Entries in Pro Tools (461)

Pro Tools Running On Mac OS X 10.10 Yosemite 

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?

DDMF Add AAX Compatibility To Lincomp, NoLimits and StereooeretS

Boutique plug-in creators DDMF have added AAX conmpatibilty to their Lincomp, NoLimits and StereooeretS plug-ins for Pro Tools.

DDMF StereooeretS

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).

DDMF NoLimits

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).

DDMF LinComp

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).

More here

Slate Announce Raven 2.0 With Lots Of New Features To Make Using Pro Tools Easier

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 S3L Soon Standalone Control Surface For Pro Tools

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 surface
    Customers 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 mixing
    Numerous 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.

Blake La Grange Shares His Go To Plug-ins For Mastering

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.

Waves MaxxBass

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?

How To Create Super Tight Synth Parts In Pro Tools

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.

Watch it here

Join now and watch over 700 Pro Tools tutorials videos for just £20 a year.

Duplicate Clip Issue In Pro Tools - Updated

Fig. 1 - Region shorter than the bar.

Community member Dustin Anstey has wrote asking about an issue where duplicated clips change length after extended duplication.

To demonstrate he created a quarter note length clip containing a kick drum sample and then duplicated across the timeline for around 4 minutes. Even though the region is cut to the grid, over time it starts to change length and pushes the entire track out of time.

Even more odd is the fact that sometimes it shortens the clip (fig 1) and at other times it lengthens the clip (fig 2). In all cases it’s only by a matter of samples, but it is still not correctly placing the audio.

Fig. 2 - Region longer than the bar.

We have tested this ourselves and can replicate the issue.

Some users suggest that this is the sample rounding feature in Pro Tools, however on tests in other DAWs (some a fraction of the cost of Pro Tools) and this issue does not occur.

DAWs tested: 

  • Apple Logic Pro X v 10.0.6 - No drift with clip copied for 180 bars
  • Reaper 4 - No drift with clip copied for 180 bars
  • Steinberg Nuendo 6.02 - No drift with clip copied for 180 bars
  • Propellehead Reason 7.1 - No drift with clip copied for 180 bars

Dustin also comments in his email “It also seems to be a bit worse with midi regions and it varies depending on how much delay compensation is happening.”

However when using the Loop function or the Paste Special/Repeat To Fill Selection workflows the audio maintains the correct length.

Discuss.

Avid Accounts Updated With Subscription Options

Avid account owners logging into their account will see an new set of menus that now include a ‘products I subscribed to’ option.

Avid announced subscription service option for Media Composer this week starting at $49 per month and it is expected that a similar option will be coming for Pro Tools owners at some point in the coming year.

No pricing has been confirmed for Pro Tools subscriptions to date.

How To Tighten Vocal Stacks In Pro Tools

Russ shows how to tighten up vocal stacks using some of the standard features in Pro Tools.

In this video you will learn several techniques and keyboard shortcuts that will be useful for editing audio in Pro Tools including tab to transient, strip silence, audio warp and more.

Join now and watch over 700 Pro Tools tutorials videos for just £20 a year.

How To Create The Glitch Effect In Pro Tools

Join now and watch over 700 Pro Tools tutorials videos for just £20 a year.

In this video tutorial, Russ shows how glitch effects in Pro Tools are just 2 keyboard shortcuts away.

No plug-ins to buy, simply this nifty editing trick.

Join now and watch over 700 Pro Tools tutorials videos for just £20 a year.

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