Avid surprised many of their users with the recent release of Pro Tools 10. It came not even a full year after the announcement of Pro Tools 9, an update that had brought significantly more power to native systems.
Although version 9 was one of Pro Tools’ most expensive upgrades to date, it was fairly well-received, especially among native users. This group found that Avid had finally made good on some of their most long-standing requests, opening up basic features like auto delay compensation, MP3 bounce options and full-fledged Beat Detective to those without an HD card.
The latest release, Pro Tools 10, continues to close the gap between HD and Native, revamping the underlying system architecture and plug-in protocols to blur the lines between product categories even further.
Like its predecessor, PT 10 is one of the more costly audio releases from Avid. But unlike PT 9, the majority of immediate internet chatter seemed to be disparaging. Those of us in the pro audio field have come to expect a few groans and grumbles whenever the market leader gives studio owners yet another reason to part with more hard-earned cash, but this time, it was more than that.
While the detractors have some valid gripes, there are others who are genuinely excited about the new release. We’ll look at both sides and help you decide whether PT 10 is right for your studio.
HDX – Cost Effective For New Users
There is at least one group that has something to be excited about. Those specking out a new installation, or upgrading to an HD system for the first time, will find the new HDX hardware offers more power and I/O at a lower price point than ever before.
We heard from a few users who told us this was the release that finally made them decide to upgrade their studios from suped-up LE systems to full-fledged HD.
Meanwhile, Uri Djemal of Manhattan’s Madpan Productions said he was convinced to “sidegrade” by moving from an HD2 system to HD Native with Pro Tools 10.
“I was looking at a scenario where my HD2 system would be obsolete after PT 10. The old cards wouldn’t be able to run with the software, or the newly coded plugs. So I took a plunge, trading in my HD 2 Accel system to Pro Tools HD Native which comes with a free upgrade to PT 10. Total cost out of pocket: a bit over $600.”
“Some of the new features are long overdue, but they don’t disappoint. I can’t imagine using another DAW, and the thought makes me want to pull out what hair I have left in my head. Pro Tools, despite its significant change, is just as familiar and intuitive as always.”
Those who decide to opt for dedicated DSP chips will find that HDX affords up to 5x more processing power per card, and allows users to assign specific tasks to either the HD cards or to the RAM cache, potentially freeing up more juice for power-hungry virtual instruments and high-resolution video.
32-Bit Floating Point – An Unexpected Improvement in HD Sound Quality
Price-to-performance ratio aside, Grammy-winning producer/engineer Vaughan Merrick is most excited about floating point architecture finally coming to HD.
“You could easily write an extensive article on the benefits of 32-bit floating point math and how HDX at 192k is a much better sounding system than TDM, which is the part that I really care about. The other various features are nice, but I don’t think the sound quality argument can be undersold.
“I personally stopped using my TDM system when Pro Tools 9 went Native, since the 32-bit floating point system sounds so much better than TDM.”
Merrick is also excited about the ability to work as easily at 24/192 as he might have worked at 24/44.1 in the past. For him, every step away from granularity toward greater transparency is a step in the right direction, but it’s HDX’s embrace of floating point architecture that seals the deal.
“They defended 48-bit fixed-point for years, and even wrote some white papers about the advantages. The TDM system was developed in the late 90s, and I presume fixed point processors were the only way to get low-latency performance at a price-point most of us could swallow. But they’ve embraced 32-bit floating point throughout the system now, which means better sound quality and consistency between DSPs.
“Basically, the 32-bit float system allows the 24-bit word length to be preserved in its entirety the entire time it’s in the box. When you turn down the fader in floating point, you’re not getting any degradation of the signal; there’s just less distortion inherent in the math.”
“It’s a complicated discussion to have,” Merrick tells us, but he maintains that listening tests confirm this will be a welcome change for HD users.
New Features – Powerful, Welcome, But… Underwhelming?
On their own, some of Pro Tools 10’s new features are impressive. “Clip Gain”, which was a centerpiece of Avid’s press junket, is a handy tool for editors seeking more fluid dynamic control. The elimination of fade files in the new engine allows for real-time edits to crossfades, and speeds up session load times dramatically. Eucon control has been improved, and the bundled suite of plug-ins, including the new Channel Strip, is quite nice.
Taken together, the entire tool-set might easily warrant the $600 price tag for new professional-level users. But is it worth a $300 upgrade from PT 9 for users who already spent $300, less than 12 months ago? And what about the $1,000 upgrade cost for HD users?
To be fair to Avid, the sheer amount of work their team put into designing an entirely new engine may be deserving – they did throw away a lot of old code for this new release – but that doesn’t mean an immediate upgrade makes sense for most of their customers.”