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Pro Tools 9: A Major Upgrade


Geoff Grace

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A lot has changed over at Digidesign--or should I say Avid?--and the recently announced Pro Tools 9 ushers in a new era of options for users.

 

For starters, you may now use any audio interface with Pro Tools, from any company, including your computer's sound card; and version 9 finally offers Automatic Delay Compensation to all users. Here's a list from Avid of current features:

  • Work the way you wantwith your favorite Avid audio interface, third-party Core Audio/ASIO interface (up to 32 channels supported), or standalone
  • Create bigger mixes with more simultaneous audio tracksup to 96 or 192* voices
  • Get coveted pro features such as multitrack Beat Detective, OMF/AAF/MXF interchange, DigiBase Pro, and full Import Session Data dialog as standard
  • Create better-sounding, phase-accurate mixes with Automatic Delay Compensation
  • Expand your hands-on control options with EUCON integration for Artist and Pro Series consoles/controllers
  • Work with video more easily with the Time Code Ruler and variable stereo pan depths, and mix in surround with the updated 7.1 surround panner*
  • Create complex mixes with 256 internal busses, 160 aux tracks, and 512* total audio tracks
  • Share your music mixes with anyone with included MP3 Export

* Feature/spec only available in Pro Tools HD 9 software and Pro Tools 9 software with the added Complete Production Toolkit 2 option.

 

Best,

 

Geoff

My Blue Someday appears on Apple Music | Spotify | YouTube | Amazon

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This is good news. But I can't believe Automatic Delay Compensation is only now coming to ProTools. That has been standard on Cubase/Nuendo for so long that I forgot it's even there!

 

Good thing they are letting go off the proprietary hardware requirements, though.

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This is good news. But I can't believe Automatic Delay Compensation is only now coming to ProTools. That has been standard on Cubase/Nuendo for so long that I forgot it's even there!

 

Good thing they are letting go off the proprietary hardware requirements, though.

 

Automatic Delay Compensation has been in Protools HD for a long time. I'm sure it was kept out of LE just to help justify the much more expensive HD.

 

Busch.

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I have always been tempted to jump over to pro-tools but I suppose you can do exactly the same stuff with e.g Cubase today.

 

What is the big deal with pro-tools apart from more expensive plugins and expensive upgrades?? Workflow???

 

I guess the advantage with pro-tools has been stability when using the pro-tools hardware?? What else do you get that you don't get with Logic, Cubase, .....

 

/Fred

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What is the big deal with pro-tools apart from more expensive plugins and expensive upgrades?? Workflow???

 

A lot of it has to do with Pro Tools having been the industry standard for years now.

 

When recording projects in multiple studios or outsourcing production certain tasks having everybody on the same platform and familiar with all the functions becomes crucial.

 

 

Ian Benhamou

Keyboards/Guitar/Vocals

 

[url:https://www.facebook.com/OfficialTheMusicalBox/]The Musical Box[/url]

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I have always been tempted to jump over to pro-tools but I suppose you can do exactly the same stuff with e.g Cubase today.

 

What is the big deal with pro-tools apart from more expensive plugins and expensive upgrades?? Workflow???

 

I guess the advantage with pro-tools has been stability when using the pro-tools hardware?? What else do you get that you don't get with Logic, Cubase, .....

 

/Fred

 

PT is a Digital AUDIO workstation (notice MIDI isn't a part of the acronym but some people use DAWs for MIDI alone). There are engineers and editors who NEVER use the MIDI side of PT. I am currently working on sampling two of my Rhodes (every note at between 15 and 30 velocities per note). I shudder to think of doing that in some other DAW. Audio workflow in PT is second to none.

 

PT has gotten much stronger in the MIDI area. The notion editor uses the Sibelius engine. The included VIs are very cool and the Instrument expansion pack has some really excellent VIs you can't find anywhere else.

 

Over the years I've come to use MIDI less and less preferring to do as much in audio as possible. While I own Cubase, Logic and DP it's PT and Ableton Live that I really use.

 

Busch.

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have they aded new virtual instruments or updates

to them? becuase

i really like them and used them.

 

Hello

 

Nope, the bundled instruments are still the same:

 

- miniGrand

- db33

- Boom

- Vacuum

- Xpand^2

 

But you can have now up to 64 instruments channels and 512 MIDI channels, among other amenities.

 

Feel free to ask, gentlemen

:wave:

Músico, Productor, Ingeniero, Tecnólogo

Senior Product Manager, América Latina y Caribe - PreSonus

at Fender Musical Instruments Company

 

Instagram: guslozada

Facebook: Lozada - Música y Tecnología

 

www.guslozada.com

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Over the years I've come to use MIDI less and less preferring to do as much in audio as possible. While I own Cubase, Logic and DP it's PT and Ableton Live that I really use.

 

Busch.

 

 

just curious, what do you do in Live versus what you do in PT? I've had Live for awhile and thinking about taking the PT9 plunge. Advice greatly appreciated!

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Seems to me PT is waking up & smelling the coffee. Their DSP based systems were way ahead of the game, what 20 years ago, but modern computers have been rendering that type of technology less & less advantageous over the years.... especially when you consider the upgrade costs of a DSP based system.

 

To me they've been resting on their laurals too long & are playing catch up with other DAW makers that have offered very competitvie programs at a fraction of the cost. Of course, the fact that you couldn't use PT with a Sound Blaster helped protect its image. I can't begin to recount the people who've tried using Sonar or Cubase with a Sound Blaster card & then dismissed the program as crap because it wouldn't perform well on their emachine.

Custom Music, Audio Post Production, Location Audio

www.gmma.biz

https://www.facebook.com/gmmamusic/

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There are engineers and editors who NEVER use the MIDI side of PT. I am currently working on sampling two of my Rhodes (every note at between 15 and 30 velocities per note). I shudder to think of doing that in some other DAW. Audio workflow in PT is second to none.

 

PT has gotten much stronger in the MIDI area. The notion editor uses the Sibelius engine. The included VIs are very cool and the Instrument expansion pack has some really excellent VIs you can't find anywhere else.

 

You pretty much said everything there I was going to say, Busch.

 

It has been a while since PT was my DAW of choice. I now use Cubase and Ableton Live mostly.

 

Back when I was using PT (5yrs ago) more prevalently, the MIDI implementation did not seem as strong as Cubase's. But the audio editing was superior. In fact, I still prefer PT's audio-editing interface over Cubase's, but when I got my laptop in '04 and wanted a Firewire interface because it was faster thany any USB solution (may still be? that I don't know), and allowed for more simultaneous inputs, I could not go with Digi ... they only had a 2-channel-max Mbox while PreSonus and other interface manufacturers were providing more functionality and using Firewire to do it.

 

So I made the switch. Now I can get a copy of PT and use with my FireBox? Sweet! Now I don't care so much about the gap in audio editing capabilities because I'm reasonably fluent in Cubase, but the reason I DO want PT is because there are times when I record tracks for other people's sessions, or work with my own sessions recorded at a formal studio (which almost always means, in ProTools). With PT I can open sessions instead of having to import consolidated tracks. I like the concept on paper ... we'll see how nicely PT plays with other hardware. :)

Original Latin Jazz

CD Baby

 

"I am not certain how original my contribution to music is as I am obviously an amateur." Patti Smith

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just curious, what do you do in Live versus what you do in PT? I've had Live for awhile and thinking about taking the PT9 plunge. Advice greatly appreciated!

 

I know you didn't address this directly to me, but I thought I'd tell you what *I* use Live for anyway, LOL.

 

I mostly use it for writing/arranging songs; I think of Live in simplest terms as a looping machine. While DAWs excel at linear production, Live is great for flexible, on-the-fly arrangement of patterns. For example, if I come up with an 8-bar section for the head, a 16-bar section for a bridge, in Live I can experiment with how many times I want to repeat the 8-bar section to make up the head, use the same rhythm tracks for Vs1 and Vs2 or swap out the ones in Vs2 to build the song, experiment with different tempos, etc., very flexibly. I don't have to do this on a timeline, shifting things over everytime I make a change, because it's not linear as it would be in a traditional DAW like PT; with Live you are working with sections, the length of which you determine. Once you get parts you like, you can commit them to a linear arrangement. I find working this way just super productive in terms of writing/arranging. Live does a ton more too, geared toward live (hence the name) tweaking of loops ... your tweaks can be recorded as a performance. It really does a lot and I am probably not doing a great job of doing it justice with this description.

 

 

I realize this may be an oversimplification and for everything I say Live excels at someone else is going to say they've found a workflow for doing it "just as good" in a traditional DAW ... but not for me. I find Live far more intuitive. They're all just tools and ya gotta find the ones that work the best for you. :cool: But this is my experience FWIW.

 

 

Original Latin Jazz

CD Baby

 

"I am not certain how original my contribution to music is as I am obviously an amateur." Patti Smith

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