Across this introductory unit in audio signal flow, we have introduced the essentials of Avid’s DAW Pro Tools. The following represents a summary of these essential understandings, processes and functions to afford you a more effective and efficient user experience.
In order to prepare for the pending Avid Pro Tools 101 user exam, please focus on:
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foundational audio and MIDI recording,
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editing, and
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mixing concepts within the Pro Tools environment.
Key questions are likely to cover – in text or perhaps via graphics:
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core digital audio theory,
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session management,
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track types,
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editing modes,
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basic signal flow and/or
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short cuts of these.
Core Concepts and Terminology
Expect questions on fundamental audio principles and Pro Tools terminology.
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Frequency and Pitch: Frequency is the scientific term for how high or low a sound is perceived, which we call pitch, measured in Hertz (Hz). The human hearing range is generally 20 Hz to 20 kHz.
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Amplitude and Loudness: Amplitude refers to the magnitude of a sound wave, which affects its perceived loudness, measured in decibels (dB).
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Sampling and Quantization: Sampling is taking snapshots of a signal over time (sample rate), and quantization captures the amplitude value (bit depth).
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Nyquist Theorem: This principle states that a sound’s vibration must be sampled a minimum of two times to accurately represent its frequency.
Pro Tools Licencing:
A Pro Tools licence must be ‘owned’ prior to opening up a Pro Tools Session. The are three main methods for licencing:
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directly to a device
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via an i-cloud-based i-Lok account
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via a physical i-Lok device
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Hardware Power-Up Sequence:
The correct sequence for powering up gear is generally:
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external hard drives,
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MIDI interfaces/devices,
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audio interface, then
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the computer and finally
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the audio monitors.
The allows the computer to recognise all connected devices prior to opening a DAW such as Pro Tools.
The monitors are turned on last to avoid any electrical surges through them which may damage the audio montior speaker cones.
Pro Tools Session Parameters and Naming:
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It is recommended when creating a new Pro Tools Session, name it in a logical consistent manner with your future profession in mind (artist name, specific session task, date, version number, etc).
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I recommend saving it to the desktop for ease of access to the Session Folder’s contents.
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In terms of the session parameters, the standard for an audio CD is 44.1 kHz sample rate and 16-bit depth (96 dB dynamic range). However, in 2025 post audio CD usage, it is more common to use the moving picture standard of 48 kHz sample rate and 24-bit depth (144 dB dynamic range).
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In most tracking situations, it is recommended to select the ‘interleave’ function, allowing the left and right channels to be bounced as a stereo wav file at the end of the session (rather than having a .L and a .R mono file).
Pro Tools Session Folder:
A Pro Tools Session Folder when initially created will contain the following (in alphabetical order):
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Audio Files folder
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Bounced Files folder (which may disappear if not used)
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Clip Groups folder (which may disappear if not used)
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Pro Tools Session.ptx file (named as per your naming process, and therefore will be alphabetised accordingly in this list)
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Session File Backups folder
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Video Files folder (which may disappear if not used)
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wfm file
Saving and Shutting Down a Pro Tools Session completely:
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At the end of a PTs Session, once it is completed, it is recommended to quit the Pro Tools Session via Command + Tab, then Q (on a Mac), which forces you to quit the PT Session, save it and shut down the PT Session completely. Once this is done, it allows the user to attach an external hard drive and transfer the PT Session Folder onto that external device.
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To reopen a PTs session at a future time, simple reverse the procedure, dragging the desired existing PTs Session Folder onto the desktop, updating the PTs Session Folder and .ptx file with the new date and version number, and then – once the trasfer is complete – ejecting/physically disconnecting the hard drive from the USB port.
NOTE 1: One opens a Pro Tools Session by double clicking on the.ptx
NOTE 2: The WaveCache.wfm file stores waveform display data to help the session open faster.
Pro Tools Interface and Workflow
You need to know your way around the Pro Tools interface and the different tools and windows.
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Pro Tools DAW Windows: Be familiar with the main Edit and Mix windows, the Workspace browser, and the Score Editor for MIDI notation.
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Edit Tools and Edit Modes:
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Understand the Edit Tool functions of the Trim, Selector, and Grabber tools (often used together as the Smart Tool).
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Know the difference between Edit Modes:
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Slip (free placement),
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Shuffle (clips snap together),
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Spot (precise timecode/sample placement), and
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Grid (snaps to grid boundaries) and Relative Grid (snaps to a specific interval pre or post a grid).
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Shortcuts: A number of questions test your knowledge of keyboard shortcuts (eg: Command + N on Mac or Control + N on Windows to create a new Session; Shift + Command + N on Mac or Shift + Control + N on Windows to create a new Track; Command + = on Mac /Control + = on Windows to switch between the Edit Window and the Mix Window; etc).
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Session Management: Know how to import audio (Add vs Copy).
Note 3: (originally) by ‘Adding’ tracks, it adds the imported track/s into the PT session Edit window, without necessarily adding the imported audio files into the PTs session ‘audio’ folder
Note 4: by ‘Copying’ tracks, it not only adds the imported track/s into the PT session Edit window, but also copies the imported audio files into the PTs session ‘audio’ folder
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Session Management:
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1. Know how to save a Pro Tool’s session progressively across your tracking and/or post-production session (eg: Command + S on Mac or Control + S on Windows; or auto saving function in Pro Tools Preferences set to every ‘1 minute’) which are then filed in the Backups folder.
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2. At the end of an elongated complex session, using the “Save Copy In” command to archive a complete session with all media files.
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Tracks, Recording, and Routing
Questions will cover different track types and how to record and route signals.
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Track Types: Pro Tools uses Audio, MIDI, Instrument, Aux Input, Master Fader, and Folder tracks (Basic and Routing).
Note 5: Auxiliary Input tracks cannot contain clips.
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Signal Flow: Inserts are processed in series, top to bottom. Pre-fader sends route a copy of the signal before the track’s volume fader is applied.
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Recording: Setting the proper input level is crucial to avoid digital clipping. The hardware buffer size affects host-based processing performance
Note 6: use a lower setting for recording, higher for mixing.
Editing and Automation
Expect questions on fundamental editing techniques, such as creating fades and using automation modes.
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Fades: The shortcut to create a fade over a selected area is Command+F (Mac) or Control+F (Windows).
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Automation: The Grabber tool can add, delete, and move automation breakpoints. The “Off” automation mode will ignore all written automation on a track.
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Elastic Audio: This feature allows for real-time time compression/expansion and pitch shifting of audio clips.
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Bouncing: Pro Tools uses the “Bounce to Disk” function for mixdowns, which can be done faster than real-time.
