![]() That will be a nice day, I look forward to it. ![]() So once all of my plug-ins are able to run in 11, I will happily bid PT 10 adieu and with it, EuControl 2.7.1. So every time I want to work in PT 10, I have to reinstall version 2.7.1. However, running PT 10 with that version of EuControl makes my computer unhappy and crashy and stuff. The EuControl software, which is needed to run any of the control surfaces in the Artist Series, has a new, PT 11-compatible version 3.1. But switching between them was anything but graceful, in large part due to my allegiance to (and reliance on) an Avid product: the Artist Control. Having access to the earlier version was absolutely necessary, mostly due to the aforementioned general slowness of third-party AAX plug-in rollout. Allowing both PT 10 and 11 to be installed on the same computer is a first for Avid, and I experienced some of the pains of this experiment. My biggest gripes about using Pro Tools 11, though, are blessedly ephemeral. I would love this to be able to accommodate multiple banks of eight, so I could tell at a glance if any of my 24 outputs (which feed my summing box) were clipping. This defaults to your main stereo output, and you can reassign any stereo bus or bank of eight buses or outputs to be displayed here, which is totally great. One feature that I hope to see expand in the future is the new master meter at the top of the Edit window. I still prefer recording into a blank track over bouncing, and I very non-scientifically confirmed with a discerning client that the realtime print sounded better to both of our ears. In practice, I found that in a session with lots of plug-ins running, it only got up to about 1.8 times faster than realtime, although for rough mixes of sessions with little or no plug-ins, it's screaming fast. Some would say this last one is pretty overdue, seeing as I was doing offline bouncing in Digital Performer before my 12-year-old son was born. ![]() However, there is one area that I see a decrease in performance from 10 it takes a lot longer (like, four or five times longer) to load up a session with a lot of plug-ins running.īack on the positive side, there are lots of little tidbits that are super-cool in Pro Tools 11, like mini-meters on aux sends, the ability to view multiple send levels at a time within the Mix window, master bypass key commands for aux sends and plug-ins, compressor gain reduction directly viewable in the Mix window, multiple meter ballistic choices, and non-realtime bouncing (including Pro Tools HD's ability to bounce multiple buses and multiple formats simultaneously - e.g., WAVs and MP3s). In practice, I find that high-track-count sessions started in PT 10 run more smoothly with much lower CPU loads in 11. ![]() Now a 64-bit application, with its Avid Audio Engine rewritten from the ground up, PT 11 accesses the resources of your computer much more efficiently, utilizing more RAM than previous versions. There are a number of new features that promise to make working in Pro Tools 11 faster and more fluid. So, as much as I'd love to give you an in-depth review of the day-to-day use of the software, I'll have to give you mostly fleeting impressions. Since some of those are plug-ins I use regularly, I haven't been able to make the switch fully in fact, I just did my first mixes in PT 11 recently, although I've been tracking and editing in it, on and off for a few months. I'm not really interested in placing blame for the fact that it's taken some plug-in manufacturers so long to get their AAX 64bit plug-ins up and running, but here we are, a full year after the release of PT 11 was announced, and a number of very popular plug-ins still aren't available in AAX format. The simple answer is in three letters: AAX. AHĮli Crews: You all may be wondering why it took us over here at Tape Op so long to write a review of Pro Tools 11 I mean, it's been out for quite a while now and all. I offer my own commentary at the end to close out the review. You can read their accounts below, starting first with Eli's report and moving on to Scott's. Neither has finalized their move to PT 11, but both are looking forward to the day that they can. For many months, contributing writer Eli Crews and Assistant Gear Reviews Editor Scott McChane have been switching back and forth between Pro Tools 11 and Pro Tools 10 for their recording and mixing duties.
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