Nov 27, 2014 Pro Tools Shortcuts for Mac- Speed up your sessions with Pro Tools shortcuts - Duration: 8:31. Raw Technique Studios 24,134 views. Pro Tools Shortcuts Guide Version 2018.7. Pro Tools Custom Keyboard labeld with keyboard commands (Mac keyboard shown). Navigate through focused Template, Session, or Project list Up/Down Arrows Alt+Up/Down Arrows Toggle between Files types (WAV or AIFF) mode) group.
Simply put, Pro Tools is a must have for any serious music producer or/and audio engineer. It has been the standard software for audio productions around the world for more than a decade now. It's compatible with Windows XP, Mac Os,and many more, so compatibility issues are practically inexistent. The manual is detailed and straightforward, it comes with detailed description on the specifications and usage.You can make any kind of music with Pro Tools, and it includes a useful selection of virtual instruments plus more than 60 effect processors. It also has good MIDI and notation-editing features. Edition is simple and fast thanks to the Grid, Slip, Spot and shuffle edition modes. Pro Tools 10 is a must have for any serious musician or artist looking to get the best possible sound while working with an industry standard DAW.
Pro Tools 10 has 96 tracks and comes with 50 plus plug –ins and effects. It can be used on your Mac or a PC if your computer meets the requirements. The best part about buying this DAW is that if you already own a previous version of it you don’t have to pay full price which is 700 dollars. You can upgrade for about 300 dollars.SUITABILITY/PERFORMANCEInstalling it was quicker than I expected, but if you are a first time Pro Tools 10 user it will take you some time to get the hang of it. It can be very complicated and overwhelming at first because it is so in depth and so different than any other DAW that is available.
Pro Tools 10 will run good on your computer, I have never experienced any crashes or freezes. It is a rather big program though so you will need to have enough hard drive space to have it and plenty of CPU to run all of the plug-ins.OVERALL OPINIONUsing Pro Tools 10 will keep you in the loop with almost every studio across the world. All major studios use Pro Tools to record with and master songs. So it will make it easy to take your songs from your computer to a major studio and back by just using the PTF files. I am happy that I chose to upgrade to Pro Tools 10 by Avid.
I look forward to learning more and more by using Pro Tools 10. There are just so many things you can learn, even though I have been using it for a long time. I feel like I still learn something new every single time that I work with a song in Pro Tools 10. Pro Tools 10 by Avid has out shined many other daws in my opinion and will continue to do so.
After comparing Pro Tools 10 to Logic (which a lot of people tend to do because they say logic is its biggest competitor) I have come to realize that the layout of pro tools is a lot more complex than just Logics. Logics can just easily be figured out without any manuals or training. But with Pro Tools 10 by Avid, they layout is rather over whelming and confused me for a while even after being pretty good in it just seemed like 10 was a completely different software. I have been using Pro tools over the years and they never really change too much just some small things here and there but with 10 I think they made some really good changes to functions and some small cosmetic changes.SUITABILITY/PERFORMANCEPerformance is very good on my mac, i have been upgraded to 10 since it first came out.OVERALL OPINIONIf you are just upgrading then you can get 10 for about 250 dollars, but if you are buying it brand new, good luck trying to get it for less than 700 bucks unless you can get the school or student edition. If you can really dig deep in to pro Tools 10 and it will take some time to do so, then you will really start to understand a lot more about mastering your music that you would have never knew in Logic or Cubase. Pro tools 10 gets you really deep into the process of editing audio and understand how to do so will take some time.
I am self taught and it took me a while to get it down years ago. But its knowledge that is worth having because it will take your music to new heights and if you can become certified in Pro tools through a course you can actually really start earning some money editing some major projects for some companies. Pro tools 10 Rocks.
Avid finally went to downloads only for Pro Tools 10. Which is much preferable for me than waiting for a boxed package to arrive. Buy download, install, work! I like it.Install and dongle update went without any issue.For an Avid product the manual is actually comprehensive and easily enough digested.The new features on Pro Tools 10 is what made me jump on an early version and it runs fairly stable to my surprise.The stand outs for me are that Audio Suite plug-ins know can be frozen. I rather would've had track freeze but I will settle for this for now.Also object based volume automation ala Samplitude/Sequoia. Which for some one like me that has spent many years in Smaplitude/Sequoia is a must. Unfortunately you need the Complete Production Tool Kit or HD system to convert object based automation into volume curves.
Oh well.I don't think I want to spent another 2000 for that.The other thing I'm missing that's part of the tool pack is that you can customize your system cache and various other settings for performance improvements.SUITABILITY/PERFORMANCEIt works as advertised. Still has some of the Avid/Digi Design oddball concepts I will never understand.Like that short cuts aren't user definable. And worse what about commands that don't have short cuts. I will never understand that.Finally Avid stopped claiming that none needs or wants the ability to record at 32 bit float. Guess after years of Steinberg doing it finally it was acceptable.WHich raises a bit of an issue with backwards compatibility. But Avid actually took care of it.
The file extensions are no longer.ptf they are now.ptx. And if you have a project that has 32 bit files you want to open in a prior version of Protools you need to save it as 'earlier version Protools 7-9' where it converts those to 24 bit files.OVERALL OPINIONI work in it, there is room for improvement. The 299 upgrade is IMO too high it should be 199.- but it is a necessary evil. User PC and MAC for 10 years (standard or HD version, depending on location), I work in a personal capacity (small home studio) with version 10 currently on a Macbook pro i7/16Go/SSD.User HD version pro studio (HD2 version with PT9), since the V6 (Mac Pro)I talk about my version 10 non HD.Trouble-free installation (upgrade from V9 itself V8 on MAC and PC), sound cards accepted (after reinstalling drivers) - Mbox2. I am from the beginning an enthusiastic user of Samplitude, special software which is the audio.
But this only works perfectly on Windows, and this is the Achilles heel of this software. After a recording session that turned into a nightmare thanks to XP crazy, I decided to switch to Mac.I do not have the Logic loved everything and I turned to Pro Tools 10 that I immediately loved.No problems with installation or configuration. Everything turned immediately and has so far never failed.Unlike the Logic which is very poorly done, the manual is very clear and didactic.SUITABILITY/PERFORMANCEMac Book Pro, TC studiokonnect 48.OVERALL OPINIONYear.One feels immediately that the software has been designed by professionals for professionals. Ie that everything is done to make the job easier, faster and more efficient. There are a multitude of functions that simplify your life and allow you to do quality work.The sound is excellent (much better than Logic for example) as well as the stereo rendering.on the other hand I found a little stingy Avid at the plug ins provided. Some are good, but it lacks a multiband compressor, reverb worthy of the name, everything about sound analysis: spectrogaphe, spectrometer, etc. Correlator phase.
All this is found in Samplitude with a bonus CD burning module to the standard RB.When you need to buy all those plug-ins, the bill rises quickly.And then there's the new Pro Tools 11, which is controversial, as RTAS plug-ins are no longer compatible, as well as some avid hardware.In bef, I am very happy with Pro Tools 10 but I will stop here and continue to have fun on. At the end of, I bought the upgrade a to 9, 10 is output shortly after I was able to get a license for it without having to pay more.I will give a short notice to supplement the current opinion, but far from complete and sufficient on its own.
My name is Chris Winsor, and I’m one of the product designers on the Pro Tools team here at Avid. I come from a music audio engineering background, but have also been deeply involved in many of the Pro Tools post production workflows for the last seven years.The I/O Setup is extremely important in how users interface their Pro Tools software based sessions, with their ‘out of the box’ gear. It has always been a very deep and complicated section of Pro Tools, for both us as developers and for our customers. We’ve received a lot of feedback over the last few years, and it has encouraged us to make some improvements in this area. What I’d like to do here in this blog post, is walk you through the thinking behind these changes, and explain the new behaviors of I/O Setup in Pro Tools 12. The product design team plans to share more posts like this on feature enhancements and workflows over time.One of the key things that sparked these changes was the overwhelming large bus buildup that would happen when interchanging sessions between different systems.
The original thought was to keep everything all of the time, which created a lot of unused orphaned busses. The question then became, “which busses are safe to get rid of?” This led us down the path of making a distinction between session and hardware, which I will explain a bit more later.The next area of improvement to focus on was really how important the flexibility of session interchange is to our users workflow.
Sessions often travel to different I/O’s, of different sizes, that are used in different ways. Some only have stereo outputs, some have surround, and some are used to send the session to an external mixing board. The only way to really ensure that you hear something is to overwrite your own I/O configuration to mirror that of the session, and even then, you might need to do some additional work in the session to hear the intended output. The key thought was – ‘Wouldn’t it be nice if you could leave your I/O labeling and session routing alone?’. System SetupOur core design principle of the I/O Setup changes was to offer true separation between session (software) and hardware. Your hardware is a static device that often has physical connections. Sessions are more transient and have virtual connections.
It’s kind of like how hardware can be patched into with patch cables. Similarly, sessions have busses. This is how we approached the new I/O Setup improvements.Busses live with the session. All other tabs are related to the hardware. If a new session comes along, it brings with it its own set of busses that will patch into the hardware. Monitor PathThis is a setting that is new to Pro Tools 12. It is probably the most important setting in I/O Setup.
The Monitor Path setting allows you to define the output that you use for your primary audio monitoring.The way it works, is this: any busses in a session that are assigned to the monitor path on your system, will then become assigned to the monitor path of any new system that session travels to. This will ensure that the intended audio is always heard. The monitor path is indicated by a small studio monitor icon. AFL/PFLThe AFL/PFL (now available in all flavors of Pro Tools) setting allows you to select the destination output for pre/post fader listens.
This feature allows you to specify an independent output path for solo’d tracks, so that your main outputs are not disrupted. You can also set an independent volume level for this solo path.
In the past, this was an XMON only feature, but Pro Tools 12 allows this directly from the software. Also with Pro Tools 12, any available output width can be chosen. The signal will downmix as needed.How it AFL/PFL WorksIf the chosen output matches your main output, the main output will be muted, and only the solo’d signal will be heard out the main output. All other outputs will remain live.If the chosen output is not the main output, the main output will remain live during the solo.
This will accomplish what was previously known as “Broadcast Mode” on the ICON control surfaces. Session Workflows Creating SessionsAn I/O Settings selector is available in the Dashboard when creating new sessions. It typically will default to ‘Last Used’, unless you’ve selected a custom I/O the last time you created a session.“Last Used” will use whatever exists in the I/O Setup at the moment the session is created.Once your session is created, you may find yourself adding new busses, or customizing existing busses. If you are to use “Last Used” the next time you create a session, that new session will inherit these changes.If you’ve received and opened a session from someone else, “Last Used” may not be the correct choice when creating a new session.
You may find that you want your custom set of busses, which it is why it’s good to export a custom I/O Setting directly after creating it. Custom I/O’s can be accessed from the I/O Setting list when creating a new session. This way you can get back to your default every time. If a custom I/O setting is chosen, it will be remembered and chosen the next time you create another session. Hardware Tabs (Inputs, Outputs, Inserts, and Mic Pre) Show Last Saved SetupThe “Show Last Saved Setup” button has existed in I/O Setup for a long time, but it is far more responsive now. It will illuminate if anything has changed in I/O Setup since the last time the session was saved. This is not necessarily the same thing as the last time the I/O Setup was “Ok’d”.“Show Last Saved Setup” is especially helpful when trying to understand the hardware configuration that the session was previously saved on, but it can also be used to compare any small changes that you’ve made since the last saved.
To accomplish this, there are several criteria used to map busses to outputs. Use the monitor path. The monitor path is the main output that should always be heard. If a bus was assigned to the monitor path on System A, it will automatically map itself to the monitor path of System B. It doesn’t matter if the name or format of the output is different. It will still map.
Free Pro Tools Sessions
A session will remember if it has been on a system before. So if a mapping fails, and you fix it, that session will always open correctly from then on. This will even be the case if the session leaves your system and is opened on several other systems before returning.
One thing to keep in mind is that this memory will only last as long as your output listings. If you delete your outputs and recreate them from scratch, the session won’t have knowledge of them anymore.
This is why it’s good to not blow away your I/O with every session you receive. It’s fine to rename an output, but if you delete and recreate it, the memory will be lost.
This is because outputs contain hidden ID’s, and newly created outputs have new ID’s. But, if you save a copy of your I/O by exporting it as a.PIO file, the original outputs can be restored.
Another great thing that this system memory is good for is templates. If you are regularly round tripping sessions with the same people, you can round trip the session once, fix any I/O mapping problems along that way, and then save that session as a template. Now, every session generated with that template will have a memory of its future destination. If neither the monitor path or system memory cause the bus to map, the bus will only remain mapped to an output if the new system has an output that matches the exact name and format of the originating system.
Remember Rule # 1, “Don’t send signal out the wrong output.”. Switching Playback EngineIf you think about it, each playback engine is really a different I/O, likely with a different number of inputs, outputs, and physical connections. Download the flash season 5. Opening a session on a different playback engine is really like opening it on a different system, so that’s how we treat it.Pro Tools 12 will maintain a separate set of I/O Settings for each playback engine. Each playback engine will remember its defined inputs, outputs and other hardware-based settings, like monitor path and audition path. Busses will even maintain their mapping memory as if it was a different system.
This way you can setup each playback engine the way you like it, and the session will adapt accordingly. Cookies are important to the proper functioning of a site.
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