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There’s also the Clip window, which features the playback engine. Load, manage, and mix clips all within the clip window. This is very similar to how it worked on previous Pro Tools versions. The difference is that you can drag clips into any region, one without having to load another, edit every region simultaneously, and drag them into the Clip window. You can even layer your clips for multi-track recording. The editing and mixing process is integrated into the playback engine, letting you sit in complete comfort editing and mixing your clips on top of your entire project. In other words, you can edit like a mad scientist and never have to bother with the tedious task of exporting from one project to another.

The final part of the package is the effects engine, which I’ll cover next. Pro Tools gives you two main types of effects: Realtime effects and Automation. Realtime effects are used to add or subtract low-level distortions like flanger, tape echo, chorus, and the like. The other method is called Automation. When a plug-in like a compressor or EQ is running, you can click-click a parameter and move it in the automation panel. This lets you set parameters in one track, and automatically move them into another track. I’ll explain both of these types of effects separately.

First off, if you want to record your own audio from an instrument, you’ll most likely have to bring in a cheap DAW like Audacity or Logic and mic your instrument with a mic preamp. Most DAWs don’t come with preamps that cut and shape a track well enough to make a nice recording. (Avid does have a decent mic preamp, but you probably already know this, so I’ll talk about it briefly here.) Pro Tools, on the other hand, does this right from the get-go. It’s not a mic preamp, but when you plug your mic into the input, you’ll see the input EQ automatically adjust to your singer’s voice. If you want a nice, transparent mic preamp on the input, just send the whole track through the preamp in your DAW (before or after you export to Pro Tools, but before you record). This is very useful if you have a vocalist who wants to mic their own voice for convenience.

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As for its more recent “plug-in” additions, Avid first unleashed Pro Tools Essentials, a collection of 32 plug-in instruments that includes an “analog channel” with a Rich Channel capability. Version 1.0 of Essentials was a good start, but Avid could have easily done a better job. For instance, you have to drag each plug-in onto a track in the browser to assign its controls to the track. The presets are all the same instruments in different configurations. And the plug-ins are built as software objects in the browser, which means you can’t save user presets or import or export them to Ableton or Logic. Over time, I’ve come to appreciate the individual plug-ins, but even though they’re fantastic, I’d like to see some of this stuff in the main software instead.

The latest Pro Tools 12 ($299) comes with some of the same new features and even more of the same stuff you saw in the old version, such as a nice 2-6 stereo headphone out with mixer, 32-bit format, and 24-bit capability for high-resolution audio recording.

Although Pro Tools Studio and Pro Tools HD are the only things Avid offers for sequencing, its old workhorse, Avid Mix ($299), which you get as part of the bundle, is a nice multitrack editing and editing-for-mixing tool. It has four-channel 16-track mixing with stereo panning, and two ADAT inputs and outputs. Avid’s own synths and samplers are included, as well as the aforementioned Power Trim plug-ins, as well as (at least in the 12 version) some new virtual instruments and effects, such as the Rockaway Session Choir plug-in.

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When you run Pro Tools CS6 or Pro Tools HDX HD, it becomes a blank canvas for you to create your own unique mixing environment on your Mac.Now, and in future updates, were also introducing several new features to make the process of mixing even more fun. Drag and Drop MIDI mapping, a system for automating MIDI to Audio Tracks, and an advanced track monitor, deliver a complete suite of tools for speeding up your workflow. For example, you can now drag-and-drop MIDI stems and you can instantly access a huge database of seamlessly mapped MIDI instruments that look and sound like the real thing. From there, you can remix the MIDI texture to perfectly align any of your audio instruments or backing tracks to this new reference.

What type of workspace are you using? Single space, dual-space, split-screen, window-in-window? Now, you can configure Pro Tools CS5 to take full advantage of all the features of your iMac, Mac Pro, or MacBook Pro with Retina display. You can look at how you work, and maximize your creativity in a way that is native to you. Match your workspace to your environment, and never be limited by the environment. Now, you can have multiple spaces and the ability to use multiple monitors with one system, even without a separate audio interface. Pro Tools now also supports 3, 4, or 5 Spaces on a single Mac. You can use an easy drag-and-drop interface to organize your mixing spaces as well as enable you to view the same window from any space and with any monitor.

With the new Pro Tools HDX HD, and with the lower power consumption and smaller footprint compared to Pro Tools CS6, you can take your existing system, and even get more work done without having to worry about running out of power. The new Pro Tools HDX HD is also software-upgradeable and compatible with existing Pro Tools HDX Software.

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• The grid in Pro Tools has been made more user friendly. Quantizing using the timeline grid is extremely easy now.
• The quantize grid can be locked in the timeline, which means it will no longer display its bar and note grid lines.
• The new shortcut Command + Option + 0 will let you quantize to grid bars and notes that have been locked.
• New/updated shortcuts and other improved features for Version 20.6 of Pro Tools.
• Improved stability for Pro Tools Remote.

• Hybrid Engine’s real-time AAX DSP processor plugs directly into the mixer and is transparent to Pro Tools. As you record with Pro Tools, effects chains are monitored in real time—there’s no latency and none of the artifacts that come with processing in a virtual audio workstation.
• Pro Tools is the first mainstream DAW to support in-line, transcode-first streaming of record and playback. Open up both source and effects sessions in Pro Tools and start recording. If you need to temporarily pause recording, simply open the session window and hit Record. Then, when you’re ready, plug back in and resume. It’s all seamless.

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