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Barry Rudolph reviews Ohm Force’s “Ohmicide”

 

Barry Rudolph has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, ‘New Toys’ columnist for L.A.’s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com. 

Ohm Force Ohmicide

 

Ohmicide is from the French company Ohm Force’s Melohman family of plug-ins. Ohmicide is a distortion plug-in that is completely malleable in nearly every way possible. It starts by splitting audio into four frequency bands each with six different processing modules. The modules are: M/S matrix, noise gate, dynamics, distortion, make-up gain, pan, and it finishes with an acoustic feedback path. I liked the dynamics processor with its Shape control (a low-level compressor) and Body (basically it acts like an expander or limiter of sorts).

The Distortion processor module has three variants, Standard, Xxx, and Odd of 37 distortion algorithms making a total of 111 Types of distortion. A distortion Type is further adjustable using a Gain control, a DC offset control called Bias that simulates the erratic behavior of broken audio gear, and the Alt knob changes the underlying algorithm of the Type. The main graphic at the top of the plug’s GUI is an audio oscilloscope that shows: input, output, or both together superimposed and a second bar chart below shows where the filters of each frequency band begin and end. Somewhat useful and cool looking, you get an idea of what is going on but, as always, my ears tell me what’s really going on–complete audio mayhem!

My main use for Ohmicide is in mixing where I want to “rough” up certain tracks so they cut better or they take on a particular character and prominence. With a plug-in this deep and rich, I start with a preset to get close to what I’m looking for. For sound designers Ohmicide represents a major new tool for endless experimentation–you’ll never leave your studio!

The factory presets come in folders of twelve called MegaPatches and are selected via a MIDI keyboard or by clicking on the GUI. They are designed, tested and named for specific applications. Cool! They are: BassXxxxx for electric bass; DrumBassXxxxx is for Bass+Drum mixes; DrumXxxxx (my favorite!) is super for drum kits or loops; GuitAmpXxxxx sounds like the worst guitar amps ever made on fire; MiscXxxx are for general purpose grunge; and PercXxxx presets are for singular drum kit pieces like snares and kicks.Ohm Force

Available in RTAS, AU and VST formats for PC and Macs, Ohm Force Ohmicide:Melohman sells for about $125US and is now my “go to” filth box. I have many guitar amp simulators and other garbage makers but none as totally variable at Ohmicide or comes with as many great starting presets. Order up some dirt at: www.ohmforce.com


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Barry Rudolph Reviews SoundToys Pan Man

Barry has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, ‘New Toys’ columnist for L.A.’s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com. 

SoundToys PanMan

PanMan is a rhythmic auto-panner plug-in with a groove control feature. In stereo mixing, changes in the basic nature of a vocal or instrument track are limited to the level or loudness of a track, its equalization/tone, whatever added effects (reverb, chorus, flanging delays etc), and it’s panoramic position–it’s placement across the stereo field as created by left and right placed loudspeakers.

PanMan addresses and allows full access to this important aspect of mixing with tools that offer new panning treatments that go way beyond the abilities of classic hardware analog panners such as PanScan or Spanner. PanMan will control the pan type, reaction time, pan position, and pan width–even beyond the physical position of your stereo speakers.

PanMan has six modes including two rhythm modes complete with a user-programmable rhythm editor and numerous parameters for precisely determining the way any mono or stereo track in your mix can “dance” across the speakers. Some of the panning actions possible are: ping-pong triggered panning and random triggered panning with user-definable trigger divider as found in the PanScan hardware unit; and LFO-style continuous panning with selectable pan shapes and precise dynamics control. After installing PanMan into my Pro Tools HD rig I was panning everything as if I was discovering stereo sound for the first time! I would suggest going through the big collection of presets and modifying one of them that is close to what you’re looking for.

I seemed to gravitate towards the Rhythm Step panning modes where you can designate multiple “hard” pan positions (up to five positions) that change in locked session tempo fashion. Leave it to SoundToys to also provide controls called Feel and Rhythm to further sync the panning action to the feel of the music. Borrowed from SoundToys’ Tremolator and FilterFreak is the Custom Rhythm Editor–actually two editors for two different panning approaches–break point editors for designing complex modulation waveforms. These are brilliant features!

I also liked using the LFO-based panners for more dreamy-sounding treatments. You have complete control over the LFO’s speed or rate and the direction of the pan movement: Left-to-Right, Back-and-Forth, and Right-to-Left. I used one of the wider panners for a reverb return I mixed with another instantiation of the same reverb patch. This animated the reverb “cake” I was cooking up for a big vocal harmony stack. The Tweak button opens a whole LFO dynamics GUI for setting up modulation of the rate, changing the pan offset (shifts the left and right panorama itself anywhere–leaning to the left or right), defining the panning width (Width Mod) and panning rate (Rate Mod) depending on the level. The Threshold, Attack, and Release knobs control the envelope detector that determines dynamics modulation.

I did find the triggered panning very accurate and foolproof for causing a track to reposition itself predicated on it exceeding a certain level as set with the Threshold control. I also like the Width control for setting how far or wide to the left and right a track pans–all the way beyond 180 degrees (hard left and right) to 210 degrees or outside of the speakers.

Auto panning has the potential to be a distraction for the listener and the Smoothing control will set the transition from position to position anywhere from an instant and super hard “snap” to much slower, lazier or liquid movement.

An unexpected feature in PanMan are the different Analog modes where you can change from the clean digital operating mode to any of seven different analog distortion characteristics whose amount is controlled by the Input and Output I/O knobs. Dirty up any panned track using: Clean, Fat, Squash, Dirt, Crunch, Shred, or the ridiculously sounding Pump characteristic models. These sound like they may have been borrowed from SoundToys’ FilterFreak and other SoundToys plug-ins.

As with most of the SoundToys plug-ins, the programming detail and feature sets go on and on and PanMan is no different in that regard. But I’m a beginner and I have had no problems getting beautifully ornate panning treatments very quickly. This is a sound designer’s dream tool that pays off more and more as I learn more about the internal tweak controls. Like Decapitator, PanMan is a big winner for me here at my Tones 4 $ Studios!!

There are demo versions posted at www.soundtoys.com. It sells as a single plug-in for $349 in TDM and $179 Native. The SoundToys TDM Effects Version 4 bundle sells for $1,195 and includes eleven plug-ins. Both Decapitator and PanMan are exclusive to V4 along with a new preset management system, and many new presets. The Version 4 upgrades cost $99 for Native and $199 for TDM. Check: www.soundtoys.com for more information.

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Barry Rudolph Reviews Stuffit Deluxe for Mac

Barry has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, ‘New Toys’ columnist for L.A.’s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com. 

I installed the 2009 version of Smith Micro’s Stuffit Utility into my G5 MAC and discovered Drop Stuff, the whole compression side of the seemingly lowly free utility we all used called Stuffit Expander. Drop Stuff is better than ever with a new interface and built-in AES 256-bit encryption.

First of all with Drop Stuff, with its patented 24-bit image compression, has TIFF, PNG, GIF, and BMP compressors and you can compress files by to 98% of their original size (depending what they are). Squash and optimize MP3s, PDFs and images to save hard drive space and time when sending them over the Internet. Even JPEG photo files (an already compressed format) can be reduced up to a further 30%. Drop Stuff creates Stuffit, Zip and TAR archives–you just drop your files and folders on the appropriate icon on the super simple GUI. I liked the Stuff & Burn mode where it stuffs and sends the file to the MAC’s CD/DVD burner in one operation. Sweet!Smith Micro Stuffit Deluxe 2009

Expander now expands 7-Zip archives and segmented Zip archives along with files using any of 30 different compression formats–even encrypted Zip archives. I like browsing my archive of files without waiting for expansion using the Stuffit Archive Manager. You can preview thumbnails, add, delete and change files and save searches with Stuffit Collections.

Other cool features you get are: upload directly to FTP, MobileMe, iDisk or multiple CDs or DVD-ROMS, and restore files to original locations Stuffit is Finder-aware so you can preview compressed archives inside MAC’s TimeMachine.Smith Micro Stuffit Deluxe 2009

Using Stuffit Deluxe 2009 for MACs is like doubling the size of your hard drive for storing pictures and music. You can put off buying another drive and the work transferring files by buying it for $79.99 as a download from: my.smithmicro.com/mac/stuffit/index.html

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Barry Rudolph Reviews Crane Song Summing Mixer

Barry has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, ‘New Toys’ columnist for L.A.’s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com. 

The two-rack space Crane Song Egret is an eight-channel summing/mixer specifically designed for both straight ahead DAW mixing and composite mixing where both virtual instrument or other audio sources are mixed together with DAW audio tracks. To accomplish this, there is a lot of impeccably built technology packed behind the beak of this bird!

The ultimate aim for an audio equipment designer is purity of sound and to that end Egret works transparently–a pure system that adds no gain or ‘coloration’ to the overall sound. However to satisfy music producers/mixers who depend on their equipment for a certain “je ne sais quoi” quality, Egret also has a Color control knob for each of the eight inputs. It adds (or subtracts–depending on your perception) a certain analog softness to edgy audio sources.

Read Barry’s Mix Magazine Feature Article Called “Strictly Summing.”

Egret uses eight D/A converters just like those used in Crane Song’s Avocet mastering monitor controller. Supporting rates up to 192kHz, a Cirrus Logic 4398 D/A chip is used along with an 8421 SRC chip (sample rate converter used for input jitter reduction) surrounded by Analog Devices OP275 amplifiers for interfacing to the unit’s discrete Class-A summing and mixing bus circuitry.

There is a front panel switch to disable the SRC for cases where lower latency is required and the Source switch chooses the unit’s digital source between three inputs: AES/EBU (4) XLRS, ADAT Lightpipe, and a third ‘yet to be determined’. Currently the converters and the interface supports AES single wire to 192KHz, ADAT, and S/MUX to 96kHz and can be upgraded as the technology changes. The converters will also independently operate even at different sample rates if required.

Features And Front Panel

Each channel of Egret has a level control, a cue send, and pan control. Each channel also has an analog/digital source button where either the output of the eight-channel analog-to-digital converter or an alternate (eight rear panel TRS jacks) analog balanced line input can be selected. The alternate Analog Inputs could be used for virtual instruments running along with the mix or live sound sources such as in a DJ or FOH mixing application. You could also use them as returns from external processing gear.

To add external processing to any channel in Egret you would send to outboard gear from the direct out (eight rear panel XLRs) and return its output to the analog input. By switching between the digital (actually the output of the D/A converter) and Analog In you could A/B the inserted processing.

There are both solo-in-place and mute buttons on each channel’s line up and a built in Aux send bus with Master level control that works for either a cue system or as an effect send. The headphone monitor jack’s output follows the stereo bus output for a monitor mix when Egret is being used in multi-channel location recording.

Also borrowed from the Avocet’s design is the master bus level control. It’s a Grayhill rotary shaft encoder that drives a microprocessor-controlled bank of relays for super-accurate and repeatable 1dB stepped attenuation. An absolute necessity for recalling mixes, the stereo gain matching is better than 0.05dB.

Egret is built so that the stereo, and cue buses can be chained together to create a many input system. With a special cable, Egret’Äôs bus can be tied to a Crane Song Spider to sum additional analog inputs for complete DAW recording and mixing/interface system.

The Egret Flies

My first test was to reassign the outputs of an “in the box” Pro Tools mix I had already done. I reassigned it into four stereo stems. I wanted to keep my mix the same and compare my stereo mix with the Egret’s analog sum of the stems. I configured Pro Tools’ I/O to send ADAT Lightpipe digital audio out the 9 through 16 ADAT spigot of my Digidesign HD192 interface unit. I set up drums and bass to outputs 9-10, guitars to 11-12, keyboards to 13-14, and vocals plus all effect returns on 15-16. All four Pro Tools stereo master output faders were at 0dB positions (unity).

I ran all eight Egret channel level controls at full CW, appropriately pan odd/even channels let and right, and the Master level at one LED dot below 10. Again like my Avocet volume control knob there are green LEDs ringing the stereo level control to show levels in 1dB steps.

The stereo LED meter on the Egret shows peaks levels at about 2/3 of full scale–obviously Egret has tremendous dynamic range with substantial headroom to spare. I connected my Benchmark Media ADC-1 to convert the Egret mix to digital and sent an AES/EBU signal back to a new stereo mix track in Pro Tools via the AES Enclosure input. Also everything was clocked from the ADC-1.

Since I wanted to check for any differences between my ITB mix summed inside of PT with the Egret’s analog summing, I had to place the same stereo plug-in processing chain on the Egret summed mix back in PT.

The result was both mixes matched closer than I would ever imagine. So does this prove anything? Considering I’m doing two extra conversions: the D/A in the Egret and then the A/D in the Benchmark and applying the same stereo processing, I was surprise that the Egret was this transparent and that the eight channel inputs tracked each stem’s level so exactly. It is a testament to the quality and design of Egret, the quality of the converters used and lastly the accuracy of Pro Tools HD Accel.

So why go through this setup if it ends up sounding about the same? The answer is that you gain more mix control valuable when mastering or supplying stemmed mixes in post-production jobs.

Separate processing of mix stems goes back to George Martin and the Beatles when he would mix their mono singles to a ‘twin track’ (2-track) tape deck with vocals on one channel and the track on the other. In mastering he would compress and EQ the vocals and track differently and recombine them for maximum punch and loudness.

I Go Deeper

So my next test was to apply the same stereo bus processing I put on the entire stereo mix separately to each of the four stems. For this song I had: WAVES’ SSL Stereo Bus compressor followed by the Sonnox Stereo Limiter and followed that with Sonalksis’ SV-517 Stereo EQ. Of course in a big and powerful Pro Tools rig (like mine) this is all easy to do–no need to buy three more hardware stereo EQs, limiters, and compressors you’d need if we were working in Abbey Road studios circa 1965!

I put those plugs all set the same across each of the four stereo stem masters. Immediately the Egret’s stereo master had to come down 5dB with the increased average level jump of each of the stems. The mix was all wrong necessitating new vocal rides, drum sound changes and everything else.

For this to work I would have to start a new mix using this stem configuration. After a little work starting a new mix, I could hear that the vocals took on more clarity especially after readjusting EQ and compression and doing new gain rides. I tried compressing the drums and bass more without affecting the rest of the song’s instruments and vocals. Since my stem masters in PT are automatable, there are loads of creative opportunities with regard to remixing tricks and general mayhem.

I also had a chance to see what the Egret’s Color controls did. It is a very subtle effect most noticeable on electric guitars. It mellows out any abrasiveness in the sound without a big shift in loudness. Applied to all the stems, it is another sonic choice you cannot get in any other way I know of.

I’ll Take Four Please!

So my only wish is for at least four Egrets interconnected for 32 mix channels. I’d set them all the same at unity and all odd/even, left right for standardized recall. Like my Crane Song Avocet and Phoenix TDM plug-ins, the Egret is a big winner for me. All pro all the way, it is one of the most flexible, great-sounding summing/mixing systems I’ve used so far’Äîand I’ve tried a lot of them! It sells for $5,600 and for much more go to: www.cranesong.com/downloads/egret%20data.pdf

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Choosing a Pro Tools system for your studio

Pro Tools, AVID/Digidesign’s benchmark digital recording software, is synonymous with the production of hit records. Since its introduction into the professional recording industry in the mid 90’s, Pro Tools has remained a frontrunner for audio production. When Pro Tools was introduced in 1991, four channels of audio were available at a price tag of $6000. Thankfully for us, Pro Tools’ capabilities continued to grow alongside the steady advancements of computer technology. As the audio industry began to stray away from major recording facilities, into home studios and bedrooms, Digidesign began developing Pro Tools systems that catered to all levels of audio production. Today, Digidesign offers Pro Tools systems affordable on nearly any budget. In this article, we take an in depth look at three levels of Pro Tools studio systems: The M-Box studio ($250-$1000), The 003 studio ($1200-$2,500), and the HD studio ($10,000+). We will also discuss some important add -on’s that can be a great addition to any Pro Tools System. These include, system upgrades, a master clock source, converters, and control surfaces. First, let’s check out the hype behind the Pro Tools software and the advancements in Digidesign’s latest version, Pro Tools 8.

Introduction To Pro Tools

Pro Tools is a Digital Audio Workstation (DAW). A DAW is comprised of two elements, audio recording software and audio conversion hardware. The software allows for recording, editing, mixing, and midi arrangement. The hardware provides analog to digital and digital to analog conversion of the audio. Pro Tools LE software requires a Digidesign hardware interface in order to operate. Pro Tools HD utilizes Digidesign PCI cards for processing and uses a separate hardware device for conversion.

The Pro Tools workspace is comprised of two main windows. Mix and edit. The mix window contains a vertical channel strip for each track in the session. It is set up much like a typical mixing console. Each channel has inserts, busses, input/output selections, a pan pot, record enable, solo, mute, and a fader. The edit window contains the same options as well as waveforms for each track in the session. The edit window allows you to view the waveforms for each track, edit and arrange the audio, as well as set up markers, and control the transport (play, stop, rec, etc). The editing workflow is one of the most impressive aspects of the software. There are several tools and editing modes that make editing and arranging a breeze. Pro Tools offers a number of playback and record options as well. These include: loop playback, punch record, and loop record. The software also provides comprehensive midi and video capabilities.

In the latest version of the software, Pro Tools 8, Digidesign maintained their user-friendly workflow that helped to make the software an industry standard. There are several new features such as elastic audio, the off spring of the popular audio quantization application, Beat Detective. They have also added more tracks for LE systems (48 mono or stereo), several virtual instruments and plug-ins, and a hip, new design for the workspace. Now, lets take a look at the options for Pro Tools studio set-ups.

Mbox Series ($250-$700)

The Pro Tools Mbox series hardware is a great option for those who are looking for a simple, portable device for recording. The price for these interfaces range from $250 to $700 and includes the latest Pro Tools Software. The latest Mbox hardware consists of the Mbox 2 micro, Mbox 2 Mini, Mbox 2, and Mbox 2 Pro.

The Mbox 2 Micro is a 24bit/48k, output only USB device that is about the size of a jump drive. It was designed for engineers who want the ability to work on sessions anywhere. There are no inputs on the device. It is equipped with a 1/8″ jack for monitoring.

The Mbox 2 Mini is 24bit/48k, 2 channel USB interface. It is a great option for new Pro Tools users or songwriters who want a simple device for basic recording applications. The Mbox 2 Mini is equipped with one XLR input with 48v phantom power, two 1/4″ inputs, two 1/4″ outputs, a headphone output, and combined volume control. There are a few downsides of the Mini. It does not include a midi I/O or separate volume controls for monitor and headphone outputs.

The Mbox 2 is a 24bit/48k, 4in/2out USB interface. It offers a few more features than the mini. It is a good choice for someone looking for a basic interface that includes midi capability and more extensive input options. The Mbox 2 features two preamps with 48v phantom power, two analog inputs (XLR or 1/4″), two digital SPIDIF inputs, two 1/4″ outputs, midi I/O, a headphone output and separate volume controls for monitors and headphones.

The final piece in the Mbox series is the Mbox 2 Pro. It is a 24bit/96k, 6in/8out fire wire interface. The Mbox 2 Pro is a great buy for beginners looking to get into more advanced sessions and professionals who need a reliable device for remote recording. It offers two preamps with 48v phantom power, four analog inputs (XLR or 1/4″), two digital SPDIF inputs, six 1/4″ outputs, midi I/O, two headphone outputs, and separate volume controls for monitors and headphones.

The M Box series hardware is a solid option for mixing on the run, portable recording, and basic demo sessions. However, if you are looking for a more advanced device with the ability to handle larger sessions, the Digidesign 003 could be what you are you are looking for.

Digidesign 003 Series ($1200-$2500)

The Digidesign 003 is 24bit/96k, 16 channel Pro Tools interface. It can be found in countless project studios, as well as the B rooms of several major facilities. It is an effective workhorse, offering a wide range of amenities for those not ready to take the leap to HD. The 003 interfaces range from $1200-$2500.

The 003 provides four pre amps with 48v phantom power, 4 XLR inputs, 4 1/4″ inputs, 8 1/4″ outputs, 2 1/4 monitor outputs, 8 channels of adat I/O, word Clock I/O, midi I/O, two headphone outputs, and separate volume controls for headphones and monitors. The 003 also includes 8 motorized faders, led/lcd displays, solo, mute, record enable, and pan knobs for each channel. It offers a transport, a jog wheel, and insert/send assignment as well. The 003 is also available in a rack mount version. The 003 rack has the same capabilities as the 003, but the control surface is excluded. Before we get into Pro Tools HD, there a few add-ons for Pro Tools LE systems that are worth considering.

Pro Tools LE Upgrades

Digidesign’s Pro Tools LE software is stocked with many great plug-ins. But, as we all know, you can never have enough options. So Digidesign developed a couple upgrades that offer a comprehensive bundle of additional options for Pro Tools LE users.

The Music Production Tool Kit offers an upgrade to 64 tracks of audio, multichannel beat detective, and a killer plug in selection. The plug-ins include TL Space (convolution reverb), Smack (compressor/limiter), Eleven (guitar amp emulator), and a few more great tools.

Digidesign also offers an upgrade package for Pro Tools users who utilize the software for video production. The DV Toolkit offers an upgrade to 64 tracks of audio, Digibase (file management tool), Digitranslator (OMF, AAF, and MXF conversion), and Time Code/ Feet and Frames capability. The upgrade also includes a number of plug-ins, including: DINR (noise reduction), TL Space, and X-Form (TCE and pitch shifter).

Adding a set of high-end audio converters is one of the most effective ways to instantly improve the sonic clarity of your Pro Tools LE Studio, if you utilize outboard recording gear or digital audio devices. The sonic clarity of an external clock source and high-end audio conversion can drastically help take your Pro Tools LE studio to the next level. If this is something you are considering, I suggest trying out a few options to see what sound appeals to you. Some high-end clocks and converters include Apogee, Antelope, Lynx, and Prism.

Pro Tools HD Studio ($10,000 +)

The final option for a Pro Tools studio is Pro Tools HD. Pro Tools HD systems are catered toward the professional audio and video industry. It has become a near necessity for every commercial recording studio to house a Pro Tools HD system. HD set-ups start at around $10,000.

As we outlined earlier, Pro Tools HD hardware operates a bit differently than LE. The processing and audio conversion is integrated into a single interface for LE systems. HD systems utilize Digital Signal Processing cards (DSP) and digital converters. The DSP cards are installed in the PCI slots of the computer. These cards are connected to audio converters via a Digilink cable. There are two steps to purchasing a Pro Tools HD system: Selecting a core system and choosing your interface/s

There are three Pro Tools HD Core systems: Pro Tools HD 1, Pro Tools HD 2 Accel, and Pro Tools HD 3 Accel. The Pro Tools HD 1 system includes one HD Core card. The HD 1 system will support 32 channels of A/D and D/A conversion and up to 96 digital audio tracks.

The Pro Tools HD 2 system offers one HD Core card and one HD Accel card. A HD 2 system is capable of handling 64 channels of conversion and up to 192 digital audio tracks.

The Pro Tools HD 3 system is comprised of one HD Core card and two HD Accel cards. HD 3 systems support 96 channels of conversion and 192 digital audio tracks.

Each of these systems can be upgraded by adding additional cards. If you run out of PCI slots you can connect and expansion chassis to house the extra cards. Once you have your HD Core System, you will need to add a Pro Tools HD I/O interface or third party converter in order to route audio to and from the HD DSP cards.

Digidesign has a number of options for Pro Tools HD interfaces. Lets take a look at the two of their more favored interfaces. The Digidesign 96 I/O is a 16 channel, 24bit/96k audio interface. The 96 I/O offers 8 channels of analog I/O (TRS) and 8 channels of optical I/O (ADAT). It also includes an expansion feature, which allows you to connect multiple interfaces together. The 96 I/O is a good option for HD users who are looking for a basic, overdub/mix set up. If you need more than 8 channels of analog I/O or plan to expand your system in the future, you may want to consider the 192 I/O.

The Digidesign 192 I/O is 16 channel, 24bit/192k audio interface. The 192 I/O has 8 channels of AES/EBU I/O, 8 channels of TDIF I/O, and 16 channels of ADAT I/O. There are a number of expansion card options for the 192 I/O. The AD and DA expansion cards give the 192 I/O the ability to support up to 16 channels of analog I/O. The digital expansion card adds an additional 8 channels of AES/EBU, TDIF and ADAT I/O. The 192 I/O also includes an expansion feature, which allows you to connect multiple interfaces together.

Pro Tools HD systems also support third party I/O interfaces. As we discussed earlier, there are many high-end options for third party converters. Each brand offers its own unique “color” to the audio. I would recommend listening to the different options in order to decide which converters are right for you.

Pro Tools HD Upgrades

A control surface is a great addition to a Pro Tools HD System. Control surfaces are digital mixing boards that provide hands on control of your session. They are set up like an analog mixing board and allow for recording, mixing, and editing functions. Digidesign offers a number of excellent control surfaces, including: C24, D Command, and Icon.

Whether you are just delving into the world of recording or are a seasoned professional, there are many great options for putting together an exceptional Pro Tools recording studio. If you are interested in learning more about Pro Tools, visit www.avid.com. They have documentation, reviews, and videos that offer excellent advice on choosing the right system for your needs and budget.

I hope this article provided you with the information you need to choose the right Pro Tools system for your application . We would love to hear your questions, comments, and feedback! If we can be of any assistance, feel free to drop us a line!

Giovanni-

therecordshop1 (@) gmail.com

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