools HD, Pro Tools and Pro Tools Express and the Media Composer Suite of Products, Notation, pro mixing, live sound and graphics creation.
Pro Tools Cloud Collaboration
At last! With built-in “community” features, Pro Tools users will be able to create groups of collaborators, then see who’s online and available, and send invites for one or more people to contribute to a Pro Tools session. Avid aim to offer the chance to find collaborators through a Pro Tools directory. Avid hope that with track-based collaboration, you’ll be able to:
- Post sessions to cloud storage and invite others to collaborate
- Work on the same session at the same time or offline and share updates directly within Pro Tools
- Record, edit, and mix tracks that will be pushed to all other collaborators upon completion
- Automatically keep track of all contributions and changes, as files are automatically tagged with rich metadata
- Stream mixes to a mobile device for real-time review and approval
- Communicate with collaborators through text or video chat directly from within Pro Tools
Archive Your Pro Tools Sessions In Future Proof Formats
Avid are working on a new audio archival service that will enable you to store content and track it using encapsulated metadata. This technology is being designed so that assets can be accessed and played further down the line, even if technologies change or are unavailable—no matter how far out in the future you resurrect them.
You’ll be able to archive a simple stereo mix, the full session, individual stems, or even flatten all tracks so that the original plug-ins used to create them aren’t required.
In addition, we’re developing a new cloud storage service that will enable you to house archived sessions and files, plus all of the sessions, stems, and stereo mixes you make available to sell in the marketplace, making your files easily accessible from everywhere.
At Avid Connect an event which Avid claim has drawn almost 1,100 people from 43 countries, Avid CEO Louis Hernandez Jr unveiled Avid Everywhere, their version of the digital media future. Ironically the event was not broadcast via video or even audio, so users has to settle for a simply live web text updates.
In a preamble where he said “Every aspect of our life is changing and being digitized — from digital music downloads, to smart phones, tablets, video chat, digital wallets, analytics – our world is undergoing tremendous change.” and then he turned to content creation “And our industry is changing as well - digital editing, digital distribution, HD, 3D, 4K, 8K.” LHJ then went on to show how he believes Avid would be a major player in connecting digital asset creation with digital consumers.
What Is Avid Everywhere?
Avid Everywhere is essentially a content sharing and distribution platform down to the lowest level of the creation process. In other words it covers everything from collaboration during the creation process by connecting users of Pro Tools and Media Composer and the other Avid creation product work flows, right through to the storage, distribution, monetization and archiving of assets.
The centre of the system is Avid MediaCentral Platform (previously Avid Interplay Pulse), then there’s the Artist Suite - Avid Media Composer, Avid Pro Tools, etc. - are all in this application and sit upon the platform. LHJ said “Artist Suite delivers unparalleled fluid collaboration with anyone on the platform, wherever they are, on premise or in the cloud.” In his words “Another application, the Media Suite includes modules for media management for each phase of the value chain, spanning content creation through distribution and monetization, all in a secure environment.” and then finally leading to Avid Storage Suite which he said “Imagine you can connect to any third-party storage or the Avid storage all in one place. This is what we’re talking about, this is the Storage Suite, You’ll be able to search for all assets on the platform as if they are in the same place”
What does all this mean to the humble Pro Tools user? Here are the top line points from Avid Everywhere…
Avid Everywhere - Flexible Software Licences
During his presentation LHJ said “No assets actually go in the cloud only the tools; we also provide complete choice in how you acquire the tools, whether you purchase them outright or take advantage of one of our flexible licensing options.” As part of the Avid Artist Suite flexible purchase and licence options should be coming to Pro Tools. This was what many on Twitter thought was meant as they tweeted from the event.
Avid Everywhere - Cloud Collaboration
Cloud based collaboration will be coming to Pro Tools, offering Pro Tools users both text and video based chat and ways to share content with one another as part of the creation process.
Avid Everywhere - Metadata Content In Pro Tools
Avid have made metadata a core part of Avid Everywhere and have gone for an open metadata system, with the ability to pick up metadata from a range of existing metadata formats, so that users can keep track of their content.
So there it is, the big reveal Avid have been working up to for the last few months. We’ll start to fill in the details in the next few days and let you know of the response from the industry. In the meantime let us know what you think of Avid’s vision of the media future.
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About Pro Tools Power Filter Tutorial Transform Synths And Loops
In this free Pro Tools video tutorial Russ shows what can be achieved by using filters on synths and loops to transform tracks.
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You may have noticed that more and more authors are contributing to articles on Pro Tools Expert, we’ve got some excellent contributions from people like Julian and Denis. This is exciting as this has always been the vision, Pro Tools experts from around the world sharing their tips, tricks and opinions with one another, helping all of us to be better at what we do… that’s what the name is about.
Perhaps you read articles and think ‘I could do this’ or ‘I could do better’, if that’s the case then why not join the growing list of fantastic contributors? Why not step up to the plate? Remember we do this in our spare time so we could do with all the help we could get.
Simply submit an idea for an article and we’ll take a look at it and hopefully before you know it you’ll be sharing your ideas with the worldwide Pro Tools community. We look forward to hearing from you.
My name is Dan Cooper and I have been using Pro Tools for music production since 2002 and recently realized I have never used Pro Tools without a control surface.
This led me to think why I use one and why I believe it is so integral to my Pro Tools workflow. I also wonder that because of my dependency on control surfaces if I could ever use Pro Tools without one and run sessions using just a keyboard and mouse.
In this article I want to share my past educational and present professional experiences using Pro Tools control surfaces and hopefully find out by sharing my story with other people their views, experiences and workflows using control surfaces.
My Education In Pro Tools With A Control Surface
As I said at the start, I have been using Pro Tools since 2002. Back then I was a student at The BRIT School of Performing Arts keen to learn studio recording. It was good timing for me and my fellow students as The BRIT School had just installed a new Pro Tools TDM system with a Control 24 control surface in their main control room.
At the time they had two very different control rooms that shared one live room. One was all analogue and was kitted out with a Soundcraft Sapphyre console, tape machine and an array of outboard gear wired to a colossal patch bay, all very daunting for a newbie. The other studio was a digital studio with the Control 24 as the “console” with a much more simplistic layout. My prior experience of recording back then was with Cubase on my home PC pushing faders with a mouse.
My first experience of recording at The BRIT School was in the analogue studio through the Soundcraft console to tape. Everything was patched with every operation being undertaken by our hands and ears. It was an experience I’ll never forget. It took weeks to understand all the routing but we were always told that we were learning skills that can then be applied to any recording environment or system. In other words, once we had learnt the analogue workflow the digital workflow would be an easy transition.
When using Pro Tools we were encouraged to use the Control 24 to operate Pro Tools as much as possible. We were taught compression, noise gating, equalization, effect sends… you name it… by turning the rotary knobs on the Control 24 and by feeling the faders by pushing and pulling them. Plug-ins in Pro Tools 5 back then were nothing special to look at so we would rely on our ears to hear the changes we would be making with our hands on the control surface as we did with the gear in the analogue control room. The benefits being that we were taught to use our ears and hands in harmony. This is a skill that I use today in my profession using my Avid C24.
After finishing my two years at The BRIT School I went to university to further my education in Music Production. I had a great working knowledge of Pro Tools using the Control 24 and the skill sets relating to Music Production. Unfortunately for me the university I attended only had Logic with no control surfaces. I had no problem transferring my software understandings from Pro Tools to Logic but I always felt that when I was tracking and mixing I was missing a very important instrument under my hands… the control surface.
I remember the feeling when mixing with a mouse for the first time with my new skills. I could never be completely confident with the mix choices I made.
- I struggled to get automation correct when drawing lines over waveforms,
- I missed having the ability to put my fingers across multiple faders so that I could pull a fader down at the same time as pushing another up for balancing volumes, AKA riding the faders.
- It felt counter intuitive adjusting plug-in settings without rotary knobs
- I missed visually seeing my tracks under my hands for instant access.
It felt my mixing intuition that was developed using a control surface was gone when I mixed with a mouse. I soon got a bank loan and purchased a Digi 002 Factory, the baby brother of the Control 24. It was great. I used it to pick up from where I left off with my skills using the Control 24. I continued to develop my skills in Pro Tools always feeling connected to the music when using the 002 8-fader surface. From the 002 I moved onto a M-Audio Project Mix then to the Digi 003 Factory. All those baby control surfaces offered very good integration into Pro Tools with similar features.
Eight Years after being taught on the Control 24 with Pro Tools at The BRIT School I launched my own recording studio business in South London called Rodel Sound Ltd. I started with a modest setup with my Digi 003 surface at the heart of it all. Within 6 months my client base grew rapidly and the projects I was working on became larger and more complex. I found the limitation of an 8 fader bankable control surface pretty quickly. I needed more feedback and control from my Digi 003 to handle my sessions. The solution was to upgrade the control surface. I used my past experiences of the Control 24 and invested in the successor… the C24. I have used it heavily ever since I took delivery of it in 2011.
On Monday we were alerted to a rumour that a developer by the name of Fad Opal had found a backdoor that allows any owner of Pro Tools 11 to unlock it to run as Pro Tools HD. A backdoor is a way of gaining access to an application but is usually only known to the developer, it is often created to run test procedures, however it is widely considered to create a security risk if these are on network based applications.
The Back Door In Pro Tools 11
The rumour we were told was that if certain keys were held down when launching Pro Tools 11 then it would open as Pro Tools 11 HD. We thought this was rubbish and so decided to try it for ourselves, the combination is not a simple one but requires some careful finger placement before getting it right, it took us 28 times before it eventually worked - but work it eventually did. After which we could repeat the process. The best news is this requires no programming skills and does not require any kind of hacking or meddling with the code as it was put there in the first place by the author of the code. We remember doing this on some games consoles to unlock secret levels or infinite lives.
Video Proof Of It Working
We decided to make a video of it working so viewers could see for themselves, although our guess is that someone will move quick to patch this back door.
When you watch the video you will see how hard it is to do on a laptop, so we suggest you ask a friend to help you if you are using a regular keyboard and mouse. Fad did say that it is best to always make sure you have two people in the studio when running a session to ensure you can launch Pro Tools 11 in this way.
More Back Doors In Pro Tools And Other Software?
Fad also told us that most software has back doors and easter eggs built into it, something he learnt as a games coder in the 1990s. Fad told us he spends several hours each day launching software whilst pressing different key combinations to find them, sometimes with unexpected results.
Thanks to Rosily Developers for allowing Fad to show us this trick, however he is unable to offer any support or advice on using this method.
Of course it was a hoax that we dreamed up last October.
How it was done was simple and helps to illustrate a very simple fact about Pro Tools. Pro Tools uses a single installer and what version boots up depends on the licence you have on your iLok.
The right of the Mac contains a regular Pro Tools asset, the cable on the left is a USB extension cable that ran off camera, we simply inserted an iLok with a HD licence and hey presto!
Eventide have announced that the H3000 Factory Native Plug-in Downloads 2.1.1 are now available to all Eventide users.
This includes both 32bit and 64 bit versions of AAX installers for Pro Tools 11 and below.
How To Get Eventide AAX Plug-Ins For Pro Tools
Users must have a valid license and iLok in order for plug-ins to work.
More infomration and to download Eventide AAX Native versions visit their web site.
Multiple DAW Syndrome.
A phrase coined by our friend Dennis, the Editor of Logic Pro Expert, but it seems that more and more people are choosing to use more than one DAW. It appears to be the case that when it comes to DAWs there is no magic bullet DAW.
Are you one of those people using more than one DAW? If so then take our poll, we’ve tried to cover most of the bases but if we’ve not covered your situation then use the comments to tell us what you do and why.
This is not about which DAW is best, as far as we’re concerned the best DAW is the one that is best for you, but it may be the case that there is no single DAW with all the features we need to get the job done. Vote and comment and let us know.
Sorry the poll broke so we had to reset it with the correct answer, sorry to those who already voted.
In this free Pro Tools video tutorial Russ shows how to take a brass performance from good to great.
In this tutorial you can learn Pro Tools techniques on tuning instruments, editing audio using tab to transients and separate at transients, time correction using quantise audio to grid as well as using Beat Detective to smooth edits. Finally you can see how augmenting with VIs can enhance an existing performance.
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It is not everyday you find yourself in a room where top producers and engineers give free mastering advice. A few weeks ago we posted a feature on preparing your mix for a mastering engineer with advice from professional mastering engineer Neil Pickles, many found that helpful.
Our friends over at ProToolsUsers.org posted the article on their Pro Tools support forum and got some excellent advice from their team of moderators, who also happen to be top engineers and producers.
Some of the people who posted their own mix tips and tricks include:
- Gary Lux, renowned recording engineer and surround sound mixer
- Frank Wolf, producer, engineer and scoring recordist
- Steve Hall of FutureDisk Mastering, renowned mastering engineer
- Mick Guzauski, Winner of over 7 Grammy Awards with over 27 #1 hits on the charts
- Paul Grundman, producer, engineer and mastering
Mastering Advice From Those Making The Hits
“When we sent the Daft Punk “Random Access Memories” final mixes to Bob Ludwig, we sent the recordings with no limiting on the mix so that we could benefit from his impeccable ear and artistry.” Mick Guzauski
“Never assume that you can fix it in mastering! Steve Hall
“All things considered, the art of mastering is just that. There are some terrific guys out there.” Gary Lux
Head over and join the protoolsusers.org Pro Tools support forum and check out some of the other excellent advice, tips and tricks.
Sign Up Before April 30th For A Chance To Win A Pro Tools HD System
Don’t Forget! If you register by April 30th, 2014 you may win a new Avid Pro Tools Thunderbolt HD system with MacBook Pro Retina and Focal Professional Speakers!
Over the weekend Dennis at Logic Pro Expert ran a story about a new application called Auganizer, a handy OS X Audio Unit management application that lets you rename, reorder, arrange and organize Audio Unit plugins the way you want. It currently works for both Logic Pro and Ableton Live.
Our first reaction was YES! Our second one after realising that it does not work for Pro Tools plug-ins was BOOOOO!
We have reached out to the developer to see if it would be possible to do this for Pro Tools, we have even offered to run a crowd-funding project if this is required. His response “I’m not a Pro Tools user so I wasn’t aware of limitations in this format, I was always under the impression that Pro Tools users could rename plugins the way they wanted - in fact a few people have written how envious they are of Pro Tools users because of this (Before Auganizer!) but this isn’t the case? Is it only with certain formats? It is certainly something we could look into once we’ve got Auganzier 100% stable and polished.”
So watch this space, however in the meantime there are a couple of things you can do to tidy up the plug-in folder, or even pimp it up if you have a spare hour and want to really organise your plug-ins.
Create Folders To Organise Your Pro Tools Plug-ins
‘Inspired’ by the Auganizer GUI I created folders within the Avid plug-ins folder to sort the plug-ins. NOTE this only sorts the plug-ins without that folder and has no bearing on the Pro Tools sorting and display of plug-ins… BOOO!