1. New FeaturesEnhanced system capabilities| 00:00 | In Pro Tools 10, Avid has
significantly increased the voiceable audio track
| | 00:04 | count, boosting the total number in HD systems
by a factor of three, up to a whopping 768 tracks.
| | 00:13 | The maximum number of auxiliary
input tracks has also increased to 512.
| | 00:18 | Both of these track counts are
available for Pro Tools users with the complete
| | 00:22 | production toolkit as well.
| | 00:25 | Check out the chart here for the
totals on all the other systems
| | 00:28 | and configurations.
| | 00:30 | Avid has also increased the amount of
available automatic delay compensation in
| | 00:34 | all Pro Tools 10 systems.
| | 00:37 | We can check that here.
| | 00:38 | If we go to Setup > Playback Engine,
there is actually a new setting called
| | 00:42 | Maximum. Check it out right there.
| | 00:45 | When you choose the Maximum Delay
Compensation setting here, you'll get over
| | 00:49 | 16,000 samples in sessions that are
44.1 and 48 kilohertz sampling rates.
| | 00:55 | In sessions that are 88.2 and 96
kilohertz, you'll get over 32,000 samples of
| | 01:01 | delay compensation, as shown here, and
you get over 65,000 samples of delay
| | 01:06 | compensation in sessions that
are 176.4 and 192 kilohertz.
| | 01:12 | Note that limitations in the TDM
hardware don't allow for Pro Tools HD systems
| | 01:17 | to have this maximum setting,
which is rather unfortunate.
| | 01:21 | Let's move on to the next feature.
| | 01:24 | Avid has also opened up the Low
Latency Monitoring option, which we can
| | 01:28 | choose right here, to core audio and ASIO
hardware audio interfaces that have built-in mixers.
| | 01:34 | However, you can't use LLM with
the Pro Tools aggregate I/O on a Mac.
| | 01:40 | So there's a quick overview of the
enhanced system capabilities with Pro Tools 10.
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| Expanded file format support| 00:00 | Pro Tools 10 has a new
session file format, .ptx files.
| | 00:06 | You can see one right here. And as you
can see, the icon looks exactly the same,
| | 00:11 | but the file is different from the
previous .ptf and .pts session files, and it's
| | 00:18 | not backwards compatible with
previous versions of Pro Tools,
| | 00:21 | thus these .ptx files cannot be
opened in previous versions of Pro Tools.
| | 00:27 | To share a Pro Tools 10 session with
somebody who's using a lower version,
| | 00:32 | you'll need to use the File > Save
Session Copy As command and save it as a
| | 00:37 | lower session file format.
| | 00:39 | Let's create a new Pro Tools session.
| | 00:42 | In the New Session dialog box you'll see
that we actually have some new options.
| | 00:47 | We've got 32-bit floating
as a potential bit depth now.
| | 00:51 | This is an increase over the
previous 16-bit and 24-bit limitations.
| | 00:56 | As you can imagine, these files will
take up a third more disk space but
| | 01:00 | increase the dynamic range
and thus help avoid clipping.
| | 01:03 | The higher bit depth also reduces
rounding errors when doing bitrate
| | 01:07 | conversions, like when bouncing down to a 16
bit 44.1 kilohertz stereo track to burn to a CD.
| | 01:15 | In the New Session dialog we can choose
between the bit depths by toggling the
| | 01:19 | value using Command+B on
the Mac or Ctrl+B in Windows.
| | 01:24 | We also see down here that
we can use interleaved files.
| | 01:28 | Previous versions of Pro Tools only
allowed mono files, but Pro Tools 10 now
| | 01:33 | supports interleaved files for
stereo and multi-channel files.
| | 01:37 | Let's go into the session and
take a look at the session setup.
| | 01:45 | In the Session Setup dialog we can
actually change the bit depth if we want to,
| | 01:49 | as well as check or uncheck the
Interleaved checkbox and also change the audio
| | 01:55 | format if we want. And because we can
change the audio format, that actually
| | 02:00 | means that Pro Tools 10 now supports
mixed audio file formats such as WAV and
| | 02:06 | AIFF in the same session.
| | 02:09 | Pro Tools 10 also supports RF64 audio
files and WAV extensible file format.
| | 02:15 | In the latter file format surround
data, such as speaker position, is actually
| | 02:20 | stored in the audio file header.
| | 02:23 | In considering that, if you're
working in surround, it's recommended to use
| | 02:26 | WAV versus AIFF files.
| | 02:29 | So now you know all about the major
upgrades in the file format support in
| | 02:33 | Pro Tools 10.
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| Interface and nomenclature changes| 00:00 | In Pro Tools 10 there are a few name
changes that improve the compatibility
| | 00:04 | between all of Avid software applications.
| | 00:07 | The biggest change is that
regions are now called clips.
| | 00:11 | This applies to all usages.
| | 00:13 | So you'll see that the Region
menu is now called the Clip menu.
| | 00:17 | Track views display clips instead of
regions, and the Regions list is now
| | 00:23 | called the Clips list.
| | 00:25 | Clips list doesn't exactly roll off the tongue
quit as well as regions list, but that's okay.
| | 00:31 | The name of the Trimmer tools got
trimmed in Pro Tools 10 down to the
| | 00:35 | shorter Trim tools.
| | 00:37 | Also, the start and end markers for the
Timeline Selections and Edit Selections
| | 00:41 | are now called the In and Out Points.
| | 00:45 | In this new version of Pro Tools
timecode is now one word, and AudioSuite
| | 00:51 | plug-ins now render
instead of process their audio.
| | 00:57 | In the menu bar in addition to the new
Clip menu, you'll see the new Marketplace menu.
| | 01:03 | This inter-application browser, as they
call it, can take you directly to Avid's
| | 01:07 | web site where you can access your
account, shop for plug-ins, get support and
| | 01:12 | training, or upgrade your Pro Tools system.
| | 01:15 | You can also access the
Marketplace from the AudioSuite menu.
| | 01:20 | To complete the re-branding, you'll
see Avid's name everywhere, replacing all
| | 01:24 | traces of Digidesign and that covers
the major interface and nomenclature
| | 01:28 | changes in Pro Tools 10.
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| Where to go for help| 00:00 | Avid has created a lot of routes for
finding help when using Pro Tools.
| | 00:05 | Ideally, you won't need to use any of
them, but if you do let's look at the ways.
| | 00:09 | The Help menu in fact
does what it says it will do.
| | 00:13 | It offers some new and quite
helpful features, like providing access to
| | 00:17 | web-based Pro Tools Help.
| | 00:20 | This new feature provides links to the
latest help files as soon as they're available.
| | 00:25 | You can also directly access the Pro
Tools Knowledge Base as well as the Avid
| | 00:30 | Audio Forums, which we know as the Digi User
Conference or more lovingly, as the D-U-C or DUC.
| | 00:38 | You can also purchase Avid Support and
Training here or via the Marketplace.
| | 00:43 | One additional source of information
that a lot of people overlook despite
| | 00:47 | the capital letters is the Read Me file
that comes with the installation of Pro Tools.
| | 00:52 | While this isn't necessarily a new
feature, each new version of Pro Tools does
| | 00:56 | come with a Read Me file that has
important news about things we don't really
| | 01:00 | want to know about--bugs.
| | 01:03 | If you're having any issues with the
installation, compatibility width, or usage
| | 01:07 | of Pro Tools 10, I strongly recommend
checking out the Read Me that comes with
| | 01:11 | your exact version, whether it's Pro
Tools 10 or an updated version following
| | 01:17 | the initial release of Pro Tools 10.
| | 01:19 | That file can save you hours of your life that
you might've wasted waiting for tech support.
| | 01:24 | While Avid has provided a lot of
options for finding help when using Pro Tools
| | 01:28 | 10, we've got a lot of great training on
how to use Pro Tools here at lynda.com.
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| New importing and exporting features| 00:00 | Pro Tools 10 offers some interesting
new features for importing and exporting.
| | 00:05 | First, you can now export
selected tracks as a new session.
| | 00:10 | Let's say you want to collaborate with
someone else, but they don't need all the
| | 00:13 | tracks and files that you're
working with in the current session.
| | 00:16 | Like right here we have a huge
session with tons of tracks, but let's say
| | 00:21 | they only want to work with the vocal tracks
in the hook or the chorus area of the song.
| | 00:27 | So we can go over here and
highlight all the tracks.
| | 00:30 | I'm just going to press Shift+Click now
and highlight all of these vocal tracks,
| | 00:35 | and then we can go up to File > Export >
Selected Tracks as New Session and that
| | 00:43 | opens up the Save Session Copy dialog.
| | 00:47 | You'll notice in this dialog, if
you've used Pro Tools before, that there are
| | 00:50 | some additional options.
| | 00:52 | We can set the Session Parameters and
you'll notice the Bit Depth down here, 32
| | 00:58 | Bit Floating, and we also have the
Main Playlist Only that we can select. And
| | 01:04 | that's a pretty handy feature, because
that will only include what's on the main
| | 01:07 | playlist and not any of the other
alternate playlists on the track, which will
| | 01:12 | save you lot of disk space.
| | 01:15 | So now that we've got our Main
Playlist Only and our Selected Tracks Only
| | 01:19 | checked off here, we can hit OK, and
we'll create a new session that will only
| | 01:25 | include these selected tracks.
| | 01:30 | We also have a new feature about
importing, and if we go up to the File > Import >
| | 01:37 | Session Data and we'll choose a Session,
| | 01:40 | you'll see this new box up here, Adjust
Sessions Start Time to Match Source Start Time.
| | 01:46 | Fortunately, this is one of
Avid's most descriptive checkboxes.
| | 01:50 | It lets you automatically set the
start time of the current session to match
| | 01:53 | the start time of the original session
you're importing data from, or from an
| | 01:58 | AFF or OMF sequence.
| | 02:00 | It's a small but valuable enhancement,
and in fact we can even check it here
| | 02:05 | because the start time of the session
that we're importing from and the current
| | 02:08 | session are actually the same,
| | 02:10 | so we don't have to worry about that here.
| | 02:12 | But I wanted you to know about this.
| | 02:15 | And now you're equipped with all
the latest Pro Tools 10 new importing
| | 02:19 | and exporting features.
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| Adding to iTunes and sharing with SoundCloud| 00:00 | When you're bouncing down a mix in Pro
Tools 10, you can now automatically add
| | 00:04 | it to your iTunes library and also
share it with your SoundCloud account.
| | 00:09 | If we go to File > Bounce to > Disk,
| | 00:13 | in the Bounce window we can see
these two options down here: Add To iTunes
| | 00:17 | Library and Share with SoundCloud.
| | 00:21 | Now these only work on
Interleaved and Mono (summed) files.
| | 00:24 | If we choose Multiple mono, they get grayed out.
| | 00:27 | So I'm going to check these off and hit
Bounce and we're going to bounce just a
| | 00:34 | little bit of this music.
| | 00:35 | When we're sharing with SoundCloud we
can add a lot of information here to go
| | 00:42 | along with our file.
| | 00:44 | We can add a description.
| | 00:45 | We can choose what kind of license we
want to offer for music, the type of
| | 00:50 | music, and a bunch of other things here.
| | 00:52 | I'm going to hit Share
and the bounce will start.
| | 00:55 | (music playing)
| | 01:06 | When the bounce is done you'll see
that you need to connect to SoundCloud to
| | 01:10 | actually upload the file.
| | 01:11 | Now I'm not going to do that here, but
imagine putting your own information in
| | 01:15 | here and having the audio go directly
to your SoundCloud account. And now we can
| | 01:20 | also check that our music showed up
directly into iTunes, and there it is.
| | 01:26 | You can also export
clips directly to SoundCloud.
| | 01:30 | So if I highlight this base track here
and go to my Clips menu and choose Export
| | 01:36 | Clips as Files, you'll see that Share
with SoundCloud is an option, but it's not
| | 01:42 | available until we choose
Interleaved as the file format.
| | 01:47 | So with these new bouncing and
exporting features in Pro Tools 10, it's much
| | 01:52 | easier to share your music with
the world via SoundCloud and iTunes.
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| Real-time fades and overlapping crossfades| 00:00 | One of the coolest visual
improvements in Pro Tools 10 is the
| | 00:03 | overlapping crossfade feature.
| | 00:05 | When you make a crossfade the color of
the clips overlaps, making the crossfades
| | 00:10 | more visually appealing and obvious.
| | 00:12 | Let's make a crossfade and check it out.
| | 00:14 | I've got the Smart tool activated up here.
| | 00:17 | So if I go down to the bottom of
these two regions--I've got the Smart tool
| | 00:22 | crossfade--and click and drag and create a
crossfade, and there we can see the overlap.
| | 00:28 | Let's see it in all of its glory. Very cool!
| | 00:32 | You can toggle this on and off
| | 00:34 | if you go to View > Waveforms >
Overlapped Crossfades and that turns it off, but
| | 00:41 | I would prefer to see it.
| | 00:43 | And speaking of fades Pro Tools 10, now
calculates and plays back all fades in real time.
| | 00:49 | No more rendered fade files
living in the Fade Files folder.
| | 00:52 | You'll find your sessions will open
faster, your hard drive performance will be
| | 00:56 | better, and you won't ever have
to search for missing fade files.
| | 01:00 | When you open a session created in
Pro Tools 9 or lower, Pro Tools 10 will
| | 01:05 | calculate and play back
all the fades in real time.
| | 01:08 | The fade files folder from the older
version will not be used, yet it will
| | 01:12 | not be deleted either, in case you open the
session again in any version lower than Pro Tools 10.
| | 01:18 | These are all the great improvements
in the functionality of fades in Pro Tools 10.
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| Clips and clip-based gain| 00:00 | In Pro Tools 10 regions have been
renamed clips to create common nomenclature
| | 00:05 | with Avid's video software packages.
| | 00:07 | With the change in name comes a big
new feature, useful in both post-production
| | 00:12 | and mixing applications.
| | 00:14 | It's called clip-based gain, and it
enables you to easily adjust and match the
| | 00:18 | gain, or volume, of an individual clip
before the clip signal is routed to any
| | 00:23 | plug-ins on the track and
before it hits the track's fader.
| | 00:26 | While similar to volume automation,
clip gain is only associated with the clip,
| | 00:31 | not with the actual track that the clip is on.
| | 00:34 | From the View menu, we can choose Clip > Clip
Gain Line, as well as Clip > Gain Line Info.
| | 00:44 | You can see the Clip Gain Line here as
well as the Clip Gain Fader icon in the
| | 00:50 | lower-left corner of the clip.
| | 00:52 | You can also use the keyboard shortcut
Ctrl+Shift+Equal on a Mac or Start+Shift+Equal in
| | 00:58 | Windows to show or hide the clip gain.
| | 01:00 | With no change in the clip gain,
you'll see 0 dB as shown here.
| | 01:05 | However, I can adjust the clip gain by
clicking on the fader and dragging up or down.
| | 01:10 | I can also use the Trim tool to change the gain.
| | 01:15 | You'll see the Clip Gain Trim icon as I
click and drag and the clip gain changes.
| | 01:22 | Notice how the waveform reacts in
size according to the amount of gain.
| | 01:25 | Now this is called static clip gain
because the gain applies to the entire clip;
| | 01:33 | however, if I use the Grabber tool to
adjust the gain, this is called dynamic
| | 01:38 | clip gain because the gain
changes over the length of the clip.
| | 01:42 | I can also use the Pencil
tool to draw in clip gain.
| | 01:53 | You can edit clip gain just like any
other type of automation, even copying and
| | 01:57 | pasting clip gain like this.
| | 02:08 | If you right-click on the Clip Gain
Fader, you can bypass, clear, or render the
| | 02:13 | clip gain as well as show or hide
the Clip Gain Line for all clips.
| | 02:17 | Now you can adjust the Clip Gain Line
between -144 dB and +36 dB and that Clip
| | 02:24 | Gain setting stays with the clip, even if
you move or copy or paste the clip, and
| | 02:29 | clip gain can be imported from AAF
and OMF sequences and exported with AAF
| | 02:35 | sequences, but not OMF sequences.
| | 02:38 | Let's look at what happens when I
create a crossfade between two clips that
| | 02:41 | have different clip gains.
| | 02:43 | So first I'm going to
change this clip gain right here.
| | 02:47 | Now, I'm going to create a crossfade
between these two regions. Look at that.
| | 02:55 | We see two Clip Gain lines.
| | 02:58 | That simply means that the clip
gains for each clip carries through the
| | 03:02 | crossfade, and the crossfade will act
like normal, mixing the two signals at
| | 03:07 | their clip gain levels.
| | 03:09 | A simple but handy new feature in Pro
Tools 10 is that you can right-click on
| | 03:13 | any clip in the clips list to reveal
the file in the Finder on a Mac or in the
| | 03:18 | Windows Explorer in
Windows. And here's that clip.
| | 03:25 | Finally, since regions have been
replaced by clips, region groups have been
| | 03:30 | replaced by clip groups. S clip
group simply consists of several clips
| | 03:34 | grouped together, like this.
| | 03:38 | With a bunch of clips highlighted here,
I can go up to the Clip > Group command
| | 03:43 | and now they're all grouped together.
| | 03:46 | With the new clip group name,
there's also a new file format .cgrp, which
| | 03:52 | replaces the region group file format.
| | 03:55 | Region group files can be imported
from sessions made in previous versions of
| | 03:58 | Pro Tools, but clip groups are not
backwards compatible with previous versions
| | 04:03 | of Pro Tools, because they
contain clip gain settings.
| | 04:06 | So now you know all the ins and outs
about using clips and clip-based gain
| | 04:11 | in Pro Tools 10.
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| Edit window indicators| 00:00 | In the Pro Tools 10 Edit window there
are several new visual cues that can help
| | 00:04 | us know what's happening in our
session with just a quick glance.
| | 00:08 | The Track Solo and Track Mute
indicators, shown right here, show whether any
| | 00:12 | tracks in the session are soloed or muted.
| | 00:15 | When I have a lot of tracks in this
session sometimes I can't be bothered to
| | 00:18 | scroll through them all to find
out if something is soloed or muted.
| | 00:22 | A quick glance to the upper-center of
the Edit window will tell me the story.
| | 00:26 | If the Track Solo indicator is dimmed
and green, like it is right now, no tracks
| | 00:30 | are soloed in the session.
| | 00:32 | However, if I solo a track, the indicator
will turn light yellow, as we can see up here.
| | 00:39 | The best part of this new feature is
that if I click the Track Solo indicator
| | 00:42 | now I can clear all of the
soloed tracks in the session.
| | 00:47 | Now onto the Track Mute Indicator.
| | 00:50 | When this button is dimmed and green
no tracks are muted in the session.
| | 00:54 | However, if it's light orange then at
least one track is muted in the session.
| | 00:58 | I've just muted a track and now we can see
that the Track Mute indicator is light orange.
| | 01:04 | However, when I click on it nothing
happens, unlike the Track Solo indicator.
| | 01:10 | The mutes are not cleared because
muting tracks is an automatable mix function.
| | 01:15 | There's one other cosmetic change
in the Edit window on Pro Tools 10.
| | 01:18 | There is now an indicator button for
the Automation Follows Edit option.
| | 01:23 | Originally this function was simply
listed in the Options menu, but the folks at
| | 01:27 | Avid felt there should be a button for it here.
| | 01:30 | Click it to enable it;
click it again to disable it.
| | 01:33 | In case you're not familiar with this
feature, when the Automation Follows Edit
| | 01:37 | option is disabled automation events on
the track are not affected by edits to
| | 01:42 | the audio clips or MIDI notes on the track;
| | 01:45 | when it is enabled the automation events
are affected by edits made to the audio
| | 01:50 | clips and MIDI notes.
| | 01:51 | Most of the time, I find that I
want this option to be enabled.
| | 01:55 | And with that, now you're familiar
with all the new indicators on the Edit
| | 01:58 | window on Pro Tools 10.
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| Bus interrogation| 00:00 | The most intriguing new feature of Pro Tools
10, in name at least, is called bus interrogation.
| | 00:06 | If you have questions about what
tracks share the same input, output, send
| | 00:10 | assignment, or hardware insert
assignment, you can simply right-click the
| | 00:14 | assignment selector to ascertain the truth.
| | 00:16 | I'm going to go down to my Vox Bus
input path and right-click it, and we
| | 00:22 | see three new options.
| | 00:25 | The Select Assignments option will
literally select all of the tracks that use
| | 00:29 | the same input, bus, or
hardware insert assigned to that track.
| | 00:33 | I'll choose it here and now I'll go and
scroll across to Mix window and see all
| | 00:39 | of the tracks that have
their track names highlighted.
| | 00:44 | See a bunch of vocal tracks over here, and
they all share the same Vox Bus assignment.
| | 00:50 | I'll scroll back over and right-click
again, and now we have Show Assignments.
| | 00:58 | The Show Assignments will show all of
the tracks with the same assignment.
| | 01:03 | So if there are actually hidden
tracks that use the same assignment, they
| | 01:07 | won't be hidden anymore;
they actually will be shown.
| | 01:10 | And this third option, Show Only
Assignments, is super handy as it shows only the
| | 01:16 | tracks that use the specific
input, bus, or hardware insert.
| | 01:20 | I like using it like I might use a mix
group, showing only a few tracks at once.
| | 01:24 | So I'm going to choose it here and now
only the tracks that use the Vox Bus are
| | 01:32 | shown here in the Mix window.
| | 01:35 | Now we have this Restore Previously
Shown Tracks option, which does exactly
| | 01:40 | as the name implies. Boom!
| | 01:43 | Now all of the tracks are shown again
as we were previously looking at them.
| | 01:47 | So now you know all the ways to make
use of the Bus Interrogation feature in
| | 01:53 | Pro Tools 10.
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| New plug-ins and plug-in format| 00:00 | In Pro Tools 10 Avid has introduced a
new real-time plug-in format called the
| | 00:05 | Avid Audio Extension, or AAX for short.
| | 00:09 | AAX plug-ins make use of host-based
or native processing and also support
| | 00:15 | non-real-time AudioSuite rendering.
| | 00:17 | There are three new plug-ins in AAX
format that are included with Pro Tools 10:
| | 00:21 | Avid Channel Strip, Avid
Down Mixer, and the Mod Delay 3.
| | 00:26 | The Avid Down Mixer plug-in is used
to automatically mix multi-channel
| | 00:30 | surround tracks down to stereo tracks,
and only ships with Pro Tools HD and
| | 00:34 | the complete production toolkit.
| | 00:36 | Let's take a look at the Channel Strip.
| | 00:39 | The Avid Channel Strip is pretty slick,
and it's based on the Euphonix System 5
| | 00:44 | console channel strip.
| | 00:45 | It comes with EQ, filters,
dynamics, and gain effects.
| | 00:50 | Aside from sounding great, I
like that it's collapsible.
| | 00:53 | We can use these arrows to open and
close certain sections of the plug-in.
| | 00:57 | So down here we can access the gate,
the compression, the sidechaining, and
| | 01:04 | below, we have the EQ and filters.
| | 01:08 | Now let's take a look at
the Mod Delay 3 plug-in.
| | 01:12 | This shows off the new skin for Avid's plug-ins.
| | 01:16 | You'll see more and more of the
Pro Tools plugs look like this one.
| | 01:19 | It's got all the features of the
previous Mod Delay 2 plug-in but in a
| | 01:23 | better-looking layout.
| | 01:24 | It should be noted that during
installation Pro Tools 10 creates an Avid
| | 01:28 | plug-ins directory and that
houses all of the AAX Plug-ins.
| | 01:33 | The Digidesign plug-in folder is still
around though, to hold onto the legacy
| | 01:37 | plug-ins and other third-party installers.
| | 01:40 | And that covers the main points about
the new plug-ins and AAX plug-in format
| | 01:44 | in Pro Tools 10.
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| Improvements to AudioSuite plug-ins| 00:00 | Pro Tools 10 offers some nice
improvements to the functioning of the non-
| | 00:04 | real-time AudioSuite plug-ins.
| | 00:06 | Now, you can open multiple
AudioSuite plug-in windows at once.
| | 00:09 | So I am going to go up here and open
up one, and now if I click the Target
| | 00:17 | button to un-target it, that will allow me
to open additional AudioSuite plug-in windows.
| | 00:27 | If you press the Shift key and select
another plug-in from the AudioSuite menu,
| | 00:31 | that new plug-in will open up as untargeted.
| | 00:34 | You'll see the Target button is not active.
| | 00:39 | I am going to close both of these.
| | 00:42 | Having multiple AudioSuite
plug-ins open is not the coolest new
| | 00:46 | AudioSuite feature though.
| | 00:48 | If the conditions are right, fades, clip
gain, and clip metadata can be preserved
| | 00:53 | after an AudioSuite render and Pro
Tools 10 can create handles for trimming out
| | 00:58 | AudioSuite-rendered clips.
| | 00:59 | For example, if you render several
clips in Overwrite mode and Clip-by-Clip
| | 01:04 | mode, your fades between the clips will be
preserved, as will each clip's gain and metadata.
| | 01:10 | Let's check out what I'm talking about.
| | 01:12 | I'm going to go down here and select a
number of clips with crossfades and
| | 01:19 | different clip gains.
| | 01:20 | Now, I'm going to process all of those.
| | 01:24 | I'm going to use
Overwrite Files and Clip-by-Clip.
| | 01:29 | So this is going to make new clips
and preserve all of the clip gain and
| | 01:34 | metadata, and hit Render.
| | 01:37 | You cannot undo a destructive edit. Click
on the Non-Destructive button if you'd
| | 01:41 | like to create new audio files, and
that's what I am going to choose.
| | 01:44 | Now, we can see that they have been processed;
| | 01:47 | however, all of the crossfades, metadata,
and clip gain are all kept in the files.
| | 01:54 | You can also set handle
lengths for rendered clips.
| | 01:57 | Handles are a specified amount of time
outside the current edit selection that
| | 02:02 | enable you to trim clips beyond
their originally rendered selection after
| | 02:07 | they've been rendered.
| | 02:08 | So what I'm talking about here is
areas outside of these clips, that we could
| | 02:13 | extend the length of the clip
later on after they've been rendered.
| | 02:18 | The handle length can be up to sixty
seconds on either side, left or right of the
| | 02:22 | clip, assuming that there is material
in the originally referenced whole file.
| | 02:28 | Or you can also make the handle the
entire whole file referenced by the clip.
| | 02:32 | We can choose this in the plug-in.
| | 02:34 | I am going to go up here and choose
Create Individual Files and now this
| | 02:40 | option shows up down here.
| | 02:42 | I can choose a whole file, or
I can set the handle length.
| | 02:48 | And while we can choose it in the plug-in,
we can also choose it in the Preferences.
| | 02:54 | Right here in the Processing Tab of the
preferences, we can choose either whole
| | 02:59 | file or a specific length as
our default handle length.
| | 03:03 | Now, there are only certain
settings in the Processing Output mode and
| | 03:08 | Processing Input mode that
will enable us to create handles.
| | 03:12 | Use this table to see how AudioSuite
rendering affects handles, files, fades,
| | 03:18 | clip gain, and metadata.
| | 03:19 | As you might expect, handles are not
available when you choose to render the whole file,
| | 03:25 | so check all the various conditions
here and refer back to this table if
| | 03:29 | you have questions regarding the
rendering behavior of AudioSuite plug-ins
| | 03:33 | in Pro Tools 10.
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| Creating a reverse delay or reverb effect| 00:00 | The new feature of Pro Tools 10 that's
the most fun is the unassuming Reverse
| | 00:05 | button on the Delay and
Reverb AudioSuite plug-ins.
| | 00:09 | Its purpose is to automatically
create a reverse delay or reverb effect.
| | 00:14 | I'll demonstrate the multi-step
process of how it works using the Reverse
| | 00:17 | AudioSuite plug-in first.
| | 00:20 | So I've got this audio right here;
| | 00:22 | it's just a guitar part. I'll play it for you.
| | 00:24 | (music playing)
| | 00:31 | Here's the effect that I want
to have on it, this delay effect,
| | 00:34 | but ultimately, I want it to be reversed.
| | 00:37 | But here's what it sounds
like before it's reversed.
| | 00:39 | (music playing)
| | 00:46 | So the process that this Reverse button
does down here is what I'm going to show
| | 00:51 | you first using the Reverse AudioSuite plug-in.
| | 00:55 | So I'm going to render this and reverse it,
| | 00:57 | so now the audio has been reversed.
| | 01:01 | Now, I'm going to render the file just
as regular delay, and now I'll render it
| | 01:07 | back and reverse it back.
| | 01:10 | So this is the effect that we'll create.
| | 01:13 | (music playing)
| | 01:19 | If I undo all of those steps, now
I am back to the original audio.
| | 01:25 | I'm just going to click this Reverse
button, and it's going to do all three of
| | 01:28 | those steps all in one step just
by clicking this. And here we go!
| | 01:34 | (music playing)
| | 01:40 | This one single button lets you get
really creative with your effects,
| | 01:44 | so go have some fun with it!
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| The brand-new Audio Engine| 00:00 | Probably the most significant changes to
Pro Tools have happened under the hood.
| | 00:04 | I'm talking about the
brand-new audio engine in Pro Tools 10.
| | 00:08 | In the Playback Engine window, you may
notice that the DAE Playback Buffer has
| | 00:13 | been removed as it's now unnecessary,
and the cache size has been removed from
| | 00:18 | Pro Tools as seen, or rather not seen, here,
but it actually remains in Pro Tools HD.
| | 00:24 | Also, the open-ended Record
Allocation option has been removed here.
| | 00:28 | In Pro Tools HD and Pro Tools with
complete production toolkit, audio files are
| | 00:33 | loaded into RAM for cached playback.
| | 00:36 | This means that you can literally
utilize any sort of hard drive for your
| | 00:39 | session, including slow USB thumb
drives, because the audio is not being
| | 00:44 | read from the drive--
| | 00:45 | it's loaded into the RAM of your computer.
| | 00:48 | Note that this feature is not in the
regular version of Pro Tools without the
| | 00:52 | complete production toolkit.
| | 00:54 | Pro Tools 10 also supports
RAID and networked hard drives.
| | 00:58 | Performance is not guaranteed and
depends on the type and number of drives, the
| | 01:03 | connection mode--like ethernet or fibre
channel--the bandwidth, and the number
| | 01:07 | of simultaneous users.
| | 01:09 | Pro Tools 10 also has increased track
counts and Mac streaming support for Pro
| | 01:14 | Tools on Avid Unity
MediaNetwork and on ISIS 7000.
| | 01:18 | There is also streaming support for
Pro Tools on ISIS 5000 and elastic audio
| | 01:23 | processing support with Avid shared storage.
| | 01:26 | So now you know the Audio Engine and
disk-performance enhancements in Pro
| | 01:30 | Tools 10.
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| Enhanced interoperability| 00:00 | In Avid's continued effort to
help Pro Tools play nice with the
| | 00:03 | post-production world,
| | 00:05 | Pro Tools 10 offers some new
features to make it even easier to work with
| | 00:08 | AAF and OMF sequences.
| | 00:11 | Here are some highlights.
| | 00:12 | Pro Tools 10 can now export
multi-channel audio tracks to AAF as
| | 00:16 | multi-channel audio files.
| | 00:18 | Go to File > Export >
Selected Tracks as New AAF/OMF.
| | 00:26 | Here in this checkbox, we can choose
Export stereo, 5.1 and 7.1 tracks as
| | 00:31 | multi-channel if we had any in this session.
| | 00:35 | Here are some other enhancements.
| | 00:37 | In addition to exporting surround tracks,
Pro Tools 10 allows importing 5.1 and
| | 00:42 | 7.1 surround audio tracks from AAF sequences.
| | 00:47 | You can export and import clip-based
gain automation to and from AAF sequences.
| | 00:52 | You can also import rendered clips
with audio effects for Media-Composer-
| | 00:56 | generated AAF sequences.
| | 00:58 | Pro Tools 10 allows you to import
volume automation from AAF sequences exported
| | 01:03 | from Media Composer.
| | 01:05 | You can also create import and
combine AAF sequences up to a total
| | 01:09 | sequence length of twenty-four hours.
| | 01:12 | There are also a number of added
features if you have Avid interplay.
| | 01:17 | That about wraps up the enhancements
for interoperability with AAF and OMF
| | 01:21 | sequences in Pro Tools 10.
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