But apparently PT First doesn't work that way.
#Protools 12 fader link driver
after get the driver from this site 'PreSonusFaderPortInstallerv1.3.5. and even not sure about it really installed on my mac.
#Protools 12 fader link pro
Hit 'Enter' and 'MIDI/Select' to finish, and knob 1 should now be controlling your first Pro Tools fader. Mac pro (late 2013) OS X 10.11.6 El Capitan -DAW is Pro tools 12 -interface is MOTU 896mk3 firm ware 1.01 It doesnt work with HUI. The display should now say 'C' and you can now enter the MIDI channel, which must be '16'. And then you can select the groups individually in the groups window located in the bottom left of your edit window. Type '64' (the Fader 1 control value) and 'Enter'. Summing audio tracked at these levels may result in distortion caused by overloading the main output, or some part of the signal processing chain, but here is where the Master fader can come to your aid. Well, in PT 12 on a Mac, you select the channels you want to group then hit Command + G. For starters, inter-sample peaks in the analog waveform may well exceed 0 dB without you even noticing. There are several reason why tracking at these levels is a bad idea. Perhaps handed down to us from the dark, early days of digital recording, the practice of maintaining tracking levels right up to 0 dBFS is still commonly seen, despite the fact that 24-bit recording offers a noise floor some 48 dB lower than that offered by 16-bit recording, and lower than the ambient noise found in most studios. The TL Mastermeter shows a peak signal level in the mix buss of -23 dB with one channel of continuous tone, -17 dB with two channels of the same tone, and -11 dB with four channels each time you double the signal, the level rises by 6 dB Although all systems have plenty of room in the mix engine for summed signals, Avid obviously considered too prudent to raise their game to 64-bit floating point to cope with the demands of summing up to 768 audio tracks, 512 Auxiliary Input tracks, 128 VCA Master tracks and 128 Instrument tracks in the Mix bus! In fact, starting with a single track and doubling its signal 9 times would require 512 tracks of the same signal, and this would "only" require 54 dB of headroom above the level of the original signal.
And because of the way the maths works 64-bit floating point systems they offer considerably more than the 384 dB that a 64-bit fixed point system would have, according to the "6 dB per bit" rule of thumb.Ĭonsidering that each time you sum two equal signals the total level rises by 6 dB, you will need to mix together a lot of channels before you clip any of these internal mix buses. Where 24-bit recording technically offers up to 144 dB of dynamic range (in reality limited by the performance of the analogue to digital and digital to analog circuitry in your converters, which is usually of the order of 110-120 dB), a 48-bit fixed point mixer offers up to 288 dB dynamic range. It is not the purpose of this article to go into the mathematics behind these systems, but it is important to know that all systems provide a huge amount of headroom in their mixers, for the purpose of combining signals. Pro Tools HD and Accel core cards provide a 48-bit fixed point mix engine
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