Avid pro tools 2018 license key Archives

Avid pro tools 2018 license key Archives

Avid pro tools 2018 license key Archives

Avid pro tools 2018 license key Archives

  • مقاطع سنگین ساختمانی

    استحکام، دقت و تضمین کیفیت

  • بومی سازی دانش و فناوری

    طراحی مهندسی

    سرعت بالای تولید

    دقت ابعادی بالا

    فولاد با استحکام

  • نمونه کارهای ما

    سوله قوسی

    سوله هشتی

    سازه های فولادی

    مشاهده گالری

فولادماشین نکا

شرکت دانش بنیان صنعتی فولاد ماشین با تلفیقی از مهندسی، مهارت، تجربه و ابتکار توانسته است در تولید محصولات استراتژیک و مطابق با نیاز بازار، گامی بزرگ در صنعت کشور بردارد. با استفاده از دانش فنی و تکیه بر نیروهای متخصص، این شرکت توانسته خطوط تولید لوله و مقاطع گرد و چهارگوش فولادی را بومی سازی کرده و مقاطعی تا ابعاد 400×400 میلی متر با ضخامت 15 میلی متر با فولاد پراستحکام را برای اولین بار در کشور تولید نماید. فرآیند تولید، عملکرد و رفتار سازه در آزمایشگاه های مجهز شرکت فولاد ماشین تایید می شوند و محصولات ارزیابی شده در سازه های فولادی، صنعت و ماشین سازی مورد استفاده قرار می گیرند. با توجه به پیشرفت های انجام شده در صنعت ساختمان، دستیابی به یک روش نوین و کارآمد جهت افزایش ایمنی و تسریع فرایند ساخت، در صدر اهداف این شرکت قرار دارد.

جدول مقاطع تولیدی مادریافت کاتالوگتماس با ما

مقاطع سازه ای

مقاطع سازه ای توخالی، با ابعاد متنوعجزئیات بیشتر

جرثقیل سقفی

جرثقیل سقفی با مکانیزم خودتطبیق شونده.جزئیات بیشتر

آزمایشگاه سازه

واحد تحقیق و توسعه شرکت فولاد ماشین نکا بمنظور برطرف نمودن چالش طراحی و اجرای اتصالات گیردار، طراحی و ساخت اتصالی اختصاصی را هدف قرار داد. ارضاء تمامی الزامات آیین ‌نامه‌ای، سهولت اجرایی و صرفه اقتصادی از جمله مهم‌ترین ویژگی های این اتصال است. در راستای نیل به این مهم، این شرکت با سرمایه‌گذاری در این بخش نسبت به ایجاد و تجهیز آزمایشگاه سازه و قاب بارگذاری با قابلیت انجام آزمایشات در ابعاد واقعی اقدام نموده است. از جمله امکانات آزمایشگاه فوق می‌توان این موارد را برشمرد: کف قوی، قاب بارگذاری، دیتالاگر 32 کاناله، جک بارگذاری (Actuator)، جابجایی سنج، کرنش سنج و همچنین نرم افزار اختصاصی جهت انجام خودکار آزمایش براساس پروتکل بارگذاری مورد نظر.

ادامه مطلب

درباره فولاد ماشین

  • تاسیس فولاد ماشین

    شرکت فولاد ماشین از سال 1374، فعالیت خود را در زمینه تولید قطعات، ماشين آلات صنعتي آغاز نموده است. در سال 1383 همزمان با گسترش این واحد صنعتی و انتقال آن به شهرک صنعتی نکا، حوزه فعالیت های شرکت نیز تغییر یافت و به سمت تولید لوله و مقاطع فولادی پیش رفت و با تجربه ای که این شرکت در زمینه طراحی و ساخت ماشین آلات صنعتی داشت، تمامی مراحل طراحی، ساخت و نصب خط تولید لوله ERW و نیز خط تولید مقاطع سازه ای توخالی (Hollow Structural Section) HSS توسط مهندسین و تکنسین های این شرکت انجام گرفت.

    خط تولید

    با تلاش و پشتکار مجموعه فولاد ماشین، خط تولید لوله ERW در سال 1387، پس از یک سال تولید آزمایشی، با ظرفیت سالانه 80000 تن شروع به کار نمود. این خط قابلیت تولید لوله های با قطر 10، 12 و 14 اینچ و به طول دلخواه بر اساس سفارش مشتری را داراست.

     

  • قابلیت ها و دستاوردها

    صنایع فولاد ماشین نکا، فعالیت حرفه ای خود را با ساخت ماشین آلات صنعتی آغاز نموده و تاکنون نیز اکثر ماشین آلات خاص خود را با تکیه بر دانش و تجربه چندین ساله شرکت، طراحی و به تولید رسانده است.

    • طراحی و ساخت خط نورد پروفیل سنگین مقاطع ساختمانی توخالی (HSS) با قابلیت تولید مقاطع ساختمانی فولادی در ابعاد و ضخامت های مختلف
    • طراحی و ساخت خط نورد لوله های ERW با امکان تولید سایزهای متنوع
    • طراحی و ساخت جرثقیل سقفی با وزن کمتر، استهلاک کمتر و زمان ساخت کوتاهتر نسبت به جرثقیل های موجود
    • طراحی و ساخت خط نواربر با طراحی و مکانیزم عمل جدید و متفاوت

     

  • با مدیریت

    دنیایی که در آن به سر می بریم، دنیایی پویا و واجد دو ویژگی عمده "منابع محدود" و "نیازهای نامحدود" است. محدودیت در امکانات و عدم محدودیت در نیازها و خواسته های بشر موجب توجه روزافزون به بهره وری شده است. سرعت افزایش نیازها بیش از سرعت رشد منابع مالی است و به این ترتیب فاصله بین منابع و احتیاجات روز به روز بیشتر می شود. لازمۀ حیات در چنین دنیایی، بهره گیری از الگوهای نوین مدیریتی است که به پیاده سازی افکار نو و مفاهیم جدید در بستری از واقعیات منجر می شود.

  • شرکت فولاد ماشین نکا در اواخر سال 1395 موفق به دریافت گواهی نامه CE برای مقاطع تولیدی خود (لوله و پروفیل) شده است که دریافت این گواهینامه امتیازات زیر را در پی داشت:

    1. صادرات کالا به کشورهای عضو اتحادیه اروپا و سایر کشورهایی که خواستار نشان CE هستند.
    2. دارا بودن مزیت رقابت و ابزار تبلیغاتی در بازار داخلی و خارجی
    3. رعایت الزامات،استانداردها و دایرکتیوهای مربوط به کالا
    4. رعایت حقوق مصرف کننده داخلی و خارجی
    5. جلب نظر نهادها و سازمانهای قانونی دولتی و خصوصی
    6. برند سازی مجموعه

     

     

     

 

 

Источник: [https://torrent-igruha.org/3551-portal.html]
, Avid pro tools 2018 license key Archives

We Are On The Edge of Permanently Losing Our Past [u]

[Updated 5/13/2018 to more accurately reflect upcoming changes from Apple and add a comment from Adobe.]

My son, Paul, is a digital archivist with ten years experience working with large firms like the IMF, NATO and, now, Brown University. (Brown is an Ivy League school, as are Harvard, Princeton and Yale, among others.)

Over the years, Paul and I have talked about the challenges of preserving our digital past. Recently, he had an experience at Brown that was such a scary preview of our future that I asked him to document it for me to share with you.

As you will read, we are on the edge of losing decades of our digital history and, unless we take action now – as individuals and developers – within a few years most media assets from the 1960’s onward will be lost. The problem is far more serious than I thought.

I’ll have more to say at the end of Paul’s report. As you read this, put yourself in Paul’s shoes, except think about trying to resurrect your own assets 20 years in the future. This isn’t “tomorrow’s issue” – it is an issue for every media creator right now.


Digital Preservation Case Study: WBRU Recordings

By Paul Jordan
Assistant University Archivist
Brown University

Project Overview

Brown’s student-run radio station, WBRU, is one of the country’s oldest student radio stations. Recently, the Brown University Archives approached the radio station regarding historical recordings in the station’s possession. After an appraisal trip by Archives staff that involved opening file cabinets that had been closed for years, sixteen linear feet of recordings were gathered and donated.

The recordings spanned the past several decades of the station’s existence, from the 1970’s up to the mid-2000’s, and were on a variety of subjects. The two largest groups were in-studio interviews of bands by student DJ’s and the weekly and daily news programs produced by the student staff.

As to be expected from a collection of recordings from a professional-grade studio over such a long timespan, the recordings were on a large variety of media. Included were:

  • 10” reels
  • 7” reels
  • 3” reels
  • CD/DVD
  • Cassette tape
  • DAT tape
  • Broadcast commercial cartridges
  • Sony NetMD mini disc

As the University Library has an existing procedure (and budget line) for reel digitization, Archives staff focused on the other formats. The more than 200 CD’s were assessed as being at the greatest risk, as they were from 1997-2000 and 2004-2007. All of them were consumer-grade burnable CD’s, which are generally considered to have a 5 year lifespan before needing replacement. The Assistant University Archivist therefore began efforts to transfer the contents of the CD’s onto the Brown network for long-term preservation.

Initial Preservation Efforts

The first preservation attempt with the CD’s was an attempt to rip the CD’s using standard software. As the Assistant University Archivist’s computer (a newly-bought Dell) did not have an internal CD drive, an external CD drive was acquired from the Library’s IT department.

Of the slightly more than 200 CD’s in the collection, all but 71 could be read as audio CD’s. All of the CD’s were of student news reporting. WBRU had two main news shows: ThePoint, which was for breaking news and general Rhode Island news, and The Pulse, which was news focused on people of color. The CD’s contained finished works, and had been burned as audio CD’s for the use of the station’s DJ’s. Windows Media Player was used to rip them into mp3 format.

However, all of the 1997 and 1998 CD’s, and about a third of the 1999 CD’s (71 CD’s in total), were not readable by the Dell machine and were initially feared to be simply non-functional.

Further Investigation

While it was possible that all of the CD’s that could not be read had degraded beyond readability, Archives staff determined to investigate further. The Assistant University Archivist took the CD’s, intending to attempt a to read them with his personal computer, a 2013 iMac. It was hoped that a different CD drive and different operating system would be able to read the CD’s.

When the first CD mounted without difficulty, the truth of the situation was quickly determined. The CD’s were not audio CD’s, but were instead Macintosh data CD’s, created on the station’s Macintosh computers. Their format explained why they could not be read by the Windows machines in the Library.

The Assistant University Archivist was able to copy the data from all of the CD’s (save for four that were either entirely or partially unreadable) using the iMac and an Apple external CD drive.

Unfortunately, the CD’s did not contain audio files of finished work product like the audio CD’s. Fortunately, one of the CD’s was a backup of WBRU’s production computer hard drive from 1998, which contained all of the software that the station used. Based on the software, and the files contained in the data CD’s, the Assistant University Archivist was able to make some informed guesses about WBRU’s work practice in 1997-1998.

The station used Pro Tools version 4.0.1 for both recording audio segments in the studio and editing them into the final show for broadcast. Pro Tools was likely also used as the recording program for call-ins (either telephone interviews or transmission of edited pieces done remotely during election coverage). Each session was contained in a folder that provided its type (i.e. The Point, The Pulse, 90-Second Wraps) and the date. The sessions themselves usually included the date and a brief description of the content, but were sometimes named randomly by the student (i.e. Education, Police Brutality, Zach’s Fun Place).

Each session folder had the same format: the Pro Tools session file and a folder labeled Audio Files. The Audio Files folder contained all of the raw recordings and interviews. Unfortunately, the audio files had almost without exception not been relabeled by the editor, and had the default file naming convention (i.e. Audio 1-01, Audio 3-04) assigned by Pro Tools during each recording session.

The raw audio files could be played by modern computer audio players, however the Pro Tools file could not be opened. That meant that the original edit was “lost,” leaving Archives staff with two un-tenable options: either make the raw audio, with its periods of dead air, numerous takes with mis-speaking, and full, un-edited, interviews, available with a note that the original edit was unknown, or not accept any of the files into the Archive and thereby lose more than two years of student broadcasts.

MP3 Conversion

As neither option was acceptable, the Assistant University Archivist attempted to recover the original edit and export a complete version to a more widely-used format. This effort was ultimately successful, though only thanks to some unlikely events.

The first and most important was that the Assistant University Archivist had been a Mac user for more than two decades, and still retained a PowerBook G4 from 2003 that had not been upgraded beyond OS 10.3. The choice had been done deliberately at the time so as to not lose access to both the Classic emulation environment and the ability to boot directly into OS 9. And while that laptop had been replaced by several other, more modern, computers, it had been retained along with its peripherals and was still in working condition.

The second was that the hard drive backup CD had confirmed the program and version of the program needed to read the edit file. An initial attempt of installing the Pro Tools 4 instance from the CD onto the laptop failed, as Pro Tools required that the installation floppy disks be inserted for verification. That was obviously not possible.

After a bit of searching, a copy of Pro Tools 5 Free was found and successfully installed, courtesy of the website www.macintoshgarden.com. Pro Tools 5 was able to open and read the Pro Tools 4 files used by WBRU.

Finally, the Brown University Library contained a copy of Pro Tools 5 Visual Quickstart Guide, which allowed the Assistant University Archivist to learn the parts of Pro Tools required. Though the archivist had experience with video editing and had used an earlier audio editing software (Macromedia’s SoundEdit 16, version 2), Pro Tools was unknown. In particular, the command to export and convert to mp3 was called “Bounce to Disk,” which was completely unintelligible to someone without Pro Tools experience.

A first attempt to export to mp3, running Pro Tools 5 through emulation in OS 10.3 failed. Every time a session file was opened, an error message stating “DAE error -6001 was encountered” stopped the file from opening. Some internet research suggested that there was some kind of driver problem but did not suggest a solution. Rebooting the laptop into OS 9 and launching Pro Tools directly solved the problem; the error messages still appeared but this time could be closed without issue to show the mix and Pro Tools interface.

An Arbitrary Deadline

The jury-rigged conversion set-up worked. The Assistant University Archivist was able to open the Pro Tools 4 session files and view the original edit in the same condition it had been when the WBRU students had closed the file twenty years earlier. Using the Bounce to Disk option, the sessions could be exported to mp3. As the Archives was only interested in maintaining the final product, the loss of the edits was considered acceptable.

Not every session was able to be exported. In some instances the radio staff did not include the Audio Files folder, or left out key pieces of audio. Some edits did not appear to ever have been finished, while a few were in pieces but identifiable enough that the Assistant University Archivist felt justified in finishing the edit so that it could be exported.

Unfortunately, Pro Tools 5 Free’s mp3 exporter came with a built-in 30 day limit. The existence of the limit was not known until a test mp3 export was done, and by then it was too late. The clock was running.

The first time it was used each day a dialogue box appeared giving the remaining days in the trial period. It also advised that an unlimited license could be bought by going to the DigiDesign website. As the DigiDesign brand has long since been folded into Avid (who acquired the company in 1995), and the current version of Pro Tool is Version 12, it was considered very unlikely that such a license would be able to be procured.

Therefore, in order to avoid having to attempt workarounds such as removal of preference files and reinstallation of the software, the Assistant University Archivist attempted to export all of the WBRU audio before the arbitrary 30 day deadline expired. The chance of success was lowered by the fact that the converter required that each piece of audio be played in real-time before it could be converted. What likely would have taken a day or two with modern software stretched out over the entire month.

In the end, the Assistant University Archivist was able to export all of the WBRU audio, finishing mere hours before the converter ceased working. 692 individual mp3 recordings were made, containing almost all of the content created by the studio in 1997 and 1998, and the remaining half of the content from 1999. The files totaled 5.05 GB in size.

In addition to the massive increase in usability, in that the files were now the actual edited programs played on air instead of the various component pieces, the conversion represented a massive decrease in the size of the collection. In its raw form, as recovered from the CD’s, the collection was 32 GB in size over 9,600 files.

Lessons Learned

Over the course of the project several lessons were learned, and other, existing, lessons were strengthened.

Format obsolescence: The first and largest lesson is that format obsolescence remains a problem that plagues all manner of digital collections. Users do not perform updates or migrations of their data, either to new media or from old formats to new formats. Indeed, it was impressive that so much had been retained in the old cabinets, and that there was only a 2% failure rate of the twenty year old CD’s.

Necessity of Old Hardware: When doing these kinds of digital preservation projects, having original hardware is often the difference between success and failure. The inability to open the Pro Tools session files while running Pro Tools in emulation was a potential critical failure for the project. If the project laptop had been newer and unable to boot directly into OS 9, the session files would have remained unopenable and the project would have failed.

Dangers of Coding Restrictions: The first attempt to open the Pro Tools session files consisted of copying the Pro Tools 4.0.1 program that had been used to create them from WBRU’s backup CD to the project laptop. Sadly, it was stopped by the built-in digital rights management, which required insertion of the original installation floppy disks to continue.

In fairness, we were doing precisely what that feature had been built to stop: copy the program from a backup to a new and completely different computer. However, there was no way to tell the program that it was twenty years later and this was an archive trying to preserve WBRU’s work, and not a pirate. If Macintosh Garden had not had a version of Pro Tools 5 free (and if DigiDesign hadn’t released a free version of their Pro Tools 5 software), the project would have failed.

Similarly, the inclusion of the 30 day trial limit on the mp3 converter added an unnecessary time crunch to the project. Archives staff would have preferred to complete the project over a more leisurely time period instead of being forced to make it the main priority. And as with the copy protection, there was no way of telling the program that it was twenty years later and that Avid wouldn’t be able to supply a code even if we sent them money.

The existence of such features on newly-released software is understandable, but ideally they should have some manner of sunset, so that after they become obsolete any potential barriers against using them to preserve what they created are removed.

Importance of Old Training Materials: Though not as mission-critical as the old hardware, the fact that the University Library had a professional, published guidebook to the software made learning what was required in Pro Tools 5 much easier. The existence of the book would have been even more important if the Assistant University Archivist did not already have some training in different non-linear audio and video editing programs. Considering the tight timelines of the project, without the instruction book the project would have come even closer to running over the arbitrary deadline before completion.

Conclusion

Digital preservation is a problem that anyone who works on a computer needs to take into consideration. While nearly all of the WBRU material on the CD’s was successfully exported, it was only through the specialized knowledge and equipment of a newly-hired staff member, and a great deal of work. Without that equipment and expertise, the material would have been deemed impractical to preserve if not already degraded, and destroyed.

If you don’t care enough about your work to ensure that it is preserved, you cannot guarantee that anyone else will, either.


LARRY’S SUMMARY

Over the years I’ve written about the need to archive our projects and media assets for the long term. In my mind, that meant moving them from spinning hard disks to something more long-term, such as LTO tape.

But, simply moving media to a different storage medium is not the complete answer. As Paul made clear, the ability to recover media from the past requires five essential components:

  • Media archived on hardware that can still be accessed
  • Software that can open and play the archived media
  • An operating system that can support the software for playback
  • Hardware that can host the operating system and software
  • Archives that include media AND software AND operating systems to allow future recovery.

Brown is a large, well-endowed and supported university. Yet, even with all its resources, it had no plans or ability to recover these stored assets. It took an individual with a 15 year old computer sitting on a shelf, along an archived version of ProTools that was 18 years old, plus a LOT of tinkering to get these files to play.

And these files are ONLY 20 years old! What happens in another 20 years? All our history is lost – stored on hardware we can’t access, using discontinued codecs and operating systems that died long ago.

Restoring the past rests far too much on chance, which is never a good method of preservation.

We are fortunate that Avid had the foresight to release a free version of an early version of ProTools in 2000, which allowed these files to be opened, though a 30-day deadline to install, learn and use 18-year-old software is asking a lot.

I find it inexcusable that Apple has not created a utility that converts FCP 6 & 7 projects into XML to allow past projects to be restored. Since FCP 7 uses a proprietary file format, the ONLY people that can create this utility are Apple. Apple would say that there is no reason to waste engineering resources on a “dead project.” I would argue that nothing is more important than preserving our past.

As well, because Apple also makes the Mac operating system, there needs to be an officially sanctioned way of restoring earlier versions of the macOS to older hardware for the purpose of restoration. Apple has made no secret that macOS High Sierra would be the last version of macOS to run 32-bit apps without compromise. Apple has also said that the transition to 64-bit for macOS and macOS apps is still underway, so final transition dates have not yet been established.

This warning is timely, and we have been told that upcoming versions of the OS will warn us when they encounter an application that will not run properly. My concern is that we need to be alerted prior to the release of a new OS of what specifically won’t work. I still have very clear memories of the unexpected launch of Final Cut Pro X coupled with the unnecessarily sudden discontinuance of Final Cut Pro 7 and Final Cut Server. Transitions that cause major apps or codecs to be “end-of-lifed” need to be better handled than that.

Adobe and Blackmagic Design also need to find a way for us to save their software for the future. I understand the need for protecting proprietary information, but twenty-five years into the future, any cutting-edge technology of today will seem, at best, a humorous antique.

We HAVE to have a way to play older software and codecs on the hardware of the future. At a minimum, if you have assets you need to make SURE survive into the future, you need to:

  • Export a high-quality, finished master using a popular codec, such as ProRes or DNx
  • Archive all project and asset files
  • Archive the software you used to create the project
  • Archive all plugins you used to create the project
  • Archive the operating system
  • Reserve a computer for long-term storage and don’t upgrade it. You’ll need this for future playback.

I don’t know what the solution is – but unless we, as an industry, think about the problems of archiving and preservation much more critically, we are going to wake up with a file cabinet of unplayable, irreplaceable CD-ROMs, Zip drives, and Cinepak media  and wonder what happened.

I’m forwarding a copy of this blog to the product development teams at Adobe, Apple, Avid and Blackmagic Design, in hopes that they, too, can start to think of ways to assure that we can keep our past accessible. I encourage you to share this with the friends and developers you know.

We stand at the precipice of losing our past. It would be a shame to lose it due to inaction.

UPDATE – May 13, 2018

One of the Adobe product team got back to me after reading this article with a series of questions that are worth additional thought. He wrote:

Beyond dedicated archivists with rigorous backup and up-converting routines, what concepts do you have in mind?  Should there be standard foundational formats that NLEs, DAWs, image editors, document layout packages, and animation tools should support for archive?  Are the raw project formats crucial for long-term backup, or would the final product suffice for the most part?  On a far out idea, what would it take for an AI to “recreate” an edit from the raw assets?  (And could that learning be used to make new edits “in the style of” other editors?)

I replied that these were excellent questions. My goal, in writing this article, is to spark an ongoing conversation – because all of us are involved in the solution.


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Источник: [https://torrent-igruha.org/3551-portal.html]
Avid pro tools 2018 license key Archives

View Full Version : Pro Tools 2018


Pages :1 [2] 345678

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  18. Getting a lot of crashing with 2018.1
  19. Pro Tools Sample Rate Indicator
  20. Apogee AD16/DA16
  21. PT 2018 sluggish vs Logic Pro snappy
  22. Click Track Extremely Loud
  23. midi shortcut keys not working
  24. midi automation
  25. Instrument tracks do not record MIDI
  26. No amp noise when Solo
  27. Video *editing* in Pro Tools HD?
  28. Shift C shortcut?
  29. Could not complete your request because while translating DNet Collaboration Maps.
  30. Offset after recording audio routed thru a bus
  31. Waveform View And Volume
  32. Batch Renaming only renaming clip, not disk file
  33. Pro Tools is suddenly in German! [SOLVED]
  34. Annual subscriptions are purchased
  35. structure free library missing since 2018 update
  36. Favorite Plugins Not Saved
  37. 2018 subscription thoughts
  38. Driver DX and Mac Operating System Crash (OS)
  39. Bug: audio glitches editing stereo tracks in playlist view.
  40. Automation Window in PT2018
  41. Pro Tools quits unexpectedly while loading plug-ins on launch (PT-206888)
  42. Pro Tools 2018 and 2016 MBP internal SSD
  43. Pro Tools 2018.1: Error in Controller-Personality "EUCON" ...
  44. Pro Tools 2018 use with 192 I/O [solved]
  45. Everything moving slower than grass growing..what the??
  46. Pro Tools 12 Not Bouncing Properly
  47. Huge noise blast on track commit xpand.
  48. New Bug 2018? Edit window jump to vcas when clicking on plugins
  49. Application Manager triad sound
  50. Soundbase default tags
  51. Will elastic audio ever get fixed?
  52. Weird Clipping on Master Fader
  53. Workflow In Elastic Audio Changed?
  54. HW Buffer Size at Different Sample Rates
  55. MIDI Ports "lost " - a simple replication recipe?
  56. Stereo Audio Track separate by stereo plug-in bug
  57. Clip colours
  58. Why does my iLok software have to up to date to run Pro Tools 2018?
  59. Incorrect bar count in session
  60. Closing midi editor
  61. 2018.1 updates
  62. Fades Gone!
  63. External Hardware with PT2018 and Uad Apollo [solved]
  64. 2018.3 & 4 Running Well Here.
  65. Can you run PT HD on UAD cards
  66. Pro Tools 2018 installation.. some basic questions.
  67. SSL Duende Channelstrip Crashing in ProTools 2018.3
  68. Edit window zoom SLOW 2018.3
  69. Avid fix your tech support
  70. PT 2018 session compatibility with 12.x
  71. Click on wrong Plugin
  72. can't sign in
  73. Tempo Issues
  74. How do you get you mouse to control volume
  75. how long Til avid.com back up?
  76. SITE DOWN! Really, Avid??
  77. Weird UI glitches in 2018.3 on macOS 10.13.3
  78. Question: Sierra or High Sierra for PTHD 2018.3?
  79. Reverting from 2018.3 to 2018.1
  80. Omnisphere 2 crash
  81. Eligibility to download Pro Tools 2018.3
  82. Elastic Audio
  83. Track/Clip Renaming Bug - Playlists while ADR’ing?
  84. Can’t import bounce 0 samples
  85. And...Avid.com is once again down
  86. Track won't re-activate - 2018.1
  87. Is the i7 8700K processor good enough for PT Native?
  88. For PT 2018.3: Mac OS X 10.13.2 or 10.13.3?
  89. 2018.3 Edit window bug
  90. no diagonal straight lines in Automation
  91. Menus don't work when re-opening a session that uses Rewire; Windows 10, PT 2018.3
  92. PT 2018 windows position multi monitor issue
  93. MOTU AVB & Protools Incompatible
  94. Pro Tools 2018.3 HD Driver crashing
  95. PT 2018.3 sonarworks reference4 only Audio Suite
  96. Pro Tools 2018 doesn't show Komplete Inst.
  97. Should I upgrade?
  98. Pro Tools perpetual license - what's included?
  99. Global Cut/Copy/Paste i.e. For All Playlists
  100. Playlist take 'shifter' into the same tracks
  101. Importing Track Labels
  102. Audio files on different hard drives reconcile.
  103. Recall track preset
  104. What is this? (freeze issue)
  105. Question about grouping clips...
  106. PT 2018 Program Unexpectedly Quit
  107. PT opening windows
  108. Roland Studio Capture with PT12
  109. -9173 Error HELP
  110. Upgrading from 2018.1 to 2018.3 with Application Manager
  111. VST load
  112. 2018.3 Atmos bed (7.1.2) DSP mixer buggy on bus paths
  113. Strange bounce behavior 2018.3
  114. 2018.3.1 crashes on startup
  115. Every time I use elastic audio, rendered regions have disappeared on reopen
  116. Protools 2018.3 Crashes at Launch
  117. mono Dverb changing settings on its own
  118. Files not found in directories, Workspace.
  119. Unusual Error Message
  120. Import Only Alternate Playlist BROKEN
  121. Pro Tools Crashes when internet connection down
  122. Loooongtime needed upgrade...
  123. PT 2018.1 crash & fix
  124. Single file in Protools session appears to be corrupt, is unable to be removed
  125. Insertion Point Not Synced
  126. Midi controller pickup
  127. An AAE Error .
  128. Need to Save All my Sessions to One Place
  129. Pro Tools First 2018 Crashing
  130. Hideous realtime quantise midi clip resize bug PT 2018.3
  131. Session Changes Key & Tempo
  132. Double Clicking on Aux Track doesn't open Track Color window
  133. Sub Bus
  134. Pro Tools won't save session
  135. PT 2018 do I need more RAM?
  136. PT 2018.3 clean install; some issues, 9171 errors, losing keyboard.
  137. managing different IO setups in PT 2018
  138. Bug with UNDO
  139. PROTOOLS 2018.3 Bounce delay compensation ERROR with UAD v9.5.1 AUX insert
  140. Industrial / pro storage configs?
  141. 2018.3 won't launch. Worked fine yesterday
  142. Recording Mainstage sounds in PT 2018
  143. Zoom toggle
  144. PT 2018 Slow to load files
  145. VEP and PT 2018
  146. Workspace Browser and Elastic Audio
  147. Issues with Audiosuite Gain
  148. Pro Tools 2018 to PT 10?
  149. Plugin for gopro sound.
  150. 2 years and something I still can't work out.. unlink timeline and edit selection BUT
  151. "The original MIDI device associated with the MIDI controller HUI could not be
  152. Surrender Pro Tools HD upgrade and support Plan 2015
  153. Moronic Task manager thing hanging all the time
  154. "E:\ Code\ 222370\...etc???
  155. Pro Tools screen cutting off task bar
  156. A couple bugs I'm seeing in 2018.3
  157. dilemma: recording instrument track audio
  158. Fullscreen at startup
  159. Who knows the quick key for this function???
  160. PT 2018.3 Leaves LARGE Artifact in Memory on Exit
  161. BUG: Dead instrument tracks from older Pro Tools Sessions
  162. Cannot move video window
  163. will Protools HD ever get ARA or an equivalent Edit System
  164. MBox 3 usb monitor connections
  165. macOS 10.3.3 update or 10.3.3 combo update?
  166. ProTools 2018 on MacBook i7 quad core 2017?
  167. Support plan expiry grace period?
  168. Missing PACE Authorization for Pro Tools
  169. No word on 10.13.4!?!?
  170. Installation Issues with Pro Tools | First 2018.3
  171. New Session backups and saves wont open
  172. Forced to add Control key with editing shortcuts..
  173. Swapping Non-HD for HD in iLok Cloud?
  174. Midi window record enable button behavior
  175. 3 projects and no acces PTF
  176. 2018 Install Issues...I'm DOA
  177. Grid Value - Blank - Disappears
  178. Using F keys - cycle through modes doesn't work
  179. Solo Safe not working [solved]
  180. Major Issue - 003+ BLA Qualification Question
  181. Commit Sucks!!
  182. Is the mixer gui lag fixed in the newer versions?
  183. Clips disappear when moved by hand
  184. Low latency monitoring not working
  185. Hide Pro Tools | HD function disabled
  186. Audio files deactivated when opening pt 5 files
  187. What Playback Engine settings work best?
  188. When to leave Elastic Audio Track as Sample-Based?
  189. ProTools AAE -7058 crashes
  190. BFD3 in ProTools2018
  191. Arturia V Collection 4 in PT 2018
  192. BUG? Either PT 12.8.3 OR Xpand!2
  193. Unintended reverb on vocal
  194. Waves plugins are not completely visible
  195. Pro tools 2018.4
  196. 2018.4 Startup Crash
  197. NO Triplets in score preferences!!
  198. When will the documents be translated ?
  199. does Pro Tools 2018.4 native run on Windows 7?
  200. Import FLAC
  201. 2018.4 Support Thunderbolt 3?
  202. Retrospective Record broken in 2018.4
  203. open LOCAL Pro Tools reference guide
  204. Bounce to disk offline error on 2018.4! take care, use online instead!
  205. What is missing: First - ??? - Ultimate
  206. cursor invisible on edit screen over tracks
  207. PT11 to 2018.4 concerned about Icons
  208. Poor volume and clarity on home studio recorded reels
  209. "Pre-Echo" Offline bounce problem
  210. Unable to commit elastic audio
  211. Change MIDI editor track
  212. Audio engine
  213. Moving MiDI from one grid to another (redefine where the beats are)
  214. Feedback overload protection
  215. Cracks and pops Pro Tools 2018.4
  216. Pro tools plan vs perpetual
  217. ProTools HD now ProTools Ultimate?
  218. VCA Faders not showing
  219. Ultimate where's HEAT authorization?
  220. Pro Tools Ultimate 2018.4 GUI offset by tabs error
  221. AAE 6101 Related to Display Resolution
  222. Control + Click gone?
  223. Dae 9173
  224. MIDI drag and drop causes instrument track to drop channel
  225. Pro Tools Ultimate, the worst version...
  226. Trouble setting up Buses on Pro Tools 12
  227. Pro Tools Network Activity- Multicast IP Address
  228. Clips change color when working with playlists 2018.4
  229. Bounce leaves some tracks unheard in final file?
  230. Track Limits in Pro Tools Ultimate?
  231. Batch Clip Rename not renaming audio files - just clips PT 2018-3
  232. The new "Pro Tools" (regular) and 3rd party interfaces
  233. Pro Tools 2018.4 STARTUP CRASH
  234. Pro Tools Ultimate CPU Spikes.. come on!!!!
  235. My latest Pro tools baby
  236. Cloud Collaboration Seems fragile.
  237. OMG!!! I lost my ilock?????
  238. Missing Grid Lines - sorry if this is redundant I have been searching
  239. Midi editor window scrolling with playback?
  240. Import Session Data Default Setting
  241. ProTools 12 Ultimate - CPU Overload without playing
  242. So let me get this straight... [upgrade from Pro Tools HD 11]
  243. Pro Tools channels clipping info
  244. Pro Tools 2018.4 freezing Windows 10
  245. PT 2018.4 Ultimate bugs ?
  246. Corrupt HW buffer CPU Overload Spike
  247. Will we see new features, new plugins or new VIs in Pro Tools this year?
  248. Pro Tools 12.7.1 to Pro Tools 2018 Questions
  249. Pro Tools 2018.4 Crashing on Mac
  250. PT unexpectedly quits - Session corrupted after relaunch
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