But the ones in the other DAWs are pretty solid and useable, no doubt as good as the light edition of Eleven. Again, Logic has a full 64 bit sampler. The one in Digital Performer is pretty puny, I'll allow that. And it seems like Cubase has a light edition sampler as well. So, I don't know this compressor. Maybe it's really good. The ones in Logic are pretty good, again, though, for what you're paying, you could be in the zone of UAD or Waves, so consider that.
And this is the light edition. Hybrid 1. Plenty of synths in Logic, plenty in most of the other DAWs. The chances are that you won't be going third party, though, in the end, is pretty small. This one is probably very good. The others are too. It's just not that exciting as it used to be. It's probably very good.
It's probably better than the one that Logic has stock with it by far. On the other hand, there is this algorithm made exclusively for Logic Pro- which used to have very bad time stretching, very much improved in Logic 9: iZotope Radius - Natural Time and Pitch Control for Logic Pro and Soundtrack Pro So again, even if you really need a lot of time stretching- and a lot of folks do- you could go with Logic and the Izotope who are industry leaders in plug in technology, in fact they license their technology to others and still be well ahead of the game.
Probably better than the crude on that is in Logic. No idea about the others. Multi-track Beat Detective rhythm extraction, analysis, and correction tool Again, Logic has this stock.
DigiBase Pro full-featured file management tool Obviously, Logic doesn't have this. But, as I was reading what this was, my first thought was, "Wow, holy shit. They have a better way of searching and organizing files across multiple drives that they aren't sharing with just anyone who buys Pro Tools.
Talk about nickel and diming I just can't really speak to it. This isn't Powerful editing and session management features That sounds pretty powerful. So, what exactly do you have now?
Why do you have to pay more for "power"? Again, it's not Now look, I'm not trying to make this into a Logic vs. Pro Tools thread, or even to bash Pro Tools necessarily. But the fact is, and I've really tried to prove that, is that there are much better ways one can spend their money. If you want Pro Tools, go HD The rest are "Prosumer" tools That isn't even prosumer.
But my point is, some of these features are outright bunk, some are good, a couple probably very good, but at what cost? You're paying for a lot of functionality that already comes stock in what is considered to be a good, competitive package by almost all the major DAW software packages You're paying to un-cripple crippleware.
And for two grand? Here is my advice: get out. Get out of Pro Tools once and for all. Keep whatever system you've got already, and update that if you have to for compatibility reasons I do this with an M-Powered rig. You're already thinking about spending somewhat under two thousand more than you probably thought you were going to spend on Pro Tools My Studio.
Larry is right here. Imho, the complete package is very powerfull, and if someone need it, it's worth the money. But only if really need it.
One thing Larry. In those product names LE doesn't stand for limited, it stands for "works with pro tools le". Just to play devils advocate on a few points Another point is, you would be dealing with Avid.
I didn't get the impressions they cared too much about such things as customers. I may be wrong, but X-Form is actually the same as iZotope Radius for Logic.
Avid licensed the algo. It's terrific, if really effin' slow. The add-on is just basically a file that's added somewhere to your Digidesign folder. It should work the same on any configuration that runs Pro Tools. It's a software thing; hardware shouldn't make a difference here. That's the route I went and that will get you a lot of the way there, although you'd still be missing some video features, further track expansion, and the "replace regions" command which I'd love to have in LE sometimes.
I thought about the full toolkit but I have many, many, many other financial priorities. I couldn't care less about the plug-ins. If you're doing alot of audio work, you might be stabbing you're eyes with a fork. Well, a lot of this is opinion- and the "audio editing being better in Pro Tools" meme is exactly that. I'm not saying it doesn't have a different workflow that one might be more comfortable with- and given the bewildering popularity of Pro Tools, I can imagine that a lot of folks are more familiar with Tools.
This would simply lead one to be more comfortable with it, and thus "better" at it, leading one to conclude that it is in fact, superior. On the other hand, though, that's all about workflow - there is no audio editing scenario read that as: turn this bit of audio into this other bit of audio that can be done in Pro Tools and that can't be done in any other DAW. Maybe not with the same clicks on a keyboard or drags with a mouse And just because you find it easy to work in Pro Tools, understand that there is a power user on another DAW who finds it just as easy on that one.
What is not opinion, though, is that I assumed that the LE versions in this package were light editions. The Logic Pro X Crack includes a massive collection of instruments, effects, and loops, providing a complete toolkit to create amazing-sounding music.
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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. At a stroke, they have removed almost all the frustrations afflicting the many users who wanted or needed to belong to the Pro Tools world, but lacked the budget to go HD.
The same is not likely to be true of HD users, though. Unless you want to take advantage of the ability to run a native Pro Tools rig when away from the studio, there's almost nothing in Pro Tools 9 HD that wasn't in 8.
I do better work in it, and I do it faster. Avid's pricing positions it squarely in the DAW pack: around the same as the full versions of Cubase and Digital Performer and slightly dearer than Logic Pro or Sonar, though if anything, it's perhaps the much cheaper and highly customisable Reaper that can most closely match Pro Tools' functionality.
Each of its rivals can boast features that the basic Pro Tools 9 lacks, but the reverse is also true; this is no longer 'crippleware', but a very powerful tool. While the Core Audio implementation appears pretty solid, ASIO support in Pro Tools 9 still feels a little immature, both in comparison with other applications such as Cubase, and with Avid's own hardware drivers. If you're planning on using a Windows system, check carefully that your preferred audio hardware works properly: the AIR Users' Blog maintains an unofficial list at www.
But it's already very usable with the right interfaces, and this is such an important and central issue that I'm sure Avid and other manufacturers will be working to improve it. In other respects, Pro Tools 9 is remarkably free of bugs and teething troubles, because so much of its functionality has already been tried and tested in the HD world. Having used Pro Tools 9, I'm no longer sceptical about Avid's new corporate openness.
In fact, it's exciting to speculate about where it might lead next. VST and Audio Units support? The release of an open RTAS software development kit? Macro support? Full session compatibility with other DAWs? If enough of us say we want it, there's a good chance Avid will implement it. Until then, I'm off for a skate on the River Styx However, there are one or two neat additions that weren't in Pro Tools 8, and a couple of them are really useful.
Top of my list is the 'New Track' routing option that appears when you click on a track send or output slot right. Now you can do it all in one go.
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