What do i need to run pro tools 10

Pro Tools HD and HD native hardware allows you to change the default sample rate from either the hardware setup window or the playback engine, it should also be noted that the sample rate setting on HD systems can have an affect on the number of voices available within your sessions. Clocks alone can be a deep subject, so while that information is useful to know, this tutorial will go as far as the brief explanation above, as well as how the clock source can be changed when setting up your hardware.

Note: Any changes you make to the clock source in the session setup window will change those in the hardware setup window, and vice versa. So now we know the basics of what a clock source is within your systems, lets take a look at a few of the likely options you will come across. This form of clocking would be beneficial when transferring material from another external digital device into Pro Tools so that they can both run in synchronicity with one another.

It should be noted that your external digital device must be connected and powered up for Pro Tools to initiate a synchronisation with it, should this not be the case, you should resort to the internal clock option.

These may seem like a bit of a novelty, but trust me when you have your les paul in your hand as well as a pair of headphone on your head, having a switch within foot reach is much easier than stretching across to your keyboard.

Thankfully this has already been thought of to save you making mistakes when defining inputs and outputs for example. To enable disk caching, you simply select a size for the cache in the Playback Engine Setup window. This size is set to 'Normal' by default, meaning that the disk playback basically works much as it did before, but you can activate disk caching by selecting an amount of memory to be used by the cache from the pop-up menu.

The amount of memory available for caching will be 3GB less than the memory installed in your Mac or 4GB less on Windows, due to differences in the OS , and can be set in 1GB increments after the initial and MB options. So if, like mine, your Mac has 16GB of memory, the maximum amount assignable for caching will be 13GB.

In practice, on my Mac, which was running Mac OS Since Pro Tools 10 is a bit application, you might be wondering how it's able to access memory beyond the usual bit boundaries. The answer is that it doesn't. Pretty neat. So if you need to free up some memory on your computer while using the disk cache, you'll need to reduce the amount of allocated memory. Once disk caching is active, the Activity section of the System Usage window will display two additional metrics: Disk Cache and Timeline Cached.

The Disk Cache meter shows how much of the cache is used, while Timeline Cached indicates how much of the audio in the current Timeline is stored in the cache. In an ideal world, the Timeline Cached value should be percent, and the Disk Cache a little lower; but you will still see benefits even if you don't have enough memory to accommodate an entire session in the cache.

However, I think most people will be surprised by how little memory you actually need to store an entire Timeline in the cache. For example, the demo song supplied with Pro Tools 10 uses only four percent of a 12GB cache. A small improvement when setting up the disk cache would be if Pro Tools could tell you how much memory would be required to cache the current Timeline in the Playback Engine window. Even though it's a global setting, rather than session-specific, it would still be helpful, since Pro Tools only allows one session to be loaded at a time anyway.

Overall, though, disk caching is a brilliantly obvious way to improve the performance of audio playback in Pro Tools. We tend to forget that in the early days of audio software, the only reason for recording directly to disk was because computers didn't have the memory capacity to store enough audio to be useful. When Pro Tools was released in , for example, a Quadra typically shipped with 4MB memory — enough for less than one minute of mono, CD-quality audio. But with modern systems having between 4GB and 64 GB of memory, redressing the balance between memory and disk usage seems like a sensible way forward.

Another apparently humble feature that may nevertheless have users reaching for the Champagne is that you can now change the gain of individual regions — sorry, I mean clips — without having to resort to automation, which is tremendously useful. By making the Clip Gain Info visible, the gain of a clip can be adjusted with a click on the fader icon that appears in the bottom left of a clip. As you adjust the gain from the default 0dB, a handy decibel label appears next to the fader icon, reporting the gain change that's been non-destructively applied.

Better still, right-clicking the fader icon provides a series of related options, where you can clear or bypass the clip gain, or even render it to an audio file. Both static and dynamic gain adjustments can now be made to clips. The upper clip has dynamic gain applied, while the lower clip has a static In addition to what Avid describe as 'static' clip gain, Pro Tools 10 also offers 'dynamic' clip gain.

As you might be able to guess, dynamic clip gain allows you to have what is, in effect, gain automation within a specific clip. This automation can be seen and edited by making the Clip Gain Line visible, whereupon you can use the pencil tool to create gain breakpoints, either by clicking to create single points, or dragging to draw multiple points.

Once you've created additional points on the Clip Gain Line, the decibel label disappears from the clip. However, what's particularly neat is that you can then click the clip's fader icon to trim the entire Gain Line. And, as well as using the on-screen fader, you can also 'nudge' the clip gain by a value specified in the Editing Preferences, using key commands, your mouse's scroll wheel, or a EUCON-compatible controller.

If Avid had stopped there, clip gain would already be pretty indispensable, but the company's developers have gone a few steps further. Not only is it possible to cut, copy, and paste clip gain settings between different clips, but Pro Tools HD and Complete Production Toolkit users can convert between clip gain settings and track volume automation.

While competing applications have had the ability to apply per-clip gain settings for some time Nuendo had this feature on its release 10 years ago, for example , Avid's implementation is incredibly thorough, and should be welcomed by anyone who edits audio in Pro Tools.

To complement the new clip gain functionality and the new disk engine, clip fades in Pro Tools 10 are now calculated in real time, rather than having to be written and played back from disk. This is another welcome improvement, since it renders — no pun intended — the regeneration of fade files when you forget to copy the Fades folder a thing of the past. When Avid acquired Euphonix in , the company gained a great deal of expertise and technology relating to mixing consoles and control surfaces.

Although it had previously been possible to use Euphonix's products with Pro Tools, users had to resort to clunky workarounds involving Mackie's HUI protocol. So it was perhaps no surprise that Pro Tools 9, released towards the end of , incorporated native support for Euphonix's EUCON control surface protocol, making it much easier to control Pro Tools' mixer from Euphonix's Artist and Pro series products.

EUCON support has been further enhanced in Pro Tools 10, so that almost every Pro Tools command, such as those normally accessed via menus or keyboard shortcuts, can be assigned to the Soft Keys on your Euphonix surface. It's mainly used when you don't have a proper audio interface or for some reason the audio interface's own drivers aren't performing as they should be. These are the slots that you can install expansion cards into.

Remove the existing sound card if necessary. Insert the new card. Secure the card with a screw. Close the case. It all depends on your level of experience and the size of your projects. The top 10 best computers for music production and recording Apple MacBook Pro. Here's the top Mac laptop for music making.

Lenovo ThinkPad. We're typing on one of these right now. Apple iMac. Lenovo ThinkServer. Dell Inspiron I did try going back to Windows 7 but that didn't work either. I'm sorry I can't give you more information. If I click on Pro Tools, both the shortcut and the root in the Digi folder, it fails to open and gives no error message. So we asked our resident Pro Tools Windows specialist Alan Sallabank for his take and advice on this and this is his response My advice to always do a clean install of Windows 10, is born out of the fact that six months ago I had an absolute nightmare with a Win 7 to Win 10 upgrade.

However recently I've had better experiences with a couple of machines.