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Where Pro Tools 10 is concerned, the most important major upgrade is the audio engine behind the Avid mixer that has been upgraded from the previous version. This is the secret sauce that makes Avid’s mixing software the world’s most sought-after engine for mixing and mastering. Engineers and producers swear by this engine. “It’s a world-class tool,” Mark Vosper, engineering and technology director of London recording studio the NoN studio told me in a previous interview. “But it only works with Pro Tools,” as well as time and again. Avid has gone to great lengths to ensure their audio engine remains on the cutting edge.
Pro Tools has always been an industry standard, but the upgrades and subsequent updates have been somewhat of a mixed bag. Over the years the software has continued to get bigger and do more, while some of the usability and design issues have remained. With Pro Tools 10, the development team is attempting to bring the software up to par with its competitors, including up-and-coming software like Digital Performer. Avid has rebranded the latest version of Pro Tools as Pro Tools Studio, something that Apple’s Logic Pro X has had for over a year. Pro Tools Studio includes some new enhancements to audio editing software, such as the AES/EBU feature that allows you to import audio from EBU-compliant optical audio discs and cable boxes, as well as the introduction of the Mac-native app. Studio introduces surround sound mixing and Dolby Atmos, as well as new plug-ins, a new version of the environment, and much more.
The fifth track in Pro Tools is mixing, and while most of the cool stuff is in Pro Tools Artist, this is the home of the single best example of what happens when you take a sound or hardware plug-in into Pro Tools and export it as a session. It’s called Dynamic Screen View, and it displays your audio and sends audio, sends, sends, sends, sends. I have such a fetish for this feature that I went out and bought a new hardware computer just so I could have the dedicated screen and entire computer available to me at all times when I’m mixing. I should also mention that when you have a Virtual Set active, Dynamic Screen View will display both channels from the virtual set, and so having two computers and dual screens is less a disadvantage than it might seem.
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Anyone who has worked on a larger facility will tell you that there’s nothing worse than rolling out a big-ass noise gate into one of the mics on a studio’s channel strip. But with Pro Tools, this is second nature. You can set the normal and high-pass threshold in the Mix window so that the gate only activates when, say, there’s double the amplitude of your fundamental frequency, or that it only applies to the A and B sides. You can even choose a different graph based on the master track’s amplitude envelope. And the only way to know how much stuff is cluttering up that signal path is by looking at the meters on each track in the Mix window. Any gate hardware that’s added via plug-ins like the company’s industry-leading Lexicon plug-inswill work in Pro Tools, and the company’s soft clippers are great for getting any unwanted material out of the way.
There’s simply no earthly reason to use an old DAW like Pro Tools or Studio One when a totally new DAW like Logic Pro X is around that can offer more features, higher resolution, and better connections. But the next best thing, and the one most often utilized, is the much faster trackbacks and forward cymbals and drum takeoffs that’s built into Pro Tools and its plug-ins. This offers a big bump in performance for any recordist’s workflow. The longer I work with Pro Tools, the more obsessed I become with this function.
Sibelius is an industry standard for music composition; its ease-of-use, powerful functionality, and range of integration with Pro Tools make it indispensable for anyone seriously interested in using digital score for serious music creation. Sure, you can use the app itself to write music, but its killer feature is that it’ll render these settings you’ve chosen automatically inside Pro Tools. Rather than writing a bunch of notes, and then opening up Sibelius to save your work, you can just save your work directly inside the app and have the music as a MIDI file as you mix your final master.
What’s new in Avid Pro Tools?
With Pro Tools X1 and X4, you can record to proprietary digital audio formats and use Pro Tools Connect to send audio to multiple systems, such as Ableton, Logic, or Sonik Connect. Pro Tools Connect is a system where all audio signals are routed and distributed over a powerful network infrastructure to any other instances of Pro Tools that you might have.
With Pro Tools 2018.1, you can manually resize the width or height of an object in 3D space so the object never loses its proportion to its container. Now you can quickly increase the size of a clip or video frame, and select the size you want to keep, in a matter of seconds.
Now you can view large, 32-bit images in Avid Media Composer. You can use the new one-click script button to quickly insert sample images into your composition. The new Script Command dialog box makes it easier to script actions with a click of the mouse. The Script Command dialog box is available in all versions of Avid Media Composer.
Features like Auto-frame, a simplified, customizable tool that inserts an empty track in an existing project, make it easier to assemble a complete project. New sonic stabilization tools and smart compression algorithms keep audio at its highest, truest quality. Plus, take advantage of lower latency with the new Pro Tools Dark/Classic UI themes, and use the extended integration to control Native Instruments Komplete Kontrol keyboards via MIDI control.
Expand your creative options with new enhancements to Core Tools:
- New MIDI flyout with shortcuts for global adjustments like key, pan, cutoff, or LFO. New MIDI input modulation effects (pitch bend, vibrato, and slide), in addition to preset effects like Chord Mode and Chord Track.
- Enhanced L-R processing with Arpeggiator, with presets for different key performance data rates.
- New effect integration features. Drag effects into cue clips to create instant time-stretching, echo, flanger, and delay effects.
- The Auto-Mix tool has been significantly improved with the ability to scan and adjust multiple tracks at once.
- The BED tool has been greatly enhanced for audio playback and editing.
- MIDI Out now supports MIDI groups, allowing Avid MIDI-enabled systems to be used as MIDI controllers.
- MIDI In retains a compact one-track view in a system with multiple tracks, but can be expanded to display multiple tracks and their instrument or controller controllers, and synced to MIDI timecode.
What’s new in Avid Pro Tools
- New Avid Cinema 4D 2019 Modeler Link Panel – set up your model for rendering, and have Avid seamlessly render it directly into a session for post production uses. This workflow reduces render and render times, making editing sessions more efficient.
- New Avid Timelapse – view and export timecoded sequences.
- New Avid Harmonizer – Create memorable audio loops with preset function.
- New Avid Multimonitor – 3D Viewer, zoom, pan, and more.
- New Avid VideoMix & Media Composer Link Panel – Edit within the Avid XML timeline and view project-wide information without interrupting workflow.
- New Avid Denoiser – Enhance audio.
- New Avid Stabilizer – Keep your camera stable with the ability to control gimbal camera movements.
Avid Pro Tools Features
- DAW: HDX Pro Tools 24
- CPU: Intel Xeon E5-2690 2.5GHz 8 core
- RAM: 32GB 2400MHz DDR3
- 1TB SSD
- 384GB PCIe SSD
- Windows Server 2012 R2
- Windows Server 2012 R2 Essentials
- Redundant Power Supply
- Cat. 7 GPU with Geforce 760M
- HDMI 3.0
- FireWire 800
- Dual Ethernet
- Wired and Wireless
- Fast Ethernet
- Optional 802.11ac
- Omnidirectional microphone
- 4 x Ethernet
- 6 x FireWire
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