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• Avid Pro Tools 9 Requirements

Nearly 1400 industry professionals from over 50 countries joined Avid at the Wynn Las Vegas last April to celebrate the 5th annual Avid Connect event. Avid presented the results of the 2018 ACA Vote (over 25,000 customers working with Avid to set the future direction of the industry), revealed a whole host of innovative tools, apps, services, and solutions, and welcomed 80 guest speakers from the likes of Netflix, Dolby, NBC and Sky, to take part in nearly 40 session. We played hard too—enjoying an evening of energetic music, awe-inspiring acts and our festive fedora-adorned guests. Let’s keep the momentum moving forward! Make sure you join us next year to define your path, overcome obstacles, transcend limitations, and experience innovation in action.

Make your mark with Pro Tools. Pro Tools redefined the music, film, and TV industry, providing everything you need to compose, record, edit, and mix audio—in the studio or in the cloud, from anywhere. Shop for the Avid Pro Tools 9 Software and receive free shipping on your order and the guaranteed lowest price.

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For the first time ever, Avid have made the full Pro Tools feature set available on native systems — and you don't even need one of their interfaces to run it! It's official. Swedish house mafia until now album download zip. Hell has frozen over. This year's AES show in San Francisco saw the announcement most of us thought we'd never hear: Avid, for so long the most insular manufacturer in the business, were embracing openness. No longer would their market‑leading Pro Tools DAW be tied to Avid's own hardware; from now on it would work with any interface that supported the ASIO or Core Audio driver protocols, from the Apogees and Prisms of this world to the built‑in inputs and outputs of a cheap laptop. And that wasn't all.

Users of the more affordable native Pro Tools packages, LE and M‑Powered, had long griped about the artificial limitations that kept those packages feature‑poor in comparison with Pro Tools HD. At a stroke, Pro Tools 9 removes nearly all of these — and with the addition of the new Complete Production Toolkit 2, a native system can acquire all the features of an HD rig apart from those that are hardware‑dependent, making such gems as VCA groups and advanced automation available to native users for the first time. Things have come a long way since I joined Sound On Sound back in 1998. Then, the very idea that anyone might actually buy a Pro Tools system for the software would have seemed laughable to many. TDM systems represented an affordable and very popular way to get multitrack audio in and out of a computer, and to run DSP‑assisted plug‑ins, but most studios ran Logic or other third‑party software as a 'front end', and the Pro Tools installers gathered dust in a drawer somewhere.

Over the last decade or so, Digidesign and now Avid have done a remarkable job of reversing that situation, to the point where other DAWs such as Nuendo and Logic now incorporate numerous features that originated in Pro Tools. You could point to several milestones along that path. First came Pro Tools Free, a free 'taster' version of the software that would work with a Mac's built‑in hardware.

Then came the Digi 001, the Mbox and a succession of other affordable native versions, successful ports of the Pro Tools software to Windows and Mac OS X, and the acquisition of M‑Audio. Meanwhile, at the high end, there was the transition from Pro Tools Mix to Pro Tools HD, and the introduction of the hugely powerful Icon control surfaces. The software itself has also undergone radical overhauls in that time, yet unlike some DAWs, Pro Tools has managed to retain the core simplicity and elegance of its two‑window approach. 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 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. 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. After all, Avid were the company who used to demand an extra 20 dollars just so we could bounce an MP3 file.

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. All versions are now authorised to iLok, and a Pro Tools 9 HD licence will authorise the full Complete Production Toolkit 2 on a native system — so many HD users will no longer need to buy a separate LE system to work on the road.

Avid provide a helpful comparison chart listing the features of the three different systems, and their counterparts in Pro Tools 8,. 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. However, the additional plug‑ins that came with the old Music Production Toolkit 2, such as Hybrid and Smack! LE, are not included, and are only available as separate products. I tested Pro Tools 9, with the Complete Production Toolkit 2, on both Mac and PC. In both cases, you'll need an up‑to‑date OS.

Mac OS 10.6 'Snow Leopard' is required on Apple machines, and Pro Tools 9 is only officially supported under Windows 7 on PCs. There have been reports on the Web of users successfully installing it under XP, but for review purposes I thought it fairer to use an approved system, so made a fresh installation of Windows 7 Home Premium on my Dell laptop. (This is a 32‑bit machine, and Pro Tools itself remains a 32‑bit application for the time being.) In look and feel, Pro Tools 9 is exactly like version 8, and it's not until you investigate hidden corners of the Playback Engine and Hardware Setup dialogues that the new features become apparent. The only major one that is actually new, rather than inherited from HD8, is the one most responsible for the current chilly temperature in Hades: support for the ASIO and Core Audio driver protocols.

On my Windows machine, I was able to test Pro Tools 9 with one of Avid's new Mbox 3 USB2 interfaces, a Zoom R16 and a Native Instruments Rig Kontrol 2, both of which also connect via USB2, and a Focusrite Saffire Pro 40 Firewire interface. On the Mac, I had access to an older Mbox 2, an NI Rig Kontrol 3 and an RME UFX, both of which I connected via USB2.

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. 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. If your interface doesn't offer any of these, Pro Tools will quit in a puff of indignation.

Of the interfaces I tested, this immediately ruled out the Rig Kontrol 2: its Windows drivers set buffer sizes in milliseconds rather than samples, and don't appear to have any compatible settings. More of a concern was the Zoom R16, which does offer 256, 512 and 1024‑sample options, but refused to cooperate at all with Pro Tools 9. Unlike most interfaces, its control panel still allows you to change the buffer size even when it's in use by another application.

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. Up to 32 inputs are supported in the basic Pro Tools 9. Here I've configured the I/O Setup Window to use everything that's available on my Saffire Pro 40. I was able to keep the Saffire MixControl utility open at the same time as Pro Tools, allowing me to create monitor mixes and so forth, and all of the Pro 40's inputs and outputs were visible (and audible!) in Pro Tools. Moving faders and so on within MixControl didn't seem to upset Pro Tools, but more fundamental changes, such as switching to a different clock source, usually provoked the demand to close and reopen my Session. 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.

Both the Rig Kontrol and UFX required a few visits to the I/O Setup window to get sound out, but once set up, it seemed to work well. The addition of ASIO and Core Audio support makes sense of the changes that were made to the I/O Setup window in Pro Tools 8.1 HD, which are now standard in all versions.

Avid Pro Tools 9 Requirements

Tracks are now routed to outputs via buses (hence the need for more buses), and I/O Setup configurations can now be stored with the system as well as with a Session, making Sessions more easily interchangeable between systems. 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. In most DAWs, such as Cubase and Reaper, input monitoring is independent of track arming. In other words, you can record‑enable a track without enabling input monitoring on that track. And when you're using a separate low‑latency monitor-mixing utility, such as Saffire MixControl or RME's TotalMix, that's exactly what you want to do.