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PT's funny DAW Software
Old 3rd July 2018
  #31
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Quote:
Originally Posted by Synonym Music View Post
Pro Tools did nothing but crash for me. No other DAW I've used has ever crashed so much.

I think it was due to using a USB interface (Hilo). So I jumped through all their PC optimization hoops and... It still did nothing but crash. It was completely unusable. Why does it restrict USB interfaces? That's unique to PT, as are the optimizations. Other DAWs don't seem to have these problems... What makes PT so unique?

As for what professionals use? Ask your brand manager. But I do feel I'm being forced into the Avid system even though it really hasn't panned out for me and I've got stuff that works better, now, and with as many features. I honestly would've switched if it just didn't crash because I'm that sick of the dogma.
Trying to change its program
Trying to change the mode...crack the code
Images conflicting into data overload

[Chorus:]
1 0 0 1 0 0 1
SOS
1 0 0 1 0 0 1
In distress
1 0 0 1 0 0

Memory banks unloading
Bytes break into bits
Unit One's in trouble and it's scared out of its wits

Guidance systems break down
A struggle to exist
To resist
A pulse of dying power in a clenching plastic fist
[Chorus]

It replays each of the days
A hundred years of routines
Bows its head and prays
To the mother of all machines
Old 4th July 2018
  #32
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Quote:
Originally Posted by krikorola View Post
yes all daws have qualities, so does protools, no question about that. Most of the music I love was recorded to a 4 track K7, so no matter the tool.

As I wrote I do use protools for broadcast stuff, but it's a shame that they never correctly developed their application for native use.
We know it is for economical reasons and to keep selling their pricey hardware.
the only personal problem I have with this is that it only works good if you have a minimum 10k rig.

In todays music market it does not make any sens. Only big movie/tv production can afford those systems.
Even if I could spend that much I would never go for it as it would be obsolete within 3 years and then hard to sell on the second hand market.
that's been like this for years and that's the reason why I gave up protools in the early 2000, even though that was my main DAW.

As today I own a RME Madi with alpha links and apollos. Using protools with this setting is a pain, it is only ok with small sessions even though I have a very fast computer with plenty of ram and all. I bought the last version of the application and it is a bit better but still the limitation of the basic is really nonsense.

No doubt that Avid company is still hustling in the big movie production world, but the things are changing with premiere and davinci stealing some shares... this is already the case within small independent companies.
Pro Tools was definitely a hardware product until recently.

I don't know how anyone used native-only Pro Tools without the hardware, up until literally a couple of years ago, when they finally added the long-overdue Track Freeze/Commit. They've been making other improvements to things like MIDI and track preset saving/recall, which were other areas where PT lacked compared to other DAWs.
Old 5th July 2018
  #33
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Quote:
Originally Posted by Sigfried Chicken View Post
Pro Tools was definitely a hardware product until recently.

I don't know how anyone used native-only Pro Tools without the hardware, up until literally a couple of years ago, when they finally added the long-overdue Track Freeze/Commit. They've been making other improvements to things like MIDI and track preset saving/recall, which were other areas where PT lacked compared to other DAWs.
Nothings perfect !, but to have it crash on you constantly seems it would be a configuration issue. I'm still on 9, and it's pretty solid, although my graphics card is failing.
Old 5th July 2018
  #34
Lives for gear
Could be a config issue, the problem is that there are other programs which can do most of the things it does without crashing. I got that result from many DAWs in fact - Reaper, Cubase, Ableton - so the outlier is less me and more Pro Tools and what it was originally designed for. Those other DAWs also have no problem whatsoever with a USB interface. Again: the problem keeps pointing back to Pro Tools and its fiddly idiosyncrasies.
Old 6th July 2018
  #35
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Quote:
Originally Posted by Synonym Music View Post
Could be a config issue, the problem is that there are other programs which can do most of the things it does without crashing. I got that result from many DAWs in fact - Reaper, Cubase, Ableton - so the outlier is less me and more Pro Tools and what it was originally designed for. Those other DAWs also have no problem whatsoever with a USB interface. Again: the problem keeps pointing back to Pro Tools and its fiddly idiosyncrasies.
What is the USB issue with PT?
Old 7th July 2018
  #36
Lives for gear
Quote:
Originally Posted by Sigfried Chicken View Post
What is the USB issue with PT?
There's problems. USB Audio Interface ( Focusrite Scarlett, Edirol etc ...) troubleshooting with Pro Tools (Windows) Weren't the Mboxes USB at some point? Really makes ya think.

Either way, this is already a lot of troubleshooting. I wish people would be more honest about the native platform of this program and how much better it tends to work there.
Old 10th July 2018
  #37
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Food for thought:
I've been using Pro Tools since 93. I also use Logic (writing), DP (playback for touring), Ableton (still learning) Cubase (for when friends come over).
Here's the interesting part, not once in all this time has ANYONE ever sent me a session or asked for a session in any other format than Pro Tools, nor have I ever been to a studio session where someone has used anything other than PT. Definitely not saying it hasn't happened for others, but for me in the last 25 years, this is my experience.
Old 10th July 2018
  #38
Gear Guru
 

Quote:
Originally Posted by MixHitz View Post
Food for thought:
I've been using Pro Tools since 93. I also use Logic (writing), DP (playback for touring), Ableton (still learning) Cubase (for when friends come over).
you party animal, you!
Old 10th July 2018
  #39
Lives for gear
Cubase is the composer's tool of choice on PC, so that would be a professional standard. But in the end it's gonna get dumped to Pro Tools, then 700 tracks later... PT's integration with film is one of its many strengths.

Eh, whatever. The only thing that makes a professional nowadays is how many times your name gets whispered in someone's ear. Talent and skill are irrelevant dogs. "But it's always been like that!" Then it's lineage-based work, not anything resembling craft.
Old 13th July 2018
  #40
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Quote:
Originally Posted by joeq View Post
you party animal, you!
Cubase is the Netflix-and-Chill of DAWs?
Old 13th July 2018
  #41
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Quote:
Originally Posted by Sigfried Chicken View Post
Cubase is the Netflix-and-Chill of DAWs?


Here I was just thinking it was the chips and salsa of DAWs!
Old 16th July 2018
  #42
Quote:
Originally Posted by mikeyman View Post
funny how most all Pro's are using Protools...just saying

ProTools is a product of Avid, which is a decendant of Digidesign. Digidesign was one of the first companies to create a decent piece of digital audio I/O equipment... the AudioMedia card. The freebie product they included with the purchase of an AM card was called Sound Designer. A comparitively simple (by todays standards) 2-track recording/editing program that, for stereo projects, I still use today. I have to maintain a "Legacy" machine, an Apple G3, 1.25GHz running OS 9.2.2, simply so I can keep using this SD program (I've been using it for 30+ years now... sure... dating myself).

SD users, after a short while, started asking for a "multitrack version", very few existed in those days (Mid-80's). ProTools was Digidesign's solution to that request.

Since a Mac II (with Nubus slots), the AM card, and the little "niceties" you'd need to do audio work (a massive 750MB hard-drive, 4MB of RAM) would run you about $3000, back then... only Pros could really justify it. ProTools REQUIRED Digidesign I/O hardware. Top-notch stuff, but very expensive. There was no USB back then. Proprietary interfaces that allowed the manufacturers to charge an arm and a leg for their stuff because there were no competitors. Digidesign held their copyrights very tightly.

Avid/ProTools only did away with the requirement for Digidesign interfaces with OS 9. That's when the party started. USB was available on every computer at that point, and Avid (who purchased Digidesign) wanted to expand their user base beyond "the pro".

But... all that said... that's why ProTools is, essentially, a "Pro" product. It's expanded it's feature set as wide as any other DAW platform, just that it has a particular workflow that was developed over the course of 20-25 years, that Pro's are used to. Kind of a "6 of one, half dozen of the other" situation. You can do all the same stuff with just about ANY DAW program, but if you were raised on ProTools, and want to maintain compatibility with other Pro's in the industry, you go wtih Pro Tools.

Personally, I have had PT on at least one machine of mine for (almost) as long as PT has existed. I think I started with PT 3, early 1990's. I actually was using OSC's Deck/Metro combination (what PT was derived from) for a few years for composing. Fun stuff, back then. I migrated to Digital Performer over the years, I just liked it's interface better, but I was using it for composing, not so much "recording".

I run a mobile 24-input recording service, and have ProTools on it, which I use if I'm dealing with clients that are intending to take the tracks we record to another person/company for editing or further expansion of the session. Otherwise, I use DP, (cause it's a more familiar environment for me) and just export the tracks to some media which I give to the customer. At that point, they have their "raw materials", and can import the tracks into whatever DAW they prefer.

Point is... Pro's use ProTools because it was ALWAYS prohibitively expensive, only "pro's" could justify it. It's always been the top of the crop, what all the other manufacturers were chasing in terms of hardware quality and DAW functionality, but Digidesign (then Avid) were always bring out new "must-have" features that kept them at the front of the race.

Check out Pro Tools | The History of Pro Tools - 1984 to 1993 for a VERY good set of articles that detail Pro Tools history, starting back in 1984 with Digidesign and Sound Designer.
Old 16th July 2018
  #43
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I too started with PT 3 back in 1994. Our system cost £19,000.00 then, so definitely a pro level tool. No USB. It all connected using SCSI. The main recording drive was 1.7gb and was £2000.00 by itself. It was not the most expensive system on the market. We did look at Audiofile. However its entry price of £70,000.00 put it out of the running.
Old 19th July 2018
  #44
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Quote:
Originally Posted by DJTEMPO View Post
ProTools is a product of Avid, which is a decendant of Digidesign. Digidesign was one of the first companies to create a decent piece of digital audio I/O equipment... the AudioMedia card. The freebie product they included with the purchase of an AM card was called Sound Designer. A comparitively simple (by todays standards) 2-track recording/editing program that, for stereo projects, I still use today. I have to maintain a "Legacy" machine, an Apple G3, 1.25GHz running OS 9.2.2, simply so I can keep using this SD program (I've been using it for 30+ years now... sure... dating myself).

SD users, after a short while, started asking for a "multitrack version", very few existed in those days (Mid-80's). ProTools was Digidesign's solution to that request.

Since a Mac II (with Nubus slots), the AM card, and the little "niceties" you'd need to do audio work (a massive 750MB hard-drive, 4MB of RAM) would run you about $3000, back then... only Pros could really justify it. ProTools REQUIRED Digidesign I/O hardware. Top-notch stuff, but very expensive. There was no USB back then. Proprietary interfaces that allowed the manufacturers to charge an arm and a leg for their stuff because there were no competitors. Digidesign held their copyrights very tightly.

Avid/ProTools only did away with the requirement for Digidesign interfaces with OS 9. That's when the party started. USB was available on every computer at that point, and Avid (who purchased Digidesign) wanted to expand their user base beyond "the pro".

But... all that said... that's why ProTools is, essentially, a "Pro" product. It's expanded it's feature set as wide as any other DAW platform, just that it has a particular workflow that was developed over the course of 20-25 years, that Pro's are used to. Kind of a "6 of one, half dozen of the other" situation. You can do all the same stuff with just about ANY DAW program, but if you were raised on ProTools, and want to maintain compatibility with other Pro's in the industry, you go wtih Pro Tools.

Personally, I have had PT on at least one machine of mine for (almost) as long as PT has existed. I think I started with PT 3, early 1990's. I actually was using OSC's Deck/Metro combination (what PT was derived from) for a few years for composing. Fun stuff, back then. I migrated to Digital Performer over the years, I just liked it's interface better, but I was using it for composing, not so much "recording".

I run a mobile 24-input recording service, and have ProTools on it, which I use if I'm dealing with clients that are intending to take the tracks we record to another person/company for editing or further expansion of the session. Otherwise, I use DP, (cause it's a more familiar environment for me) and just export the tracks to some media which I give to the customer. At that point, they have their "raw materials", and can import the tracks into whatever DAW they prefer.

Point is... Pro's use ProTools because it was ALWAYS prohibitively expensive, only "pro's" could justify it. It's always been the top of the crop, what all the other manufacturers were chasing in terms of hardware quality and DAW functionality, but Digidesign (then Avid) were always bring out new "must-have" features that kept them at the front of the race.

Check out Pro Tools | The History of Pro Tools - 1984 to 1993 for a VERY good set of articles that detail Pro Tools history, starting back in 1984 with Digidesign and Sound Designer.
nice thanks for posting
Old 30th July 2018
  #45
Lives for gear
Personally, it was when Ableton brought Max/MSP to Live and integrated it with Live 8 that I was done with PT. You just can't beat that, and with each version it gets more integrated. This means that their open API allows for huge customization and development, everything from automation on can be customized and made as a button. If you want to instant recall an automation curve to a MIDI note that's triggered from the up/down movements from the NASDAQ market, you certainly can do so. It's very powerful.

I think they will probably be the winner DAW in the future. Tape machine emulations are so boring in a new media landscape where visuals mean just as much, if not more than the actual music, and Live does all of that just fine.
Old 13th August 2018
  #46
Quote:
Originally Posted by Sigfried Chicken View Post
Pro Tools was definitely a hardware product until recently.

I don't know how anyone used native-only Pro Tools without the hardware, up until literally a couple of years ago, when they finally added the long-overdue Track Freeze/Commit. They've been making other improvements to things like MIDI and track preset saving/recall, which were other areas where PT lacked compared to other DAWs.
Just about every working engineer I know has had their own native PT portable/home setup for years. The ability to go between native and HD was one of the strengths!

Tracking on HDX is still superior (especially for late track count sessions); but mixing native is fine and has been for a while.
Old 13th August 2018
  #47
Quote:
Originally Posted by systematika View Post
Personally, it was when Ableton brought Max/MSP to Live and integrated it with Live 8 that I was done with PT. You just can't beat that, and with each version it gets more integrated. This means that their open API allows for huge customization and development, everything from automation on can be customized and made as a button. If you want to instant recall an automation curve to a MIDI note that's triggered from the up/down movements from the NASDAQ market, you certainly can do so. It's very powerful.

I think they will probably be the winner DAW in the future. Tape machine emulations are so boring in a new media landscape where visuals mean just as much, if not more than the actual music, and Live does all of that just fine.
Live is a killer tool....for loop based music. It’s terrible for multitrack recording, audio to picture and any of the other primary uses of PT and other “audio focussed” DAWs.
Old 27th August 2018
  #48
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Quote:
Originally Posted by psycho_monkey View Post
Live is a killer tool....for loop based music. It’s terrible for multitrack recording, audio to picture and any of the other primary uses of PT and other “audio focussed” DAWs.
I use it for multitrack recording all the time. There really wasn't any features in PT that I wasn't getting in Live.

The thing is though, Live is an expansive feature set with **** tons of things hidden away. I've been using Live for like 5 years daily and there are still new features I am finding, or a new way to do something. If you only use it casually, you're not even scratching the surface of it's possibilities. It is a "kitchen sink" app, not a tape machine. If all of the main UI features were even enabled, you wouldn't have the screen space. You're expected to tailor it for your own use and it gives you the resources to do just that.

PT just don't have the flexibility. You should take a dive into max/msp/jitter and see what all it has to offer and within the Live API. It gets seamless as time goes on and the eventual goal is a complete mesh making the entire program completely scriptable. A basic knowledge of signal processing skills and you can make your own anything without code, you just connect the objects you want... Kinda like a modular or Logic's environment but with full audio features and Open Sound Control 32 bit automation, not just MIDI. The manual is so large for this environment it doesn't come in PDF form, because just the reference material for all of the objects and API references is in the tens of thousands.
Old 27th August 2018
  #49
Quote:
Originally Posted by systematika View Post
I use it for multitrack recording all the time. There really wasn't any features in PT that I wasn't getting in Live.

The thing is though, Live is an expansive feature set with **** tons of things hidden away. I've been using Live for like 5 years daily and there are still new features I am finding, or a new way to do something. If you only use it casually, you're not even scratching the surface of it's possibilities. It is a "kitchen sink" app, not a tape machine. If all of the main UI features were even enabled, you wouldn't have the screen space. You're expected to tailor it for your own use and it gives you the resources to do just that.
Interesting. All the stuff like sample accurate editing in one window, playlists, grouping, VCAs?

We'll leave out things like hardware integration (HDX) and sync options, since you can work round the former and most don't need the latter..I've seen some guys working on Live who are very experienced with it, but even with them as soon as audio is recorded, it's a bit of a kludge. But maybe it is just that most people who need multitrack audio recording are drawn to a different workflow?

Quote:
Originally Posted by systematika View Post
PT just don't have the flexibility. You should take a dive into max/msp/jitter and see what all it has to offer and within the Live API. It gets seamless as time goes on and the eventual goal is a complete mesh making the entire program completely scriptable. A basic knowledge of signal processing skills and you can make your own anything without code, you just connect the objects you want... Kinda like a modular or Logic's environment but with full audio features and Open Sound Control 32 bit automation, not just MIDI. The manual is so large for this environment it doesn't come in PDF form, because just the reference material for all of the objects and API references is in the tens of thousands.
I think that's just more than even you average audio engineer wants to know...I mean, I'm a bit geeky, I've done programming before, I COULD dive into all of that...I've done so before with Reaktor and so on..but I'd just rather be actually making music, rather than programming tools.
Old 28th August 2018
  #50
Lives for gear
Quote:
Originally Posted by psycho_monkey View Post
Interesting. All the stuff like sample accurate editing in one window, playlists, grouping, VCAs?

We'll leave out things like hardware integration (HDX) and sync options, since you can work round the former and most don't need the latter..I've seen some guys working on Live who are very experienced with it, but even with them as soon as audio is recorded, it's a bit of a kludge. But maybe it is just that most people who need multitrack audio recording are drawn to a different workflow?



I think that's just more than even you average audio engineer wants to know...I mean, I'm a bit geeky, I've done programming before, I COULD dive into all of that...I've done so before with Reaktor and so on..but I'd just rather be actually making music, rather than programming tools.
track groups was added in live 10, operates much like their drum rack where you have a group of tracks that can have a set mix and a master level and is modular in scope so you can have various compressor routings/keys from the individual track in the group and so on. sample accurate editing and auto fades/crossfades been have around for a few generations (just turn grid mode off and zoom in), you can also scrub playback positions in the clip. sample accurate timestretch is probably one of the best on the market and works much like cubase (who stole the feature from live to begin with) lol.

the only thing it don't have is playlists, but you can manage projects loads better with live 10 and mix and match them/import entire tracks with automation

jitter gives you not only quicktime h.264 playback, but also any sort of opengl object including meshes, chroma keys, whatever. you've always been able to view quicktime in live itself. max with jitter is used in many live shows for VJing for instance, which is hard realtime and needs to be rock solid.

Old 29th August 2018
  #51
Regarding the post thing, I was talking more about stuff like smpte sync, virtual machine and 9pin control, pull up/down, and all the other post-specific things. That’s before we get into advanced automation options. But much of that won’t be relevant to people simply making music, even if they’re writing to picture.

And yes - I’m sure there’s other workflows that make up for a lack of a playlist-like function. I would be lost without proper playlist comping though!

Quote:
Originally Posted by systematika View Post
track groups was added in live 10, operates much like their drum rack where you have a group of tracks that can have a set mix and a master level and is modular in scope so you can have various compressor routings/keys from the individual track in the group and so on. sample accurate editing and auto fades/crossfades been have around for a few generations (just turn grid mode off and zoom in), you can also scrub playback positions in the clip. sample accurate timestretch is probably one of the best on the market and works much like cubase (who stole the feature from live to begin with) lol.

the only thing it don't have is playlists, but you can manage projects loads better with live 10 and mix and match them/import entire tracks with automation

jitter gives you not only quicktime h.264 playback, but also any sort of opengl object including meshes, chroma keys, whatever. you've always been able to view quicktime in live itself. max with jitter is used in many live shows for VJing for instance, which is hard realtime and needs to be rock solid.

Old 29th August 2018
  #52
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Quote:
Originally Posted by psycho_monkey View Post
And yes - I’m sure there’s other workflows that make up for a lack of a playlist-like function. I would be lost without proper playlist comping though!
Are you doing your comping without a control surface?
Old 29th August 2018
  #53
Lives for gear
Quote:
Originally Posted by psycho_monkey View Post
Regarding the post thing, I was talking more about stuff like smpte sync, virtual machine and 9pin control, pull up/down, and all the other post-specific things. That’s before we get into advanced automation options. But much of that won’t be relevant to people simply making music, even if they’re writing to picture.

And yes - I’m sure there’s other workflows that make up for a lack of a playlist-like function. I would be lost without proper playlist comping though!
DP has some of the best playlist type features. The way it handles groups of songs or whatever else within the project I thought more intuitive. FWIW though I haven't been in PT land since version 8, so I'm sure they've added loads of stuff.

You could theoretically do all those things in Max and just call up those patches too.

Max 7 - Live API Overview if you scroll to the middle of the page you can see that they've taken a sinusoid wave and mapped it to the pan knob within the live api on the selected track. So yeah, there is a bridge between the mixer and all of it's functions within the API and just regular Max.

I've turned lots of game controller signals into automation and weird beat devices. If it's got serial communication or HID even if you don't have the reference material for the commands you can pipe the raw input to the console and just start moving stuff around to see it's control signals, then just use an unpack object to unpack the data stream and send it off to whatever. I know SMPTE is a standard object too, and you can do all sort of clock math if you want to that signal. in that sense, it's a true signal processing language unlike reaktor which i mean i love reaktor but it's mostly internal it doesn't handle outside world objects very well.

edit: also in most cases unless you're trying to work with some crazy piece of weird gear they've already made a plug...

ClipSMPTE | Showsync

Last edited by systematika; 29th August 2018 at 03:00 AM..
Old 29th August 2018
  #54
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Lunar Attic's Avatar
PT's funny because it makes the GUI of any other DAW look like a toy.

T
Old 29th August 2018
  #55
I'm still using FL so I must be Fruity
Old 29th August 2018
  #56
Quote:
Originally Posted by Brent Hahn View Post
Are you doing your comping without a control surface?
I have a control surface (artist mix + artist control), and before they introduced the up/down feature in 2018/PT12/whenever it was, I was using it sometimes to do that (it was in Eucon before shortcuts). But I don't really use the surface for that - mostly static balances, section balances (loop, balance, print levels) a few of the more macro rides, and VCA duties.

Quote:
Originally Posted by systematika View Post
DP has some of the best playlist type features. The way it handles groups of songs or whatever else within the project I thought more intuitive. FWIW though I haven't been in PT land since version 8, so I'm sure they've added loads of stuff.
Just a bit....there's a massive amount of workflow-related stuff been added. I've only ever seen DP on one session "in the wild", a long time ago...in the UK/Europe/Aus it's fairly rare.

Quote:
You could theoretically do all those things in Max and just call up those patches too.

Max 7 - Live API Overview if you scroll to the middle of the page you can see that they've taken a sinusoid wave and mapped it to the pan knob within the live api on the selected track. So yeah, there is a bridge between the mixer and all of it's functions within the API and just regular Max.
That's very clever but hard work for most!

Quote:
I've turned lots of game controller signals into automation and weird beat devices. If it's got serial communication or HID even if you don't have the reference material for the commands you can pipe the raw input to the console and just start moving stuff around to see it's control signals, then just use an unpack object to unpack the data stream and send it off to whatever. I know SMPTE is a standard object too, and you can do all sort of clock math if you want to that signal. in that sense, it's a true signal processing language unlike reaktor which i mean i love reaktor but it's mostly internal it doesn't handle outside world objects very well.

edit: also in most cases unless you're trying to work with some crazy piece of weird gear they've already made a plug...

ClipSMPTE | Showsync
Likewise. This is all above and beyond what I'm talking about, but at the same time not really covering the same job that a post house would require.

None of which is any detriment to Live of course; it's just not designed for that!

Whereas Logic/Pro Tools/Cubase/S1/Reaper/DP are all roughly covering the same ground - with PT/Reaper coming at the process from audio recorder + MIDI, Cubase/Logic as MIDI + audio (hence the different historical features and workflow....I've not used S1 but I'd imagine it's trying to get the best of both, and DP not enough to say but again it did start life as a sequencer) - Live is a different approach, and it does what it does very well. If I was a hardcore EDM producer I wouldn't look at anything else for creation; but at the same time I still maintain it's not the best choice for someone who primarily is recording "real" instruments. But neither was it ever meant to be.
Old 10th September 2018
  #57
Gear Maniac
 

Quote:
Originally Posted by Synonym Music View Post
There's problems. USB Audio Interface ( Focusrite Scarlett, Edirol etc ...) troubleshooting with Pro Tools (Windows) Weren't the Mboxes USB at some point? Really makes ya think.

Either way, this is already a lot of troubleshooting. I wish people would be more honest about the native platform of this program and how much better it tends to work there.

It's probably because most companies purchase off the shelf 3rd party USB packages for their driver software. And that's why those that know love RME, who write their own stuff and deliver rock solid USB interfaces.
Old 10th September 2018
  #58
Gear Maniac
 

Editing Speed

The one thing I haven't noticed mentioned in this thread is Pro Tools editing efficiency.

Yes, you need to learn all those shortcuts, but when you do the editing speed and power in the single Edit Window GUI is unsurpassed by any other DAW in my experience with Reaper, Cubase (which I love for composition), and Ableton among others I've had a go at.

I think that simply is what keeps Pro Tools alive in the professional world where 'time is money.'
Old 10th September 2018
  #59
Gear Guru
 

Quote:
Originally Posted by prado escondido View Post
The one thing I haven't noticed mentioned in this thread is Pro Tools editing efficiency.

Yes, you need to learn all those shortcuts, but when you do the editing speed and power in the single Edit Window GUI is unsurpassed by any other DAW in my experience with Reaper, Cubase (which I love for composition), and Ableton among others I've had a go at.

I think that simply is what keeps Pro Tools alive in the professional world where 'time is money.'
I read one post that said: "Pro Tools is the software you want when there is a client in the room".

I have never tried to learn the shortcuts and "get fast" in other programs. But people who use other programs often get wide-eyed when they watch me work. And I am hardly the fastest guy that I know.
Old 17th September 2018
  #60
cem
Here for the gear
 

Quote:
Originally Posted by mikeyman View Post
funny how most all Pro's are using Protools...just saying
That is funny...
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