You'll need to manually identify this beat. Beat Detective can be thought of as a big macro of features, and though nearly all of those features are available elsewhere in Pro Tools, bringing them together into a single tool speeds things up considerably — at least, it does when you know what you're doing. Most examples and online tutorials show performances which have been recorded with a click track but are just a little off.
The aim there is to pull the performance into time with the grid, which is already roughly aligned with the performance tempo. But what if you've tracked a live band without using a click track? Setting up your session so the grid relates to the recording on the timeline is an essential first step to using Beat Detective.
Here's how it's done. If it isn't already, you'll need to switch your main timebase to Bars and Beats. To do this just click the disclosure triangle next to the main timebase counter in the toolbar, and the Bars and Beats ruler will be displayed and highlighted even if it wasn't already visible.
You'll also need to show the tempo ruler. Tempo in Pro Tools is potentially confusing because there are two tempo modes. Manual mode offers a single tempo for the whole session, and this can be set by typing the tempo into the Transport window or toolbar. If you can't see it, make sure the MIDI controls section is showing in either area.
It's also possible to tap in your tempo, by highlighting the tempo field in the transport window, and hitting the T key in time with the music. Tap tempo isn't accurate enough for tempo mapping or quantising as errors will tend to accumulate and your grid will quickly wander out of sync, but to get a close starting point it can be very useful.
The second tempo mode uses the Conductor Track. When engaged, the session tempo follows tempo changes on the tempo ruler, and this can be used to build a map of varying tempos, so that rather than move the performance to fit a fixed grid, you get the grid to fit the performance.
I find the best way to start with a session which isn't recorded to a click is to take a hybrid approach, starting in manual tempo mode and moving on to the Conductor Track later.
The Identify Beat command will be greyed out until you turn on the Conductor Track. A useful first step is to manually identify the tempo, just so that you know what it is.
It saves time if you make a mistake and incorrectly identify the tempo later. Edit smoothing creates batch fades and fills in the gaps between the clips. You cannot actually use Beat Detective without selecting an area of the timeline first. To properly create a tempo map you have to enter the values manually correctly so take some time to count the bars in the song for the section you are tempo mapping. Also this section enables us to choose the kind of subdivisions that are played throughout the selection.
The last section allows us to scroll between trigger events transient information that the analysis process detects as relevant to the tempo of the performance and shows us the progress of a current operation. Some of the actions Beat Detective can perform are quite CPU intensive so they might take a while to finish depending on your current system. Beat Detective is by all means one of the most powerful tools in Pro Tools — it enables us users to do amazing things with our sessions and recordings.
Beat Detective is definitely one of those tools I recommend learning inside and out as you producer chops will greatly benefit from this. Your email address will not be published. What Can It Do? Tempo Markers in the Tempo Ruler. In practice, this is not an issue unless you need to use large sample libraries, but it probably needs to happen soon.
At a stroke, they have removed almost all the frustrations afflicting the many users who wanted or needed to belong to the Pro Tools world, but lacked the budget to go HD. The same is not likely to be true of HD users, though. Unless you want to take advantage of the ability to run a native Pro Tools rig when away from the studio, there's almost nothing in Pro Tools 9 HD that wasn't in 8. I do better work in it, and I do it faster. Avid's pricing positions it squarely in the DAW pack: around the same as the full versions of Cubase and Digital Performer and slightly dearer than Logic Pro or Sonar, though if anything, it's perhaps the much cheaper and highly customisable Reaper that can most closely match Pro Tools' functionality.
Each of its rivals can boast features that the basic Pro Tools 9 lacks, but the reverse is also true; this is no longer 'crippleware', but a very powerful tool. While the Core Audio implementation appears pretty solid, ASIO support in Pro Tools 9 still feels a little immature, both in comparison with other applications such as Cubase, and with Avid's own hardware drivers. If you're planning on using a Windows system, check carefully that your preferred audio hardware works properly: the AIR Users' Blog maintains an unofficial list at www.
But it's already very usable with the right interfaces, and this is such an important and central issue that I'm sure Avid and other manufacturers will be working to improve it.
In other respects, Pro Tools 9 is remarkably free of bugs and teething troubles, because so much of its functionality has already been tried and tested in the HD world. Having used Pro Tools 9, I'm no longer sceptical about Avid's new corporate openness. In fact, it's exciting to speculate about where it might lead next. VST and Audio Units support? The release of an open RTAS software development kit? Macro support? Full session compatibility with other DAWs?
If enough of us say we want it, there's a good chance Avid will implement it. Until then, I'm off for a skate on the River Styx However, there are one or two neat additions that weren't in Pro Tools 8, and a couple of them are really useful. Top of my list is the 'New Track' routing option that appears when you click on a track send or output slot right. Now you can do it all in one go. Select New Track, and Pro Tools will not only ask you what sort of track you want to create, but automatically assign an unused bus to it, and rename that bus into the bargain.
And, of course, the usual Pro Tools shortcuts apply, so holding down Alt will route all tracks or sends to the new track, and Shift-Alt will route all outputs or sends on selected tracks. Easy peasy. It would be better still if you got the option to automatically solo-safe the new track — perhaps that can be added in a later update.
On the subject of shortcuts, in previous versions of Pro Tools, when you wanted to create a new Playlist on a track, you had to click on a tiny arrow icon in its Edit window track header. Since this is something you need to do often when overdubbing, it was a pain in the neck, and mercifully Avid have now added a keyboard shortcut for 'Create New Playlist on Selected Track'.
Harder to evaluate, but probably more important in the scheme of things, is support for the EuCon protocol. This, as far as Pro Tools users are concerned, is the first fruit of Avid's purchase of Euphonix, and adds welcome new possibilities for hardware control of Pro Tools.
I don't have either, sadly, so was not able to test the EuCon support myself, though I've seen Pro Tools running with a System 5 MC at industry events. I'm sure it won't be long before there is more choice. At long last, it's now possible to select different panning laws in Pro Tools or 'pan depths' as the manual calls them. The default setting in earlier versions of Pro Tools attenuated a mono track by 2. More specialist improvements include support, in HD and the Complete Production Toolkit 2, for the newish 7.
Believe the hype: Pro Tools 9 is the biggest thing to happen to the world of native DAWs for a long time, and will make some rival manufacturers very nervous indeed!
More tracks, buses and simultaneous inputs. Complete Production Toolkit 2 is the closest thing possible to a native system with HD features. HD licence now enables users to work on laptops. Input monitoring still rather inflexible. Didn't play nicely with the UAD2 card in review system. Offers little for those running HD rigs, and could undermine their investment in Avid hardware. Summary Believe the hype: Pro Tools 9 is the biggest thing to happen to the world of native DAWs for a long time, and will make some rival manufacturers very nervous indeed!
Prices include VAT. Test Spec Pro Tools 9. Apple iMac with 2.
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