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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.
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! 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. 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. Because you're hearing the input signal directly through said utility, you don't need to hear it again through your DAW; but when you hit play in your DAW, you do want to hear the track you've just recorded.
In Pro Tools, by contrast, track arming and input monitoring are the same thing. Unless, that is, you mute the track to which you're recording, or lower its fader — in which case you'll have to remember to unmute it on playback, then mute it again for the next take, and so on. This is a nuisance, especially when you're recording multiple inputs in which case it's worth making them into a Mix Group so you can mute and unmute them all with one click.
I've been whingeing about this in Pro Tools reviews ever since the launch of the original Mbox in , and in the context of Pro Tools 9 it's probably now my number one gripe. I'm not quite sure how this piece of received wisdom became so entrenched. Still, the Internet is a powerful medium, and delay compensation in native versions of Pro Tools was the number one feature request from users. Avid have duly obliged, and Pro Tools 9 now features the delay compensation engine that was previously available only in HD.
To be used as inserts in the mixer, hardware effects have to be attached to the same numbered inputs and outputs, and if you want their delays compensated for, you have to calculate them manually — there's no automated 'pinging' for delays as you find in some other DAWs. This was the case regardless of which audio interface I was using.
At the time of writing, the latest version of the UAD2 software 5. Like delay compensation, most of the other 'new' features in the basic Pro Tools 9 have been available in HD for quite a while. That doesn't make them any less of a big deal, though, and together they amount to a massive shot in the arm for Pro Tools as a native system. All of them have been described in detail in previous SOS articles, so I won't go into detail, but here's an outline of what you can expect:.
Beat Detective is an automated editing tool for knocking wayward drum performances into shape, and although it's quite long in the tooth now, I've yet to find a better alternative. As it happens, just before the review period I had exactly such a performance that I wanted to conform to a rigid tempo grid. All of the Elastic Audio modes compromised the sound to an unacceptable extent, especially on floor toms. Beat Detective in action. Here, I've just analysed the Snare track and hit 'Add Unique' to combine its triggers with those generated from the Kick track.
This allows you to gather together a composite set of 'triggers' — say, from kick and snare drum tracks — and apply them to all your drum tracks simultaneously, thus preserving phase relationships between them.
For some reason, the first time I tried this in PT9 it wouldn't let me collect anything, but after that, it worked as expected. For more advanced video work, though, you'll want to add the Complete Production Toolkit 2, which enables HD features such as multiple up to 64! Assigning a VCA fader to multiple audio tracks in your mix allows you to raise or lower their levels simultaneously with one fader move. The benefits of working in this way may seem subtle at first, but can be substantial in practice.
Here, I have two guitar tracks, each of which has its own volume automation graph. These tracks are, in turn, assigned to a Mix Group controlled by the VCA track below, which has a further layer of automation.
The blue lines show the resulting composite automation graph for each track. Hand in hand with VCA groups comes a slew of advanced automation features, again available for the first time in a native system thanks to the Complete Production Toolkit 2.
These are too many and too complex to describe in full here, but include various useful ways to write multiple layers of automation for a single fader, which can later be 'coalesced' to a single curve, plus support for snapshot automation, where settings for the entire Pro Tools mixer, or any subset of its parameters, can be stored and recalled for individual sections of a Session.
Again, most of these features were introduced or updated in Pro Tools HD 7. Also included as standard are the more powerful version of the Digibase browser, complete with Catalogs, and the Export Session as Text option.
Oh, and remote control of Avid's PRE mic preamps is now universal as well, though I don't suppose there are many of these about in native systems. Pro Tools 9 is an unusual update, in that nearly all of its 'new' features aren't new at all. Admittedly, support for ASIO and Core Audio is a deal that's about as big as they come, but apart from that, almost everything was already there in HD. In practice, this is not an issue unless you need to use large sample libraries, but it probably needs to happen soon.
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