Article Content

Array
(
    [0] => <p>Below is a list of five Pro Tools features that I never take for granted because they didn’t even exist when I started engineering.
    [1] => 
<h2>1. Higher Track Counts</h2>
<p>My very first Pro Tools rig consisted of an M-Audio Project Mix and Pro Tools M-Powered. At the time I could run a maximum of 32 tracks, and even then, the system was prone to strange errors, crashes, and general instability.
    [2] => 
<p>To put that in perspective, I’ve worked on mixes that have more than 32 tracks of drums and percussion. Users of Digidesign Pro Tools LE (another lower budget version of PT) were required to pay for “Toolkit” upgrades for higher track counts.
    [3] => 
<p>Every once in awhile I’ll work on a production that pushes the limits of my system and requires that I layback or bounce stems, but overall, I rarely have to worry about track counts anymore.
    [4] => 
<h2>2. The Ability to Bounce an MP3</h2>
<p>I recall on many occasions (in my college years) needing to export a .WAV from Pro Tools, importing that .WAV into iTunes and exporting an MP3.
    [5] => 
<p>Again, this was a feature that Pro Tools LE users could access only by purchasing a costly toolkit upgrade.
    [6] => 
<p>Since most clients demand an .MP3 and it’s more convenient for file sharing, it’s hard to remember how I got by without this function.
    [7] => 
<h2>3. Clip Gain</h2>
<p>This was a huge development when it was announced, and I honestly don’t know how I ever lived without it.
    [8] => <div class="ad content-ad"><span>ADVERTISEMENT</span><div id="div-gpt-ad-1516673860578-0" style="width:300px; height:250px;"></div><script>googletag.cmd.push(function() { googletag.display('div-gpt-ad-1516673860578-0'); });</script></div>
<p>The ability to smooth out the dynamics of a performance <em>before</em> it hits compression or EQ has greatly improved my mixes.
    [9] => 
<p>To me, it’s especially handy on vocals not only for dynamics but also taming esses.
    [10] => 
<h2>4. Opening an OMF File</h2>
<p>OMF or Open Media Framework files are often what video editors use to send the time code-locked audio to the post-production mixer.
    [11] => 
<p>Not long ago, the base level Pro Tools systems didn’t support Time Code (without the DV Toolkit upgrade) so you’d need access to an HD system to open or ”crack” an OMF file.
    [12] => 
<p>Since a good percentage of my work is sound design and music for film, the ability to access an OMF quickly is essential.
    [13] => 
<h2>5. A &#8220;Send to Track&#8221; Pull-Down Menu Option</h2>
<p>Not too long ago the only way to send an audio track through an auxiliary was by creating that aux track, then either sending from the audio track via sends (for a soft send), or the track&#8217;s output (for a hard send) through a bus, and <em>then</em> assigning the input of the aux track to the very same bus.
    [14] => 
<p>Now it’s a few simple clicks/keyboard moves thanks to “send to new track option.” This is a huge time-saver and I am quite thankful for it.
    [15] => 
            <div class="ad content-ad content-ad-2"><span>ADVERTISEMENT</span></div>
            <script>
                window.addEventListener("load", () => {
                    if(window.innerWidth > 767) return;

                    window.setTimeout(() => {
                        var ta = jQuery.get(aqvars.ajaxurl, { action: "tpaf_adrotate", group: 1, aid: 22 });
                        ta.then(function(response) {
                            jQuery(".content-ad-2").append(response);
                        });
                    }, 0);
                });
            </script>
        
<h2>Conclusion</h2>
<p>It’s a good time to be a DAW-based engineer — certainly better than when I started.
    [16] => 
<p>It seems like Avid is making steps to improve Pro Tools with each upgrade, not to mention the quality of plugins continues to improve each and every year, making the process much more enjoyable.
    [17] => 
<p>If you have any suggestions for functions or desired shortcuts, I’d love to hear them.
    [18] => 
<h2>Mastering in the Box Course</h2>
<p>If you&#8217;re interested in expanding your knowledge and learning effective techniques for getting great sounding masters 100% in the box, check out my debut course: <strong><a href="https://theproaudiofiles.com/mastering-course" target="_blank" rel="noopener noreferrer">Mastering in the Box</a></strong>
    [19] => 
<div class="arve wp-block-nextgenthemes-arve arve-hover-effect-none" data-mode="lazyload" data-oembed="1" data-provider="youtube" id="arve-youtube-ls9k_m09xq86421cad829b85792561439" data-reset-after-played data-fullscreen="disabled" data-volume="100">
<span class="arve-inner"><br />
<span class="arve-embed arve-embed--has-aspect-ratio" style="aspect-ratio: 610 / 343"><br />
<span class="arve-ar" style="padding-top:56.229508%"></span><noscript class="arve-noscript"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen class="arve-iframe fitvidsignore" data-arve="arve-youtube-ls9k_m09xq86421cad829b85792561439" data-src-no-ap="https://www.youtube.com/embed/ls9k_M09Xq8?feature=oembed&amp;iv_load_policy=3&amp;modestbranding=1&amp;rel=0&amp;autohide=1&amp;playsinline=0&amp;autoplay=0&amp;enablejsapi=1" frameborder="0" height="0" sandbox="allow-scripts allow-same-origin allow-presentation" scrolling="no" src="https://www.youtube.com/embed/ls9k_M09Xq8?feature=oembed&#038;iv_load_policy=3&#038;modestbranding=1&#038;rel=0&#038;autohide=1&#038;playsinline=0&#038;autoplay=1&#038;enablejsapi=1" title="Mastering in the Box with Ian Vargo"></iframe><br />
</noscript><img decoding="async" alt="Mastering in the Box with Ian Vargo" src="https://i.ytimg.com/vi/ls9k_M09Xq8/hqdefault.jpg" srcset="https://i.ytimg.com/vi/ls9k_M09Xq8/mqdefault.jpg 320w, https://i.ytimg.com/vi/ls9k_M09Xq8/hqdefault.jpg 480w, https://i.ytimg.com/vi/ls9k_M09Xq8/sddefault.jpg 640w, https://i.ytimg.com/vi/ls9k_M09Xq8/maxresdefault.jpg 1280w" class="arve-thumbnail" loading="lazy" width="480" height="360">
    [20] => 
<h5 class="arve-title">
Mastering in the Box with Ian Vargo<br />
</h5>
<p><button role="button" type="button" class="arve-play-btn arve-play-btn--youtube" data-target="#arve-youtube-ls9k_m09xq86421cad829b85792561439" aria-label="Play video"><br />
<svg class="arve-play-svg arve-play-svg--youtube" focusable="false" aria-hidden="true" width="68" viewBox="0 0 68 48" xmlns="http://www.w3.org/2000/svg">
	<path fill="#1f1f1e" fill-opacity="0.81" d="m .66,37.62 c 0,0 .66,4.70 2.70,6.77 2.58,2.71 5.98,2.63 7.49,2.91 5.43,.52 23.10,.68 23.12,.68 .00,-1.3e-5 14.29,-0.02 23.81,-0.71 1.32,-0.15 4.22,-0.17 6.81,-2.89 2.03,-2.07 2.70,-6.77 2.70,-6.77 0,0 .67,-5.52 .67,-11.04 l 0,-5.17 c 0,-5.52 -0.67,-11.04 -0.67,-11.04 0,0 -0.66,-4.70 -2.70,-6.77 C 62.03,.86 59.13,.84 57.80,.69 48.28,0 34.00,0 34.00,0 33.97,0 19.69,0 10.18,.69 8.85,.84 5.95,.86 3.36,3.58 1.32,5.65 .66,10.35 .66,10.35 c 0,0 -0.55,4.50 -0.66,9.45 l 0,8.36 c .10,4.94 .66,9.45 .66,9.45 z"></path>
	<path fill="#fff" d="m 26.96,13.67 18.37,9.62 -18.37,9.55 -0.00,-19.17 z" ></path>
	<path fill="#ccc" d="M 45.02,23.46 45.32,23.28 26.96,13.67 43.32,24.34 45.02,23.46 z" ></path>
</svg>
    [21] => 
<p></button>
    [22] => 
<p></span>
    [23] => 
<p></span><br />
<script type="application/ld+json">{"@context":"http:\/\/schema.org\/","@id":"https:\/\/theproaudiofiles.com\/5-pro-tools-features-i-never-take-for-granted\/#arve-youtube-ls9k_m09xq86421cad829b85792561439","type":"VideoObject","embedURL":"https:\/\/www.youtube.com\/embed\/ls9k_M09Xq8?feature=oembed&iv_load_policy=3&modestbranding=1&rel=0&autohide=1&playsinline=0&autoplay=1&enablejsapi=1","name":"Mastering in the Box with Ian Vargo","thumbnailUrl":"https:\/\/i.ytimg.com\/vi\/ls9k_M09Xq8\/hqdefault.jpg","uploadDate":"2016-06-05T12:08:55+00:00","author":"Pro Audio Files","description":"Below is\u00a0a list of\u00a0five Pro Tools features that I never take for granted because they didn\u2019t even\u00a0exist when I started engineering. 1.\u00a0Higher Track Counts My very first Pro Tools rig consisted of an M-Audio Project Mix and Pro Tools M-Powered. At the time I could run a maximum of 32 tracks, and even"}</script>
</div>

    [24] => 
)

Chosen Position: 8

<div class="ad content-ad"><span>ADVERTISEMENT</span><div id="div-gpt-ad-1516673860578-0" style="width:300px; height:250px;"></div><script>googletag.cmd.push(function() { googletag.display('div-gpt-ad-1516673860578-0'); });</script></div>
<p>The ability to smooth out the dynamics of a performance <em>before</em> it hits compression or EQ has greatly improved my mixes.</p>

Chosen Position: 16

            <div class="ad content-ad content-ad-2"><span>ADVERTISEMENT</span></div>
            <script>
                window.addEventListener("load", () => {
                    if(window.innerWidth > 767) return;

                    window.setTimeout(() => {
                        var ta = jQuery.get(aqvars.ajaxurl, { action: "tpaf_adrotate", group: 1, aid: 22 });
                        ta.then(function(response) {
                            jQuery(".content-ad-2").append(response);
                        });
                    }, 0);
                });
            </script>
        
<h2>Conclusion</h2>
<p>It’s a good time to be a DAW-based engineer — certainly better than when I started.</p>

Below is a list of five Pro Tools features that I never take for granted because they didn’t even exist when I started engineering.

1. Higher Track Counts

My very first Pro Tools rig consisted of an M-Audio Project Mix and Pro Tools M-Powered. At the time I could run a maximum of 32 tracks, and even then, the system was prone to strange errors, crashes, and general instability.

To put that in perspective, I’ve worked on mixes that have more than 32 tracks of drums and percussion. Users of Digidesign Pro Tools LE (another lower budget version of PT) were required to pay for “Toolkit” upgrades for higher track counts.

Every once in awhile I’ll work on a production that pushes the limits of my system and requires that I layback or bounce stems, but overall, I rarely have to worry about track counts anymore.

2. The Ability to Bounce an MP3

I recall on many occasions (in my college years) needing to export a .WAV from Pro Tools, importing that .WAV into iTunes and exporting an MP3.

Again, this was a feature that Pro Tools LE users could access only by purchasing a costly toolkit upgrade.

Since most clients demand an .MP3 and it’s more convenient for file sharing, it’s hard to remember how I got by without this function.

3. Clip Gain

This was a huge development when it was announced, and I honestly don’t know how I ever lived without it.

The ability to smooth out the dynamics of a performance before it hits compression or EQ has greatly improved my mixes.

To me, it’s especially handy on vocals not only for dynamics but also taming esses.

4. Opening an OMF File

OMF or Open Media Framework files are often what video editors use to send the time code-locked audio to the post-production mixer.

Not long ago, the base level Pro Tools systems didn’t support Time Code (without the DV Toolkit upgrade) so you’d need access to an HD system to open or ”crack” an OMF file.

Since a good percentage of my work is sound design and music for film, the ability to access an OMF quickly is essential.

5. A “Send to Track” Pull-Down Menu Option

Not too long ago the only way to send an audio track through an auxiliary was by creating that aux track, then either sending from the audio track via sends (for a soft send), or the track’s output (for a hard send) through a bus, and then assigning the input of the aux track to the very same bus.

Now it’s a few simple clicks/keyboard moves thanks to “send to new track option.” This is a huge time-saver and I am quite thankful for it.

Conclusion

It’s a good time to be a DAW-based engineer — certainly better than when I started.

It seems like Avid is making steps to improve Pro Tools with each upgrade, not to mention the quality of plugins continues to improve each and every year, making the process much more enjoyable.

If you have any suggestions for functions or desired shortcuts, I’d love to hear them.

Mastering in the Box Course

If you’re interested in expanding your knowledge and learning effective techniques for getting great sounding masters 100% in the box, check out my debut course: Mastering in the Box

Mastering in the Box with Ian Vargo

Ian Vargo

Ian Vargo is a Producer, Mixer and Audio Professor based in Los Angeles. He has worked on numerous major label and independent records. Get in touch on his website or learn more from him in Mastering in the Box and Mixing Pop.