Inside ProTools 9

In the composing business these days, as well as all forms of audio production and engineering, we can’t live without our Daw (digital audio workstation) software. In some ways Pro Tools has always been the “big kahuna” of audio software, yet most composers I work with have happily spent their careers avoiding it, finding more composing functionality and “bang for the buck” with competitor products such as Motu Digital Performer and Apple Logic.

Yet one can’t ignore Pro Tools completely, largely because it’s so firmly entrenched in audio-for-video post-production, scoring and dub stages, and almost all commercial recording studios. Often, composers are asked to provide finished mixes or stems in Pro Tools compatible format, or in some cases, spotted into a Pro Tools session file. Or, they may do part of their composing, programming, or mixing in their personal studio, but then go to a commercial studio
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