Entries in Pro Tools (465)
Stillwell Audio have announced version 3 of their software which sees 19 plug-ins updated and adds compatibilty for both RTAS and AAX for Pro Tools users.
Even better it offers free upgrades to 19 of their plug-ins for which are now both 32 and 64 bit as well as RTAS and AAX for OS X and Windows users.
They has also announced a brand new web site, posting this news;
It’s been a LONG time coming, but it’s finally here. Version 3.0.0 brings many noteworthy features and fixes. All known compatibility issues have been addressed for current users, and for those users that have been waiting patiently (or not), we’re finally fully consistent; all plugins are available 32 and 64 bit, both Mac and PC (with the exception of Psycho Dither which is still WIP and Microschope which has been retired due to lack of activity). The most exciting bit for new users, though, is additional platform support. We now support VST3 and (wait for it) Pro Tools. Our plugins are available in RTAS (legacy), 32-bit AAX Native (Pro Tools 10), and 64-bit AAX Native (Pro Tools 11). Where appropriate, we have also built in support for Audiosuite.
The plug-ins included in the new upgrade include the much loved 1973, Bombadier and Vibe EQ, the entire list is impressive and is shown in the chart below.
They also offer 100% functional trials of their plug-ins for you to try.
The team over audio assault are making some nice guitar and bass amp and cab emulations under the name Grind Machine. Even better they have some free versions to download, they come in AAX format for Pro Tools 10 and 11 both Mac and Windows.
Often Bass player can feel left out with many plug-in concentrating on the guitarist, however this free plug-in is aimed squarely at the bass.
We tested it in Pro Tools 11 for CPU drain and it is very efficient showing marginal CPU draw of around 2-3%
About Bass Grinder Free
Bass Grinder Free is a free bass amp and cabinet plug-in, stripped down version of Bass Grinder, the full featured bass amp and cab emulation.
The free version includes
- 2 Amps ( Dragon & Razor )
- 3 Cabs
Cabinet bypass is disabled in Bass Grinder Free
How To Download Bass Grinder
It’s been some time since Pro Tools 11 was launched, but not everyone jumps on a new version of an application right away, some put it off for a long time.
For example some post houses have never moved from Final Cut 7 to Final Cut X because it does not offer the workflow options they require, so they remain on an old version. The same can be said for Pro Tools, people remain on older versions for various reasons. For some it’s about hardware compatibilty, for others it’s plug-in issues, or cost - it may simply be because the version you have works, so if it ain’t broke don’t fix it.
So take part in our poll to tell us the version of Pro Tools you are using MOST OF THE TIME, if you jump between two versions then choose the one you use most, use the comments if you want to let us know why you’ve upgraded, or why you’ve remained on the system you have.
Check out this video from community member “GodGiven Mercy AndBass” who reached out to us on Facebook with this video showing drums being edited on an iPad controlling Pro Tools on a computer on the same network using a remote control software solution called Splashtop, using their iOS app.
Secondly, community member Tom Scrivano told us about a solution that is like a Hotkey Matrix on an iPad. Calmaestudiis in Spain have created a free template for the iOS platform which enables you to control your Pro Tools rig using buttons on the iOS device which enact Pro Tools shortcuts.
We haven’t had chance to check either of these out yet. If you try them out, please let us know how you get on with them.
We have seen comments that people are struggling to get the Calmaestudiis, TouchOSC, Osculator combination to work. There are instructions that come with the template files but they are a little basic, but hey its free so doing a bit of work is not unreasonable. I have just been through the install process and I have written up a more comprehensive set of instructions and here they are…
Installing the free Calmaestudiis iPad template using TouchOSC and Osculator software.
- Purchase, download and install the TouchOSC app onto your iPad. TouchOSC will cost $4.99.
- Download the Osculator software and install it.
- Download the free template from Calmaestudiis.
- Unzip the CalmaPT.zip file. In the CalmaPT folder you will find 2 folders - Osculator PT10 and TouchOSC PT10.
- Run Osculator, it needs to be running all the time Pro Tools is running.
- It will work in ‘demo’ mode until you select to purchase it. It will cost between 14 and 29 Euros plus vat for European users. Whilst in Demo mode when you get the ‘nag’ screen it stops working until you dismiss it.
- Open the file calmaestudisPT10.oscd with Osculator and leave it running, you might want to consider arranging for your computer to run it at start up.
- Go to the Download page of TouchOSC web site
- Scroll down the page to find the Editor software and download appropriate TouchOsc editor for your computer.
- Install the software and open the file calmaestudisPT10.touchosc in the TouchOSC Editor
- Press the Sync button in the TouchOSC Editor.
- On your iPad run TouchOSC and in the settings page, set the Host IP address to the IP address of the computer that is running Pro Tools.
- Go to the Layout option in TouchOSC on your iPad and select Add.
- In the Add Layout window press the Edit button in the top right hand corner of the screen.
- Press the + button in the top left hand corner and then type in the IP address of the computer with Pro Tools and The TouchOSC editor on it. Press Done.
- Press on the IP Address in the list of Editor Hosts in Touch SOC on your iPad, and that will download the profile as long as you have already pressed the Sync button on the TouchOSC Editor software.
- If your iPad gives an error message that it is unable to connect to the server, check you have entered your IP addresses correctly and that you have started the Sync process in the TouchOSC Editor on your Pro Tools computer.
- Once you have the template on your iPad press the Stop Sync button on the software and close the TouchOSC Editor.
- You should now be able to use the Calmaestudiis iPad template to control Pro Tools from your iPad.
If you want to use all the buttons on the 13 tabs on the TouchOSC app on your iPad, you will need to add shortcuts into your Keyboard Preferences, and this is covered in the original instructions. I choose not to do this as they would override my shortcuts for my Hotkey Matrix.
We hope these will help anyone having difficulty installing this package.
There’s one more that I have been “sitting on” for over a year but now seems a good time to mention it.
KillerKeys is a virtual keyboard that is displayed on your screen showing shortcuts for hundreds of popular applications. It features autoswitching so when you move to another application the shortcuts being displayed change to the appropriate ones for that app’.
It also features a free ipad app’ that works over WiFi to allow direct access to the shortcut palette on the ipad’s screen as well as a touchpad for mouse pointing and clicking, a volume slider for audio control and a jog shuttle wheel for navigation and markers.
Why did I sit on it for so long?
Well, its implimentation wasnt perfect and I’ve had varying irregular performance trying to use it with Pro Tools 11 (its not listed as supported - Only PT8 and 10 are) , although it is feature rich it’s not as slick as I would want for a control surface replacement/add on but perhaps you’d like to try it yourself.
Check it out at KillerKeys.com
Community member Steven Thompson took his life in his hands and installed the next version of Mac OS X 10.10 Yosemite on his Mac to see how Pro Tools would perform.
Of course no copies are available to the public yet so we don’t even have to tell you not to try this at home, but if they were the we would tell you not to try this at home.
Here is the story of how he got on.
I was the guy who jumped right into Mavericks without any regards as to the fact that Pro Tools would function properly or not. Hey, isn’t that what backups are for? Unlike some posters that I’ve seen on the web forums, I have had no problems with Mavericks (Editors note:lucky guy) and Pro Tools.
Anyway, I am happy to report that my initial test run with OS X 10.10 Yosemite was a success.
Pro Tools opened without a problem. All of my plug-ins seem to be working as they’re intended. The only thing that I’ve noticed is some of the playback engine and hardware settings went awry. Almost as if the .plist file got changed. This, of course, was easily fixed by changing the settings back to what they were pre-Yosemite. It is also possible that these issues were unique to my experience.
This seems very promising since we usually have to wait some time for Avid to approve a new operating system.
I’ll be diving deeper into Pro Tools and trying to uncover some glitches, if any exist, over the next few days. If I do discover any then I willl add them in the comments section. Of course if you’re currently working on an important project, I wouldn’t suggest upgrading to a beta OS. However, if you have time and energy to experiment once the beta ships then you should still be able to do some work.
Thanks Steven for this report, it seems early indications may be promising.
Perhaps Yosemite is a working version of Mavericks?
Boutique plug-in creators DDMF have added AAX conmpatibilty to their Lincomp, NoLimits and StereooeretS plug-ins for Pro Tools.
With StereooeretS you can increase the stereo fiels as much as desired, but without losing punch in the low end from removing too much “oomph” from the center channel. It splits up the audio in a high- and a low frequency part and lets you adjust the width, gain and even pan of both bands independently! Features: can be fed with L-R as well as M-S signals. Phase of both channels can be flipped. Solo option for all bands and channels to help you hear what you are doing. Built-in stereo field analyzer to prevent phase issues. Available in Windows VST/RTAS/AAX and Mac VST/AU/RTAS/AAX format (32 and 64 bit, Intel, OSX 10.5 and higher).
This look-ahead limiter completes DDMFs mixing and mastering portfolio and will be your weapon of choice to bring you up to competitive levels. Features: optional auto-gain, optional transient stereo linkage, advanced mode for variable lookahead, attack and release times, and a state-of-the-art dithering algorithm. Last but not least: it sounds smooth, yet powerful… Available in Windows VST, RTAS, AAX and Mac VST, AU, RTAS and AAX formats (32 and 64 bit, Intel, 10.5 and higher, 32/64 bit).
LinComp is a linear phase multiband compressor, a tool that belongs in every mastering chain. Multiband compression allows you to take care of the levels and response times of four frequency bands independently, and the linear phase crossover guarantee that all this happens with no damage done to the audio whatsoever. Independent threshold, attack, release, ratio and gain controls as well as master faders for simultaneous control let you sculpt the dynamics of your tracks in any way imaginable. Select the compression type by switching between hard and soft knee, use LinComp as a brickwall limiter with the built-in clipping function, and do A/B tests to find out the optimal setting. We still don’t know why we sell a high quality plugin like this for only $39, but well, we do, and you better buy it before we change our mind. Available in 32/64 bit VST/RTAS/AAX for Windows and VST/AU/RTAS/AAX for Mac Intel (10.5. and higher).
Steven Slate has announced Raven 2.0 software with a host of new features.
Most of the video demonstration concentrates on the use of their new batch command feature which offers Pro Tools users some very cool macro based automation in Pro Tools.
Raven 2.0 also offers even more responsive faders.
The video is well worth watching and shows just how much thought Slate have put into offering sensible workflow features for Pro Tools users.
Avid have announced an update to the Avid S3L which includes our predication that users would be able to use the Avid S3L as a standalone control surface for Pro Tools. All part of VENUE 4.5 and EuControl 3.2 software updates.
In addition to this other new features include;
Ability to mix Pro Tools and other DAW sessions using the S3 control surfaceCustomers can now use the S3 control surface as a standalone studio controller and audio interface with Pro Tools and any other EUCON™-enabled digital audio workstation. This enables an engineer to mix down a performance in Pro Tools after a gig using just the S3 control surface and a laptop. The EUCON protocol – the same protocol used by Avid S6 studio consoles – delivers superior functionality and integration.
Updated operating system with support for 64-bit AAX DSP plug-ins
S3L’s updated operating system includes support for 64-bit AAX DSP plug-ins, giving customers access to all the latest effects and sound processors available.
Improved surface navigation and mixingNumerous enhancements improve surface operation, navigation and visual feedback, speeding up workflows by providing greater flexibility to mix live shows with user-definable fader layouts, VCA and Group Spill, and more.
The new update will ship in Q3.
Price Free to all existing users.
Community member Blake La Grange is a producer and engineer living and working in Southern California and runs his own mastering business Mercury Mastering. He is a full-time mastering engineer and has worked with members of Chicago, Cheap Trick, Cake, and artists like P.O.D., Mase, and many more. Blake told us…
With hundreds of songs under my belt, from all different styles, I have learned to adapt to just about every genre that comes my way.
So here is his personal take on using plug-ins in Pro Tools for mastering.
Kush Clariphonic Parallel EQ
This thing is absolutely amazing. It can be used to throw on the stereo buss right before you send a track off to mastering, or used on anything with distinct hi-end like acoustic guitars, strings, or vocals. I own the actual hardware and use it 9 times out of 10 for mastering. In my opinion the plug-in is almost identical. It basically boosts two areas of top-end (around 2-6k and 6-20k). I usually hate boosting anything because I’ve adapted a philosophy to cut problem frequencies, but this changes everything. It boosts harmonic frequencies to truly add shimmer and clarity without the terrible harsh frequencies you get if you were to boost on a regular EQ. Just when you think a mix can’t get any better, start playing with it, bypass, and wonder why you lived without it.
Waves SSL G-Equalizer
I often use this EQ for cutting. It sounds so much better than any “10-Band” type EQ. Because you are limited to SSL’s parameters, it sort of forces you to be a better engineer. Whenever I need to get rid of that room resonance or muddiness, I’ll use this to notch out around 200-500Hz. It also has an “analog” switch so that after this hits a compressor or a limiter, you can hear that analog hum that we all long for in this digital age. Instead of throwing on another plug-in or using another EQ, I’ll use this to boost (sometimes). It is extremely sensitive, however; its 2dB boost seems like an 8dB boost on every other EQ. I’ll never cut or boost more than 3dB on this. Another helpful feature is the high-pass filter to cut out all the mess under 40hz.
This works similar to the Kush EQ where it boosts harmonic frequencies rather than grabbing a knob at 100 and turning it to the right. It also has a similar effect as the Kush EQ, but it’s geared toward low-end frequencies. Whenever a mix is lacking excitement in the low-end, I’ll use this to bring out the harmonics of the kick and bass. I use the frequency switch to find the bass or kick. If they are both sitting in the same frequency range, the MaxxBass won’t be of much help to you, but it’s a great “go-to” if you want to stay away from boosting low-end.
Waves PuigTec EQP-1A
I decided to add this into the list simply because of the “Attenuation” knob. If you don’t have the real thing, the plug-in does just fine. It certainly doesn’t sound as good as the hardware, but it’s the next best thing. I never use it to boost up top, unless it’s a very gradual shelf of a dB or so. This EQ, however, really nails the bottom end. Once you’re done boosting, bring up the attenuation knob and it technically dips that selected frequency. I know, right - boosting and cutting at the same time? Trust me, it’s awesome.
Waves API 2500
This compressor can give you any sound you want. In my studio, I usually like to stick to clean sounding EQ’s like SSLs, but whenever I want some color to my mix, I’ll use the API 2500. It’s definitely not as good as the real thing, but it’s darn close. I love the “Tone” selector. I think of it as my “style” selector. If the mix is already sounding great and simply needs some compression, this will do the trick.
Waves L3 Multimaximizer
I wouldn’t call this my favorite plug-in, or even my “must-have” plug-in, but if you want your tracks to be loud, without sounding squashed, this will do it. Unlike the L2, this is a multi-band limiter that allows you to hone in on five different frequency ranges. I’ll even find myself boosting 1dB or so up top just because I can. If you don’t have the hardware L2, or even if you find yourself coming up short with the loudness war out there, the L3 will allow you to fight the competition without selling out to the “squash factor” sound. That is, if you use it carefully.
Mike - So these are Blake’s go to plug-ins for mastering, do you agree? If not, what are your go to plug-ins for mastering?
Russ shows the trick for creating super tight synths in Pro Tools.
He also shows how this trick can be used to tighten up other instruments in Pro Tools.
All plug-ins used are part of Pro Tools.
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