2016 Letter to AVID from PTHD user

[audioluche]

https://www.gearslutz.com/board/aes-...hdx-venue.html

A small developer who is porting 5 new AAX DSP plugins in a relativly short amount of time.

And there is Empirical Labs with the Arousor too.

Love my HDX system. It would be like in the old TDM days (10 times better!) if Soundtoys and Slate could finally jump in.

[Southsidemusic]

Originally Posted by audioluche

https://www.gearslutz.com/board/aes-...hdx-venue.html

A small developer who is porting 5 new AAX DSP plugins in a relativly short amount of time.

And there is Empirical Labs with the Arousor too.

Love my HDX system. It would be like in the old TDM days (10 times better!) if Soundtoys and Slate could finally jump in.

This is GREAT NEWS

Have followed SKNOTE and Quinto posts updates here on the DUC and I am happy to see this. Thanks for posting a reminder

[TOM@METRO]

Disto DSP... Very good.

[Bob Olhsson]

Dave, the only market that's expanding is post!

Avid will still happily accept money for HD from music people but it's no longer the near necessity it was fifteen years ago. Even then for decades the biggest selling DAW has been CueBase and those users haven't been utterly crippled by not having TDM or HDX. I know a lot of people who replaced PT Mix with Logic Audio when HD was released and never looked back.

I can understand having a work flow you like but the combination of a small analog console and any native DAW gets the job done with even lower latency than HDX!

[Drew Mazurek]

Originally Posted by Bob Olhsson

I can understand having a work flow you like but the combination of a small analog console and any native DAW gets the job done with even lower latency than HDX!

Can you explain how this works when you have three or four musicians in the studio at once. Or even explain when it's just one person and you want to monitor through plug-ins. And you want to do punch ins etc.

[Bob Olhsson]

Originally Posted by Drew Mazurek

Can you explain how this works when you have three or four musicians in the studio at once. Or even explain when it's just one person and you want to monitor through plug-ins. And you want to do punch ins etc.

You feed the cue mix and mike chains into the mixer. The performers monitor their analog feed and you mute playback when you drop in. A lot of performers prefer having playback muted a bar or so before the punch and they love being able to hear themselves sing along prior to it being muted.

You need to use analog eq and compression as opposed to plug-ins. You can buy everything required for less than the cost of HDX, assuming you don't already have it like many of us do.

[propower]

There are so many ways to make a great system. The elegance of HDX is that its all in the box and has the lowest ITB latency. A single SW interface with full recall of everything. One has to use the DSP plugins on record enabled channels though to get the most out of it though.

With a full analog monitoring scheme (with multiple aux sends) one has a true zero latency monitor mix. All out of the box though. One must set all those dials, patch whatever needs patching and maybe even manually mute and unmute things.

There is a cost difference and only the individual can answer if its "worth" it...

FWIW - I have a single feed (up to 4 channels) all analog cue mix option in my setup after preamp and analog compression. It is always at the ready if I need ot for overdubs. Rarely used so far but always nice to know its there.

[Electrox]

I rarely visit this community at this point, and I see that as the problem. A lot of Pro Tools people patting themselves on the back for spending money on systems that are somewhat limiting in their function while the users try to appeal to a company which has driven a lot of us away because of such a high profit motive. I am sorry, but I just don't "buy" a lot of these arguments. I have gotten better results using other software and systems than I would have had I stayed with just Avid products. Don't get me wrong, I am NOT an Avid basher! I used to love the systems and each update. I just find that now the company is too slow to react plus too costly for what the system does. Pro Tools systems have basically the same latency as other systems out there, much to everyone's apparent surprise! Also, the software is very limiting when dealing with MIDI and software orchestration. Ableton Live and Logic are my go to pieces of software. I saw the abandonment of TDM as the turning point for the company. HDX hasn't taken off in the music creating community because the functionality just didn't warrant the asking price of admission. It also didn't help that Avid kept the system closed. When I buy a UAD system I get what I feel is a great DSP product that I can use with whatever system and software I want to use. Pro Tools makes one lazy. You should be trying other systems out there and see what true power you can have on your computers. I still have a TDM system out back for when I want to fire up my old sessions, but I have cut the cord on being strung along by any one company's solution for my five workstations.

[Drew Mazurek]

Originally Posted by Bob Olhsson

You feed the cue mix and mike chains into the mixer. The performers monitor their analog feed and you mute playback when you drop in. A lot of performers prefer having playback muted a bar or so before the punch and they love being able to hear themselves sing along prior to it being muted.

You need to use analog eq and compression as opposed to plug-ins. You can buy everything required for less than the cost of HDX, assuming you don't already have it like many of us do.

All cue mixes, and all mics? A MAJOR non starter in my world. Simply not practical.

I'm stunned that you think this is a viable alternative in the fast paced world of tracking and overdubbing.

[johnnyv]

I use PTHD Native and at a setting of 64, headphone latency seems fine for any vocal purpose. So far, I don't see the need for HDX aside from needing the higher track count.