Recording - June 2016 - 16

&
HDX cards and which interface you go
with). There are a ton of upgrade plans
available, so be sure to check Avid's website for a complete list of upgrade options.
All versions of Pro Tools 12 require an
up-to-date operating system. According to
Avid's compatibility chart, Macs require
at least 10.9.5 to run Pro Tools 12.5 (the
current version at press time), while PCs
need Windows 7 or 8.1. 8 GB RAM is
the recommended minimum, along with
suitable processors and hard discs.
New ways to pay
With Pro Tools 12, Avid has introduced a new way to pay for Pro Tools-
a subscription model for users who want
to rent Pro Tools before buying. This is a
very economical way to go if you are an
engineer that may need it just for a specific project, and only need to use Pro
Tools for a month or two at a time. Rates
start at $29.99 a month, or $24.92 a
month with a one-year agreement plan.
Generous educational rates are also
offered, with a perpetual license running
for $299, or subscription rates as low as
$9.99/month for students.
If you decide you need to own a perpetual license for Pro Tools, you will still
be asked to subscribe to the yearly
upgrade and support plan, which will
allow you to download any updates that
are released throughout the year without
additional cost. The upgrade and support
plan is $99/year for Pro Tools standard,
and $399/year for HD versions. If you
decide not to pay for the update plan,
you still own the most recent license of
Pro Tools that was available up to the
time your plan expires-the only caveat is
that it will cost you to kick back into the
plan once you've stopped. Reinstating the
upgrade support plan costs $299 for
standard and $999 for HD versions.
To HD or not to HD?
Just as with previous versions of Pro Tools,
there are more software features available
for HD users. Most of the day-to-day features
are available for all versions, but some functions that are geared for running large highend installations are only available in the HD
versions. Those include higher track counts,
increased I/O, more sound-to-picture editing
capabilities, advanced automation commands, surround sound mixing, Avid's new
HEAT processing, and AAX DSP plug-in processing for HDX systems. Post-production studios will need to run HD systems for the surround sound and video capabilities-which
allows up to 64 video tracks compared to
the native version's single video track. HD
systems also allow for multiple video track
16

RECORDING JUNE 2016

playlists, which is very handy for referencing
previous cuts of any picture you are mixing
for.
HEAT (Harmonically Enhanced
Algorithm Technology) is available for
HD Native and HDX users. HEAT was
designed in conjunction with legendary
designer Dave Hill, and it emulates the
nonlinear processing of magnetic tape,
as well as adding some of the harmonic
character that naturally occurs while
using tape. With HEAT, a new panel
appears at the top of each channel in
the mix window, with Drive and Tone
controls to shape the overall color and
intensity of the emulation. HEAT costs
$495 to add to standard Pro Tools.
However, Pro Tools 12 users will notice
features on the standard version that
were previously only available to HD
Native/HDX systems. Some of these
include VCA mixing, advanced metering
options, gain reduction metering, input
monitoring, copy-to-send capabilities,
and soloing tracks in either AFL or PFL
mode for optimal recording.

map the monitor path of the session to
the monitors that exist in the current system, which are indicated by a speaker
icon in your I/O window.
This includes opening older sessions
from previous versions of Pro Tools. For
example, if your session was saved on a
system without an HD OMNI interface
and is opened on a system with one, then
the first output of the older session will
automatically be changed to the designated monitor path associated with the HD
OMNI. If the session settings do not accurately map to the new system on their
own, you then have a couple of options.
You can either 'Restore from Session',
which overwrites the system I/O with the
session's I/O settings, or you can reconfigure the I/O setup manually.
When opening a session in Pro Tools
12, the Session Notes window will give a
complete list of any mismatched Output
bus mappings prior to fully opening the
session. There is a new option in this window; in addition to viewing/ saving the
complete list of missing Output mappings,
2

I/O improvements
The initial release of Pro Tools 12.0 introduced the Avid Application Manager,
which helps to manage software updates,
plug-ins, and entitlements. It also allows you
to download updates and keep track of
plug-in versions all in one place. Other features that came with the initial 12.0 release
include the Dashboard view (which replaces
the Quick Start menu for opening sessions),
the option to add and edit session metadata, and a long list of I/O improvements.
Some of the highlights: unlimited bus paths,
I/O settings automatically created and
recalled for the different playback engines
associated with them, and the ability to
import IO settings from session files.
At a post-production studio, sessions
get passed around quite a bit. One of
the most frustrating things about working
on the same session across different
rooms is losing automation data due to
different I/O setups. Pro Tools 12 follows a specific set of rules when opening a session on a system with different
I/O settings. Pro Tools will automatically

you're now able to open and tweak the
I/O settings directly from this dialog,
prior to opening the session.
Another change to the Playback Engine
page includes fixed RAM disk cache allocation options. This allows you to set a
fixed allocation of RAM to your session,
which increases the flexibility of your system resources. Especially for users coming
from Pro Tools 10, where the 32-bit application platform could only utilize up to 4
GB RAM (regardless of how much your
system had), this is a huge improvement
which allows you to allocate all of the
RAM your computer has to offer.
Track Commit
In Pro Tools 11, Avid introduced offline
bouncing, which was a highly anticipated upgrade from the realtime bounce in
previous versions. This is a feature that
was commonly available in other DAWs
already, and a welcome sight to the Pro
Tools community. With Pro Tools 12, Avid
expands on the offline concept with a
number of new features.



Table of Contents for the Digital Edition of Recording - June 2016

Contents
Recording - June 2016 - Cover1
Recording - June 2016 - Cover2
Recording - June 2016 - 1
Recording - June 2016 - 2
Recording - June 2016 - 3
Recording - June 2016 - 4
Recording - June 2016 - 5
Recording - June 2016 - Contents
Recording - June 2016 - 7
Recording - June 2016 - 8
Recording - June 2016 - 9
Recording - June 2016 - 10
Recording - June 2016 - 11
Recording - June 2016 - 12
Recording - June 2016 - 13
Recording - June 2016 - 14
Recording - June 2016 - 15
Recording - June 2016 - 16
Recording - June 2016 - 17
Recording - June 2016 - 18
Recording - June 2016 - 19
Recording - June 2016 - 20
Recording - June 2016 - 21
Recording - June 2016 - 22
Recording - June 2016 - 23
Recording - June 2016 - 24
Recording - June 2016 - 25
Recording - June 2016 - 26
Recording - June 2016 - 27
Recording - June 2016 - 28
Recording - June 2016 - 29
Recording - June 2016 - 30
Recording - June 2016 - 31
Recording - June 2016 - 32
Recording - June 2016 - 33
Recording - June 2016 - 34
Recording - June 2016 - 35
Recording - June 2016 - 36
Recording - June 2016 - 37
Recording - June 2016 - 38
Recording - June 2016 - 39
Recording - June 2016 - 40
Recording - June 2016 - 41
Recording - June 2016 - 42
Recording - June 2016 - 43
Recording - June 2016 - 44
Recording - June 2016 - 45
Recording - June 2016 - 46
Recording - June 2016 - 47
Recording - June 2016 - 48
Recording - June 2016 - 49
Recording - June 2016 - 50
Recording - June 2016 - 51
Recording - June 2016 - 52
Recording - June 2016 - 53
Recording - June 2016 - 54
Recording - June 2016 - 55
Recording - June 2016 - 56
Recording - June 2016 - 57
Recording - June 2016 - 58
Recording - June 2016 - 59
Recording - June 2016 - 60
Recording - June 2016 - 61
Recording - June 2016 - 62
Recording - June 2016 - 63
Recording - June 2016 - 64
Recording - June 2016 - 65
Recording - June 2016 - 66
Recording - June 2016 - 67
Recording - June 2016 - 68
Recording - June 2016 - 69
Recording - June 2016 - 70
Recording - June 2016 - 71
Recording - June 2016 - 72
Recording - June 2016 - Cover3
Recording - June 2016 - Cover4
https://www.nxtbook.com/musicmaker/musicmaker/recording-august-2021
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https://www.nxtbook.com/musicmaker/musicmaker/recording_202102
https://www.nxtbook.com/musicmaker/musicmaker/recording_202101
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https://www.nxtbook.com/musicmaker/musicmaker/recording_202011
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https://www.nxtbook.com/musicmaker/musicmaker/recording_201912
https://www.nxtbook.com/musicmaker/musicmaker/recording_201911
https://www.nxtbook.com/musicmaker/musicmaker/recording_201910
https://www.nxtbook.com/musicmaker/musicmaker/recording_201909
https://www.nxtbook.com/musicmaker/musicmaker/recording_201908
https://www.nxtbook.com/musicmaker/musicmaker/recording_201907
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https://www.nxtbook.com/musicmaker/musicmaker/recording_201903
https://www.nxtbook.com/musicmaker/musicmaker/recording_201902
https://www.nxtbook.com/musicmaker/musicmaker/recording_201901
https://www.nxtbook.com/musicmaker/musicmaker/recording_201812
https://www.nxtbook.com/musicmaker/musicmaker/recording_201811
https://www.nxtbook.com/musicmaker/musicmaker/recording_201810
https://www.nxtbook.com/musicmaker/musicmaker/recording_201809
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201808
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201804
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201803
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201802
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201711
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201710
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201709
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201708
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201707
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201706
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201705
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201704
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201703
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201702
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201701
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201612
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201611
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201610
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201609
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201608
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201607
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201606
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201605
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201604
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201603
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201602
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201601
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201512
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201511
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201510
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201509
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201508
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201507
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201506
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201505
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201504
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201503
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201502
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201501
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201412
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201411
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201410
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201409
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201408
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201407
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201406
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201405
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201404
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201403
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201402
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201401
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201312
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201311
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201310
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201309
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201308
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201307
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201306
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201305
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201304
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201303
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201301
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201212
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201209
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201208
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201206
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201205
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201204
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201202
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201201
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201112
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201111
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201110
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201109
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201108
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201107
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201106
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201105
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201104
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201103
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