New in Pro Tools 5: MIDI sequencing, Avid video import/capture/playback options, an updated interface and new editing features.

Review: Digidesign Pro Tools 5.0 [continued]

MIDI machinations
The new MIDI features are very intuitive. If you’re familiar with the way most software sequencers operate, you’ll feel right at home with Pro Tools’ MIDI tracks. However, as Digi’s first foray into the world of MIDI sequencing, Pro Tools is missing some of the goodies (e.g., groove controls, remote control SysEx templates and Control Change message transform functions) hard-core users have come to expect from the more established platforms. The good news is, all the essential tools are there to cut solid MIDI tracks at over 960 ppqn (according to Digidesign, the actual sequencer engine is 960,000 ppqn) for sample-accurate audio-to-MIDI timing, but 960 ppqn is the user interface resolution. Pro Tools can even import/export standard MIDI files, for doing advanced sequencing in another application and then simply importing tracks into Pro Tools. I tried this and it worked great.

Editing functions are nicely implemented. Quantize can be applied to a selection or at input in a variety of note values, from whole notes to 64th notes, dotted and triplet values. Swing, offset, strength and randomize parameters are available. Note ranges are easily selected, split and transposed. Velocity and duration can be manipulated, scaled and faded with custom curves.

The recording modes are replace and merge; either mode will operate in loop. Recording will follow countoff or wait for first note, your choice. The countoff is user-definable, and the click can be assigned to any MIDI instrument in your OMS Studio Setup—I prefer an internally generated click, as it’s easier to deal with. An input filter lets you select what kind of MIDI information is ignored. (The stock setting has polyphonic and mono aftertouch checked.)

Meters and tempos are adjusted using the Tempo and Meter Change windows—pretty straightforward. Also, the old Identify Beat feature is still available under the Edit menu. As another alternative, turn the Conductor icon “off” in the Transport bar to enter the Manual Tempo mode. In this mode, you can type in a BPM, use the slider element or hit the Tap button to change a session’s global tempo. Both tempo and meter now have discrete rulers that are seen simultaneously with the timeline rulers.

MIDI tracks in both the Edit and Mix windows look almost identical to audio tracks: The user interfaces are the same; the only difference is the way the information is displayed. In the Edit window, notes are seen in place of waveforms and controller information in place of automation moves. MIDI tracks appear as input channel strips in the Mix window. The LED meter is turned into a dynamic MIDI activity light. Of course, the MIDI channel strips don’t have plug-in slots—although MIDI plug-ins (e.g., arpeggiators, delays, controller templates, etc.) aren’t such a bad idea. The New Track command used to make audio tracks is also used for creating MIDI tracks.

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Copyright © 2000 by Intertec Publishing. Reprinted with permission from Mix Magazine.