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You should upgrade or use an alternative browser. Could someone explain to me what makes this DAW so special? I understand that Pro Tools was the first to have things like 48khz audio sampling or something similar to that and its the first one to be installed in major studios, but apart from that, why is it so popular?
This might've been a social phenomenon, people assign greater worth to things if proved successful to other person. In social psychology, this is referred to as "social conformity" where humans will follow others in order to limit a risk factor in their own investment, if someone else has a good experience doing something, another person is more likely to follow suit, because if witnessed another's success, said thing becomes less mysterious and less risky.
Probably went a little too deep with this.. KonKossKang Ozagas. In this window you will want to give your session a name, choose a recording file format WAV, AIFF, etc , sample rate, bit depth and a project location.
If you are using an external sound card or interface then the next thing you should do is make sure it is configured properly. From the Setup menu, choose Playback Engine. In this menu you will be able to choose from the available audio devices on your system and select a buffer size. Here you will find separate tabs for Inputs, Outputs and Busses. In the dialogue that follows you can choose between audio, MIDI and virtual instrument tracks. Select the track type that you would like, the number of tracks and press create.
Now that you have some tracks in your session you will probably want to record, but before you do that you may want to add a click track. The way click tracks work in Pro Tools is perhaps slightly, unintuitive so it is worth a look. Start by creating a new virtual instrument track and instantiate the instrument Click II. Choose a sound from the source menu in the Click 1 window - this will be the click sound for the down beats.
If you wish for all of the beats to be unaccented, choose the same sound in the Click 2 source and keep the volume of each source equal. Choose your device from the menu and press OK. Obviously there is much more to know about Pro Tools than we can cover in this article, but hopefully you now have a better understanding of which Pro Tools version is right for you and the steps you need to take to get started. I could probably thinkof a few others, but quite frankly none come to mind at the moment.
Be advised, all of my experience in this area is with Mac-based systems. Specifically Pro Tools was very early on the market with professional level products, ie things you could record 24 bit on 32 channels or more on.
This meant loads of studios invested in a Pro Tools system for those who needed to do that kind of editing. And that meant people learned to use Pro Tools because that was what available at the studio when they needed it, and that meant they wanted pro tools at the next studio, because they didn't want to re-learn.
And hence it became industry standard. It's like Windows. Everybody uses it, nobody wants to re-learn, etc. Technical aspects are no longer relevant. Only being early, available and good enough. This is not to be taken as a pitch against Pro Tools. I've never used it it's too expensive for me. I'm sure it's bloody awesome. But that's not the reason it's "industry standard". Their approach to building the entire DAW system was, from the outset, very different.
And I believe that's what set them apart and got them entrenched in the professional audio scene. You couldn't, for the longest time, buy a version of ProTools that just ran on whatever computer you had in your studio. Instead, you bought rack-mounted boxes from ProTools that were loaded with general computational devices and DSP devices for accelerated audio processing.
There were hard limits on what you could do with the box: a box would support X simultaneous tracks of audio at Y sampling and bit depth and Z plugins running. The use of dedicated hardware meant their development was simplified: they didn't have to write to buggy drivers, they didn't have to support myriad of hardware options. It meant they could converge faster, get things very stable.
A ProTools setup was, especially in the early 90's, a setup that didn't crash much, and not at all in comparison to things like Logic or Cubase or CakeWalk that ran on general hardware. It also didn't break a sweat when you ran it at the limit because the limit was set to ensure there was processing overhead available. If you wanted more tracks, more plugins, better bit depths, you just bought another processing box and expanded the computational power of your ProTools setup.
You didn't have to "know computers" to expand it. It was, more or less, a drop in upgrade -- add the box, connect it in, and you got extra tracks in your sessions. The closed system also meant hardware controllers were easier to design. I'm fairly certain they were way out in front with the "hands on" interface, tactile sliders and knobs that controlled the "in the box" mix that was happening.
So if you wanted something reliable in your studio, at first you bought ProTools. And then, over time, if you wanted what all the other pro studios in the area had, you bought ProTools.
And if you wanted to move mixes from one studio to another, you bought ProTools. But at first, you bought ProTools because it was super stable, unlike all the other DAW options at the time. Hans Zimmer, the biggest film composer out there, among many others such as Harry Gregson-Williams, does all his writing in Cubase. Williams has an intriguing setup which, I think, records whatever he composes on Cubase into a Pro Tools system simultaneous as audio tracks.
Zimmer writes in Cubase, does the mixing in Pro Tools. So in some cases, one DAW is just not enough. The truth is, Pro Tools, Cubase, Logic, Sonar, etc are pretty much all excellent and are capable of what you need. I tried PreSonus and it's workflow is amazing, and that's the point - how's the workflow? As for Pro Tools being "first", first is a relative term.
I'd always thought of Cubase Steinberg as being earlier than Digidesign. But that's perhaps from a MIDI standpoint. If you're a mainly a MIDI composer, you really don't need to fork out at all on Pro Tools - it's major strength is Audio file processing. Also bear in mind that in readers' poll's and music magazine reviews, Pro Tools hasn't been number one, and in many cases even top 4 or 5 for several years including and How good a DAW is depends on your needs as a musician, and your workflow style.
Pro Tools also had a foot up because of its integration with its own hardware which made it fit in to the studio environment nicely.. Cubase and Logic at el were more software based and better for smaller and home set ups.. Why, Avid didn't even have their trademark on movies when the credits scroll until just recently.
And that's not uniform. Some have it; others don't. It's not about "how many songs can I get in this much RAM? It's about doing it live
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