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Quick on the heels of 12.2 came Pro Tools 12.3, the update that finally got users excited about upgrading. Space is a fantastic effect, and one we’ve used on countless mixes, so it’s good to see this effect continue to be given attention. One other effect that was also added as part of the subscription bundled at 12.2 was Avid Space, an updated version of the old TL Space convolution reverb plug-in.
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These effects model a variety of popular guitar stompbox effects and act as a useful complement to the older Avid effects. It also introduced a new plug-in bundle, which adds 16 new stompbox-style effects to the bundled plug-in library. Pro Tools 12.2 brought more previously-HD-only features to the native version, including advanced metering, and VCA masters. Although it’s yet to be seen whether that market is sufficient to keep Avid investing in HDX development, at least now the smaller studios and especially project-studio owners can invest in Pro Tools knowing that they aren’t missing out on anything important. HDX systems remain incredibly powerful, and the top end of pro studios are still investing.
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So moving these into the native version of Pro Tools makes a lot of sense. Yet with many of Pro Tools’ advanced features available only to HD customers, users were looking elsewhere. USB 3.0 and ThunderBolt have enabled large I/O counts at ever-decreasing latencies, further eroding the advantages of a HD hardware system.ĭedicated DSP systems, such as the UAD 2.0, have replicated some of the DSP power of the HD and HDX hardware – and with the Apollo systems, this can even be achieved with low latencies just like with an HD or HDX system. But this advantage has been steadily eroded and users have been able to run incredibly large sessions on native DAWs for a few years now, with CPU limits rarely ever providing a bottleneck.