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(This, apparently, has involved a shift to an 'agile development' model, in which their engineers become 'pigs' or 'chickens' and are divided into 'scrum teams'.

At recent industry events, Avid have been keen to emphasise that the opening up of Pro Tools 9 is not a reluctant move, but one that reflects a sea change in corporate culture. The restriction of having to use Avid's own hardware was also becoming acute.Įnter a new management regime at Avid and a shift from 'engineering led' to 'customer focused' development. By version 8, the Pro Tools native range had become fragmented and confusing, with separate LE and M‑Powered versions augmented by numerous add‑on Toolkits, and some of the features that Avid kept HD‑only were almost universal in rival DAWs. The problem is that this desirability has, until now, been tempered by a fair number of frustrations.

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These have, no doubt, helped to make the program more appealing to newcomers, but above all, it's the dominance of Pro Tools in professional recording and mixing circles that has fuelled its desirability further down the ladder. The last major update, to Pro Tools 8, thus introduced a huge number of improvements focusing on the 'music creation' side of things. Its strengths in audio recording, mixing and editing have been enhanced, while Avid have worked hard to make it competitive in areas such as MIDI sequencing, where it was previously less able than rival DAWs.

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The software itself has also undergone radical overhauls in that time, yet unlike some DAWs, Pro Tools has managed to retain the core simplicity and elegance of its two‑window approach. Meanwhile, at the high end, there was the transition from Pro Tools Mix to Pro Tools HD, and the introduction of the hugely powerful Icon control surfaces.

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Then came the Digi 001, the Mbox and a succession of other affordable native versions, successful ports of the Pro Tools software to Windows and Mac OS X, and the acquisition of M‑Audio.

First came Pro Tools Free, a free 'taster' version of the software that would work with a Mac's built‑in hardware. You could point to several milestones along that path. Over the last decade or so, Digidesign and now Avid have done a remarkable job of reversing that situation, to the point where other DAWs such as Nuendo and Logic now incorporate numerous features that originated in Pro Tools. TDM systems represented an affordable and very popular way to get multitrack audio in and out of a computer, and to run DSP‑assisted plug‑ins, but most studios ran Logic or other third‑party software as a 'front end', and the Pro Tools installers gathered dust in a drawer somewhere. Then, the very idea that anyone might actually buy a Pro Tools system for the software would have seemed laughable to many. Things have come a long way since I joined Sound On Sound back in 1998. At a stroke, Pro Tools 9 removes nearly all of these - and with the addition of the new Complete Production Toolkit 2, a native system can acquire all the features of an HD rig apart from those that are hardware‑dependent, making such gems as VCA groups and advanced automation available to native users for the first time. Users of the more affordable native Pro Tools packages, LE and M‑Powered, had long griped about the artificial limitations that kept those packages feature‑poor in comparison with Pro Tools HD.

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No longer would their market‑leading Pro Tools DAW be tied to Avid's own hardware from now on it would work with any interface that supported the ASIO or Core Audio driver protocols, from the Apogees and Prisms of this world to the built‑in inputs and outputs of a cheap laptop.Īnd that wasn't all. This year's AES show in San Francisco saw the announcement most of us thought we'd never hear: Avid, for so long the most insular manufacturer in the business, were embracing openness.

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For the first time ever, Avid have made the full Pro Tools feature set available on native systems - and you don't even need one of their interfaces to run it!