Again, users could freeze the first two plug-ins, while leaving later plug-ins unfrozen – enabling them, for instance, to freeze the EQ and compression in inserts 1 and 2, while still leaving an additional EQ in insert 3 free to edit.įreeze functions originally surfaced as a means to free up CPU processing on large mixes.
#AVID PRO TOOLS 12.7 FULL#
The full freeze function came with Pro Tools 12.4, enabling users to freeze tracks exactly as they are, without printing to a new audio track. Pro Tools 12.3 also brought other completely new features, such as transparent clips while editing, so you can easily see what you are copying over as you edit. The end result is the same, but the workflow is much simpler. Users have been able to do this previously only by manually bouncing the audio file to a new track. Tracks with multiple plug-ins could be committed at any point in the chain, with plug-ins after the commit point copied to the new Audio track. The old track would then be hidden and made inactive, but could be brought back at any time should you wish. Track Commit enables users to quickly render a track to a new Audio track with the plug-in effects printed down. 12.3 itself didn’t have the freeze function, but it had ‘Track Commit’, which played a similar function. The big announcement with 12.3 was that in order to streamline workflows, in anticipation of the cloud-collaboration features, Pro Tools was finally getting a freeze function – a feature already available in most other DAWs and something users had been begging for for years.
#AVID PRO TOOLS 12.7 UPDATE#
Quick on the heels of 12.2 came Pro Tools 12.3, the update that finally got users excited about upgrading. Space is a fantastic effect, and one we’ve used on countless mixes, so it’s good to see this effect continue to be given attention. One other effect that was also added as part of the subscription bundled at 12.2 was Avid Space, an updated version of the old TL Space convolution reverb plug-in. These effects model a variety of popular guitar stompbox effects and act as a useful complement to the older Avid effects. It also introduced a new plug-in bundle, which adds 16 new stompbox-style effects to the bundled plug-in library. Pro Tools 12.2 brought more previously-HD-only features to the native version, including advanced metering, and VCA masters.
Although it’s yet to be seen whether that market is sufficient to keep Avid investing in HDX development, at least now the smaller studios and especially project-studio owners can invest in Pro Tools knowing that they aren’t missing out on anything important. HDX systems remain incredibly powerful, and the top end of pro studios are still investing. So moving these into the native version of Pro Tools makes a lot of sense. Yet with many of Pro Tools’ advanced features available only to HD customers, users were looking elsewhere. USB 3.0 and ThunderBolt have enabled large I/O counts at ever-decreasing latencies, further eroding the advantages of a HD hardware system.ĭedicated DSP systems, such as the UAD 2.0, have replicated some of the DSP power of the HD and HDX hardware – and with the Apollo systems, this can even be achieved with low latencies just like with an HD or HDX system. But this advantage has been steadily eroded and users have been able to run incredibly large sessions on native DAWs for a few years now, with CPU limits rarely ever providing a bottleneck.
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