Time for a Pro Tools Upgrade?

Time for yet another upgrade. I am at the point where I think I need to beef up the primary Studio DAW. The primary will then become the secondary for MIDI, GigaSampler, etc. At one time I used to enjoy the constant upgrading but now I find I am far more concerned about introducing change and impacting stability. A tough decision. With Pro Tools I usually stay pretty current. Here is a list of improvements in 6.4:

• Support for ICON with D-Control* — Support for large format mixing and production
• Support for the new Command|8** — A compact, affordable, yet full-featured control surface
• AVoption|V10 support† — For interoperating with the latest Avid video formats
• Automatic Delay Compensation* — Allows you to take advantage of mixer configurations that were previously only possible with analog consoles, or with digital consoles many times the price of a Pro Tools environment
• TrackPunch* — Allows Pro Tools to be used as a recorder on film stages, rather than only an editing/playback device. For music, TrackPunch enhances current QuickPunch capabilities for music recording by allowing the user to arm tracks on the fly. Operators can punch in and out of tracks by using individual track record buttons instead of one global command. Combined with TrackInput*, TrackPunch allows workflows similar to traditional tape-based multi-track recorders
• 23.976 fps support** — Enables post customers who work with high-definition video to use a new frame rate specific to the medium, facilitating proper synchronization to the source. Pro Tools now offers complete recall of all editing, processing, mixing console and machine control parameters while working entirely within the new 24 and 23.976 frame rates required for high-definition video production (DV Toolkit required for Pro Tools LE)
• +12 dB fader gain — The new +12 dB** range above 0 dB in the fader section of the Pro Tools mixer gives you more latitude while mixing than the previous +6 dB (over 0 dBfs), particularly when balancing with recordings made at lower levels. With a new taper, the faders have a more familiar “console” feel
• RecordLock* — Loading audio with discontiguous (“broken”) time code means that an assistant no longer has to continually re-arm Pro Tools when loading in different takes from film shoots. This also prevents missed record takes on shooting stages, where the distributed time code stops and starts between takes
• Hierarchical plug-in menus** — Group plug-ins by process type, keeping mousing and searching for the right plug-in to a minimum
• Track Position Numbers** — Gives each track a fixed sequential number, enabling operators to better organize sessions, as well as to quickly locate the GUI and control surfaces to a selected track
• Improved Feet+Frames timeline display** — Allows film users to set the “zero feet+frames” point anywhere in the session; and, with multiple feet+frame rates, allows the feet+frames timeline to remain in sync with all workflow variations (DV Toolkit required for Pro Tools LE)
• New Clip Meter Features — Plug-in clipping is now displayed on the D-Control worksurface and on the GUI send labels* for easy diagnosis of gain structure level problems while mixing. Plus, a new “clear clip” key command and a new “clip hold” preference provide additional display enhancements**
• Foley record “Input Mute” feature* — Prevents unwanted loud noises during foley record sessions