I find it extremely useful when editing a lot of B-roll production sound that will play behind the main VO in documentary work but it’s also great for laying up ambiences for TV or film. Ben Sinclair - When editing production sound or ambiences, you typically checkerboard clips and then extend the top and tail and add fades in and out so that the fades overlap (usually by two frames). A real time saver is to simply checkerboard them and then, using the Object Grabber tool (which is the third type in the drop down menu when you click and hold on the hand or Grabber tool), select all of the checkerboarded clips. Next, press and - (which extends the head of all of the clips by one frame) and then press and + (which extends the tail of all of the clips by one frame). Switch back to the standard Grabber tool, select all of the clips again and press and F which will bring up the fades window. You can then set a fixed duration for the fades (40ms is one frame 25FPS and approx 42ms is one frame 24FPS- I usually set it to 80ms when working 25FPS for two-frame fades) and press enter. This results in all of clips overlapping by two frames and with fades at the top and tail with the duration of your choosing.My point/tip is, don’t blindly trust an offline-bounce! Especially with VI-intensive stuff, or using VI’s in Vienna Ensemble Pro do make sure you check your offline bounce! My PT11 hw buffer is set to 128 samples, and there are no buffers set in my VSL plugin. But when I bounce online (the old fashioned, slow way) - the bass is right-on the beat. But, the result is the Trillian Bass is about 25-30ms late. When I offline-bounce an MP3, it hovers around 1.4x. Also, I have these VI’s in PT11: Ivory and SD2. VI’s in VSL: Trillian and Garritan ARIA Harp and Vienna Orchestra. I’m on Mac - Westmere, 32Gb of RAM and Apollo quad/firewire. I am using PT11 on a recent mix with a lot of VIs. We had so many community tips last week that we have had to spill over into this week.

Trilian vst bass