#Down mixer plugin protools 12 pro
So, when Avid introduce a new track type, such as the Ambisonic tracks in recent versions of Pro Tools HD, existing plug-ins will be supported straight away. As long as a mono version exists, it can be used on any channel, even if that channel uses a format that wasn’t available when the plug-in was developed. The main point of this ‘multi-mono’ format is that it allows plug-ins to be used across any channel format without needing to be coded or installed specially for that format. This is not always the case: for instance, the bundled Trim plug-in is available only in mono, so does not appear in the ‘multichannel plug-in’ menu. A plug-in will only appear in the first list if it has been installed in a version that can accept more than one input channel. The first is labelled ‘multichannel plug-in’, the second ‘multi-mono plug-in’. A Là CarteĬlick on an insert point that is receiving a stereo or other multi-channel signal, and you’ll have the option to select plug-ins from two menus. Pro Tools describes plug-ins used this way as ‘multi-mono’, and there are several interesting applications beyond the obvious. In this workshop, I want to look in more detail at the apparently paradoxical notion of using mono plug-ins on tracks with a higher channel count. All three of these would be available at an insert slot where the signal was in 5.1 format, and choosing any one of them would alter the channel count feeding into the next insert slot only the 5.1-to-stereo version could be directly followed by a conventional stereo-to-stereo plug-in. For instance, many plug-ins come in both mono and mono-to-stereo versions, while a downmixing plug-in for surround might offer separate 5.1-to-stereo, 5.1-to-2.1 and 5.1-to-quad versions. The other is that some plug-ins are available in multiple versions that share the same input channel count. One is that a mono version of every plug-in is actually available in all insert positions, whatever the channel count at that point. You might think this would mean that only one version of any given plug-in is available to any insert slot, but this is not so. When you click on an insert slot, Pro Tools will give you the choice of all and only the plug-ins that match the channel format at that exact point in the signal chain. In Pro Tools, it’s rather different: each plug-in comes in separate versions for mono, stereo and, in some cases, higher channel counts such as 5.1 or quad.
In other DAWs, you simply choose a plug-in from a list, and its channel count will be automatically adapted to reflect whether the track is in mono or stereo.
Not only do the mixer channels in Pro Tools not include EQ, compression, or even a polarity switch, but the mixer also exposes the distinction between busses and channels in a way that’s not apparent in, say, Cubase: if you want to route a signal from one channel to another, it’s up to you to create a bus and have the destination channel pick it up as an input source.Īnother way in which the nuts and bolts of mixer design are more exposed in Pro Tools than in other DAWs is apparent when you insert plug-ins on channels.
#Down mixer plugin protools 12 manual
One is that, compared with most other recording packages, there can be more manual configuration involved in setting up the Pro Tools mixer. We explain why this is useful!įor those coming to Pro Tools from another DAW, there are a few things that can take some getting used to. Mono plug-ins in Pro Tools can be used on stereo and surround tracks.
If I instantiate a ‘Quad/stereo’ version, the following plug-in will ‘see’ a stereo input.
Note that most of them are available in multiple versions with different output channel formats. This is the list of multi-channel plug-ins in the Sound Field category that can be instantiated on a four-channel Quad track in Pro Tools HD on my system.
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