Pro Tools Yeah OR Nay

  • Thread starter Thread starter trife22k
  • Start date Start date
T

trife22k

New member
Is upgrading to pro tools suggested to get the closest quality of a Real Huge Studio
 
Depends on what you're upgrading from... :D

ProTools is a standard, all big studios probably have a protools system, but most bigtime studios run mainly on better systems. I think. :D
 
The software itself is only a little part of the solution. The big difference is the hardware. $$ though for a serious system.

Of course quality of sound doesn't come with a program, it comes with skill. (And beer) (and stuff) (and borrelnootjes)
 
Hihi... :D

There's a thread on this other forum... Just a minute... Hup, here it is...

Some dudes with their views on protools.

I was in a studio this weekend. We recorded on a sony 3324 digital 24-track (tape-based), mixed it, recorded it on a DAT (24bit), then transferred it digitally to protools and did some last edits before writing a premaster on cd. (The 'mastering' we did was just sending it through a plugin. Think it was just multibandcompression. Dunno... After 10 hours of mixing, you don't really care what that guy that knows more than you anyway is still fiddling with...)

We could've recorded on the protools system (24 I/O's) but the engineer preferred the 3324... And some bands record on a 16-track analog reel to reel in that same studio...

But, as downside said... Skill is as important as decent equipment... And borrelnootjes. I prefer whisky over beer tough...
 
Hey Roel, I got paid in 'Borrelnootjes' for a studiojob a couple of weeks ago.
 
Well... I mostly even have to pay my own drinks and food. But I did get to mix a cd this weekend, and the studio-owner did allow me to take his vocoder home for my live-recording-gig on wednesday... :cool:

So... I got a box of chips for free... Free samples of a new taste. About 50 of those small bags left. How many hours of studiotime is that? :D
 
I have heard several complaints about the sonic quality of Pro-Tools but the truth remains...there are many high quality projects on the Radio and in the Stores right now that are made on Pro-Tools. ie... Filter, Ricky Martin (I hate even mentioning his name) and others.

In a home or project studio, Pro-Tools LE with Digi-001 is a tremendous bargain. I have heard som projects posted on the web and didn't think they were as good as they could be. I will be posting some after the first of the year and I am confident on the sounds recorded so far, that my projects will sound very Professional. Of course it won't rival a 100,000$ project but it will sound very good.

The best low cost route would be to buy the Digi001 and add a High dollar 8ch A/D converter. You could do a lot of good with this simple setup.

.02
:cool:
 
Pro Tools - YEA

If you look in Billboard, you will see that more than half the professional releases in the charts touch Pro Tools at some point. You don't get to be the industry standard by sucking.
 
I think a song tracked on 2", tansferred to ProTools with top of the line converters for editing and mixing is the way to go.........ProTools, as it implies, is just a tool, and if in the wrong hands, will sound bad...in the right hands it can help magic happen.....
 
Pro Tools CAN sound brilliant, depending on the I/O gear you use in conjunction with it
 
What converters are you guys recommending then?

I'm looking at the RME ADI-8 DS and the new Soundscape iBox 8-XLR/24. Haven't heard much about the iBox yet, and the Apogee is too damn expensive.
 
To my knowledge Protools only works with digidesign hardware, unless your talking Protools free. I'm using the AM3 and it has made some damn interesting recordings for me. If you're looking for more simultanious inputs/output the 001 somes to mind.
 
Pro Tools can work with any hardware, as long as you have one digidesign I/O. The most cost effective way to go is to use the Digi ADAT bridge, which gives you 16 channels I/O
 
yes and no.

the 888 is pro tools' proprietary I/O - you need a proprietary I/O to get in and out of Pro Tools. Thats where they make their money.

So instead of an expensive 888 you use an ADAT bridge, which gives you the I/O and digi protocol, without the crappy converters.

The ADAT bridge and, lets say, one 8 channel Lucid ADA8824 together are slightly more expensive than one digi 888 (unless you ask me where to buy the Lucid, then its cheaper :). So 8 channels are the same or slightly more, but of cause, if you go to 16 channels, the big savings come in, as the ADAT bridge is 16 channels.
 
More people should take a look into PARIS as well, with OMF format you can take your project anywhere but why one would take a project from PARIS to anything else is beyond me ;-) With the PARIS pro being on the market for a while now its easy to find a Bundle III with an added cards 8 in/out for a total of 12 in and 12 out of 24 bit for around 2500 bucks. There is somethign to be said about being able to playback about 80 tracks WHILE recording 12 in and have eq and compressors running on it all on a PIII 800 with only 256 RAM ;-) If you have touched a PARIS system you know what I mean if not go play with one at a store. So unless you have about 3x times the money laying around look into PARIS as an alternitive.


P.S. Good to be back after my little 6 month vanishing act!@
 
Only bummer is that 12 channels would limit you in recording live.
 
You must log in or register to reply here.
Back
Top