I discovered that if I reset the Master Fader track outputs to be Main again , the audio magically kicks back in and I can go back to working and auditioning grooves.
Believe me, I love the new features, instruments and look of PT 8, but I need to work fast, seamlessly, and solidly, and all that stuff does me no good if it's buggy. Is this a case of good old user error? Anyone else experience any of this? I tried installing 7. The only other thing I can think of is that I used SuperDuper to clone my old G5 hard drive to my new Mac Pro to avoid having to re-install of my instrument and other plug-ins.
Could that be the problem? Should I call Digidesign? Anyway, thanks very much for reading all of this and I really appreciate any suggestions you might have. All the best, Benjamin. When you install a New Mac Pro you should do a fresh install. Your permissions must be all over the place too. For RTAS you should disable one core. To have more info go to the DUC digidesign forum. Gentlemen, Thanks to both of you for your outstanding replies.
Very good to know, even if it's bad news. I do small pop music sessions with a fair amount of RTAS instruments. My dual 2. You're absolutely right, Hobson. Thanks for your note. Digi and Third party have to be updated.. Hey Benjamin, I just went through these paces a couple weeks ago. It took me two full days of studio time to get the machine into action, but 5 billion emails and 3 billion authorization codes later, it was more than well worth it.
I had to open up a mix for a band I was doing on my Dual 2. Have you started the process? It hurts but goes faster than one would expect. Hey Dwayne, I need to work quickly for now so I bought a new larger, faster hard drive for my G5 so that I can get to work quickly for the immediate things at hand.
It's so much smarter to keep the old system working so you're never stuck, and build the new system so it's working for at least a few months to make sure it's perfect. He also looks at how the different control surfaces available, both Digidesign and third-party, work in a surround facility, and outlines different multi-channel mixing concepts using case studies, explaining how to use the Centre and LFE channels, and how to work 'to picture'. The final case study in this section is a look at how a DVD is designed, and explains the 'data rate and bit budget' calculations that go into the design and authoring of a DVD.
Rich covers in detail a broad range of surround-capable plug-ins including the Waves Bundle , Digidesign's Revibe and Sony's Oxford Dynamics , as well as software available for surround encoding and external hardware processors like the Lexicon L and the TC Electronics M units. Chapter 11, the final chapter, looks at other applications for surround like computer games and commercials.
The DVD that comes with the book includes a number of examples, of which the first 11 are short clips showing extracts and elements of surround mixes, while the last three are complete mixes.
The DVD will play on any surround receiver with a Dolby AC3 decoder, and with its accompanying written notes, is much more than an afterthought. The examples are an excellent resource, which reinforce the very practical tone that Rich takes through this entire book. I would recommend this book to everyone who works, or plans to work in surround audio projects. Now that I've outlined the limitations of the zero and low-latency modes for Pro Tools LE , depending on which interface you are using, let's look at a range of workarounds you can use so you can run smooth sessions with happy artists.
This works without having to resort to using the zero or low-latency monitoring modes and so should be the first choice for a solution. Go to Playback Engine menu item in Setups and adjust the buffer size as low as possible; samples is a good compromise, but you will need a very fast computer and hard drive for this.
The low limit for the options for hardware buffer size are set by which hardware interface you have. The and R can work down to 64 samples on my Apple Powerbook G4 1. This has to do with the performance of the USB buss, so for low buffer sizes to work well you need a fast computer and a Firewire interface.
However if you don't have either or both of these don't despair, as there are other workarounds to go at. Also, remember that plug-ins on tracks you're monitoring and recording will be bypassed as well. However, if you can work with the headphones having the same mix as your control-room monitors and don't mind bypassing plug-ins on the track you are recording on, the latency is seriously low in this mode.
This eliminates latency altogether by routing the input signals direct to the outputs in the analogue domain, so short-circuiting the path via Pro Tools. However, you need to note that you will hear both the input direct and the signal coming back from Pro Tools in this mode, unless you mute any track you are recording on to. One snag with this is that when you come to try to overdub sections, the artist will need to hear what they have already laid down on the track. The workaround for this is to mute the record track at the drop-in point, but you will have to do this manually, as mute automation is suspended when you record-enable a track.
Taking the M Box's zero-latency concept somewhat further, you can use a separate mixer to handle monitoring. If you're using stand-alone mic preamps, these can be split to both the Pro Tools interface and the headphone monitor, or if you're using the mixer's mic preamps, you can put Pro Tools 'in line' like we used to do with tape-based multitrack machines.
This workaround is nowhere as portable as any of the others but does give you a flexible zero-latency solution. You do need to keep your track counts down and keep the use of plug-ins to a minimum, but it is the best way to work providing you have a fast computer and fast drives. The other workarounds work up to a point, but the process of doing drop-ins is much harder as the artist will not be able to hear what they have already laid down unless you are very adept in the use of the mute buttons.
So if latency is a recurring annoyance then it may be time to upgrade your computer to something a lot faster.
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