PRO TOOLS 10 MAC INTEL PRO
PRO TOOLS 10 MAC INTEL SOFTWARE
PRO TOOLS 10 MAC INTEL OFFLINE
PRO TOOLS 10 MAC INTEL WINDOWS

This engine also allows Pro Tools to support a wide array of Video Interfaces, allowing you to view video playback on an external monitor. This enable Pro Tools to support a wide range of SD and HD video media as well as Avid DNxHD video streams directly in the Timeline without Transcoding the video. This feature is complex enough that we will be looking at this by itself in a future article.Īlong the line of increased capabilities, Pro Tools 11 now includes the Avid Video Engine, the same one powering Avid Media Composer.

PRO TOOLS 10 MAC INTEL WINDOWS

In the past we would have to cycle through several windows to achieve this. As if adding all these features wasn’t enough to grapple with, Avid has also streamlined the Bounce process by adding a “Bounce” Folder to the Session structure along with allowing for File Name changes all within the same window.

To further expand on these new abilities, Pro Tools takes it a step further and allows you to print mixes from several sources simultaneously as well as the ability to print. This time saving feature can really come in handy when long mixes need to be printed.

PRO TOOLS 10 MAC INTEL OFFLINE

Offline Bounce allows you to print your mix without having to wait for it to play back in “real-time”. People have asked for this feature for many, many years and it’s finally a reality. The most exciting feature afforded to us by the new Avid Audio Engine is Offline Bounce. Pro Tools 11 is smart enough to detect the presence of audio on the tracks and when there is no audio passing through the plug-ins they are using any power even though they are active in the session. In past versions, once a plug-in was launched it was drawing power from the CPU, even if you had no audio on the track. This allows you to have plug-ins open on tracks and until you pass audio through them they are not affecting the CPU. With Pro Tools 11 you can access all of the RAM on your computer! This will be especially noticeable if you are utilizing Virtual Instruments for music production.Īlong with the bump in RAM usage, another really slick aspect of the new engine is Dynamic Plug-In Processing. They require large amounts of RAM and the older engine of Pro Tools was not designed to handle that type of information. Native Instruments and Vienna Symphonic were notorious in their inability to run in Pro Tools. This was an especially hard hit to anyone using plug-ins that are Sample based and required the loading of samples into RAM. Past versions of Pro Tools (older engine) could only address 3GB of RAM for plug-ins. Not only have the processing capabilities of these plug-ins increased, the ability to address and utilize large amounts of RAM has also increased. This means the plug-ins running inside of Pro Tools are also 64-bit. While we’re on the topic of plug-ins, let’s not forget that this new engine is a true 64-bit application. The same plug-ins can run on the CPU of the computer or the DSP chips on the HDX cards, so we no longer have to worry about different plug-in formats.

This unified engine is also the reason we have the newer plug-in format of AAX. With TDM & RTAS, very keen engineers could hear the sonic difference between the LE and HD systems- this is no longer the case. This is very important for anyone working in a multi system environment where sessions are transferred between HDX and Native systems.

PRO TOOLS 10 MAC INTEL SOFTWARE

With the advent of the new HDX cards and Pro Tools 11 software, the same software code is utilized across Pro Tools. This is why we had TDM plug-ins and RTAS plug-ins. In the past, Pro Tools HD and LE were written with different software code.

For the first time in Pro Tools history, HD and non-HD software are identical in how they are written. The central difference between 10 & 11 go far beyond the visual and have more to do with the new Avid Audio Engine. It’s all too easy to dismiss Pro Tools 11 as just another upgrade. It still looks like the Pro Tools we all know and love- but don’t be fooled by its’ dashingly bland, predictable look. About the only thing that isn’t new is the aesthetic look and feel. Most people have approached this “upgrade” with cautious optimism, mainly due to the fact that it’s more than just another “upgrade ” it’s an entirely new piece of software. Since it became available at the end of June, 2013, the audio world has slowly dipped its toes in the Pro Tools 11 pool waiting to see if the hype and build-up were worth it. Here are some additional in depth details about Pro tools 11 functionality.

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