Import, capture and playback of Avid video media is now available (for Mac), in the form of a hardware upgrade, AVoption, which retails for $7,995. DigiTranslator, Digidesign’s OMF (Open Media Framework) application, which converts Pro Tools session files to OMF files (or vice versa), for compatibility with other media workstations, is free with the purchase of AVoption. (The software by itself is $495.) And speaking of different media formats, an MPEG3 export option, MP3 Export, is available as a download online for an affordable $19.95.

Greatly improved DSP handling is high on my list of favorite improvements. With the aid of several System Extension updates—in particular, DSP Manager 1.1—DSP allocation is, generally, faster and smoother. With older Pro Tools versions, trying to reload a session jam-packed with plug-ins was, often, asking for trouble; there were moments with Version 4.2 when the software refused to open a session until I played plug-in shuffleboard with the DAE Plug-Ins’ folder in order to fool the DSP Manager—an awful waste of time. No such problems with 5.0: It opened every session I threw at it, even old 4.2 sessions with tons of plug-ins. In fact, the old 4.2 sessions that showed no DSP available registered as having DSP to spare in Version 5.0.

MIDI Machinations
The new MIDI features are very intuitive. If you’re familiar with the way most software sequencers operate, you’ll feel right at home with Pro Tools’ MIDI tracks. However, as Digi’s first foray into the world of MIDI sequencing, Pro Tools is missing some of the goodies (e.g., groove controls, remote control SysEx templates and Control Change message transform functions) hard-core users have come to expect from the more established platforms. The good news is, all the essential tools are there to cut solid MIDI tracks at over 960 ppqn (according to Digidesign, the actual sequencer engine is 960,000 ppqn) for sample-accurate audio-to-MIDI timing, but 960 ppqn is the user interface resolution. Pro Tools can even import/export standard MIDI files, for doing advanced sequencing in another application and then simply importing tracks into Pro Tools. I tried this and it worked great.

Editing functions are nicely implemented. Quantize can be applied to a selection or at input in a variety of note values, from whole notes to 64th notes, dotted and triplet values. Swing, offset, strength and randomize parameters are available. Note ranges are easily selected, split and transposed. Velocity and duration can be manipulated, scaled and faded with custom curves.

The recording modes are replace and merge; either mode will operate in loop. Recording will follow countoff or wait for first note, your choice. The countoff is user-definable, and the click can be assigned to any MIDI instrument in your OMS Studio Setup—I prefer an internally generated click, as it’s easier to deal with. An input filter lets you select what kind of MIDI information is ignored. (The stock setting has polyphonic and mono aftertouch checked.)

Meters and tempos are adjusted using the Tempo and Meter Change windows—pretty straightforward. Also, the old Identify Beat feature is still available under the Edit menu. As another alternative, turn the Conductor icon “off” in the Transport bar to enter the Manual Tempo mode. In this mode, you can type in a BPM, use the slider element or hit the Tap button to change a session’s global tempo. Both tempo and meter now have discrete rulers that are seen simultaneously with the timeline rulers.

MIDI tracks in both the Edit and Mix windows look almost identical to audio tracks: The user interfaces are the same; the only difference is the way the information is displayed. In the Edit window, notes are seen in place of waveforms and controller information in place of automation moves. MIDI tracks appear as input channel strips in the Mix window. The LED meter is turned into a dynamic MIDI activity light. Of course, the MIDI channel strips don’t have plug-in slots—although MIDI plug-ins (e.g., arpeggiators, delays, controller templates, etc.) aren’t such a bad idea. The New Track command used to make audio tracks is also used for creating MIDI tracks.

Overall, MIDI timing was rock-solid. However, I did encounter some MIDI log jams while using Pro Tools with HUI. When several MIDI tracks were playing, and I was, for example, tweaking a plug-in via HUI, MIDI playback would hiccup. The hiccup would only last a split second and then everything would lock back up, but it was long enough to disturb the groove (especially when trying to cut a take to the virtual tracks). I’m not sure what the ideal solution is for this situation, disable HUI or turn the virtual tracks into audio tracks, but either way, it isn’t impossible to work around. (Digidesign says there were some software driver problems with MOTU’s MTP AV, the interface I was using, which might have caused the hiccups.) If you can afford ProControl, maybe this is the way to go, because it isn’t MIDI-based and won’t clog the MIDI lines. (Perhaps Digidesign could make a less expensive ProControl for financially challenged folks like myself.)

Up, Up and Away
This latest version of Pro Tools is super; better DSP management, more editing tools, a refined user interface, added media and hardware compatibility and MIDI sequencing as a bonus. Whether you’re into music production or post, there’s something in Version 5.0 sure to tickle your fancy. And if this isn’t enough, DirectConnect (available for free download at Digidesign’s Web site) opens up a whole new world of native instruments (e.g., Koblo’s Studio9000) for plugging right into your Pro Tools mixer.

Digidesign, 3401-A Hillview Avenue, Palo Alto, CA 94304; 650/842-7900; fax 650/842-7999. Web site: www.digidesign.com.

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Erik Hawkins is a musician/producer working in Los Angeles County and the San Francisco Bay Area. Visit him at www.erikhawkins.com for more equipment chitchat and tips on what’s hot for the project studio.


Reprinted with permission from Mix Magazine, July, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved