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The very few manufacturers who still propose adopting AVB in audio are using it for closed-circuit live performance applications, and most recently started working on something called Milan (), which is a mild interoperability effort to make sure that different solutions can work together. Previous attempts to pitch AVB for the AV/installation market have long been replaced by Dante and newly emerging audio/video networking efforts. AVB and the evolution of that technology, AVB/TSN, is being pitched without much traction for industrial and automotive applications, where things move at a different pace anyway. AVB is in fact an underlying technology, not in itself an audio networking protocol.

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With the newly announced launch of Pro Tools Carbon (which looks like a repackaged MTRX Studio, which was DigiLink only) Avid takes another alternative route, by pitching the old AVB (Audio Video Bridging) standard to the music recording business, basically joining PreSonus and MOTU in the effort (both of which, by the way, also offer other interfacing options).įor those less familiar, AVB (once an effort promoted for the AV market by a consortium called AVnu Alliance) is an IEEE standard (AVB IEEE 802.1) and was defined on top of Ethernet Layer 2 to allow for precise (deterministic) synchronization of data across a network.

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In this environment, Avid faced some difficult choices, since its Pro Tools ecosystem continues to depend upon its dedicated HDX hardware (with plus Avid DigiLink interface), currently the least attractive option there is, except naturally for all the studios that have already invested heavily in Avid's hardware. Industry support for Dante/AES67 is so widespread and proven, with hundreds of manufacturers offering compatible equipment and thousands or products available at all price levels, that anything proprietary is just hard to justify at this stage. Clearly, for home/project studio needs, a standard computer interface like Thunderbolt/USB is the preferred option (all using the same USB Type C connectors and great bus-powered options), while larger networked studios and productions will benefit from Ethernet-based solutions, which are predominantly Dante or AES67/Ravenna-based for the audio part of that universe.

#AVID PRO TOOLS DRIVERS#

With the recording, studio and broadcast/media production market now largely benefiting from the latest AoIP efforts (ST2110/AES67) and Thunderbolt 3 solutions - converging to Thunderbolt/USB4 in 2021 - the industry is basically allowing all manufacturers of audio interfaces to easily support any of the available software DAWs (or vice-versa), thanks to direct operating system support on Mac and generic drivers on Windows. Avid’s audio interfaces for Pro Tools, including the latest Pro Tools MTRX Studio unveiled at NAMM 2020, at least combined Avid's required proprietary DigiLink interface for ProTools, with Dante, ADAT and other integration options, as well as direct support for EuCon remote control (used in all of Avid's control surfaces). The previous hardware options for Pro Tools, including those announced just at the start of 2020, relied on the best audio industry partners Avid could engage with, from Apogee to Sonnet Technologies, and Digital Audio Denmark (DAD), which was the chosen supplier for its most recent audio interfaces. So, there's essentially the new Carbon audio interface. For audio post professionals, Pro Tools 2020 includes native integration to export ADM files for Dolby Atmos, a new space clips function that lets you arrange a multitude of clips in a fraction of the time, and it reintroduces the ability to bounce sessions to QuickTime formats in macOS Catalina.'Ĭonsidering the recent introduction of Blackmagic's DaVinci Resolve 17, which runs on Windows, Linux and macOS, and inclusively supports already the latest macOS Big Sur release - and is fully ready to support and leverage the latest Mac Silicon M1 processors - plus the fact that 2020 is not exactly a reference you want to keep in consumer’s minds in 2021 with a product released in November, it seems clear that software was not the focus for Avid. It also provides new ways to create and advance ideas with the ability to analyze audio and render it as MIDI notes. As Avid explains, this comes with Pro Tools 2020.11, which 'introduces a new dramatic dark themed UI that’s sleek, inspiring, and easier on the eyes - especially in lower light conditions.

In fact, it is a dedicated bundle of an hardware interface and software. Well, to be fair, Pro Tools Carbon is not only a new audio interface.

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