Company Delivers Unprecedented Creative Freedom by Redefining World’s Most Popular DAW With New Software-Only Toolset and Broad Third-Party Hardware Integration

SAN FRANCISCO, CA–(Marketwire – November 4, 2010) – AES (Booth #1018) — Avid® (NASDAQ: AVID) today announced Pro Tools® version 9 — a groundbreaking evolution of the industry’s most popular music creation and audio production solution. Leveraging a next-generation architecture, version 9 of Pro Tools offers customers the unprecedented choice to work with Avid audio interfaces, third-party audio interfaces, or no hardware at all when using the built-in audio capabilities of a Mac or PC. This first-ever software-only option for Pro Tools delivers customers the most open, flexible and feature rich version in history, while also providing top professional features customers have requested. Also, new support for the Avid EUCON™ open Ethernet protocol now enables customers to expand control surface options to include Avid’s Artist Series and Pro Series audio consoles and controllers (formerly known as Euphonix® consoles and controllers).

Pro Tools customers — from the aspiring enthusiast to the professional — can now create sophisticated, great sounding mixes, whether they’re at home, on the road, or working in a large facility using an open, flexible workflow for enhanced collaboration and creativity.

Open, flexible workflows to work the way you want
Customers can design their workflow of choice using the new Pro Tools software-only configuration with their favorite Avid or third-party audio interface — or standalone — and with Avid Artist and Pro Series controllers. The benefits to users include:

* Versatile workflow design options — Enables customers to work the way they want using Pro Tools as a software only tool, or with hardware options that include either a variety of Avid audio interfaces for an Avid-advantaged workflow, or third-party audio interfaces as a result of new Core Audio and ASIO driver support.
* EUCON support — Delivers more hands-on mixing options to customers using the new Pro Tools software offering or Pro Tools|HD systems with the ability to deeply control Pro Tools through EUCON integration using any Artist Series or Pro Series audio controller or console, in addition to Avid and third-party audio control surfaces.

More creative options with coveted, professional features now included as standard
As a result of customer requests, many high value features formerly available as add-ons are now available right out-of-the-box, including:

* Automatic Delay Compensation — Equips customers using version 9 of Pro Tools with the ability to create better sounding mixes faster. Users can now mix and record with increased alignment and phase accuracy, without the need to manually compensate for latencies from hardware I/Os, internal and external routing, and plug-in algorithm processing — the number one request on the Pro Tools IdeaScale User Forum.
* More audio tracks and busses — Allows customers to create more elaborate music and audio productions, with support for 96 mono or stereo voices in the new software-only version of Pro Tools (192 voices with Pro Tools HD systems), 256 internal busses, and 160 aux tracks.
* Advanced production toolset — Gives customers access to standard professional tools in version 9 of Pro Tools to create more polished mixes out-of-the-box. Users can analyze and adjust timing across multiple tracks for tighter rhythm with the built-in multi-track Beat Detective™ module, improve organization and asset sharing with the DigiBase™ Pro file management tool, and save time with full Import Session Data dialog.

Collaborate with other audio and video software users more easily than ever
A series of audio for picture enhancements provides customers with the ability to easily collaborate with other audio and video software users, including:

* OMF/AAF/MXF interchange and MP3 export — Provides customers with simplified session and file exchange between applications.
* Built-in Time Code Ruler — Enables customers to achieve greater accuracy when syncing audio to video in post production (software only configuration of Pro Tools).
* Updated 7.1 surround panner — Allows customers to more easily mix multichannel surround for full film sound production.
* New variable stereo pan depths — Equips customers with authentic and precise track panning capabilities to achieve analog-console feel.

What customers are saying
Ulrich Wilde, producer and engineer for bands including Dethklok, Pantera and the Deftones, said: “One big thing about Pro Tools being an open platform is that I won’t have to run two systems anymore. Right now I have a dedicated Pro Tools system and a dedicated Apogee system and I have to reboot with one or the other — now I can save space and time toggling between them. EUCON support is also huge for me as I’ll be able to integrate Pro Tools into my studio workflow, which is based on Logic using an Artist Series controller.”

According to Lyle Workman, composer for films such as The 40 Year Old Virgin and Knocked Up, and guitarist for performers including Sting, Beck and Shakira: “I can’t think of a reason why someone wouldn’t want to work in Pro Tools — it’s for the person who’s getting started, yet it’s for the person in my world. It provides all of the advantages of smaller systems, yet works from my studio to the music editor’s room to the stage. It’s incredibly convenient that there are no cross-platform issues. It’s just Pro Tools from soup to nuts!”

Jesse Keeler (aka JFK), artist and producer for MSTRKRFT, said: “The one barrier to total productivity for me while traveling has always been the lack of Pro Tools session portability. But now that Pro Tools is available as a software only package, Avid has made it so the same session can be worked on anywhere. For me, this feature alone is priceless.”

Pricing and availability
Version 9 of the new Pro Tools and Pro Tools HD software will be available worldwide on November 12, 2010 starting at $599 USD. For regions outside of the U.S., please see your local retailer for pricing. For more information on features and availability, visit: www.avid.com.

About Avid
Avid creates the digital audio and video technology used to make the most listened to, most watched and most loved media in the world — from the most prestigious and award-winning feature films, music recordings, television shows, live concert tours and news broadcasts, to music and movies made at home. Some of Avid’s most influential and pioneering solutions include Media Composer®, Pro Tools, Interplay®, ISIS®, VENUE, Oxygen 8, Sibelius®, System 5, and Pinnacle Studio™. For more information about Avid solutions and services, visit www.avid.com, del.icio.us, Flickr, Twitter and YouTube; connect with Avid on Facebook; or subscribe to Avid Industry Buzz.

The software specifics:
All currently shipping versions of MOTU software products are compatible with Mac OS X v10.6 Snow Leopard, except for Ethno Instrument (with a promise that it will be compatible soon). Here’s a complete list of the minimum versions required for Mac OS X v10.6.

MOTU reminds you to update your Pace extensions, if you own an iLok, before upgrading.

Hardware drivers:
Device drivers are now available for Mac OS X v10.6 Snow Leopard for all MOTU FireWire/USB2 audio interfaces, FireWire video interfaces, PCI-424 audio interfaces, and USB MIDI interfaces. You need to be using one or more of the following driver updates:

FireWire/USB2 Audio 1.4.23
FireWire Video 1.1.2 (Final Cut Pro testing reveals no problems, but the software itself has not yet been approved)
PCI-424 Audio 1.2.2
USB MIDI 1.4.23

Update all Mac hardware and software updates here.

“In Phase One, the current development phase, Steinberg is testing all current products on both Windows 7 and OS X 10.6. Phase Two will see any development work resulting from compatibility testing during Phase One. This stage will also see the certification of some products straight away, should all stringent testing be passed satisfactorily. Phase Three will see testing and release of any compatibility updates developed during Phase Two, and certification of the rest of the product range not already certified in Phase Two.

“The ongoing process is slated to span several months; further information on the progress of individual products is to be made available on the forums at cubase.net and nuendo.com as the implementation plan progresses.”

“Avid/Digidesign is pleased to hear that Apple has released Mac OS X 10.6 Snow Leopard. At this time, we’re working closely with Apple to bring Snow Leopard support to the entire Pro Tools line and extended product families, and ask that all Mac users please wait to upgrade until we officially announce Snow Leopard support. Stay tuned…”

MIDI Came First

Before the development of the audio components of DAW software, a number of programs began as MIDI sequencers. MIDI is the networking software and hardware specification that allows synthesizers, drum machines, other electronic instruments, and computers to communicate with each other. Such programs as MOTU Digital Performer, Cakewalk SONAR, Apple (formerly Emagic) Logic, and Steinberg Cubase, all evolved from earlier MIDI-only versions. By contrast, Digidesign Pro Tools, perhaps the most commonly used DAW software in the world, was originally developed as an audio-only application, adding MIDI functions in later versions. It’s important to understand that MIDI data contains no audio whatsoever. Instead, a MIDI file contains the instructions  note on, note off, velocity, etc. – that a synthesizer needs to create a performance.

MIDI is still an important component of DAW software for two primary functions. First, almost every DAW program includes the capability to host virtual instruments – software synthesizers and samplers that function within the DAW environment. These soft synths respond to MIDI control to create and reproduce their performances. A keyboard controller transmits MIDI messages to operate these virtual instruments. Second, a number of control surfaces – hardware devices that emulate the operation of a recording console or mixer – use MIDI commands to communicate with the DAW program.

Audio Recording

DAW software makes use of two of the most common qualities of a computer: the ability to record and reproduce audio and mixing instructions, and the storage capabilities of computer hard drives. If you’re recording voices or other instruments, an audio interface is required to perform analog-to-digital conversion of the signal. Audio interfaces come in varieties ranging from simple 2-channel converters to multichannel versions that include other features such as sophisticated signal routing and surround outputs.

With these tools in hand, recording to a DAW is very straightforward. Most DAW programs follow the format of traditional recording consoles, with a specified number of tracks controlled by an onscreen mixer. To record, you simply arm a track and press “record.” Depending on the speed and power of your computer, the capacity of your hard drive, and the capabilities of the DAW program, you can record anywhere from a few tracks to hundreds.

Editing

The real power of DAW software becomes apparent in the editing process. In the old-school world of audio tape, editing a recording – moving one section of an arrangement to another position, creating a composite track from several different takes, etc. – was a delicate process that often involved literally cutting tape and pasting it back together. DAW software operates in an entirely different way. Because the recorded performance exists as data on a hard drive, different parts of the recording can be accessed in any order desired (a function often called non-linear editing). This gives an engineer or producer the freedom to mold a track in virtually any manner he or she desires, while preserving the original recording in its original state (called non-destructive editing).

MIDI editing capabilities in DAW software are equally powerful. They include the ability to transpose parts, change notes’ volume, duration, and velocity, and shift performances backward and forward in time.

Mixing

DAW software’s power extends to mixing as well. Most important is its ability to recall fader moves, panning, and effects settings and play them back exactly as they were set. Compare that with the old console world, in which multiple hands  were required to manage all the faders and other adjustments, with no two mix attempts being exactly the same. DAW mix automation also enables you to work on a mix, save it, and come back later to do further mixing without having to reset multiple parameters.

Plug-in Effects and Virtual Instruments

One thing that makes DAW software an “in-the-box” solution for digital recording is its ability to host a variety of plug-in effects and virtual instruments. These applications open within the DAW’s environment and allow you to apply effects (such as reverb, delay, or equalization) or play soft synths and capture the results. Plug-in settings are saved with the DAW session, and can be adjusted, added, and removed as needed during mixing.

Which DAW to Choose?

Choosing a DAW software program involves making a few decisions up front. First and foremost is defining the way you prefer to work when composing, editing, and mixing. If you compose in a “linear” fashion, the DAW you choose should accommodate this approach. If, on the other hand, you have a loop-based composition style, you should choose a DAW that organizes data in this way.

The second DAW-selection issue is the computer you plan to use. Some DAWs only function in a Windows environment, some work only on Mac computers, and a few offer versions for both platforms.

Third, your budget comes into consideration. The good news is that many DAW programs are available in “light” or limited-feature versions that can cost much less than their “full” versions. You should evaluate all the features of the DAW you’re considering to determine whether you need all the components of the full version.

DAW Software Choices

This is a listing of the most commonly available DAW programs, including “light” or”LE” editions when available.

Dual-platform (Windows and Mac) DAWs:
Digidesign Pro Tools|HD http://digidesign.com/
Pro Tools LE
Pro Tools M-Powered
Steinberg Cubase http://www.steinberg.net/en/products/musicproduction.html
Cubase Studio
Cubase Essential
Sequel
Steinberg Nuendo http://www.steinberg.net/en/products/audiopostproduction_product.html
Ableton Live http://www.ableton.com/
Mackie Tracktion http://www.mackie.com/products/tracktion3/

Windows DAWs:
Cakewalk Sonar http://www.cakewalk.com/
Sonar Home Studio
Cakewalk Guitar Tracks Pro
Cakewalk Kinetic
Image Line FL Studio Producer 8 http://www.image-line.com/documents/flstudio.html
Sony ACID http://www.sonycreativesoftware.com/acidpro
Acid Music Studio
Sony Sound Forge http://www.sonycreativesoftware.com/products/soundforgefamily.asp
Sound Forge Audio Studio
Cockos Reaper http://www.cockos.com/reaper/
Magix Sequoia http://www.magix.com/us/sequoia/
Magix Samplitude http://www.magix.com/us/samplitude/
Samplitude Music Studio
PG Music Power Tracks Pro http://www.pgmusic.com/powertracks.htm
PG Music RealBand http://www.pgmusic.com/realband.htm

Mac DAWs:
Apple Logic Studio http://www.apple.com/logicstudio/
Logic Express
MOTU Digital Performer http://www.motu.com/products/software/dp/