Avid Pro Tools Reference Guide

Pro Tools Reference Guide

Version 9.0

Legal Notices

This guide is copyrighted ©2011 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.

003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, HD Core, HD I/O, HD MADI, HD OMNI, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools, Pro Tools|HD, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners.

Product features, specifications, system requirements, and availability are subject to change without notice.

Guide Part Number 9329-65092-00 REV A 02/11

Documentation Feedback

At Avid, we are always looking for ways to improve our documentation. If you have comments, corrections, or suggestions regarding our documentation, email us at techpubs@avid.com.

Part I Introduction

Chapter 1. Welcome to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Pro Tools Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

System Requirements and Compatibility Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chapter 2. Pro Tools Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Hard Disk Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Pro Tools Nonlinear Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Digidesign Audio Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Core Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

ASIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Surround Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Pro Tools Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Tick-Based and Sample-Based Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

System Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

DigiBase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

AAF, MXF, and OMF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Embedded Media and Linked Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter 3. Keyboard and Right-Click Mouse Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Right-Click Mouse Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Keyboard Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Toolbar Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Numeric Keypad Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Contents iii

Chapter 4. Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Accessing the Help System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Understanding the Help Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Using the Help Navigation Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

How the Search Feature Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Printing Help Topics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Copying from a Help Topic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Part II System Configuration

Chapter 5. Pro Tools Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pro Tools|HD Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pro Tools|HD Native Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Playback, Recording, and Voice Limits with Pro Tools HD . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Pro Tools|HD Audio Interfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Additional Pro Tools|HD Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Additional Pro Tools Hardware Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Pro Tools MP Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Pro Tools MP Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Pro Tools System Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Complete Production Toolkit 2 Capabilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Checking For Software Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Chapter 6. System Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Checking a Pro Tools|HD or Pro Tools|HD Native System with DigiTest . . . . . . . . . . . . . . . . . 62

Configuring Pro Tools System Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Configuring MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Configuring Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Configuring Pro Tools|HD Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

System Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Chapter 7. I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Pro Tools Signal Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

I/O Setup Pages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

I/O Setup Signal Path Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

I/O Setup Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

I/O Setup Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Customizing I/O Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Configuring Hardware in I/O Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Signal Path Routing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Signal Path Routing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Pro Tools Reference Guideiv

Creating New Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Creating New Sub-Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Editing Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Assigning Paths to Hardware I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Valid Paths and Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Configuring Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Factory I/O Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

I/O Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Session Interchange . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Chapter 8. Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Global and Local Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Display Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Operation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Editing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Mixing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Processing Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

MIDI Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Synchronization Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Chapter 9. Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

MIDI Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Ethernet Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Mic Preamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Satellites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Chapter 10. Configuring MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

MIDI Studio Setup (Mac) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

MIDI Studio Setup (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Contents v

Part III Sessions & Tracks

Chapter 11. Sessions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Quick Start Session Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Creating a New Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Session Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Opening a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Opening Recent Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Opening a Session with Plug-Ins Deactivated . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Saving a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Save Copy In Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Session Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Closing a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Exiting or Quitting Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Chapter 12. Pro Tools Main Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Mix Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Edit Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Transport Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

MIDI Editor Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Score Editor Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Eleven Rack Control Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

DigiBase Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Managing Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

How Windows Configuration Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Window Configuration Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Tool Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Chapter 13. Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Track Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Track Channel Strips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Edit Window Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Track Level Meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Adjusting Track Width. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Creating Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Setting Track Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Track Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

The Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Track Name Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Assigning Audio Inputs and Outputs to Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Track Priority and Voice Assignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Pro Tools Reference Guidevi

Assigning MIDI Inputs and Outputs to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Soloing and Muting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Making Tracks Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Color Coding for Tracks, Regions, Markers, and Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Chapter 14. Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Grouping Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Group Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Working with Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Setting Group Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Enabling Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Grouped Control Offsets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Chapter 15. The Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Region List Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Sorting and Searching in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Selecting Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Previewing Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Stereo and Multichannel Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Naming and Displaying Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Managing Regions in the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Region Name Right-Click Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Chapter 16. DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

DigiBase Data Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Digidesign Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Browser Windows and Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Working wIth Items in Browsers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Indexing DigiBase Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

The Browser Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Moving, Copying, Duplicating, and Deleting Items. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Entering Data for Searches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296

Previewing Audio in DigiBase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Preview Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Preview Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Missing Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Contents vii

Relink Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

Workspace Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Project Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Task Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Chapter 17. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Importing and Exporting Data to and from a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Audio Conversion on Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Import Options and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Importing Files with Drag and Drop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Importing Audio Files and Regions Using the Import Audio Command . . . . . . . . . . . . . . . . . 331

Importing Audio from Audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Importing ACID and REX Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Importing Multichannel Audio Files from a Field Recorder . . . . . . . . . . . . . . . . . . . . . . . . . 335

Exporting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Importing Session Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Import Session Data Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Importing AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Import Options when Importing AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Media Composer Export Options for Audio and Video Mixdowns . . . . . . . . . . . . . . . . . . . . . 357

Audio File Format Compatibility Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Exporting Pro Tools Tracks as AAF or OMFI Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Exporting Pro Tools Tracks as MXF Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Export Options when Exporting to AAF or OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . 363

Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Export Session Info as Text Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Send via DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Exporting MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Exporting Sibelius Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Importing and Exporting Region Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Chapter 18. File and Session Management and Compatibility. . . . . . . . . . . . . . . . . . . . . . . 379

Audio File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

WAV File Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . . 383

Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . 386

Sharing Sessions Created on Different Pro Tools Software Versions. . . . . . . . . . . . . . . . . . . 387

Sharing Pro Tools HD 9.0 Sessions with Lower Versions of Pro Tools . . . . . . . . . . . . . . . . . . 387

Sharing Pro Tools 9.0 Sessions with Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Language Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Pro Tools Reference Guideviii

Chapter 19. Mac HFS+ Disk Support Option (Windows Only). . . . . . . . . . . . . . . . . . . . . . . . 397

Installing the Mac HFS+ Disk Support Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Removing the Mac HFS+ Disk Support Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Media Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Session Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Viewing Mac Drive and File Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Viewing Multisession and Dual-Format Discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Setting the File Naming Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Partitioning Mac Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Initializing Mac Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Mac HFS+ Disk Support Warnings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Part IV Playback and Recording

Chapter 20. Playing Back Track Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Playing Selections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

MIDI Beat Clock Offsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Chapter 21. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Record Setup Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Configuring Pro Tools Hardware I/O for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Connecting a Sound Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Recording with a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Setting the Session Meter and Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Record Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Configuring Default Names for Audio Files and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Assigning Hardware I/O on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Record Enabling Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Working with Hard Drives for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Selecting a Record Input Monitoring Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Setting Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Reducing Monitoring Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Contents ix

Chapter 22. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Recording Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Prime for Record Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Setting Pre- and Post-Roll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Audio Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Loop Recording Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Alternate Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Half-Speed Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Chapter 23. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

MIDI Merge/Replace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Recording MIDI and Instrument Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

MIDI Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Recording System Exclusive Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Recording Audio from a MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Chapter 24. Punch Recording Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Introduction to Punch Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

System, Session, and Track Guidelines for Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . 490

QuickPunch Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

TrackPunch Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Using TrackPunch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

DestructivePunch Audio Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

DestructivePunch Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Using DestructivePunch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504

Example TrackPunch and DestructivePunch Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Pro Tools Reference Guidex

Part V Editing

Chapter 25. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Track Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Audio Regions and Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

MIDI Regions and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517

Naming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Displaying Region Names, Region Times, and Other Data . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

Basic Editing Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Chapter 26. Edit Modes and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Shuffle Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Slip Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531

Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Zooming Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Zoom Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Zoomer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536

Zoom Preset Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Zoom Toggle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Zooming with a Scroll Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Using the Trimmer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

Time Compression/Expansion Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Scrub Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Loop Trimmer Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550

Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

Using the Smart Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552

Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Numeric Keypad Set to Shuttle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Edit/Tool Mode Keyboard Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Contents xi

Chapter 27. Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Linking or Unlinking Timeline and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Linking or Unlinking Track and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573

Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Universe View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

Navigating Your Pro Tools Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Chapter 28. Editing Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Creating New Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Healing Separated Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Trimming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Nudging Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

Quantizing Regions to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593

Consolidating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594

Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Processing Audio with AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

TCE (Time Compression and Expansion) Edit To Timeline Selection . . . . . . . . . . . . . . . . . . . 596

Rating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Chapter 29. Fades and Crossfades. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

About Crossfades and Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Fades Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

Creating Fades at the Beginnings and Ends of Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609

Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611

Moving and Nudging Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612

Separating Regions that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Trimming Regions that Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Fade Boundaries and Shapes Displayed in Automation View . . . . . . . . . . . . . . . . . . . . . . . 616

Chapter 30. Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Working with Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Track Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Playlists View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Matching Alternate Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Matching Criteria Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629

Selecting Alternate Takes on Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630

Automatically Create New Playlists when Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . 631

Expanding Alternate Takes to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Expanding Alternate Channels to New Playlists or Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Pro Tools Reference Guidexii

Chapter 31. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Beat Detective and Source Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Uses for Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638

The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 640

Beat Detective Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641

Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 642

Editing Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646

Generating Bar|Beat Markers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 648

DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 649

Separating Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651

Conforming Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657

Part VI MIDI

Chapter 32. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663

MIDI Editing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663

Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665

Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666

Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668

Inserting a Series of Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Manually Editing MIDI Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

Using the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672

Time Compression/Expansion Trimmer Tool Functionality on MIDI Regions . . . . . . . . . . . . . 678

Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 680

Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

System Exclusive Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Note and Controller Chasing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 689

Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 690

Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 692

Real-Time Properties Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Real-Time Properties on Tracks and Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 697

Writing Real-Time Properties to Tracks or Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Real-Time Properties In the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Display of Real-Time Properties Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 699

Contents xiii

Chapter 33. Score Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Opening the Score Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Default Note Duration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Default Note On Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Play MIDI Notes When Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Link Timeline and Edit Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Mirrored MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Double Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Cursor Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 706

Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Score Editor Window Target. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 707

Score Editor Window Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 708

Customizable Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Page Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Score Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711

Notation Display Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712

Score Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713

Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715

Score Editor Right-Click Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Key Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Meter Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Chord Symbols and Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 720

Exporting Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722

Printing Scores. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 722

Chapter 34. MIDI Editors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 723

Opening a MIDI Editor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724

MIDI Editor Window Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 725

MIDI Editor Zoom Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Track List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Group List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732

Timebase and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Superimposed Notes View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 733

Notes Pane Right-Click Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 736

Notation View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 738

Velocity, Controller, and Automation Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740

Chapter 35. MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Opening the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Inserting Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744

Editing Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

MIDI Event List Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748

Pro Tools Reference Guidexiv

Part VII Arranging

Chapter 36. Time, Tempo, Meter, Key, and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754

The Sub Counter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755

Tick-Based Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 755

Tick- and Sample-Based Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756

Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758

Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 759

Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

Editing Tempo Events in the Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 765

Changing the Linearity Display Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772

Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778

Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

Time Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784

Change Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784

Insert Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Cut Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788

Move Song Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789

Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790

Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 790

Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793

Chapter 37. Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795

Creating Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 795

Creating Memory Locations On-the-Fly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

Properties of Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798

Recalling Memory Locations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800

Editing Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800

Deleting Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 802

Copying Marker Memory Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 802

Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803

Memory Locations Commands and Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803

Chapter 38. Arranging Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807

Placing Regions in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807

Working with Multiple Items from the Region List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 808

Placing Regions at the Edit Insertion Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809

Aligning Region Start Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 810

Sliding Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811

Shuffling Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811

Moving Regions with the Grabber Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813

Contents xv

Snapping to the Preceding or Next Region on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814

Slipping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 814

Spotting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815

Sliding Regions in Grid Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 816

Replacing Audio Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818

Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 820

Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822

Locking Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823

Muting/Unmuting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Stripping Silence from Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828

Duplicating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829

Repeating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830

Chapter 39. Region Loops and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

Region Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831

Creating Looped Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 832

Unlooping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Editing Looped Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Creating Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836

Ungrouping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

Regrouping Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

Multitrack Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

Region Groups on Tick-Based Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 840

Editing Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 841

Fades and Crossfades on Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842

Importing and Exporting Region Group Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843

Pro Tools Reference Guidexvi

Part VIII Processing

Chapter 40. AudioSuite Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

The AudioSuite Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847

The AudioSuite Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848

AudioSuite Window Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848

AudioSuite Window Footer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852

Using AudioSuite Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854

Chapter 41. Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857

Example Elastic Audio Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858

Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863

Enabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863

Disabling Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 864

Elastic Audio Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865

Elastic Audio Track Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 865

Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866

Real-Time and Rendered Elastic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867

Elastic Audio Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868

Editing in Warp View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873

Warping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 875

Editing in Analysis View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879

Elastic Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

Elastic Properties Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882

Elastic Audio Region-Based Pitch Shifting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884

AudioSuite Processing and Elastic Audio Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 886

Moving Elastic Audio Between Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 887

Fades and MicroFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 888

Elastic Audio Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889

Chapter 42. Event Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891

Event Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891

Quantize Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 892

Grid Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894

Grid Quantize Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896

Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 898

Quantizing Elastic Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903

Quantizing Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904

Quantizing Mixed Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905

Restore Performance Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905

Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 906

Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907

Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909

Transpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911

Contents xvii

Select/Split Notes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913

Input Quantize Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915

Step Input Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916

Part IX Mixing

Chapter 43. Basic Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921

Mixing Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921

Metering and Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922

Signal Flow by Track Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922

Audio Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922

Auxiliary Input Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 923

Master Fader Tracks and Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924

Instrument Tracks and Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 926

VCA Master Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927

Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 930

Configuring Inserts View in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931

HEAT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931

Stereo Pan Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931

Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 932

Audio Input and Output Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 935

Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 938

Configuring Sends View in the Mix and Edit Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 941

Sends View Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 941

Editing Sends in the Mix and Edit Windows (Individual Send Views). . . . . . . . . . . . . . . . . . . 943

Output Windows for Tracks and Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 946

Using Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 950

Signal Routing for Monitoring and Submixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951

Delay Compensation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 958

Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965

Using an Ethernet Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 967

Using a MIDI Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 967

Chapter 44. Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 971

Viewing Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 974

Making Inserts Inactive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975

Inserting Plug-Ins on Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 976

Plug-In Menu Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977

Moving and Duplicating Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980

The Plug-In Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980

Opening Plug-In Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984

Using Plug-In Window Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 984

Editing Plug-In Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985

Pro Tools Reference Guidexviii

Plug-In Automation and Safe Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 986

Side-Chain Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 986

Plug-In Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 987

Plug-In Settings Dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990

Plug-In Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 992

Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 998

Linking and Unlinking Controls on Multi-Mono Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999

Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 999

Chapter 45. Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003

Automation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1003

Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1004

Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1006

Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1010

Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1012

Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1015

Automating Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1017

Automating Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1019

AutoMatching Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1021

Priming Controls for Writing Automation in Latch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 1022

Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1025

Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1027

Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1028

Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1029

Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1030

Cutting, Copying, and Pasting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1035

Glide Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1038

Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1039

Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . 1041

Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . 1043

Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1046

Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1047

Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1050

Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1053

Capturing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1055

VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1058

Coalescing VCA Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1059

Chapter 46. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061

Selecting Audio for Loops, Submixes, and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061

Dithering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1062

Bus Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1063

Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1064

Bounce Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065

Recording a Submix (with Bounce to Disk). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071

Contents xix

Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1072

Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1073

Part X Surround

Chapter 47. Pro Tools Setup for Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077

Surround Mixing in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077

Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1077

7.1 and 7.0 Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1078

Configuring Pro Tools for Multichannel Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1079

Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083

5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1085

Chapter 48. Multichannel Tracks and Signal Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087

Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1087

Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1090

Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1092

Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . 1094

Chapter 49. Surround Panning and Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099

Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099

Output Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1100

Standard Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1101

Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1102

Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1105

Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1108

LFE Faders in Multichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1110

Pan Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111

Surround Scope Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1111

Pro Tools Reference Guidexx

Part XI Sync and Video

Chapter 50. Working with Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115

Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1115

Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1117

Preparing to Work with SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1122

Configuring Pro Tools for SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1122

Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1125

Effect of Using Pull Up or Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1128

Putting Pro Tools Online. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1129

Generating Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1130

Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132

Enabling MIDI Machine Control in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1132

MMC Transport Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1134

Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1135

Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136

Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1136

The Spot Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137

Capturing Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1138

Auto-Spotting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1138

Using the Trimmer Tools in Spot Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1139

Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1139

Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1140

Troubleshooting SMPTE Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1141

Speed Correction for Film, NTSC Video, and PAL Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 1143

Chapter 51. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145

Introduction to Pro Tools and Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145

QuickTime Movies Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1146

Windows Media Video (VC-1 AP Codec) Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 1147

Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1147

Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1148

Main Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1149

Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1150

Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1152

Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1152

Importing Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1153

Configuring Video Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1155

Extracting Audio from QuickTime and Windows Media Video. . . . . . . . . . . . . . . . . . . . . . . 1156

Video Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1157

General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1158

Renaming Video Disk Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161

Video Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161

Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161

Contents xxi

Browsing Video in the Video Universe Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1164

Playback of High-Definition QuickTime and Windows Media Video . . . . . . . . . . . . . . . . . . 1165

Playing QuickTime DV Video to an External Monitor Over FireWire. . . . . . . . . . . . . . . . . . . 1166

Playing Video to an External Monitor Using a Video Card . . . . . . . . . . . . . . . . . . . . . . . . . 1168

Bouncing the Video Track to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1170

Bouncing a Video Track with Windows Media Video to a WIndows Media Movie . . . . . . . . . 1171

Using Pro Tools to Import Video from Other Versions of Pro Tools . . . . . . . . . . . . . . . . . . . 1172

Chapter 52. Working with Field Recorders in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 1173

Field Recorder and Production Workflow Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . 1173

Supported Field Recorder Audio Files and Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1175

Displaying Field Recorder Metadata in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1176

DigiBase Support for Field Recorder Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1176

Field Recorder Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1177

Ensuring Metadata of Source Files Have Been Preserved . . . . . . . . . . . . . . . . . . . . . . . . . 1177

Receiving Source Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1178

Importing Source Files into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1179

Displaying Multichannel Files from a Field Recorder in the Region List . . . . . . . . . . . . . . . 1181

Selecting an Alternate Channel to Replace a Region . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1181

Expanding Alternate Channels to New Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1182

Determining the Method of Expanding Alternate Channels to New Tracks . . . . . . . . . . . . . 1183

Overview of Production Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1187

Film Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1188

Video and Fully Non-Linear Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1190

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1193

Pro Tools Reference Guidexxii

Part I: Introduction

Chapter 1: Welcome to Pro Tools

Welcome to Pro Tools®, brought to you by

Avid

Technology. Pro Tools integrates powerful multitrack digital audio and MIDI sequencing features, giving you everything you need to record, arrange, compose, edit, mix, and master professional quality audio and MIDI for music, video, film, and multimedia.

Pro Tools Documentation

Pro Tools documentation provides you with workflow and reference information to help you successfully use Pro Tools.

Help is installed automatically during Pro Tools installation and can be accessed from within Pro Tools.

PDF Versions of Guides and Read Mes are installed automatically during Pro Tools installation. The main guides can be accessed from within Pro Tools. Additional documentation is available in the Pro Tools Documentation folder.

To v ie w o r p rint PD Fs , you can use Adobe Reader or Apple Preview (Mac only).

Print Versions of Documentation are included with some Pro Tools software and hardware. Examples include Quick Setups and Installation guides.

Print-on-demand copies of the Pro Tools Reference Guide and some of the other guides in the Pro Tools guide set can be purchased separately from Avid (www.avid.com).

Launching Pro Tools Help

Pro Tools Help provides quick access to workflows and reference information while Pro Tools is open. Built-in search capabilities and an index are included to better support your Help needs.

To launch Help in Pro Tools:

 Choose Help > Pro Tools Help.

For more information, see Chapter 4, “Using Help.”

Accessing Guides in Pro Tools

PDF (Portable Document Format) versions of the main Pro Tools guides are accessible from the Pro Tools Help menu.

To access guides in Pro Tools:

 Choose Help, then a guide name (such as

Menus Guide).

Chapter 1: Welcome to Pro Tools 3

Guides Accessible in Pro Tools

The following guides are available from the Pro Tools Help Menu:

• Audio Plug-Ins Guide

• Pro Tools Menus Guide

• Pro Tools Reference Guide

•ProTools Shortcuts

For information on these guides, see “Pro Tools Documentation in the Documentation Folder” on page 4.

Accessing Pro Tools Guides in the Documentation Folder

PDF (Portable Document Format) versions of many Pro Tools guides are installed with Pro Tools. They are accessible from the Pro Tools Documentation folder.

Pro Tools Documentation in the Documentation Folder

Pro Tools guides and Read Mes in the Documentation folder are located in product-based subfolders, as follows:

For Pro Tools MP, not all documentation listed below is included in the Documentation folder.

Control Surfaces

C|24 Guide Supports Avid’s 24-channel control

surface for Pro Tools systems.

Command|8 Guide Supports Avid’s compact control surface for Pro Tools and other supported Avid systems.

D-Command Guide Supports D-Command worksurface for Avid ICON systems.

To access guides in Pro Tools Documentation folder:

1 Locate the Documentation folder on your

hard drive.

• On Mac, go to Applications/Digidesign/ Documentation.

• On Windows, go to All Programs/Pro Tools/ Documentation.

2 Open the subfolder that has the documenta-

tion you want.

3 Double-click the PDF you want to view.

For information on guides in the Documentation folder, see “Pro Tools Documentation in the Documentation Folder” on page 4.

Pro Tools Reference Guide4

D-Control Guide Supports D-Control worksurface for Avid ICON systems.

Pro Tools EUCON Guide Provides information about setting up Pro Tools for use with EuControl software and a EUCON-compatible controller.

Hardware & Peripherals

(Pro Tools HD and Pro Tools Only)

Pro Tools MP users should refer to the documentation provided with their Avid M-Audio interface.

003 Family User Guide Provides installation and operation information for 003, 003+, and 003 Rack Pro Tools systems.

192 Digital I/O Guide Supports 192 Digital I/O audio interfaces for Pro Tools|HD and Pro Tools|HD Native systems.

192 I/O Guide Supports 192 I/O audio interfaces for ProTools|HD and ProTools|HD Native systems.

Mbox Mini User Guide Provides hardware installation and operation information for Mbox Mini audio interface.

96 I/O Guide Supports 96 I/O audio interfaces for ProTools|HD and ProTools|HD Native systems.

96i I/O Guide Supports 96i I/O audio interfaces for ProTools|HD and ProTools|HD Native systems.

DigiTest Guide Provides information about using DigiTest to troubleshoot your Pro Tools|HD or Pro Tools|HD Native system.

Expanded Systems Guide Provides instructions for expanding Pro Tools|HD systems with additional Pro Tools|HD cards and audio interfaces, with or without an expansion chassis.

HD IO Guide Provides a hardware overview, as well as detailed information for installing and configuring HD I/O audio interfaces for use with Pro Tools|HD and Pro Tools|HD Native systems.

HD MADI Guide Provides a hardware overview, as well as detailed information for installing and configuring HD MADI audio interfaces for use with Pro Tools|HD systems and Pro Tools|HD Native systems.

HD Native User Guide Provides hardware installation instructions for Pro Tools|HD Native systems.

HD OMNI Guide Provides a hardware overview, as well as detailed information for installing and configuring the HD OMNI audio interfaces for stand-alone use and for use with Pro Tools|HD and Pro Tools|HD Native systems.

HD User Guide Provides hardware installation instructions for Pro Tools|HD (TDM) systems.

Mbox Pro User Guide Provides hardware installation and operation information for Mbox Pro audio interface.

Mbox User Guide Provides hardware installation and operation information for Mbox audio interface.

PRE Guide Provides detailed information for installing, configuring, using PRE, both standalone and with Pro Tools.

SurroundPanner Option Guide Supports the JL Cooper Surround Panner for Pro Tools HD and Pro Tools with Complete Production Toolkit 2.

SYNC HD Guide Supports the SYNC HD synchronization peripheral for Pro Tools|HD and Pro Tools|HD Native systems.

Plug-Ins

Access Music Indigo Guide Provides detailed in-

formation for installing, authorizing, and using the Access Music Virus Indigo plug-in.

AIR Virtual Instruments Provides detailed information for installing, authorizing, and using A.I.R. Virtual Instrument plug-ins (Hybrid, Strike, Structure, Transfuser, and Velvet).

Aphex Plug-Ins Guide Provides detailed information for installing, authorizing, and using Aphex plug-ins.

Audio Plug-Ins Guide Describes the plug-ins included free with Pro Tools (DigiRack and Pro Tools Creative Collection), as well as additional Digidesign, Bomb Factory, and TL Labs plug-ins available for purchase separately.

Chapter 1: Welcome to Pro Tools 5

Dolby Surround Tools Provides detailed information for installing, authorizing, and using Dolby Surround Tools plug-ins.

Drawmer Dynamics Guide Provides detailed information for installing, authorizing, and using Drawmer Dynamics plug-ins.

Focusrite Plug-Ins Guide Provides detailed information for installing, authorizing, and using Focusrite plug-ins.

MDW EQ Plug-In Guide Provides detailed information for installing, authorizing, and using the MDW EQ plug-in.

Pro Tools Reference Guide Explains Pro Tools systems and software in detail.

Pro Tools Shortcuts Lists keyboard and Right-click shortcuts for Pro Tools including those shown in Pro Tools menus.

Sync & Surround Concepts Provides an introduction to key synchronization, surround mixing and monitoring concepts for Pro Tools users.

What’s New In Pro Tools Provides an overview of new features in the current version of Pro Tools.

Read Mes

Sonic NoNOISE Guide Provides detailed informa-

tion for installing, authorizing, and using Sonic NoNoise plug-ins.

SymphonicOrchestraSE Guide Provides detailed information for installing, authorizing, and using the Symphonic Orchestra SE sample content for Structure.

Pro Tools

Feel Injector Template Provides credit and con-

tract information for Numerical Sound.

Glossary Provides a glossary of common audio industry as well as Pro Tools–specific terms.

Intro To Pro Tools Provides several introductory tutorials for using Pro Tools.

IO Setup Primer Provides an overview of working with the I/O Setup in Pro Tools.

Pro Tools Installation Guide Provides detailed information for installing and authorizing Pro Tools software, as well as information for optimizing your operating system for Pro Tools.

Pro Tools Menus Guide Covers all the Pro Tools on-screen menus.

Read Me documents cover compatibility information, known issues and workarounds, and corrections to Pro Tools guides.

Toolkits & Options

(Pro Tools HD and Pro Tools Only)

Complete Prod Toolkit 2 (Pro Tools Only) Pro-

vides detailed information for installation, and an overview of features and plug-ins included with the Complete Production Toolkit 2 option.

Heat Option Guide (Pro Tools HD Only) Provides detailed information for installing, authorizing, and using the HEAT software option for Pro Tools|HD systems.

MachineControl Guide (Pro Tools HD Only) Provides detailed information for installing and using the MachineControl option.

Satellite Link Guide Provides detailed information for authorizing and using the Satellite Link software option.

Video Satellite Guide (Pro Tools HD Only) Provides detailed information for authorizing and using the Video Satellite software option.

Pro Tools Reference Guide6

Video Satellite LE Guide Provides detailed information for authorizing and using the Video Satellite LE software option.

Video

(Pro Tools HD and Pro Tools Only)

Avid Video Peripherals Guide Describes the use of

Avid Mo jo SDI and Avi d M ojo video perip herals with Pro Tools systems.

Conventions Used in Documentation

Pro Tools documentation uses the following conventions to indicate menu choices, keyboard commands, and mouse commands:

Convention Action

File > Save Choose Save from the

File menu

Pro Tools Avid Interop Provides a list of web resources for interoperability with Pro Tools and Avid video editing systems.

Pro Tools Avid Interplay Describes how to use the Avid Interplay system to pass sequences and audio files back and forth between Avid video editing systems and Pro Tools HD audio editing and mixing systems.

Pro Tools Avid MediaNetwork Provides information on setting up and using a Pro Tools client on Avid Unity MediaNetwork networked storage systems.

Pro Tools ISIS Guide Provides information on setting up and using a Pro Tools client on Avid Unity ISIS networked storage systems.

Control+N Hold down the Control

key and press the N key

Control-click Hold down the Control

key and click the mouse button

Right-click Click with the right

mouse button

The names of Commands, Options, and Settings that appear on-screen are in a different font.

The following symbols are used to highlight important information:

User Tips are helpful hints for getting the most from your Pro Tools system.

Important Notices include information that could affect your Pro Tools session data or the performance of your Pro Tools system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in this guide and other Avid documentation.

Chapter 1: Welcome to Pro Tools 7

Pro Tools MP

References to Pro Tools are usually interchangeable with Pro Tools MP, except as noted (“for Pro Tools Only”). For more information on how Pro Tools and Pro Tools MP differ, see the Pro Tools MP Installation Guide on the Pro Tools MP installer disc.

System Requirements and Compatibility Information

Avid can only assure compatibility and provide support for hardware and software it has tested and approved.

For complete system requirements and a list of qualified computers, operating systems, hard drives, and third-party devices, visit:

www.avid.com/compatibility

About www.avid.com

The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available.

Product Registration Register your purchase online.

Support and Downloads Contact Avid Customer Success (technical support); download software updates and the latest online manuals; browse the Compatibility documents for system requirements; search the online Knowledge Base or join the worldwide Pro Tools community on the User Conference.

Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center.

Products and Developers Learn about Avid products; download demo software or learn about our Development Partners and their plugins, applications, and hardware.

News and Events Get the latest news from Avid or sign up for a Pro Tools demo.

Pro Tools Reference Guide8

Chapter 2: Pro Tools Concepts

Before you begin to use Pro Tools, you may find it helpful to review Pro Tools concepts.These concepts are the foundation of Pro Tools operation and functionality.

Hard Disk Audio Recording

Hard disk recording is a nonlinear (or random access) medium—you can go immediately to any spot in a recording without having to rewind or fast forward.

This differs from tape-based recording, which is a linear medium—where you need to rewind or fast forward to hear a particular spot in a recording. To rearrange or repeat material in a linear system, you need to re-record it, or cut and splice it.

Pro Tools Nonlinear Editing

Pro Tools is a nonlinear recording editing system that lets you rearrange and mix recorded material nondestructively. Nonlinear editing simply means that you can cut, copy, paste, move, delete, trim, and otherwise rearrange any audio, MIDI, or video in the Pro Tools Edit window.

Nonlinear editing provides significant advantages over dubbing (re-recording), and cutting and splicing magnetic tape. It gives you the greatest possible flexibility for editing and arranging, and it is all nondestructive and “undoable.” Additionally, with nonlinear editing in Pro Tools, you will never introduce any degradation of audio fidelity as you would with tape.

Nonlinear systems have several advantages. You can easily rearrange or repeat parts of a recording by making the hard disk read parts of the recording in a different order or multiple times. In addition, this re-arrangement is nondestructive, meaning that the original recorded material is not altered.

Chapter 2: Pro Tools Concepts 9

Digidesign Audio Engine

The Digidesign Audio Engine (DAE) is a realtime operating system for digital audio recording, playback, and processing. When you install Pro Tools, DAE is automatically installed on your system.

In the same way that a computer’s operating system provides the foundation for programs that run on the computer, DAE provides the foundation for much of the hard disk recording, digital signal processing, and mix automation required by Pro Tools and other products from Avid and its Development Partners.

The DAE Playback Buffer Size determines the amount of memory DAE allocates to manage disk buffers. The DAE Playback Buffer Size can be changed in the Playback Engine (see “DAE Playback Buffer Size” on page 69

Playback Engine

Pro Tools lets you adjust the performance of your system by changing system settings that affect its capacity for processing, playback, and recording. These system settings are available in the Playback Engine (Setup > Playback Engine).

Pro Tools takes advantage of your computer’s host processor for certain tasks and optional host-based DSP processing.

Pro Tools uses host (CPU) processing to provide audio track recording, playback, mixing, and effects processing. Both Pro Tools and Pro Tools HD use host processing to run RTAS AudioSuite) plug-ins for effects processing. Performance is determined by your system and its Playback Engine settings.

The Playback Engine lets you set a hardware buffer size and allocate a percentage of CPU resources for these tasks.

Playback Engine for Pro Tools|HD system

On Pro Tools|HD systems, you can select the number of voices and voiceable tracks for your system and its sessions. Voice count choices are based on how much DSP processing you want to allocate for voicing.

(Real-Time

The Playback Engine is also where you assign dedicated resources for Automatic Delay Compensation.

For more information, see “Configuring Pro Tools System Settings” on page 62. See also “System Resources” on page 21.

Pro Tools Reference Guide10

Core Audio

Apple’s Core Audio provides audio stream connectivity between software applications and audio hardware on Mac OS X. Pro Tools software can use audio interfaces with supported Core Audio drivers for playback and recording with up to 32 channels of I/O.

Pro Tools MP supports qualified M-Audio interfaces only. Refer to the compatibility information on our website (www.avid.com/compatibility).

ASIO

Steinberg’s Audio Stream Input/Output (ASIO) provides audio stream connectivity between software applications and audio hardware on Windows. Pro Tools software can use audio interfaces with supported ASIO drivers for playback and recording with up to 32 channels of I/O.

Pro Tools MP supports qualified M-Audio interfaces only. Refer to the compatibility information on our website (www.avid.com/compatibility).

MIDI

MIDI (Musical Instrument Digital Interface) is a communication protocol for musical instruments. This industry standard enables connections between a variety of devices from different manufacturers. Examples of MIDI-compatible equipment include synthesizers, sound modules, drum machines, MIDI patch bays, effects processors, MIDI interfaces, MIDI control surfaces, and MIDI sequencers.

MIDI devices are equipped with 5-pin DIN connectors, labeled as either IN, OUT, or THRU. The MIDI OUT port transmits messages. The MIDI IN port receives messages. The MIDI THRU outputs whatever is received from the IN port. MIDI devices are connected with MIDI cables that are available at most music stores.

USB and FireWire-compatible MIDI devices send and receive MIDI messages to and from the computer over USB or FireWire.

MIDI signal flow

Not all devices will have all three MIDI ports (IN, OUT, and THRU).

The MIDI protocol provides 16 channels of MIDI per port. A single MIDI cable can transmit a separate set of messages for each of the 16 channels. These 16 channels can correspond to separate MIDI devices or to multiple channels within a single device (if the device is multitim- bral). Each channel can control a different instrument sound. For example, bass on channel 1, piano on channel 2, and drums on channel 10. Similar to a multitrack tape recorder, a MIDI sequencer can record complex arrangements—even using only a single multitimbral keyboard.

Chapter 2: Pro Tools Concepts 11

MIDI Terms

The following are some basic MIDI terms:

MIDI Instrument A hardware MIDI device or software instrument (such as an instrument plug-in).

MIDI Interface Hardware that lets computers connect to and communicate with MIDI devices (such as the M-Audio MIDISPORT).

MIDI Device Any physical MIDI keyboard, sound module, effects device, or other equipment that can send or receive MIDI information.

MIDI Controller Any MIDI device that transmits MIDI performance data. These include MIDI keyboards, MIDI guitar controllers, MIDI wind controllers, and others. Controllers transmit MIDI from their MIDI OUT ports.

MIDI Control Surface Any device (such as Command|8), which uses a MIDI connection to send control messages to a software program, but is not generally used to record MIDI information.

Multitimbral The ability of one MIDI device to play several different instrument sounds (such as piano, bass, and drums) simultaneously on separate MIDI channels. This makes it possible for a single multitimbral MIDI instrument to play back entire arrangements.

MIDI Port A physical MIDI port on a MIDI interface or a virtual MIDI port created in software. There are separate ports for MIDI In and Out. Physical MIDI ports connect to external MIDI devices using MIDI cables. Virtual MIDI ports connect software plug-ins and applications (see also “Virtual MIDI Nodes”).

MIDI Channel Up to 16 channels of MIDI performance data can be transmitted on a single MIDI cable. The channel number separates the different messages so your sound sources can receive the correct messages.

Program Change Event A MIDI command that tells a sound source which of its sounds (or sound patches) to use. The MIDI protocol lets you choose from a range of 128 patches.

Bank Select Message Many devices have more than 128 patches, which are arranged in banks. The Bank Select Message is a MIDI command that specifies the bank of patches from which to choose.

Local Control A controller setting found on most MIDI keyboards that lets them play their own sound source. Disabling “local control” ensures that a device’s internal sound source is only played by external MIDI messages (such as those sent from Pro Tools when MIDI in Pro Tools is routed to the MIDI keyboard). When using Pro Tools, “local control” should usually be disabled (for example, when using MIDI Thru). When “local control” is off, your keyboard still transmits data to its MIDI OUT port.

Continuous Controller Events MIDI instructions that allow real-time changes to notes that are currently sounding. These include pitch bend, modulation, volume, pan, and many others.

System Exclusive Data MIDI data commonly used for sending and retrieving patch parameter information for storage purposes.

Virtual MIDI Nodes When using MIDI with instrument plug-ins in Pro Tools, virtual MIDI nodes are created. These nodes act like MIDI ports and provide software MIDI connections between Pro Tools and other MIDI software, such as instrument plug-ins. For example, when

Pro Tools Reference Guide12

you insert Propellerhead’s Reason as a ReWire client on a track, the various MIDI inputs to Reason become available to Pro Tools MIDI and Instrument track MIDI outputs.

To actually hear an external MIDI instrument, you need to connect its audio outputs to a mixing console or connect it to one of the audio inputs of your Pro Tools audio interface.

Common Misconceptions About MIDI

MIDI is not audio, and by itself makes no sound. MIDI is control information only. It is like the piano roll for a player piano; it provides control information for what note to play when, for how long, at what volume, and with what sound (instrument). For example, when you strike a key on a MIDI keyboard, it sends a message to a MIDI instrument to play that particular note at that particular velocity using the selected sound (instrument). This could be its internal tone generator (like a synthesizer or sampler), another external MIDI instrument, or an instrument plug-in within Pro Tools. In order to play and hear a MIDI recording, you must have a MIDI instrument. Audio from an external MIDI instrument can be sent to an external mixer or monitored through your Pro Tools audio interface (using either an Instrument track or Auxiliary track).

If you are using an external MIDI instrument, it must be connected to MIDI ports that are recognized by your computer. These ports can be on a Pro Tools interface that has MIDI ports (such as an Mbox as an M-Audio MIDISPORT).

) or some other MIDI interface (such

Just as each Pro Tools system has unique hardware features, each MIDI device has its own features (and limitations) as to the number of voices and instruments it can play at one time. See the device’s documentation for information on its capabilities.

MIDI in Pro Tools

Pro Tools provides powerful MIDI sequencing capabilities. You can record, enter, edit, and play back MIDI data on Pro Tools Instrument and MIDI tracks. These actions can be done in the Edit window, the MIDI Editor window, the Score Editor window, and the MIDI Event List.

MIDI data in Pro Tools can be anything from MIDI note data (note number, on/off, velocity) to System Exclusive (Sysex) messages. MIDI data can be recorded or played back from both external MIDI devices with a MIDI interface (like the M-Audio MIDISPORT or Mbox) and other MIDI software (such as instrument plug-ins and ReWire client applications).

Synchronization

When you are working with multiple timebased systems, such as Pro Tools and an external deck, you want both systems to be synchronized. Synchronization is where one system outputs time code or MIDI Beat Clock and another device synchronizes to or follows that time code or MIDI Beat Clock so that they work together

Signal paths for external MIDI instruments

Chapter 2: Pro Tools Concepts 13

according to the same clock source. Pro Tools can be synchronized to other devices (or other devices can be synchronized to Pro Tools) using SMPTE/EBU time code or MIDI Time Code.

For more information on different SMPTE/EBU formats, and other concepts related to time code, see the Pro Tools Sync & Surround Concepts Guide.

Surround Sound

(Pro Tools HD and Pro Tools Only)

Surround sound simply means having one or more speakers with discrete audio signals (channels) placed behind the listener in addition to the typical stereo pair.

There are multiple types of surround formats in use (from three-channel LCR to 7.1, which has eight channels).

The most common surround format is 5.1, which refers to having 5 speakers and a subwoofer (the “.1”). 5.1 is used in movie theaters and home entertainment systems. Additionally, most DVDs are mixed to 5.1. The standard speaker placement for 5.1 for surround monitoring is stereo left and right speakers, and an additional center speaker in front, two more stereo left and right speakers in the rear, and the subwoofer on the side.

Pro Tools HD and Pro Tools with the Complete Production Toolkit 2 option support mixing in surround formats. In Pro Tools, each surround format is considered to be a greater-than-stereo multichannel format.

Pro Tools Sessions

When you start a project in Pro Tools, you create a session. It can be helpful to understand the basic elements of a session.

Session File

A session file is the document that Pro Tools creates when you choose File > New Session and configure a new session. Pro Tools can open only one session file at a time. The session file is named with a .ptf (Pro Tools file) extension. Session files contain maps of all elements associated with a project, including audio files, MIDI data, and all your edit and mix information. It is important to realize that a Pro Tools session file does not contain any media files (audio or video). Instead, it references audio, video, MIDI, and other files. You can make changes to a session and save those changes in a new session file. This lets you create multiple versions of a session or back up your editing and mixing work.

Session file icon (Pro Tools and Pro Tools MP)

Tracks

Pro Tools tracks are where audio, MIDI, video, and automation data are recorded and edited. Pro Tools tracks also provide audio channels for routing internal busses, and physical inputs and outputs for audio and MIDI.

For information on fundamental surround concepts, see the Pro Tools Sync & Surround Concepts Guide.

Pro Tools Reference Guide14

Pro Tools provides multiple types of tracks: audio, Auxiliary Input, Master Fader, VCA Master, MIDI, Instrument, and video.

Audio track in the Edit window (stereo track shown)

Video tracks support QuickTime movies (all Pro Tools systems) and VC-1 video files (Windows 7 only). Additionally, Pro Tools supports Avid video when using a supported Avid video peripheral. An individual video track can play back only one type of video at a time.

Audio, Auxiliary Input, Master Fader, and Instrument tracks can be mono, stereo, or multichannel (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only). When creating a new track, select from the list of channel formats supported by your system.

MIDI track in the Edit window

Video track in Frames view

Audio, MIDI, Instrument, and video track data can be edited into regions or repeated in different locations to create loops, re-arrange sections or entire songs, or to assemble tracks using material from multiple takes.

Auxiliary Input tracks can route internal audio busses or physical inputs to internal busses or physical outputs. Auxiliary Inputs are typically used for audio effects busses, audio throughput (monitoring), and submixing.

Master Fader tracks provide controls for physical audio output channels, including the volume level of your mix, panning, and plug-in inserts.

VCA Master tracks (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) provide control of tracks in a Mix Group that has been assigned to the VCA Master.

Voices

In Pro Tools, voices are unique, discrete audio streams that can be routed to and from Pro Tools audio tracks physical audio outputs and inputs on your Pro Tools audio interfaces. The audio paths to and from Pro Tools software routed to Pro Tools hardware use voices. If you exceed the number of available voices in your system, you have effectively exceeded the available number of audio paths.

Typically, each audio channel for each track in your Pro Tools session uses a single voice. So, for a mono audio track, a single voice is used; for a stereo audio track, two voices are used. When using Punch Recording, two voices are needed for every single audio channel (one for playback and one for recording on punch in and out). In some situations, with Pro Tools|HD systems, more than one voice may be necessary for a single channel (such as when using host processing on a TDM bus).

Chapter 2: Pro Tools Concepts 15

Voices can be allocated dynamically (with all Pro Tools systems, any available voices are automatically assigned as they are needed) or explic- itly (with Pro Tools HD only, you can explicitly assign audio channels to specific available voices to ensure that audio on that channel is always voiced).

Audio files for each session are stored in a folder named “Audio Files.” Audio files are listed in the Pro Tools Region List and can appear in an audio track. A section of an audio file can be defined as a region. See “Region” on page 16.

MIDI Files

On Pro Tools|HD systems, the number of available voices is dependent on the amount of dedicated DSP processing in your system (see “Playback, Recording, and Voice Limits with Pro Tools HD” on page 44).

On all other Pro Tools systems, the full number of available voices for your system may be limited by the host processing power of your computer (see “Pro Tools System Capabilities” on page 53).

For more information about voicing in Pro Tools, see “Track Priority and Voice Assignment” on page 233.

Media Files

Pro Tools sessions create, import, export, and reference media files. Media files are audio, MIDI, and video files. Audio and video media files are stored separately from the Pro Tools session file. MIDI data is stored in the session file.

Audio Files

When you record audio into a Pro Tools session, audio files are created.

Audio file icons

When you record or enter MIDI into a Pro Tools session, all MIDI data is stored in the Pro Tools session file. You can import and export MIDI files to and from Pro Tools sessions, but MIDI recorded or otherwise created in a Pro Tools session does not automatically create new MIDI files.

MIDI file icon

Video Files

When you record or import video into a Pro Tools session, all video data is stored as the corresponding video file type (such as QuickTime). Video files can be created in (or copied to) the Video Files folder in the session folder. However, in most cases, Pro Tools references video files that have been captured by another application, such as Avid Media Composer

Region

A region is a segment of audio, MIDI, or video data. A region could be a drum loop, a guitar riff, a verse of a song, a recording take, a sound effect, some dialog, or an entire sound file. Regions are especially useful for arranging audio and MIDI. A region can also have associated automation data. In Pro Tools, regions are created

Pro Tools Reference Guide16

from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped (a region of regions) and looped (repeated).

Audio region

MIDI region

Video region (Frames view)

Playlist

A playlist is a sequence of regions arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists.

Playlist selector pop-up menu

On audio tracks, an edit playlist tells the hard disk which audio regions to play in what order. For example, you can have separate audio regions for a song introduction, the first verse, the first chorus, and so on. You can also use the same audio region to access the same piece of audio multiple times at different locations and not use additional disk space. Different versions of the same original audio can be used in different places and have different effects applied. On MIDI and Instrument tracks, edit playlists can store multiple MIDI sequences (or performances) on a track.

Region group (Mixed audio and MIDI multitrack region group)

A playlist can be made up of a single region or many separate regions. It can be made up of similar elements, such as regions from several different takes of a solo, or dissimilar elements, such as several sound effects.

You can create any number of alternate edit playlists for a track. This lets you assemble different versions of performances or edits on a single track and choose between them from the Playlists menu on the track.

Chapter 2: Pro Tools Concepts 17

Each audio, Auxiliary Input, Instrument, Master Fader, and VCA track also has a single set of automation playlists. Automation playlists can include volume, pan, mute, and each automationenabled control for the insert and send assignments on that track.

MIDI controller data on Instrument and MIDI tracks is always included as part of the track playlist.

Channel

The term channel is used to describe several related components of a Pro Tools system. The first example of channel refers to a physical input or output of your Pro Tools system. For example, HD I/O provides up to 16 channels of audio input and output to a Pro Tools|HD or Pro Tools|HD Native system, while an Mbox audio interface provides up to four inputs and two outputs.

The second use of the term channel refers to a channel strip in the Pro Tools Mix window. Each track in a Pro Tools session has a corresponding channel strip in the Mix window.

Audio and MIDI channel strips have similar controls, but those controls have slightly different effects. For example, audio, Auxiliary Input, and Instrument track channel strip faders control the output gain to the mix bus for that channel, while MIDI channel strip faders send MIDI volume data (MIDI controller 7) to the selected MIDI instrument.

The term ‘MIDI channel’ also describes a separate aspect of MIDI operation. See “MIDI” on page 11.

Pro Tools Reference Guide18

Channel strip in the Mix window (audio track)

Signal Routing

Input from stereo bus path

Outputs to stereo bus path

Audio tracks

Inserts

Sends

Auxiliary

Input Track

Pro Tools provides software-based mixing and signal routing controls for audio and MIDI. These controls are located in the Mix window. Some of these controls can also be accessed from the Edit window.

A common audio signal routing task is to submix multiple tracks to a single channel strip (such as an Auxiliary Input) for shared processing and level control.

Signal Routing Options

Signal routing options include the following:

Track Input and Output (I/O) Controls The most basic type of signal routing is track input and output. A track needs to have an assigned input path to record audio, and an assigned mapped output path in order to be audible through a hardware output. Signals can also be routed to or from other tracks in Pro Tools (or hardware inputs and outputs) using internal busses.

The following example shows two audio tracks submixed to a stereo Auxiliary Input.

Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers, and bus masters. Master Fader tracks are used as bus and output master level controls. Both Auxiliary Input and Master Fader tracks can have plug-in and hardware inserts.

MIDI Tracks MIDI tracks are generally used for routing MIDI from internal or external sources to external MIDI devices. MIDI data can also be routed to plug-ins on Auxiliary Inputs or Instrument tracks.

Instrument Tracks Instrument tracks are the primary way to route MIDI to an instrument plugin and then route the plug-in’s sound to outputs, sends and busses, or other inserts. Instrument tracks can also be used to send MIDI to and monitor audio from external MIDI devices.

Sends Sends route audio from tracks to hardware outputs, or to internal busses that are in turn routed to other tracks within Pro Tools. MIDI, Master Fader, and VCA Master tracks do not have sends.

Submixing to an Auxiliary Input

Chapter 2: Pro Tools Concepts 19

Plug-In and Hardware Inserts Plug-In processing occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and outputs for traditional insert routing to and from external effects and other devices. MIDI and VCA Master tracks do not have inserts.

Instrument Plug-Ins Instrument plug-ins are different from processing plug-ins in that they generate audio rather than process the audio signal from a track’s audio input or from hard disk. Instrument plug-ins are typically played by MIDI.

Paths Paths are any routing option in Pro Tools, including internal or external inputs, outputs, busses, and inserts. Pro Tools lets you name these paths, and these path names appear in the Audio Input and Output Path selectors and other menus. For more information, see Chapter 7, “I/O Setup.”

Mixing Formats Sessions can include combinations of mono, stereo, and greater-than-stereo multichannel format tracks, busses, inputs, outputs, and inserts. Greater-than-stereo multichannel formats are supported with Pro Tools HD, and Pro Tools with the Complete Production Toolkit 2 option only.

Grouping and VCA Tracks Tracks can be grouped together for mixing so that their relative mix settings are maintained when changing a mix setting for any track in the group (for example, changing the volume of one track affects the volume of all the other tracks in the group). VCA Master tracks (Pro Tools HD and Pro Tools with Complete Production Toolkit 2 only) control the relative mix settings for all tracks within the selected group.

Tick-Based and Sample-Based Time

Pro Tools lets you set any track timebase to either sample-based or tick-based. You can also set the Timeline to be viewed as tick-based or sample-based.

Audio in Pro Tools is sample-based by default. This means that if an audio region is located at a particular sample location, it will not move from that location if the tempo changes in the session—though its Bar|Beat location will change.

MIDI data in Pro Tools is tick-based by default. This means that if a MIDI region is located at a particular Bar|Beat location, it will not move from that Bar|Beat location if the tempo changes in the session—though its sample location will change.

You can select whether a track is sample-based or tick-based when it is created, or change timebases later.

Sample-Based Audio and MIDI

With a sample-based audio track, all regions in the track have an absolute location on the Timeline. Regions stay fixed to the sample time, regardless of where tempo or meter changes occur in a session.

If you make a MIDI track sample-based, all MIDI events in the track have an absolute location on the Timeline. MIDI events stay fixed to sample time, regardless of any tempo or meter changes in a session.

Pro Tools Reference Guide20

Tick-Based Audio and MIDI

Tick-based audio is fixed to a Bars|Beat location, and moves relative to the sample Timeline when tempo and meter changes occur. However, MIDI events and tick-based audio respond differently to tempo changes with respect to duration. MIDI note events change length when tempo or meter is adjusted, while audio regions do not (unless Elastic Audio is enabled). When Elastic Audio is not enabled on an audio track, meter and tempo changes affect only the start point (or sync point) for each audio region in a tickbased track. If Elastic Audio is enabled on an audio track, tempo changes apply Elastic Audio processing, which changes the duration of the audio region.

With Elastic Audio, Pro Tools analyzes entire audio files for transient “events.” For example, an event can be a drum hit, a sung note, or chord played by a guitar. These detected events can then serve as control points for “warping” the audio. Pro Tools can warp (TCE) audio events automatically, such as when automatically conforming audio to the session tempo or quantizing audio events, or you can warp audio manually using the standard editing tools with the audio track set to Warp view.

Elastic Audio is useful in several common workflows: working with loops, correcting performances, remixing, beat and pitch matching, and sound design and special effects.

Elastic Audio

Elastic Audio provides real-time and non-realtime (rendered) Time Compression and Expansion (TCE) of audio. Tick-based Elastic Audio tracks actually change the location of samples according to changes in tempo. The audio stretches or compresses to match changes in tempo. Elastic Audio also provides high-quality non-real-time region-based pitch shifting.

Pro Tools Elastic Audio uses exceptionally highquality transient detection algorithms, beat and tempo analysis, and real-time or rendered TCE processing algorithms. Elastic Audio lets you quickly and easily tempo conform and beat match audio to the session’s Tempo ruler. It also provides an unprecedented degree of control over transient detection and TCE processing on an event-by-event basis.

System Resources

Track count, plug-in processing, signal path and routing options, and voice availability are ultimately limited by the combined resources available from the host computer and from your Pro Tools hardware.

Pro Tools provides several ways to manage and conserve resources to maximize the performance of your system. As you begin working with Pro Tools sessions and tracks, you can take advantage of the following features to extend the effectiveness of your available DSP and other resources:

 Pro Tools lets you adjust the performance of

your system by changing system settings that affect its capacity for processing, playback, and recording. See “Configuring Pro Tools System Settings” on page 62.

Chapter 2: Pro Tools Concepts 21

 In order to free up needed DSP resources,

Pro Tools allows for certain items (such as tracks and inserts) to be manually made inactive. Inactive elements are viewable, editable, and retained within the session. See “Active and Inactive Items” on page 22.

 All Pro Tools systems provide flexible voice

options for audio tracks, to help maximize use of available voices in your system. For more information on voice management and options, see “Voice Borrowing” on page 236.

Active and Inactive Items

Pro Tools lets you make certain items (such as tracks and inserts) inactive, in order to free up DSP resources and mixer connections.

Items in Pro Tools that can be made inactive include the following:

• Audio, Auxiliary Input, Master Fader, VCA Master, and Instrument tracks

• Track Inputs and Outputs

•Sends

• Side-chain inputs

•Plug-Ins

• Hardware inserts

• Paths (session-wide)

MIDI tracks cannot be made inactive.

Side-chain inputs support direct active and inactive switching, but do not follow switching all or all selected side-chain inputs.

In addition to manually setting Active and Inactive modes, Pro Tools automatically makes items inactive if there are insufficient or unavailable resources.

When active, items are fully engaged and opera- tional.

When inactive, items are silent and off, although most associated controls can still be adjusted. Different inactive items affect available system resources in specific ways, as follows:

Plug-Ins When a plug-in is inactive on a track, its DSP is made available for other plug-ins and processing. Plug-In assignments can be made inactive manually or automatically (see “Automatic and Manual Inactive Mode” on page 23).

Paths and Path Assignments When a path or path assignment is inactive, its mixer resources are made available for other signal routing purposes in the session. Paths and assignments can be made inactive manually or automatically (see “Automatic and Manual Inactive Mode” on page 23).

Tracks When a track is made inactive, its voices become available for another track. Inactive mono tracks free up one voice; inactive stereo and multichannel tracks free up one voice per channel. Additionally, when an audio, Auxiliary Input, Instrument, or Master Fader track is made inactive, its plug-ins, inserts, sends, and I/O assignments become inactive, and the associated DSP used is freed up for use elsewhere in the session.

Pro Tools Reference Guide22

Display of Inactive Items

Active Inactive plug-in

Inactive track

Automatic and Manual Inactive Mode

When items are inactive, their names appear in italics, and their background becomes dark gray. When a track is inactive, the entire channel strip is grayed out.

Active and Inactive modes are powerful options for session transfer and system resource management. Pro Tools provides automatic and manual Inactive mode switching. You can manually make items inactive (or active) to selectively manage system resources while editing and mixing.

Automatically Inactive Items

When opening a session, it is possible that not all signal paths, plug-ins, or audio interfaces used in the session will be available as defined on the current system. When opening a session, sufficient voices may also be unavailable if the session was created on a different Pro Tools system type (for example, opening a session created on a Pro Tools|HD system on a Pro Tools system with an Mbox audio interface).

Whenever this occurs, the session will open as it was last saved. All items that are unavailable, or cannot be loaded due to insufficient resources, are made inactive.

Manual Inactive Switching

Active and inactive plug-ins, sends, and tracks

You can manually apply Active or Inactive modes to manage system resources. By making an item inactive, its associated resources are made available elsewhere in the session.

Chapter 2: Pro Tools Concepts 23

DigiBase

AAF, MXF, and OMF

DigiBase is a database management tool for Pro Tools. DigiBase expands upon basic Pro Tools search and import capabilities by providing powerful tools to manage your data both inside and outside of your sessions, on any hard drive connected to the system.

A database is a way of organizing data such that it can easily be searched, sorted, managed, and utilized. Your checkbook is an example of a database file. For every check you write, you enter a new record. That record contains information about the check, such as when you wrote it, to whom you wrote it, and for what amount. This information is written in specific columns, or fields. Everything you need to know (the check’s metadata) is there, even though the check itself is not.

DigiBase browsers let you search, sort, and mange these databases by volume or catalog. You can use DigiBase browsers not only to organize your Pro Tools sessions and media files (audio, MIDI, and video), but also to audition and import by drag and drop.

For more information about DigiBase, see “DigiBase” on page 273.

(Pro Tools and Pro Tools HD Only)

Pro Tools lets you exchange audio, video, and sequences with other AAF-, MXF-, and OMFcompatible applications (such as Avid editors).

Media Data (Media Files)

Media data represents raw audio or video material and is stored in individual media files. Every time you record a piece of video or audio material into an application, you are creating a media file. Audio media files hold samples (such as 44,100 or 48,000 samples per second of recording) while video media files use frames (24, 25, or 30 frames per second of recording).

The size of each media file depends on how much audio or video material it contains. For example, a file containing ten minutes of high resolution video might be approximately

2.16 GB in size, whereas a ten-minute audio recording at the might result in a 100 MB file. Media files tend to be large, since high quality audio and video signals are data intensive. Video data generally requires considerably more storage than audio data.

Pro Tools Reference Guide24

Metadata

Metadata is used to describe the following:

• Information embedded in a media file. This may include scene, take, sample rate, bit depth, region names, the name of the videotape from which the media file was captured, and even time code values.

• Information embedded in Pro Tools sessions or other sequences, including what files are used, where they appear in a timeline, and automation.

• For AAF or OMF sequences, metadata also includes information embedded in unrendered AudioSuite™ effects (such as real-time EQ) on Avid workstations. Pro Tools skips unrendered effects on import. Rendered effects are media files that can be imported into Pro Tools.

• For AAF or OMF sequences, information about automation (clip-based gain or keyframe gain).

In the simplest case, only an AAF or OMF sequence is exchanged. If this sequence points to existing media files, the size of the sequence file is relatively small and the export/import process is relatively fast.

AAF and OMF sequences can also have media data embedded in them. This creates a single, larger file that is slower to export and import, but which may be easier to manage than thousands of files stored on different volumes.

AAF

AAF is a sequence file format. AAF sequences are the best way to exchange projects and maintain valuable metadata. An AAF sequence can refer to OM F or MXF med ia f ile s, o r ha ve O MF a nd M XF media files embedded within them. There is no such thing as an AAF audio or video media file.

Pro Tools will import, play back, and export an AAF sequence that either links to media files or has audio embedded within it.

AAF, OMF, and MXF Basics

AAF and OMF files are mechanisms for storing and retrieving media files and metadata so that projects can be freely exchanged between different applications and platforms. MXF is a media file format that can be used with AAF (but not OMF) files.

Media data and metadata enable an application that receives AAF and OMF sequence files (such as Pro Tools) to automatically and quickly reassemble the composition. A simple metaphor for this approach is that media data files are the pieces of a puzzle and metadata is the set of instructions for assembling the puzzle.

When you import an AAF sequence with embedded audio into Pro Tools, the audio will be extracted into mono tracks using the current session’s audio file format.

Chapter 2: Pro Tools Concepts 25

MXF

MXF is a media file format. There are MXF video files and MXF audio files, but there are no MXF sequences. An AAF sequence may refer to or include MXF media files, but OMF sequences cannot refer to or include MXF files.

MXF file icon

Pro Tools can import and play back MXF audio and video files created in Media Composer or other Avid applications.

Pro Tools and Avid Terminology

Pro Tools and Avid use different terms to describe the same items. For example, a Pro Tools session is equivalent to an Avid sequence. The following table lists common Pro Tools elements and their Avid equivalents.

Pro Tools Avid (AAF or OMF)

session sequence

whole file region master clip

region subclip

plug-ins real-time audio effects

volume automation gain Avid keyframe volume

Video files digitized in Pro Tools are technically in the MXF format, but are intended only for use in Pro Tools and are not tested for compatibility with other applications.

OMF

OMF is both a media file and sequence format. OMF media files can be audio or video, and Pro Tools can import and play back OMF audio and video. Pro Tools can also export OMF audio, but not OMF video.

Pro Tools can import and play back OMF audio and video files created in Media Composer or other applications.

An OMF sequence cannot reference or have MXF media embedded within it.

Pro Tools can import an OMF sequence with embedded audio, but not embedded video.

Pro Tools does not have a feature that compares to Avid clip-based gain. However, you can use the Clip-Based Gain pop-up menu (in the Import Session Data dialog) to map clipbased gain settings to Pro Tools breakpoint automation, or to ignore clip-based gain entirely. See “Clip-Based Gain Pop-Up Menu” on page 354.

Whole audio files in the Regions List normally appear in bold type. However, master clip audio files imported from AAF or OMF into Pro Tools will not appear in bold type (indicating regions) in the Pro Tools Regions List even though they are audio files.

Pro Tools Reference Guide26

Embedded Media and Linked Media

Avid Workstation Edited Sequence

Embedded AAF/OMF File (metadata and media)

Export AAF/OMF with Embedded Media

Refers to:

Original Source Media Files

Sequence (metadata)

Consolidated Media Files

(with Handle)

creates...

There are two types of AAF and OMF files: ones with embedded media, and ones with linked media.

Embedded Media

Exporting to AAF or OMF with embedded media results in one large AAF or OMF file containing both the metadata and all associated media files.

When working with OMF embedded media or creating AAF embedded audio, Pro Tools limits file size to 2 GB. However, you may be able to use Pro Tools to open an AAF embedded audio file larger than 2 GB if it was exported from another source.

AAF/OMF Interchange Workflow with Embedded Media

Chapter 2: Pro Tools Concepts 27

Linked Media

ed to:

Linked to:

Avid Workstation Edited Sequence

AAF/OMF File (metadata only)

Original Source Media Files

Translated Pro Tools Session File

Pro Tools Imports

Session File

Avid Workstation exports

sequence edits and

file information as AAF

or OMF sequence

Exporting AAF or OMF with linked media results in a single metadata file (.AAF or .OMF) and all associated media stored as separate files.

The main benefit to this approach is that fewer copies of media files may need to be made, so the export and import process can be much faster. Using this approach, it is less likely that you will encounter any file size limitations since the data is broken up into many smaller files.

The main disadvantage to this approach is that there are potentially many files (for example, one AAF or OMF file and hundreds of media files) that must be transported between systems.

AAF and OMF Interchange Workflow with Linked Media

Pro Tools Reference Guide28

Chapter 3: Keyboard and Right-Click Mouse Shortcuts

A PDF listing of all shortcuts is available in Pro Tools. Choose Help > Shortcuts.

Right-Click Mouse Shortcuts

Pro Tools provides Right-click shortcuts for choosing various Pro Tools commands and menus with any Right-click capable mouse.

For a complete list of Right-click shortcuts, see the Shortcuts Guide.

Global Key Commands

Some keyboard shortcuts apply to many functions in Pro Tools.

For a complete list of keyboard shortcuts, see the Shortcuts Guide.

Track Functions

Pro Tools provides keyboard shortcuts for the following track functions:

• Changing Automation mode

• Enabling playlists

•Adding plug-ins

• Record enabling, soloing, and muting tracks

• Record safing and solo safing tracks

• Assigning inputs, outputs, and sends

• Toggling volume/peak/delay display

• Clearing meters

• Changing track heights

Command Windows Mac

Apply action to all channel strips/tracks

Apply action to selected channel strips/tracks

Alt+ action

Alt+ Shift+ action

Option+ action

Option+ Shift+ action

Chapter 3: Keyboard and Right-Click Mouse Shortcuts 29

List and Parameter Selection

Region List

Keyboard Focus

Group List

Keyboard Focus

Commands Keyboard Focus

(Edit window)

There are three types of Keyboard Focus:

Pro Tools provides keyboard shortcuts for the following items:

• Selection of tracks in Track List

• Enabling of groups in Group List

• Automation Enable window parameters

• Setting Memory Location parameters

Command Windows Mac

Toggle item and set all others to same new state

Toggle item and set all others to opposite state

Alt-click item Option-click

Control-click item

item

Commandclick item

Controls and Editing Tools

Pro Tools provides keyboard shortcuts for moving plug-in controls, faders and sliders, the Scrubber, and automation data.

Command Windows Mac

Fine adjustment of sliders, knobs, and breakpoints

Hold Control while clicking the item

Hold Command while clicking the item

Commands Keyboard Focus When selected in the Tracks pane in the Edit window or in the Notes pane of any MIDI Editor window, this provides a wide range of single key shortcuts from the computer keyboard for editing and playing. The frontmost Edit or MIDI Editor window always receives Commands Keyboard Focus when it is enabled.

With Commands Keyboard Focus disabled, you can still access any of its key shortcuts by pressing the Start key (Windows) or Control (Mac) along with the key. See the Shortcuts Guide for a complete list of Commands Keyboard Focus shortcuts.

Region List Keyboard Focus When selected, audio regions, MIDI regions, and region groups can be located and selected in the Region List by typing the first few letters of the region’s name.

Group List Keyboard Focus When selected, Mix and Edit Groups can be enabled or disabled by typing the Group ID letter (in either the Mix or Edit window).

Keyboard Focus

The Keyboard Focus in Pro Tools determines how the alpha keys function. Depending on which Keyboard Focus is enabled, you can use the keys on your computer (alpha) keyboard to select regions in the Region List, enable or disable groups, or perform an edit or play command.

You can only enable one of the three Keyboard Focus modes at a time. Enabling a Keyboard Focus will disable the one previously enabled.

Pro Tools Reference Guide30

Keyboard Focus buttons

To set the Keyboard Focus, do one of the following:

 Click the a–z button for the focus you want to

enable.

– or –

 While pressing Control+Alt (Windows) or

Command+Option (Mac), press one of the following keys: 1 (Commands), 2 (Region List), or 3 (Group List).

To enable Toolbar focus for the MIDI Editor pane, do one of the following:

 Click the Toolbar right above the MIDI Editor

pane.

– or –

 Press Control+Alt+5 (Windows) or

Command+Option+5 (Mac).

Although multiple plug-in windows can have a keyboard focus enabled, only the frontmost window receives any keyboard input.

Toolbar Focus

In the Edit window, the MIDI Editor pane can be displayed in addition to the Tracks pane (View > Other Displays > MIDI Editor). When the MIDI Editor pane is displayed, there are two separate Toolbars and Timelines in the Edit window: one for the Tracks pane and one for the MIDI Editor pane. Only one Toolbar and Timeline can be focused for Menu and Toolbar commands (including the corresponding keyboard shortcuts) at a time. The focused Toolbar displays a yellow outline.

If Keyboard Focus for the Edit window is enabled, it follows the selected Toolbar focus.

To enable Toolbar focus for the Tracks pane, do one of the following:

 Click the Toolbar at the top of the Edit

window.

– or –

Numeric Keypad Modes

The Operation preference for Numeric Keypad mode determines how the numeric keypad functions for Transport.

There are two Shuttle Lock modes (Classic and Transport), and one Shuttle mode.

No matter which Numeric Keypad mode is selected, you can always use the numeric keypad to select and enter values in the Event Edit Area, Edit Selection indicators, Main and Sub Counters, and Transport fields.

To set the Numeric Keypad Mode:

1 Choose Setup > Preferences and click the Oper-

ation tab.

2 In the Transport section, select a Numeric Key-

pad mode (Classic, Transport, or Shuttle).

3 Click OK.

 Press Control+Alt+4 (Windows) or

Command+Option+4 (Mac).

Chapter 3: Keyboard and Right-Click Mouse Shortcuts 31

Shuttle Lock Modes

Transport Mode

There are two Shuttle Lock modes (Classic and Transport). Both modes let you use the numeric keypad to shuttle forward or backwards at specific speeds.

• 5 is normal speed.

• 6–9 provide increasingly faster fast-forward speeds.

• 1–4 provide progressively faster rewind speeds (4 is the slowest rewind Shuttle Lock speed, 1 is the fastest).

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

Custom Shuttle Lock Speed

(Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only)

The highest fast-forward Shuttle Lock speed (key 9) can be customized.

For information, see “Custom Shuttle Lock Speed” on page 557.

Classic Mode

This mode emulates the way Pro Tools worked in versions lower than 5.0. With the Numeric Keypad mode set to Classic, you can:

• Play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 1–9 for different play speeds.

• Press Plus or Minus to reverse direction.

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

• Recall Memory Locations by typing the Memory Location, followed by a Period (.).

This mode lets you set a number of record and play functions, and also operate the Transport from the numeric keypad.

Function Key

Click on/off 7

Countoff on/off 8

MIDI Merge/Replace mode 9

Loop Playback mode on/off 4

Loop Record mode on/off 5

QuickPunch mode on/off 6

Rewind 1

Fast Forward 2

Record enable 3

Play/Stop 0

With the Numeric Keypad mode set to Transport, you can also:

• Play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 1–9 for different play speeds.

• Press Plus or Minus to reverse direction.

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

• Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

Pro Tools Reference Guide32

Shuttle Mode

(Pro Tools HD and Pro Tools with Complete Production Toolkit 2 Only)

Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes. With the Numeric Keypad mode set to Shuttle, playback of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse. In this mode, pre- and post-roll are ignored.

Playback Speeds Key

1x Forward 6

1x Rewind 4

4x Forward 9

4x Rewind 7

1/4x Forward 3

1/4x Rewind 1

1/2x Forward 5+6

1/2x Rewind 5+4

2x Forward 8+9

2x Rewind 8+7

1/16x Forward 2+3

1/16x Rewind 2+1

Loop Selection (1x) 0

With the Numeric Keypad mode set to Shuttle, you can also:

• Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

Shuttle Lock modes are not available when the Numeric Keypad mode is set to Shuttle.

Chapter 3: Keyboard and Right-Click Mouse Shortcuts 33

Pro Tools Reference Guide34

Chapter 4: Using Help

Pro Tools Help provides quick access to workflows and reference information. Built-in search capabilities and an index are included to better support your Help needs.

Accessing the Help System

To access Help in Pro Tools:

 Choose Help > Online Help.

You can get help and background information for tasks, windows, dialog boxes, and screen objects through your Avid Help system. The Help system is HTML-based and operates in your default Web browser.

The Help system’s search functionality has a limitation when the Help system is running in the Safari browser. You can perform one search successfully, but subsequent searches do not return results until you clear the Safari cache. You can do this by quitting Safari and relaunching the Help, or by emptying the cache directly (select Safari > Empty Cache, or use the Command+Option+E keyboard shortcut). Other browsers, for example Mozilla Firefox, do not have this limitation.

Understanding the Help Display

The Help system uses the following main display areas:

• Help topics open in the right frame of the

• Navigation buttons and links for controlling

• Navigation tools (such as the Contents and

browser.

the Help display appear in the top area.

the Index) open in the left frame of the browser.

Chapter 4: Using Help 35

Using the Help Navigation Tools

How the Search Feature Works

The left frame of the Help browser is the display area for most of the Help system’s main navigation tools.

The Contents provides a list of links to the main topics in the Help system. By default, the Contents tab shows only links to the first topic in each chapter. This lets you quickly see the overall organization of the Help system. You can expand any chapter in the Contents to show the main topics within that chapter, and you can move to any of these topics by clicking its entry in the Contents tab.

The Index provides an alphabetized list of entries similar to the index of a printed book. If Java is enabled in your browser, the Index displays as a dynamic index where the listing scrolls as you type a word in the text box. If you do not have Java enabled in your browser, or if your browser does not support Java implementations, a JavaScript version of the index displays which lets you scroll manually through the entries.

The Search tab lets you search the entire text of the Help system for one or more words and then lists the topics that include those words.

The Search feature provides the best combination of usefulness and speed. To use Search successfully, you should understand the following aspects of the Search feature:

• The Search feature uses a database of valid words. This database includes all words that are significant for identifying topics and excludes all other words. When you type words in the search text box, the system ignores any invalid words that you have typed and searches for valid words.

• The Search feature cannot search for words in a certain order. For example, if you type “TIFF graphics import” as a search entry, Search displays all topics that contains these three words regardless of their location in the topic. The results include topics where the three words appear together as a phrase, and also topics where the three words are scattered throughout the topic.

• The Search feature cannot distinguish between words that are similar but not identical. For example, if you type “capture” as a search entry, Search displays topics that include that word, but it does not find topics that include related words such as “captures” or “capturing.” If a search for a word fails to produce useful results, you might be more successful if you search again using one of the related words.

Remember that Help includes a comprehensive index. If Search does not produce useful results for a particular topic, you can often find the specific information you need quickly by using the index.

Pro Tools Reference Guide36

Printing Help Topics

Copying from a Help Topic

You can print a Help topic if you need to refer to it during a complicated procedure or to use it for reference later.

(Windows only) You can print a topic by clicking the right mouse button and selecting Print. (Mac only) The print button does not appear in Internet Explorer 5.2.

See your browser documentation for more information on print options.

To print a Help topic:

1 Click the topic frame within the browser win-

dow that you want to print.

2 Do one of the following:

• Click the Print button.

– or –

• Select File > Print.

3 Select the print options.

4 Click Print.

You cannot paste text from one topic into another.

To copy information from a Help topic to another document:

1 Open or click the topic to make it active, and

then select the text that you want to copy.

2 Choose Edit > Copy.

3 Place the mouse pointer in another applica-

tion, such as a word processing application.

4 Choose Edit > Paste to paste the copied text

into a document. (You can also paste the text into the Search text box.)

Chapter 4: Using Help 37

Pro Tools Reference Guide38

Part II: System Configuration

Chapter 5: Pro Tools Systems

Pro Tools systems are classified by their software and hardware:

Pro Tools|HD Systems

Pro Tools|HD and Pro Tools|HD Native Systems

These systems include ProTools HD software with Pro Tools|HD or Pro Tools|HD Native hardware.

Pro Tools Systems

These systems include ProTools software with qualified Avid audio interfaces (such as Eleven Rack, 003 ProFire 2626).

, Mbox®, or M-Audio® Fast Track® or

Pro Tools Core Audio and ASIO Systems

These systems include ProTools software running on the built-in audio available on Mac computers (Core Audio), or running with thirdparty audio interfaces that support Core Audio (Mac) or ASIO (Windows) drivers.

For a list of qualified audio interfaces and computers, visit www.avid.com/compatibility.

Pro Tools MP Systems

Each system requires at least one Pro Tools|HD audio interface (sold separately). Pro Tools|HD systems can be expanded by adding Pro Tools|HD cards to increase track count and the amount of plug-in and mixer processing, and by adding additional audio interfaces.

Pro Tools system performance depends on

factors such as computer processor speed, amount of system memory, and hard drive performance. Visit the Avid website (www.avid.com) for the latest system requirements and compatibility information.

These systems include ProTools MP software with qualified Avid M-Audio interfaces.

For a list of qualified Avid M-Audio interfaces for Pro Tools MP, visit www.avid.com/compatibility.

Chapter 5: Pro Tools Systems 41

Pro Tools|HD systems are available in the following configurations:

Supported Pro Tools|HD Audio Interfaces

Pro Tools|HD 1

Includes:

• Accel Core (for PCIe) card or HD Core

• Pro Tools HD software

™

(for PCI) card

Pro Tools|HD 2 Accel

Includes:

• Accel Core (for PCIe) card or HD Core (for PCI) card

• HD Accel card

• Pro Tools HD software

Pro Tools|HD 3 Accel

Includes:

• Accel Core (for PCIe) card or HD Core (for PCI) card

• Two HD Accel cards

• Pro Tools HD software

Pro Tools|HD 2

Includes:

• HD Core card

™

•HD Process

• Pro Tools HD software

card

Pro Tools|HD 3

Includes:

• HD Core card

• Two HD Process cards

• Pro Tools HD software

Pro Tools|HD PCI cards require a PCI to PCIe expansion chassis. For more information, see the Expanded Systems Guide.

The following audio interfaces are compatible with Pro Tools|HD systems:

•HD I/O

•HD OMNI

• HD MADI

•192 I/O

•192 Digital I/O

•96 I/O

•96i I/O

™

Pro Tools|HD systems require at least one HD I/O, HD OMNI, HD MADI, 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O.

Maximum I/O Configuration

Pro Tools|HD supports up to a maximum combination of ten total of the following audio interfaces:

• HD OMNI (only one HD OMNI interface is supported in a single Pro Tools|HD system)

• HD I/O (up to ten HD I/O interfaces can be used simultaneously—requires five HD cards)

• HD MADI (up to three HD MADI interfaces can be used simultaneously—requires six HD cards)

• 192 I/O (up to ten 192 I/O interfaces can be used simultaneously—requires five HD cards)

• 192 Digital I/O (up to ten 192 Digital I/O interfaces can be used simultaneously—requires five HD cards)

• 96 I/O (up to ten 96 I/O interfaces can be used simultaneously—requires five HD cards)

• 96i I/O (up to five 96i I/O interfaces can be used simultaneously)

Pro Tools Reference Guide42

Expanded Pro Tools|HD Systems

You can expand your Pro Tools|HD system by adding Pro Tools|HD cards to your computer, either directly in the computer or using an expansion chassis. Expanding your Pro Tools system provides increased track counts, adds to the amount of possible plug-in and mixer processing, and lets you connect additional audio interfaces. With support for up to 7 Pro Tools|HD cards in a single system, a Pro Tools|HD system can support up to 160 channels of simultaneous input and output.

For more information, see the Expanded

Systems Guide

Pro Tools|HD Native Systems

Pro Tools|HD Native-based systems consist of:

• Pro Tools|HD Native card

• At least one Pro Tools|HD audio interface (sold separately)

• Pro Tools HD software

Native systems can be expanded by adding additional audio interfaces.

Pro Tools system performance depends on factors such as computer processor speed, amount of system memory, and hard drive performance. Visit the Avid website (www.avid.com) for the latest system requirements and compatibility information.

Supported Pro Tools|HD Audio Interfaces

The following audio interfaces are compatible with Pro Tools|HD Native systems:

•HD OMNI

•HD I/O

•HD MADI

•192 I/O

•192 Digital I/O

•96 I/O

•96i I/O

Pro Tools|HD Native systems require at least one Pro Tools|HD audio interface.

Maximum I/O Configuration

Pro Tools|HD Native supports up to a maximum combination of up to four total of the following audio interfaces:

• HD OMNI (only one HD OMNI interface is supported in a single Pro Tools|HD system)

• HD I/O (up to four HD I/O interfaces can be used simultaneously)

• HD MADI (full connectivity with one HD MADI interface is possible when both DigiLink ports of the HD MADI are connected to both DigiLink ports on the Pro Tools|HD Native card)

• 192 I/O (up to four 192 I/O interfaces can be used simultaneously)

• 192 Digital I/O (up to four 192 Digital I/O interfaces can be used simultaneously)

• 96 I/O (up to four 96 I/O interfaces can be used simultaneously)

• 96i I/O (up to two 96i I/O interfaces can be used simultaneously)

Chapter 5: Pro Tools Systems 43

Playback, Recording, and Voice Limits with Pro Tools HD

The table below lists the audio playback, recording, and voiceable track limits of each type of Pro Tools|HD or Pro Tools|HD Native system. Playback and recording voices refers to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up one voice. Stereo and multichannel tracks take up one voice per channel.)

Voice limits are dependent on the session sample rate and the number of DSP chips dedicated to the system’s Playback Engine. Pro Tools|HD and Pro Tools|HD Native systems can open sessions with up to 512 audio tracks, but any audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off.

Pro Tools|HD and Pro Tools|HD Native systems provide up to 160 Auxiliary Input tracks and a total of 256 internal mix busses. These systems also provide up to 10 inserts and 10 sends per track (depending on the DSP capacity of your system). Pro Tools|HD systems also support up to 128 Instrument tracks, 512 MIDI tracks, 128 VCA Master tracks, 64 Master Fader tracks, and multiple video tracks.

Pro Tools|HD system audio playback, recording and voice limits

Playback and

Core System Type Maximum I/O

Sample Rate (kHz)

Recording Voices (Mono Tracks of Simultaneous Playback and Recording)

Total Voiceable Tracks

Pro Tools|HD 1 32 channels 44.1/48 96 512

88.2/96 48 512

176.4/192 24 512

Pro Tools|HD 2, Pro Tools|HD 3, or any expanded Pro Tools|HD system

Pro Tools|HD Native 64 channels 44.1/48 192 512

Pro Tools Reference Guide44

64 channels (HD 2) 96 channels (HD 3) or up to 160 channels (HD 5)

44.1/48 192 512

88.2/96 96 512

176.4/192 36 512

88.2/96 96 512

176.4/192 48 512

Pro Tools|HD Audio Interfaces

The following table lists the input and output capabilities of the various Pro Tools|HD audio interfaces for Pro Tools|HD systems. Pro Tools|HD cards support a maximum of 32 channels of I/O each. To record and play audio with Pro Tools HD, you must have at least one Pro Tools|HD audio interface connected to the Pro Tools|HD Core card in your system.

Table 6. Pro Tools|HD system audio interface channel capabilities

Interface Type

HD I/O 16 in/16 out 44.1, 48,

HD OMNI 8 in/8 out 44.1, 48,

HD MADI 64 in/64 out 44.1, 48,

192 I/O 8 in/8 out 44.1, 48,

192 Digital I/O 8 in/8 out 44.1, 48,

96 I/O 8 in/8 out 44.1, 48,

96i I/O 16 in/2 out 44.1, 48,

Number of I/O Channels

Sample Rates (kHz)

88.2, 96,

176.4, 192

88.2, 96,

176.4, 192

88.2, 96,

176.4, 192

88.2, 96,

176.4, 192

88.2, 96,

176.4, 192

88.2, 96

A/D Conversion

24-bit 24-bit 24-bit

None None 24-bit

24-bit 24-bit 24-bit

None None 24-bit

24-bit 24-bit 24-bit

D/A Conversion

Digital I/O

Chapter 5: Pro Tools Systems 45

HD OMNI Audio Interface

HD OMNI is a professional digital audio interface designed for use with Pro Tools|HD systems. HD OMNI provides a compact preamp, monitoring, and I/O solution for music production and recording, and post production studios.

HD OMNI Features

HD OMNI provides up to 8 discrete channels of Pro Tools input and output, with 4-segment LED meters for input or output (selectable).

Analog I/O

• 24-bit analog-to-digital (A/D) and digital-toanalog (D/A) converters, with support for sample rates up to 192 kHz

• 2 high-quality Mic/DI preamps (Channels 1–2)

• 2 combined XLR and 1/4-inch TRS front panel inputs for microphone and instrument level input

• 2 XLR back panel microphone inputs

• 2 1/4-inch TRS Send and 2 1/4-inch TRS Return back panel jacks for hardware inserts on channels 1 and 2

• 4 analog TRS line level back panel inputs (Channels 1–4)

HD OMNI provides multiple analog input connections, but only provides up to four channels of simultaneous analog input for Pro Tools.

• Soft Clip and Curv limiting circuits to protect against clipping on analog input

• 8 channels of analog back panel output using a DB-25 breakout cable (sold separately) with variable output gain

• 2 channels of analog back panel output using TRS (Mirrors channels 1–2 or 7–8 on DB-25 connector)

• Front panel stereo 1/4” headphone jack

Digital I/O

• 8 channels of AES/EBU output (up to 192 kHz Single Wire) using a DB-25 breakout cable (sold separately)

• 2 channels of AES/EBU XLR input (up to 192 kHz Single Wire)

• 2 channels of S/PDIF RCA input and output (up to 192 kHz)

• 8 channels of ADAT TOSLINK input and output

• Support for ADAT S/MUX Optical for sample rates of 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz

• Support for two channels of S/PDIF Optical with sample rates of up to 96 kHz

• Real-time sample rate conversion (SRC) on Digital Inputs 1–2 of either AES/EBU, S/PDIF, or Optical (S/PDIF)

SRC is not supported with ADAT S/MUX.

Monitoring

• An additional stereo “CUE” output path in Pro Tools for headphone monitoring from the front panel headphone jack

• Front panel Control Room (MAIN/ALT) and Headphone monitoring volume control

• Flexible monitoring with fold-down from all stereo and surround formats (up to 7.1 surround)

• Input mixer for low latency direct monitoring of a variety of incoming signals (configured in the Pro Tools Hardware Setup)

Pro Tools Reference Guide46

Synchronization

• Loop Sync input and output for connecting additional Pro Tools|HD interfaces and peripherals

• External Clock input and output for synchronizing HD OMNI with external Word Clock devices

For more information, see the HD OMNI Guide.

HD I/O Audio Interface

HD I/O is a multichannel digital audio interface designed for use with Pro Tools|HD systems. HD I/O features extremely high quality 24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 192 kHz.

HD I/O comes in three standard configurations:

• 8 x 8 x 8 (8 analog in, 8 analog out, and 8 digital in and out)

• 16 x 16 analog in and out

• 16 x 16 digital in and out

You can also add or remove HD I/O Analog Expansion cards (ADC and DAC) and HD I/O Digital Expansion cards for custom configurations.

HD I/O Features

HD I/O provides up to 16 discrete channels of Pro Tools input and output, with 4-segment LED meters for input and output.

Analog I/O

• Up to sixteen channels of 24-bit D/A and A/D converters for superior analog input and output at sample rates of 44.1 kHz, 48 kHz,

88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz with Analog In and Analog Out HD I/O cards

• Soft Clip and Curv limiting circuits to protect against clipping on analog input

Digital I/O

• Up to sixteen channels of 24-bit digital I/O, using AES/EBU, TDIF DB-25, or Optical at sample rates of 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz with a Digital HD I/O card

• Real-time sample rate conversion on digital inputs with a Digital I/O card (up to sixteen channels of AES/EBU, Optical, or TDIF)

• Support for S/MUX Optical for sample rates of

88.2 kHz and higher

• Support for 2 channels of S/PDIF Optical (enclosed) with sample rates of up to 96 kHz

• 2 channels of AES/EBU I/O (enclosed) with support for sample rates up to 192 kHz

• 2 channels of 24-bit-capable S/PDIF I/O (enclosed) with support for sample rates up to 192 kHz

Synchronization

• Loop Sync input and output for connecting additional Pro Tools|HD interfaces and peripherals

• External Clock input and output for synchronizing HD I/O with external Word Clock devices

Expandability

• Optional addition of I/O cards to expand analog or digital I/O

• Simultaneous use of multiple Pro Tools|HD audio interfaces to further expand system input and output (for more information see the

Expanded Systems Guide)

For more information, see the HD I/O Guide.

Chapter 5: Pro Tools Systems 47

HD MADI Digital Audio Interface

HD MADI is a 64-channel, digital audio interface designed for use with Pro Tools|HD systems. HD MADI supports the Multichannel Audio Digital Interface (MADI) format and sample rates of up to 192 kHz. HD MADI provides simplified connectivity between your Pro Tools|HD system and MADI-compatible audio equipment, such as routers, digital mixing consoles, and converters.

HD MADI Features

• 2 MADI Optical and Coaxial inputs and 2 MADI Optical and Coaxial outputs for up to 64 discrete channels of digital input and output (32 channels per DigiLink Mini port)

• Supports sample rates of 44.1 kHz, 48 kHz,

88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz

• 24- or 16-bit resolution

• Sample Rate Conversion (SRC) on input or output

• Front panel clock and SRC indicators

• Front panel signal present LEDs for input and output

• BNC Word Clock I/O for synchronizing HD MADI with external 1x Word Clock

• BNC Loop Sync I/O for synchronizing HD MADI with additional Pro Tools|HD audio interfaces and peripherals (such as HD I/O, HD OMNI, or SYNC HD)

• Dedicated BNC Word Clock input and XLR AES/EBU input (clock input only) for external MADI synchronization (when using SRC on output)

• Clock support for the following formats: Internal, Loop Sync, Word Clock, AES/EBU, and MADI

• Varispeed modes (supports both 64- and 56channel standards)

For more information, see the HD MADI Guide.

Pro Tools Reference Guide48

192 I/O Audio Interface

192 Digital I/O Audio Interface

192 I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems. 192 I/O features high quality 24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 192 kHz.

You can also add or remove analog cards (ADC and DAC) and digital cards for custom configurations.

192 I/O Features

• Supports sample rates up to 192 kHz

• Supports both analog and digital connections, including AES/EBU, S/PDIF, TDIF, and ADAT Optical:

• Digital (Digital I/O Card): 8 channels, DB-25 (AES/EBU and TDIF), or one pair of Lightpipe (ADAT Optical) connectors; Expandable up to 16 of channels digital I/O with the addition of the 192 Digital expansion card

• Analog: 8 channels, DB-25 (balanced) connectors, inputs selectable between +4 dBu or –10 dBV, outputs +4 dBu only; Expandable up to 16 analog inputs or 16 outputs using an optional 192 AD or 192 DA expansion card, respectively

• Digital (Enclosure): 2 channels, XLR (AES/EBU) connectors; 2 channels RCA (S/PDIF) connectors

• Optical (Enclosure): 8 channels, one pair of Lightpipe (ADAT Optical) connectors (switchable to 2 channels, S/PDIF)

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Wor d clo ck

192 Digital I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems, and supports sample rates of up to 192 kHz.

192 Digital I/O Features

• Supports sample rates up to 192 kHz

• Supports digital connections, including AES/EBU, S/PDIF, TDIF, and ADAT Optical:

• Digital (2 Digital I/O Cards): 16 channels, DB-25 (AES/EBU and TDIF), or two pairs of Lightpipe (ADAT Optical) connectors

• Digital (Enclosure): 2 channels, XLR (AES/EBU) connectors; 2 channels RCA (S/PDIF) connectors

• Optical (Enclosure): 8 channels, one pair of Lightpipe (ADAT Optical) connectors (selectable to 2 channels, S/PDIF)

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Wor d clo ck

For more information, see the 192 Digital I/O Guide.

For more information, see the 192 I/O Guide.

Chapter 5: Pro Tools Systems 49

96 I/O Audio Interface

96i I/O Audio Interface

96 I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems. 96 I/O features high quality 24-bit analog-todigital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 96 kHz.

96 I/O Features

• Supports sample rates up to 96 kHz

• Supports analog and digital connections, including AES/EBU, S/PDIF, and ADAT optical:

• Analog: 8 channels, 1/4-inch TRS (balanced or unbalanced) connectors, +4 dBu or –10 dBV

• Digital: 2 channels, XLR (AES/EBU) connectors; 2 channels, RCA (S/PDIF) connectors

• Optical: 8 channels, one pair of Lightpipe (ADAT Optical) connectors (switchable to 2 channels, S/PDIF)

• External Clock In and Out receive or send 1x Word clock

For more information, see the 96 I/O Guide.

96i I/O™ is a multichannel digital audio interface designed for use with Pro Tools|HD systems. 96i I/O features high quality 24-bit analog-to-digital (A/D) and digital-to-analog (D/A) converters, and supports sample rates of up to 96 kHz.

96i I/O Features

• Supports sample rates up to 96 kHz

• 16 discrete channels of input, and 2 channels of output, with 4-segment LED meters on each channel. Audio inputs and outputs include:

• 16 channels of 24-bit, 96-kHz capable analog input, with adjustable input sensitivity

• 2 channels of 24-bit, 96-kHz capable analog output, with selectable operating level

• 2 channels of 24-bit, 96 kHz-capable digital S/PDIF RCA input and output

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Wor d clo ck

For more information, see the 96i I/O Guide.

Pro Tools Reference Guide50

Additional Pro Tools|HD Hardware Options

Pro Tools HD also supports the following Pro Tools|HD hardware options.

• Synchronization peripherals:

•SYNC HD

•SYNC I/O

• PRE™ (Eight-channel microphone preamp)

• MIDI I/O

• Worksurfaces and MIDI control surfaces:

• D-Command

• D-Control

•C|24

• Command|8

• EUCON-aware control surfaces

• M-Audio Keyboards (such as Axiom

• Surround Panner Option

• Third-party MIDI controllers (such as Mackie HUI, Peavey PC-1600, or CM Labs Motor Mix)

™

(10 x 10 USB MIDI interface)

™

Pro)

Pro Tools Systems

Pro Tools systems are available in the following configurations:

003 Family

A 003 system includes:

• Pro Tools software

• One of the following:

• 003 audio and MIDI interface (with control surface)

• 003 Rack+ audio and MIDI interface

• 003 Rack audio and MIDI interface

Digi 002 Family

A Digi 002™ system includes:

• Pro Tools software

• One of the following:

• 002 audio and MIDI interface (with control surface)

• Digi 002 Rack audio and MIDI interface

Eleven Rack

An Eleven Rack system includes:

• Pro Tools software

• Eleven Rack audio and MIDI interface, and guitar effects processor

Chapter 5: Pro Tools Systems 51

Mbox Family

Core Audio

An Mbox system includes:

• Pro Tools software

• One of the following:

• Mbox Pro or Mbox 2 Pro audio and MIDI interface

• Mbox or Mbox 2 audio and MIDI interface

• Mbox Mini or Mbox 2 Mini audio interface

• Mbox 2 Micro audio interface (output only)

The original Digidesign Mbox audio interface is not supported with Pro Tools 8.0.4 and higher

M-Audio Interfaces

Pro Tools M-Audio systems includes:

• Pro Tools software

• A qualified M-Audio interface

For a current list of qualified Avid M-Audio interfaces, visit the Avid website (www.avid.com)

A Pro Tools Core Audio system includes:

• Pro Tools software

• A third-party audio interface with supported Core Audio drivers (including Built-in Mac audio hardware)

ASIO

A Pro Tools ASIO system includes:

• Pro Tools software

• A third-party audio interface with supported ASIO drivers

Pro Tools Reference Guide52

Pro Tools System Capabilities

The following table lists the playback, recording, and input and output capabilities of several Pro Tools systems with Avid audio interfaces.

Table 7. Pro Tools system audio playback, recording, and channel capabilities

Max. Mono or

System Type

003, 003 Rack, 003 Rack+, Digi 002, or Digi 002 Rack

Eleven Rack 96 at 48 kHz

Mbox Pro or Mbox 2 Pro

Mbox or Mbox 2 96 at 48 kHz 128 up to 2 in/2 out 24-bit 24-bit 24-bit

Mbox Mini or Mbox 2 Mini

Mbox 2 Micro 96 at 48 kHz 128 stereo out only N/A 24-bit N/A

M-Audio interfaces (depending on each interface’s capabilities)

Stereo Tracks of Simultaneous Playback

96 at 48 kHz

48 at 96 kHz

96 at 48 kHz

48 at 96 kHz

96 at 48 kHz 128 up to 2 in/2 out 24-bit 24-bit N/A

96 at 48 kHz

48 at 96 kHz

24 at 192 kHz

Total Voiceable Tracks

128 up to 18 in/18 out

128 up to 8 in/6 out

128 up to 6 in/8 out

128 up to 32 (see

Number of I/O Channels

(48 kHz or lower)

up to 10 in/10 out (88.2 or 96 kHz)

(44.1–96 kHz)

(48 kHz or lower)

up to 4 in/6 out (88.2 or 96 kHz)

A/D Conversion

24-bit 24-bit 24-bit

M-Audio guides)

D/A Conversion

(see M-Audio guides)

Digital I/O

(see M-Audio guides)

Other third-party Core Audio or ASIO interfaces (depending on each interface’s capabilities)

96 at 48 kHz

48 at 96 kHz

24 at 192 kHz

128 up to 32 (see 3rd

party device guides)

(see 3rd party device guides)

Chapter 5: Pro Tools Systems 53

(see 3rd party device guides)

Mono tracks of simultaneous playback refers to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up a single audio track, while stereo tracks take up two tracks.) Pro Tools systems can open sessions with up to 128 audio tracks, but any audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off.

Pro Tools systems provide up to 32 channels of I/O (depending on your audio interface), 128 Auxiliary Input tracks, a total of 256 internal mix busses, and up to 10 inserts and 10 sends per track (depending on your computer’s processing capacity). In addition, Pro Tools systems support up to 64 Instrument tracks and 512 MIDI tracks. Pro Tools also supports a single QuickTime video track.

For more information about the I/O capabilities of your audio interface with Pro Tools, see the documentation that came with your audio interface.

If you open a Pro Tools session created on a Pro Tools|HD system that contains more than the number of tracks supported on the your Pro Tools system, audio tracks beyond the system’s voiceable track limit will be automatically set to inactive.

For details on transferring session material between Pro Tools|HD and Pro Tools systems, see “Sharing Sessions Created on Different Pro Tools Systems” on page 386.

Processing Capacity

The total processing capacity of a Pro Tools system depends on the processing power of your computer. Contact your dealer or visit www.avid.com for the latest system requirements and compatibility information.

Additional Pro Tools Hardware Options

Pro Tools also supports the following Pro Tools hardware options.

• PRE (Eight-channel microphone preamp)

• MIDI I/O (10 x 10 USB MIDI interface)

•Worksurfaces and MIDI control surfaces:

•C|24

• Command|8

• Avid controllers with EUCON

•M-Audio Keyboards (such as Axiom Pro)

•Third-party MIDI controllers (such as Mackie HUI, Peavey PC-1600, or CM Labs Motor Mix)

Pro Tools MP Systems

A Pro Tools MP system includes:

• Pro Tools MP software

• A qualified Avid M-Audio interface

For a list of qualified Avid M-Audio interfaces for Pro Tools MP, visit www.avid.com/compatibility.

Pro Tools Reference Guide54

Pro Tools MP Capabilities

The following table lists the playback, recording, and input and output capabilities of Pro Tools MP systems with qualified Avid M-Audio audio interfaces.

Table 8. Pro Tools MP system audio playback, recording, and channel capabilities

System Type

Pro Tools MP (depending on each interface’s capabilities)

Max. Mono or Stereo Tracks of Simultaneous Playback

48 at 44.1 kHz and 48 kHz

32 at 88.1 kHz and 96 kHz

Total Voiceable Tracks

128 up to 18 (see the

Pro Tools MP systems provide up to 18 channels of I/O (depending on your audio interface), 128 Auxiliary Input tracks, a total of 128 internal mix busses, and up to 10 inserts and 10 sends per track (depending on your computer’s processing capacity). In addition, Pro Tools MP systems support up to 32 Instrument tracks and 256 MIDI tracks. Pro Tools MP also supports a single QuickTime video track.

Pro Tools MP uses your computer’s CPU to mix and process audio tracks (host processing). Computers with faster clock speeds yield higher track counts and more plug-in processing.

Unsupported Options

Pro Tools MP does not support the following Pro Tools options and their features:

• Complete Production Toolkit 2

• Avid video peripherals

• Video Satellite LE Option

• HFS+ Disk Support

Number of I/O Channels

A/D Conversion

documentation that came with your M-Audio device)

D/A Conversion

(see the documentation that came with your M-Audio device)

Other Unsupported Features

Pro Tools MP does not include the following Pro Tools features:

•Sessions and Tracks

• DigiBase Catalogs and advanced search features

• Track Data to Import menu (in Import Session Data dialog)

• Export As Text

•Editing

• Ability to apply Beat Detective across multiple tracks

• Copy To Send (In Automation Edit menu)

• Half Frame Increments

•Universe Window

• Mixing

•Variable Pan Depth

• Arranging

• Timebase Rulers (Time Code and Feet+Frames)

Digital I/O

(see the documentation that came with your M-Audio device)

Chapter 5: Pro Tools Systems 55

Pro Tools System Options

(Pro Tools HD and Pro Tools Only)

Pro Tools with Complete Production Toolkit 2 (Pro Tools Only)

Pro Tools systems that have been upgraded with the Complete Production Toolkit 2 software option. For more information, see “Complete Production Toolkit 2 Capabilities” on page 57.

Pro Tools|HD Systems with HEAT

Pro Tools|HD systems that have been upgraded with the HEAT Software option. HEAT (Harmonically Enhanced Algorithm Technology) is a paid software option that adds “analog color” to Pro Tools|HD systems. For more information, see the HEAT Software Option Guide.

Pro Tools|HD and Pro Tools|HD Native Systems with Machine Control

Pro Tools|HD systems and Pro Tools|HD Native systems that have been upgraded with the Machine Control software option. MachineControl™ is a paid software option for Pro Tools HD that enables serial communication with Sony® 9-pin compatible synchronizers, and video or audio machines. For more information, see the Machine Control Guide.

that you can cue, play, and stop the transports, make play selections, and solo tracks across any of the systems from any linked workstation. For more information, see the Satellite Link Guide.

Pro Tools|HD and Pro Tools|HD Native Systems with Video Satellite Link

Pro Tools|HD and Pro Tools|HD Native systems that have been upgraded with the Video Satellite Link option. Video Satellite is a paid software option for Pro Tools HD that lets you link your Pro Tools|HD or Pro Tools|HD Native system with a separate computer running Avid Media Composer or Symphony Nitris DX software for synced video playback, capture, and conversion. For more information, see the Video Satel- lite Guide.

Pro Tools|HD and Pro Tools|HD Native Systems with Video Satellite LE

Pro Tools|HD and Pro Tools|HD Native systems that have been upgraded with the Video Satellite LE option. Video Satellite LE is a paid software option for Pro Tools HD, which uses a separate computer running Pro Tools software for synchronized QuickTime HD video playback. For more information, see the Video Satellite LE Guide.

Pro Tools with VENUE Link

Pro Tools|HD and Pro Tools|HD Native Systems with Satellite Link

Pro Tools|HD and Pro Tools|HD Native systems that have been upgraded with the Satellite Link option. Avid Satellite Link is a paid option that lets you link up to 5 Pro Tools systems (or up to 4 Pro Tools systems and an Avid Media Com-

poser

, Avid Symphony Nitris DX®, or Video

Satellite LE system) over an Ethernet network so

Pro Tools Reference Guide56

Pro Tools systems that have been connected to VENUE systems using ethernet. VENUE Link provides Pro Tools and VENUE system integration and interoperability.

Complete Production Toolkit 2 Capabilities

(Pro Tools Only)

Complete Production Toolkit 2 enables the following features in Pro Tools:

• Surround mixing, editing, and automation up to 7.1 (depending on the output capabilities of your audio interface)

Use the Neyrinck SoundCode™ Stereo down mixer plug-in for monitoring surround sessions in stereo with audio interfaces that have fewer than six outputs.

• Up to a total of 192 voiced audio tracks (up to 512 voiceable audio tracks)

Pro Tools with Complete Production Toolkit 2 displays up to 512 tracks, with a simultaneous voice limit of 192 tracks. Tracks in excess of the 192-voice limit are made inactive.

• Playback of up to or a combination of playing back and recording up to 192 mono tracks or 96 stereo tracks (192 available voices) at 44.1 kHz and 48 kHz

• Playback of up to or a combination of playing back and recording up to 96 mono tracks or 48 stereo tracks (96 available voices) at 88.2 kHz and 96 kHz

• Playback of up to or a combination of playing back and recording up to 48 mono tracks or 24 stereo tracks (48 available voices) at 176.4 kHz and 192 kHz

• Ability to use QuickPunch

• Up to 160 Auxiliary Input tracks per session

• Up to 128 Instrument tracks

™

on up to 64 tracks

• Advanced Group dialog:

•VCA assignments

• Attributes tab

• Follow globals

• Momentary Solo Latch Back/Forward commands

• Custom Shuttle Lock speeds

• Numeric Keypad set to Shuttle mode

•AutoFades

• Advanced editing features:

• Continuous Scrolling

• Scrub Trim tool

• Replace Region command

• TCE Edit to Timeline Selection command

• Selection of alternate field recorder audio channels in the Pro Tools Timeline

• Expanding alternate field recorder channels to new tracks

• Advanced automation features:

• AutoJoin with Latch mode

• Touch/Latch mode

• Trim mode

• Composite automation playlist

• Copy track automation to sends

•AutoMatch

• Prime controls for writing automation in Latch mode

• Glide automation

• Trim automation

• Write automation to Start, End, or All

• Write automation to next breakpoint or punch point

• Overwrite or extend Mute automation

• Snapshot automation

•Preview automation

• Capture automation

• VCA Master track automation

Chapter 5: Pro Tools Systems 57

• Advanced video features:

• Multiple video tracks

• Multiple video playlists

• Video editing

• Preferences

• Back/Forward Amount

•Shuttle

• Auto Region Fade In/Out Length

• Use Absolute Pan Linking

• Suppress Automation “Write To” Warning

• Allow Latch Prime in Stop

• Coalesce when Removing Slaves from VCA Group

• Standard VCA Logic for Group Attributes

• Include Sends in Trim Mode

• AutoGlide Time

• Coalesce Trim Automation Options

• D-Control support

• D-Command support

For information about using D-Control and D-Command worksurfaces with Pro Tools, see the D-Command and D-Control Guides.

Additional Software with Complete Production Toolkit 2

Complete Production Toolkit 2 includes additional software for working with Pro Tools:

Neyrinck SoundCode Stereo Down Mixer Plug-In For monitoring 5.1 surround sessions

(down mixed to stereo) with all audio interfaces including 2 channel interfaces (such as the Mbox Mini). This plug-in also lets you quickly and easily create stereo mixes from 5.1 surround sessions.

X-Form Plug-In For high-quality time compression and expansion, and formant corrected pitch-shifting (based on the Radius algorithm from iZotope).

Checking For Software Updates

Pro Tools can check for Pro Tools application and plug-in updates, either automatically or manually. An internet connection is required to be able to check for updates. Approximately every two weeks, Pro Tools checks online for any available application and plug-in updates.

If updates are available for Pro Tools or any plug-ins, Pro Tools reports what updates (if any) are available and how important the updates are for your system. You can visit the Avid website to locate, download, and install the appropriate updates for your Pro Tools system.

Pro Tools Reference Guide58

To manually check for updates:

1 Launch Pro Tools.

2 Choose Help > Check For Updates.

3 Do one of the following:

• If no updates are available, click OK.

– or –

• If updates are available, do one of the following:

• Click Details to launch your web browser and see what updates are available for download.

• Click Not Now if you do not want to review or download updates until later.

To disable automatic checking for updates:

 In the Software Update dialog, select the

Do Not Check For Updates Automatically option.

To enable automatic checking for updates:

1 Choose Help > Check For Updates.

2 In the Software Update dialog, deselect the

Do Not Check For Updates Automatically option.

Chapter 5: Pro Tools Systems 59

Pro Tools Reference Guide60

Chapter 6: System Setup

You can review and update your system’s setup to ensure it is configured for your needs.

Starting Up or Shutting Down Your System

To ensure that the components of your Pro Tools system communicate properly with each other, you need to start them in a particular order.

Start up your Pro Tools system in this order:

1 Make sure all your equipment (including your

computer) is off.

2 Lower the volume of all output devices in your

system.

3 For Pro Tools|HD systems with an expansion

chassis, turn on the chassis.

4 Turn on any external hard drives. Wait ap-

proximately ten seconds for them to spin up to speed.

5 Turn on any worksurfaces (such as

D-Command) or control surfaces (such as Command|8).

6 Turn on any MIDI interfaces, MIDI devices, or

synchronization peripherals.

7 Do one of the following, depending on your

Pro Tools system:

• For Pro Tools|HD systems, with the volume of all output devices lowered, turn on your your Pro Tools|HD audio interfaces (such as HD OMNI or 192 I/O). Wait at least fifteen seconds for your system hardware to initialize.

– or –

• For Pro Tools or Pro Tools MP systems that use hardware requiring external power (such as M-Audio ProFire 2626), turn on the hardware.

8 Turn on your computer.

9 Launch Pro Tools or any third-party audio or

MIDI applications.

Shut down your Pro Tools system in this order:

1 Quit Pro Tools and any other running applica-

tions.

To quit Pro Tools, choose File > Exit (Windows) or Pro Tools > Quit (Mac).

2 Turn off or lower the volume of all output de-

vices in your system.

3 Turn off your computer.

Chapter 6: System Setup 61

4 Do one of the following depending on your

Pro Tools system:

• For Pro Tools|HD systems, turn off your Pro Tools audio interfaces.

– or –

• For Pro Tools or Pro Tools MP systems that use hardware requiring external power (such as M-Audio Profire 2626, turn off the hardware.

5 For Pro Tools|HD systems with an expansion

chassis, turn off the chassis.

6 Turn off any MIDI interfaces, MIDI devices, or

synchronization peripherals.

7 Turn off any worksurfaces (such as

D-Command) or control surfaces (such as Command|8).

8 Turn off any external hard drives.

In most cases, the default settings for your system provide optimum performance, but you may want to adjust them to accommodate large or processing-intensive Pro Tools sessions.

Checking a Pro Tools|HD or Pro Tools|HD Native System with DigiTest

Before you use Pro Tools, you may want to run the DigiTest diagnostic application to ensure that all Pro Tools|HD cards in the system are recognized, installed in the proper order, and have valid TDM FlexCable connections. See the Digi- Test Gui de for more information.

Configuring Pro Tools System Settings

Pro Tools Reference Guide62

Playback Engine for Pro Tools|HD system

Playback Engine for Pro Tools Mbox 2 system

Current Engine

(Pro Tools HD and Pro Tools Only)

In the Playback Engine dialog, Pro Tools lets you select the audio engine for use with your audio interfaces. The available options are determined by which audio interfaces are connected and have compatible drivers installed.

Changing the Current Engine setting can be useful if you have multiple audio interfaces connected to your computer with different routing configurations in your studio, or if you want to prepare a session for use with a specific interface on a different system (for example you might want to prepare a session created on your Pro Tools|HD system for use with the built-in audio on your Mac laptop).

To select which audio engine for Pro Tools uses:

1 Choose Setup > Playback Engine.

2 From the Current Engine selector, select your

audio interface:

• For Pro Tools|HD and Pro Tools|HD Native systems, use the default setting of HD TDM or HD Native.

• For supported Pro Tools and M-Audio audio interfaces (such as the Mbox Pro or ProFire 2626), selecting the name of the corresponding interface uses the Direct I/O engine for Pro Tools.

• For third-party audio interfaces with compatible CoreAudio (Mac) or ASIO (Windows), select the name of the corresponding Core Audio (Mac) or ASIO (Windows) compatible audio interface.

• On Mac systems, if you are using built-in audio, select any of the available built-in options for playback or select Pro Tools Ag- gregate I/O for simultaneous input and output with the built-in I/O hardware options.

When changing engines with a Pro Tools session open, Pro Tools must close and relaunch the session to be able to initialize the new engine.

On Pro Tools|HD systems, changing engines requires that you quit and relaunch Pro Tools for the new setting to take effect.

When changing engines on any Pro Tools system, you may need to reset the default I/O settings to match the selected audio interface.

Pro Tools Aggregate I/O

(Pro Tools on Mac Only)

On Mac systems using Core Audio, you can use Pro Tools with the built-in audio inputs and outputs on your Mac by selecting any of the available built-in inputs and outputs, or by selecting the Pro Tools Aggregate I/O option for using a combination of built-in inputs and outputs simultaneously (for recording and monitoring).

Selecting Pro Tools Aggregate I/O in the Playback Engine (Mac only)

3 Click OK.

Chapter 6: System Setup 63

You can configure the Input and Output options for Pro Tools Aggregate I/O in the Mac Audio Setup, which can be accessed from the Pro Tools Hardware Setup.

If you need simultaneous input (recording) and output (playback and monitoring) with Pro Tools using the built-in audio options on Mac, use the Pro Tools Aggregate I/O option. If you only need to playback audio for editing and mixing, select the appropriate built-in audio output option.

Hardware Buffer Size

The Hardware Buffer Size (H/W Buffer Size) in the Playback Engine controls the size of the buffer used to handle host processing tasks such as processing with Real-Time AudioSuite™ (RTAS) plug-ins.

• Lower Hardware Buffer Size settings are useful for improving latency issues in certain recording situations or for improving certain system performance problems:

• On all Pro Tools systems, lower settings reduce RTAS MIDI-to-audio latency (such as when playing an RTAS virtual instrument live and monitoring the instrument’s output). Lower settings can also improve screen response or the accuracy of plug-in and mute automation data.

• On host-based Pro Tools systems, lower settings reduce all input-to-output monitoring latency on any record-armed tracks or Auxiliary Input tracks with live inputs.

• On Pro Tools|HD systems, lower settings reduce monitoring latency that occurs on tracks that have one or more RTAS plug-ins. Lower settings can also improve the accuracy of MIDI track timing on systems without a MIDI interface that supports time stamping. Lower settings also improve MIDI track timing on tracks using MIDI virtual instruments that do not support time stamping.

• Higher Hardware Buffer Size settings are useful for sessions that are using more RTAS plugins for playback. These settings allow for more audio processing. They can also be useful to reduce errors on machines that require a higher buffer size.

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.

2 From the H/W Buffer Size pop-up menu, select

the audio buffer size, in samples.

3 Click OK.

Host Processors

The Host Processors setting in the Playback Engine determines the number of processors in your computer allocated for RTAS (Real-Time AudioSuite) plug-in processing and other host processing tasks.

With computers that have multiple processors, or that feature multi-core processing or hyperthreading, this setting lets you enable multiprocessor support for host processing tasks. Used in combination with the CPU Usage Limit setting, the Host Processors setting lets you control the way host-processing tasks are handled by the system.

Pro Tools Reference Guide64

For example:

• For sessions with large numbers of RTAS plugins, you can allocate 2 or more processors to RTAS processing and set a high CPU Usage Limit.

• For sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS processing and set a low CPU Usage Limit to leave more CPU resources available for automation accuracy, screen response, and video.

• Increase these settings to accommodate TDM to RTAS plug-in conversion. Conversely, decrease these settings if you are only using TDM plug-ins or are converting RTAS plug-ins to TDM. TDM/RTAS conversion can be desirable during recording, depending on latency, voicing needs, and record-monitoring capabilities of the specific TDM and RTAS plug-ins.

• Depending on the importance of video and overall screen response, and on the density of automation being employed, try different combinations of Host Processors and CPU Us- age Limit settings to achieve the best results. For example, to improve screen response in a medium-sized session using a moderate number of RTAS plug-ins, try reducing the number of RTAS plug-ins, but keep the CPU Usage Limit set to the maximum (up to 99% on a single processor system).

To set the number of Host Processors:

1 Choose Setup > Playback Engine.

2 From the Host Processors pop-up menu, select

the number of available processors you want to allocate. The number of processors available varies depending on how many processors are available on your computer:

• Select 1Processor to limit host processing for Pro Tools to one CPU in the system.

• Choose 2 Processors to enable load balancing across two available processors for Pro Tools host processing tasks.

• On systems running four or more processors, choose the number of processors for Pro Tools host processing tasks.

3 Click OK.

System Usage Window and Host Processing

The System Usage window (Windows > System Usage) displays the combined amount of host

processing occurring on all enabled processors with a single indicator, regardless of how many processors are available in the system. If the System Usage Window shows that you are at the limit of available resources, increase the number of Host Processors and adjust the CPU Usage Limit setting. (For more information, see “System Usage” on page 82.)

CPU Usage Limit

The CPU Usage Limit setting in the Playback Engine controls the percentage of CPU resources allocated to Pro Tools host processing tasks. Used in combination with the Host Processors setting, the CPU Usage Limit setting lets you control the way Pro Tools tasks are carried out by the system.

•Lower CPU Usage Limit settings limit the effect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful when you are experiencing slow system response, or when running other applications at the same time as Pro Tools.

•Higher CPU Usage Limit settings allocate more processing power to Pro Tools, and are useful for playing back large sessions or using more RTAS plug-ins.

Chapter 6: System Setup 65

The maximum available CPU Usage Limit depends on the number of processors in your computer and on the number of processors you specify for host processing. This value can range from 85% for single-processor computers (except for 003, 003 Rack+, 003 Rack, Digi 002, and Digi 002 Rack, which have a limit of 99%), and 99% for multiprocessor computers (which dedicate one entire processor to Pro Tools).

On multiprocessor computers, the maximum CPU Usage Limit is reduced when you use all your processors (as selected in the Host Processing pop-up menu). For example, on dual-processors, the limit is 90%. On four-processor computers, the limit is 95%.

Increasing the CPU Usage Limit may slow down screen responses on slower computers.

• Enable error suppression only if you are experiencing frequent errors that are interrupting your creative workflow. When error suppression is enabled, you can experience a degradation of audio quality. However, this may be acceptable in order to avoid interrupting playback and recording when working with instrument plug-ins.

• Disable error suppression when you need to ensure the highest possible audio quality, such as for a final mix.

To enable error suppression:

1 Choose Setup > Playback Engine.

2 Select Ignore Errors During Playback/Record.

3 If available, you can also select Minimize Addi-

tional I/O Latency.

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

2 From the CPU Usage Limit pop-up menu, select

the percentage of CPU processing you want to allocate to Pro Tools.

3 Click OK.

Host Engine (Error Suppression)

The Host Engine options in the Playback Engine determine error reporting during playback and recording. This is especially useful when working with instrument plug-ins.

On Pro Tools|HD systems, there is a single Host Engine option. On host-based Pro Tools systems, there are two Host Engine options.

4 Click OK.

Error Suppression Options

Ignore Errors During Playback/Record When en-

abled, Pro Tools continues to play and record even if the host processing requirements exceed the selected CPU Usage Limit. This can result in pops and clicks in the audio, but does not stop the transport.

Minimize Additional I/O Latency (Host-based Pro Tools Systems and Pro Tools MP Systems Only) When enabled, any additional latency due

to suppressing errors during playback and record is minimized to 128 samples. Suppressing errors requires at least 128 samples of additional buffering on some systems. If this option is disabled, the buffer is half the H/W Buffer Size, or at least 128 samples (whichever is greater). If you are on an older, slower computer, you may want to disable this option to avoid adverse performance.

Pro Tools Reference Guide66

This option is only available if the Ignore Errors During Playback/Record option is enabled and

the Pro Tools system you are using requires additional buffering for error suppression, as follows:

•Windows:

• Mbox Pro and Mbox 2 Pro

• All Pro Tools systems with M-Audio devices

• Pro Tools MP systems

•Mac:

• 003 family devices

•Eleven Rack

• Mbox family devices

• Digi 002 and 002 Rack

• All Pro Tools systems with M-Audio devices

• Pro Tools Aggregate I/O

• Pro Tools MP systems

Number of Voices

(Pro Tools HD Only)

On Pro Tools|HD systems, the Number of Voices setting in the Playback Engine lets you control the number of available voices and how those voices are allocated to DSPs in your system. For example, the default number of voices on a Pro Tools|HD 1 system is 48 voices, using one DSP (at sample rates of 44.1 kHz or 48 kHz).

Changing the number of voices affects DSP usage, the total number of voiceable tracks, and overall system performance.

Depending on the session sample rate and the number of Pro Tools|HD cards in your system, there are different choices for voice count. For voice limits on different Pro Tools|HD systems, see “Playback, Recording, and Voice Limits with Pro Tools HD” on page 44.

To change the Number of Voices and DSP to allocate for voicing:

1 Choose Setup > Playback Engine.

2 Select the number of voices and DSPs to allo-

cate for voicing by selecting a value from the Number of Voices pop-up menu as follows:

• Select minimum voice numbers if you are using high-bandwidth PCI or PCIe cards (such as video capture cards) along with your Pro Tools|HD cards. These settings place the lightest processing load on each allocated DSP chip, but generally require more DSP chips be dedicated to voicing and mixing (leaving fewer available for plug-ins).

• Select medium voice numbers when your Pro Tools|HD cards are in an expansion chassis, or when you are using other PCI or PCIe cards along with Pro Tools|HD cards. These settings generally provide an optimum balance between number of chips needed for voicing, and the processing load placed on each.

• Select higher voice numbers when your Pro Tools|HD cards are the only PCI or PCIe cards in your computer, or when you are using an expansion chassis to run higher track counts (such as 64 tracks at 96 kHz) and you want more voices per DSP (such as 16 voices per DSP at 96 kHz). These settings use fewer DSP chips for mixing (leaving more available for plug-ins) but place the highest processing load on each.

3 Click OK.

Chapter 6: System Setup 67

Sample Rate (Playback Engine)

(Pro Tools HD Only)

The Sample Rate setting in the Playback Engine determines the default sample rate when you create a new session. This setting is available only when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be changed.

The Sample Rate setting can affect the number of available voices.

You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. (

page 160.)

Sample Rate in the Hardware Setup, as long as no session is open.

See “Creating a New Session” on

You can also change the default

Delay Compensation Engine

The Delay Compensation Engine setting in the Playback Engine determines how much DSP resources are dedicated to Pro Tools Delay Compensation, which manages DSP and host-based delays in the Pro Tools mixer.

Within a session, you can choose to enable or disable Delay Compensation (Options > Delay Compensation).

For more information, see “Delay Compensation” on page 958.

To configure the Delay Compensation Engine:

1 Choose Setup > Playback Engine.

2 From the Delay Compensation Engine pop-up

menu, select Short, Long, or None.

3 Click OK.

To make a copy of a session with a new sample rate, use Save Copy In.

To change the default Sample Rate in the Playback Engine:

1 With no session open, choose Setup > Playback

Engine.

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

Pro Tools Reference Guide68

Delay Compensation Settings

There are three settings in the Playback Engine to dedicate processing resources for Delay Compensation:

None Allocates no resources for Delay Compensation.

Short Allocates minimum resources for Delay Compensation for each channel. This is the most efficient setting. For sessions with only a few plug-ins that do not induce too much DSP and host–based delay, this setting should be sufficient.

Long Allocates maximum resources for Delay Compensation for each mixer channel. For sessions with a lot of plug-ins resulting in a large amount of DSP and host–based delay, select this setting.

DAE Playback Buffer Size

The DAE Playback Buffer Size setting in the Playback Engine determines the amount of memory DAE allocates for disk buffers. In addition to levels, the DAE Playback Buffer Size shows values in milliseconds, which indicate the amount of audio buffered when the system reads from disk.

The optimum DAE Playback Buffer Size for most disk operations is 1500 msec; Level 2 (Default).

• DAE Playback Buffer Size settings lower than 1500 msec; Level 2 (Default) may improve playback and recording initiation speed, as well as preview in context in DigiBase browsers. However, a lower setting may make it difficult to play or record tracks reliably with sessions containing a large number of tracks or a high density of edits, or with systems that have slower or heavily-fragmented hard drives.

• DAE Playback Buffer Size settings higher than 1500 msec; Level 2 (Default) allow higher track count, higher density of edits in a session, or the use of slower hard drives. However, a higher setting may increase the time lag when starting playback or recording, starting preview in context from DigiBase browsers, or cause a longer audible time lag while editing during playback.

Using a larger DAE Playback Buffer Size leaves less system memory for other tasks. The default setting of 1500 msec (Level 2) is recommended unless you are encountering –9073 (“Disk too slow or fragmented”) errors.

To change the DAE Playback Buffer Size:

1 Choose Setup > Playback Engine.

2 From the DAE Playback Buffer pop-up menu, se-

lect a buffer size. Memory requirements for each setting are shown at the bottom of the Playback Engine dialog.

3 Click OK.

4 If Pro Tools needs more system memory for

the DAE Playback Buffer, it will prompt you to restart your computer.

Cache Size

The Cache Size setting in the Playback Engine determines the amount of memory DAE allocates to pre-buffer audio for playback and looping when using Elastic Audio.

Minimum Reduces the amount of system memory used for disk operations and frees up memory for other system tasks. However, performance when using Elastic Audio features may decrease.

Normal Is the optimum Cache Size for most sessions.

Large Improves performance when using Elastic Audio features, but it also decreases the amount of memory available for other system tasks, such as RTAS processing.

Using a larger Cache Size leaves less system memory for other tasks. The default setting of Normal is recommended unless you are encountering -9500 (“Cache too small”) errors.

Chapter 6: System Setup 69

To change the Cache Size:

1 Choose Setup > Playback Engine.

Plug-In Streaming Buffer Size

(Structure Plug-In Only)

2 From the Cache Size pop-up menu, select a

disk cache size.

3 Click OK.

System Memory Allocation

(Pro Tools HD Only)

When you start your computer, Pro Tools automatically reserves a portion of system memory for the DAE Playback Buffer. This reserved memory is unavailable to other applications, even if Pro Tools is not running.

You can set Pro Tools to reserve only the minimum amount of required memory, so that more system memory is available to other applications.

To minimize system memory allocation:

1 Choose Setup > Playback Engine.

2 Select the Minimize System Memory Allocation

option.

3 Click OK.

4 Do one of the following:

• On Mac systems, if prompted, enter your password, then restart your computer.

– or –

• On Windows systems, restart your computer.

This setting appears in the Playback Engine only if the Structure sampler instrument plug-in is installed on your system (this applies to Structure LE and Structure Free as well). The Plug-In Stream- ing Buffer Size determines the amount of memory DAE allocates for streaming playback from disk with the Structure plug-in. This setting only affects playback if disk streaming is activated in Structure’s plug-in controls (see the AIR Virtual Instruments Guide for more information).

The optimum Plug-In Streaming Buffer Size for most sessions is 250 ms; Level 2 (Default).

• Plug-In Streaming Buffer Size settings lower than 250 ms; Level 2 (Default) reduce the amount of system memory used for sample playback and frees up memory for other system tasks. However, reliability of sample playback may decrease.

• Plug-In Streaming Buffer Size settings higher than 250 ms; Level 2 (Default) improve the reliability of sample playback, but they also decrease the amount of memory available for other system tasks, such as RTAS processing.

Using a larger Plug-In Streaming Buffer Size leaves less system memory for other tasks. The default setting of 250 ms (Level 2) is recommended unless you are experiencing problems with the reliability of streaming playback from disk.

To change the Plug-In Streaming Buffer Size:

1 Choose Setup > Playback Engine.

2 From the Plug-In Streaming Buffer Size pop-up

menu, select a buffer size.

3 Click OK.

Pro Tools Reference Guide70

Optimizing the Plug-In Streaming Buffer Size

(Structure Plug-In Only)

This option appears in the Playback Engine only if the Structure plug-in is installed on your system. This option is useful when you are playing samples from the same drive that contains audio for the current session. When this option is selected, Pro Tools automatically optimizes the size of the Plug-In Streaming Buffer to facilitate disk access from both Pro Tools and Structure. The Plug-In Streaming Buffer Size pop-up menu is unavailable when this option is selected.

To set Pro Tools to automatically optimize the Plug-In Streaming Buffer Size:

1 Choose Setup > Playback Engine.

Configuring Pro Tools Hardware Settings

Pro Tools lets you configure the signal routing, digital I/O format, default sample rate, clock source, and other hardware-based settings depending on your system configuration. These system settings are available in the Hardware Setup (Setup > Hardware).

2 Select the Optimize for Streaming Content on

Audio Drives option.

3 Click OK.

Configuring MIDI Setup

If you plan to use any external MIDI devices with Pro Tools (such as controllers, keyboards, synthesizers, drum machines, samplers, sequencers, or sound modules), you may want to configure your MIDI setup using Audio MIDI Setup (Mac) or MIDI Studio Setup (Windows).

For information on configuring MIDI, see Chapter 10, “Configuring MIDI.”

Hardware Setup for HD OMNI, Main page

Hardware Setup for Mbox 2

Hardware Setup for an ASIO device

Chapter 6: System Setup 71

Selecting an Audio Interface to Configure

(Pro Tools HD and Pro Tools Only)

Launch Setup App

(Pro Tools with Mbox Family, M-Audio, or Third-Party Audio Interfaces Only)

The Peripherals list in the Hardware Setup lets you select any audio interface connected to your Pro Tools system associated with the selected Current Engine setting in the Playback Engine dialog.

To change the Current Engine setting to use a specific audio interface or DAE (such as HD TDM, 003, a third-party Core Audio or ASIO interface, or Pro Tools Aggregate I/O), see “Current Engine” on page 63).

For Pro Tools|HD audio interfaces (such as HD OMNI or HD I/O) you can configure the signal routing, digital I/O format, default sample rate, clock source, and other hardware-based settings for each HD peripheral connected to your system.

For Pro Tools audio interfaces (such as 003 or Mbox 2) you can configure the signal routing, digital I/O format, default sample rate, clock source, and other hardware-based settings depending on your system configuration

For third-generation Mbox family audio interfaces, M-Audio audio interfaces, and third-party Core Audio (Mac) and ASIO (Windows) compatible audio interfaces, use the Launch Setup App button to launch the control panel for configuring your specific audio interface.

Using the setup application (control panel) for your audio interface, you can change settings in the following areas depending on your audio interface:

•Mixer Settings

• Output Settings

• Hardware Settings (including sample rate, hardware buffer size, and sync source).

You can set the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog.

To change control panel settings:

1 In the Hardware Setup dialog, click the Launch

Setup App button.

2 To change settings in the Control Panel, see

the documentation that came with your audio interface.

3 When finished, close the Control Panel.

Pro Tools Reference Guide72

Configuring Pro Tools Aggregate I/O

(Pro Tools on Mac Only)

On Mac systems using Core Audio, you can select Pro Tools Aggregate I/O as the Current Engine to use the built-in audio inputs and outputs on your Mac computer. You can configure the Pro Tools Aggregate I/O setting in the Mac Audio Setup, which can be accessed from the Pro Tools Hardware Setup.

To configure Pro Tools Aggregate I/O settings:

1 Choose Setup > Hardware.

2 In the Peripherals list, select Pro Tools Aggre-

gate I/O, or whichever Built-in input or output option is selected as the Current Engine in the Playback Engine.

Hardware Setup for Pro Tools Aggregate I/O (Mac only)

3 Click the Launch Setup App button.

4 In the Audio Devices window of the Mac Au-

dio Setup, configure the Pro Tools Aggregate I/O settings.

Pro Tools Aggregate I/O in the Audio Devices window

Configuring Default Sample Rate Setting in Hardware Setup

The Sample Rate setting in the Hardware Setup dialog determines the default sample rate when you create a new session. This setting is available only when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be changed.

On Pro Tools HD, you can change the default Sample Rate in the Hardware Setup, or in the Playback Engine.

On Pro Tools HD, the Sample Rate setting can affect the number of available voices.

On Pro Tools, you can only change the default sample rate in the Hardware Setup or using the control panel for M-Audio and third-party audio interfaces.

You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog.

Chapter 6: System Setup 73

To change the default Sample Rate in the Hardware Setup:

1 Choose Setup > Hardware Setup.

2 Select the sample rate from the Sample Rate

pop-up menu.

Configuring Digital Format and Hardware Routing

The Hardware Setup includes additional settings for configuring the digital format and hardware routing for your system’s audio interfaces.

3 Click OK.

Configuring Clock Source

The Pro Tools Hardware Setup lets you select the Clock Source for the system.

Changes made to Clock Source in the Session Setup window will be reflected in the Hardware Setup window and vice versa.

Internal If you are recording an analog signal directly into Pro Tools, you will usually use the Pro Tools Internal clock source.

External If you are transferring material into Pro Tools from an external digital device, or if you utilize a common house clock signal, you will synchronize Pro Tools to that digital device or common signal.

Depending on your audio interface, external options can include AES/EBU [Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and Word Clock. For details, see the guide for your audio interface.

To select the Clock Source:

1 Choose Setup > Hardware.

For an outline of the configuration of a Pro Tools|HD system with one or more Pro Tools|HD interfaces, see “Configuring Pro Tools|HD Hardware Settings” on page 74.

To configure specific hardware settings for other Pro Tools, M-Audio, or third-party audio interfaces, see the documentation that came with your audio interface.

Selecting Footswitch Control

(003 and 002 Only)

The footswitch connector on your 003 or 002 family interface lets you use a footswitch pedal to control either playback start/stop or recording punch in/out. Both QuickPunch audio punch-in and punch-out and MIDI punch-in and punch-out recording are supported.

Record Punch In/Out Select this option to use a footswitch connected to your 003 or 002 family interface to punch in and punch out during recording.

Playback Start/Stop Select this option to use a footswitch connected to your 003 or 002 family interface to start and stop playback.

2 Choose the clock source from the Clock Source

pop-up menu.

3 Click OK.

Your digital input device must be connected and powered on for Pro Tools to synchronize to it. If your input device is not powered on, leave the Clock Source set to Internal.

Pro Tools Reference Guide74

Configuring Pro Tools|HD Hardware Settings

On Pro Tools|HD and Pro Tools|HD Native systems, you configure Hardware settings for each audio interface connected to your system (see Chapter 5, “Pro Tools Systems.”)

For example, Pro Tools|HD systems can have HD I/O, HD OMNI, HD MADI, 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O audio interfaces connected to Accel Core or HD Core and HD Accel or HD Process cards in the system. The HD I/O, HD OMNI, 192 I/O, 192 Digital I/O, and 96 I/O can also have additional interfaces attached using the Expansion port on each interface.

Identifying Audio Interfaces

If you have multiple audio interfaces of the same type connected to your system, before you make audio connections to them, you should confirm the identity of each interface. This ensures that you choose the appropriate interface in the Peripherals list when you define its inputs and outputs in the Hardware Setup.

To identify audio interfaces in your system:

1 Choose Setup > Hardware.

2 From the Peripherals list, select an audio inter-

face connected to your system.

Configuring Pro Tools|HD Audio Interfaces

HD OMNI supports up to eight channels of simultaneous I/O and multiple I/O formats (such as analog, AES/EBU, ADAT Optical, and S/PDIF). HD I/O, 192 I/O, 192 Digital I/O, 96 I/O, and 96i I/O audio interfaces support sixteen channels of simultaneous I/O and multiple I/O formats (such as analog, AES/EBU, ADAT Optical, S/PDIF, and TDIF). HD MADI supports up to 64 channels of MADI I/O.

The Main page of the Hardware Setup is where you define which physical inputs and outputs on your audio interface are routed to available inputs and outputs in Pro Tools. You can think of this window as a patchbay that allows you to route any of the inputs or outputs on your Pro Tools|HD audio interfaces to channel assignments in the Pro Tools mixer.

Use the Up and Down Arrow keys to scroll though the Peripherals list in the Hardware Setup.

3 Make sure the Main page is shown.

4 Select the Identify option, located in the lower

left corner of the Hardware Setup. This illuminates all the LEDs on the front panel of the selected audio interface.

5 Make a note of which interface in your studio

setup corresponds to the identified interface.

6 Repeat the above steps for each additional au-

dio interface in your setup.

Hardware Setup for HD I/O, Main page

Additional pages are available to configure other controls for each audio interface (such as setting operating levels).

To configure Pro Tools|HD audio interfaces:

1 Choose Setup > Hardware.

2 From the Peripherals list, select the

Pro Tools|HD audio interface connected to the first card in your system. This will be the interface at the top of the list.

Chapter 6: System Setup 75

3 Click the Main tab.

Press Command+Left or Right Arrow keys (Mac) or Control+Left or Right Arrow keys (Windows) to move though the different pages of the Hardware Setup.

4 From the Clock Source pop-up menu, select

the appropriate clock source for the interface.

In many cases, you will use Internal. The other choices are for resolving Pro Tools to external clock sources. Depending on your audio interface, Clock Source options can include: AES/EBU

[Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and Word Clock (optional Word Clock

rates are available when operating at higher sample rates).

5 If you want to send clock output to other de-

vices attached to the audio interface, select the appropriate output from the Ext. Clock Output pop-up menu.

6 Select which digital I/O port on your audio in-

terface enclosure is active by selecting the corresponding option under Digital Format. Depending on the type of interfaces in your system, choices include AES/EBU, S/PDIF, and Opti- cal (S/PDIF). Selecting Optical (S/PDIF) resets the Optical I/O port (which is, by default, eight channels of ADAT Optical I/O) to two channels of S/PDIF Optical I/O.

Inputs and outputs of similar format are differentiated in the input and output channel popup menus. For example, the AES/EBU inputs and outputs in the HD I/O enclosure are listed as AES/EBU [Encl], while the AES/EBU inputs and outputs on the factory-installed Digital I/O card are listed (in pairs) as AES/EBU 1–2, AES/EBU 3–4, AES/EBU 5–6, and AES/EBU 7–8. For HD I/Os equipped with a second Digital I/O Card, the additional AES/EBU I/O ports on the optional card are listed as AES/EBU 9–10,

AES/EBU 11–12, AES/EBU 13–14, and AES/EBU 15–16.

9 Configure any specific controls for your audio

interface:

• “Configuring HD OMNI Controls” on page 77.

• “Configuring HD I/O Controls” on page 78.

• “Configuring HD MADI Controls” on page 79.

• “Configuring 192 I/O and 192 Digital I/O Controls” on page 79.

• “Configuring 96 I/O Controls” on page 80.

• “Configuring 96i I/O Controls” on page 81.

10 For additional Pro Tools|HD interfaces,

choose the interface in the Peripherals list, and repeat the above steps.

7 For S/PDIF compatibility with Tascam DA-30

DAT recorders, select the Tascam option under S/PDIF Format.

8 From the Input and Output channel pop-up

menus, select the physical ports (such as Analog 1–2 or Optical 1–2), that will be routed to the

corresponding Pro Tools input and output channels (such as Ch 1–2, Ch 3–4), listed on the left side of the Main page.

Pro Tools Reference Guide76

See your peripheral’s guide for additional configuration details and restrictions. For example, the Optical 1–8 channels (on the 192 I/O enclosure) will not be available at session sample rates of 88.2 kHz or higher, while the ports on the 192 I/O Digital I/O card will still be available.

Configuring HD OMNI Controls

For detailed information about configuring HD OMNI, see the HD OMNI Guide.

To configure HD OMNI in Pro Tools:

1 Choose Setup > Hardware.

2 From the Peripherals list, select the HD OMNI

audio interface.

3 Click the Monitor tab and configure the op-

tions. When working with HD OMNI, you should always configure the Monitor page first.

HD OMNI Hardware Setup, Monitor page

5 Click the Analog In tab and configure the

options.

HD OMNI Hardware Setup, Analog In page

6 Click the Analog Out tab and configure the

options.

4 Click the Main tab and configure the options.

HD OMNI Hardware Setup, Main page

HD OMNI Hardware Setup, Analog Out page

7 Click the Mixer tab and configure the options.

HD OMNI Hardware Setup, Mixer page

8 When you are finished, click OK.

Chapter 6: System Setup 77

Configuring HD I/O Controls

For detailed information about configuring HD I/O, see the HD I/O Guide.

To configure controls for HD I/O:

1 Choose Setup > Hardware.

2 From the Peripherals list, select the HD I/O au-

dio interface.

3 Click the Main tab and configure the options.

HD I/O Hardware Setup, Main page

4 If you have at least one HD I/O AD card, click

the Analog In tab and configure the options. If you have two HD I/O AD cards, this tab is labeled Analog In 1–8.

5 If you have two HD I/O AD cards, click the An-

alog In 9–16 tab and configure the options.

HD I/O Hardware Setup, Analog In 9–16 page

6 If you have at least one HD I/O Digital card,

click the Digital tab and configure the options.

HD I/O Hardware Setup, Digital page

7 If you have two HD I/O Digital cards, click the

second Digital tab and configure the options.

HD I/O Hardware Setup, Analog In page

Pro Tools Reference Guide78

8 When you are finished, click OK.

Avid Pro Tools Reference Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Welcome to Pro Tools

Pro Tools Documentation

System Requirements and Compatibility Information

About www.avid.com

Chapter 2: Pro Tools Concepts

Hard Disk Audio Recording

Pro Tools Nonlinear Editing

Digidesign Audio Engine

Core Audio

ASIO

MIDI

Synchronization

Surround Sound

Pro Tools Sessions

Tick-Based and Sample-Based Time

System Resources

DigiBase

AAF, MXF, and OMF

Embedded Media and Linked Media

Chapter 3: Keyboard and Right-Click Mouse Shortcuts

Right-Click Mouse Shortcuts

Global Key Commands

Keyboard Focus

Toolbar Focus

Numeric Keypad Modes

Chapter 4: Using Help

Accessing the Help System

Understanding the Help Display

Using the Help Navigation Tools

How the Search Feature Works

Printing Help Topics

Copying from a Help Topic

Chapter 5: Pro Tools Systems

Pro Tools|HD Systems

Pro Tools|HD Native Systems

Playback, Recording, and Voice Limits with Pro Tools HD

Pro Tools|HD Audio Interfaces

Additional Pro Tools|HD Hardware Options

Pro Tools Systems

Additional Pro Tools Hardware Options

Pro Tools MP Systems

Pro Tools MP Capabilities

Pro Tools System Options

Complete Production Toolkit 2 Capabilities

Checking For Software Updates

Chapter 6: System Setup

Starting Up or Shutting Down Your System

Checking a Pro Tools|HD or Pro Tools|HD Native System with DigiTest

Configuring Pro Tools System Settings

Configuring Pro Tools Hardware Settings

Configuring MIDI Setup

Configuring Pro Tools|HD Hardware Settings