|
Post by kcatthedog on Nov 3, 2015 6:10:43 GMT -6
I was told that if you pay the $199, you get all the plugs they offer also. Can anyone confirm this? it seems the new plug ins are included for 12 months under a perpetual license, so if you continually upgrade each 12 months you have them , if not, you don't. Until dec 31 you get 11 included so maybe that is what they were referring to ? Lower down the text states you have access to the plug ins which is ambiguous Finally if you don't upgrade annually they have lowered the back door price to $299 So if people upgrade at more than a 3 years cycle you are saving money but you go 24 months plus on your own. From Avid's site: " Description System Requirements Specifications More choice, infinite possibilities Pro Tools redefined the music, film, and TV industry, providing everything you need to compose, record, edit, and mix audio. And now with Pro Tools 12, you can create bigger, better sounding mixes, faster than ever before. At a lower price than ever before. This full boxed version of Pro Tools 12 (perpetual license) includes an iLok 2 USB Key and a 1-year Annual Upgrade Plan, which provides access to all new Pro Tools releases, renewable annually for $99/year. Plus, you get access to an amazing collection of bonus plug-ins—included free for the first year.
Special offer—Now through December 31, 2015, buy Pro Tools 12 Perpetual License and get the Eleven guitar amp emulation plug-in for free—a $499 value. Plug into the sounds of the world’s greatest guitar amps and effects of all time, and sound your best with the industry’s premium production tool set. Why get Pro Tools 12? Free up CPU power and collaborate easily with Track Commit Create even bigger mixes with new support for up to 128 simultaneous audio tracks and 512 instrument tracks Work with new advanced tools and features, right in Pro Tools: Mix and control groups of tracks faster and easier with VCA Masters Mix with confidence using 17 advanced metering options, including K-system, VU, and other professional standards Get gain reduction metering on every channel to gauge dynamics Experience smoother performance and highly responsive recording and playback with the extended disk cache, which loads entire sessions into RAM—no matter how large Rehearse and record more easily with track input monitoring Dial in cue mixes in a snap by copying fader settings to sends Solo tracks in PFL (pre-fader listen) or AFL (after-fader listen) mode for optimal recording Get access to Space, a high-quality convolution reverb plug-in, plus 16 jaw-dropping stompbox effects emulations—free for the first year Unleash your creativity with multiple times more processing power than ever before Add epic numbers of virtual instruments and effects to create richer sounding mixes Get unrivaled sound quality and powerful 64-bit performance to handle bigger mixes Play HD video right in the Pro Tools timeline—without transcoding Polish mixes with over 75 64-bit AAX virtual instrument and effects plug-ins For complete details, visit the Pro Tools product page. Get upgrades, bonus plug-ins, and more Not only do you get access to all new Pro Tools releases through your Annual Upgrade Plan, renewable annually for $99/year, but also to an amazing bonus collection of high-quality effects and sound-processing plug-ins—at no additional cost. And if you need support, you can add an Annual Plug-in and Support Plan for just $99/year. For details about what these plans include, visit the Pro Tools Licensing page. * All Pro Tools upgrades are now only available through an All Access Avid Annual Upgrade Plan. To continue receiving access to new Pro Tools releases, you will need to renew your plan annually. If you allow your plan to expire before renewing, you can reinstate your plan at any time for $299 (first year for an Annual Upgrade Plan reinstatement, and $99/year thereafter)."
|
|
|
Post by jcoutu1 on Nov 3, 2015 6:25:55 GMT -6
It's totally unreal that Avid can't clearly state what is happening.
As far as I can tell, the upgrade from 11 to 12 is currently $99. The Education upgrade is also $99. It seems like I get no added Education discount.
|
|
|
Post by M57 on Nov 3, 2015 8:50:13 GMT -6
It's totally unreal that Avid can't clearly state what is happening. As far as I can tell, the upgrade from 11 to 12 is currently $99. The Education upgrade is also $99. It seems like I get no added Education discount. So you need an advanced degree to understand how the discount doesn't help you in the first place. Ah, the irony.
|
|
|
Post by Johnkenn on Nov 3, 2015 12:32:16 GMT -6
I bout for $99 from sweetwater. He said the 99 and 199 were the same except the 99 didn't include support. But sweetwater provides support if you buy from them.
|
|
|
Post by guitfiddler on Nov 3, 2015 18:17:11 GMT -6
It's like the tax code, confuse people so you can steal more money from them!
|
|
|
Post by kcatthedog on Nov 3, 2015 19:19:36 GMT -6
May just be coincidence but $99 is the 11 to 12 amount and I thought $199 was 10 and below to 12 price both without support ?
|
|
|
Post by Johnkenn on Nov 3, 2015 20:19:54 GMT -6
I had 11
|
|
|
Post by jayson on Nov 4, 2015 7:18:40 GMT -6
Reading through this thread I have to admit I'm glad I resisted jumping into the PT platform all these years - bear with me if it seems like I'm speaking from ignorance here...I confess that I am. From where I've been sitting the only sticking point that might have influenced me to purchase PT is portability of your sessions. But how relevant is the issue of session portability these days? Is it reasonable to assume that any decent recording facility worth it's salt WOULDN'T support Logic or Steinberg products these days? That seems kind of unlikely; especially if you consider that the paltry pricetag of $200 will purchase a full, non-casterated version of Logic and the patches and point-upgrades are always gratis. That's an expense that could easily be recouped in 1 or 2 hours max. Session files are now packaged into a single files that I've moved from studio to studio on a thumb-drive with no comaptibility issues whatsoever.
Considering that Avid/DD have always had the need for expen$ive proprietary hardware to take full advantage of the system- a fact that's kind of absurd in the era of thunderbolt- I often wonder what the attraction is. The quagmire of a $10k dongle was something I swore I'd never get into again after my experience with Sonic Solutions.
|
|
|
Post by jcoutu1 on Nov 4, 2015 7:26:43 GMT -6
Reading through this thread I have to admit I'm glad I resisted jumping into the PT platform all these years - bear with me if it seems like I'm speaking from ignorance here...I confess that I am. From where I've been sitting the only sticking point that might have influenced me to purchase PT is portability of your sessions. But how relevant is the issue of session portability these days? Is it reasonable to assume that any decent recording facility worth it's salt WOULDN'T support Logic or Steinberg products these days? That seems kind of unlikely; especially if you consider that the paltry pricetag of $200 will purchase a full, non-casterated version of Logic and the patches and point-upgrades are always gratis. That's an expense that could easily be recouped in 1 or 2 hours max. Session files are now packaged into a single files that I've moved from studio to studio on a thumb-drive with no comaptibility issues whatsoever. Considering that Avid/DD have always had the need for expen$ive proprietary hardware to take full advantage of the system- a fact that's kind of absurd in the era of thunderbolt- I often wonder what the attraction is. The quagmire of a $10k dongle was something I swore I'd never get into again after my experience with Sonic Solutions. PTHD. Most of the big rooms have HD rigs and probably won't be running Cubase too. The 10k dongle provided latency free recording, not just access to the software.
|
|
|
Post by WKG on Nov 4, 2015 9:17:19 GMT -6
It would be nice if Avid would add the split option for the HD fee like they did with vanilla.
I was a CPTK owner who got forced into the HD license path to use 11 64 bit and retain the unlocked features (many now in vanilla...) purchased with the (way overpriced...) CPTK. If I don't pay the now annual $599 HD fee it'll cost $999 to get back in the upgrade path. I don't think I'm the only former CPTK owner who feels like Avid is just another crooked card dealer.
I would probably buy in for at least a 1 year plan if they split the fee.
|
|
|
Post by Johnkenn on Nov 4, 2015 9:30:31 GMT -6
I don't think most of the studios bother with having other DAW's...The only one I can think of right now is Sound Stage here where Chuck Ainlay works...think it has Cubase.
|
|
|
Post by Martin John Butler on Nov 4, 2015 9:46:31 GMT -6
They usually just import into Pro Tools, whether tracked in Logic or Cubase.
No biggie really, you can always do tin reverse if you want to take tracks done in a studio using Pro Tools home to work on them in Logic, no?
|
|
|
Post by Johnkenn on Nov 4, 2015 9:59:11 GMT -6
I'm just saying that's the only big console studio I know of that uses something other than PT's or Radar.
|
|
|
Post by Johnkenn on Nov 4, 2015 10:01:11 GMT -6
I have really committed to Cubase since the announcement of 12 (which I just bought) and after initial stuttering, I actually prefer it. There are some routing things in Cubase that are a little left footed...but I like it a lot.
|
|
|
Post by M57 on Jan 26, 2016 5:51:23 GMT -6
That first trick (lining up to a reference track with flex) may not be the same as the one-button Revoice Pro function (see this thread), but I don't know that I'd want a one button solution in the first place. I'm pretty sure I'd want to cherry-pick where and how much I want things lined up. I don't know how easy RP is to set up, but Logic let's you set it up pretty instantaneously and right on the playing field. Pretty damn impressive.
|
|
|
Post by swurveman on Jan 26, 2016 8:01:03 GMT -6
They usually just import into Pro Tools, whether tracked in Logic or Cubase. No biggie really, you can always do tin reverse if you want to take tracks done in a studio using Pro Tools home to work on them in Logic, no? It is a biggie though when the engineer didn't consolidate the file to start from the beginning and didn't use a fixed tempo grid for the recording. I've gotten files that I've had to manually place, which really sucks. Unless there's an easier way to place individual files that have not been consolidated to start from the beginning of the song, which I don't know about, you have to get the clip location and slide that sucker down the grid, which is no fun.
|
|
|
Post by swurveman on Jan 26, 2016 8:04:23 GMT -6
I have really committed to Cubase since the announcement of 12 (which I just bought) and after initial stuttering, I actually prefer it. There are some routing things in Cubase that are a little left footed...but I like it a lot. The best thing about Cubase is that you can easily solo/mute an FX Channel with the push of one button. Great for quickly doing a before/after check of reverb. I still don't know how to easily do that in Pro Tools.
|
|
|
Post by ragan on Jan 26, 2016 8:13:19 GMT -6
I have really committed to Cubase since the announcement of 12 (which I just bought) and after initial stuttering, I actually prefer it. There are some routing things in Cubase that are a little left footed...but I like it a lot. The best thing about Cubase is that you can easily solo/mute an FX Channel with the push of one button. Great for quickly doing a before/after check of reverb. I still don't know how to easily do that in Pro Tools. Maybe I'm not understanding but how is that different from just soloing or muting the aux with the effects on it?
|
|
|
Post by tonycamphd on Jan 26, 2016 10:20:20 GMT -6
That first trick (lining up to a reference track with flex) may not be the same as the one-button Revoice Pro function (see this thread), but I don't know that I'd want a one button solution in the first place. I'm pretty sure I'd want to cherry-pick where and how much I want things lined up. I don't know how easy RP is to set up, but Logic let's you set it up pretty instantaneously and right on the playing field. Pretty damn impressive. dude thinks makeup gain is "driving" into the compression harder......
|
|
|
Post by swurveman on Jan 27, 2016 8:53:51 GMT -6
The best thing about Cubase is that you can easily solo/mute an FX Channel with the push of one button. Great for quickly doing a before/after check of reverb. I still don't know how to easily do that in Pro Tools. Maybe I'm not understanding but how is that different from just soloing or muting the aux with the effects on it? Thanks for your reply ragan: The way I understood it, in PT when I want to hear the FX on an aux channel I have to solo safe the aux channel which greys out the solo button. So, if I want to hear one reverb that I'm sending from the vocal channel to the aux reverb channel, when I solo the vocal channel I hear all the other FX aux channels that have also been solo safed. So, to hear just the reverb on the vocal I have to mute the other aux channels that have FX inserted on them. If you don't mind, let me know if there's an easy way to set it up so that I can hear only the reverb send for a vocal channel. I'd like to be able to just solo the vocal channel and the reverb aux channel and just hear the vocal reverb
|
|
|
Post by swurveman on Jan 27, 2016 9:04:37 GMT -6
That first trick (lining up to a reference track with flex) may not be the same as the one-button Revoice Pro function (see this thread), but I don't know that I'd want a one button solution in the first place. I'm pretty sure I'd want to cherry-pick where and how much I want things lined up. I don't know how easy RP is to set up, but Logic let's you set it up pretty instantaneously and right on the playing field. Pretty damn impressive. dude thinks makeup gain is "driving" into the compression harder...... Didn't watch the video and what compressor he was talking about, but when my API 2500 is in old mode the makeup gain feeds back into the compression circuit. Sorry to be a pain Tony....LOL.
|
|
|
Post by M57 on Jan 27, 2016 9:24:00 GMT -6
dude thinks makeup gain is "driving" into the compression harder...... Didn't watch the video and what compressor he was talking about, but when my API 2500 is in old mode the makeup gain feeds back into the compression circuit. Sorry to be a pain Tony....LOL. You guys are compressing my brain.
|
|
|
Post by swurveman on Jan 27, 2016 9:37:02 GMT -6
Didn't watch the video and what compressor he was talking about, but when my API 2500 is in old mode the makeup gain feeds back into the compression circuit. Sorry to be a pain Tony....LOL. You guys are compressing my brain. Sound engineering the one of those occupations that brings to mind the old saying, "the more I learn the more I realize how much I don't know.”
|
|
|
Post by RicFoxx on Jan 27, 2016 12:45:41 GMT -6
Nofilterchuck or anyone else, how do you change the meters to show anything over-18dbfs yellow and anything peaking over -12 red or something like that?
|
|
|
Post by tasteliketape on Jan 27, 2016 19:37:14 GMT -6
Rick if your asking about pro tools just right click on the channel meters and there are different options to set different meters types
|
|