Quote:
Originally Posted by Bob Womack
Believe it or not, this was not always the case. My company got in on the ground floor of DAWs. At that time, only one DAW of all of them, Neundo, had built latency compensation into their architecture. ProTools went YEARS without that, and the panning of stereo mixes "in the box" would "fold up" and become more and more mono as you added processing due to phase issues. Pros ran multiple outputs to a console and mixed with the automation on the console, as if ProTools was just a big, complicated multitrack. Eventually, ProTools chose a point to re-tool from the ground up, include latency compensation, and declare that they would no longer be backwards compatible.
And that is why my company chose to go with Nuendo way back in 2001, as I remember. That and superior video handling at the time when we invested. Of course, ProTools grew up and became the largest pro platform on the planet.
Bob
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Interesting, early on in 2003, I took a Pro Tools workshop offered by one of the designers of the Digi 002 (a PT proprietary - mini console if you will, 8 channels )
He said that the former Apple employees who founded the company that would become DigiDesign and Pro Tools had also been recording engineers and designed it, as you say to function as a digital version of a multi track tape machine, and then eventually formatted the PT mixer GUI to approximate a generic large format console