This first-ever software-only option for Pro Tools delivers the most open, flexible and feature rich version in history, while also providing top professional features customers have requested like Automatic Delay Compensation. Pro Tools 9 allows you to be more creative by delivering new professional features that used to require additional toolkits, including the ability to develop larger, more complex projects with 96 mono or stereo voices standard voices with Pro Tools HD systems, internal busses, and aux tracks, multi-track Beat Detective, full Import Session Data functionality, DigiBase Pro, Timecode ruler, and much more.
Contact Sound Pure by email or phone for more information on Avid's products. EUCON carries high-resolution control information for faders, knobs, displays, and more between Artist Control and whatever application is in focus on your computer. This enables you to quickly switch between multiple applications—and even workstations—at the touch of a button, with all controls and displays automatically matching the selected application.
Get accurate and smooth mixing control through four high-quality, motorized, touch-sensitive, mm long throw faders. Easily select tracks for editing just by touching the corresponding fader. Control everything from panning and gain to plug-in parameters, EQ settings, and more using the eight touch-sensitive rotary encoders, with instant positional feedback displayed on the high-resolution OLED displays.
Because Artist Series controllers are modular, you can combine them in a variety of configurations to suit your workflow. Simply clip the units together to form a seamless surface—or use them separately—as each has its own Ethernet connection. From award-winning producers, of music and film, to producers of personal at home productions, Avid creates technology that people use for their music to be heard or videos to be seen on any platform. The shows, commercials, and news programs you watch on TV.
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Call Us! Toll Free! Item selected is discontinued details below. Related products available now:. Presonus Faderport V2. Fairly regularly during the review period, I got this message even when I hadn't made any changes myself, so perhaps MixControl was doing something in the background that Pro Tools didn't like.
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.
I had less time to test things on the Mac, but encountered no problems in that period. 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. Because you're hearing the input signal directly through said utility, you don't need to hear it again through your DAW; but when you hit play in your DAW, you do want to hear the track you've just recorded. In Pro Tools, by contrast, track arming and input monitoring are the same thing. Unless, that is, you mute the track to which you're recording, or lower its fader — in which case you'll have to remember to unmute it on playback, then mute it again for the next take, and so on.
This is a nuisance, especially when you're recording multiple inputs in which case it's worth making them into a Mix Group so you can mute and unmute them all with one click. I've been whingeing about this in Pro Tools reviews ever since the launch of the original Mbox in , and in the context of Pro Tools 9 it's probably now my number one gripe. I'm not quite sure how this piece of received wisdom became so entrenched.
Still, the Internet is a powerful medium, and delay compensation in native versions of Pro Tools was the number one feature request from users. Avid have duly obliged, and Pro Tools 9 now features the delay compensation engine that was previously available only in HD.
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.
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. Like delay compensation, most of the other 'new' features in the basic Pro Tools 9 have been available in HD for quite a while. That doesn't make them any less of a big deal, though, and together they amount to a massive shot in the arm for Pro Tools as a native system.
All of them have been described in detail in previous SOS articles, so I won't go into detail, but here's an outline of what you can expect:.
Beat Detective is an automated editing tool for knocking wayward drum performances into shape, and although it's quite long in the tooth now, I've yet to find a better alternative. As it happens, just before the review period I had exactly such a performance that I wanted to conform to a rigid tempo grid.
All of the Elastic Audio modes compromised the sound to an unacceptable extent, especially on floor toms. 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.
For more advanced video work, though, you'll want to add the Complete Production Toolkit 2, which enables HD features such as multiple up to 64! Assigning a VCA fader to multiple audio tracks in your mix allows you to raise or lower their levels simultaneously with one fader move. The benefits of working in this way may seem subtle at first, but can be substantial in practice.
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. The most important control is the Link button underneath the Link parameter display area. In my case this will be the free Launchpad app on my iPhone. Whatever it might be, the procedure is similar in that you have to locate and enable Ableton Link in the settings of the compatible app or device.
When that is done the sync bar at the bottom of the Link window will start to cycle from left to right and the number of connected hosts will be displayed, in this case just the one. Once Link is set up, the green bar will ping from left to right to show that everything is in sync, and the number above the Quantize settings shows you how many Link devices are connected. The Quantize value might confuse since it controls the timing interval in which Pro Tools responds on the beat, on the bar etc , not when connected apps respond.
Obvious when you understand what it is, but worth noting all the same. The second new feature introduced is a new behaviour of the record arm buttons in Pro Tools.
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