For HD users, Avid also added a gain reduction meter by the side of the channel meters, which showed the amount of gain reduction applied to a given channel by any dynamics processing used on that track.
#Avid elastic reality manual pdf pro#
On Pro Tools Standard there were 4 options - Sample Peak, Pro Tools Classic, Venue Peak and Venue RMS. Pro Tools HD users got 13 extra metering options, including an extended Linear mode, RMS, VU, Digital VU, K-scale meters (K-12, K-14 and K-20), 5 PPM modes covering various broadcast standards: Digital, BBC, DIN, Nordic and EBU. This could be set to a much lower value, allowing low-latency monitoring of input signals through plug-ins, and immediate response when soft synths were played live.Īvid made some improvements to the on-screen mixer with the level meters 30% larger than before, which made them easier to see from a distance, and could be configured to show different types of metering ballistics and scales. The new audio engine had two buffers, one for playback tracks which was "set dynamically according to what the session needed for reliable playback”, and a separate input buffer for record-enabled or input-monitored tracks. This meant when Pro Tools was stopped and no audio was active, the CPU use dropped down to effectively nothing unlike previous versions of Pro Tools, where plug-ins remained active all the time, processing silence, even when they weren't required to be doing anything. The new Avid Audio Engine had dramatically better support for handling processors with multiple cores. The new AAE also added a feature called Dynamic Plug-in Processing, where native plug-ins could be temporarily deactivated if Pro Tools detected they were not actually processing any signal. The new Avid Video Engine was apparently taken from Avid's video-editing program, Media Composer to try and improve the video workflows in post-production and reduce the amount of transcoding needed. Pro Tools 11 implemented two new engines for handling video and audio.
0 kommentar(er)
