Avid Pro Tools 9

• Input monitoring still rather inflexible. • No 64‑bit Pro Tools yet. • Didn't play nicely with the UAD2 card in review system. • Offers little for those running HD rigs, and could undermine their investment in Avid hardware. Summary Believe the hype: Pro Tools 9 is the biggest thing to happen to the world of native DAWs for a long time, and will make some rival manufacturers very nervous indeed! All contents copyright © SOS Publications Group and/or its licensors, 1985-2018.

It can operate using the internal sound card of a PC via the (ASIO) driver and a Mac using. Mac Core Audio also allows, for the first time, the use of aggregate devices, allowing the use of more than one interface at the same time. This can also be achieved on a PC by using the third party application. Pro Tools 9 also included a new keyboard shortcut for 'New Playlist'.

Avid HEAT 10.2. Get the warmth and sonic character of analog “in the box” with HEAT (Harmonically Enhanced Algorithm Technology), an easy-to-use Pro Tools HD software add-on that gives you the euphonic characteristics of prized analog gear without the expense or added bulk.

A company from Netherlands, Ardis Technologies, produces a SAN solution based on iSCSI protocol, which is aimed primarily to the audio/video postproduction market. It is called DDP (Dynamic Drive Pool). It can use existing Gigabit Ethernet network and does not require additional hardware on the DAW side except Gigabit Ethernet adapter. LE systems [ ] The Pro Tools LE (Limited Edition) line is discontinued as of the release of Pro Tools 9.

At recent industry events, Avid have been keen to emphasise that the opening up of Pro Tools 9 is not a reluctant move, but one that reflects a sea change in corporate culture. (This, apparently, has involved a shift to an 'agile development' model, in which their engineers become 'pigs' or 'chickens' and are divided into 'scrum teams'.

The restriction of having to use Avid's own hardware was also becoming acute. Enter a new management regime at Avid and a shift from 'engineering led' to 'customer focused' development. At recent industry events, Avid have been keen to emphasise that the opening up of Pro Tools 9 is not a reluctant move, but one that reflects a sea change in corporate culture. (This, apparently, has involved a shift to an 'agile development' model, in which their engineers become 'pigs' or 'chickens' and are divided into 'scrum teams'. No, me neither.) The development of Pro Tools 9 was thus driven by a public wish-list that Avid have posted and maintained.

The release of an open RTAS software development kit? Macro support? Full session compatibility with other DAWs? If enough of us say we want it, there's a good chance Avid will implement it.

The software was known circa mid-1990s as Session (for stereo-only audio cards) and Session 8 (for multi-channel audio interfaces). Although the original design remained largely the same, Digidesign continued to improve Pro Tools software and hardware, adding a visual and more tracks, with the system offering 16-bit, 44.1 kHz audio recording. In 1997, Pro Tools reached 24-bit, 48 tracks.

No, me neither.) The development of Pro Tools 9 was thus driven by a public wish-list that Avid have posted and maintained. Among the most in‑demand features were delay compensation, ASIO and Core Audio support, HD features on laptops, and higher input and track counts in native systems — and so that's what we've got. For Pro Tools LE users, it all sounds a bit too good to be true.

Additionally, out-of-time processing is available in the form of AudioSuite plug-ins, which also enables time-domain processing. This section needs attention from an expert in Pro Tools. Please add a reason or a talk parameter to this template to explain the issue with the section. May be able to help recruit an expert. (February 2013) HDX systems [ ] In October 2011 Avid introduced a new line of DSP accelerated cards, named HDX cards, along with version 10 of its Pro Tools software. The cards included DSP processors manufactured by Texas Instruments, operating with increased computational precision – 32-bit floating point versus the previous 24-bit fixed (in the older generation 56k chips made by Motorola). Benefits claimed for the new system included improved technical performance in terms of audio dynamic range, monitoring latency, and overall computational power, when compared to the older HD line.

For those who have yet to commit to a DAW, meanwhile, Pro Tools 9 changes the landscape completely. Personally, of all the DAWs I've tried, Pro Tools has seemed to me the most intuitive. I do better work in it, and I do it faster. Tastes and working methods vary, but if you too appreciate the simplicity of Pro Tools' two‑window approach and the power of its editing and mixing tools, the fact that you'll be buying into something close to an industry standard could tip the balance.

The Complete Production Toolkit 2 adds VCA faders and advanced automation features. Here, I have two guitar tracks, each of which has its own volume automation graph. These tracks are, in turn, assigned to a Mix Group controlled by the VCA track below, which has a further layer of automation. The blue lines show the resulting composite automation graph for each track. Hand in hand with VCA groups comes a slew of advanced automation features, again available for the first time in a native system thanks to the Complete Production Toolkit 2.

I'm sure it won't be long before there is more choice. At long last, it's now possible to select different panning laws in Pro Tools (or 'pan depths' as the manual calls them). The default setting in earlier versions of Pro Tools attenuated a mono track by 2.5dB when panned centre; this remains an option, and still seems to be used by all the template Sessions, but Pro Tools 9 defaults to 3dB for blank Sessions, and you can also choose 4.5 and 6dB settings. Expect an avalanche of forum threads saying that Pro Tools 9 'sounds different” to its predecessors. More specialist improvements include support, in HD and the Complete Production Toolkit 2, for the newish 7.0 and 7.1 surround formats that use side speakers. Avid Pro Tools 9 £505 $599 pros • ASIO and Core Audio support allows Pro Tools to be used with most audio hardware. • Many previously HD‑only features now available in the basic native version, including delay compensation, timecode ruler and full Beat Detective functionality.

Summary Believe the hype: Pro Tools 9 is the biggest thing to happen to the world of native DAWs for a long time, and will make some rival manufacturers very nervous indeed! All contents copyright © SOS Publications Group and/or its licensors, 1985-2018. All rights reserved. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Web site designed & maintained by PB Associates & SOS.

To be used as inserts in the mixer, hardware effects have to be attached to the same numbered inputs and outputs, and if you want their delays compensated for, you have to calculate them manually — there's no automated 'pinging' for delays as you find in some other DAWs. One of the most obvious cases where delay compensation should bring benefits is with DSP plug‑in processing cards such as the Powercore and UAD2. Unfortunately, though, whenever I tried to load a plug‑in from the UAD2 Solo Laptop card on my Windows machine, it caused massive CPU spikes, which made it unusable. This was the case regardless of which audio interface I was using. At the time of writing, the latest version of the UAD2 software (5.7) still uses a wrapper to make its plug‑ins available to Pro Tools, but Universal Audio have announced the development of proper RTAS versions, so hopefully these will make a difference. Like delay compensation, most of the other 'new' features in the basic Pro Tools 9 have been available in HD for quite a while.

• Not all third‑party interfaces are supported, and only certain buffer sizes are compatible. • Input monitoring still rather inflexible. • No 64‑bit Pro Tools yet.

I won't reproduce it in detail here, but will highlight a few key points. For anyone running Pro Tools on HD hardware, changes are relatively few. Compared with Pro Tools LE, however, the basic native Pro Tools 9 is a lot more powerful. As well as getting ASIO and Core Audio support plus full delay compensation, users can record up to 32 simultaneous inputs on 96 mono or stereo tracks, employ up to 256 mixer buses, and use the timecode ruler and the full multitrack version of Beat Detective. AAF/OMF/MXF import and export, and MP3 export, are now included as standard. And, as previously mentioned, the Complete Production Toolkit 2 unlocks the full HD feature set, giving you surround mixing, VCA groups and advanced automation among other joys.

Surely there would be some catch, some hidden limitation that would ensure third‑party hardware and native operation remained the poor relations? The Pro Tools 9 product range is refreshingly simple. There are no longer separate LE and M‑Powered versions, just a single product with a single installer disc. As before, those who have an HD system get all the features. Those who have the basic Pro Tools 9 licence get slightly fewer — albeit many more than in LE or M‑Powered — but, by buying the optional Complete Production Toolkit 2, can get the full feature set except for features that are dependent on HD hardware, such as TDM plug‑in support.

One of the most obvious cases where delay compensation should bring benefits is with DSP plug‑in processing cards such as the Powercore and UAD2. Unfortunately, though, whenever I tried to load a plug‑in from the UAD2 Solo Laptop card on my Windows machine, it caused massive CPU spikes, which made it unusable.

Avid have duly obliged, and Pro Tools 9 now features the delay compensation engine that was previously available only in HD. It's a tried and tested implementation of the concept, which embraces external hardware as well as plug‑in delays. Plug‑in delay compensation is switched off by default, but a pop‑up menu in the Playback Engine dialogue allows you to select Short (1024‑sample) or Long (4096‑sample) modes. Change the setting and once again you'll have to re‑load your Session, but after that, everything should be fine. To be used as inserts in the mixer, hardware effects have to be attached to the same numbered inputs and outputs, and if you want their delays compensated for, you have to calculate them manually — there's no automated 'pinging' for delays as you find in some other DAWs.

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There were also a couple of occasions when everything looked to be working but no sound emerged until I quit and relaunched Pro Tools. In general, however, it was stable enough to use and never fell over during recording, though it was not as reliable as Cubase is on my system.

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Beat Detective required a bit more manual hand‑holding, but was the clear winner in quality terms. The key here is the multi‑track Collection mode, which was previously available only in HD or by buying the Music Production Toolkit. Beat Detective in action. Here, I've just analysed the Snare track and hit 'Add Unique' to combine its triggers with those generated from the Kick track. This allows you to gather together a composite set of 'triggers' — say, from kick and snare drum tracks — and apply them to all your drum tracks simultaneously, thus preserving phase relationships between them. For some reason, the first time I tried this in PT9 it wouldn't let me collect anything, but after that, it worked as expected. The timecode ruler is a necessity for working with video, and makes basic sound‑to‑picture work possible within Pro Tools 9.

Some of Avid's own interfaces, including the Mbox 3, support Pro Tools' Low Latency Monitoring mode, which makes things a bit more friendly, but this doesn't show up as an option when you're using an ASIO or Core Audio interface. If I had a pound for every time someone on the Internet has said that Pro Tools LE was 'unusable” because it didn't have plug‑in delay compensation, I could have bought Avid and implemented it myself. I'm not quite sure how this piece of received wisdom became so entrenched. After all, thousands of hit records were made on older TDM systems without delay compensation — where its absence is much more noticeable, because every single plug‑in introduces a delay. On LE systems, it's only a problem where plug‑ins use lookahead, or where audio needs to be routed out to an external processor or DSP card. As far as I'm aware, none of Avid's bundled plug‑ins causes any delay whatsoever, and nor do the majority of third‑party ones, so personally, I've never felt it to be a deal‑breaker.

Enter the Playback Engine dialogue and click on the topmost pop‑up menu, however, and you'll get the option to switch to any of the other audio devices attached to the system. On the Mac, these include an aggregate driver that is created automatically when Pro Tools 8 is installed. You don't have to do too much mucking about with ASIO devices to realise that Pro Tools' support is not yet as elegant as that of most rivals. Switching to a different audio device requires the closing and reopening of your Session, as does making changes in your audio hardware's control panel software. Pro Tools also seems unable to dictate sample-rate changes to hardware, so I had to quit and make them in the control panel instead. The Playback Engine dialogue lets you set the buffer size, but only supports a comparatively limited range of options: 32, 64, 128, 256, 512, 1024 and 2056.

These tracks are, in turn, assigned to a Mix Group controlled by the VCA track below, which has a further layer of automation. The blue lines show the resulting composite automation graph for each track. Hand in hand with VCA groups comes a slew of advanced automation features, again available for the first time in a native system thanks to the Complete Production Toolkit 2. These are too many and too complex to describe in full here, but include various useful ways to write multiple layers of automation for a single fader, which can later be 'coalesced' to a single curve, plus support for snapshot automation, where settings for the entire Pro Tools mixer, or any subset of its parameters, can be stored and recalled for individual sections of a Session.

The restriction of having to use Avid's own hardware was also becoming acute. Enter a new management regime at Avid and a shift from 'engineering led' to 'customer focused' development. At recent industry events, Avid have been keen to emphasise that the opening up of Pro Tools 9 is not a reluctant move, but one that reflects a sea change in corporate culture. (This, apparently, has involved a shift to an 'agile development' model, in which their engineers become 'pigs' or 'chickens' and are divided into 'scrum teams'.

Something that's perhaps worth mentioning in passing is that when placing your recordings on the timeline, Pro Tools compensates for delays caused by buffering, but not for the small additional delay caused by A‑D conversion, meaning that in absolute terms your recordings end up a few tens of samples late (27 samples, in the case of the Saffire Pro 40). If you care about this, Cubase, Sonar and most other DAWs let you enter an offset value in samples, and will automatically slip your recordings by this amount when placing them on the timeline. Pro Tools currently doesn't. For those considering a move from another DAW, it's also worth flagging up a point about how Pro Tools handles input monitoring.

This really freaked Pro Tools out, but even when both were correctly set to the same buffer size, all I could manage was occasional, horribly garbled audio output (which, for once, wasn't down to my singing). Thankfully, however, it was a different story with the Saffire Pro 40, which worked fine.

Its strengths in audio recording, mixing and editing have been enhanced, while Avid have worked hard to make it competitive in areas such as MIDI sequencing, where it was previously less able than rival DAWs. The last major update, to Pro Tools 8, thus introduced a huge number of improvements focusing on the 'music creation' side of things. These have, no doubt, helped to make the program more appealing to newcomers, but above all, it's the dominance of Pro Tools in professional recording and mixing circles that has fuelled its desirability further down the ladder. The problem is that this desirability has, until now, been tempered by a fair number of frustrations. By version 8, the Pro Tools native range had become fragmented and confusing, with separate LE and M‑Powered versions augmented by numerous add‑on Toolkits, and some of the features that Avid kept HD‑only were almost universal in rival DAWs.

The sight we thought we'd never see: Pro Tools' Playback Engine now supports ASIO (right) and Core Audio (below) devices. Where an Avid interface such as the Mbox is connected, Pro Tools chooses it by default, and appears to work exactly as Pro Tools 8 did. Enter the Playback Engine dialogue and click on the topmost pop‑up menu, however, and you'll get the option to switch to any of the other audio devices attached to the system.