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There was initially some skepticism about the change from pros and new users alike. The latest upgrade, Pro Tools In mid-March, days before But poking around He works out of his home in suburban Dallas.
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There was initially some skepticism about the change from pros and new users alike. The latest upgrade, Pro Tools In mid-March, days before But poking around He works out of his home in suburban Dallas. To keep things neat and hopefully rolling, the night before the session I created 96k stems of a session with recording artist John Stoddard. Then I select each track in my stem group e. Using this process, I quickly got the original session down to seven stereo stems, hid and made my sources inactive, and quickly uploaded to the Avid Cloud.
I texted Javier, who downloaded the stems in preparation for the session the next day. Right away the light bulbs started flashing. Javier already had the tracks from the cloud, so there was no delay in him creating a new track for a triangle overdub. Up, down and share buttons appear on each track in both the Mix and Edit windows. You can also choose to manually share, push or pull tracks, or set each to Auto, which happens a collaborator makes a move. We were watching Javi work via FaceTime, which was frankly the clunkiest part of the experience.
After the first OD, Javi pushed the audio to the cloud; after a short time for download, I started editing into the other choruses while he moved on to Congas. The rest of the session worked without a hitch, which was especially impressive at our sample rate. After running one session, I started to have flashes of other workflows.
For example, because you can share the session with up to three users, you could do overdubs and collaborate between two sessions while a third user edited tracks, cleaning up noise between passes and making everything neat.
The potential for production power and speed is boggling. You can process clips separately, then group them and apply global processing while keeping the original tweaks. This would be great for de-essing, or de-popping clips, then universally compressing them or adding other sweetening.
The power in the concept is that Channel Strip processing may be applied to each clip on the timeline, on all tracks in real time. This puts an astounding amount of processing power into a session right at your fingertips.
This tool is going to grow. You lose the channel strip interface from HD but not the sound. You can choose to keep, or not use the channel strip processing applied on an HD session.
Pro Tools For example, huge HDX film sessions with a lot of tracks can now reside on a single system without timing and latency issues. Another addition is the new Layered Editing button, parked to the right of the annoyingly easy to toggle Insertion Follows Playback button at the top of the edit window. In other words, if you move the edit back, the underlying clip is still there, not an empty hole as in the past.
Someone poking around trying to find other time-savers might accidentally change a playlist when hunting for a similar shortcut. Fading also got an upgrade in From the smart tool, you can now alter fades freely by hovering at the vertical halfway point of a fade, holding the mouse then moving them around.
Is Pro Tools In a word, YES! I regularly jump between Pro Tools 11 and 12 for tracking, overdubs and mixing on various systems. By far, Pro Tools 12 delivers the goods that truly make a difference in workflow speed and function. Case in point, I went from a The session would not open. It stalled at loading the fades with some audio showing up, and other tracks sputtering. It only makes sense that there has to be a backward breaking point, and I believe this is it.
So bank on the future, Pro Tools
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