Thanks for the response Narcoman. By RTAs performance, I mean RTAs virtual instruments compared to AU / VST versions, which are WAY more efficient in terms of using system resources. A much, much smaller amount of RTAs instruments can be handled by any system vs. AU/VST. The CMD-K option does not turn off software input monitoring by the way.

As for bounce in place / freeze not being wanted by "professional" users, I would disagree with that. It speeds up workflow immensely and helps address the RTAs inefficiency problem mentioned above. Even if there was a real-time bounce in place (like a right-click option), that would greatly help workflow.

Hey digidisign/Avid why don't you make pro tools 9 open with other hardwares like you claiming .
How come you say that pro tools 9 is open to all asio hardware while it's actually not ?
Anybody planning to buy pro tools 9 to use it with third party hardwares please hold you horses,because it just doesn't work.
I have the prism Orpheus and after trying all kinds of tricks for three weeks now,only 44K and 48K worked and that with the help of asio4all.

-So if you planning to use pro tools 9 with Orpheus or anything like that, my Friends,you can't go above 48K.

- Pro tools 9 doesn't support Asio1 or ASIO2 like Cubase and the others.

-Avid you guys know this since the release of pro tools 9,please take care of this problem for your customers

Right - yes. Noted and agreed!! Seems to be quite a bit less efficient.
It's alt+k .... sory 'bout that.




Totally understand why you'd want it - but you'd get told off here for not monitoring it as it went down. So - sure.... why not pu tit in, but don't let me catch you using it !!

ALT-K I think just toggles auto input monitoring, but PT ALWAYS has software input monitoring on. There is no way to turn it off unless you have HD and this leads to a chorus effect at even the lowest latencies if you try and use your hardware's direct monitoring. Just using software monitoring isn't always feasible since there can be a delay (especially for vocals). A workaround is to pull the fader all the way down when recording, but this makes punching in and out a pain (unless you automate the fader).

There is also no way to turn it of in HD but it wasn't enough of an issue for people to complain. I can't imagine that it doesn't have a pretty high priority now that they know this is a problem for people.

Clonk old chap - that's true on a console as well - okay it doesn't chorus (unless you've used a digital guitar effect or something) but you're still monitoring two signals. Just mute the channel or turn the fader down....

Punchin/out - then monitor through the software, otherwise, yes - you'll have to automate etc....

Does anyone have any idea on the future of TDM?

can you go from toolkit 2 to HD3 via a discounted upgrade path?

We love questions like this....

There is no upgrade from any Toolkit to any HD system.

Bet you'll see a upgrade from TDM to a toolkit at some point. heh


pure speculation.

can you upgrade from HD native to HD3 via a discounted trade in?

Not currently. HD Native is so new, they're not likely to have a trade up to the current TDM systems. It might imply that HD Native is inferior, and right now they want to emphasize how cool it is.

However, if or when Avid comes out with a new more powerful TDM system, that might be an opportune time to have a trade up, as there would be a much bigger gap between the products.

The way I found around monitoring punch-ins is to create a macro using the brilliant "ControllerMate" software so that 1 key (like an F key) can activate record and shift+m so the selected track mutes when record is dropped in. I create a second macro for the drop-out that un mutes the track. Best solution I can come up with, and gives me essentially the same workflow as when I was working on an HD rig (just slightly different keys.)

Unlink rec/play faders in preferences. when the record is enabled pull the fader down. Now when you toggle the rec button on and off, the fader will change with it.

Lee, whilst that works... it's another step when you are working quickly, that IMO, shouldn't be necessary....
This ** makes it work the way AVID should have implemented it (albeit as an option at least).


** MuteTone for Mac

I rarely venture outside of a certain track structure when creating. So I have songs saved in a special track template folder that houses different scenarios. Pop vocal tracking, superior drums, Omnisphere, Acoustic guitar, Electric guitar, and so on. And as I'm creating I import session data from these templates as needed. All those kinds of things get saved, so I haven't had to deal with it for a while.

I still for some reason don't get how the plug in is any faster...

When you record enable your track with MuteTone on it, the plug turns off monitoring (as you would by turning the track down in record or muting it's output) for that track.
You can record while monitoring the hardware (zero latency path) of your I/O or mixing console.
As soon as you you stop and hit play to listen back, it's un-muted automatically...
As for punching in and out, you literally play the track the record enable on and the track will play right up until the point at which you punch in, it's automatically muted until you punch out... where the audio present on the track continues to be monitored.

It sounds more complex than it is. It's a simple issue and this gets around it in a simple way.

You should try it to see what I mean.

But you still have to insert a plug in correct? So I'm still not seeing how this is any quicker (or adds any added feature) than pushing the record button and pulling the fader down.

I must be missing something.

You are... Try it! If this sort of thing isn't a concern for you, then it doesn't matter, however, there are many others out there with great sounding I/O with low latency monitoring options that are rejoicing!

You don't have to keep toggling the record enable for the given tracks to listen back or punch in.

I hadn't noticed that setting before! Cool function, but I think for drop-ins it's not effective as you can't toggle record button with the transport running.

The plug-in looks interesting, but it doesn't really do anything that my macro set-up already does, and I don't have to remember to insert the plugin

Ahhh.. I see how that is better.. DUH

Sorry about that.

Is there any actual benefit in printing stems instead of bouncing them?

Thanks.

Off the top of my head

• Less time wasted, you get to QC/Monitor your mix as you print.
• You can stop & change something (punch edit)
• Manual automation.
• Keeps everything saved in the session
• No unexpected automation inaccuracy.

Thanks. Basically, no sonic difference. I prefer to bounce personally. Last point is the most concerning one.

I´m on Mac with PT 9.0.5 and doesn´t seem to work.