Pro Tools 110


Authored by Andy Edelstein


Course Code: OMPRD-221

Next Semester Starts
June 26, 2023

Level 2

Level 2

3-Credit Tuition


Non-Credit Tuition


Berklee Online is the exclusive online provider of Pro Tools 110 curriculum, the second stage of Avid's Pro Tools certification program. Building on the foundational skills taught in Pro Tools 101, you'll learn a broader range of tools and Berklee production techniques that will help you tackle more complex projects using Pro Tools. Pro Tools 110 focuses on working with expanded hardware and software configurations, developing versatile tools for manipulating and editing both audio and MIDI data, and implementing various techniques to facilitate larger and more sophisticated mixing scenarios. As in Pro Tools 101, this course will provide you with real-world examples and frequent hands-on assignments that will enhance your capabilities in all aspects of Pro Tools production. Although this course is designed to build on the information presented in Pro Tools 101, it is also an appropriate starting point for individuals who have previously acquired basic Pro Tools functionality on their own (see prerequisites).

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For those students who have successfully completed the Pro Tools 101 Exam, you will have an opportunity to take the Avid Pro Tools 110 Exam online, at the end of the course.

Berklee Online is an Avid Learning Partner

By the end of this course, you will:

  • Learn to record, edit, work with both audio and MIDI and automation
  • Configure your Pro Tools sessions and interface with any external hardware
  • Utilize AvidBase browser features to manage sessions
  • Import a range of audio file formats and data from other sessions
  • Use additional audio and MIDI recording techniques such as selections-based punch-ins and loop recording/auditioning
  • Work with both sample- and tick-based timescales
  • Utilize plug-in virtual instruments and standalone applications streamed to Pro Tools via ReWire
  • Employ various MIDI track views and editing techniques
  • Apply Elastic Audio processing to tracks and quantize detected events to the grid
  • Explore additional options for creating fades
  • Process regions using AudioSuite plug-ins
  • Create tempo maps and quantize audio with Beat Detective
  • Integrate additional mix techniques in your sessions, including track grouping, sends and returns, submixes, and Master faders
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Lesson 1: Getting Up to Speed

  • One Platform, Many Faces
  • Getting Help
  • The Big Pro Tools Review Session
  • Edit and Mix Display Options
  • Assignment 1: Configuring Sessions

Lesson 2: Interfacing with External Hardware

  • I/O Setup
  • MIDI Configuration
  • Control Surfaces
  • Digidesign Control Surface Options
  • Assignment 2: Exercise 1 (Getting Started)

Lesson 3: Enhancing Your Software and Managing Data

  • Turbocharging Your Pro Tools Software
  • Plug-in Tour
  • DigiBase and DigiBase Pro
  • Importing Audio and Other Media
  • Importing Session Data
  • An Introduction to Region Groups
  • Assignment 3: Exercise 2/3 (Managing Session Data and Media Files – Music/Post)

Lesson 4: Recording MIDI & Audio

  • Basic Audio Recording Review
  • Optimizing System Performance
  • Recording With and Without a Time Reference
  • Techniques for Recording and Overdubbing Audio
  • Assignment 4: Exercise 4 (Recording)

Lesson 5: Working with Timebases. Elastic Audio, and Virtual Instruments

  • Understanding Track Timebases
  • Elastic Audio Basics
  • Plug-in Virtual Instruments
  • Using Virtual Instrument Plug-ins
  • Streaming Audio into Pro Tools
  • Using Standalone Virtual Instruments
  • Assignment 5: Exercise 5 (Virtual Instruments)

Lesson 6: Editing and Time-Adjusting MIDI and Audio

  • Configuring Sessions for MIDI Editing
  • MIDI Editing Techniques
  • Working with MIDI Regions
  • Warping Audio with Elastic Audio
  • Quantizing Existing Material
  • Assignment 6: MIDI Editing Exercise

Lesson 7: Editing Audio 

  • Working with Fades
  • Using AudioSuite Plug-Ins
  • An Introduction to Beat Detective
  • Working with the Region List
  • Assignment 7: AudioSuite Exercise

Lesson 8: Automation 

  • The Case for Automation
  • Basic Pro Tools Automation Capabilities (101 Review)
  • Getting Deeper into Automation
  • Real-Time Automation
  • Creating and Editing Automation Graphically
  • Assignment 8: Exercise 6 (Audio & MIDI Editing)

Lesson 9: Mixing (Part 1)

  • Mixing in Pro Tools: Myths and Realities
  • Setting Up for Mixing
  • Grouping
  • Exploring Inserts and Real-Time Plug-Ins
  • Assignment 9: Automation Exercise

Lesson 10: Mixing (Part 2) 

  • Thinking about Mixing
  • Sends and Returns
  • Master Faders, Submasters, and Subgrouping
  • Printing the Mix
  • Mastering in Pro Tools
  • Assignment 10: Exercise 7 (Automation & Mixing)

Lesson 11: Music Project 

  • Considerations Prior to Starting Music Projects
  • Timeline and Tempo
  • Comping and Editing
  • Tighten Up Tracks with Elastic Audio and Beat Detective
  • Vocal Editing
  • AudioSuite Processing
  • Mix it Up!
  • Assignment 11

Lesson 12: Audio Postproduction for Video Project 

  • First Steps
  • Map Out the Commercial
  • Recording and Editing MIDI Loops
  • Score the Commercial
  • Record the Voiceover
  • Mix the Project
  • Assignment 12


Prerequisites and Course-Specific Requirements 

Pro Tools 110 requires either successful completion of Pro Tools 101, or knowledge of Pro Tools fundamentals gained via self-study and experience:

  • Understanding of Pro Tools session file structure
  • Opening, navigating, and saving sessions
  • Creating new tracks
  • Assigning inputs and outputs in the Edit and Mix windows
  • Using Mix window controls including volume, mute, solo, and pan
  • Using the Zoomer, Selector, and Grabber Edit tools
  • Using Slip and Shuffle Edit modes
  • Using Transport window controls to play and record audio and MIDI

This course also requires a basic understanding of computers and their operations:

  • Identifying the general components of a computer
  • Using the mouse, standard menus, and keyboard commands
  • Locating, moving, and renaming files and folders
  • Opening, saving, and closing files
  • Powering up/down and restarting

A basic understanding of digital audio, recording, and MIDI concepts is assumed:

  • Disk-based random access audio recording
  • Multitrack audio systems
  • Basic mixing and signal routing
  • Digital audio concepts (sample rate, bit depth, etc.)
  • Basic MIDI systems

Please note that passing scores on both the 101 and 110 final exams are required for Avid Pro Tools operator certification.

Required Ebook(s)

Avid's Pro Tools Fundamentals II is the official ebook for the second course of the Avid Training and Education Program. It provides step-by-step procedures for all of the techniques covered in the course, from systems configurations through more advanced audio and MIDI editing techniques, to Pro Tools mixing techniques.

Software Requirements

  • Pro Tools 2020 or higher strongly recommended (Pro Tools 2018 or higher acceptable). Please note: Pro Tools software is not included with the course purchase and Pro Tools First, Intro and Artist are not supported.

Hardware Requirements

  • Any current audio interface that supports Core Audio (macOS) or ASIO (Windows) such as the Avid Mbox Studio and Carbon as well as products from Focusrite, PreSonus, Universal Audio, SSL, Apogee, Audient, etc.
  • An iLok Smart Key is required for authorization of all Pro Tools systems (Alternatively, students can use iLok Cloud)
  • Minimum of one microphone or electric musical instrument (guitar, keyboard, etc.); direct box may also be required (check audio interface specifications)
  • MIDI keyboard/controller

Specific hardware and operating system requirements vary depending on your Pro Tools version. For detailed system requirements involving Avid systems, check the Avid listings of systems requirements and approved interfaces. For information about third-party interfaces, contact the product manufacturer directly.

After enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Student Deals page also features several discounts you can take advantage of as a current student. Please contact for any questions.

General Course Requirements

Below are the minimum requirements to access the course environment and participate in Live Chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of Google Chrome
  • Zoom meeting software
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection


Andy Edelstein


Andy Edelstein is an active educator, record producer, engineer, and multimedia developer. He is currently Associate Professor of Music Production and Engineering at Berklee, and has also served as Assistant Chair of the Music Production and Engineering Department during his thirty-seven-year tenure at the College. Andy has produced, recorded, and/or mixed numerous records from jazz and rock to folk, Celtic, and blues, including the genre-bending Wayfaring Strangers critically acclaimed Rounder releases, the SpinART debut by independent rockers Apollo Sunshine, and a live album by the longtime bluegrass band Dry Branch Fire Squad, all using his Pro Tools HD system. His recording facility Rapid Eye Music was cited in Mix Magazine’s “Class of 2015” article about the acoustical design of the year’s coolest new studios. Andy is Principal of Rapid Eye Media, specializing in multimedia production services. His design and production work is featured in a series of award-winning interactive exhibits at the American Jazz Museum in Kansas City, MO and the Longyear Museum in Brookline, MA. Consulting clientele has included the GRAMMY Foundation in Santa Monica, CA. Andy holds a B.S. in Electrical Engineering from the Massachusetts Institute of Technology.

Ted Paduck


Ted Paduck is an assistant professor in the Music Production and Engineering (MP&E) department at Berklee, where he teaches Mix Techniques 1 and 2, as well as Multitrack Techniques. Since graduating from Berklee in 1991 with a bachelor's degree in Music Production and Engineering, Paduck has worked with an impressive roster of artists.

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Early freelance engineering projects in Boston at such studios as Syncro Sound, Newbury Sound, and Sound Techniques eventually led to a staff engineering position at the latter, where he worked with Aerosmith, Duran Duran, Nine Inch Nails, Run DMC, Busta Rhymes, and Erykah Badu, and also engineered television spots for commercials and film scores for Better Than Sex, Prefontaine, and the HBO series Earth to the Moon.

Among his accomplishments is the recording of "Never Grow Old" with the Skatalites for their True Love album, which won a Grammy for Best Reggae Album in 2003. In 2015, he was nominated for Producer of the Year by the New England Music Awards. He has also worked on the film scores for the John Sayles film Silver City and Berklee alum Mike Teoli's film, The Red Thread. Read Less

Jon Connolly


A musician, live sound engineer and DJ from San Francisco, I was bitten by the music bug early on by The Beatles Revolver and my first concert, Tower of Power.

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Many local clubs, corporate events, outdoor festivals and a five year stint at computer giant Hewlett-Packard, prepared me for a "day gig" at a small, relatively unknown company called Digidesign. My musician and computer technician background was relatively rare in the early 1990's and made me a great fit for a Tech Support gig juggling calls from frustrated Sound Designer II and Pro Tools 2.8 users (yes, Pro Tools version 2.8!).

Several years in the Digidesign Tech Support trenches primed me for a Pro Tools Product Specialist position in Los Angeles. This gig put me into most any and every Los Angeles studio possible... Warner Bros., Universal Studios, Capitol, The Village, Record One, Wonderland (Stevie Wonder), Herbie Hancock, Westlake, KLOS, Vai’s Mothership and many many more... demo’ing, installing, training and supporting Pro Tools systems.

Fast forward to today where I’m a Pro Tools Master Instructor for Avid. I travel the world training Pro Tools Instructors and users of all levels.

I also maintain my own Los Angeles based company, Pro Tools Services, offering "Pro Tools Therapy", support, installs, upgrades, training, consulting, etc. Read Less

Mark Cross


Mark Cross is an award-winning producer, composer, mixer, educator, and author with an extensive discography in both film and television that spans over two decades.

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As an engineer and mixer, Mark has worked on numerous projects, including the Grammy -winning Shelby Lynne album I Am Shelby Lynne, Randy Newman's Oscar-nominated and Grammy-winning soundtrack for the Disney-Pixar film Cars, the Meet the Parents original film score and soundtracks, and hundreds of episodes of the NBC prime time series ER. Mark’s additional film credits include Alien: Resurrection, Seabiscuit, and Beavis and Butthead Do America.

As a composer, Mark has created over a thousand registered tracks for use in hundreds of films and television shows worldwide. He was the lead composer for the NBC prime time series Last Comic Standing and has contributed additional music for American Idol, Curb Your Enthusiasm, the CBS Evening News, HBO’s Getting On, and Comedy Central’s Key and Peele. Mark has created musical themes for Nickelodeon's Wow Wow Wubbzy, the Seinfeld Season 8 DVD, as well as producing and performing with Grammy winner John Legend on HBO's: Curb Your Enthusiasm.

Mark holds a Master of Fine Arts in Music Education from Boston University as well as a dual Bachelor of Music in Music Production & Engineering and Music Education from Berklee College of Music. He currently teaches Music Technology and Composition for Visual Media at Berklee College of Music, California State University Northridge, and Los Angeles College of Music. Mark authored the book Audio Post Production for Film and Television, published by Hal Leonard and Berklee Press. Read Less


Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at

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