For people looking to get into music recording and production on a computer, for the first time, there’s a bundle that says “Pro Tools” on the box that costs correction: as little as just $99. It really is Pro Tools software; it’s certainly streamlined (some basic track limits, no multitrack recording), but still with a serious complement of recording, mixing, and effects, and even some nice virtual instruments. Beyond that, your choice is which hardware you’d like in your “value meal”:

For vocalists: The Vocal Studio has a cardoid condenser mic – that’s a USB mic you can connect directly – plus a stand and a case.

For “recording:” The Recording Studio gives you a simple 2-in/2-out audio interface so you can connect your own mic/line/instrument input.

For keyboardists: The KeyStudio is a 49-key synth-action keyboard with mod and pitch bend, plus and an audio interface (the 1-in, 1-out M-Audio USB Micro).

Correction: $99 is the price for the keyboard and vocal bundles, $129 for the recording bundle with Fast Track. (I had an early press release that said pricing was $129 for all three.)

The target readership for CDM may not be in the market for this bundle — though it is a ridiculously cheap way to add Pro Tools compatibility to your rig, if you just need to trade session files. But I know we also have a lot of readers who offer expertise to other folks. Do let us know what they think – if they’re turned on, or turned off.

See additional analysis on what the larger implications of Avid’s strategic shift may be.

If you’re a beginning user, I don’t doubt that this software will get you started. You get over 5 GB of instruments and loops, 60 virtual instrument sounds, reverb / chorus / delay / flanger / phaser / compression / EQ effects, reasonable track counts (16 audio, 8 instrument, 8 MIDI), 3 insert slots per track for “up to 3 simultaneous effects,” buses and send/return routing, and 2 simultaneous audio inputs and outputs. So you can’t do simultaneous multitrack input or surround hardware, but you’d need a different audio interface for that, anyway.

Actually, so that you can email this story to your nephew or niece who’s just starting out and considering options, let me translate to English:

A young, aspiring musician walks into a consumer electronics store. (Let’s call it Big Buy, and imagine people wearing… red polo shirts.) They wander into the game aisle and muse at the latest music games in the video game section – $60-100 in price. But there’s an endcap with something else: a box of Pro Tools that’ll run on their computer, plus a ready-to-use audio interface, for $99-129. Instead of Guitar Hero, they leave with Pro Tools – a name they already knew.

See full details of the new lineup, with photos.

This idea is nothing new – for many years, it’s been possible to do great stuff with $100 on a computer. But the most powerful brand in music production (Pro Tools) has remained notably absent. Instead, that hypothetical consumer would find a smattering of consumer-only choices with names they likely wouldn’t recognize. Meanwhile, the name “Pro Tools,” and the software interface that made it popular, have been limited to more complex offerings sold through specialists.

Today changes all of that. Gone is the idea that “Pro Tools” is only for the high end. Gone is the iLok hardware dongle. (You still need either the Micro or Fast Track interface plugged in, but the target market for this product may not care.)

There are three offerings:

A vocal studio, bundled with a USB mic (similar to M-Audio’s Luna).

A “recording” studio, bundled with a simple USB bus-powered audio interface (the previously-available Fast Track.

The “KeyStudio”, bundled with a 49-key USB keyboard. The software comes with 60+ virtual instruments, says Avid, so you’ve got quite a lot to play.

The software included in each has some limitations – it has 32 tracks (16 audio, 8 instrument, and 8 MIDI), and more basic routing options (3 inserts per track, 2 audio inputs, and 2 outputs). The absence of multitrack recording is probably the biggest restriction. But you nonetheless get a range of virtual instrument sounds and effects, plus a full complement of editing and mixing features.

On the same day that people are rediscovering The Beatles through a video game, and video games are causing people to rediscover music making, you can buy a studio for about the same price.

Now, if you’re reading this site, that’s probably not news. But it could be news to quite a lot of people who haven’t discovered computer music making. And it represents a tectonic shift in how the titan of music making software treats its flagship.

Native Instruments is releasing some cheaper ways of getting at their software guitar modeler, Guitar Rig, in the form of a cheaper software version and a hardware bundle:

• Guitar Rig 3 XE is a "lite" version of Guitar Rig, focused on the basics — 5 guitar/bass amps, 12 cabinets, and 21 effects. It also some of the "helper" modules from Guitar Rig, including a metronome, tapedeck, and tuner — but no looping module, which is one of my favorites. (See the full list.) US$99 on its own.
• Guitar Session bundles the XE software with Cubase 4 LE, some pop drums for KORE player via a soundpack, and the Session I/O audio hardware. US$250 for the bundle, available June 1 worldwide.

Native Instruments remains the unchallenged heavyweight of instruments and effects. Apple’s Logic Studio 8 recently got a formidable upgrade and a big price drop (US$499), but its bundled instruments and effects, behind cosmetic improvements, are largely unchanged from previous versions. Cakewalk, Digidesign and others have also gotten in the ring, but no one can match up to the insanely massive collection of sound production and mangling in NI’s software. So, when NI offers an upgrade, we notice. I’ll be meeting up with NI next week at the AES show for a full preview of the new KOMPLETE kitchen-sink bundle and updated individual apps (plus KORE 2, due in November), but here’s a quick look.

• New Sampler: KONTAKT 3 is the latest version of NI’s flagship sampler, and in terms of raw breadth and depth of features, Kontakt appears to remain at the top of the heap. New in this version: a 1000-instrument, 33 GB sample library, a new looping/slicing/syncing Wave Editor, new envelopes, new amp and cabinet emulations, better browsing, and more. I’m curious to see how the Performance View and the updated KORE stack up to OnStage in Logic 8 (or even what it’s like using both together).
• New Guitar Effects: GUITAR RIG 3 adds new amp models, new matched cabinets, new effects (tape echo and ring mod!), and more. Guitar effects competition is brisk, but Guitar Rig’s edge to me has been its range of sound possibilities, straight out to the bizarre/experimental.
• Addition of Massive: MASSIVE is NI’s latest soft synth, especially geared for “sonic impact” (read, great basses and leads), with drag-and-drop, semi-modular sound creation.
• Lots of updates: Refreshed versions of previous synths include Absynth 4, Akoustik Piano, Battery 3, B4 II, Elektrik Piano, FM8, PRO-53, and Reaktor 5. With the exception of Reaktor, most of these have gotten feature improvements lately, and all have been updated for Vista and Intel Macs.

It’s time to make sense of brand names / bundles / pricing / feature sets again! Today’s victim: Ableton Live. Here goes; let me know if I make this make sense.

If you bought an M-Audio or Digidesign interface with Ableton Live Lite and haven’t upgraded to the full version of Live, Ableton has a free upgrade offer for you. “Lite Enhanced” (erm, Diet Live? Live Rite? Tab?) has some pretty serious features in it from the full-blown Live:

Plug-in Delay Compensation, MIDI remote control, full ReWire support, high-definition recording and rendering (up to 32-bit), Mackie Control support, Track Freeze, and the â€Å“Complexâ€Â? warp mode for high-fidelity, on-the-fly time stretching.

Okay, rewind: one feature there is very important. Live Lite previously didn’t allow MIDI control, so that you could use your knobs on your new M-Audio keyboard (or any other MIDI device) to control the software. That’s well worth downloading the upgrade. With the more advanced features, this is a pretty terrific deal for a freebie (more so for many users, I would think, than M-Audio’s homegrown entry-level app Session).

So why does Ableton still think you’ll upgrade to the full version? As with previous versions of Lite, you’re limited in number of tracks and scenes. This should still be more powerful enough to play around with and use in your music, but naturally Ableton would save something for the full Live experience. Keep in mind, as well, Live 5 Lite lagged pretty far behind Live 5, and Ableton told us at NAMM in January we’d see Live 6 later this year. All that aside, we love freebies:

Grab it, M-Audio customers (including Live Delta users), or Digidesign users

How about you: are you using software you got via a hardware bundle? Or did you buy your software a la carte? (Sorry, we don’t talk about five-fingered / one-hook discounts round these parts.)