Using this modest rig we mixed hours of TV and even feature films. 2 x Klark Technic DN500 Stereo Comp / Lim / Exp.1 x Yamaha SPX90 Reverb / FX (mono in, stereo out).
Malcolm Toft MTA980 console with 4-band EQ on each channel, no built in dynamics.To paraphrase the song, It ain't what you've got, it's the way that you use it.īack in the early nineties, I worked for a small independent facility, which had the following hardware plugin equivalents. It allows the editor to start crafting the sound the way they want it, without locking me in to it. I use this facility on every trailer that I mix. Even the Air plugins are available in Media Composer, as I found out on a recent job. This means that the plugin settings and automation come across via an AAF, which is great as it avoids having to deal with rendered in effects.
I stock pro pro#
I have had lots of issues moving third party plugins between different versions of Pro Tools or even different versions of host operating system.Ī lot of the stock Pro Tools plugins are also available as real time plugins on Avid Media Composer. The main thing that's missing is loudness metering (but as shown in our free Pro Tools plug-in list, there's a free plugin for that, if you can't afford the brilliant but cheap PPMulatorXL).īecause quite often my sessions have to go back and forth between other facilities, I try and stick to stock plugins as much as possible. It would be a lot more work, but it's totally feasible. If I absolutely had to, I could mix a show using just the stock plugins. These include EQ's, Dynamics, Delays, Pitch & Time and Reverbs, to name a few.
I stock pro install#
In a standard install of Pro Tools, Avid include a variety of "stock" plugins. Having to hunt around for plugins that you don't have or have to reverse engineer, costs time and therefore money. If your main source of income is your studio, and that studio is based around "in the box" technology such as Pro Tools, you need as much certainty as you can get about the longevity of the plugins you use, and the likelihood of the developer remaining in business, before you commit to using that plugin in your day to day workflow. Unfortunately one of them hadn't made the leap to AAX64, so I ended up having to reverse engineer the effect that the sound editor had used.
Going Way Way Back.Īs recently as six months ago, I had to work on a project that had originated on Pro Tools 9, and had several free plugins involved. However, Pro Tools 10 on Windows wasn't compatible with my shiny new BlackMagic video interface, so I had to reconfigure my entire video playback rig just for this update. I had to roll back to my Pro Tools 10 install, which in my case was just swapping over the system SSD (I didn't do a co-install, for reasons too long to go into here). I'd gone over to Pro Tools 11HD fairly early on, but then shortly afterwards had to revisit a project which had the TL Space plugin. In my case it was my beloved TL Space IR reverb that came with the Complete Production Toolkit. I'd already been burnt before, when I went from Pro Tools 10 to Pro Tools 11 as Avid dropped RTAS plug-ins before all the developers had written AAX64 versions.
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