Metering with avid pro limiter code#
Version 10 introduced a new RAM cache - a 64-bit chunk of hidden code running alongside ProTools - to house audio for playback. With the increased headroom of floating point, this ceiling goes away and with it a new way of reading clipping inside plug-ins - they now show orange, not red, which is reserved for real clipping.ĪAE also brings all your RAM into the mix. You may have had 12dB of headroom over 0 on those faders, but the problem is, you can’t push over 0 inside 24-bit plug-ins. But just as you achieved the balance you’re after, your EQ plug-in clips.
Say you wanted to push TDM faders up a skerrick and then pull the signal back into line at your sub master. For one, plug-ins have headroom, as they are now 32-bit float. The rub? The new Avid Audio Engine brings with it some major advances over TDM. All this was setting the stage for ProTools 11 and its new Avid Audio Engine - AAE, as opposed to the now legacy ‘Digidesign’ DAE. It gave developers a chance to program for AAX before D-day, and allowed studios to stage their upgrades if they felt the need. New DSP cards needed to be developed that were 64-bit audio and processing compliant (the new HDX cards) and plug-ins ported from existing 24-bit versions to 32-bit float for ease of processing (the new AAX native and DSP plug-ins).Ĭonsequently, version 10 was a transition period. In order to take advantage of this new architecture, lots of other preliminary work had to be done. The 64-bit headline for ProTools 11 is the migration to a 64-bit application, and with that transition we should expect large gains in processing speed and power. ProTools has had a 64-bit floating point audio mixer since version 9, but TDM rigs couldn’t take advantage of it, only host-based systems. So, why is 64-bit a big deal? 64-bit can refer to two different things - the operating system and the applications it hosts, and/or an audio path’s summing mechanism. Still, the overriding sentiment from ’Tools incumbents losing an old system was that the new one better be worth it. Operating systems were moving to 64-bit, and host-based audio systems and plug-ins were transitioning to 64-bit float audio paths, neither of which would co-habit easily with the older DSP used on TDM rigs. But more reasonable folk could see the writing had been on the wall for some time. Many studios around the world have quite a bit of that gear and raised their fists in ire at the pro audio giant for ‘rendering their hardware obsolete overnight’. Late 2011, Avid released ProTools version 10 and with it a statement that it would be the last version to support the ageing TDM architecture, some control surfaces and older ‘blue’ generation interfaces.
And while there are huge upsides to upgrading, there are some tradeoffs to trading up. Avid has made its final migration to 64-bit, with faster everything, including faster-than-real-time bounce.
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