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"All The Right Gear In An Atmosphere That Incites Creativity"

Pro Tools vs. Native Recording

"Some people are very dismissive of a studio that isn't equipped with Pro Tools"

Pay no attention to that man behind the curtain... the great Oz Has Spoken!

Pro Tools HD is a software based DAW (Digital Audio Workstation) using Digidesign's proprietary computer cards to handle the computations and DSP (Digital Signal Processing). This in contrast to "Native" software programs utilizing the host computer's processor(s). Digidesign is one of the pioneers of computer hard disc based digital audio recording and, as such, is touted as the worldwide standard recording program used by the majority of pro recording facilities.

However, to dismiss all other recording and editing platforms because they "aren't Pro Tools" is a biased and narrow position. It's akin to saying that since Henry Ford revolutionized the automobile industry with the Model-T, that you are somehow deficient if you don't own a Ford. To take this position is to ignore the significant advances made over the past decade by the major software based Native programs.

As a point of fact, many audio professionals shun the expensive and proprietary Digidesign Pro Tools systems in favor of Native systems such as Digital Performer, Nuendo, Logic, and others.

A bit of explanation...

Pro Tools uses what is called TDM (Time-Division Multiplexing). A programming code which performs all the data processing on dedicated chipsets (located directly on the proprietary ProTools card and Accel expansion cards). Writing code for TDM is trickier and more time consuming, therefore Pro Tools software and plug-ins cost more.

"Native" systems utilize the host computer's native processor(s) to handle all the computations and number crunching. Native software code is much easier (and therefore more cost effective) to write.

The bottom line: Neither approach is "better", they are simply two methods of achieving the same ends. Each method has it's inherent strengths and weaknesses - differences which make either system more or less desirble depending on the individual's needs and personal preferences.

One more thing:

Video and audio files are huge. To add to "the straw on the camel's back" so to speak, the greater the resolution, the larger the files. It's like comparing a 1-megapixel camera to a 10-megapixel camera. With the 10-megapixel camera you have to purchase a larger memory card to store the same number of pictures, and your computer will run slower when editing and printing. The 10-megapixel picture is preferable however, because it contains far more detail and resolution.

This translates to massive numbers of ones and zeros which have to be stored, edited and otherwise manipulated by the computer processor(s). This means faster, more powerful computers are required to do the same volume of work. Amongst audio and video professionals, the architecture of the Mac is considered best suited for handling these massive files.

Since the first PCs were introduced, raw speed & computing power, RAM capacity, hard drive and removable media storage capacities have all continued to increase on an exponential curve. At the same time the actual dollar cost of that increased raw power and storage capability has, generally speaking, stayed the same or even dropped in price.

As a studio owner working to maintain an edge in a technology driven market, I have to ask the hard questions... What is best, having the "prestige" of owning a Pro Tools HD system (and investing the equivalent of a luxury car for that privilege)? Or having a system that performs, for all practical intents and purposes with the same end result, at a greatly reduced cost?

Rest assured, those who already have their fortunes invested in a Pro Tools HD system will say it is unequivocally the only way to go... But is it really?

In essence, the computer is simply a recording device. A box which stores ones and zeros on a hard drive or other storage media. But there's more than that... depending which software and hardware is running, it can manipulate those ones and zeros with varying degrees of sophistication and ingenuity.

At the time of this writing, Apple is producing a computer with capacities up to 8-Core x 3.2GHz processors (that's 256- GIGAHERTZ of raw processing power).

And up to 32- GIGABYTES of onboard RAM.

And up to 4- TERABYTES of onboard storage.

In addition, there are several fully matured and highly advanced native software programs available with capabilities which compare to (and in certain critical areas, are superior to) Pro Tools. With the advent of these increasingly capable Macs and ever more sophisticated software programs, the gap between Native and TDM systems is steadily disappearing. Indeed, with each quantum leap of computer and software capability, the sheen and glitter of the Pro Tools system fades a little bit more.

It's a given that major players, like Ocean Way or Skywalker Ranch for example - depend on the gargantuan capacity that only full blown Pro Tools TDM systems can provide. But what of the rest of us who don't require 190+ channel systems? For these applications, there are several "state-of-the-art" Native DAW systems with capacities for track counts far exceeding what is needed, and with plenty of processing power left over for things like automation, plug-ins and VI's (Virtual Instruments). Further, if a client does want compatibility with Pro Tools for some reason, the audio files can be exported in a PT compatible format.

An often overlooked aspect of the "Pro Tools vs. Native" comparison is not so much the recording medium itself. It's placing the instrument in a good sounding, well tuned acoustic space, selecting and positioning the best microphone for the sound source, plugging that microphone to the optimum choice microphone preamp and outboard gear, and then turning that analog signal into "ones and zeros" with a premium A/D converter. This is where we have chosen to focus our attention (and our fortunes) - on the "front end" - focusing on the quality and tone of the recorded sound.

It's been said that talented engineers can produce great work on even the most basic of equipment. Conversely, even the most sophisticated and expensive systems are limited by the capability and understanding of the engineer at the helm, and the artist being produced.

So which is it? Shall we all sit around sipping tea with our pinky fingers extended, bragging about our Pro Tools systems? Tally-ho ole chap, I've got the greatest HoolaMcGoodgit version 7iXL on the block! Or shall we roll up our sleeves up and "get to the joy ride that is making music". After all, the person listening to the music could care less how it was recorded, but does care how the end product sounds.

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