KVR Audio

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Mon Dec 28, 2015 1:39 am

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ObsoleteAcc99 · Post by **ObsoleteAcc99** » Mon Dec 28, 2015 1:41 am

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bmanic · Post by **bmanic** » Mon Dec 28, 2015 2:24 am

PT is still very widely used. Heck, we have PT too just for compatibility's sake.. but if I get any PT projects I simply bounce the tracks down and continue in Reaper.

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Mon Dec 28, 2015 3:02 am

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LawrenceF · Post by **LawrenceF** » Mon Dec 28, 2015 7:24 am

bmanic wrote:PT is still very widely used.

It is. It always baffled me why so many people (my nephew is one of them) doing music at home in the lab tend to want to use PT. I suppose it's dreams of hitting it big and having all of their projects already in that format, no clue, but it never made sense to me to spend that kind of money for that when (since like, forever) things like Cubase and similar were always around, from 20+ years ago.

I suppose it was because it's like Kleenex or Zerox, a brand, and most of the full time "name" guys making records were using it.

I took a pass on it long, long ago... and spent equivalent "PTHD" money on a digital console and Cubase... although I did buy an MBox and PTLE later just for compatibility.

Coxy · Post by **Coxy** » Tue Dec 29, 2015 7:52 am

TheoM wrote: TheoM

Can I listen to your tracks anywhere?

You have a scloud?

Cheers

kelvyn · Post by **kelvyn** » Tue Dec 29, 2015 8:21 am

I would think that most commercial studios still use Pro Tools. It's been the default market leader for years now and I can't see that changing any time soon as most owners have invested a lot of money in the system and for pure mixing jobs it is still a fantasic tool that engineers love. A lot of clients expect to find a Pro Tools rig in the studio. I think that musicians and composers are using DAW's like Logic, Cubase, Reaper etc, because they are still better for creating tracks.
I used to have a Pro Tools TDM mix plus system that was incredibly expensive with expensive plugins and for composing just plain clunky in comparison to Logic but my engineers loved mixing on it.
I do think about getting a Pro Tools rig again for mixing but I've invested a ton of money in AU plugins... would be great if Pro Tools was AU compatible.

kelldammit · Post by **kelldammit** » Wed Dec 30, 2015 4:32 am

LawrenceF wrote:That is to say, actually load the stems and play them to make sure it's all there and it's all in sync, and send it. I can't count how many times I've gotten stems where things were just ... screwy... piano playing on the vocal track, whatever. Listen to them in isolation.

And for God's sake... (taken from the "mix engineer gripe handbook") ...

1. Name all of your tracks. Don't send the guy 40 tracks named Audio_1_30.wav.
2. Bounce things that should be mono to mono.
3. Commit. (!!!) The worst thing in the world is to hand the mix engineer 12 tracks of guitars or 40 takes of vocals where he or she has to pick through your takes. He or she isn't a producer, so commit to your raw sounds and only send the things you want them to use.

If you want to also include a tempo map, render a midi file and put in with the stems. Most any daw that's also a sequencer can pull the tempo map from a midi file.

Give that guy a cigar

Also, note that with Pensado and the like, they get a lot of stuff from producers who don't use PT. The bigtime mixer guy's assistants take the stems or pt session (consolidating it to stems if need be), and then put it all into a new project template that's laid out as the mixer prefers (track order, colors, common sends, etc).

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Fri Jan 01, 2016 6:15 am

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incubus · Post by **incubus** » Fri Jan 01, 2016 6:22 am

popcorn worthy (in a good way)

One thing is for certain, we'll get much info

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Fri Jan 01, 2016 6:43 am

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whyterabbyt · Post by **whyterabbyt** » Fri Jan 01, 2016 12:17 pm

TheoM wrote:So does this mean i have a NON expiring Pro tools TWELVE license?

Yes.

So for those that are already subscribers, hopefully you an answer this

1) I am guessing that i can use PT 12 for as long as i want at V 12.4 or perhaps any revision of 12.

My understanding is that you own any in perpetuity any version of 12 that comes out during your Upgrade Plan entitlement.

Users on a current Upgrade Plan will have the latest version available via Avid Application Manager and their Avid account. If your plan has expired you will have access to the most current version available during your plan's term.

(from http://avid.force.com/pkb/articles/en_U ... ols-12-FAQ)

2) If PT 13 comes out within 365 days, i will be entitled to that during the sub period or any other future versions also. But when the sub had expired in a year, i have to go back to using 12 or pay again

That's not clear to me; I'd hope PT13, for example, would be owned permanently if it comes out within your upgrade plan; that's why its an upgrade plan as opposed to the subscription.

The model seems to be 'perpetual plus upgrade plan' or 'subscription'. So that, to me, implies that new major versions as part of the upgrade plan are perpetual.
But it only implies it, I cant see it stated explicitly, and I guess it needs to be.

3) I don't want those extra stupid plugins and support anyway - they had a $99 option but it said my ilok did not have a qualifying license to upgrade, so i presume i can RENEW at $99 a year without support? If so, that's peanuts to keep a DAW up to date.

That's what they're saying. The cost of the upgrade plan is entirely separate from the cost of support. To be honest, I think theyve bundled plugins with the support because most people wont go for it. Not that I think it'll sway that many unless they continually add to the list; they're okay plugins, but folk will have alternatives that dont cost $99 a year.

4) Would you bother upgrading eleven to eleven mK II? It's $49 for a permanent upgrade, i dunno, i can't see a use but if it's like WAY better and would be useful in re amping dry guitars, then i will consider it.

Ive got other amp sims, so Im not going to bother, If its the only one you have, try it on your typical source material and if suits, its a fairly cheap upgrade for an amp sim.

BTW, this might be useful
http://avid.force.com/pkb/articles/en_U ... ensing-FAQ

ObsoleteAcc99 · Post by **ObsoleteAcc99** » Fri Jan 01, 2016 12:28 pm

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toothnclaw · Post by **toothnclaw** » Fri Jan 01, 2016 12:43 pm

So you had Pro Tools 10 full, Pro Tools 11 full, were considering using commercial mixing services because you're almost deaf, and then you went and bought Pro Tools 12 full because that was cheap and you had the money.

So how is this going to make your mixes better? (Compared to if they were made in Pro Tools 11 full by the same almost deaf guy.)

And you were considering using Pro Tools only to be able to send off for 3-rd party mixing. But you couldn't have just used PT11 for that.

I am NOT surprised

whyterabbyt · Post by **whyterabbyt** » Fri Jan 01, 2016 12:49 pm

Sound On Sound seemed to think it wasnt bad compared to its peers when it originally came out in 2008, so its obviously a bit dated now but I'd expect MkII to be 'decent'. Somewhere on a scale of 'Better than Waves GTR, not quite AT4'.

But, not being a guitarist, Im not qualified to rate anything on the whole 'realism' scale of amp sims; that misses me completely. I manage to find plenty of use for them despite that.

http://www.soundonsound.com/sos/may08/a ... eleven.htm

FWIW, the new subscription model seems to have flummoxed them somewhat, too, going by their review this month (only the first part currently available to non-subscribers, but the bit that's there for everyone is most of the stuff pertaining to the new system)

http://www.soundonsound.com/sos/jan16/a ... ols-12.htm

what real world proportion of pro studios, do you think still use PT of some kind?