![]() 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. 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. ![]()
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