The Pro Tools Audio Bridge virtual devices which come preinstalled have a built in clocking mechanism which custom virtual devices don’t have so these should be used where possible. Reported performance is apparently very good but it’s important to understand the difference between the Playback Engine I/O and Aux I/O.Ĭlocking and preventing drift can be achieved for interfaces using conventional clocking if available but for virtual devices this isn’t possible. Latency might vary between passes and it even has its own Ignore Errors During Playback Setting. Aux I/O doesn’t inherit these characteristics and should be seen as complementary to your Playback engine. The Playback Engine offers reliable performance with delay compensation and, depending on the particular playback engine, low or negligible latency. Involving fewer channels but every bit as useful are the possibilities for routing to or from online conferencing and collaboration tools like Zoom and Pro Tools users will no longer have to compromise their Playback Engine’s performance by creating Aggregate Audio Devices to incorporate additional hardware, though it should be said that there is no delay compensation on an Aux I/O and additional latency will be introduced on the Aux I/O, though in practice this is minimal, dependant on buffer settings. In this way they can keep using their preferred Playback Engine but have an alternative route out of Pro Tools to access their renderer. To use Aux IO HDX users will have to be using the Hybrid Engine. The choice has been to use HDX or run natively but if you wanted to combine Core Audio and HDX things got more complicated.Īnother group of users who will benefit from Aux I/O will be HDX users who will be able to access the Dolby Atmos renderer in software without having to change their Playback Engine from HDX. Pro Tools HDX users will be aware of how well the HDX/Hybrid audio engine works but also how it can be very awkward to incorporate other hardware or Core Audio devices with it. Pro Tools, unlike most DAWs, has a single setting for the Playback Engine which controls both the inputs and outputs. This is very significant as it allows Pro Tools to access other hardware and applications, something which required various workarounds to achieve in the past. It allows you to have your primary Playback Engine set up to your preferred setting and still be able to stream to and from other core audio devices. This is because it relies on access to Core Audio. It’s technical but it’s extremely powerful and addresses some persistent pain points which have dogged certain users for a long time.Īux I/O is a Mac-only feature, available on Big Sur or later. If you want more, the Instrument Expansion Pack takes things into a different league.The next headline feature of Pro Tools 2022.9 is Aux I/O, a new feature which allows you to add any Core Audio device as extra inputs and outputs to your current Playback Engine. Bundled virtual instruments include a serviceable grand piano, a charismatic Hammond organ and a gritty analogue synth. There’s an arbitrary limit of ten insert plugins per channel, although that’s better than Cubase’s eight. There’s no convolution-based reverb or any kind of pitch-correction plugin or editor, though. The quality of the bundled plugins is excellent, with familiar controls, classy sound quality, and a few unexpected treats such as an emulation of the classic Urei 1176 compressor. Some features, such as clearing all muted and soloed tracks with a single click, viewing multiple plugin editors or bypassing plugins directly on the mixer, require Ctrl-click or Alt-click commands, which aren’t as intuitive, but it becomes extremely quick with experience. Signal routing in the mixer couldn’t be more flexible, and the various channel types follow a coherent design. As with all of these applications, Pro Tools has its own terminology and idiosyncrasies, but it has a methodical approach that, more than any other music-production software, lends itself to efficient use. The interface is both cosmetically and functionally very similar to Cubase, Sonar and Logic, and we were surprised at how quickly we were able to get up to speed. The software insisted on uninstalling a previous version of Pro Tools, disabled our antivirus software, rebooted twice, and left us to our own devices to get the iLok USB dongle installed and licences transferred – a convoluted process.Īfter that bad start, using Pro Tools 9 was pleasantly straightforward.
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