You can connect this to two different computers simultaneously and switch between them. We have general commands here that allow you to set up how the S1 is functioning.
We can build layouts and also soft keys, which allow us to have user assignable control. Once you have your S1 set up, simply open your DAW and the tracks that you've created along with all the processing, and everything else will automatically show up on the screens.
One downside of the Avid S1 control surface is that it doesn't work with the Avid S3 so you can't daisy chain these together. Recommended for: I recommend the S1 for sound engineers, engineers, and producers. It has everything needed to speed up your workflow, delivering better mixes quickly and easier. If not the best, it is definitely one of the best Pro Tools control surfaces you can buy right now.
This lets you to be able to control various parameters of the DAW and plugins while having the transport control under control. Finally, the device forms an attractive symbiosis with the in-house S3, both functionally and aesthetically. Large projects can be traversed quickly, and each track can be specifically selected using the iPad's touchscreen.
The Avid Dock lets you mix and edit tasks in the most creatively new ways. Dock provides you with an intelligent studio control board in an economical, affordable, and portable surface. When used with an iPad, you can have a quick access as well as tactile precision handling through the touchscreen. When you choose the Pro Tools S3, you get time-saving custom controls and touch workflows. Thanks to the combo of the touchscreen, switch control, fader, and knob, you can have an impressive navigational speed as well as precision that lets you make better and faster sound mixing tasks.
The Dock surface is Eucon-supportive. It thus automatically switches between controls to applications of focus on your computer. Wouldn't I be asking too much if I am complaining that it doesn't come with a tablet or screen? That aside, not all sizes of tablets can fit the orientation of the unit.
It will also take an ample space on your desk. Moreover, it takes time to learn and get adapted to the workflow. It allows you to mix and edit a lot of songs while not even using the mouse. Great for small studios or home producers looking to speed up their workflow. Only the name and the color have changed. Instead of the classic silver aluminum surface, which seamlessly adapts to the look of an Apple keyboard, Avid has now introduced an elegant black.
The hardware has otherwise remained the same since — and thanks to ongoing updates, it has developed into a reliable partner in large and small studios to this day. More and more studios are doing without analog consoles and are working completely digitally. AVID also offers the Artist series a professional solution for smaller studios.
While Artist Control houses four motorized faders, a touchscreen, and a transport section, the Artist Mix proves itself with eight motorized faders, eight rotary encoders, and a strong OLED display. In addition to the captivating look in elegant black, the very flat design of the Artist Mix has been cleverly chosen. With a width of 42 cm and a depth of almost 23 cm, the device fits perfectly between the display and keyboard without losing valuable workspace. If you don't like the flat design, you can fold out the slightly wobbly, small feet on the underside or mount the stilts included.
Installing it is quick and easy. With the Artist Mix, Euphonix, now flying the Avid flag, has achieved a great success. In terms of design, you immediately notice the proximity to Apple, and that's a good thing. It makes your workplace look so chic and uniform, it just looks like it is all of a piece. In terms of processing, small items such as the folding feet on the bottom are improved. Overall, however, the controller looks very robust and durable. Even without a long training phase, the excellent cooperation between DAW and EuCon client makes it possible to optimize your workflow and use the Avid Artist Mix sensibly.
No missing functions were noticed in everyday work; all work steps that were sometimes carried out with the mouse and shortcut could be carried out ergonomically with the Artist Mix. All functions are immediately available without further configuration, and the DAW here Logic Pro X automatically recognizes the controller and can be operated remotely and immediately.
It couldn't be easier. By the way, it doesn't matter whether the Avid Artist Mix is connected to a Windows or an Apple computer. The only drawback is the transport functions that can only be accessed via secondary buttons. If you value this more than four additional faders, you might be better off with the Artist Control, or you can also buy the little Avid Artist Transport. Recommended for: The Avid Artist Mix is perfect for small project studios. It allows you to customize setups of anything you want.
As one of the best Pro Tools control surfaces, it's suitable for artists who own a home studio or semi-pro engineers. The PreSonus FaderPort is unique in its design. With the control surface, you can have window selections which come with the record, stop, and play functions. The surface is reasonably priced.
A great upside of the product, which makes it a popular control surface, is because it features almost most DAW programs. It can also write from one channel or from grouped channels of volume and pan automation at the click of a button. The FaderPort 16 lets you take control of your mixes like never before while using your computer's mouse and keyboard.
It is a viable option for in-the-box mixing. The FaderPort allows you fast and precise access to everything that you need, making your workflow swifter and more efficient than ever. Featuring motorized touch-sensitive faders, you'll be automating and tweaking your mix instantly without having to click through multiple windows.
You can scroll through tabs on your screen. With 89 buttons controlling different functions, you'll be working faster and smarter than ever. What's great about the FaderPort series is that it works with your existing mouse and keyboard setup. How you use it is up to you and your workflow. The FaderPort session navigator gives you quick access to each function. You can scroll through your session, zoom in and out. Basically, all of the things that would leave you clicking away on your mouse are now conveniently placed at your fingertips.
No fuss, just powerful instant control! It's just plug and play. Are you the type of person who loves to record and mix in the box but want near unlimited control over all of your mixes' parameters without constantly having to be clicking through windows or dragging faders with your mouse? Then you owe it to yourself to check out the PreSonus FaderPort. When you compare this with the Avid models, you'll see it doesn't offer much functionality.
Meanwhile, it lets you work more accurately, faster, and even longer. Recommended for: The FaderPort is for any user who needs flexibility, and ultimate control surface, and any type of on-the-go controller. You should definitely check out if you're on a budget and want cross-DAW compatibility. Believe it or not, the Behringer is finally here, and I consider it an ideal FaderPort alternative.
And, as well as using the on-screen fader, you can also 'nudge' the clip gain by a value specified in the Editing Preferences, using key commands, your mouse's scroll wheel, or a EUCON-compatible controller. If Avid had stopped there, clip gain would already be pretty indispensable, but the company's developers have gone a few steps further.
Not only is it possible to cut, copy, and paste clip gain settings between different clips, but Pro Tools HD and Complete Production Toolkit users can convert between clip gain settings and track volume automation. While competing applications have had the ability to apply per-clip gain settings for some time Nuendo had this feature on its release 10 years ago, for example , Avid's implementation is incredibly thorough, and should be welcomed by anyone who edits audio in Pro Tools.
To complement the new clip gain functionality and the new disk engine, clip fades in Pro Tools 10 are now calculated in real time, rather than having to be written and played back from disk. This is another welcome improvement, since it renders — no pun intended — the regeneration of fade files when you forget to copy the Fades folder a thing of the past.
When Avid acquired Euphonix in , the company gained a great deal of expertise and technology relating to mixing consoles and control surfaces. Although it had previously been possible to use Euphonix's products with Pro Tools, users had to resort to clunky workarounds involving Mackie's HUI protocol.
So it was perhaps no surprise that Pro Tools 9, released towards the end of , incorporated native support for Euphonix's EUCON control surface protocol, making it much easier to control Pro Tools' mixer from Euphonix's Artist and Pro series products. EUCON support has been further enhanced in Pro Tools 10, so that almost every Pro Tools command, such as those normally accessed via menus or keyboard shortcuts, can be assigned to the Soft Keys on your Euphonix surface.
Over commands are exposed, so you can now create and manage groups, for example, or adjust the edit selection without having to touch a keyboard or mouse. Another Euphonix-related improvement in Pro Tools 10 is the new Avid Channel Strip plug-in, which is based on the EQ and dynamics algorithms from the System 5 console's channel strip. For those unfamiliar with the System 5 console, it's a high-end, modular digital console now sold by Avid, but originally released by Euphonix in Although the System 5 is popular in a many different fields, it has become a particular favourite for post-production work, being used to mix both the music and the final dub for major Hollywood feature films.
If you've watched a film in the last 10 years or listened to a film soundtrack , there's a good chance you'll have heard audio signals that have passed through a System 5 console. This may well be the last channel strip plug-in you'll ever need. Channel Strip comprises four sections — EQ, Filter, Dynamics and Volume — which can be arranged in almost any order you like, except that the filter always follows the EQ.
Each effect has its own section in the interface, which can be collapsed if you don't wish to see certain settings that might not be in use.
The interface for the EQ and dynamics sections comprises tabs for each of the components of the given section, whether bands of EQ or specific dynamic processes. However, the dynamic section also offers an 'All' tab, so you can see all dynamics parameters on one page numerically, which is really handy.
One particularly neat aspect of the Channel Strip plug-in is the Listen mode, which is available for the side-chain component of the dynamics section and each component of the EQ section. Enabling Listen mode on the side-chain lets you hear the input signal, while clicking Listen on a given band or filter in the EQ section solos and inverts that band or filter so you only hear the affected frequencies.
This allows one to be incredibly surgical when trying to find the appropriate frequency and Q. In fact, that word pretty much sums up the System 5's channel strip. It's perfect for shaping a sound without adding a great deal of extra and perhaps unwanted colour. In addition to the new Channel Strip plug-in, there's also Down Mixer, which simplifies the process of creating stereo fold-downs of surround material, and a new version of Mod Delay.
But, as well as new plug-ins, Avid have also made a number of other mix-related improvements that will be helpful to those who use Pro Tools for large-scale mixes. There are now Solo and Mute indicators on the Edit window's toolbar, so if any track in your session has been soloed or muted, the appropriate indicator will light up to show that a solo or mute is active somewhere. Clicking the Solo indicator will clear the solo status of any tracks, but, unfortunately, clicking the Mute indicator does nothing.
According to the Pro Tools manual, a 'clear mutes' function is impossible because Mute is an automatable mix parameter. Even so, it would have been nice if clicking the Mute indicator would at least scroll you automatically to the first muted track in the list, just to make it easy to track down a rogue mute, if you'll excuse the pun. The Edit window now features Solo and Mute indicators bottom right.
Here you can see the Solo indicator lit up to show that there's at least one soloed track in the session. A particularly neat touch is that the Solo indicator works across multiple Pro Tools systems synchronised via Satellite Link. This means that if a session on any linked system has a soloed track, the Solo indicator will light up, which is pretty cool.
The only slight complaint is that the Solo and Mute indicators are only visible on the Edit window, and it might have been nice to find some way for them to be accommodated on the Mix window as well. Staying with the theme of making things easier to see when mixing, another neat feature in Pro Tools 10 is called Bus Interrogation.
While the name sounds a bit like some kind of forceful public transport inquisition, it's actually a way of quickly seeing all tracks sharing a common assignment.
For example, say you have a number of tracks routed to a Drums bus and you want the Mix window to show only those tracks. Simply right-click on an assignment to the Drums bus from a track output, for example and choose 'Show Only Assignments to Drums'. Any tracks not containing an assignment whether an input, output or send, and so on to the Drums bus will be hidden, clearing the Mix window of unnecessary clutter. When you want to return to the tracks that were visible before selecting this command, right-click on any assignment and choose 'Restore Previously Shown Tracks'.
The only small quirk is that the Mix window always ends up scrolled all the way to the left after the restoration. It would be nice to have the option of the Mix window being restored to the exact place to which you were previously scrolled.
In addition to being able to show only the tracks sharing a common assignment, you can also choose to select the appropriate tracks, and there's also a Show Assignments command.
This is similar to Show Only, except that it's intended to ensure all tracks that might share the given assignment are visible as opposed to hidden. This time, all other visible tracks displayed in the Mix window remain that way.
One of the most contentious aspects of Pro Tools 10 is likely to be its cost. But in addition to this plug-in, you also get most of the other features discussed in this article. This HD version can still run without any additional hardware, and in this case it behaves like a copy of Pro Tools with the Complete Production Toolkit. Initially, it was possible to save money by purchasing Avid Standard Support: a month support package that, for a limited time, retroactively included the Pro Tools HD 10 upgrade.
But with that offer now closed, HD users will have to pay the full amount to upgrade. Pro Tools 10 is an incredibly useful update, and I don't want to seem completely negative about the cost.
But it does point to a difficulty in evaluating the fiscal value of software. I guess it depends on the users at the end of the day, and what they need their systems for. Certainly, high-end mix facilities might be more than happy to pay the money for features like disk caching and being able to synchronise more systems via Satellite Link. But if you mostly use a Pro Tools system as, say, a songwriting tool, there's potentially less to get excited about. Pro Tools 10 is about audio.
There are new audio editing features, new audio plug-ins, and incredible internal improvements such as the new disk engine and more flexible support for working with different audio formats. What Pro Tools 10 is not about is sequencing, which comes as a surprise when I think back to the huge push Digidesign made in version 8 to boost Pro Tools' music creation functionality.
Maybe Avid now feel that Pro Tools' abilities in this respect are adequate for the moment, especially since it was never a sequencer in the way that Logic, Cubase and Digital Performer were and are, and maybe it makes sense not to transform Pro Tools into that type of music production software. However, it does seem a shame that some of the shortcomings on this side of the product have still not been addressed three years later. Ultimately, Pro Tools 10 feels like a more polished Pro Tools 9.
Many of the major improvements are arguably quite subtle, but it is possibly the sheer avalanche of these subtle improvements that will make it a worthwhile and impressive upgrade for the majority of users.
Pro Tools 10 offers many improvements when it comes to working with different audio file formats, and I'm sure I'm not the only one who is happy to see support for interleaved files, whether stereo or multi-channel. Pro Tools 10 also supports some of the more modern WAV format varietals, including the Wave Extensible Format for better compatibility with interleaved multi-channel files , and RF64, which enables more than 4GB of audio to be stored in a single WAV file.
And given that the HDX hardware processes audio at the same bit floating-point internal resolution as native systems as we will discuss further next month , Pro Tools 10 now also supports bit floating-point audio files. This is useful if you do a large amount of off-line processing, but has the disadvantage of placing a greater load on your storage resources.
Some of these new format options are available when creating a new session, such as bit float as a Bit Depth option and Interleaved. If a change is made, any new audio recorded after this point will be stored according to the new settings, which is possible because Pro Tools 10 now supports mixed audio file formats in a single session.
This is a pretty big deal, especially as it will also save having to convert every file you add to a session that might be in a different format.
In addition to supporting various other formats, Pro Tools 10 also introduces a new '. While this kind of change is rarely welcomed by anyone, it is at least possible, as it has been in the past, to export a session that is compatible with earlier versions of Pro Tools using the 'Save Session Copy As 'command. Speaking of exports, a useful command Avid have added in Pro Tools 10 is the ability to export the selected tracks as a new session. This is great if you want to send only certain tracks to a collaborator, for example, or if you want to clear out the clutter from one session to use only a few tracks as the basis for something new.
Pro Tools 10 also adds the ability for bounces to be automatically added to your iTunes library, and another slightly unexpected — but very welcome — new feature is the facility to export a bounced session to SoundCloud, the popular cloud-based music service.
Pro Tools 10 makes it easy to upload bounced sessions to SoundCloud. For anyone who doesn't know about SoundCloud, it's essentially for audio what YouTube is for video. When bouncing to disk, there's a new 'Share with SoundCloud' option, which will prompt you for an additional page of SoundCloud-related settings, such as a description for the track and whether you want to make the track private. Once the session has been bounced, Pro Tools will ask for your SoundCloud log-in which can be remembered for future uploads , and, assuming the process is successful, a helpful window will appear containing a URL of the uploaded track that can be copied to the clipboard.
One of the less conspicuous manoeuvres Avid have made with the introduction of Pro Tools 10 is to encourage users to sign up for support and maintenance contracts, a business model that has served the video side of Avid reasonably well in the past.
The first offering is known as Avid Vantage, but the big question is whether the vantage is the user's or the company's.
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