So when using UAD plug-ins in Pro Tools, make sure you turn on Delay Compensation. To enable Delay Compensation in Pro Tools 11/12, go to the Options Menu and make sure "Delay Compensation" is checked. Unlike Pro Tools 10, you no longer have to choose a delay compensation length, just turn Delay Compensation on and it works up to the maximum delay time.
It's the same in RX8 and RX6 when used for realtime playback. Mixing the tracks in RX8 produces the same results as in RX6 - the audio is delayed and you're going to have to pull it back.The 'Elements' version doesn't have RX Connect but the 'Standard' version doesn't. I haven't tried RX Connect with track effects - I get the impression it's for individual clips.
IMHO, effects like de-click are not intended to be used on an entire track, but rather on individual sections of clips. The extreme delay (and the slowing down of MC when opening the sequence or removing the effect) also tells you something about the processing power needed to identify all these tiny spikes. I would recommend flagging the sections you want to process, then process them individually.
I did revert to applying it to the individual clips in the end and that all works fine. In this case because the audio was from the same source and needed the same correction, using the Audio Effect Track Tool approach made sense. If a bit more delay compensation was available, it would work. I do know the mechanics of whose provide that.
What is more sad about this situation and discussion, is that delay compensation is something that ProTools does seamlessly. Many audio plugins require delays, sometimes because of processing, sometimes because of look-ahead being part of what they need. So Avid was able to solve this issue cleanly in ProTools, yet on the MC side there seems to be bewilderment of about this situation. Several threads I read this morning on the topic seemed to have a hard time wrapping their head around it or question the users why they would need this.
Media Composer uses the Pro Tools mixing engine and uses the same delay compensation technology. The issue here is really just the maximum delay that can be accomodate by the mix engine. The iZotope plug-ins are requiring unexpectedly gargantuian delay compensations that Media Composer is unprepared for.I'll see what i can do about getting the maximum delay compensation for Media Composer increased. The current limit is 16384 samples. The quick experiments I did today suggest that it will be more than just a matter of increasing some hard coded limit, as my attempts to use large delays led to other problems that will take some time to sort out.This has an internally-reported bug number, "MCDEV-6332", so it is, as they say, "on the list".
What you can do is to reduce the buffer size to a lower value without having to cause any problem. If you really want to get monitoring in your DAW, then do not use the delay compensation and the LLM.
The core engine and much of the user interface of the first iteration of Pro Tools was based on Deck. The software, published in 1990, was the first multi-track digital recorder based on a personal computer. It was developed by OSC, a small San Francisco company founded the same year, in conjunction with Digidesign and ran on Digidesign's hardware. Deck could run four audio tracks with automation; MIDI sequencing was possible during playback and record, and one effect combination could be assigned to each audio track (2-band parametric equalizer, 1-band EQ with delay, 1-band EQ with chorus, delay with chorus).
Along with Pro Tools III, Digidesign launched the 888 interface, with eight channels of analog and digital I/O, and the cheaper 882 interface. The Session 8 system included a control surface with eight faders. A series of TDM plug-ins were bundled with the software, including dynamics processing, EQ, delay, modulation, and reverb.
When Apple changed the expansion slot architecture of the Mac G5 to PCI Express, Digidesign launched a line of PCIe DSP cards that both adopted the new card slot format and slightly changed the combination of chips. HD Process cards were replaced with HD Accel, each mounting nine Motorola 56321 chips running at 200 MHz and each providing twice the power than an HD Process card; track count for systems mounting an HD Accel was extended to 192/96/36 tracks at 48/96/192 kHz sample rates. The use of PCI Express connection reduced round-trip delay time, while DSP audio processing allowed the use of smaller hardware buffer sizes during recording, assuring stable performance with extremely low latency.
Pro Tools 9, released in November 2010, dropped the requirement of proprietary hardware to run the software. Any audio device could be used through Core Audio on macOS or the ASIO driver on a Windows. Core Audio allowed device aggregation, enabling using of more than one interface simultaneously. Some Pro Tools HD software features, such as automatic plug-in delay compensation, OMF/AAF file import, Timecode ruler, and multi-track Beat Detective, were included in the standard version of Pro Tools 9.
MIDI notes, velocities, and controllers can be edited directly on the timeline, each MIDI track showing an individual piano roll, or in a specific window, where several MIDI and Instrument tracks can be shown together in a single piano roll with color-coding. Multiple MIDI controllers for each track can be viewed and edited on different lanes. MIDI tracks can also be shown in musical notation within a score editor. MIDI data such as note quantization, duration, transposition, delay, and velocity can also be altered non-destructively and in real-time on a track-per-track basis.