SoftMax Pro Software for Windows 10 is designed to provide the simplicity, flexibility and power required for advanced data analysis. It provides ready-to-run protocols, analysis algorithms, and 21 different curve fit options. Every step is optimized for data acquired from a Molecular Devices microplate reader or data imported from another source to simplify analysis and reporting. Compliance tools are available for regulated laboratories providing end-to-end chain of custody.
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The software includes tools to publish reports with flexible data output formats. Data can be viewed in a lab notebook layout, saved as a PDF file, exported to an Excel file or to XML for LIMS integration.
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Pro Tools operates both as standalone software and in conjunction with a range of external analog-to-digital converters and PCIe cards with on-board digital signal processors (DSP). The DSP is used to provide additional processing power to the host computer for processing real-time effects, such as reverb, equalization, and compression[4] and to obtain lower latency audio performance.[5] Like all digital audio workstation software, Pro Tools can perform the functions of a multitrack tape recorder and a mixing console along with additional features that can only be performed in the digital domain, such as non-linear[6] and non-destructive editing (most of audio handling is done without overwriting the source files), track compositing with multiple playlists,[7] time compression and expansion, pitch shifting, and faster-than-real-time mixdown.
The Pro Tools TDM mix engine, supported until 2011 with version 10, employed 24-bit fixed-point arithmetic for plug-in processing and 48-bit for mixing. Current HDX hardware systems, HD Native and native systems use 32-bit floating-point resolution for plug-ins and 64-bit floating-point summing.[4] The software and the audio engine were adapted to 64-bit architecture from version 11.[13]
They started selling the upgrade chips one year later under their new Digidrums label.[18] Five different upgrade chips were available, offering different alternate drum styles. The chips, easily switchable with the original ones, enjoyed remarkable success between the Drumulator users, selling 60,000 units overall.[19]
When Apple released its first Macintosh computer in 1984, the pair thought to design a more functional and flexible solution which could take advantage of a graphical interface.[20] In collaboration with E-Mu, they developed a Mac-based visual sample editing system for the Emulator II keyboard, called Sound Designer, released under the Digidesign brand[21] and inspired by the interface of the Fairlight CMI.[22] This system, the first ancestor of Pro Tools, was released in 1985 at the price of US$995.[17]
Brooks and Gotcher rapidly ported Sound Designer to many other sampling keyboards, such as E-mu Emax, Akai S900, Sequential Prophet 2000, Korg DSS-1, and Ensoniq Mirage.[22] Thanks to the universal file specification subsequently developed by Brooks with version 1.5,[22] Sound Designer files could be transferred via MIDI between sampling keyboards of different manufacturers.[23] This universal file specification, along with the printed source code to a 68000 assembly language interrupt-driven MIDI driver, was distributed through Macintosh MIDI interface manufacturer Assimilation, which manufactured the first MIDI interface for the Mac in 1985.
Starting from the same year, a dial-up service provided by Beaverton Digital Systems, called MacMusic, allowed Sound Designer users to download and install the entire Emulator II sound library to other less expensive samplers: sample libraries could be shared across different manufacturers platforms without copyright infringement. MacMusic contributed to Sound Designer's success by leveraging both the universal file format and developing the first online sample file download site globally, many years before the World Wide Web use soared. The service used 2400-baud modems and 100 MB of disk space with Red Ryder host on a 1 MB Macintosh Plus.[22]
With the release of Apple Macintosh II in 1987, which provided card slots, a hard disk, and more capable memory, Brooks and Gotcher saw the possibility to evolve Sound Designer into a featured digital audio workstation. They discussed with E-mu the opportunity of using the Emulator III as a platform for their updated software, but E-mu rejected this offer. Therefore, they decided to design both the software and the hardware autonomously. Motorola, which was working on its 56K series of digital signal processors, invited the two to participate in its development. Brooks designed a circuit board for the processor, then developed the software to make it work with Sound Designer. A beta version of the DSP was ready by December 1988.[20]
The combination of the hardware and the software was called Sound Tools. Advertised as the "first tapeless studio",[20] it was presented on January 20, 1989 at the NAMM annual convention. The system relied on a NuBus card called Sound Accelerator, equipped with one Motorola 56001 processor. The card provided 16-bit playback and 44.1/48 kHz recording through a two-channel A/D converter (AD In), while the DSP handled signal processing, which included a ten-band graphic equalizer, a parametric equalizer, time stretching with pitch preservation, fade-in/fade-out envelopes, and crossfades ("merging") between two sound files.[24][25]
Sound Tools was bundled with Sound Designer II software, which was, at this time, a simple mono or stereo audio editor running on Mac SE or Mac II; digital audio acquisition from DAT was also possible.[26] A two-channel digital interface (DAT-I/O) with AES/EBU and S/PDIF connections was made available later in 1989, while the Pro I/O interface came out in 1990 with 18-bit converters.[1]
The core engine and much of the user interface of the first iteration of Pro Tools was based on Deck. The software, published in 1990, was the first multi-track digital recorder based on a personal computer. It was developed by OSC, a small San Francisco company founded the same year, in conjunction with Digidesign and ran on Digidesign's hardware.[28] Deck could run four audio tracks with automation; MIDI sequencing was possible during playback and record, and one effect combination could be assigned to each audio track (2-band parametric equalizer, 1-band EQ with delay, 1-band EQ with chorus, delay with chorus).[29]
The first Pro Tools system was launched on June 5, 1991. It was based on an adapted version of Deck (ProDeck) along with Digidesign's new editing software, ProEdit [30] created by Mark Jeffery; Sound Designer II was still supplied for two-channel editing.[31] Pro Tools relied on Digidesign's Audiomedia card, mounting one Motorola 56001 processor[32] with a clock rate of 22.58 MHz[33] and offering two analog and two digital channels of I/O, and on the Sound Accelerator card. External synchronization with audio and video tape machines was possible with SMPTE timecode and the Video Slave drivers.[31] The complete system was selling for US$6,000.[34]
Sound Tools II was launched in 1992 with a new DSP card. Two interfaces were also released: Pro Master 20, providing 20-bit A/D conversion,[31] and Audiomedia II, with improved digital converters and one Motorola 56001 processor running at 33.86 MHz.[35]
In 1993, Josh Rosen, Mats Myrberg and John Dalton, the OSC's engineers who developed Deck, split from Digidesign to focus on releasing lower-cost multi-track software that would run on computers with no additional hardware. This software was known as Session (for stereo-only audio cards) and Session 8 (for multichannel audio interfaces) and was selling for US$399.[36][28]
In 1994, Pro Tools 2.5 implemented Digidesign's newly developed time-division multiplexing technology, which allowed routing of multiple digital audio streams between DSP cards. With TDM, up to four NuBus cards could be linked, obtaining a 16-track system, while multiple DSP-based plug-ins could be run simultaneously and in real-time.[38] The wider bandwidth required to run the larger number of tracks was achieved with a SCSI expansion card developed by Grey Matter Response, called System Accelerator.[31]
With a redesigned Disk I/O card, Pro Tools III was able to provide 16 tracks with a single NuBus card;[40] the system could be expanded using TDM to up to three Disk I/O cards, achieving 48 tracks.[38] DSP Farm cards were introduced to increase the processing power needed for a more extensive real-time audio processing; each card was equipped with three Motorola 56001 chips running at 40 MHz.[41] Multiple DSP cards could be added for additional processing power; each card could handle the playback of 16 tracks.[32] A dedicated SCSI card was still required to provide the required bandwidth to support multiple-card systems.[40]
Along with Pro Tools III, Digidesign launched the 888 interface, with eight channels of analog and digital I/O, and the cheaper 882 interface.[40] The Session 8 system included a control surface with eight faders.[42] A series of TDM plug-ins were bundled with the software, including dynamics processing, EQ, delay, modulation, and reverb.[38]
In 1996, following Apple's decision to drop NuBus in favor of PCI bus, Digidesign added PCI support with Pro Tools 3.21. The PCI version of the Disk I/O card incorporated a high-speed SCSI along with DSP chips,[40] while the upgraded DSP Farm PCI card included four Motorola 56002 chips running at 66 MHz.[43]
This change of architecture allowed the convergence of Macintosh computers with Intel-based PCs, for which PCI had become the standard internal communication bus.[32] With the PCI version of Digidesign's Audiomedia card in 1997 (Audiomedia III),[44] Sound Tools and Pro Tools could be run on Windows platforms for the first time.[32] 2ff7e9595c
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