Avid Technology PRO TOOLS MIX 51 Specifications

®
What’s New in Pro Tools and Pro Tools HD
Version 10.0
Legal Notices
This guide is copyrighted ©2011 by Avid Technology, Inc.,
(hereafter “Avid”), with all rights reserved. Under copyright
laws, this guide may not be duplicated in whole or in part
without the written consent of Avid.
003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O,
882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite,
Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS,
Avid Xpress, AVoption, Axiom, Beat Detective,
Bomb Factory, Bruno, C|24, Command|8, Control|24, DCommand, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE,
Digi 002, DigiBase, DigiDelivery, Digidesign,
Digidesign Audio Engine, Digidesign Intelligent Noise
Reduction, Digidesign TDM Bus, DigiDrive, DigiRack,
DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Eleven,
HD Core, HD Process, Hybrid, Impact, Interplay, LoFi,
M-Audio, MachineControl, Maxim, Mbox, MediaComposer,
MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange,
PRE, ProControl, Pro Tools M-Powered, Pro Tools,
Pro Tools|HD, Pro Tools LE, Pro Tools MP, QuickPunch,
Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS,
Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike,
Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro,
TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder,
TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities,
Transfuser, Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and
XMON are trademarks or registered trademarks of Avid
Technology, Inc. Xpand! is Registered in the U.S. Patent and
Trademark Office. All other trademarks are the property of
their respective owners.
Product features, specifications, system requirements, and
availability are subject to change without notice.
Guide Part Number 9329-65099-00 REV A 10/11
Documentation Feedback
At Avid, we are always looking for ways to improve our
documentation. If you have comments, corrections, or
suggestions regarding our documentation, email us at
techpubs@avid.com.
Contents
Chapter 1. What’s New. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 2. New and Enhanced System Capabilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Comparison of System Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Increased Track Counts for Pro Tools HD and Pro Tools with Complete Production Toolkit . . . 4
New Maximum Setting for Automatic Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Low Latency Monitoring with Core Audio and ASIO Hardware . . . . . . . . . . . . . . . . . . . . . . . . 4
New Session File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Clip Group File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Support for 32-bit Floating Point Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Support for Interleaved Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Support for Mixed Audio File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Support for WAVE Extensible File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Support for RF64 Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Changing Session Settings in the Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Changes to Pro Tools Nomenclature and Avid Rebranding . . . . . . . . . . . . . . . . . . . . . . . . . . 8
New In-Application Web Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
New Marketplace Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Improvements to the Pro Tools Help Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Chapter 3. New and Enhanced Import and Export Features . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Export Selected Tracks As New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
New Save Session Copy Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
New Import Session Data Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Add to iTunes Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Share with SoundCloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Contents
iii
Chapter 4. New Editing Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Real-Time Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Overlapping Crossfades View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Clip-Based Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Clip List Reveal In Finder/Explorer Right-Click Command . . . . . . . . . . . . . . . . . . . . . . . . . . 32
24-Hour Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Field Recorder Workflow Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Chapter 5. New Mixing Features and Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Solo and Mute Status Indicators in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Automation Follows Edit Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Sync Status Indicators in the Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Bus Interrogation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Support for 12 Systems with Satellite Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Chapter 6. New Control Surface and Worksurface Features and Enhancements . . . . . . . . 39
D-Command Multi-Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Enhanced EUCON Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Chapter 7. New Plug-In Formats, Plug-Ins, and AudioSuite Improvements . . . . . . . . . . . . . 43
New AAX Plug-In Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Native and DSP Plug-In Insert Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Avid Channel Strip Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Avid Down Mixer Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Mod Delay III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
AudioSuite Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Pro Tools Plug-Ins Marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Chapter 8. Storage and Disk Performance Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
New Disk Engine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
New Disk Cache Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Enhanced Support for Network Attached Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Enhanced Support for Avid Unity MediaNetwork and ISIS Shared Storage . . . . . . . . . . . . . . 53
Chapter 9. Avid Interoperability Enhancements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
New AAF and OMF Import and Export Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
New Avid Interplay Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
iv
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 1: What’s New
Pro Tools ® and Pro Tools HD version 10.0 provide several new features and enhancements for
qualified versions of Mac OS X and Windows 7.
New and Enhanced System
Capabilities
• Increased track counts for Pro Tools HD and
Pro Tools with Complete Production Toolkit:
• Increased possible number of voiceable audio tracks to 768 (at 48 kHZ)
• Increased possible number of Auxiliary Input tracks to 512
• New Maximum setting for Automatic Delay
Compensation (not available with
Pro Tools|HD systems)
• Low Latency Monitoring with Core Audio and
ASIO hardware with Pro Tools and Pro Tools
HD
• Changes to Pro Tools nomenclature and Avid
rebranding
• Pro Tools in-application Web browsers for
easy access to the following online Avid Marketplace and Pro Tools online resources:
• Your Account
• Plug-Ins
• Support and Training
• Upgrades
• Pro Tools Help
• Pro Tools Knowledge Base
• Avid Audio Forums
New Import and Export Features
and Enhancements
• Export Selected Tracks as New Session
• Save Session Copy options
• New Pro Tools 10 session file format (.ptx)
• Import Session Data options
• New clip group file format (.cgrp)
• Add to iTunes library
• Support for 32-bit floating point audio files
• Share with SoundCloud using Bounce to Disk
or Export Selected Clips as Files commands
• Support for mixed audio file formats
• Support for interleaved audio files
• Support for WAVE Extensible audio file format
• Support for RF64 files
• Ability to change session settings in the
Session Setup window for newly recorded,
processed, and imported audio
Chapter 1: What’s New
1
New Editing Features and
Enhancements
• Real-time fades
• Overlapping Crossfades view
• Clip-based Gain
• Clip List Reveal In Finder/Explorer Right-click
command
• 24-hour Timeline
• Field Recorder workflow improvements
(Pro Tools HD and Pro Tools with Complete
Production Toolkit only)
New Mixing Features and
Enhancements
New Plug-Ins Format, Plug-Ins,
and Plug-In Features and
Enhancements
• New AAX plug-in format
• “Native” and “DSP” plug-in processing categories for plug-in inserts (Pro Tools|HD systems
only)
• New Avid Channel Strip Plug-In
• New Avid Down Mixer Plug-In
• New Avid Mod Delay III Plug-In
• AudioSuite Enhancements:
• Ability to open multiple AudioSuite windows simultaneously
• Fades preserved with AudioSuite rendering
• Solo and Mute status indicators in the Edit
window
• Clip metadata preserved with AudioSuite
rendering
• Automation Follows Edit indicator in the Edit
window
• AudioSuite handles
• Sync status indicators in the Edit window
(Pro Tools HD with a SYNC Peripheral only)
• Reverse command for Delay and Reverb
AudioSuite plug-ins
• Bus interrogation
• New Avid Marketplace command for easy access to online plug-in purchasing options
• Support for up to 12 systems with Satellite
Link (Pro Tools|HD and HD Native systems
only)
Storage and Disk Performance
Enhancements
New Control Surface and
Worksurface Features and
Enhancements
• D-Command Multimode (Pro Tools HD and
Pro Tools with Complete Production Toolkit
only)
• Enhanced EUCON support
• New Disk Engine
• New Disk Cache settings
• Enhanced support for Network-attached storage
• Enhanced Support for Avid Unity MediaNetwork ® and ISIS ® shared storage, including increased track counts, and Mac streaming
Avid Interoperability
Enhancements
• New AAF and OMF import and export features
• Pro Tools Avid Interplay ® enhancements
(Pro Tools HD only)
2
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 2: New and Enhanced System
Capabilities
Comparison of System Capabilities
The following table provides a summary of system capabilities with Pro Tools HD and Pro Tools 10
software with different hardware configurations.
Pro Tools HD and Pro Tools 10 System Capabilities Comparison Chart
Capabilities
Pro Tools
software
with non-HD
hardware
Pro Tools HD and
Pro Tools software
with Complete
Production Toolkit
with non-HD hardware
Pro Tools HD
software with
HD Native
hardware
Pro Tools HD
software with
Pro Tools|HD
hardware
Total possible number
of voiced tracks
96 mono or
stereo
256
256
192
Total number of voiceable tracks (at 48 kHz)
128
768
768
768
Total possible number
of Auxiliary Input tracks
128
512
512
512
VCA Master tracks
n/a
128
128
128
Instrument tracks
64
128
128
128
Master Fader tracks
64
64
64
64
MIDI tracks
512
512
512
512
Total I/O
capabilities
up to 32
up to 32
up to 64
up to 160
up to 192 kHz
up to 192 kHz
up to 192 kHz
up to 192 kHz
16,383
samples at
48 kHz
16,383 samples at
48 kHz
16,383
samples at
48 kHz
4,095 samples
at 48 kHz
Sample Rates
Maximum Automatic
Delay Compensation
Chapter 2: New and Enhanced System Capabilities
3
Increased Track Counts for
Pro Tools HD and Pro Tools
with Complete Production
Toolkit
Pro Tools HD and Pro Tools 10 with Complete
Production Toolkit provide the following increased track counts:
• Increased possible number of voiceable audio tracks to 768
• Increased possible number of Auxiliary Input tracks to 512
Low Latency Monitoring with
Core Audio and ASIO
Hardware
With Pro Tools and Pro Tools HD 10.0, you can
now use the Low Latency Monitoring option to record with an extremely small amount of monitoring latency with Core Audio and ASIO audio
interfaces that have a built-in mixer (such as the
RME Fireface or the MOTU 828). Only tracks
with inputs set to an audio interface (not a bus)
use Low Latency Monitoring.
If your Core Audio or ASIO hardware does
not have a built-in mixer, Low Latency
Monitoring does not function. If you do enable Low Latency Monitoring with such
hardware, monitoring will not available for
record-enabled tracks in Pro Tools.
New Maximum Setting for
Automatic Delay
Compensation
Pro Tools HD and Pro Tools 10 software provide
increased Automatic Delay Compensation using
the new Maximum setting. This setting allocates
the following numbers of samples for the Delay
Compensation Engine depending on the session
sample rate:
Low Latency Monitoring is not available in
surround sessions with Pro Tools HD on
non-HD hardware (such as Core Audio and
ASIO devices).
• 16,383 samples at 44.1/48 kHz
On Mac, the Pro Tools Aggregate I/O does
not support the Low Latency Monitoring option.
• 32,767 samples at 88.2/96 kHz
• 65,534 samples at 176.4/192 kHz
The Maximum option is not available with
Pro Tools|HD systems due to certain limitations with TDM hardware.
To use Low Latency Monitoring:
Assign each track output to either Output 1 or
Output 2 (mono), or Output 1–2 (stereo). Only
tracks assigned to these output paths can use
Low Latency Monitoring.
1
Record enable audio tracks by clicking their
Record Enable buttons.
2
3
4
What’s New in Pro Tools and Pro Tools HD 10.0
Select Options > Low Latency Monitoring.
When Low Latency Monitoring is enabled,
Pro Tools disables software monitoring for record-enabled tracks routed to Outputs 1–2 only.
This lets you use the built-in mixer function on
your Core Audio or ASIO hardware for record
monitoring with Outputs 1 and 2 on your Core
Audio or ASIO audio interface. Also, any plugins and sends assigned to record-enabled tracks
are automatically bypassed, and must remain
bypassed. Additionally, these tracks do not register on meters for Master Fader tracks in
Pro Tools.
For information about configuring your
audio interface’s hardware mixer for direct monitoring, please refer to the manufacturer’s documentation.
New Session File Format
Pro Tools 10 uses a new session file format
(.ptx). This means that sessions created in
Pro Tools 10 cannot be opened in lower versions
of Pro Tools. To share sessions with lower versions of Pro Tools, you will need to use Save
Session Copy As to save a copy of the session to
a lower session file format (see “New Save Session Copy Options” on page 14).
Support for 32-bit Floating
Point Audio Files
Pro Tools 10 supports 32-bit floating point audio files. Sessions can be set to 32-bit floating
point when they are created, or while they are
open using the Session Setup window.
Using a 32-bit floating point bit depth for audio
files in Pro Tools sessions can help avoid clipping with AudioSuite rendering, or unnecessary
dithering with AudioSuite rendering. It can also
help avoid rounding errors in signal processing
(which can occur during bit-depth conversion
for file playback and real-time plug-in insert
processing). However, 32-bit files take up a
third more disk space and audio streaming
bandwidth, which can be problematic with
higher track counts when using slower hard
drives.
To create a Pro Tools session using 32-bit floating
point audio files:
1
Choose File > New Session.
In the New Session dialog, enable the 32 Bit
Float option. Set the other options as desired.
2
Press Command+B (Mac) or Control+B
(Windows) to toggle the Bit Depth setting.
New Clip Group File Format
Pro Tools 10 uses a new clip group file format
(.cgrp). Region group files (.rgp) created with
lower versions of Pro Tools can be imported into
Pro Tools 10 sessions, but clip group files
(.cgrp) cannot be imported into lower versions
of Pro Tools. This new format maintains clip
gain settings with clip groups.
New Session dialog
3
Click OK.
Chapter 2: New and Enhanced System Capabilities
5
For information on changing the Bit Depth
while a session is open, see “Changing Session
Settings in the Session Setup Window” on
page 7.
Support for Interleaved Audio
Files
Pro Tools 10 sessions support interleaved audio
files for stereo and greater-than-stereo multichannel files. Lower versions of Pro Tools require that interleaved audio files be converted to
multiple mono files on import into a Pro Tools
session. For sessions created with the Interleaved
option enabled, all stereo or greater multichannel audio will be recorded as interleaved audio
files.
To create a Pro Tools session using Interleaved
audio files:
1
Choose File > New Session.
In the New Session dialog, enable the Interleaved option. Set the other options as desired.
2
Press Command+G (Mac) or Control+G
(Windows) to toggle the Interleaved option
on or off.
New Session dialog
3
6
Click OK.
What’s New in Pro Tools and Pro Tools HD 10.0
Support for Mixed Audio File
Formats
Pro Tools 10 supports mixed audio file formats
in a single session. When importing audio files
into a Pro Tools session, you can choose to Add
them rather than Convert them regardless of the
audio file format.
Support for WAVE Extensible
File Format
Pro Tools 10 supports the WAVE Extensible file
format for audio files. This file format specifies
multiple audio channel data (surround sound)
along with speaker positions, which is stored
within the audio file header. These audio files
are identified in DigiBase browsers with the designation “WAV (BWF EXT)” in the Attributes
field.
If you are working with greater-than-stereo
multichannel track formats in your Pro Tools
sessions, it is recommended that you use the
WAV file format rather than AIF.
When using WAV (BWF EXT) files in
Pro Tools 10 sessions, the corresponding
channel order for each channel of greaterthan-stereo, interleaved multichannel files is
displayed in the Clip List.
Support for RF64 Audio Files
To change the Audio Format for the Pro Tools
session:
Pro Tools 10 supports RF64 audio files. RF64 is
an extension to the WAV audio file format that
addresses the 4 gigabyte size limitation of other
WAV audio file formats.RF64 audio files are
identified in DigiBase browsers with the designation “MBWF” in the Attributes field.
1
To use these files in a lower version of
Pro Tools or in Media Composer, these files
need to be edited and consolidated so that
they are not larger than 4 GB.
Choose Setup > Session.
In the Session Setup window, select the desired
audio file format (AIF or WAV) from the Audio
Format selector.
2
To change the Bit Depth for the Pro Tools session:
1
Choose Setup > Session.
In the Session Setup window, select the desired
bit depth from the Bit Depth selector.
2
Changing Session Settings in
the Session Setup Window
With Pro Tools 10, the Session Setup window
lets you change the audio file Bit Depth, Audio
Format, and whether or not files in the session
are multi-mono or interleaved for all newly recorded, imported and converted audio files, or
files created by rendering (such as with AudioSuite, Elastic Audio, or Consolidate). Since
Pro Tools 10 supports sessions with mixed audio file formats and bit-depths, this is a significant change from previous versions of
Pro Tools.
Session Setup window, selecting 32 Bit Float
To enable (or disable) interleaved audio files for
the Pro Tools session:
1
Choose Setup > Session.
In the Session Setup window, select (or deselect) the Interleaved option.
2
In lower versions of Pro Tools, the Session Setup
window only displayed the Bit Depth and Audio
Format settings as specified when the session
was created.
Session Setup window, Format section
Chapter 2: New and Enhanced System Capabilities
7
Changes to Pro Tools
Nomenclature and Avid
Rebranding
To ensure optimal compatibility between
Pro Tools and Media Composer, the following
nomenclature changes have been made to
Pro Tools software.
Table 1. Changes to Pro Tools Nomenclature
Additionally, “Digidesign” has been replaced
with “Avid” for all file names and file path
names.
Table 2. Changes to Pro Tools file and path names
Pro Tools 9 and
lower
Pro Tools 10
Digidesign CoreAudio
Manager
Avid Core Audio
Manager
Pro Tools 9 and
Lower
Pro Tools 10
Digidesign CoreAudio
Driver
Avid Core Audio
Driver
Region
Clip
Digidesign ASIO
Driver
Avid ASIO Driver
Region List
Clip List
DigiTest
Avid DigiTest
Region Groups
Clip Groups
Elastic Audio Processing Clipping indicator
/Digidesign/
Pro Tools/
Avid Pro Tools/
Region Clip indicator
(rendered EA only)
Trimmer Tools
Trim Tools
Timeline selection
start marker
Timeline Selection In
Point
Timeline selection end
marker
Timeline Selection
Out Point
Edit selection start
marker
In Point
Edit selection end
marker
Out Point
Time Code
Timecode
Locators To Import
(Import Session Data
dialog)
Markers To Import
(Import Session Data
dialog)
Process (AudioSuite)
Render (AudioSuite)
New Avid Plug-Ins Folder Location
8
What’s New in Pro Tools and Pro Tools HD 10.0
During installation, Pro Tools 10 creates an
Avid Plug-Ins directory (/Avid/Audio/
Plug-Ins/) to accommodate AAX plug-ins (such
as Avid Channel Strip and Avid Down Mixer).
Pro Tools 10 maintains the Digidesign Plug-Ins
folder (/Digidesign/Plug-Ins/) in order to accommodate legacy plug-ins and third-party
plug-in installers.
New In-Application Web
Browsers
Pro Tools provides easy access to the online
Avid Store, as well as web-based Pro Tools Help,
the Knowledge Base, and other online resources
using two new in-application Web browsers.
Avid Marketplace Provides a secure web connection to Avid’s online commerce web pages for
Pro Tools.
Pro Tools In-Application Web
Browser Navigation Controls
The Pro Tools in-application Web browser provides a few simple navigation controls in the
Web Browser Tool Bar.
Go Backward
Go Forward
Go Home
Refresh
Locations
Pro Tools Online Provides easy access to web-
based Pro Tools Help, the Knowledge Base, and
Avid audio community forums.
To launch the Pro Tools in-application Web
browser for online commerce:
1
Ensure that you have an internet connection.
2
Choose one of the following from the Market-
place menu:
• Your Account
Go Backward Clicking the Go Backward button
navigates back to the previously viewed page.
• Plug-Ins
Go Forward Clicking the Go Forward button
• Support and Training
navigates forward to the next page.
• Upgrades
Go Home Clicking the Home button navigates to
the starting page for the currently selected Location.
To launch the Pro Tools in-application Web
browser for online resources:
1
Pro Tools Web browser showing Your Account Log In
page
Ensure that you have an internet connection.
2 Choose one of the following from the Help
menu:
• Pro Tools Help
• Pro Tools Knowledge Base
• Avid Audio Forums
Refresh Clicking the Refresh button reloads the
currently viewed page.
Locations Clicking a location button navigates
to the corresponding starting page on the Avid
website. The Avid Marketplace and Pro Tools
Online browsers provide different Location options.
Launch in External Web Browser
To browse the internet beyond what is available
though the Pro Tools in-application Web
browser, you can launch the currently viewed
page in the default web browser for your operating system.
Chapter 2: New and Enhanced System Capabilities
9
To launch the currently viewed page in the default
web browser for your operating system:
To access the Avid online store for plug-ins:

Click the Launch in Default Web Browser icon
in either the Avid Marketplace window or the
Pro Tools Online window.
Choose Marketplace > Plug-Ins.

You can also access the Avid online store
from the AudioSuite menu and from track
Insert selectors for plug-ins by choosing the
Avid Marketplace option. For more information, see “Pro Tools Plug-Ins Marketplace” on page 49.
To access the Avid online store for support and
training, do one of the following:

Launch in External Web Browser icon
New Marketplace Menu
Pro Tools 10 provides easy access to the Avid
Store online using the new Pro Tools in-application web browser. The new Marketplace menu in
Pro Tools lets you access your Avid Account and
the Avid online store (to shop for plug-ins, upgrades, or Avid support).
To log in to your online Avid account:

Choose Marketplace > Your Account.
Your Account Log In page
10
What’s New in Pro Tools and Pro Tools HD 10.0
Choose Marketplace > Support and Training.
– or –

Choose Help > Purchase Avid Support and
Training.
To access the Avid online store for software
upgrades:

Choose Marketplace > Upgrades.
Improvements to the
Pro Tools Help Menu
With Pro Tools 10, the Help menu provides easy
access to online resources in addition to the local resources that are installed with Pro Tools.
Pro Tools Help
The Pro Tools Help command provides access to
web-based Pro Tools Help within the Pro Tools
web browser. This means that you will always
have access to the latest Pro Tools Help files as
they become available (independently of major
Pro Tools releases). You will also have access to
localized Pro Tools Help files as translations become available. Note that web-based Pro Tools
Help defaults to the English version if your localized language is not currently available.
If you are not connected to the Internet,
Pro Tools will open the local English Help files
that are installed with Pro Tools.
Pro Tools web browser showing the online Avid Audio
Forums
To access the Pro Tool online resources from the
Help menu:

Click Help and choose one of the following:
• Pro Tools Help
• Pro Tools Knowledge Base
• Avid Audio Forums
You can also access Pro Tools Help online
using Safari or Explorer. This can be useful if Pro Tools is not running, or if you
want to change the version or language of
Help you are using. Visit
http://apps.avid.com/ProToolsHelp/.
Pro Tools Knowledge Base
The Pro Tools Knowledge Base command provides access to the online Avid Knowledge Base
using the new Pro Tools in-application web
browser. The Avid Knowledge Base provides extensive information for you to solve any problems you may encounter with Pro Tools (including compatibility information and software
updates).
Avid Audio Forums
The Avid Audio Forums command provides access to the online Avid Audio Forums using the
new Pro Tools in-application web browser. The
Avid Audio Forum provide a broad-based user
community where you can interact with other
Pro Tools users.
Chapter 2: New and Enhanced System Capabilities
11
12
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 3: New and Enhanced Import and
Export Features
Export Selected Tracks As
New Session
Pro Tools 10 lets you export any selected tracks
in a session as a new session. This feature is especially useful in collaborative situations.
For example, you might be working on a large
post-production session and you want your collaborator to work on only some dialog in the session while you continue working on other parts
of the session. You can now select the dialog
tracks and export them as a new session. Your
collaborator can then open the new session and
edit the dialog. When your collaborator is done,
you can import the session data from the dialog
session to update the dialog tracks in your big
session.
To export selected tracks as a new session:
Select the tracks you want to export as a new
session.
1
2 Choose File > Export > Selected Tracks As New
Session. The Save Session Copy dialog opens.
(You can also open the Save Session Copy dialog
by choosing File > Save Copy In.)
In the Save Session Copy dialog, configure the
Session Format and Session Parameters settings
and options as desired.
3
Verify that the Selected Tracks Only option is
enabled.
4
Configure the Items to Copy settings and options as desired.
5
You can also enable the Main Playlist Only option if you don’t want to include any of the alternate playlists associated with any of the selected
tracks in the new session.
6
7
Click OK. The Save dialog opens.
8
In the Save dialog, name the session.
9
Navigate to where you want to save the session.
10
Click Save.
A copy of the session that contains only the selected tracks from the source session is saved to
the specified location.
Chapter 3: New and Enhanced Import and Export Features
13
New Save Session Copy
Options
• Sessions with mixed file formats and bitdepths must convert all files to the same file
format and bit depth.
Pro Tools 10 provides new Save Session Copy
options.
• Sessions with files that have a bit depth of
32-bit floating point must be converted to
24-bit or 16-bit.
• For sessions with RF64 files larger than 4 GB,
these files will be unavailable to lower versions of Pro Tools. You will need to manually
edit and consolidate these files so that the audio can be available to lower versions of
Pro Tools.
Bit Depth: 32-bit Floating Point
Save Session Copy dialog
Enable the 32-bit Floating Point option to save the
session copy with 32-bit floating point bit depth.
This option is unavailable when saving to session formats lower than Pro Tools 10.
Session Format Updated for Pro Tools 10
Convert To Specified Format
Pro Tools 10 uses a new session file format
(.ptx). Consequently, the Latest option in the
Session Format selector uses the Pro Tools 10
(.ptx) format. A new option for Pro Tools 7 –> 9
Session has been included to save Pro Tools 10
sessions to the previous session file format
(.ptf). When saving to a lower Pro Tools session
file format, the following Pro Tools 10 features
are dropped or converted:
When the Convert To Specified Format option is
selected, all copied audio files are converted to
the specified audio file format settings in the
Session Parameters section. When this option is
not selected, any copied audio files retain their
original audio file format settings (including
sample rate and bit depth), and are exactly copied, bit-by-bit.
• Clip gain settings are dropped. If you want to
apply any clip gain settings prior to saving the
session copy, you will need to manually render
clip gain settings. With Pro Tools HD and
Pro Tools with Complete Production Toolkit,
you may want to convert clip gain settings to
track volume automation instead ( Edit > Automation > Concert Clip Gain to Volume Automation).
• Fades will have to be rendered when the session is opened in a lower version of Pro Tools.
14
What’s New in Pro Tools and Pro Tools HD 10.0
Note that copying formats bit-by-bit is much
faster than converting files.
Main Playlist Only
When this option is selected, only the main playlists are included with the session copy. Any alternate playlists are not included with the session copy.
When this option is not selected, all playlists are
included with the session copy.
Selected Tracks Only
When this option is selected, only the selected
tracks in the source session are saved with the
session copy. This option is automatically enabled when choosing File > Export > Selected
Tracks As New Session.
When this option is not selected, all tracks in the
source session are saved with the session copy.
This option is automatically disabled when
choosing File > Save Session Copy.
AAF/OMF Source Track
Translation Settings
Pro Tools 10 provides two new options for
“translating” audio clips when importing AAF
sequences or OMF files and sequences. These
options replace the Clip-Based Gain pop-up
menu and the Ignore Auto Gain option found in
lower versions of Pro Tools.
New Import Session Data
Options
The Import Session Data dialog provides the following new and improved options.
New Translation settings
Adjust Session Start Time to Match Source
Start Time
When selected, the Import Clip Gain option lets
you import the clip-based gain settings in the sequence as Pro Tools clip-based gain. When deselected, clip-based gain settings are ignored.
Media Composer and other Avid products provide clip-based gain to adjust the volume of an
individual audio clip.
When selected, the Adjust Session Start Time to
Match Source Start Time option lets you automatically set the start time of the current
Pro Tools session to match the start time of the
session, or AAF or OMF sequence you are importing.
When deselected, the imported session data is
placed on the timeline in relation to the current
session start time.
Import Clip Gain
Import Volume Automation
When selected, the Import Volume Automation
option lets you import volume automation in
the sequence as Pro Tools Volume automation.
When deselected, volume automation in the sequence is ignored.
Add to iTunes Library
Timecode Mapping options
Pro Tools 10 lets you bounce your mix to your
iTunes library using the new Add to iTunes Library option in the Bounce to Disk dialog. When
this option is selected, the bounced file is copied
to your local iTunes library.
Chapter 3: New and Enhanced Import and Export Features
15
If the Add to iTunes Library option is enabled
when bouncing to disk, the resultant audio file
is automatically imported into iTunes the next
time you launch the iTunes application. If
iTunes is not installed on your computer, this
option does not do anything.
The Add to iTunes Library option is only
available if the Format is set to Mono
(Summed) or Interleaved.
To export your mix to your iTunes library:
1
Choose File > Bounce to > Disk.
2
In the Bounce to Disk dialog, select the Bounce
Source.
3
Ensure that Format is set to Mono (Summed) or
Interleaved.
4
Enable the Add to iTunes Library option.
For more information about iTunes, visit
www.apple.com.
Bounce to Disk, Add To iTunes Library option enabled
5
Click Bounce.
6 Select a destination for the new audio file, enter a name, and click Save.
The bounced audio file is copied to your iTunes
library, and iTunes launches automatically and
imports the copied file.
16
What’s New in Pro Tools and Pro Tools HD 10.0
Share with SoundCloud
4
Enable the Share with SoundCloud option.
SoundCloud is a social audio sharing site. Users
create a public profile and fill it with audio they
want to share. The audio can then be played by
anyone, or by a select group of users. SoundCloud's easy sharing tools let you feature your
tracks or playlists on any website, including social networks like Twitter, Facebook, and
Google+.
Pro Tools 10 lets you share your mix with
SoundCloud using the new Share with SoundCloud option in the Bounce to Disk dialog and in
the Export Selected dialog. When this option is
selected, the bounced file is automatically uploaded to your SoundCloud account. If you do
not have an account, you can create one for free.
The Share with SoundCloud option is only
available if the Format is set to Mono
(Summed) or Interleaved.
For more information about SoundCloud,
visit www.soundcloud.com.
Sharing with Sound Cloud Using
Bounce to Disk
To share your mix with SoundCloud using Bounce
to Disk:
1
Choose File > Bounce to > Disk.
In the Bounce to Disk dialog, select the Bounce
Source.
2
3
Bounce to Disk, Share with SoundCloud option
enabled
5
Click Bounce.
6 Select a destination for the new audio file, enter a name, and click Save.
Configure the subsequent Share with SoundCloud dialog as desired (see “Share with SoundCloud Dialog” on page 19).
7
8
Click Share.
If you are not already logged in to your SoundCloud account, you are prompted to log in (see
“Logging In To SoundCloud” on page 19).
9
The bounced file is written to your local drive
and then posted directly to your SoundCloud account if you are logged in.
Ensure that Format is set to Mono (Summed) or
Interleaved.
Chapter 3: New and Enhanced Import and Export Features
17
Sharing with Sound Cloud Using
Export Clips as Files
To share your mix with SoundCloud using Export
Clips as Files:
1
Do one of the following:
• Select the clip you want to share in the Clip
List and choose Export Clips as Files from
the Clip List menu.
2
If you are not already logged in to your SoundCloud account, you are prompted to log in (see
“Logging In To SoundCloud” on page 19).
7
The exported file is written to your local drive
and then posted directly to your SoundCloud account if you are logged in.
– or –
Monitoring the Progress of the
Upload
• Right-click the clip you want to share and
choose Export Clips as Files.
You can monitor the progress of the upload in
the Task Manager ( Window > Task Manager).
In the Export Selected dialog, ensure that For-
mat is set to Mono (Summed) or Interleaved.
3
Enable the Share with SoundCloud option.
Task Manager displaying the progress of an upload to
SoundCloud
If the Notify me when the upload is complete option is enabled in the Share with Sound Cloud
dialog, you are notified by the Upload Successful
dialog (where you can copy the URL to the clipboard) once the bounced file has posted to your
SoundCloud account.
Export Selected, Share with SoundCloud option
enabled
4
Click Export.
Configure the subsequent Share with SoundCloud dialog as desired (see “Share with SoundCloud Dialog” on page 19).
5
6
18
Click Share.
What’s New in Pro Tools and Pro Tools HD 10.0
Upload Successful dialog
Logging In To SoundCloud
Share with SoundCloud Dialog
To log in to (and, if necessary, set up) your
SoundCloud account:
The Share with SoundCloud dialog provides text
entry fields, settings, and options that determine what information is included with the
track you upload to SoundCloud. It also includes
licensing and permissions settings for what your
track can be used for and who can access it. The
information, options, and settings associated
with your track can also be edited online later
from your SoundCloud account.
1
Choose Setup > Login to SoundCloud.
2
Do one of the following:
• To use an existing account, enter the
Email\Login and Password for your SoundCloud account, and click the Connect button.
– or –
For more information, visit www.soundcloud.com.
• To create a new account, click the Not a
member? Signup! button. Once the SoundCloud site opens in your default web
browser, follow the onscreen instructions
Login to SoundCloud dialog
Share with SoundCloud dialog
Title
Type in the Title for the track you are uploading
to SoundCloud.
Description
Type in a Description for the track you are uploading to SoundCloud.
License
Select the License option appropriate to the
track you are uploading to SoundCloud.
Chapter 3: New and Enhanced Import and Export Features
19
Type
Select the Type of track you are uploading to
SoundCloud.
Downloadable
Select the Downloadable option if you want your
track to be downloadable from SoundCloud. If
this option is not enabled, your track can only be
streamed (listened to) online and cannot be
downloaded.
Genre
Type a Genre for the track you are uploading to
SoundCloud.
Tags
Type any Tags you want associated with the
track you are uploading to SoundCloud. Separate multiple tags with spaces. Encapsulate tags
with multiple words and spaces using quotes.
Private Track
Enable the Private Track option to ensure that
the track you are uploading to SoundCloud is
only available to specific people. When this option is selected, you can enter the email addresses for the people who you want to have access to your track. Separate multiple addresses
with commas.
Notify
Enable the Notify me when the upload is complete
option to be notified when your track has finished uploading to your SoundCloud account.
20
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 4: New Editing Features and
Enhancements
Real-Time Fades
Session Interchange with Pro Tools 10 and
Lower Versions of Pro Tools
With Pro Tools 10, all fades are calculated and
played back in real time, eliminating the need
for rendered fade files. This provides significant
improvements in both disk (hard drive) performance, and file management and file exchange.
Another benefit is that Pro Tools sessions open
more quickly than in lower versions of
Pro Tools.
When saving a Pro Tools 10 session to a lower
version, and then opening that session in a compatible lower version of Pro Tools, one of the
following occurs depending on the version of
Pro Tools in which the session was originally
created:
Creating New Sessions with Pro Tools 10
When creating new sessions with Pro Tools 10,
no Fade Files folder is created and no rendered
fade files are created. All fades are calculated in
real time on playback.
Opening Legacy Sessions in Pro Tools 10
When opening a session created in Pro Tools 9
or lower in Pro Tools 10, Pro Tools calculates
and plays back all fades in real time. The “Fade
Files” folder in the session folder is neither deleted nor used. Any rendered fades created in
legacy sessions are calculated and played back in
real time. Any new fades created in the session
do not generate any new rendered fade files in
the pre-existing “Fade Files” folder.
 When saving a session that was created in
Pro Tools 10 to a lower version session format
and then opening that session copy with a lower
version of Pro Tools, all fades need to be regenerated and written to disk (rendered) when the
session is first opened in the lower version of
Pro Tools.
 When saving a session from Pro Tools 10 that
was created in a lower version of Pro Tools, and
then opening that session in a compatible lower
version of Pro Tools, the original rendered fade
files are used where available. Any fades that
were created or edited in Pro Tools 10 need to be
regenerated and written to disk (rendered).
If you are presented with the Missing Files dialog when opening a session in either of the situations described above, enable the Regenerate
Missing Fades Without Searching option and
click OK.
Chapter 4: New Editing Features and Enhancements
21
Real-Time Fades are Rendered on Export to
AAF and OMF
Clip-Based Gain
When exporting tracks to AAF or OMF sequences, all fades are rendered on export. This
provides maximum compatibly with other applications (such as Avid Media Composer) when
importing AAF or OMF sequences exported
from Pro Tools 10.
Pro Tools 10 provides clip-based gain for quick
and easy gain matching of clips (formerly called
regions in Pro Tools) from different sources in a
Pro Tools session. Clip-based gain is applied
pre-mixer (pre-fader and before any plug-in
processing). This is especially useful when
working with field recordings and sample libraries in post-production sessions.
Overlapping Crossfades View
Pro Tools 10 lets you view overlapping waveforms in crossfades.
By adjusting the clip gain for individual clips on
a single track, you can match their relative gain
levels so that you do not have to execute complex track volume automation to compensate.
Overlapping Crossfades view
Multiple clips with different (static) Clip Gain settings
To show (or hide) overlapping crossfades:
Select (or deselect) View > Waveform > Overlapping Crossfades.

The clip gain settings stay with the clip, which
means you can move, and copy and paste clips
with their corresponding clip gain settings. Clip
gain settings can now be imported from AAF
and OMF sequences exported from Media Composer. Likewise, clip gain settings can be exported from Pro Tools with AAF sequences (but
not OMF) to be imported into Media Composer.
All clips have a clip gain of 0 dB by default. Clip
gain can be adjusted from –144 dB to +36.0 dB.
Static Versus Dynamic Clip Gain
You can have either static or dynamic clip gain
settings for a single clip. Static clip gain simply
means that there is a single gain setting for the
entire clip (see “Simple Clip Gain Adjustment”
on page 25). Dynamic clip gain means that you
can have gain settings for a clip that vary over
time (see “Graphically Editing Clip Gain” on
page 25).
22
What’s New in Pro Tools and Pro Tools HD 10.0
Clip Gain Info View
When Clip Gain Info view is enabled ( View >
Clip > Clip Gain Info), the Clip Gain Fader icon is
shown at the beginning of the clip, in the lower
left corner. If the clip uses static clip gain, the
static Clip Gain value (–144 dB to +36.0 dB) for
a clip is displayed to the right of the Clip Gain
Fader icon. For a clip that has dynamic clip gain
(using break-point gain settings), the Clip Gain
value is not shown.
Clip Gain commands (including the Clip Gain
Fader and its Right-click commands) only apply
to the single, whole clip with which it is associated.
Clip Gain Fader Icon Right-Click Menu
You can Right-click the Clip Gain Fader icon for
any individual clip to access relevant clip gain
commands for that clip.
Clip Gain Right-click menu
The Clip Gain Fader icon Right-click menu operates independently of the Clip Gain sub-menu
that is accessible when Right-clicking on an Edit
selection. When rendering clip gain settings, the
resulting clip provides handles for trimming out
the clip based on the Default Handle Length settings in the Processing Preferences.
Bypass Clip Gain
Clip Gain Info shown
To show or hide Clip Gain Info, do one of the
following:

Select or deselect View > Clip > Clip Gain Info.
– or –
 Press Control+Shift+“=” (Equal) (Mac) or
Start+Shift+“=” (Equal) (Windows).
When Bypass Clip Gain is selected in the Rightclick menu, the current clip gain settings are bypassed and the clip plays back with 0 dB gain adjustment.
Clear Clip Gain
Choose Clear Clip Gain in the Right-click menu
to clear the clip gain settings for the clip.
Render Clip Gain
Choose Render Clip Gain in the Right-click menu
to render the current clip gain settings for the
clip. After the clip is rendered with its new gain,
the clip gain settings are reset to 0 dB.
Show/Hide Clip Gain Line
Select Show/Hide Clip Gain Line in the Rightclick menu to show or hide the Clip Gain Line
for all clips.
Chapter 4: New Editing Features and Enhancements
23
Clip Gain Line
Clip Gain Line and Crossfades
The Clip Gain Line lets you edit the clip gain settings for any given clip using breakpoint editing, much like with track-based volume automation. However, unlike track-based volume
automation, the clip gain settings are always associated with the clip rather than with the
track.The Clip Gain Line can be shown or hidden
for all clips in the Edit window.
Clip gain is applied on a clip-by-clip basis.
When cross-fading between clips, the Clip Gain
Line for the first clip carries through the fade
out segment of the crossfade and the Clip Gain
Line for the second clip carries through the fade
in segment of the crossfade. Consequently,
crossfades can display two Clip Gain Lines, one
for the first clip and one for the second clip.
Clip Gain Line (with multiple breakpoints)
Clip Gain Lines prior to applying a crossfade
To show or hide the Clip Gain Line, do one of the
following:

Select or deselect View > Clip > Clip Gain Line.
 Press Control+Shift+“-” (Hyphen) (Mac) or
Start+Shift+“-” (Hyphen) (Windows).
Right-click the Clip Gain Fader icon on any
clip and choose Show Clip Gain Line or Hide Clip
Gain Line.

 Right-click any clip and choose Clip Gain >
Show Clip Gain Line or Clip Gain > Hide Clip Gain
Line.
The Clip Gain Line is only shown when the
track height is set to Small or larger.
24
What’s New in Pro Tools and Pro Tools HD 10.0
Clip Gain Lines after applying a crossfade
Editing Clip Gain
If a clip is Edit-locked and you attempt to
edit clip gain, you are prompted to Cancel
or Allow the edit.
Simple Clip Gain Adjustment
To boost or attenuate the current clip gain settings
for a single clip:
Ensure that the Clip Gain Info option is enabled.
1
2 Click the Clip Gain Fader icon on the clip and
drag the Clip Gain fader up or down to boost or
attenuate the clip gain settings for the clip.
Graphically Editing Clip Gain
You can graphically edit clip gain using breakpoints on the Clip Gain Line for individual clips.
When you drag a clip gain breakpoint up or
down, the change in the gain setting value is numerically indicated. Dragging a clip gain breakpoint to the left or right adjusts its timing.
Using the Grabber Tool
Using the Grabber tool, you can add, adjust, and
delete individual clip gain breakpoint settings.
To add a clip gain breakpoint with the Grabber
tool:
Ensure that the Clip Gain Line option is enabled.
1
2
Select the Grabber tool.
3 Click at any point on the Clip Gain Line for the
clip to add a breakpoint. The Grabber points and
displays a Plus sign (“+”).
Using the Clip Gain Fader to adjust the static clip gain
value
Adding a clip gain breakpoint with the Grabber tool
Press Control+Shift+E (Mac) or
Start+Shift+E (Windows) to add a Clip
Gain breakpoint at the current Edit location.
Using the Clip Gain Fader to adjust all break-point clip
gain values
Press Command (Mac) or Control (Windows) while adjusting the Clip Gain fader
for fine control.
Chapter 4: New Editing Features and Enhancements
25
To adjust a clip gain breakpoint with the Grabber
tool:
Ensure that the Clip Gain Line option is enabled.
1
2
Select the Grabber tool.
Click any breakpoint on the Clip Gain Line and
move it up or down to adjust the gain, or left to
right to adjust the timing. The gain setting is
displayed in dB over the selected breakpoint.
3
Using the Pencil Tool
The Pencil tool lets you create new breakpoints
by clicking once on the graph line. Pro Tools lets
you use the Free Hand, Line, Triangle, Square,
and Random Pencil Tool shapes for drawing clip
gain. The Parabolic and S-Curve Pencil Tool
shapes are not available for editing clip gain.
Using the Pencil tool (Free Hand) to draw clip gain
settings
Adjusting a clip gain breakpoint with the Grabber tool
To delete a clip gain breakpoint with the Grabber
tool:
Ensure that the Clip Gain Line option is enabled.
1
2
When drawing clip gain settings with the Pencil
tool, its effect is bounded by the Edit selection if
the pencil gesture crosses into the selection.
However, if the pencil gesture is entirely outside
of a selection, it creates clip gain breakpoints
outside of the selection.
Select the Grabber tool.
Option-click (Mac) or Alt-click (Windows) the
breakpoint you want to delete. The Grabber
points and displays a Minus sign (“–”).
3
Using the Pencil tool (Free Hand) to draw clip gain
settings bound by the Edit selection
To add clip gain breakpoints with the Pencil tool:
Ensure that the Clip Gain Line option is enabled.
1
Deleting a clip gain breakpoint with the Grabber tool
2
Select the Pencil tool.
3
Do one of the following:
• Click once on the Clip Gain Line to add a
single breakpoint.
– or –
• Click and drag on the Clip Gain Line to
draw breakpoints.
26
What’s New in Pro Tools and Pro Tools HD 10.0
To delete a clip gain breakpoint with the Pencil
tool:
Ensure that the Clip Gain Line option is enabled.
1
2
Select the Pencil tool.
3 Option-click (Mac) or Alt-click (Windows) the
breakpoint you want to delete.
Nudging Clip Gain
Pro Tools 10 lets you nudge the selected clip
gain settings up or down by the Nudge Clip Gain
By amount specified in the Pro Tools Editing
Preferences. You can also nudge the selected
clip gain settings back or forward in the clip by
the specified nudge amount.
You can also nudge Clip Gain up or down
with EUCON. See the Artist Series and
Pro Tools guide for more info.
Using the Trim Tools
The Trim tools let you adjust all selected breakpoints up or down by dragging anywhere within
that selection. Unlike track-based Volume automation, which scales when trimming, clip gain
provides true trimming (where clip gain settings
maintain their fixed relations to one another
when trimming).
To set the Nudge Clip Gain By amount:
1
Choose Setup > Preferences.
2
Click the Editing tab.
3
Enter the desired value for the Nudge Clip Gain
By setting.
4
Click OK.
To nudge the selected clip gain up:
Using the Trim tool to boost or attenuate clip gain
breakpoints
To trim the selected clip gain settings up or down:
Ensure that the Clip Gain Line option is enabled.
1
Make an Edit selection that includes the clip
gain settings that you want to adjust.
2
3
Select the Trim tool.
Click and drag up or down over the Clip Gain
Line within the Edit selection.
4
 Press Control+Shift+Up Arrow (Mac) or
Start+Shift+Up Arrow (Windows).
To nudge the selected clip gain down:
 Press Control+Shift+Down Arrow (Mac) or
Start+Shift+Down Arrow (Windows).
If you have a mouse with a scroll wheel, you
can use the scroll wheel to nudge the selected clip gain settings up or down. Press
Control+Shift (Mac) or Start+Shift (Windows) and scroll the scroll wheel up or
down.
Chapter 4: New Editing Features and Enhancements
27
To nudge the selected clip gain back, do one of the
following:
Press Control+Shift+“–” (Minus) (Mac) or
Start+Shift+“–” (Minus) (Windows).

 Press Control+Shift+M (Mac) or
Start+Shift+M (Windows).
 Press Control+Shift+“,” (Comma) (Mac) or
Start+Shift+“,” (Comma) (Windows).
To nudge the selected clip gain forward, do one of
the following:
Cutting, Copying, and Pasting Clip Gain
Pro Tools 10 lets you cut, copy, and paste clip
gain settings, so that you can apply the clip gain
settings from one clip to any other. Clip gain
settings cannot be cut, copied, or pasted across
clip boundaries.
To cut clip gain settings:
Select a single whole clip or make an Edit selection within a single whole clip.
1
2
• Choose Edit > Cut Special > Cut Clip Gain.
Press Control+Shift+“.” (Period) (Mac) or
Start+Shift+“.” (Period) (Windows).
• Press Control+Shift+X (Mac) or
Start+Shift+X (Windows).
– or –

 Press Control+Shift+“/” (Slash) (Mac) or
Start+Shift+“/” (Slash) (Windows).
Clearing Clip Gain
Pro Tools 10 lets you clear the clip gain settings
for the current Edit selection. This resets the
clip gain for the selection to 0 dB. For clips only
partially included in the Edit selection, only the
clip gain settings within the Edit selection are
affected.
The selected clip gain settings are cut and copied
to the clipboard. Clip gain breakpoints on the
clipboard are time-stamped with the playback
times in the timebase of the track being copied
(which means you can cut and paste clip gain
settings from clips on tick-based tracks and have
the pasted clip gain settings match the corresponding bar:beat locations of clips on other
tick-based tracks).
You can cut clip gain settings from any Edit
selection. However, if you want to cut and
paste clip gain settings, you can only paste
the clip gain settings cut from a single clip.
To clear clip gain, do one of the following:

Right-click a clip or Edit selection and choose
Clip Gain > Clear Clip Gain.
Right-click the Clip Gain Fader icon for a single clip and choose Clear Clip Gain.

 Select a clip or make an Edit selection and
choose Edit > Clip Special > Clear Clip Gain.
Select a clip or make an Edit selection and
press Control+Shift+B (Mac) or Start+Shift+B
(Windows).

 Press Option (Mac) or Alt (Windows) and
click Clip Gain Fader icon for a single clip.
28
Do one of the following:
Press Control+Shift+“+” (Plus) (Mac) or
Start+Shift+“+” (Plus) (Windows).

What’s New in Pro Tools and Pro Tools HD 10.0
To copy clip gain settings:
Select a single whole clip or make an Edit selection within a single whole clip.
1
2
Do one of the following:
• Choose Edit > Copy Special > Copy Clip
Gain.
• Press Control+Shift+C (Mac) or
Start+Shift+C (Windows).
• Right-click any single whole clip selection
and choose Clip Gain > Copy Clip Gain.
The selected clip gain settings are copied to the
clipboard. Clip gain breakpoints on the clipboard are time-stamped with the playback times
in the timebase of the track being copied (which
means you can copy and paste clip gain settings
from clips on tick-based tracks and have the
pasted clip gain settings match the corresponding bar:beat locations of clips on other tickbased tracks).
To paste clip gain settings:
1
Cut or Copy the clip gain settings you want.
2
Do one of the following:
Converting Clip Gain and Track
Volume Automation
(Pro Tools HD or Pro Tools with Complete
Production Toolkit Only)
Pro Tools 10 lets you convert clip gain settings
to track-based volume automation, as well as
letting you convert track-based volume automation to clip gain settings.
When converting clip gain settings to volume
automation, the clip gain settings are cut from
the clip and pasted to track-based volume automation at the same timeline locations as the
clip.
• Select another clip.
• Make an Edit selection within a single
whole clip.
• Place the Edit In Point where you want the
cut or copied clip gain settings to be pasted.
3
Do one of the following:
• Choose Edit > Paste Clip Gain.
– or –
• Press Command+V (Mac) or Control+V
(Windows).
The clip gain settings on the clipboard are
pasted into the clip starting at the Edit In Point.
The clip gain settings are pasted in their entirety, but only apply to a single clip. If the
pasted clip gain settings extend beyond the end
of the clip, they are all still associated with the
clip. This means that if you trim out the clip
later, the pasted clip gain is revealed. When
pasting clip gain within a clip (rather than to a
single whole clip of the same duration), breakpoints are added before and after the pasted data
so that any clip gain settings outside the paste
do not change.
When converting track-based volume automation to clip gain, the volume automation is cut
from the track volume automation playlist and
pasted to the clip. Once volume automation has
been converted to clip gain, the clip gain settings stay with the clip when moved, cut, copied,
or pasted.
To convert clip gain settings to track-based
volume automation:
1
Select a clip or make an Edit selection.
2 Choose Edit > Automation > Convert Clip Gain to
Volume Automation.
Any clip gain settings above +12 dB are lost
when converted to volume automation. Also,
clip gain settings within crossfades are crossfaded as part of the volume automation.
To convert track-based volume automation to clip
gain:
1
Select a clip or make an Edit selection.
2
Choose Edit > Automation > Convert Volume to
Clip Gain.
Chapter 4: New Editing Features and Enhancements
29
Coalescing Clip Gain and Track
Volume Automation
(Pro Tools HD or Pro Tools with Complete
Production Toolkit Only)
Pro Tools 10 lets you coalesce clip gain settings
to track-based volume automation, as well as
letting you coalesce track-based volume automation to clip gain settings.
When coalescing clip gain settings to volume automation, the clip gain settings are cut from the
clip and coalesced with track-based volume automation at the same timeline locations as the
clip.
When coalescing track-based volume automation to clip gain, the volume automation is cut
from the track volume automation playlist and
coalesced with the selected clip gain settings.
Once volume automation has been coalesced to
clip gain, volume automation is set to 0 dB for
the selection.
To coalesce clip gain settings to track-based
volume automation:
1
Select a clip or make an Edit selection.
2 Choose Edit > Automation > Coalesce Clip Gain
to Volume Automation.
To coalesce track-based volume automation to
clip gain settings:
1
Select a clip or make an Edit selection.
2
Choose Edit > Automation > Coalesce Volume to
Clip Gain.
Any clip gain settings above +12 dB are lost
when it is coalesced to volume automation.
Also, clip gain within crossfades is crossfaded as part of the volume automation.
Bypassing Clip Gain
Pro Tools 10 lets you bypass the current clip
gain settings for any selected whole clip. This
means that you can hear the clip without any
clip gain adjustments without losing your current clip gain settings.
To bypass (or unbypass) clip gain for a clip, do one
of the following:
 Select one or more whole clips and choose Clip
> Clip Gain > Bypass Clip Gain (or choose Clip >
Clip Gain > Unbypass Clip Gain).
 Right-click the Clip Gain Fader icon for a clip
and select (or deselect) Bypass.
 Right-click a clip or an Edit selection and
choose Clip Gain > Bypass Clip Gain (or choose
Clip Gain > Unbypass Clip Gain).
The clip gain settings for any whole clips within
the Edit selection are bypassed (or unbypassed).
30
What’s New in Pro Tools and Pro Tools HD 10.0
Rendering Clip Gain
Importing Clip Gain
Pro Tools 10 lets you render the current clip
gain settings for any selected whole clip. Rendering clip gain applies the current clip gain settings to a new clip and sets the clip gain settings
for the new clip to 0 dB.
Pro Tools 10 lets you import clip gain settings
from AAF sequences exported from Media Composer. When importing an AAF sequence, the
Import Session Data dialog provides a new Import Clip Gain option.
To render clip gain for a clip, do one of the
following:
To import clip gain from an AAF sequence:
1
Select one or more whole clips and choose
Clip > Clip Gain > Render Clip Gain.
2
 Right-click the Clip Gain Fader icon for a clip
and choose Render Clip Gain.
3

Right-click a clip or an Edit selection and
choose Clip Gain > Render Clip Gain.

Choose File > Import > Session Data.
In the resulting Open dialog, navigate to and
select the AAF sequence you want to import.
Click OK.
Enable the Import Clip Gain option (and configure any other options as desired).
4
Clip gain for any whole clips within the Edit selection is rendered and their clip gain settings
are reset to 0 dB.
For clips with any clip gain settings other
than 0 dB, the Prepare DPE Tracks command (for DestructivePunch) automatically
renders all clip gain settings and resets all
clip gain settings to 0 dB.
Translation settings, Import Clip Gain option enabled
5
Click OK.
When rending AudioSuite processing in an
AudioSuite mode that renders in clip gain,
any clip gain settings are rendered first, and
then AudioSuite processing is applied. Clip
gain is reset to 0 dB for the resultant clip.
However, when creating individual files
with AudioSuite rendering, or overwriting
files clip-by-clip, clip gain settings are preserved.
For more information, see “Conditions for
AudioSuite Rendering with Handles, Fades,
Clip Gain, and Metadata” on page 48.
Chapter 4: New Editing Features and Enhancements
31
Exporting Clip Gain with AAF
Clip gain settings can be exported with an AAF
sequence and can be imported (and preserved)
in Media Composer.
When exporting selected tracks as an AAF sequence, clip gain is either rendered or exported
for each clip depending on the individual clip
gain settings. For any clip with static clip gain
that does not exceed +12 dB, the clip gain setting is exported with the clip. For any clip with
dynamic clip gain or any clip gain setting that
exceeds +12 dB, the clip is rendered with the
current clip gain settings and the rendered clip
is exported.
To be able to export clip gain settings with
an AAF sequence, ensure that the Enforce
Avid Compatibility option is enabled. If this
option is not enabled, clip gain settings are
not exported.
Clip Gain and Clip Groups
Clip gain settings for individual clips are preserved in clip groups. Additionally, you can adjust the clip gain settings for clip groups themselves. To adjust the clip gain settings for
individual clips within a clip group, the clips
must first be ungrouped, edited, and then regrouped.
Clip gain settings are preserved when clip
groups are exported as clip group files. These
clip groups files can then be imported into other
sessions with the same clip gain settings.
32
What’s New in Pro Tools and Pro Tools HD 10.0
Clip List Reveal In
Finder/Explorer Right-Click
Command
Pro Tools 10 lets you Right-click any individual
clip in the Clip List to reveal the parent file in
the Finder (Mac) or Windows Explorer (Windows).
To reveal the parent file for a clip in the Clip List:

Right-click a clip in the Clip List and choose
Reveal in Finder (Mac) or Reveal in Explorer
(Windows).
24-Hour Timeline
Pro Tools 10 now provides a full 24-hour Timeline available at all sample rates. You can now
set a SMPTE Start Frame for your session at any
location in the Timeline and it can cross from
23:59:59:29 to 00:00:00:00 (commonly referred
to as the “midnight” boundary). This is useful
when working with multiple reels compiled at
hour intervals, and when working with dialog
that is spotted to time-of-day (TOD) timecode.
In lower versions of Pro Tools and with Avid
Media Composer, the Timeline is limited to just
under twelve hours at 44.1 kHz and 48 kHz sample rates, and just under six hours at 88.2 kHz
and 96 kHz.
Field Recorder Workflow
Improvements
(Pro Tools HD or Pro Tools with Complete
Production Toolkit Only)
For more information on Pro Tools field
recorder workflows and features, see the
Pro Tools Reference Guide.
Field Recorder Guide Track
With Pro Tools 10, to enable Field Recorder
functionality on a track, you designate it as a
Field Recorder Guide Track. This allows
Pro Tools to optimize performance by only creating match lists for designated tracks.
Don’t Convert Preference
In some workflows, production audio is recorded at 48,048 Hz to compensate for a pull
down that is applied downstream in the workflow. With Pro Tools 10, you can choose to pull
these files down to 48,000 Hz in real time during
playback, by enabling the Don’t Convert Sample
Rate on Import from Workspace/Desktop option
in Pro Tools Preferences ( Preferences > Processing > Import).
In lower versions of Pro Tools, enabling this
function requires a more complex procedure,
done during each import.
In lower versions of Pro Tools, match lists were
created for every audio track in a session, which
took additional time and system resources.
Search for Matches Outside the
Session
Pro Tools 10 lets you search outside the current
session for field recorder files, so that you can
import only the audio you need, saving time and
disk space.
Lower versions of Pro Tools can only search the
contents of the Clip List for matching field recorder channels. Due to the large amount of raw
production field recorder files in many projects,
having to import all of these into the session can
be problematic.
Press Command+Option+Up/Down Arrow
(Mac) or Control+Alt+Up/Down Arrow
(Windows) to toggle field recorder matches
found inside the session.
Chapter 4: New Editing Features and Enhancements
33
34
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 5: New Mixing Features and
Enhancements
Solo and Mute Status
Indicators in the Edit Window
Pro Tools 10 provides two new visual indicators
in the Edit window for quickly seeing whether or
not any tracks in the session are soloed or
muted. This is especially useful for sessions with
a lot of tracks where tracks that are soloed or
muted may be scrolled out of view.
Track Mute Indicator Lights orange when any
track in the session is muted. When no tracks in
the session are muted, the Track Mute indicator
appears dim green.
Note that because Mute is an automatable mixing function, the Track Mute indicator does not
function to clear all mutes when clicked.
Automation Follows Edit
Indicator
Track Solo indicator
Track Mute indicator
Track Solo and Mute indicators in the Edit window
Track Solo Indicator Lights yellow when any
Pro Tools 10 provides a visual indicator in the
Edit window to show whether or not the Automation Follows Edit option is enabled. When the Automation Follows Edit indicator is lit, the option
is enabled. When it is unlit, it is disabled. You
can also click the Automation Follows Edit indicator to enable or disable the option.
track in the session is soloed. When no tracks in
the session are soloed, the Track Solo indicator
appears dim green. For systems using Satellite
Link, the Track Solo indicator lights dim yellow
when a track is soloed on any satellite system.
If the Track Solo indicator is lit, you can click it
to clear all solo’d tracks in the session.
Automation Follows Edit indicator in the Edit window
In lower versions of Pro Tools, you have to view
the option in the Options menu to visually determine whether or not it is enabled.
Chapter 5: New Mixing Features and Enhancements
35
Sync Status Indicators in the
Edit Window
(Pro Tools HD Software with a SYNC Peripheral
Only)
Pro Tools HD 10 now provides graphic indicators in the Edit window for Video Reference,
Sync Lock, and Speed Calibration. In lower versions of Pro Tools, you have to view the Session
Setup window (which takes up valuable screen
space) or the front panel of the SYNC peripheral
to view these indicators.
• Yellow Solid: SYNC|HD is locked and the
clock reference is within 0.025% of the expected rate.
• Yellow Flashing Fast: SYNC|HD is locked
but the clock reference is between 0.025%
and 4% faster than the expected rate.
• Yellow Flashing Slow: SYNC|HD is locked
but the clock reference is between
0.025%and 4% slower than the expected
rate.
• Red Flashing Fast: SYNC|HD is locked but
the clock reference is more than 4% faster
than the expected rate.
Sync Status indicators in the Edit window
• Red Flashing Slow: SYNC|HD is locked but
the clock reference is more than 4% slower
than the expected rate.
To view the Sync Status indicators in the Edit
window:
• Unlit: SYNC|HD is not locked to the chosen
clock reference.
In the Edit Window menu, enable Synchronization.

Reference Present Indicator Lights when the
Video Ref In connector is receiving a valid video
signal.
Locked Indicator Lights solid green when a
SYNC peripheral is locked to the selected clock
reference. The Locked indicator flashes yellow if
the selected clock reference source is missing or
out of lockable frequency range.
Speed Cal Indicator Shows the status of the incoming clock reference, depending on the type
of SYNC peripheral you are using.
36
• SYNC|HD
What’s New in Pro Tools and Pro Tools HD 10.0
• SYNC I/O
• Lit: SYNC I/O is locked and the clock reference is within 0.025% of the expected rate.
• Flashing fast: SYNC I/O is locked but the
clock reference is more than 0.025% faster
than the expected rate.
• Flashing slow: SYNC I/O is locked but the
clock reference is more than 0.025% slower
than the expected rate.
• Unlit: Clock reference is not within 0.025%
of the expected rate.
Bus Interrogation
Pro Tools 10 lets you select or show tracks based
on the track input or output assignment, send
assignment, or hardware insert assignment.
This can be useful for quickly identifying all
tracks that use a specific input, internal bus,
output bus, or hardware insert.
To select tracks based on the track Input or Output
assignment, Send assignment, or Hardware Insert
assignment:
 Right-click the assignment selector and
choose Select Assignments To for the bus you
want.
Right-click the assignment selector and choose
from the following options:
Select Assignments To This option selects all
tracks that use a specific input, internal bus,
output bus, or hardware insert.
Show Assignments To This option shows all
tracks, including hidden tracks, that use a specific input, internal bus, output bus, or hardware insert. All other tracks remain shown as
well.
Show Only Assignments To This option shows
only those tracks that use a specific input, internal bus, output bus, or hardware insert. All
other tracks are automatically hidden.
Restore Previously Shown Tracks This option
restores the previous state of shown and hidden
tracks. This option is only available if tracks
have been hidden by using the Show Only Assignments To option.
Press Option (Mac) or Alt (Windows) while
Right-clicking and selecting any of the Bus
Interrogation commands to apply the command to all related paths and sub-paths.
For example, Press Option (Mac) or Alt
(Windows) while Right-clicking an output
selector and choosing Show Only Assignments To Bus 1. If Bus 1 is a sub-path of Bus
1–2, all tracks using path Bus 1–2, and all
tracks using sub-paths Bus 1 and Bus 2 are
shown, and all other tracks are hidden.
Choosing the Select Assignments to Bus 1–2 option
To show all tracks based on the track Input or
Output assignment, Send assignment, or
Hardware Insert assignment:
 Right-click the assignment selector and
choose Show Assignments To for the bus you
want. Any hidden tracks with the corresponding
assignment are shown.
To show only tracks based on the track Input or
Output assignment, Send assignment, or
Hardware Insert assignment:
 Right-click the assignment selector and
choose Show Only Assignments To for the bus
you want. All other tracks are automatically hidden.
Choosing the Show Only Assignment to Bus 5–6
option
Chapter 5: New Mixing Features and Enhancements
37
To restore all previously shown tracks:
 Right-click any assignment selector and
choose Restore Previously Shown Tracks.
Choosing the Restore Previously Shown Tracks
option
Support for 12 Systems with
Satellite Link
(Pro Tools HD or HD Native Only)
With Pro Tools 10, the number of systems that
can be linked with the Avid Satellite Link option
increases to twelve. Lower versions of Pro Tools
only supported up to five satellites.
Pro Tools 10 lets you link up to twelve Pro Tools
systems (or up to eleven Pro Tools systems and a
Video Satellite or Video Satellite LE system)
over an Ethernet network, so that you can cue,
play, and stop the transports, make play selections, and solo tracks across any of the systems
from any linked workstation.
To use more than five satellites, all linked systems must be running Pro Tools 10.
For complete information on configuring
and using the Satellite Link option, see the
Satellite Link Guide.
38
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 6: New Control Surface and
Worksurface Features and Enhancements
D-Command Multi-Mode
Pro Tools 10 adds Multi-mode capability to
D-Command consoles.
D-Command Multi-mode lets you use a single
D-Command console to access two Pro Tools
systems on a network. In Multi-mode, you can
quickly switch worksurface control from one
system to the other by pressing a single switch
on the console.
When a D-Command unit is in Multi-mode,
it is not possible to update its firmware. To
allow updating of D-Command firmware
from Pro Tools, first take the unit out of
Multi-mode.
Enabling Multi-Mode
To enable a D-Command console to be declared
on two Pro Tools systems, the D-Command Main
Unit and any Fader Modules must first be placed
in Multi-mode.
To place a D-Command unit in Multi-mode:
If a D-Command is declared on a system, do
one of the following:
1
• Quit Pro Tools.
– or –
• Undeclare the D-Command in the Pro Tools
Peripherals dialog.
Press and hold the Solo switch on the left-most
Channel Strip on the unit for approximately
three seconds.
2
When in Multi-mode, the unit displays “D-Command Multi-Mode” in the Soft Keys (on a Main
Unit) or in the Channel Displays (on a Fader
Module).
Chapter 6: New Control Surface and Worksurface Features and Enhancements
39
Declaring D-Command Units when in
Multi-Mode
Using D-Command Multi-Mode
When a D-Command unit is in Multi-mode, it
appears in the Peripherals dialog twice, with the
numbers “1” and “2” appended to its name.
These two listings can then be declared on different Pro Tools systems on the network.
When two Pro Tools systems are available in
Multi-mode, you can view their transport synchronization status and instantly switch between them using the Machine switch in the
Transport Modes section of the Transport controls.
To declare D-Command units in Multi-mode:
Pro Tools System Status Indication
On the first Pro Tools system, choose Setup >
Peripherals, and click Ethernet Controllers.
1
In the Ethernet Controllers page, select Enable. Pro Tools scans the Ethernet connection
2
and finds the Multi-mode enabled D-Command
units.
Declare the Main Unit and Fader Modules that
end in the suffix “1,” in the order you want the
units arranged from left to right.
3
4
The Machine switch shows the status of available Pro Tools systems as follows:
Pro Tools system status indications
Mach switch
state
Off
No Pro Tools system available
Flashing
Available Pro Tools system,
stopped or not locked to timecode, or error dialog on
Pro Tools system
On (solid)
Available Pro Tools system,
locked to timecode
Click OK to close the Peripherals window.
On the second Pro Tools system, repeat the
above steps, declaring the Main Unit and Fader
Modules that appear with the suffix “2,” in the
same order from left to right as you declared
them on the first Pro Tools system.
Indication
5
As you declare the D-Command units from each
Pro Tools system, the Machine switch in the
Transport Modes section of the Transport controls flashes to indicate that system is available.
40
What’s New in Pro Tools and Pro Tools HD 10.0
Switching Control Between Pro Tools
Systems
When a Pro Tools system is indicated as available, you can switch control to that system by
pressing the Machine switch in the Transport
Modes section of the Transport controls.
Enhanced EUCON Support
(Pro Tools with EuControl Software and an
Avid Artist or Pro Series Media Controller
Only)
In Pro Tools 10, over 500 Pro Tools commands,
shortcuts, and other functions have been
“EUCON-ized,” and are now available for Soft
Key assignment using EuControl software.
These include all main menu commands, keyboard shortcuts, Transport, automation, and
other actions.
Default Application Sets are provided by EuControl software (for Artist Series only). For Pro series, the default application sets are provided by
MC App (for MC Pro or System 5-MC), or with
eMix (System 5 and its variants). The default application sets include the most commonly used
functions appropriate for each unit. You can
customize the Soft Keys at any time to best suit
your projects and workflow
For a list of all EUCON-ized Pro Tools commands available in EuControl for Pro Tools 10,
see the Pro Tools EUCON Guide.
For instructions on how to use EuControl software to program the Soft Keys, as well as how to
take advantage of track layouts and other features, see the EUCON Application Setup Guide.
For step by step instructions on how to use Artist Control, Artist Mix, and Artist Transport
with Pro Tools, see the Artist Series and Pro
Tools Guide.
Chapter 6: New Control Surface and Worksurface Features and Enhancements
41
42
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 7: New Plug-In Formats, Plug-Ins,
and AudioSuite Improvements
New AAX Plug-In Format
The new Avid Audio Extension (AAX) plug-in
format provides real-time plug-in processing
using host-based (“Native”) processing. The
AAX plug-in format also supports AudioSuite
non-real-time, file-based rendered processing.
AAX plug-in files use the “.aax” file suffix.
The follow three new AAX format plug-ins are
included with Pro Tools 10:
• Avid Channel Strip
• Avid Down Mixer
• Mod Delay III
Native and DSP Plug-In Insert
Processing
(Pro Tools|HD Systems Only)
With Pro Tools 10, plug-ins are categorized as
Native or DSP in the track Insert selector. The
Native (or host-based) category includes all
RTAS and host-based AAX plug-ins. The DSP
category includes TDM plug-ins.
Plug-In Insert categories, DSP plug-in selected
Chapter 7: New Plug-In Formats, Plug-Ins, and AudioSuite Improvements
43
Avid Channel Strip Plug-In
Avid Down Mixer Plug-In
Pro Tools 10 includes the new Avid Channel
Strip plug-in. Avid Channel Strip provides EQ,
Dynamics, Filter, and Gain effects. The Avid
Channel Strip processing algorithms are based
on the award winning Euphonix System 5 console channel strip effects.
Pro Tools 10 includes the new Avid Down Mixer
plug-in that can be used to automatically mix
greater-than-stereo multichannel tracks (such
as 5.1) down to stereo (Pro Tools HD and
Pro Tools with Complete Production Toolkit
only) or stereo tracks down to mono.
Avid Channel Strip is available in AAX (Native)
and AudioSuite formats, and supports 44.1 kHz,
48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz and
192 kHz sample rates.
Avid Down Mixer is an AAX plug-in (Native),
and supports 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz and 192 kHz sample rates.
For more information, see the Audio
Plug-Ins Guide.
For more information, see the Audio
Plug-Ins Guide.
Down Mixer plug-in controls, 5.1 to stereo format
shown
Channel Strip plug-in
44
What’s New in Pro Tools and Pro Tools HD 10.0
Opening Multiple AudioSuite
Plug-In Windows
Mod Delay III
Pro Tools 10 includes the new Avid Mod Delay
III plug-in for multichannel and multi-mono
modulating delay effects.
Mod Delay III is available in AAX (Native) and
AudioSuite formats, and supports 44.1 kHz,
48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz and
192 kHz sample rates.
Pro Tools 10 lets you view multiple AudioSuite
Plug-In windows at the same time. As with realtime plug-ins, the AudioSuite plug-ins window
now provides a Target button. Untargeted plugin windows remain open, while the targeted
plug-in window can switch between different
AudioSuite plug-ins and receive keyboard input.
To target or untarget AudioSuite plug-in windows:
For more information, see the Audio
Plug-Ins Guide.
 Click the Target button in the AudioSuite
plug-in window so that it is lit (targeted) or unlit
(untargeted).
Target button in the AudioSuite plug-in window
Mod Delay III plug-in controls, mono format shown
AudioSuite Improvements
Pro Tools 10 provides the following improvements for working with AudioSuite plug-ins and
AudioSuite rendered audio clips:
• Ability to open multiple AudioSuite Plug-In
windows
• Fades Preserved after AudioSuite render
• Clip metadata preserved after AudioSuite
render
• Handles for trimming out AudioSuite rendered clips
Press the Shift key while selecting another
plug-in from the AudioSuite menu to open
another untargeted AudioSuite plug-in.
Fades Preserved with
AudioSuite Render
In certain cases, fades and crossfades are preserved with AudioSuite rendering, while in
other cases, fades and crossfades are also rendered (see “Conditions for AudioSuite Rendering with Handles, Fades, Clip Gain, and Metadata” on page 48). This means that you can
render an Edit selection with AudioSuite processing and still be able to edit any fades and
crossfades afterward.
• Reverse option for Delay and Reverb
AudioSuite plug-ins
Chapter 7: New Plug-In Formats, Plug-Ins, and AudioSuite Improvements
45
Clip Metadata Preserved with
AudioSuite Render
Pro Tools 10 preserves clip metadata for AudioSuite rendered clips under certain conditions
(see “Conditions for AudioSuite Rendering with
Handles, Fades, Clip Gain, and Metadata” on
page 48). This is especially useful when working
with clips imported from field recorders and
from AAF sequences exported from Media Composer.
AudioSuite Handles
Pro Tools 10 lets you render clips with AudioSuite plug-ins and include “handles” beyond the
current Edit selection from 0.00 to 60.00 seconds, or even the whole file referenced by the
clip. This means that you trim clips out past the
rendered selection after processing.
In lower versions of Pro Tools, AudioSuite processing only affects the current Edit selection
and creates a new file of the exact same length.
The resulting region (clip) cannot be trimmed
out beyond the processed selection. However,
with Pro Tools 10, the resulting rendered clip
can be trimmed out to the specified handle
length, or even up to the whole file referenced by
the original clip (if the Whole File option is selected before rendering).
Additionally, with the introduction of real-time
fades in Pro Tools 10, fades and crossfades can
be preserved or rendered depending on the
AudioSuite Rendering mode and File mode
settings. In lower versions of Pro Tools, fades
and crossfades are always rendered with AudioSuite processing.
However, rendering AudioSuite processing does
not necessarily create AudioSuite handles in all
circumstances. For more information, see “Conditions for AudioSuite Rendering with Handles,
Fades, Clip Gain, and Metadata” on page 48.
46
What’s New in Pro Tools and Pro Tools HD 10.0
To render a clip with AudioSuite handles:
Make the audio selection that you want to render.
1
Select the AudioSuite plug-in you want to use
from the AudioSuite menu.
2
Adjust the AudioSuite plug-in options and settings as desired.
3
4
Do one of the following:
• In the Handle Length field, enter the desired Handle Length (0.00 to 60.00 seconds). The default Handle Length can be set
in the Preferences dialog.
Handle Length field in the AudioSuite plug-in window
– or –
• Select the Whole File option to render the
whole file. Note that only the current Edit
selection will appear in the Timeline.
Whole File option selected in the AudioSuite plug-in
window
The selection is rendered as a new clip whose
duration exactly matches the selection. However, the clip can be trimmed out as far as the
specified Handle Length.
New AudioSuite Default Handle Length
Preferences
Pro Tools 10 provides two new preferences for
setting the default Handle Length for AudioSuite and clip gain rendering.
To set the default AudioSuite Handle Length:
1
Choose Setup > Preferences.
2
Click the Processing tab.
3 In the AudioSuite section, select one of the following options:
• Whole File—by default, renders the whole
file referenced by the selection.
– or –
• Length—by default, renders the selection
plus any additional available audio up to
the specified Handle Length (0.00 to 60.00
seconds)
Default Handle Length in the AudioSuite section of the
Processing Preferences
4
Click OK.
Chapter 7: New Plug-In Formats, Plug-Ins, and AudioSuite Improvements
47
Conditions for AudioSuite Rendering with Handles, Fades, Clip Gain,
and Metadata
Most AudioSuite plug-ins provide several options for rendering clips, but only certain settings let you
apply AudioSuite handles. For example, AudioSuite Handles are not available with Entire Selection
mode (since the point of this option is to render the whole selection only). Fades and crossfades, and
clip gain settings are preserved or rendered depending on the File mode and AudioSuite Rendering
mode settings. Additionally, clip metadata can be preserved for rendered clips under certain conditions. The following conditions apply.
Handle creation, and Fade, Clip Gain, and Metadata preservation criteria for AudioSuite rendering
File Mode
Rendering
Mode
Handle
Behavior
Whole File
Fades
Clip Gain
Metadata
Overwrite
File
Clip By
Clip
No Handles
Unavailable
Preserved
Preserved
Preserved
Overwrite
File
Entire
Selection
No Handles
Unavailable
Rendered
Rendered
Preserved
Individual
Files
Clip By
Clip
Handles created
Available
Preserved
Preserved
Preserved
Individual
Files
Entire
Selection
No Handles
Unavailable
Rendered
Rendered
Preserved
Continuous
File
Clip By
Clip
Handles created at the
beginning and
end of the new
continuous file
Unavailable
Rendered
Rendered
Not preserved
Continuous
File
Entire
Selection
Handles created at the
beginning and
end of the new
continuous file
Unavailable
Rendered
Rendered
Not preserved
Some plug-ins that rely on the Edit selection for processing (including plug-ins that require an analysis
pass) may not work as expected when using handles. In this case, it is recommended that the handle
length be set to zero.
Destructive recording and Destructive Punch recording are not supported with AudioSuite rendered
clips with handles.
48
What’s New in Pro Tools and Pro Tools HD 10.0
Reverse Option for Delay and
Reverb AudioSuite Plug-Ins
Pro Tools 10 provides a new Reverse button in
the AudioSuite plug-in window footer for Reverb and Delay plug-ins. This lets you easily render reverse delay and reverb effects with a single
click. Clicking the Reverse button provides
three processes in one:
• First, it reverses the Edit selection.
• Then, it processes the reversed Edit selection with the current plug-in settings.
• Finally, it reverses the processed Edit selection.
Pro Tools Plug-Ins
Marketplace
Pro Tools 10 provides a Marketplace option for
plug-ins in the insert selector and the AudioSuite menu. This lets you find plug-ins in the
Avid online store for rent or purchase.
To browse plug-ins for rent or purchase in the Avid
online store:

Do one of the following:
• From the Insert selector for Plug-Ins (Native systems), or DSP plug-ins or Native
plug-ins (Pro Tools|HD systems), choose
Avid Marketplace.
• From the AudioSuite menu, choose Avid
Marketplace.
• Choose Marketplace > Plug-Ins.
The Pro Tools in-application browser launches
and you can shop at the Avid online store for
Pro Tools plug-ins.
Chapter 7: New Plug-In Formats, Plug-Ins, and AudioSuite Improvements
49
50
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 8: Storage and Disk Performance
Enhancements
New Disk Engine
Pro Tools HD and Pro Tools 10 use a completely
new disk engine that greatly increases performance for audio recording and playback. As a
consequence, the DAE Playback Buffer Size setting provided in the Playback Engine in lower
versions of Pro Tools is no longer necessary and
had been removed. Also, for Pro Tools software
only, the Cache Size setting has been removed
as well.
Additionally, the Open-Ended Record Allocation
settings provided in the Operation Preferences
in lower versions of Pro Tools are no longer necessary and have been removed.
To determine the maximum amount of RAM
available for Disk Cache, Pro Tools polls the
computer for the amount of RAM installed and
subtracts 3 GB with Mac systems or 4 GB with
Windows systems.
For example, if your computer has 12 GB of
RAM installed, the total amount of RAM available for the Disk Cache will be 9 GB (Mac) or 8
GB (Windows).
Note that Windows systems reserve more RAM
for the system than Mac systems.
You can use the Cache Meters in the System
Usage window to determine whether or not
to assign more or less RAM to the Disk Cache
for the current session.
New Disk Cache Settings
To set the amount of RAM for use by the Disk
Cache:
(Pro Tools HD and Pro Tools with Complete
Production Toolkit Only)
1
Pro Tools HD and Pro Tools with Complete Production Toolkit now let you load audio files used
in Pro Tools sessions into RAM for cached playback. Pro Tools prioritizes files closest to the
current playhead location. This way, when you
start playback, those files are already cached for
playback. This is especially useful when working
with shared media storage (such as with Avid
Unity MediaNetwork and ISIS shared storage
systems).
Choose Setup > Playback Engine.
2 From the Disk Cache selector, select the
amount of RAM you want to allocate for Disk
Cache.
3
Click OK.
Chapter 8: Storage and Disk Performance Enhancements
51
Cache Meters in the System
Usage Window
Pro Tools HD 10 provides two new meters in the
System Usage window for monitoring the Disk
Cache: Disk Cache and Timeline Cached. These
meters are only present if a fixed Cache Size is
selected in the Playback Engine dialog.
Disk Cache Displays the percentage of how
much of the allocated disk cache is filled. For example, if the Cache Size in the Playback Engine
is set to 1 GB and a session uses 250 MB of audio
files, the Disk Cache meter reads 25%. If all of
the audio in the session is cached (including
files in the Clip List that are not on the timeline), the Disk Cache meter appears green.
Timeline Cached Displays the amount of audio
in the session Timeline cached in RAM.
If the selected Cache Size in the Playback Engine is the same or greater than the amount of
audio on the Timeline, the Timeline Cache meter
reads 100% and it appears green (indicating that
all of the audio on the Timeline is cached in
RAM). This is useful for letting you know how
much audio can still be added to the Timeline
and be cached in RAM.
If the total amount of audio in the Timeline is
more than the selected Cache Size in the Playback Engine, the Timeline Cached meter shows
the percentage of audio on the Timeline that is
cached in RAM. For example, if the selected
Cache Size in the Playback Engine is 256 MB
and the amount of audio on the Timeline is 1
GB, the Timeline Cached meter reads 25%.
System Usage window showing Disk Cache and
Timeline Cached meters
Enhanced Support for
Network Attached Storage
Network Attached Storage
Pro Tools 10 supports all Mac OS X and Windows 7 supported network attached storage for
opening, playing back, and recording Pro Tools
sessions.
With Pro Tools HD and Pro Tools with Complete Production Toolkit, you can assign
more RAM than the size of the session being
opened in the RAM cache for optimal performance (Setup > Playback Engine).
With network attached storage, performance is
not guaranteed and is dependent on a variety of
factors, including:
• Type of storage (such as SATA or SAS)
• Number of disks in a RAID volume
• Network topology (such as Gigabit Ethernet, 10 Gigabit Ethernet, or Fibre Channel)
• Number of simultaneous users
52
What’s New in Pro Tools and Pro Tools HD 10.0
RAID
Pro Tools 10 supports hardware-based RAID
(redundant array of independent disks) systems
for opening, playing back, and recording Pro
Tools sessions. However, performance is not
guaranteed and is dependent on a variety of factors including network bandwidth.
As with lower versions of Pro Tools, Pro Tools
10 also supports software-based RAID systems
using ATTO RAID software, which makes several RAID volumes appear as a single volume to
the operating system.
Enhanced Support for Avid
Unity MediaNetwork and ISIS
Shared Storage
Pro Tools 10 adds the following enhancements
to working with Avid shared storage systems:
• Increased track counts and Mac streaming
support for Pro Tools on Avid Unity MediaNetwork.
• Increased track counts and Mac streaming
support for Pro Tools on ISIS 7000.
• Streaming support for Pro Tools on ISIS
5000.
• Elastic Audio processing support with Avid
shared storage.
Exact track counts may vary depending on
session size and amount of RAM allocated to
the Disk Cache (see “New Disk Cache Settings” on page 51).
For more information, see the Pro Tools
ISIS Guide and the Pro Tools Avid MediaNetwork Guide .
Chapter 8: Storage and Disk Performance Enhancements
53
54
What’s New in Pro Tools and Pro Tools HD 10.0
Chapter 9: Avid Interoperability
Enhancements
New AAF and OMF Import
and Export Features
For more information on importing and exporting AAF sequences with Pro Tools, see
the Pro Tools Reference Guide.
Real-Time Fades with AAF and
OMF Sequences
Pro Tools 10 provides real-time fades. When importing an AAF or OMF sequence into
Pro Tools, any fades in the sequence are converted to real-time fades in the Pro Tools session. When exporting an AAF sequence, fades
are rendered so that they are compatible with
Media Composer or any other third-party applications.
Multi-Channel Audio Export
With Pro Tools 10, you can now export multichannel (stereo, 5.1, or 7.1) audio tracks to AAF
as multi-channel audio files.
To export stereo, 5.1, or 7.1 tracks to AAF as multichannel audio files:
1
Pro Tools Export to OMF/AAF dialog
4 Enable the Export Stereo, 5.1, and 7.1 Tracks as
Multichannel option.
5
Set the Export As setting to AAF.
6
Enable the Enforce Avid Compatibility option.
7
Finish your AAF export as normal.
For more information on exporting AAF sequences with Pro Tools, see the Pro Tools
Reference Guide.
Surround Audio Import
With Pro Tools 10, you can now import 5.1 and
7.1 audio tracks from AAF sequences.
Select one or more stereo, 5.1, or 7.1 tracks.
2 Click File > Export > Selected Tracks as New
OMF/AAF...
3
The Export to OMF/AAF dialog appears.
Chapter 9: Avid Interoperability Enhancements
55
Clip-Based Gain Automation
With Pro Tools 10, you can now export and import clip-based gain automation, to and from
AAF sequences. Imported clip-based gain data
can be edited alongside (and used in lieu of) the
normal volume automation used in Pro Tools
(see “Importing Clip Gain” on page 15 and “Exporting Clip Gain with AAF” on page 15).
Import Rendered Audio Effects
In Pro Tools 10, the Ignore Rendered Audio Effects option has been renamed as the Import Rendered Audio Effects option. When this option is
enabled, rendered clips with audio effects from
Media Composer generated AAF sequences are
imported into Pro Tools. When this option is
disabled, the original, un-effected clip is imported.
Import Volume Automation
In Pro Tools 10, the Ignore Auto-Gain option has
be renamed as the Import Volume Automation option. When this option is enabled, volume automation is imported from AAF sequences exported from Media Composer.
24-Hour Timeline
With Pro Tools 10, you can create, import, and
combine sequences, up to a total sequence
length of 24 hours. When preparing media for
use with a Media Composer system, keep the
maximum Media Composer sequence length in
mind.
56
What’s New in Pro Tools and Pro Tools HD 10.0
New Avid Interplay Features
For more information about using
Pro Tools with Avid Interplay, see the
Pro Tools Avid Interplay Guide .
Send to Playback
With Pro Tools 10, you can export an AAF directly to a third-party playback server for immediate live playback. Use of this feature requires
the following options:
• Pro Tools Interplay software option
• Pro Tools Send to Playback software option
• Interplay Transfer system
• Avid Interplay Web Services
For more information, contact your local Avid
sales or support representative.
Choose Media Destination
With Pro Tools 10, media can be saved to your
choice of available Interplay workspaces.
When checking sequences back in to Interplay,
lower versions of Pro Tools are only able to
write media to the workspace where the first clip
in the sequence resides.
You can also now restrict access to some Interplay workspaces to ensure media is not
written to or overwritten in specified workspaces.
Check Out of Standard
Sequences
With Pro Tools 10, you can check out normal sequences as well as sequences checked in specifically for Pro Tools. Previously, Pro Tools was
only able to check out “forPT” sequences.
Timecode Mapping
Pro Tools 10 now provides the Match Timecode
option when exporting, in cases where the session start does not match the start of the destination sequence on Interplay.
When this option is selected, this will take the
timecode in/out points of the destination sequence on Interplay, and export those same
timecode positions from the Pro Tools session
to the sequence.
In Pro Tools 9 and lower, checking in tracks to a
sequence on Interplay requires that the
Pro Tools session start time match that of the
sequence. However, in some cases a Pro Tools
user may want to retain content (such as tones
or pre-roll audio), before the original sequence
start time.
Chapter 9: Avid Interoperability Enhancements
57
58
What’s New in Pro Tools and Pro Tools HD 10.0
Avid
Technical Support (USA)
Product Information
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
Visit the Online Support Center at
www.avid.com/support
For company and product information,
visit us on the web at www.avid.com