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Absolute Beginner's Guide to Pro Tools

teacher avatar HF Tracks

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (33m)
    • 1. Intro

    • 2. Opening a ProTools Session in 2020.11

    • 3. Creating Tracks

    • 4. Recording MIDI Tracks

    • 5. Recording Audio Tracks

    • 6. Editing & Mixing Tips

    • 7. Bouncing & Printing

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About This Class

Have you ever wanted to learn ProTools but didn't know where to start? This DAW can be daunting to beginners but help from an experienced pro could help you get on the road to mastery!

Learn the ins and outs of the industry-standard DAW from engineer, producer, composer and GEM ProTools manual proofreader, Robert Rodriguez Del Toro. In this course you will learn the essentials and basics of ProTools from the ground up. Join Robert on a journey from session start, to mix, to the final print all while learning the basics of how it's done on the way.

Meet Your Teacher

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HF Tracks


Hello, my name is Robert Rodriguez and I am an engineer, producer, and composer from the Los Angeles area. I'm here to give you quality content and share the knowledge I've gained over the years with you so that you can become the music professional you want to be! Enjoy! :)

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1. Intro: Have you ever wanted to learn Pro Tools which is felt overwhelmed by learning curve that comes with it. My name is Robert Rodriguez Otara. I'm an engineer, producer, composer, and the proofreader for the official Pro Tools manual by adequate raw thermic. And over the next few videos, I want to talk to you about getting started in this new version of Pro Tools, you can start making music today. Let's do it. 2. Opening a ProTools Session in 2020.11: Get started by opening up a Pro Tools session and just going from there how we would go about making a track from scratch from the start. So this is going to be for Pro Tools 20-20, 0.11, the very newest version of Pro Tools. You can see you've got a brand new logo looking very nice, very sleek. One of the cool new things you're going to notice is that Pro Tools defaults now to dark mode. Already look in different look at that. Those of you who have never used Pro Tools, you're getting a lovely looking introduction to it. Didn't used to look like this. And it defaults to this new dark. We're gonna go ahead and click OK because for our purposes, it doesn't really matter. Now when you open a project, we have dashboard and you get three options. Create recent and project. Create this to create a new session. Obviously, Recent is to see your most recently worked on sessions and projects. And projects is a version of a session that is made for collaboration with other people using Avid online cloud-based projects sharing software. We are going to go ahead and create a new session. So let's do it. Let's just call this Test for now. And let's break this down here. It asks you how you want to save this. Whether you want it to be a local session or a collaboration cloud-based project. As seen here. You can create from a template, definitely whole other topic on its own. You choose your sample rate, your desired bit depth, and the file type. Typically we're going to keep a wave, it's universal and it works 40 AK for me. Nothing wrong with 441. Always have a 24-bit that's just standard good resolution that you want to use, your IO settings last use is fine. If you want a clean slate, like if you rename stuff in your IO, which will be a topic we cover later, stereo mix will always give you a clean slate. That's up to you most of the time, I don't touch it. Here's something that you definitely want to have marked though. Prompt for location versus location pre-selected. And what prompt for location means is that when you hit Create, it's going to ask you where you want to save it. If you hit location, it's going to default to whatever is listed right here. Now, I always have profited location, but beware, he knew protocols users because when you first open Pro Tools, it defaults here. And if you're not paying attention, you pay create. It just opens up the session. And if you don't know where that default location is, then you're going to have trouble finding it. So I always have profit location on because I want to make sure that I save it to my hard drive and I don't want to forget where I put it. I want to know I put it somewhere. Always good idea to have this chat. Now we're gonna hit Create and this prompts where I want to save it. We're gonna call this test. We're gonna save it to the desktop for now. And before we do this, notice that it creates a folder. This folder is our hub. This is going to hold our audio files. When we bounce. It's going to create our bounced files if that's how we choose to finish our session. Clip groups, which is all the little audio files or record and cut up and do everything. It gets put in here. Session file backups, which is also another topic we'll go into later. The actual protocols project, video files of any and the Wave cache, which is very important if you're ever sending a session, always include the Wave cache. So let's open up pro tools. Now. We have the edit window. This is where we can see track lanes. And we have the mix window, which is where we see our faders. Right now they're both empty. So let's get started. In order to create a track, we're gonna hit Shift Command. Shift Command N, opens this up for you. There will be a more in-depth version of this, but I just want to show you this for a quick look of what Pro Tools generally will look like. So we hit Create and boom, there's a track, you have a track, we have a section for comments. Inserts a through E, then F two j. And then our sense for buses boxes, however, we want to use that. Over here, we have the input and the output section. We hit Command Plus to switch between the edit mix window. We now can see this guy right here. We have a fader, has some of the same things as right now I have it set to show inserts a through E, then sends A3. We can customize all that. But before we wrap up today, I want to show you the most important part of your setup process and that is under setup going through your playback engine. This is where you select your interface. For me, I have it set to Built-in Output right now. Pro Tools aggregate is basically avid own unique driver that allows you to link multiple interfaces together using their own software. Pretty useful. I've used that before on, on a session where I've linked to eight input interfaces for 16 channels and you know, it actually went smoothly. No, no major problems with buffering or, or lag and stuff like that were going with built-in output buffer size. We're going to leave it here. I'll go into detail about that later. And we're good with that. So this is how you open up protocols. This is how you get started. And in the next video, we're gonna go into detail about creating tracks at different kinds of tracks and getting started recording. Hope you enjoyed this video and I'll catch you on the next one. 3. Creating Tracks: Hey everyone, this is Robert coming at you with part two in a series may to get you started in Pro Tools. Today we're going to break down tracks. We're gonna break down track types. And the most efficient way to set up your session. Now here we have our session going. In order to create a track. There are really only two ways to do it. Now, the first way is by going to track hitting new. And that will pull up this screen right here, this window. And here are the parameters that come with a new track window. The amount of tracks right here next to create the track type, whether it be mono or stereo, and all of these options as well. So these are the track types. We have a routing folder, basic folder. These are new to Pro Tools, will break those down in a later video. We have audio track, ox input, master fader, VCA master, midi track, and instrument track. For today, we're going to use audio ox, master, midi and instruments. We also decide what we're going to record it and we're going to record in samples or in tics. That'll also be something we go through later and we get to name the track. This is something relatively new to Pro Tools as well, being able to name your track in this new tracks dialog window. Now, the second way to do all of this is using key commands. So I'm going to do an entire session setup using only key commands. And you'll see those commands pop-up on the screen. And these will be super useful, super good for getting you working in your session in the most efficient way possible. So I'm gonna start off by creating a new track by hitting Shift Command N. Now, I can switch between a mono and stereo track by hitting command and going right or left on the arrows. Hitting command down an up arrow allows us to go through the different track types. So we're gonna go audio track and hitting Shift Command down arrow allows us to add or delete rows. So the way to do that without a key command would be to hit plus, minus, and so on. So let's break down our session now for this, I want to create to mono audio tracks. So I went command and left arrow to switch, that's a mono. Haven't hit Shift Command down to create a new row because now we're also going to make S3 instrument tracks. So I use the up and down arrow to just the number of tracks. Then I hit command and now hit down arrow until I arrive at the instrument tracks. Now I want these instrument tracks, these stereo. So I hit Command and left arrow, and that does that. So we're going to now go and add another row. And we're going to create one stereo ox track. Shift Command down arrow again, and one stereo master fader. Before I exit the screen, I'm going to demonstrate what naming your Track does when you have more than one track. In this section. These I'm going to designate to being vocals. So I'm just gonna put Vox, at least for now just for demonstration purposes. This one. Let's just say sinth. This will be a reverb and this will be a master track. So when I hit Create and now pops up, now notice what it does here. Box one, Box two, since one, since 2s and three, reverb and master, that is what you get when you name a track and you're asking in the same row for that track to have multiples. So that's what happens when you have two audio tracks that you want to name Vox. Now in actuality, one of these audio tracks is actually going to be called base. I'm going to record a base. A way to get around that. Going back into our track window would be, hey, I know this is gonna be called a Vox. I know I have more audio tracks, but I'm going to have to make a new row. Instead of adding five or two or 20 audio tracks, it's more efficient for me to make a new row, name it however I need to and move on from there. Overall, I tend to not name my tracks that much in session. Maybe it's just habit from not having that option. But instead I named them up here. So double-clicking the naming your tracks here. So that's going to be Vox. Command arrow to go to the next track down. That's going to be base. Now this, since I actually wanted to be drums, I'm gonna make a little drum loop. And this since right here will be since one. And this since we'll be lead. Now before I move on, I'm going to add a midi track. Then many tracks, if you notice, cannot be made mono or stereo. Midi is just information. And boom, we have our session setup that's gonna do for this video. And the next one we'll get into recording and routing midi using instrument tracks and Pro Tools. Basically the basics of working session. Catch you guys in the next one, goodbye. 4. Recording MIDI Tracks: Hey, what's up, guys, this is Robert coming at you with another video here. Today we're going to talk about recording virtual instruments using midi in Pro Tools. So essentially there are two basic ways to record midi in Pro Tools. And really two basic ways to record midi in almost any dot. One is by using an instrument track and recording directly on that instrument track. And the second way is using a midi track to record into said Instrument track. We're going to demonstrate both ways today. Now here we have our session from are creating tracks, video, and we're gonna go ahead and use the pieces that we've set up here. So all these tracks are created. Again though, if you wanted to create a track, go Shift, Command N, and select stereo or mono depending on what you wanna do. Your track type. Let's say we're doing an Instrument track again. Make sure that's set to tics. And you can name the track right here and take create. Or you can go to track new. And you'll have the same screen right here again. So here's the first way that we use instrument tracks. So as you can see right here, I have since one. So here we have expand. This is a free Pro Tools stock virtual instrument. I'm going to go ahead and put on a random preset. We're gonna go with organic choir. And also on the hardware side of things, I have our trusty midi controller plugged in via USB. And when we haven't armed to record, you should be able to hear it back to arm something to record. You just click this red record button. So that's the first way to route midi in Pro Tools. The second way is a little more complicated, but it's the same general idea. So we have a midi track right here calling this lead midi. Now, in this midi track, there are no parameters available. We can use inserts, we can't use sends. And the reason for that is that midi only records information. It is only taking computer data that it then sends into something like a virtual instrument or a real synthesizer. If you had a real synthesizer, you'd use a midi track to send out information into that actual sinth, which then plays a real live sound. So this is the same concept where we're staying all the way inside the box the whole time. So we have our lead meeting and we're gonna go to our output sections or telling Pro Tools where we want to send our midi information. We click on that. And what you'll get is all the instrument tracks that are in this session that have a virtual instrument loaded. So in our second instrument track, I pulled up a free contact instrument. Let's just go for hybrid keys. I liked them and I'll pull up a favorite preset. So we have our contact instrument here and we have a routed for Channels one through 16. This defaults don't worry about this setting too much in contact. Contact can be very deep. It could be very simple depending on how you want to use it. We're using it the simple way today. So let's go back to our midi track. And if we go to our output once again, as you can see, we can decide between contact midi N1, and expand in one. Contact has up to 16 channels available, meaning 16 places we can put that midi information in and expand has for a really easy way to grasp that concept is if we go back to expand and we see 1234 places to go. So if I wanted to do this, you can see this is already set channel two. Now we go to C right here, good, channel three, channel four. And if we go back to our midi track, let's say I want to go into expand channel to. Let's select something random Again. Let's go for an organ sound. Now, if I arm my midi track, not the instrument track. Where now sending midi information too, since one, channel two. And our instrument, or a virtual instrument track is saying, Oh, I feel something coming in, channel two. Here it comes and it is going out. And that's why we hear it. So same concept, but now let's go to our contact instrument. We're just gonna use channel one. Notice I didn't arm the lead. I didn't arm since one, I just have my midi enabled. Now. Now Contact works. So now we have contact plane for us. So those are the two ways to route midi in Pro Tools. Now if we want to record, this is what we do. There are always two ways to do it. So we can hit the record button, which I have set to quick punch and just hit Spacebar so long as we have a track record enabled and we start recording. C, I've got that data. Or you can always just hit three. And it'll do the same thing. So if I hit three, hit recorded that as well. Now if I record enable the instrument track, my mini controller is only going to channel one. It's not getting the Oregon track. So if I want to be able to use multiple midi channels, because let's say I like this synth. And there are multiple patches that I really like on this sinth. And I want to be able to switch between them and I just want to record the midi data for them. Well, I can use that same one virtual instrument on one instrument track and route it via midi track and play every layer in. So that's all for this video. That is how you round midi in Pro Tools. A lot of people don't tend to think of Pro Tools as a producer's die. They don't tend to think of it as being super strong when it comes to many routing. But really you have all the flexibility you need once you really understand the doll, once you really get your workflow. So that's going to wrap it up. This one. 5. Recording Audio Tracks: Hey everyone. Today we're gonna talk about recording audio approaches. So we're gonna go to our audio track that we created earlier. And we're going to look at our IO settings. This the input path selector, this is the output's path selector. Output path for this session is just going right to our built-in output. And our input should be input one, because that's the input I have my mike plugged into. Now if you're wondering, do I even have my interface properly set up? Well, you can check by going to setup Playback Engine. Are Playback Engine is our interface. Now in logic world and other Dawes, probably you have a separate input and output to choose from. So playback is commonly our output. However, whatever you have sets, your Playback Engine will also be your default input. This can be customized using Pro Tools aggregate. However, for our purposes and most of the time, you really just need your interface selected real quick before we move on buffer size, quick guide. Whenever you're recording, set it low, between two hundred fifty six and sixty four. And whenever you are mixing, set it high 1024. So now we have our interface set up properly. We know that's working in another step to ensure that the interface is setup right? It's going back to setup and going through our IO. If you go to your inputs, you will see look at that. We have all our inputs listed in our interface. This should all be set up pretty well by default. So now let's go into the steps required to actually start recording. I'm going to hit our record monitor. And now an option that we have in audio tracks that isn't available in midi tracks and instrument tracks is our input monitor. Track input monitor allows us to hear back whatever we have input monitored no matter what we're doing in our session. So if you pay attention to this green bar here, if I take it off input monitor and I hit play, there will no longer be audio coming in, but it comes back as soon as I stop it. This is record monitor. Now if I'm recording, however, we will hear it. It will keep going. As you can see, we just recorded audio. Now if I hit input monitor, no matter what, I will hear what I'm saying live. However, if I have record monitor on only and there is audio on a track, I won't hear myself, but whatever it was recorded will still playback. If its input monitored. Whatever was recorded won't playback. So that's a basic guide on how audio tracks work in Pro Tools and how record monitor vs. track input monitor works. Remember this is input monitor, which is monitoring our input. And this is record monitor, which is monitoring what we record. So now again, to record audio, we, and lastly to record audio that we do the same thing that we do with instrument tracks or midi tracks. And that's either going here and hitting space bar or going to the number pad and hitting three. Little quick tip on recording. Hitting three is that we can now hit three. We can hit three again to stop recording, but it'll continue. Hit three again and we'll start recording. Hit it again and it goes out and hit it again and it starts recording. This is why I keep quick bunch on. If you don't have quick punch on, it actually won't work. So if I have it set to normal and a hit three, well hey, so gonna record, but hitting three doesn't actually stop it. I have to hit spacebar to stop it. Again with quick bunch. I hit three and I can hit it again and it comes out, hit it again, hit it again, hit it again. This is a great way to quick punch your vocals if you're recording someone and they just need to get one word, right? Oh, hey, that's a perfect way for them to get that word rates. But you hitting punch, punching back out, and moving on from there. So that's a quick guide to recording vocals and Pro Tools. And in the next one will have a nice full basic track worked out. And we'll start going through some editing techniques. 6. Editing & Mixing Tips: Hey, what's up, everyone, this is Robert. And for this final video in our intro to Pro Tools series, we are going to break down some beginner editing and mixing tips. Now will be using the same session we've been using over the course of the last few videos where we did the how to record audio, how to record midi. And now we've recorded it, and it's time to mix and edit will start from the top, our tempo, we decided record and 90 BPM ProTools defaults to 120. But if you ever want to change it, you go up here. There's a little red arrow. And you double-click that and you can adjust the BPN. Now second, in order to record to that tempo, we go over the track and we create a click track. Now for us, it's already down here. Click one. Here. You can adjust your click parameters. You can select the sound you want. If you want to be able to turn on and off your click quickly, you go ahead and hit seven on the number pad, just like this. Just hit it. And I'll hit it again. And it comes right back in. So after we've finished recording, we get a basic tracked IGA went ahead for the purpose of this video, made a really quick using basically everything that comes with Pro Tools along with doing some audio tracks. As you can see, I have a vocal track and a bass track that I just quickly laid down, really just to demonstrate how to edit audio. So here it is. So there we go. We have a little loop. There hasn't been looped per se, but we'll work on doing that in order to do the basics, there's something that you need to have enabled over here we have your tools and I'll go ahead and click on one specifically so that you can see where your Pro Tools may look like at the moment, you're going to want to click the empty space up top. That allows your trim tool, your selector tool, and your grabber tool to all be active at once. The benefit of this is that it makes your editing process so much faster. For example, this little vocal loop here, I want to be the same length as my midi tracks. On midi tracks are in a perfect loop sequence, but as you can see, my audio tracks or not. So I'm gonna go ahead and move all the way to the left of this audio track, a brown the middle. And I'm gonna see my trim tool pop-up. So I'm gonna click and drag a couple of steps. And there you have it in order to dictate how it trims. We go over here. These are our edit modes. So this is set to grid right now, which means it's going to edit to the grid. And what dictates what the grid is is over here, right where it says grid. There's a little half-note that can be changed by clicking on it. So if I click on that half-note, I could change it to a quarter note and look at that. My grid value right here changes. I have it at half-note. That'll work fine. And I'm gonna do the same thing to this bass track. And I'm gonna do it on the other side as well. Clean it up here. If we zoom in with T and R on your keyboard, sometimes what happens when we're editing is that will kind of prematurely cut off an audio file. And that's what causes clicks. So in this case it didn't happen much to say and maybe looks more like this. Well, that might cause a click. I'm going to go back. Now a great way to clean that up is by adding a fade in order to properly add a fade and avoid making it sound obvious, I'm going to switch from grid to slip. Slip. You can kind of think of as a free hand mode. This is a great mode if you know you're doing as far as editing goes, but best to stick to the grid if that's what you've already started with. However, for doing little fades and cross fades, it's perfect because you can really feel it out. So if I go to the left of my audio track again, and I go to the top part of the audio clip and I click. I can drag in a fade. Now we're gonna do a small one here. And I'm gonna go to the other side. If on the other side of the audio actually does go all the way to the end. And I'm gonna do a small one here as well. And if we look at our audio files, you see its little mismatch. So let's fix that on the vocal file. Boom, switched back to grid to do that. And I just clicked on the right side in the middle. So now our audio tracks or edited, and they take up the exact right amount of space that we want. So let's listen our loop again. That's great, right? It's proven, but it's just not long enough. So what do we do about that? Well, let's select everything. So I'm gonna click, then Shift Click on Each audio file. And I'm going to hit command D. And boom, we just copied everything over in that space. How many hit it? Two more times. It's now we've got four loops of it. I just realize my drums are out. This is a great example of why Pro Tools, the past like that, it's going to work. Yeah, my drums weren't working. And this is kind of one of the problems with median Pro Tools is that sometimes your midi will just drop out, things will just kind of go gray. And that's what happened. And I realized right now I wasn't hearing my drums solution to that because you will run into this kinda thing every once in a while. Just right-click and duplicate. So now with my other track, I can right-click and delete or right-click and hide and make an active height. And make an active is basically what it sounds like. You hide the track and you make it inactive. It doesn't really work or do anything your session. I have a habit of doing that because my professors back at audio school is swore by doing that more often bleeding because I just thought, well, what if I do need that thing? Force a habit? You don't need to do it. I do it. Whatever works for you, use always best. So now that we have our edit, we have our loop. Let's access to the mixer. I'm gonna go Command Plus. And here we have it. So you can see we have all of our tracks laid out with faders and we have our plug-ins. I put some plug-ins on, I'll go through that in a second. The way I've always been taught to mix is really mixing in the context of something like an actual analog mixing board. And that is by turning every single element down and mixing from the bottom up, we tend to mix starting at unity, but we only have this much space here. And you'll realize pretty quickly that you're gonna run out of space. And then when you go to your master, you're gonna realize that your clipping lot, and this is digital sound. Our head room is kind of infinite. We don't really deal with noise. So if you're mixing quietly, it could always be turned up without worrying about how noisy and maybe. So we're gonna start from the bottom and I'm just gonna do a quick mix. Now I didn't turn down my midi track because midi is just information. It's not really doing anything. My midi track is going into my lead. So here we go. So I think that's good right there. Now I'm gonna go ahead and take a look at my plugins. If you wanted to open a plug-in, you click on an empty insert slot. And this is either on the mixture window or the edit window. And you can go through your categories here, or you can go through the actual companies you have, you'll have avid for sure, and you should have air as well. I stuck to stop plug-ins for this site bullets EQ seven, I did some moves here. Over on the bass track. We have the EQ, we have one of my favorite base amps that comes free with Pro Tools, sands AMP, just a really good deal. And I got some compression going. I do the same thing for the drums. This is expand. I'm just playing Hip Hop loop over on the synth. Also got expand and just using another patch on my lead, so-called lead released the chords just things changed as we started recording. I'm using a free contact library, hybrid keys with the blend all the way to a and no rebirth because we're going to put our own rerun. 7. Bouncing & Printing: We go to our ox track that we created way back in the beginning of our session. We're going to set the input to bus. I'm just gonna use 23-24. I'm going to select a free reverb that I like using or even go to air. And we're going to use air river. Over here on the sense section. We're gonna go to bus 23-24 and we're gonna give our bus signal quick tip on using extracts, hitting command and clicking on the solo button. So safes it. Which means if you solo this vocal track, the reverb stays on. So there you have it. That's how you use sense and protocols. Now in this session we're using a master track and that's all well and good. But I'm gonna demonstrate why maybe nine using a master track is more beneficial. So I'm gonna pull up my favorite compressor and I'm going to set it just to kind of an extreme setting so we really hear what it's doing. So obviously we would never actually do that to our mixed bus. It's way too aggressive. But I'm doing this to kind of demonstrate how the Master Fader reacts in Pro Tools when I press play. You can see the compression happening here. Now watch what happens when I lower the volume of a sudden, we don't have as much compression. That's because this fader is driving that compression. Now we don't actually want that in fact back would be kinda dangerous if, let's say we wanna just listen a little quieter, I could ruin and misguide our mixed decisions. The alternate way to do it is to create another abstract. So I'm gonna go Shift Command N, man, right arrow to make it stereo. And it's going to be an AUX track. So I'm gonna go command down arrow to make it an ox. And I'm just going to name it mix plus I'm going to make the input mix Bus. I already have that setup in my IO. And you can do that as well by going to setup IO and you can rename your buses. So now another great little quick trick, and I go shift. I'm going to click on the track. Shift, click to select those. I don't want to get the midi track. It's not really necessary. Command click to add to your selection. And I'm going to hit Shift Option. Click on the output of everything. And we're gonna go into Mix Bus. That's going to make it so that our tracks are now going into this guy. So now this is our master fader. Now I'm gonna go ahead and move this compressor over here. Look at that compression. Still going even when I lowered the volume. This fader is not dictating how hard we have the compression, the mix. Everything else is dictating how much we go into this compressor. Last but not least, we have the bounce process, so we have this finished mix. You know, let's just call it done. There are a couple ways to do it. There is the File Bounce mix or you can use that command there. I never do, but that's just Option Command B. So bounce mix, this is a new layout in Pro Tools. Now we can have preset ways of bouncing, which can be really helpful. Kind of preset one through five. For our purposes doing it this way. School, you have the option to name the file. How are you going to bounce it? It can be WAV, AIFF, MP3. This is a more advanced setting that you'll rarely touch and the music side, if ever. And you select where you want to bounce from. I want to bounce from output wanted to or physical output wanted to. Doesn't matter, should work the same. The convenient when, let's say you're working with a client or you want to quickly bounce something your phone, you get the wave, which is the high-quality uncompressed file, and you click Add MP3. And boom, you have an mp3 width that we're working at 24-bit Fourier K, You can do whatever you want there. 16-bit 441 is CD quality if you're mastering something and that's how you want to do it. And you get to select where it bounces. Bounced files is going to be the project folder that your Pro Tools session is created in. There's going to be a folder inside of that called bounced files. If you want to choose somewhere else, you could choose and you can go any number of places if you want Pro Tools. This is also knew if you want Pro Tools to ask you every time you bounce where you wanna put it, you hit prompt for locations. And then after that you'll hit bounce and it'll bounce the song for you. Now, I rarely do my bounces this way unless I'm doing something quick, like I'm doing a demo or I'm doing a work in progress and I just want to have it with me or have a quick version. What I tend to do is I tend to print my mix. Now here's how we do that. So we made this mixed bus track, right? So we're gonna make an audio track to send that to you. So I'm gonna hit Shift Command N. I am going to make a stereo audio track, and we're going to call it print. And my input for that is going to be print because I have that preset in my I0. So now my output for my mixed bus, my pseudo master and away is going to be the print. In order to make this work, we have to monitor and record enable. And just to be safe if you go back into the mix, just sit solo safe so that you can solo things and it all still runs through. I should know you should also always solo safe your mix bus so that you can hit solo on any track and you should be able to hear they go no problems soloing here. Now the final step would be selecting in this process would be selecting what you want to record. So you know what I'm gonna do? I'm gonna click on the first clip. How much shift click. And it's going to record all of that. You know, we got a reverb, so let's just extend it. This range, these red arrows indicate what we're going to record. So I'm gonna go ahead and hit three to record. And now we're printing our mix. Perfect. Now in order to export this, to have this file accessible for you, I click on that clip and I hit Shift Command K, that's the command to export. And I can export mp3, I can export a wave. Basically, I can do everything the same. And this time I'm going to choose where I want it to go. And let's just go right to the desktop. And when I hit export, should be pretty instant. Lets us do a WAV 24-bit. Just export it. So that's it. That is the Basic Beginners Guide to Getting Started in Pro Tools From the top.