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The Pro Tools 9 Import Session Data dialog. I was also able to record directly into PT9 using the built-in computer mic, which is great for scratch tracks or spotting sessions. I immediately rejoiced in the fact that I’ve been using Pro Tools since its debut, and now, all these years later, I can run it without hardware. I then pressed play and - oh, joy! - I heard the audio through the MacBook Pro speakers. Checking out the Current Engine in the new Playback Engine menu (Setup > Playback Engine), it displayed something called Pro Tools Aggregate I/O. Great! So, I launched an 8.0 session, and it opened right up in 9.0. “Wow, that was pretty easy,” I said to myself.Īccording to Avid, I can now run Pro Tools 9 using Core Audio.
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So after digging out a Snow Leopard disc, I went through the process and then ran Software Update to get to the current 10.6.5.įrom there, Pro Tools 9 installation took literally just a few minutes.
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Inserting the installation disc into my laptop, I was abruptly informed I needed to update my Operating System to at least Snow Leopard Mac OS X 10.6.2 - damn, hurdle number one. With the included iLok, there was no need to download any authorizations, only to register the software for future upgrades, etc. I received the boxed version of Pro Tools 9 and went right to work. But then I faced the prospect of actually doing it. As a whole, I must admit it was a frustrating and somewhat inefficient way to work.Īfter reading up on Pro Tools 9, it seemed I could finally have all three systems running in harmony. Also, I had a Universal Audio UAD card in the LE system, but not on the HD rig any UA plug-ins I used required printing before the final mix. Due to the lack of delay compensation and OMF/AAF file interchange, I would be forced to mix on the HD rig, which meant the inevitable printing of certain tracks and dreading of the whole interchange process.
Historically, Pro Tools LE sessions wouldn’t seamlessly “talk” to HD sessions and vice versa. In addition, I run programs such as Propellerhead Reason, Ableton Live, Apple Logic Pro, Bias Peak, and so on. Using PT, session types range from composition, scoring and sound design to picture for television, basic music recording, and all the way up to 70-plus channel 5.1 mixes. I have three different Mac computers that run it: a MacBook Pro and a Mac Pro (both running Pro Tools LE 8.0) and an older but super-stable G5 (which ran Pro Tools HD 7.4 with a Digidesign 192 I/O). Pro Tools has been, and continues to be, the pulse of my daily workflow. Here is my experience with the process and its results. So yes, it was with some trepidation I proceeded to update my entire system to Pro Tools 9, Avid’s latest version for the majority of our DAWs.
And, more often than not, it’s for the better. But that same change is part of the fast-moving world of technology we live in. Updating software - two simple words that often convey visions of frustration, difficulty, anger and, of course, change.