Digidesign Getting Started with Digi 002 User Manual

Download

Getting Started

with Digi 002

Version 5.3.2 for LE Systems on Macintosh and Windows XP

Digidesign

2001 Junipero Serra Boulevard

Daly City, CA 94014-3886 USA

tel: 650·731·6300

fax: 650·731·6399

Technical Support (USA)

tel: 650·731·6100

fax: 650·731·6384

Product Information (USA)

tel: 650·731·6102

tel: 800·333·2137

International Ofﬁces

Visit the Digidesign Web site

for contact information

Web Site

www.digidesign.com

This guide is copyrighted ©2002 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.

DIGIDESIGN, AVID and PRO TOOLS are trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are the property of their respective owners.

All features and specifications subject to change without notice.

PN 910610341-00 REV A 05/02

Communications & Safety Regulation Information

Compliance Statement

The model Digi 002 complies with the following standards regulating interference and EMC:

• FCC Part 15 Class B

• EN55022

• EN55024

• AS/NZS 3548 Class B

• CISPR 22 Class B

Radio and Television Interference

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules.

DECLARATION OF CONFORMITY

We Digidesign,

3401-A Hillview Avenue

Palo Alto, California 94304-1348, USA

650-842-7900

declare under our sole responsibility that the product

Digi 001

complies with Part 15 of FCC Rules.

Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try and correct the interference by one or more of the following measures:

• Reorient or locate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Any modifications to the unit, unless expressly approved by Digidesign, could void the user's authority to operate the equipment.

Canadian Compliance Statement:

This Class B digital apparatus complies with Canadian ICES003

Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada

Australian Compliance

European Compliance

Safety Statement

This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specification of UL Standards : UL1419 and Canadian CAN C22.2NO.1-98, IEC60950. Digidesign Inc., has been authorized to apply the appropriate UL & CUL mark on its compliant equipment.

Warning!

Important Safety Instructions

When using electric or electronic equipment, basic precautions should always be followed, including the following:

• Read all instructions before using this equipment.

• To avoid the risk of shock, keep this equipment away from rain water, and other moisture. Do not use this equipment if it is wet.

• The equipment should only be connected to the correct rating power supply as indicated on the product.

• Do not attempt to service the equipment. There are no user-serviceable parts inside. Please refer all servicing to authorized Digidesign personnel.

• Any attempt to service the equipment will expose you to a risk of electric shock, and will void the manufacturer’s warranty.

• The product should be connected only to the correct power supply as indicated on the product.

• Do not block any ventilation openings. Install in accordance with the manufacture’s instructions.

• Do not install near any heat sources such as radiators, heat registers,stoves, or other apparatus (including amplifiers) that produce heat.

• Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than other, A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

• Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

• Only use attachments/accessories specified by the manufacturer.

• Clean only with dry cloth.

contents

Chapter 1. Digi 002 Introduction

About Digi 002

System Requirements

Digidesign Registration

About the Guides

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Chapter 2. Macintosh Configuration

Setting Up Digi 002

Apple System Settings

Installing Pro Tools LE Software

Installing and Configuring OMS

Connecting Digi 002 to the Computer

Launching Pro Tools LE the First Time

Configuring Pro Tools

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Chapter 3. Windows Configuration

Setting Up Digi 002

Windows System Settings

Connecting Digi 002 to the Computer

Installing Pro Tools LE Software

Launching Pro Tools LE the First Time

Configuring Pro Tools

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Contents

Chapter 4. Digi 002 Overview

Digi 002 Operating Modes

The Digi 002 Top Panel

Fader Section

Console/Channel View Section

Transport and Navigation Controls

Mic/Line/Instrument Input Controls

Monitor Section

Keyboard Modifier Switches

Status Indicators and Display Controls

Digi 002 Back Panel

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Chapter 5. Connecting Your Studio

Monitoring Audio

Connecting Audio Sources to Digi 002

Using External Effects Devices

Monitoring and Recording from Alternate Sources

Mirroring the Main Outputs

Connecting a Recorder for Mixdowns

MIDI Connections

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Chapter 6. Working with Pro Tools LE

Session Basics

Navigating

Tracks

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Regions Lists

Importing Audio

Basic Recording

Editing

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Mixing

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Getting Started with Digi 002

Chapter 7. Using Digi 002 as a Stand-Alone Mixer

Overview

Entering Stand-Alone Mode

Digital Audio Connections in Stand-Alone Mode

Views in Stand-Alone Mode

Working with Effects

Working with Sends

Storing Snapshots

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Appendix A. Configuring OMS (Macintosh Only)

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Appendix B. Digidesign Control Panel (Macintosh Only)

Appendix C. Digidesign WaveDriver (Windows Only)

Introduction

Installing the WaveDriver

Removing the WaveDriver

How to Change WaveDriver Settings

Installing DigiGain

Removing DigiGain

Using DigiGain

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Appendix D. Digi 002 Stand-Alone Block Diagram

Index

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Contents

vii

Getting Started with Digi 002

viii

chapter 1

Digi 002 Introduction

About Digi 002

Welcome to Digi 002, Digidesign’s cross-platform Pro Tools workstation for music, sound design, and multimedia production.

Digi 002 combines the features of a high-quality audio interface, a MIDI interface, a touch-sensitive control surface, and a stand-alone digital mixer, all in one unit.

The Digi 002 package includes the following:

• Installer CD-ROM containing Pro Tools LE software, DigiRack RTAS (Real-Time AudioSuite) and AudioSuite plug-ins, and electronic PDF guides

•

Getting Started with Digi 002 Guide

installation, conﬁguration, and basic tutorials for Digi 002

• Digi 002 unit with integrated control surface

• FireWire cable for connecting the Digi 002 to a computer

• AC power cable

• Digidesign Registration card

, covering

Pro Tools LE Capabilities

Pro Tools LE software provides the following capabilities:

• Record and play up to 32 mono digital audio tracks at any of the supported sample rates (depending on your computer’s capabilities)

• Work with audio at 16-bit or 24-bit resolution, at sample rates up to 96 kHz with compatible hardware

• Record and play up to 128 MIDI tracks

• Use non-linear, random-access editing and mix automation

• Process audio with up to 5 RTAS plug-ins per track, limited only by your computer’s capabilities

• Use up to 5 inserts and 5 sends per track

• Route up to 16 internal busses

Pro Tools LE 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.

Chapter 1: Digi 002 Introduction

Digi 002 Capabilities

Audio and MIDI Features

Digi 002 provides the following input and output capacity:

• 8 analog audio inputs (4 with mic preamps), with A/D converters supporting up to 24-bit, 96 kHz audio

• 48V phantom power on mic preamps, switchable in channel pairs

• –10 dBV input pair for direct monitoring of tape or CD input sources

• 8 analog audio outputs, with D/A converters supporting up to 24-bit, 96 kHz audio

• Monitor Output pair (+4 dBu) mirrors Main Outputs 1–2 with dedicated volume control for direct connection to powered speakers

• Alternate Main Output pair (–10 dBV) mirrors Main Outputs 1–2 for direct output to –10 dBV devices.

• Stereo headphone output with level control

• Optical connectors for 8 channels of ADAT I/O (up to 48 kHz) or 2 channels of Optical S/PDIF I/O (up to 96 kHz)

• RCA connectors for 2 channels of S/PDIF digital I/O supporting up to 24-bit, 96 kHz audio

• 1 MIDI In port and 2 MIDI Out ports, providing up to 16 channels of MIDI input and up to 32 channels of MIDI output

Control Surface Features

Digi 002 provides an integrated control surface for software control that includes the following:

• 8 touch-sensitive moving faders and dedicated solo, mute and channel select/record arm controls

• 8 multi-function rotary encoders for operating pan, send, and plug-in controls

• Transport and navigation controls

• 10 scribble strips for channel information display

• Footswitch jack for punching in and out while recording

Stand-Alone Mixing Features

Digi 002 can be used as a stand-alone 8-channel digital mixer with the following features:

• 8 analog inputs (4 with mic preamps), with dedicated volume, pan, solo and mute controls

• Dedicated three-band EQ available on input channels 1–8

• Dedicated Compressor/Limiter available on input channels 1–4

• Built-in high-quality Reverb and Delay

• 4 sends on each input channel:

• Sends 1–2 dedicated to internal Delay and Reverb effects

• Sends 3–4 for integrating external effects

• Stereo outputs with dedicated Master Fader controls, including:

• Main Output pair (+4 dBu ﬁxed signal)

• Monitor Output pair (+4 dBu) mirrors Main Outputs 1–2 with dedicated volume control for direct connection to powered speakers

• Alternate Main Output pair (–10 dBV) mirrors Main Outputs 1–2 for direct output to –10 dBV devices

• Stereo headphone output with level control

• 10 scribble strips for pan/volume and effects control, send levels, and track names

• Channel metering available using rotary encoder LED rings (in Meter mode)

Getting Started with Digi 002

System Requirements

Compatibility Information

Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. For a list of Digidesign-qualified computers, operating systems, and third-party devices, refer to the latest compatibility information on the Digidesign Web site (www.digidesign.com)

Computer Requirements

Digi 002 can be used with a qualified Macintosh or Windows computer, running Pro Tools LE

5.3.2 software or higher:

Macintosh

• A Digidesign-qualiﬁed Power Macintosh (G4 recommended)

• Mac OS 9.2.2

• At least 256 MB RAM

• A CD-ROM drive or equivalent

• QuickTime 5.0.2 or later (included with Pro Tools LE)

• OMS 2.3.8 or later (included with Pro Tools LE)

• Color monitor, with minimum resolution of 1024 x 768

Windows

• A Digidesign-qualiﬁed, single processor, Windows-compatible computer.

• Windows XP Home Edition

Windows Millennium Edition and Windows 98, Second Edition are not supported by the Digi 002.

• At least 256 MB RAM

• A CD-ROM drive or equivalent drive

• Color monitor, with minimum resolution of 1024 x 768

Hard Drive Requirements

Macintosh

For audio recording and storage on the Macintosh, Pro Tools LE requires one or more qualiﬁed ATA/IDE, SCSI or FireWire drives with the following properties:

• Formatted with HFS or HFS+ ﬁle system

• Data transfer rates of 3 MB per second or faster

• Drive spin speed of 5,400 RPM (7,200 or faster recommended)

• Average seek time of 10.0 milliseconds or faster

Windows

For audio recording and storage in Windows, Pro Tools LE requires one or more qualiﬁed ATA/IDE, SCSI or FireWire drives with the following properties:

• Formatted with FAT16, FAT32 or NTFS ﬁle system (FAT32 or NTFS recommended)

• Data transfer rates of 3 MB per second or faster

• Drive spin speed of 5,400 RPM (7,200 or faster recommended)

• Average seek time of 10.0 milliseconds or faster

For the latest information on compatible hard drives, visit the Digidesign Web site (www.digidesign.com)

Chapter 1: Digi 002 Introduction

Using System Drives for Audio

Although Pro Tools will let you record to your system drive, this is generally not recommended. Performance for recording and playback on system hard drives is worse than on non-system drives, resulting in lower track counts and fewer plug-ins.

You should record to system drives only when necessary—for example, if your computer system has just one hard drive, or if your other hard drives are completely out of space.

Formatting and Defragmenting Drives

(Windows Only)

In Windows, it is recommended that you start with a newly formatted audio drive; for optimum performance, the drive should be formatted with the FAT32 or NTFS ﬁle system. You should also periodically drive to ensure continued system performance.

You can convert hard drives formatted with FAT16 to FAT32 with the utility included with Windows.

defragment

Drive Converter

your audio

Initializing and Defragmenting Drives

(Macintosh Only)

On the Macintosh, it is recommended that you start with a newly initialized audio drive. You should also periodically drive to ensure continued system performance.

If you are using a SCSI hard drive, you can use the

ExpressPro-Tools

cluded on the Pro Tools LE Installer CD) to initialize the drive. If you are using an ATA/IDE hard drive, use the with the Apple System software.

defragment

your audio

software from ATTO (in-

Drive Setup

utility included

To format an audio drive:

From the desktop, double-click My Computer.

Right-click the hard drive you will use for au-

dio and choose Format.

Make sure the Quick Format option is deselected, click Start, and follow the on-screen instructions.

When formatting is complete, close the Format window.

To defragment an audio drive:

From the desktop, double-click My Computer.

Right-click your audio hard drive and choose Properties.

Click the Tools tab.

Click Defragment Now and follow the on-screen instructions.

When defragmenting is complete, close the Properties Control Panel.

Getting Started with Digi 002

Hard Drive Storage Space

Mono audio tracks recorded with 16-bit resolution at 44.1 kHz (CD-quality) require approximately 5 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about 7.5 MB per minute. Recording at higher sample rates (88.2 kHz or 96 kHz) requires about twice the hard disk space.

The following table lists the required drive space for certain track numbers and track lengths, to help you estimate your hard disk usage.

Table 1. Required hard drive space for audio tracks

Number of tracks and length

16-bit at

44.1 kHz

16-bit at

48 kHz

24-bit at

44.1 kHz

24-bit at

48 kHz

16-bit at

88.2 kHz

16-bit at

96 kHz

24-bit at

88.2 kHz

24-bit at

96 kHz

1 mono track 1 minute

1 stereo track 5 minutes

1 stereo track 60 minutes

32 mono tracks 5 minutes

32 mono tracks 60 minutes

5 MB 5.5 MB 7.5 MB 8.2 MB 10 MB 11 MB 15 MB 16.4 MB

50 MB 55 MB 75 MB 83 MB 100 MB 110 MB 150 MB 164 MB

600 MB 662 MB 900 MB 991 MB 1.2 GB 1.3 GB 1.8 GB 2 GB

800 MB 883 MB 1.2 GB 1.4 GB 1.6 GB 1.8 GB 2.4 GB 2.8 GB

9.4 GB 10.4 GB 14 GB 15.5 GB 18.8 GB 20.8 GB 28 GB 31 GB

Chapter 1: Digi 002 Introduction

Digidesign Registration

Complete and return the registration card included with Digi 002. Registered users are entitled to one year of free technical support, and will periodically receive notices of upgrades and updates.

Conventions Used in This Guide

Digidesign guides use the following conventions to indicate menu choices and key commands:

Convention Action

File > Save Session

Choose Save Session from the File menu

About the Guides

This guide will get you started using Digi 002 to record, edit, and mix multiple audio and MIDI tracks. For additional information, see the following online guides:

•

Pro Tools Reference Guide

Pro Tools LE software in detail

•

DigiRack Plug-Ins Guide

(Real-Time AudioSuite) and AudioSuite plug-ins included with Pro Tools LE

•

Keyboard Shortcuts

lists keyboard shortcuts for Pro Tools LE

PDF versions of these guides are installed automatically with Pro Tools LE, and can be accessed from the Help menu in Pro Tools LE. To read the guides online, or print them, you must install Acrobat Reader (included on the Pro Tools LE Installer CD).

Printed copies of the Pro Tools LE Manual Set (including the Pro Tools Reference Guide) can be purchased separately from the DigiStore at www.digidesign.com.

: explains

: covers RTAS

(Macintosh and Windows):

Control+N While pressing the Control key,

press the N key

Option-click While pressing the Option key,

click the mouse button

Right-click (Windows)

The following symbols are used to highlight important information:

Click with the right mouse button

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

Important Notices include information that could affect your data or the performance of your system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in other Digidesign guides.

Getting Started with Digi 002

chapter 2

Macintosh Conﬁguration

Installation of the Digi 002 on a Macintosh includes:

• Powering up the Digi 002 unit. (See “Setting Up Digi 002” on page 7.)

• Conﬁguring Apple System Software settings. (See “Apple System Settings” on page 8.)

• Installing Pro Tools LE Software. (See “Installing Pro Tools LE Software” on page 8.)

• Installing OMS Software. (See “Installing and Conﬁguring OMS” on page 9.)

• Restarting your computer.

• Connecting the Digi 002 unit to your computer. (See “Connecting Digi 002 to the Computer” on page 9.)

• Making audio and MIDI connections to the Digi 002. (See Chapter 5, “Connecting Your Studio” for details.)

Setting Up Digi 002

Before you install Pro Tools LE software or connect Digi 002 to your computer for the first time, you should power up the unit to be sure it is working correctly.

Digi 002 is auto power-selecting (100V to 240V) and will work automatically when plugged into an AC power receptacle in any country.

Power on the Digi 002 unit by turning on the power switch on the back panel. After a short power-up sequence, the Channel Scribble Strips on the unit show “Digi 002 Standby,” and the Standalone switch ﬂashes to indicate Standby mode.

Press the Standalone switch in the upper right of the top panel of Digi 002. The Channel Scribble Strips on the unit show “Enter Standalone Mode?”

Press the Channel Select switch under “Yes” to enter Stand-alone mode. The Channel Scribble Strips on the unit will show the default names of the channel inputs, “In1” through “In8.”

Press the Standalone switch a second time to

put Digi 002 back into Standby mode.

To set up and test the Digi 002:

Plug the Digi 002 into a standard AC receptacle, using the AC power cable included with the unit.

Chapter 2: Macintosh Conﬁguration

Apple System Settings

To ensure optimum performance with Pro Tools LE, configure the Apple System software with the following settings before installing Pro Tools LE software.

• Choose the Base set of Extensions for your version of Mac OS from the Selected Set pop-up menu.

• Click Restart to restart your computer.

To conﬁgure the Apple System software:

In the Memory Control Panel do the follow-

ing:

• Set Virtual Memory to Off.

• Set the RAM Disk to Off.

• Set the Disk Cache to a Custom Setting of 512K.

In the Energy Saver Control Panel, set the “in-

active” time to Never.

In the Appearance Control Panel, do the fol-

lowing:

• Click the Fonts tab and set the Large System Font to Chicago. In addition, deselect “Smooth all fonts on screen.”

• Click the Sound tab and select None from the Sound Track pop-up menu.

Set the number of colors to thousands in the

Monitors & Sound Control Panel.

5 In the Extensions Manager Control Panel, do

the following:

Installing Pro Tools LE Software

After the Apple System settings are configured, you’re ready to install Pro Tools LE.

To install Pro Tools LE for Macintosh:

1 Insert the Pro Tools LE Installer CD in your

CD-ROM drive. Locate and double-click “Install Pro Tools LE.”

2 In the Install window, select Pro Tools LE 5.3.2

Installer.

3 Optionally, select the Digidesign Control

Panel (see “About the Digidesign Control Panel” on page 8).

4 If you plan to import or export MP3 audio ﬁles

in your Pro Tools sessions, select either the MP3 Demo or the MP3 Authorized option.

5 Set the Install Location to your Startup hard

drive and Click Install.

6 Follow the on-screen installation instructions.

7 When installation is complete, click Quit and

install OMS (see “Installing and Conﬁguring OMS” on page 9). You can also install the demo sessions (see “Installing the Demo Session” on page 9).

Extensions Manager Control Panel

Getting Started with Digi 002

About the Digidesign Control Panel

The Digidesign Control Panel allows you to monitor audio output from compatible third-party audio applications through your Digi 002.

The Digidesign Control Panel is not required to use Pro Tools LE with the Digi 002.

For detailed information on using the Digidesign Control Panel, see Appendix B, “Digidesign Control Panel (Macintosh Only).”

Installing the Demo Session

(Optional)

The Digi 002 Installer CD includes a demo session, Be There Digi002, which you can use to verify that your system is working and to learn some features of Pro Tools LE.

Before installing the demo session to your audio drive, make sure the drive is configured as described in “Hard Drive Requirements” on page 3.

To install the demo session:

1 Insert the Pro Tools LE Installer CD in your

CD-ROM drive. Locate and double-click “Install PT LE Demo Session.”

2 Set the install location to your audio drive and

click Install.

3 When installation is complete, click Quit.

To install OMS:

1 Insert the Pro Tools Installer CD in your

CD-ROM drive.

2 Open the “OMS Installer” folder and dou-

ble-click the OMS installer.

3 At the Install window, select the Easy Install

option, and set the Install Location to your Startup hard drive. Click Install.

4 Follow the on-screen installation instructions.

5 When installation is complete, restart your

Macintosh.

For more information on configuring OMS, see Appendix A, “Configuring OMS (Macintosh Only).”

Connecting Digi 002 to the Computer

After installing Pro Tools LE software and restarting your computer, you need to connect the Digi 002 to the computer before launching Pro Tools LE.

To connect the Digi 002 to your computer:

1 Turn on the power to the Digi 002 unit.

Installing and Conﬁguring OMS

To use Pro Tools on the Macintosh you must ﬁrst install and conﬁgure the Open Music System (OMS), which is included on the Pro Tools Installer CD-ROM.

Even if you don't intend to use MIDI, you still need to install OMS. Pro Tools will not launch without it.

2 Locate the Firewire cable that came with your

Digi 002.

3 Plug one end of the FireWire cable into one of

the ports marked “1394” on the back panel of the Digi 002. It does not matter which of the two ports you use.

OPTICAL

OUT

LINK

S / PDIF

FOOT SWITCH

13941394

FireWire ports

Digi 002 FireWire ports (back panel)

Chapter 2: Macintosh Conﬁguration 9

4 Do one of the following, depending on your

system conﬁguration:

■ Plug the other end of the FireWire cable into

an available FireWire port on your computer.

■ Plug the other end of the FireWire cable into

an available FireWire port on a FireWire hard drive connected to your computer. (See “Connecting Digi 002 and FireWire Hard Drives” on page 10.)

Connecting Digi 002 and FireWire Hard Drives

The FireWire ports on Digi 002 do not pass audio data when it is powered off, so if you daisy-chain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to Digi 002. This will prevent hard drive errors in case the Digi 002 unit is powered off.

To use a FireWire hard drive with your Digi 002, do one of the following:

◆ If your computer has more than one FireWire

port, connect the FireWire hard drive to one FireWire port on the computer, and connect Digi 002 to another FireWire port on the computer.

◆ If your computer has only one FireWire port,

connect the FireWire hard drive directly to your computer and then connect Digi 002 to an available FireWire port on the drive.

Connecting other FireWire Devices to Digi 002

The second FireWire port on the Digi 002 unit is available for daisy-chaining FireWire devices such as digital cameras or digital video recorders. Even when it is powered off, Digi 002 supplies power from the computer through its FireWire ports, allowing you to recharge batteries in other FireWire devices.

Launching Pro Tools LE the First Time

Validating Pro Tools Software

When launching Pro Tools the ﬁrst time, you are prompted to enter an authorization code to validate your software.

To validate Pro Tools software:

1 Double-click the Pro Tools application in the

Pro Tools folder inside the Digidesign folder.

2 If OMS was not previously conﬁgured, you

will be prompted to conﬁgure a New Studio Setup. For speciﬁc steps, see “Installing and Conﬁguring OMS” on page 9.

3 Enter the authorization code in the dialog

when prompted, making sure to observe any spaces, then click Validate.

While it is possible to connect a FireWire hard drive to an available port on Digi 002, if the Digi 002 unit is powered off, any mounted FireWire drives will lose their data connection with the computer, which may result in hard drive errors or data loss.

Getting Started with Digi 00210

Authorization code validation for Pro Tools

The authorization code is located on the inside cover of this guide. Be sure to include any spaces as you enter the authorization code.

After Pro Tools launches, the Channel Scribble Strips on the Digi 002 unit display the message, “Open or create a new session,” and only the Pro Tools menus will appear on the computer screen.

To see the Pro Tools Edit and Mix windows, a new session must be created. Before you begin working with Pro Tools, refer to the next section to get acquainted with Pro Tools system settings.

Updating Digi 002 Firmware

The Digi 002 has three types of firmware: Boot Firmware, System Firmware, and Fader Firmware. The second and third types, System and Fader firmware, can be updated automatically

When you launch Pro Tools software, it automatically checks the version of the unit’s firmware, and prompts you to update it if newer versions are available.

If you choose to update your unit’s firmware, be sure to allow the update to complete before disconnecting or turning off your system.

When the download and reprogramming process is complete, you may get a message that Pro Tools cannot communicate with Digi 002. In this case, wait up to 30 seconds; if the message does not go away, disconnect and then reconnect Digi 002 and click OK.

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.

To conﬁgure Playback Engine settings:

1 Choose Setups > Playback Engine.

Playback Engine dialog for Digi 002

2 From the H/W Buffer Size pop-up, select the

audio buffer size, in samples, for host processing tasks such as Real-Time AudioSuite (RTAS) plug-in processing. The default setting is 512 samples. Select a higher setting if you need more buffer time for processing audio and applying real-time effects. (H/W Buffer size has an effect on monitoring of audio in Pro Tools; see “Monitoring Latency and Recording” on page 68 for details.)

3 From the CPU Usage Limit pop-up, select the

maximum percentage of CPU resources to allocate to host processing tasks. The default setting is 65%. Select a higher setting if you need more host processing power for RTAS applications.

Conﬁguring Pro Tools

Conﬁguring the Playback Engine

The Playback Engine lets you customize various System Usage parameters (such as Hardware Buffer Size and CPU Usage) and set the size of the DAE Playback Buffer.

Increasing the CPU Usage Limit may slow down screen response.

4 Set the DAE Playback Buffer Size. (See “DAE

Playback Buffer Size” on page 12.) Memory requirements for each setting are shown at the bottom of the Playback Engine dialog box.

5 Click OK when you are ﬁnished.

Chapter 2: Macintosh Conﬁguration 11

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory DAE uses to manage disk buffers, which affects system performance.

Though the default DAE Playback Buffer size provides optimum performance in most cases, you may want to adjust it to modify your system’s performance.

◆ A larger buffer size can sometimes allow for a

higher density of edits in a session. However, choosing a larger buffer size can cause a time lag to occur before playback or recording begins. It can also cause a time lag to occur when you are editing during playback.

◆ A smaller buffer size can sometimes improve

playback and recording initiation speed. However, a smaller buffer size can make it difﬁcult for slower hard drives to play or record tracks reliably.

Conﬁguring Hardware Setup

The Pro Tools Hardware Setup dialog allows you to select the default sample rate and the clock source for the system, and configure the digital inputs on the Digi 002.

2 Select the clock source from the Clock Source

pop-up menu. If you are recording directly into Pro Tools, you will usually use Internal. If you are transferring material from an external digital device, select the corresponding clock source. (See “Using a Digital Source” on page 12 for details.)

3 Select the default sample rate (this setting is

available only when a session is not open) from the Sample Rate pop-up menu. This setting will appear as the default sample rate when you create a new session.

You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. (See

4 Choose a digital input option, depending on

“Starting a Session” on page 54.)

the type of input devices connected to your system. (See “Using a Digital Source” on page 12 for details.)

5 If you are outputting material to a Tascam dig-

ital device such as a DA-30, select the Tascam option under “S/PDIF Output Cat. Code.”

Using a Digital Source

If you are recording from an Optical or S/PDIF device, you will need to choose synchronization settings. In most cases, you will synchronize Pro Tools to the external device.

Hardware Setup dialog for Digi 002

To conﬁgure Hardware Setup options:

1 Choose Setups > Hardware Setup.

Getting Started with Digi 00212

To conﬁgure Pro Tools LE for a digital source:

1 Connect an ADAT or Optical S/PDIF format

device to the Optical In connector, or an RCA S/PDIF format device to the RCA S/PDIF In connector on the back of the Digi 002.

You can only use one pair of S/PDIF inputs (either RCA or Optical) at a time.

2 In Pro Tools LE, choose Setups > Hardware

Setup.

3 Make sure the correct digital input option is

selected for your setup. When you select RCA S/PDIF, the Optical ports are available for standard ADAT Optical (or “Lightpipe”) input. When you select Optical S/PDIF, the RCA digital input connector is inactive.

4 From the Clock Source pop-up menu, select

Internal if you are synchronizing the external device to Digi 002. If you are synchronizing Digi 002 to the external device, select ADAT, RCA (S/PDIF) or Optical (S/PDIF), depending on where you connected your digital device.

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.

Conﬁguring I/O Setup

The I/O Setup dialog lets you label and map Pro Tools LE input, output, insert, and bus signal paths. The I/O Setup dialog provides a graphical representation of the inputs, outputs, and signal routing of the Digi 002.

3 Click OK to close the I/O Setups dialog.

I/O Setup dialog for Digi 002, Input page

Refer to the Pro Tools Reference Guide for more information on setting up I/O paths.

Pro Tools LE ships with default I/O Setup settings that will get you started. You only need to go to I/O Setup if you want to remap or rename the default I/O paths.

To conﬁgure I/O routing in I/O Setup:

1 Choose Setups > I/O Setups in Pro Tools LE.

2 Map and name paths as desired.

Chapter 2: Macintosh Conﬁguration 13

Getting Started with Digi 00214

chapter 3

Windows Conﬁguration

Installation of the Digi 002 on a Windows computer includes:

• Powering up the Digi 002 unit. (See “Setting Up Digi 002” on page 15.)

• Conﬁguring Windows System Software settings. (See “Windows System Settings” on page 16.)

• Connecting the Digi 002 unit to your computer. (See “Connecting Digi 002 to the Computer” on page 16.)

When connecting Digi 002 to your computer the first time, your computer should be off.

• Installing Pro Tools LE Software. (See “Installing Pro Tools LE Software” on page 17.)

• Making audio and MIDI connections to the Digi 002. (See Chapter 5, “Connecting Your Studio” for details.)

Setting Up Digi 002

Before you install Pro Tools LE software or connect Digi 002 to your computer for the first time, you should power up the unit to be sure it is working correctly.

To set up and test the Digi 002:

1 Plug the Digi 002 into a standard AC recepta-

cle, using the AC power cable included with the unit.

Digi 002 is auto power-selecting (100V to 240V) and will work automatically when plugged into an AC power receptacle in any country.

2 Power on the Digi 002 unit by turning on the

power switch on the back panel. After a short power-up sequence, the Channel Scribble Strips on the unit show “Digi 002 Standby,” and the Standalone switch ﬂashes to indicate Standby mode.

3 Press the Standalone switch in the upper right

of the top panel of Digi 002. The Channel Scribble Strips on the unit will show “Enter Standalone Mode?”

4 Press the Channel Select switch under “Yes” to

enter Stand-alone mode. The Channel Scribble Strips on the unit will show the default names of the channel inputs, “In1” through “In8.”

5 Press the Standalone switch a second time to

put Digi 002 back into Standby mode.

Chapter 3: Windows Conﬁguration 15

Windows System Settings

In Windows, configure the following Control Panel settings.

Enable DMA for any IDE hard drives:

1 Right-click My Computer, located in the Start

menu, and choose Properties.

2 Click the Hardware tab, and click the Device

Manager button.

3 In the Device Manager window, locate and

double-click the Primary IDE Channel for your IDE hard drive. Click the Advanced Settings tab.

To disable a network card:

1 Right-click My Computer, located in the Start

menu, and choose Properties.

2 Click the Hardware tab, and click the Device

Manager button.

3 In the Device Manager window, locate and

double-click the Network Adapter card you want to disable.

1 Under the General tab, choose “Do note use

this device (disable)” from the Device Usage pop-up menu, and click OK.

2 Close the Device Manager window.

4 For each device, set the Transfer Mode to

“DMA if available,” and click OK.

5 Repeat steps 3 and 4 for any additional IDE

Channels.

6 Close the Device Manager window.

Other Software and Hardware Affecting System Performance

Pro Tools LE can also be affected by other software and hardware drivers installed on your computer. For best possible performance, it is recommended that you:

• Avoid running other Windows programs at the same time as Pro Tools LE.

• Turn off any software utilities that run in the background, such as calendars and virus protection programs.

• If your video display card supports it, enable Bus Mastering in the manufacturer’s Control Panel.

• Disable any networking cards (other than the 1394 “FireWire” card that you will use to connect the Digi 002 to your system).

Disable Virus-Protection Software

If you are using virus-protection software, turn it off or remove it and restart your computer. Avoid running virus-protection software while using Digi 002 since it adversely affects system performance.

Completing Windows System Settings

When finished with updating Windows system settings, power down your computer, then continue with Digi 002 connection steps, below.

Connecting Digi 002 to the Computer

Before installing Pro Tools LE software and the Digi 002 driver, you need to connect Digi 002 to the computer.

When connecting Digi 002 to your computer the first time, your computer should be off. If your computer is on, power it down, before connecting Digi 002 to your computer.

Getting Started with Digi 00216

To connect the Digi 002 to your computer:

1 Turn on the power to the Digi 002 unit.

2 Locate the FireWire cable that came with your

Digi 002.

3 Plug one end of the FireWire cable into one of

the ports marked “1394” on the back panel of the Digi 002. It does not matter which of the two ports you use.

OPTICAL

OUT

LINK

S / PDIF

FOOT SWITCH

13941394

FireWire ports

Digi 002 FireWire ports (back panel)

4 Do one of the following, depending on your

system conﬁguration:

To use a FireWire hard drive with your Digi 002, do one of the following:

◆ If your computer has more than one FireWire

port, connect the FireWire hard drive to one FireWire port on the computer, and connect Digi 002 to another FireWire port on the computer.

◆ If your computer has only one FireWire port,

connect the FireWire hard drive directly to your computer and then connect Digi 002 to an available FireWire port on the drive.

■ Plug the other end of the FireWire cable into

an available FireWire port on your computer.

■ Plug the other end of the cable into an avail-

able FireWire port on a FireWire hard drive connected to your computer. (See “Connecting Digi 002 and FireWire Hard Drives” on page 17.)

Connecting Digi 002 and FireWire Hard Drives

The FireWire ports on Digi 002 do not pass audio data when it is powered off, so if you daisychain FireWire devices from your computer, it is best to connect FireWire hard drives directly to your computer and not to Digi 002. This will prevent hard drive errors in case the Digi 002 unit is powered off.

Connecting other FireWire Devices to Digi 002

Installing Pro Tools LE Software

If you are using virus-protection software, turn it off or remove it and restart your computer. Avoid running virus-protection software while installing or using Pro Tools LE since it adversely affects system performance.

Chapter 3: Windows Conﬁguration 17

To install Pro Tools LE on Windows:

1 Turn on your computer.

10 When installation is complete, click Finish to

restart your computer.

2 Start up Windows, logging in with Adminis-

trator privileges. If you do not have Administrator privileges or do not know how to set them up, see your Windows User’s Guide.

3 Wait for the Found New Hardware Wizard di-

alog to appear and leave it open (do not press Next).

4 Place the Pro Tools LE Installer CD-ROM for

Windows in your CD-ROM drive. Locate (in the Pro Tools LE Installer folder) and double-click the blue icon named “Setup.”

5 When the installer opens, click Next to pro-

ceed.

6 Choose from the following three install op-

tions:

• Typical, recommended for ﬁrst-time users

• Compact, installs the minimum components necessary to run Pro Tools LE

• Custom, lets you select which components are installed (for advanced users)

7 Click Next to install the selected option. Files

are installed to the Digidesign folder inside the Program Files folder.

If you get a warning dialog about the driver not passing Windows Logo testing, click Continue Anyway.

Installing QuickTime

QuickTime 5 or later is required for Pro Tools LE. Install the latest version of QuickTime for Windows (available on the Pro Tools LE 5.3.2 CDROM or from www.apple.com). Be sure to install the “Recommended” install of QuickTime or Pro Tools will not handle QuickTime video correctly.

Digidesign WaveDriver

(Optional)

The Digidesign WaveDriver is a two-channel, multimedia sound driver that allows third-party audio applications to record and play back through channels 1–2 of the Digi 002. The Digidesign WaveDriver is not required to use Pro Tools LE with the Digi 002.

Check the Digidesign Web site (www.digidesign.com) for the latest thirdparty drivers for Pro Tools LE hardware, as well as current known issues.

For detailed information on installing, using, and removing the Digidesign WaveDriver, see Appendix C, “Digidesign WaveDriver (Windows Only).”

8 Wait for the installer to ﬁnish installing all

software components, drivers, and PACE System ﬁles before proceeding to the next step.

9 If QuickTime is not already installed, you will

be prompted to install the “Recommended” QuickTime installer option now (see “Installing QuickTime” on page 18). Follow the on-screen instructions to complete the QuickTime installation process.

Getting Started with Digi 00218

Installing the Demo Session

(Optional)

The Digi 002 Installer CD includes a demo session, Be There Digi002, which you can use to verify that your system is working and to learn some features of Pro Tools LE.

5 Select Remove, and then click Next.

6 Click OK to remove Pro Tools LE.

Launching Pro Tools LE the First Time

Before installing the demo session to your audio drive, make sure the drive is configured as described in “Hard Drive Requirements” on page 3.

To install the demo session:

1 Insert the Pro Tools LE Installer CD in your

CD-ROM drive.

2 Locate and open the Pro Tools Demo Installer

folder, and double-click the Setup program.

3 When the installer opens, click Browse to set

the destination folder to your audio drive, then click Next.

4 Select the install components for

Digi 002 Demo session.

5 Click Next to install the demo session.

Removing Pro Tools LE

If you need to remove Pro Tools LE from your computer for any reason (such as needing to remove the Digidesign WaveDriver), do so using Add or Remove Programs.

To remove Pro Tools LE:

1 Choose Start > Control Panel.

2 Double-click the Add or Remove Programs

icon.

3 From the Currently installed programs list, se-

lect Digidesign Pro Tools LE.

4 Click the Change/Remove button.

Validating Pro Tools LE Software

When launching Pro Tools LE the ﬁrst time, you are prompted to enter an authorization code to validate your software.

To validate Pro Tools LE software:

1 Double-click the Pro Tools LE shortcut on

your desktop (or the application in the Pro Tools folder inside the Digidesign folder).

2 Enter the authorization code in the dialog

when prompted, making sure to observe any spaces, then click Validate.

Authorization code validation for Pro Tools LE

The authorization code is located on the inside cover of this guide. Be sure to include any spaces as you enter the authorization code.

After Pro Tools launches, the Channel Scribble Strips on the Digi 002 unit display the message, “Open or create a new session,” and only the Pro Tools menus will appear on the computer screen.

To see the Pro Tools Edit and Mix windows, a new session must be created. Before you begin working with Pro Tools, refer to the next section to get acquainted with Pro Tools system settings.

Chapter 3: Windows Conﬁguration 19

Updating Digi 002 Firmware

The Digi 002 has three types of firmware: Boot Firmware, System Firmware, and Fader Firmware. The second and third types, System and Fader firmware, can be updated automatically

When you launch Pro Tools software, it automatically checks the version of the unit’s firmware, and prompts you to update it if newer versions are available.

Playback Engine dialog for Digi 002

If you choose to update your unit’s firmware, be sure to allow the update to complete before disconnecting or turning off your system.

Conﬁguring Pro Tools

Conﬁguring the Playback Engine

The Playback Engine lets you customize various System Usage parameters (such as Hardware Buffer Size and CPU Usage) and set the size of the DAE Playback Buffer.

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.

2 From the H/W Buffer Size pop-up, select the

audio buffer size, in samples, for host processing tasks such as Real-Time AudioSuite (RTAS) plugin processing. The default setting is 512 samples. Select a higher setting if you need more buffer time for processing audio and applying real-time effects. (H/W Buffer size has an effect on monitoring of audio in Pro Tools; see “Monitoring Latency and Recording” on page 68 for details.)

3 From the CPU Usage Limit pop-up, select the

maximum percentage of CPU resources to allocate to host processing tasks. The default setting is 65%. Select a higher setting if you need more host processing power for RTAS applications.

Increasing the CPU Usage Limit may slow down screen response.

4 Set the DAE Playback Buffer Size. (See “DAE

Playback Buffer Size” on page 20.) Memory requirements for each setting are shown at the bottom of the Playback Engine dialog box.

5 When ﬁnished, click OK.

To conﬁgure Playback Engine settings:

1 Choose Setups > Playback Engine.

Getting Started with Digi 00220

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory allocated within DAE to manage disk buffers, which affects system performance.

Though the default DAE playback buffer size provides optimum performance in most cases, you may want to adjust it to modify your system’s performance.

◆ A larger buffer size can sometimes allow for a

◆ A smaller buffer size can sometimes improve

playback and recording initiation speed. However, a smaller buffer size can make it difﬁcult for slower hard drives to play or record tracks reliably.

Conﬁguring Hardware Setup

3 Select the default sample rate (this setting is

available only when a session is not open) from the Sample Rate pop-up menu. This setting will appear as the default sample rate when you create a new session.

You can change the sample rate when creating a new Pro Tools session by selecting a different sample rate in the New Session dialog. (See

4 Choose a digital input option, depending on

“Starting a Session” on page 54.)

the type of input devices connected to your system. (See “Using a Digital Source” on page 21 for details.)

5 If you are outputting material to a Tascam dig-

ital device such as a DA-30, select the Tascam option under S/PDIF Output Cat Code.

The Pro Tools Hardware Setup dialog allows you to select the default sample rate and the clock source for the system, and configure the digital inputs on the Digi 002.

Hardware Setup dialog for Digi 002

To conﬁgure Hardware Setup options:

1 Choose Setups > Hardware Setup.

2 Select the clock source from the Clock Source

Using a Digital Source

If you are recording from an Optical or S/PDIF device, you will need to choose synchronization settings. In most cases, you will synchronize Pro Tools to the external device.

To conﬁgure Pro Tools LE for a digital source:

1 Connect an ADAT or Optical S/PDIF format

device to the Optical In connector, or an RCA S/PDIF format device to the RCA S/PDIF In connector on the back of the Digi 002.

You can only use one pair of S/PDIF inputs (either RCA or Optical) at a time.

2 In Pro Tools LE, choose Setups > Hardware

Setup.

3 Make sure the correct digital input option is

Chapter 3: Windows Conﬁguration 21

4 From the Clock Source pop-up menu, select

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.

Conﬁguring I/O Setup

Pro Tools LE ships with default I/O Setup settings that will get you started. You only need to go to I/O Setup if you want to remap or rename the default I/O paths.

3 Click OK to close the I/O Setups dialog.

Refer to the Pro Tools Reference Guide for more information on setting up I/O paths.

I/O Setup dialog for Digi 002

To conﬁgure I/O routing in I/O Setup:

1 Choose Setups > I/O Setups in Pro Tools.

2 Map and name paths as desired.

Getting Started with Digi 00222

chapter 4

Digi 002 Overview

Digi 002 Operating Modes

Digi 002 can be in any of three states when it is powered on: Standby mode, Pro Tools mode, or Stand-alone mode.

Standby Mode

Digi 002 is in this mode when you first power on the unit, waiting for you to either launch Pro Tools or put the unit in Stand-alone mode.

In Standby mode, the unit displays “Digi 002” and “Standby” in the Scribble Strips, and the Standalone LED flashes.

Pro Tools Mode

Digi 002 is in this mode when the Digi 002 unit is connected to a computer and Pro Tools LE software is running.

If no Pro Tools session is open, the unit displays “Open or create a new session.” When a Pro Tools session is open, the unit mirrors the on-screen controls. In this mode, the Stand-alone LED is off.

Stand-Alone Mode

When you put Digi 002 into Stand-alone mode, the unit becomes an 8-channel digital mixer that operates independently from Pro Tools.

See Chapter 7, “Using Digi 002 as a Stand-Alone Mixer” for more information on stand-alone operation of Digi 002.

To put Digi 002 in Pro Tools mode:

1 Make sure the Digi 002 unit is properly con-

nected to the computer and in Standby mode.

2 Launch Pro Tools LE and open or create a

Pro Tools session.

Chapter 4: Digi 002 Overview 23

The Digi 002 Top Panel

The Digi 002 top panel is arranged in sections of controls with related functions. The Fader section includes standard channel strip controls, similar to any small-format mixer. The Console/Channel View section provides powerful multi-state controls for viewing and controlling inserts, plug-ins and sends in Pro Tools. The Transport and Navigation controls provide access to many of the on-screen navigation features of Pro Tools.

This chapter covers each of the Digi 002 sections in relation to its function while in Pro Tools mode.

MONO

ALT SRC

Mic/Line/Inst

Input controls

Console/Channel

View section

Keyboard

Modifier switches

1 GAIN 2 GAIN 3 GAIN 4 GAIN

CONSOLE VIEW

PAN

SEND INSERT

OPTION/ALL

SHIFT/ADD

COMM/CTL/CLUTCH

MODIFIERS

INSERT PAN/SENDDYNAMICS

SEL SEL SEL SEL SEL SEL SEL SEL

SOLO

MUTE

-5

-10

-15

-20

-30

-40

-60

-90

LINE/ INST MIC

SOLO

MUTE

-5

-10

-15

-20

-30

-40

-60

-90

TO IN 7-8

PAGE MASTER BYPASS

SOLO

MUTE

-5

-10

-15

-20

-30

-40

-60

-90

TO MON

-5

-10

-15

-20

-30

-40

-60

-90

MUTE

MONITOR

LEVEL LEVEL

ESC

CHANNEL VIEW

DISPLAY

LRMETER

REC

SOLO

MUTE

FLIP

MASTER FADERS

PLUG-IN MIX

WINDOWS

HEADPHONE

ENTER

BANK

SAMPLE RATE

44.1 48

NUDGE

OUT

EDIT

88.2

UNDO STANDALONE

ZOOM

PLAY/ REC MODE

PLAY LOOP REC QUICK PUNCH

LOOP

IN OUT1

(SNAPSHOT) F3

(FADER MUTE) F4

(FOCUS) F5

RECPLAYFFW STOPREWRTZ

(NAMING) F2

1394

MIDI

(UTILITY) F1

Monitor section

Status Indicators and Display controls

OUT2

Transport and Navigation controls

Fader Section

Figure 1. Major sections of the Digi 002 top panel

Getting Started with Digi 00224

Views in Pro Tools Mode

When Digi 002 is used with Pro Tools, many of its controls perform more than one function, depending on which view you are in. When in Pro Tools mode, the Digi 002 control surface operates in one of three main views: Home View, Console View or Channel View.

Digi 002 is in Console View when any of the Console View selectors (Pan, Send, or Insert) is lit in the Console View area.

To put Digi 002 in Console View:

■ Press the Pan, Send, or Insert switch in upper

left-hand corner of the Console View area.

Home View

Home View is the default view in Pro Tools that you see when you first open a session, and is actually the same as Console View with the Pan controls displayed.

To put Digi 002 in Home View:

■ Press the Pan switch in upper left-hand corner

of the Console View area.

Console View

Console View lets you toggle the Digi 002 to show pan position, send assignments or insert assignments for all channels on the control surface. You can think of Console View as a global view of a given control (pan, send, or insert) on each channel. (See “Console View” on page 29.)

◆ In Console view, the touch-sensitive faders on

Digi 002 mirror the volume faders in Pro Tools. Fader assignments are shown on-screen in Pro Tools by blue outlines around the track names.

◆ In Console view, the LED rings above the ro-

tary encoders indicate either the pan position, the send level, or the insert level for each channel, depending on which Console View switch is lit.

Channel View

Channel View lets you display all of a selected channel’s plug-in assignments, insert names, or send assignments at the same time. You can think of Channel View as a way to temporarily focus on all the inserts or sends on a single channel.

◆ In Channel View, the touch-sensitive faders

on Digi 002 mirror the volume faders in Pro Tools.

◆ In Channel View, the LED rings above the ro-

tary encoders indicate values for the selected control, such as plug-in parameters, insert levels, or pan values and send levels, depending on which Channel View switch is lit.

Digi 002 is in Channel View when any of the Channel View selectors (EQ, Dynamics, Insert or Pan/Send) is lit in the Channel View area.

To put Digi 002 in Channel View:

■ Press the EQ, Dynamics, Insert, or Pan/Send

switch in the Channel View area above the Channel Scribble Strips.

When you first open a Pro Tools session, Digi 002 is in Console View with the Pan switch lit. This default view is also known as “Home View.”

Chapter 4: Digi 002 Overview 25

Fader Section

The Digi 002 fader section consists of 8 identical channel strips, each with a touch-sensitive fader, solo and mute switches, a multi-state select switch, and a rotary encoder.

Channel Scribble Strip

Channel Strip Controls

Channel Faders

Each channel has its own touch-sensitive, motorized fader for controlling levels of audio and MIDI tracks, Auxiliary Inputs, and Master Faders. In Flip mode, other controls, such as send levels or plug-in parameters, can be controlled by the faders.

Encoder/Meter LED ring

Rotary Encoder

REC

SEL

SOLO

MUTE

MASTER

FADERS

-5

-10

-15

-20

-30

-40

-60

-90

Record Enable switch

Channel Record Ready indicator

Channel Select switch

Channel Solo and Mute switches

FLIP

Fader Flip switch

Master Fader switch

Channel Fader

Digi 002 fader section and global fader controls

Channel Solo/Mute Switches

Each channel has Solo and Mute switches, located above the fader. These switches show the Pro Tools solo and mute status for each track. When a track is soloed, the Mute switches on other tracks in the session flash. When a track is muted, the Mute switch is lit continuously.

The Solo switch function follows the Pro Tools Operation preference for latched operation. (See the Pro Tools Reference Guide for details.)

Channel Select Switch

Each channel has a Channel Select switch that performs several functions, depending on the view:

Home View The Channel Select switches allow you to select the corresponding track (indicated on-screen by a highlighted track name) for grouping and other channel-related commands in Pro Tools.

Console View The Channel Select switches are used to select inserts on a particular channel for editing, or to select pre- or post-fader operation for sends.

Channel View The Channel Select switches are used to select and edit individual send or insert settings as displayed across the Channel Scribble Strips.

Getting Started with Digi 00226

Channel Record Ready Indicator

Channel Scribble Strip

Each channel has a Record Ready LED. When a track is record enabled and the transport is stopped, this LED flashes. When Pro Tools is recording, it is lit continuously. (See “Record Enable Switch” on page 27 for details on record-enabling tracks.)

Rotary Encoders

These knobs control a variety of parameters, depending on the view:

Home View The rotary encoders control pan position for each track, with the LED rings indicating the pan position with a single LED.

Console View The rotary encoders control send levels for each track, with the LED rings indicating the send levels with an expanding series of LEDs.

Channel View The rotary encoders control plug-in, pan/send, or insert settings, depending on the Channel View selection, with the LED rings showing corresponding states.

Encoder/Meter LED Ring

Each rotary encoder has a circle of 15 LEDs above it for indicating data values controlled by the encoder. The style of display depends on the type of data. For example, discrete or stepped information such as pan position or frequency value is shown by a single LED, while an expanding series of LEDs shows values such as send levels, gain, or filter bandwidth.

Each channel has a 4-character scribble strip that displays a variety of information, including track, send and insert names, pan position, send levels, or plug-in control information. The default display is the name of the displayed element. When you move a fader or rotary encoder, the scribble strip will temporarily display the value for that control, then return to the default display.

Global Fader Controls

Immediately to the right of the channel faders, there are global controls that affect the assignment and operation of all the faders.

Record Enable Switch

Pressing the Record Enable switch followed by a Channel Select switch arms the corresponding track for recording.

To enable tracks for recording:

1 Press the Record Enable switch. When the

Record Enable function is active, the Record Enable switch ﬂashes.

2 Press the Channel Select switch for the tracks

you want to enable for recording. When a track is armed for recording, its Record Ready indicator flashes. During recording, its Record Ready indicator is lit continuously.

3 Press the Record Enable switch a second time

to deactivate the Record Enable function.

The LED rings can also be set to show track levels by pressing the Encoder/Meter Mode switch to the right of the encoder area. When set to Meter mode, the LED rings show increasing levels in a clockwise manner, with the last red LED indicating clipping.

To disable tracks for recording:

1 Press the Record Enable switch. When the

Record Enable function is active, the Record Enable switch ﬂashes.

Chapter 4: Digi 002 Overview 27

2 Press the Channel Select switch on any track

whose Record Ready indicator is ﬂashing to disarm the track for recording.

3 Press the Record Enable switch a second time

to deactivate the Record Enable function.

Fader Flip Switch

The Fader Flip switch invokes Flip mode, which transfers control assignments from the rotary encoders to the corresponding channel faders, allowing you to use the touch-sensitive faders to edit and automate control values. There are several types of Flip mode, depending on which view you are working with.

To transfer controls from the rotary encoders to the touch-sensitive faders:

■ Press the Flip switch. This switch ﬂashes when

Flip mode is activated.

■ To exit Flip mode, press the Flip switch a sec-

ond time.

Plug-In Flip Mode When you are in Channel View and working with a plug-in insert, the Flip switch moves any plug-in control assignments from the rotary encoders to the faders, allowing you to use the touch-sensitive faders to edit and automate plug-in control values. The details of the controls depend on the particular plug-in you are using.

See “Channel View” on page 30 for more details on working with plug-ins in Channel View.

Pan/Send Flip Mode When you are in Channel View and working with the pan and send assignments on a channel, the Flip switch moves the send level controls to channel faders 3–7, and the send pan controls to rotary encoders 3–7. (The first Channel Scribble Strip and encoder continue to show track pan position for that track.)

In this mode, the Channel Select switches toggle pre- and post-fader metering for the corresponding send.

Send Flip Mode When you are in Home View or Console View, the Flip switch moves the send level controls to the channel faders, and the send pan controls to the rotary encoders. The Channel Scribble Strips display the selected send (A–E) for each channel.

For stereo tracks with stereo sends, you can toggle the encoder display between left and right send pan by pressing the Encoder Mode switch immediately to the right of the encoders. Both the Display Scribble Strip and the LEDs above the Encoder Mode switch indicate whether the left or right pan position is displayed.

For mono tracks with stereo sends, only the left pan indicator shows a pan position; the right pan indicator is inactive.

Getting Started with Digi 00228

For stereo tracks with stereo sends, you can toggle the encoder display between left and right send pan by pressing the Encoder Mode switch immediately to the right of the encoders.

See “Channel View” on page 30 for more details on working with pan controls and sends in Channel View.

Master Fader Switch

Pressing the Master Fader switch arranges all Master Fader tracks in the current session on the right-hand side of the control surface. Pressing this switch a second time returns the control surface to the previous view.

Console/Channel View Section

The Console/Channel View section uses many of the channel fader controls to display and edit pan, send, and insert controls, giving you control over many on-screen elements in Pro Tools.

Plug-In Bypass switch

Channel Scribble Strips

Channel View selectors

Plug-in Page switches

Escape/Cancel switch

INSERT PAN/SENDDYNAMICS

Console View

selectors

Insert/Send

Position

selectors

CONSOLE VIEW

PAN

SEND INSERT

SEL SEL SEL SEL SEL SEL SEL SEL

Digi 002 Console and Channel View controls

Console View

Console View lets you toggle the Digi 002 to show pan position, send controls or insert names for all channels on the control surface.

Console View Selectors

These switches toggle the center section of Digi 002 to display one of the three following types of controls: pan, sends, or inserts.

Pan View This is the default view that appears when you first launch a Pro Tools session, where the faders control track volume and the rotary encoders control channel pan positions. The Channel Scribble Strips show the track names, and temporarily show the channel pan positions when the encoder is moved, or volume information when the fader is moved. In this view, pressing a Channel Select switch selects the corresponding track in Pro Tools.

PAGE MASTER BYPASS

ESC

CHANNEL VIEW

Send View This view assigns send level controls to the rotary encoders. The Channel Scribble Strips show the names of currently assigned sends across all channel strips for a given send position (Sends A–E in Pro Tools).

In this view, pressing a Channel Select switch toggles the selected send on that track between pre- and post-fader operation. (See the Pro Tools Reference Guide for details.)

Insert View This view displays the names of currently assigned inserts (hardware inserts or plug-ins) across all channel strips for a given insert position (Inserts A–E in Pro Tools) in the Channel Scribble Strips.

If a hardware insert or plug-in is selected in Pro Tools, its name flashes in the Scribble Strip. In this view, pressing a Channel Select switch directly under a plug-in name puts Digi 002 into Channel View and displays the plug-in controls across all channel strips.

Chapter 4: Digi 002 Overview 29

Insert/Send Position Selectors

These switches determine which of the five available send or insert positions (marked A–E in Pro Tools) are displayed in Console View.

Channel View

Channel View zooms in on a single track and displays all controls of a certain type (sends, inserts, or plug-ins) horizontally, across all of the Channel Scribble Strips on Digi 002. From this view, you can recall and edit parameters for all the sends on a single track, or all the parameters of a single plug-in.

Dynamics When you press the Dynamics switch, Digi 002 identifies channels with dynamics plug-ins (such as compressors or limiters) assigned to them by illuminating their Channel Select switches. If no dynamics plug-ins are present, no Channel Select switches will be lit.

When you press an illuminated Channel Select switch, controls for the first Dynamics plug-in on that track are assigned to the rotary encoders and displayed in the Channel Scribble Strips.

Switched controls, such as Phase Invert or In/Out for EQ bands, are controlled with the Channel Select switches below the corresponding Scribble Strips.

Channel View Selectors

These switches determine the type of information displayed for a selected track. The first two switches focus on particular types of plug-ins, while the second two address all types of inserts and sends.

EQ When you press the EQ switch, Digi 002 identifies channels with equalizer plug-ins assigned to them by illuminating their Channel Select switches. If no EQ plug-ins are present, no Channel Select switches will be lit.

When you press an illuminated Channel Select switch, controls for the first EQ plug-in on that track are assigned to the rotary encoders and displayed in the Channel Scribble Strips. Switched controls such as Master Bypass or Phase Invert functions are controlled by the Channel Select switches.

To cycle through all the EQ plug-ins on a channel, hold the EQ switch and repeatedly press the track’s Channel Select switch. If a plug-in window is open on-screen, it will update to reflect the plug-in selected on the Digi 002.

To cycle through all the Dynamics plug-ins on a channel, hold the Dynamics switch and repeatedly press the track’s Channel Select switch. If a plug-in window is open on-screen, it will update to reflect the plug-in selected on the Digi 002.

Inserts When you press the Inserts switch, Digi 002 identifies channels with any kind of insert assigned to them (including plug-ins or hardware I/O inserts) by illuminating their Channel Select switches. If no inserts are present, no Channel Select switches will be lit.

When you press an illuminated Channel Select switch, the names of all inserts on that track are displayed in the Channel Scribble Strips. To select a plug-in insert for editing, press the corresponding Channel Select switch. (While the names of hardware I/O inserts are displayed, they have no editable parameters, so the Channel Select switches and the rotary encoders have no effect on them.)

To cycle through all the inserts on a channel, hold the Insert switch and repeatedly press the track’s Channel Select switch.

Getting Started with Digi 00230

Pan/Send When you press the Pan/Send switch, Digi 002 identifies channels with sends assigned to them by illuminating their Channel Select switches. If no sends are present, no Channel Select switches will be lit.

The resulting display shows “left” and “right” in the Scribble Strips, allowing you to choose between the two sides of the multi-mono plug-in by pressing the corresponding Channel Select switch.

When you press an illuminated Channel Select switch, Channel Scribble Strip 1 and the first rotary encoder show track pan position for that track. (If the track is a stereo track, you can toggle between left and right pan by pressing the Encoder Mode switch immediately to the right of the encoders.)

Channel Scribble Strips 3–7 show the names and their rotary encoders control the levels for all five sends on that track. (Channel Scribble Strip 2 is inactive.) In this mode, the Channel Select switches on channels 3–7 toggle pre- and post-fader metering for the corresponding send.

Plug-In Page Switches Plug-In controls are organized in pages. In a process much like banking of channel faders, when a plug-in has more controls than can fit on the Channel Scribble Strips at one time, you can use these switches to page through the plug-in controls.

When a plug-in has multiple pages of controls, one of the Plug-In Page switches will flash to indicate a next or previous page. The total number of pages is shown in the Status Display when you press the flashing Plug-In Page switch.

Plug-In Master Bypass Switch This switch bypasses either a single plug-in or all plug-ins on a channel, depending on the current view. If the controls for only one plug-in are displayed, only that plug-in will be bypassed. If all the plug-ins on a channel are displayed, all of those plug-ins will be bypassed.

If no plug-ins are displayed, the Master Bypass function is unavailable.

Hardware I/O inserts cannot be bypassed in Pro Tools, so the Plug-In Master Bypass switch has no effect on them.

Escape/Cancel Switch When flashing, this switch allows you to cancel certain operations on the Digi 002, such as Channel View selections. The Escape/Cancel switch also functions as a “cancel” button for many on-screen dialogs in Pro Tools.

Multi-mono Plug-ins

When working with a multi-mono plug-in, you can toggle the view between the left and right sides of the plug-in by holding down the Display switch when you press the Channel Select switch to select a plug-in from Channel view.

Chapter 4: Digi 002 Overview 31

Transport and Navigation Controls

These Digi 002 controls mirror the operation of on-screen transport and navigation controls in Pro Tools. In addition, Function keys allow you to invoke special control surface commands and move quickly between different display modes.

Fader Bank, Nudge, and

Display Zoom switches

Fader Flip switch

Master Fader switch

Navigation and Zoom keys

FLIP

MASTER

FADERS

WINDOWS

PLUG-IN MIX

BANK

NUDGE

ZOOM

OUT

EDIT

PLAY/ REC MODE

PLAY LOOP REC QUICK PUNCH

LOOP

(UTILITY) F1

(NAMING) F2

(SNAPSHOT) F3

(FADER MUTE) F4

(FOCUS) F5

Function/Utility switches

Window Show/Hide

switches

Transport controls

Digi 002 transport and navigation controls

Transport Controls

These switches correspond to transport functions in Pro Tools.

RTZ (Return to Zero) Sets the playback cursor to the beginning of the session

REW (Rewind) Rewinds through the session from the current cursor position

FFW (Fast Forward) Fast-forwards through the session from the current cursor position

STOP Stops playback or recording

PLAY Begins playback from the current cursor

position

REC (Record) Arms Pro Tools for recording

RECPLAYFFW STOPREWRTZ

Record/Playback Mode switches

Record/Playback Mode Switches

Loop Play Toggles Loop Playback on and off

Loop Rec Toggles Loop Record mode on and off

QuickPunch Toggles QuickPunch Record mode

on and off

Window Show/Hide Switches

Plug-In Opens or closes the window for the currently selected plug-in

Mix Opens, brings forward, or closes the Pro Tools Mix window

Edit Opens, brings forward, or closes the Pro Tools Edit window

Getting Started with Digi 00232

Navigation and Zoom Section

Function/Utility Switches

These multi-purpose keys control the display of Pro Tools tracks on the Digi 002 control surface, on-screen zoom functions, and other Pro Tools navigation functions.

Fader Bank, Nudge and Display Zoom Switches

Bank When the Bank switch is lit, the Left and Right arrow keys move the Digi 002 tracks across the Pro Tools mixer eight faders at a time.

Nudge When the Nudge switch is lit, the Left and Right arrow keys move the Digi 002 tracks across the Pro Tools mixer one track at a time.

Zoom When the Zoom switch is lit, the Left and Right arrow keys zoom the Pro Tools Edit window display horizontally, and the In and Out keys zoom the display vertically.

Navigation and Zoom Keys

Text Entry Fields When you are editing numerical values such as Selection Start, End, and Length, or Pre- and Post-Roll in the Edit or Transport windows, the Left and Right arrow keys let you navigate among editable fields. The In and Out keys increment or decrement the selected value.

F1 (Utility) Enters Utility mode during Digi 002 stand-alone operation only. This is where you set control surface and input preferences, as well as run pre-programmed diagnostic tests on the Digi 002 unit.

F2 (Naming) Allows you to name channels while using Digi 002 in Stand-alone mode only. (See “Naming Channels” on page 90.)

F3 (Snapshot) Allows you to store and recall up to 24 mixer configurations for quick recall or for use as mixer templates, in Stand-alone mode only. (See “Storing Snapshots” on page 97.)

F4 (Fader Mute) Temporarily disables Digi 002 fader movement while working with Pro Tools, allowing you to monitor audio playback without fader noise. To disable fader movement, press F4 while in Pro Tools mode. To restore fader movement, press F4 a second time.

The Fader Mute feature has no effect on fader automation or audio levels during playback.

F5 (Focus) Displays controls in the Digi 002 Channel Scribble Strips for the currently active plug-in window, as in Channel View. To return to the last Console view, press F5 a second time.

Selection In/Out Points In Bank and Nudge modes, the Navigation keys mirror the function of the Up and Down arrow keys on the computer keyboard. You can press these keys to mark In and Out points during playback, in order to make selections in the Pro Tools Edit window. If you have already made a selection in the Edit window, the Up and Down arrow keys move the selection up and down your track list.

Chapter 4: Digi 002 Overview 33

Mic/Line/Instrument Input Controls

Digi 002 is equipped with four high-quality preamplifiers with adjustable gain and phantom power (switchable in pairs, for Inputs 1–2 and Inputs 3–4). The phantom power switches are on the back panel of Digi 002.

Inputs 1–4 accept microphone, instrument (direct in) or line-level signals. Inputs 5–8 accept line level signals only.

When Digi 002 is used to control Pro Tools, these inputs show up as “Mic/Line 1–4” in the default Pro Tools I/O Setup.

Mic/Line/Instrument Selector switch

High Pass Filter switch

Monitor Section

The Monitor section of Digi 002 provides several options for routing outputs and monitoring alternate input sources.

Alternate Input Routing controls

HEADPHONE

Headphone Level control

Headphone jack

Mono Output switch

ALT SRC TO IN 7-8

ALT SRC TO MON

Monitor Level control

MONITOR

LEVEL LEVEL

MONO

MUTE

Monitor Mute switch

Digi 002 monitor and headphone controls

LINE/ INST MIC

1 GAIN 2 GAIN 3 GAIN 4 GAIN

Input Gain control

Digi 002 input controls for Inputs 1–4

Inputs 1–4 have the following controls:

Mic/Line/Instrument Selector This switch toggles the input between microphone or line (instrument) operating levels.

High Pass Filter Switch This switch enables a high pass filter (75 Hz, 12 dB/octave rolloff) on the input, for filtering out rumble or AC hum.

Input Gain Control This knob adjusts gain for the input, with a range of +15 dB to +60 dB of gain.

Engage the Mic Selector only if you have an XLR cable plugged in to the mic connector. Leaving the switch engaged with nothing connected may introduce low-level noise.

Alternate Input Routing Controls

In addition to its 8 standard analog inputs, Digi 002 provides a separate –10 dBV input pair for a device such as a CD player or tape deck.

Alt Src to Mon This switch routes the –10 dBV input pair directly to the Monitor and Headphone Outputs on Digi 002. This function also works when Digi 002 is in Stand-alone mode.

Alt Src to 7–8 This switch routes the –10 dBV input pair directly to Inputs 7 and 8 of Pro Tools, and does not send it to the Monitor Outputs. This allows you to route the input signal directly into Pro Tools without the need to repatch any cables.

When Alt Src to 7–8 is enabled, analog inputs 7–8 (1/4-inch TRS connectors on the back panel of Digi 002) are disabled.

Getting Started with Digi 00234

Monitor and Headphone Level Controls

Monitor Level Control Digi 002 provides a pair of Monitor Outputs that mirror its Main Outputs (or outputs 1–2), which correspond to outputs 1–2 in Pro Tools. This knob controls the volume of those Monitor Outputs.

Headphone Level Control The Headphone Output on Digi 002 also mirror outputs 1–2 in Pro Tools, and is independent of the Monitor Outputs. This knob controls the volume of the independent Headphone Output.

Monitor Mute Switch This switch mutes the Digi 002 Monitor Outputs only, and has no effect on the Main Outputs or the Headphone Output. Monitor Mute is automatically engaged when you power up the Digi 002 unit.

Keyboard Modiﬁer Switches

Many keyboard commands in Pro Tools use modiﬁer keys, which are pressed in combination with other keys or with a mouse action.

Refer to the electronic PDF versions of the Pro Tools Reference Guide and the Keyboard Shortcuts for more information.

The Modifier switches on the left-hand side of Digi 002 mirror the functions of modifier keys on the computer keyboard. You can use these switches on Digi 002 in any combination with keys on your computer while working with Pro Tools.

Option/All switchShift/Add switch

Mono Output Switch This switch temporarily combines the output signals 1 and 2 in both the Monitor Outputs and the Headphone Output. This is helpful for checking phase relationships of stereo material. The Mono Output switch has no effect on the Main Outputs.

Headphone Jack This jack accepts a standard 1/4-inch stereo headphone connector.

Control/Clutch switch

Command switch

SHIFT/ADD

OPTION/ALL

COMM/CTL/CLUTCH

MODIFIERS

SOLO

MUTE

Digi 002 keyboard modiﬁer keys

Shift/Add Switch Allows you to extend a track selection or add to a group of selected items

Option/All Switch Applies an action or command to all tracks in a Pro Tools session

Control/Clutch Switch Temporarily disengages a control from grouped behavior

Command Switch Allows fine adjustment of controls and automation breakpoints

Chapter 4: Digi 002 Overview 35

Status Indicators and Display Controls

The area above the Transport and Navigation Controls on Digi 002 contains status indicators, an 8-character LED Scribble Strip, and controls for displaying information about Pro Tools sessions.

Channel Scribble Strip

Encoder/Meter Mode

Encoder/Meter LED ring

indicators

Display Mode switch

DISPLAY

LRMETER

Encoder/Meter Mode switch

Enter/OK switch

Display Scribble Strips

Digi 002 status indicators and display controls

Display Scribble Strips and Display Mode Switch

The Display Scribble Strips have two modes: Status mode, which shows the current status of the Channel Scribble Strips, and Counter mode, which mirrors the main counter in Pro Tools. To toggle between the two display modes, press the Display Mode switch directly to the left of the Display Scribble Strips.

In addition, pressing the Command switch in tandem with the Display Mode switch allows you to set channels to display numerical parameter values by default, rather than control names. For example, in Pan view, when you press Command + Display, fader volume levels (in dB) are the default display.

Session Sample Rate indicators

SAMPLE RATE

88.2 96

44.1 48

ENTER

UNDO STANDALONE

Edit Undo switch

Standalone Mode switch

1394

MIDI

IN OUT1

OUT2

Pro Tools Connection Status indicator

MIDI Data indicators

Status Mode

In Status mode, the Display Scribble Strips show information about the current view.

Console View When Digi 002 is in Console View, the Display Scribble Strips show which Console mode is active (Pan, Send, or Insert).

When in Pan mode, the Display Scribble shows which pan controls are visible in the rotary encoders, left pan or right pan. (Right pan controls are available for stereo tracks only.)

When in Send mode, the Display Scribble shows the position of the displayed send (A–E).

When in Insert mode, the Display Scribble shows the position of the displayed insert (A–E).

Getting Started with Digi 00236

Channel View When Digi 002 is first put into Channel View, the Display Scribble Strips on the right-hand side of the unit identify which Channel View Selector is active (EQ, Dynamics, Inserts, or Pan/Send).

When plug-in controls are displayed in the Channel Scribble Strips, the Display Scribble shows the name of the plug-in.

When pan and send controls are shown in the Channel Scribble Strips, the Display Scribble shows the name of the parent track.

While in Channel View, you can hold the Display Mode switch and press an active track’s Channel Select switch to temporarily display an expanded description of its function.

Counter Mode

In Counter mode, the Display Scribble Strips show the current value in the Pro Tools Main Location Indicator. This value can be in Bars:Beats, Minutes:Seconds, or Samples, depending on which of these is chosen as the Main Time Scale in Pro Tools.

Enter/OK Switch

Pressing the Enter/OK switch is equivalent to pressing Return or Enter on the computer keyboard. This allows you to OK on-screen dialogs and create new Memory Locations in Pro Tools directly from the control surface.

Edit Undo Switch

Pressing the Edit/Undo switch is equivalent to choosing Edit > Undo in Pro Tools. (See the Pro Tools Reference Guide for details on multiple undo capabilities.)

Standalone Mode Switch

The Standalone Mode switch turns Digi 002 into a stand-alone 8-channel mixer. (See Chapter 7, “Using Digi 002 as a Stand-Alone Mixer.”)

Session Sample Rate Indicators

The Session Sample Rate LEDs indicate the sample rate of the current Pro Tools session.

The Display Mode switch is lit when Digi 002 is in Counter mode.

Pan/Meter Indicators and Encoder/Meter Mode Switch

The Pan/Meter indicators show what type of data is displayed in the Encoder/Meter LED ring: L indicates left pan, R indicates right pan (available on stereo channels or sends), and Meter indicates that the Encoder LEDs are functioning as level meters.

For stereo tracks or sends, when L and Meter are both lit, the LED rings display levels for the left channel; when R and Meter are both lit, the LED rings display levels for the right channel.

Pro Tools Connection Status Indicator

This status LED, marked “1394,” indicates that communication has been established between Digi 002 and Pro Tools LE software via FireWire.

MIDI Data Indicators

The MIDI Data LEDs indicate the presence of MIDI data on the Digi 002 MIDI In or MIDI Out ports.

Chapter 4: Digi 002 Overview 37

Digi 002 Back Panel

The Digi 002 back panel houses all the audio, MIDI and computer connectors for the unit. The function of each connector and their associated switches are explained in this section.

Main Analog Outputs

(Analog Outputs 1–2)

Analog Outputs

Power switch

FOOT SWITCH

3–8

Alt Main Outputs

OUTPUT 5

OUTPUT 7

OUTPUT 6

OUTPUT 8

LINK

OUTPUT 3

ALT MAIN UNBAL (-10 dBV OUTPUT)

OUTPUT 4

OUT

S / PDIF

13941394

OPTICAL

OUT

Monitor Outputs

MON OUTPUT L

MAIN L/1

MON OUTPUT R

MAIN R/2

964530300294856

SERIAL NUMBER

Alt Source Inputs

Analog Inputs 5–8

INPUT 7

ALT SRC

INPUT 8

INPUT

MIDI INMIDI OUT 1MIDI OUT 2

Line/Instrument Inputs 1–4

INPUT 5

+4 -10 +4 -10 +4 -10 +4 -10

INPUT 6

MIC MIC

LINE/ INST LINE/ INST LINE/ INST LINE/ INST

48V

MIC MIC

1 23

MIDI

connectors

Footswitch jack

AC power connector

FireWire

ports

Optical I/O

S/PDIF Digital I/O

Figure 2. Digi 002 back panel

Digi 002 Operating Levels and Headroom

All Digi 002 audio inputs and outputs are set for 14 dB of headroom below 0 dB, or full code. This means at the nominal reference input level (+4 dBu or –10 dBV) you can have up to 14 dB of headroom before input or output clipping occurs.

The maximum input and output of Digi 002 using balanced TRS cables on any of the +4 dBu, 1/4-inch connectors is +18 dBu (6.15 Vrms).

Getting Started with Digi 00238

Operating Level

switches

for Inputs 5–8

Mic Inputs 1–4

Phantom Power

switches

Digi 002 Sample Rate and Resolution Support

The Analog-to-Digital and Digital-to-Analog converters on all Digi 002 analog inputs and outputs, as well as the S/PDIF Digital I/O ports, support sample rates of 44.1, 48, 88.2, and 96 kHz. The Optical I/O ports support sample rates of 44.1 and 48 kHz in ADAT Optical mode, and sample rates up to 96 kHz in Optical S/PDIF mode.

All the analog and digital inputs and outputs on Digi 002 support up to 24-bit resolution audio.

Analog Inputs

Mic Inputs 1–4

These are balanced, three-conductor XLR connectors for microphone-level analog inputs. Gain is controlled by the corresponding Input Gain control on the top panel of Digi 002.

Line/Instrument Inputs 1–4

These are balanced, 1/4-inch TRS jacks for line-level or instrument-level analog audio input connections. Operating levels for these line/instrument inputs are fixed at +4 dBu. Gain is controlled by the corresponding Input Gain knob on the top panel of Digi 002.

Unbalanced connections are also possible with the use of standard 1/4-inch mono plugs.

Digidesign does not recommend the use of unbalanced cables. Unbalanced connections may introduce noise into your audio system. Whenever possible, use balanced cables to make connections to Digi 002.

Phantom Power

These switches apply 48V phantom power to Inputs 1–2 and Inputs 3–4 channel pairs respectively, for microphones that require phantom power to operate.

Dynamic microphones (like a Shure SM57) do not require phantom power to operate, but are not harmed by it. Most condenser microphones (like an AKG C3000) do require phantom power

to operate. If you are not sure about the phantom power requirements for your microphone, contact the manufacturer, or read your microphone’s documentation.

Although phantom power can be used safely with most microphones, ribbon microphones can be damaged by it. Always turn off phantom power and wait at least 30 seconds before connecting a ribbon microphone.

Analog Inputs 5–8

These are balanced, 1/4-inch TRS jacks for line-level analog audio input connections.

Operating levels for each of these line-level inputs is switchable between +4 dBu and –10 dBV, using the Operating Level switches immediately to the right of the input jacks.

While Inputs 5–8 do accept unbalanced connections, this may result in a noisier signal than a balanced-to-balanced connection. If the devices you are connecting to Digi 002 have balanced outputs, be sure to use balanced cables for optimal signal-to-noise performance.

Alt Source Inputs

These are unbalanced, two-conductor RCA-connectors for connecting alternate audio sources such as CD players or tape decks. The signal from these inputs can be routed directly to the Monitor Outputs (for monitoring) or to Inputs 7–8 (for direct input into Pro Tools) from the front panel of Digi 002. Operating levels for these inputs are fixed at –10 dBV.

Chapter 4: Digi 002 Overview 39

Analog Outputs

Monitor Outputs

These are balanced, 1/4-inch TRS jacks for line-level analog audio output connections. These outputs correspond to Outputs 1–2 in Pro Tools, allowing you to route mixes to a studio monitoring system. Operating levels for these outputs are fixed at +4 dBu.

Monitor Output level is controlled by the Monitor Level knob on the front panel of Digi 002.

Main Analog Outputs 1–2

These are balanced, 1/4-inch TRS jacks for line-level analog audio output connections. Operating levels for these outputs are fixed at +4 dBu.

While the Main Analog Outputs do accept unbalanced connections, this may result in a noisier signal than a balanced-to-balanced connection. If the devices you are connecting to Digi 002 have balanced inputs, be sure to use balanced cables for optimal signal-to-noise performance.

Alt Main Analog Outputs 1–2

These are unbalanced, two-conductor RCA connectors for direct output to devices such as stereo receivers or tape decks. Operating levels for these inputs are fixed at –10 dBV.

Analog Outputs 3–8

These are balanced, 1/4-inch TRS jacks for line-level analog audio output connections. Operating levels for these outputs are fixed at +4 dBu. Unbalanced connections are also supported with the use of standard 1/4-inch mono plugs.

If you plan on connecting Analog Outputs 3–8 to –10 dBV gear, you may want to place a transformer-based line level attenuator between the Digi 002 output and the input of the destination device to compensate for level differences.

Digital I/O

S/PDIF Digital I/O

The Sony Phillips Digital Interface Format (S/PDIF) is used in many professional and consumer CD players and DAT recorders. These S/PDIF input and output jacks are unbalanced 2-conductor phono (RCA) jacks that utilize a full 24-bit, 2-channel digital data stream. To avoid RF interference, use 75-ohm coaxial cable for S/PDIF transfers and keep the cable length to a maximum of 10 meters.

Digi 002 supports consumer mode S/PDIF output format (IEC-958 Type 2) at sample rates of

44.1 kHz and 48 kHz, and professional mode S/PDIF output format (IEC-958 Type 1) at sample rates of 88.2 kHz and 96 kHz. For information on which S/PDIF formats are supported by your S/PDIF-compatible gear, refer to the manufacturer’s documentation.

Optical I/O

These are a pair of TOS-link style connectors for ADAT Optical (8 channels of I/O) or S/PDIF Optical (2 channels of I/O) devices. You can choose between these Optical I/O formats in the

Getting Started with Digi 00240

Pro Tools Hardware Setup dialog. When transferring material in one of these formats to Pro Tools, be sure to select the appropriate Optical I/O format as the Clock Source in the Hardware Setup dialog.

The Optical I/O ports support sample rates of

44.1 and 48 kHz in ADAT Optical mode, and sample rates up to 96 kHz in Optical S/PDIF mode. The Optical I/O ports support 24-bit, 20-bit and 16-bit resolutions in both modes.

The Optical I/O ports use a standard optical “lightpipe” cable.

About Lightpipe-Compatible Devices

IEEE-1394 (FireWire) Ports

These two ports on the back of Digi 002, marked “1394” in reference to their IEEE specification, are commonly known as FireWire ports. These provide connections to the computer and other FireWire devices.

FireWire offers a high rate of data transfer and reliability that makes it ideal for audio applications. FireWire devices can be daisy-chained together without the need for terminators.

When the FireWire connection between the computer and Digi 002 is established, the Link LED, located between the FireWire ports, is lit.

Lightpipe is an industry standard, eight-channel optical digital audio connection developed by Alesis. Lightpipe is found on many devices, including Optical (ADAT) decks, modular digital multitracks (MDMs), sound cards, stand-alone A/D or D/A converters, and digital consoles.

MIDI Connectors

The MIDI connectors on the Digi 002 allow Digi 002 to act as a MIDI interface.

With one MIDI input and two MIDI outputs, Digi 002 provides 16 channels of MIDI input and 32 channels of MIDI output.

A MIDI driver for each of these MIDI ports is installed when you install Pro Tools LE, and recognized by Windows Multimedia, or when you update MIDI Cards & Interfaces in OMS Setup (Macintosh). These connectors accept standard 5-pin MIDI cables.

Connecting Digi 002 and FireWire Hard Drives

Connecting other FireWire Devices to Digi 002

Chapter 4: Digi 002 Overview 41

Footswitch Jack

This connector allows footswitch control of QuickPunch audio punch-in and punch-out, and MIDI punch-in and punch-out recording features. Both continuous on/continuous off and instantaneous on/off pedals with a 1/4-inch TRS connector are supported. For more information, see “QuickPunch Recording” on page 70.

Power Switch and AC Power Connector

The AC power connector on Digi 002 accepts a standard modular AC power cable.

Digi 002 is auto power-selecting (100V to 240V) and will work automatically when plugged into an AC power receptacle in any country.

Getting Started with Digi 00242

chapter 5

Connecting Your Studio

This chapter explains how to connect your Digi 002 to a monitoring system, digital recorders, and other studio devices, and how to connect audio sources for recording.

Your studio setup will differ depending on the type of work you do and the equipment in your studio. The illustrations that follow show two possible setups. Figure 3 shows Digi 002 as the hub of a small recording and mastering studio with Pro Tools. Figure 4 shows Digi 002 as part of a small composing workstation with Pro Tools. See Chapter 7, “Using Digi 002 as a Stand-Alone Mixer” for setups without Pro Tools.

FireWire drive

CD burner

FireWire cable

roph

mic

Built-in

Graphics card

CPU

ones

Mic Inputs

Analog I/O

outboard effects

Monitor Outputs

ADAT Optical I/O

Figure 3. Digi 002 project studio conﬁguration running Pro Tools on a desktop computer

Chapter 5: Connecting Your Studio 43

DAT

ADAT

powered speakers

headphones

microphone

DAT

FireWire cable

MIDI cable

Digi 002

keyboard

Laptop

instrument

Figure 4. Digi 002 home studio conﬁguration running Pro Tools on a laptop computer

headphones

Getting Started with Digi 00244

Monitoring Audio

You can use Digi 002 with a variety of audio monitoring setups, including a power ampliﬁer and speakers, self-powered speakers, and headphones.

The Digi 002 Monitor Outputs and Headphone Output mirror the output signal on Main Outputs 1–2.

Monitor Mute When you power up Digi 002, the Monitor Outputs are automatically muted. To unmute the Monitor Outputs, press the Mute switch at the top right-hand corner of the Digi 002.

Monitor Output levels and Headphone Output levels are adjusted separately with the level controls are in the upper right-hand side of the Digi 002 top panel.

MONO

MUTE

MONITOR

LEVEL LEVEL

Monitor Level Controls (top panel)

HEADPHONE

Headphone jack

To connect monitor speakers with a power amp or self-powered monitor speakers:

1 Connect 1/4-inch cables to the left and right

Monitor Outputs on the back of the Digi 002.

2 Connect the other end of the cables to the left

and right power amp inputs, or to the left and right self-powered speakers.

ALT MAIN UNBAL (-10 dBV OUTPUT)

OPTICAL

OUT

MON OUTPUT L

MAIN L/1

MAIN R/2

MON OUTPUT R

964530300294856

SERIAL NUMBER

ALT SRC

INPUT

MIDI OUT 1MIDI OUT 2

Monitor Outputs

Monitor Outputs (back panel)

Connecting Audio Sources to Digi 002

You can connect both analog and digital audio signal sources to Digi 002.

Before making any audio connections to Digi 002, turn down Monitor and Headphone levels or mute the Monitor Output to prevent damage to your monitoring system.

To connect headphones:

1 Connect headphones to the Headphone jack

on the Digi 002. The Headphone input accepts a stereo 1/4-inch plug. If your headphones have a smaller mini-plug, you can purchase an adapter from your local dealer. For best results, use highquality, closed-ear headphones.

2 Adjust headphone volume with the Head-

phone Level knob.

The Digi 002 Headphone Output can produce very loud output levels. Prolonged exposure can cause hearing damage. Adjust headphone volume carefully.

Analog Audio Connections

Digi 002 has eight analog inputs, plus two additional inputs for alternate analog sources, such as a tape deck or CD player.

Microphone-Level Signals

Analog audio signals are output by microphones, synths, mixers, and instruments with magnetic pickups. Of these sources, microphones and magnetic pickup instruments output the quietest signals, and generally require the most ampliﬁcation.

Chapter 5: Connecting Your Studio 45

Digi 002 includes preamps for these sources on Inputs 1–4, with adjustable gain and available 48-volt phantom power. These inputs have both XLR and 1/4-inch connectors; the XLR inputs are specifically for connecting microphones, and the 1/4-inch inputs are for connecting instrument outputs.

Line-Level Signals

Keyboards, preamps, and mixers output linelevel audio, which varies with each device between the –10 dBV and +4 dBu standards.

Inputs 5–8 These inputs accept 1/4-inch balanced or unbalanced connections, and can be switched between –10 dBV and +4 dBu operation.

INPUT 7

INPUT 8

INPUT 5

INPUT 6

+4 -10 +4 -10 +4 -10 +4 -10

Operating Level switches

Line Inputs 5–8 (back panel)

To connect an analog audio source to Digi 002, do the following for your type of input:

You can connect line level devices to any of Digi 002’s Inputs 1–8, as follows:

Inputs 1–4 Inputs 1–4 have both XLR and 1/4inch TRS connectors. The XLR connectors are for connecting microphones only. The 1/4-inch TRS connectors are for connecting line-level devices or instruments. Since these inputs have adjustable gain, they are especially useful for devices that output low-level signals.

1/4-inch connectors

LINE/ INST LINE/ INST LINE/ INST LINE/ INST

48V

MIC MIC

48V

MIC MIC

Phantom Power switches

1 23

XLR connectors

Mic/Line Inputs 1–4 (back panel)

The XLR connectors on Inputs 1–4 are wired specifically to match the impedance of microphones. Do not use these XLR connectors for line inputs; use the 1/4-inch connectors instead.

Microphones Plug a microphone directly into any of the available XLR Microphone Inputs 1–4 on the back panel of the Digi 002.

■ Press the Mic/Line/Instrument Selector switch

(located on the top panel of Digi 002) for the corresponding input so that it is in the “Mic” position.

Mic/Line/Instrument Selector switches

LINE/ INST MIC

1 GAIN 2 GAIN 3 GAIN 4 GAIN

Mic/Line/Instrument Selector switches (top panel)

■ If your microphone requires phantom power,

press the Phantom Power switch (labeled 48V) for the corresponding input pair.

Although phantom power can be used safely with most microphones, ribbon microphones can be damaged by it. You should always turn off phantom power and wait at least 30 seconds before connecting or disconnecting a ribbon microphone.

Getting Started with Digi 00246

Line Level Devices Plug line-level sources (such as a synthesizer, or a microphone or guitar that has been amplified by an outboard preamp) into any of the 1/4-inch analog inputs on the back of the Digi 002.

■ For Inputs 1–4, press the Mic/Line/Instrument

Selector switch (located on the top panel of Digi 002) for the corresponding input so that it is in the “Line/Inst” position. Inputs 1–4 are designed for input signals with a nominal operating level of +4 dBu. (The Input gain knob should be turned down all the way for +4 dBu devices at unity gain.)

■ For Inputs 5–8, choose either a –10 dBV or

+4 dBu operating level for the corresponding input using the switch on the Digi 002 back panel. For information on the appropriate operating level for your input device, refer to the manufacturer’s speciﬁcations.

Digital Audio Connections

Digi 002 provides up to 10 digital inputs and outputs, including:

• Optical input and output for eight channels of ADAT input or two channels of Optical S/PDIF input

• Two channels of S/PDIF digital input and output (RCA connectors)

ADAT Format

The ADAT format was developed by Alesis for use in their ADAT multitrack recorders. Each ADAT optical connection provides eight channels of digital audio with 24-bit capability. You can connect an ADAT or other ADAT optical format device directly to the Optical I/O on the Digi 002 (see “Connecting an ADAT to Digi 002” on page 50). The optical I/O connectors accept optical cables.

When set for ADAT format, these Optical ports support 44.1 kHz or 48 kHz sample rates only.

S/PDIF

S/PDIF (Sony/Phillips Digital Interchange Format) I/O is available on many DAT decks, compact disc players, and other digital devices. Each S/PDIF connection provides 2 channels of digital audio with 24-bit capability. You can connect a S/PDIF digital input to either the Optical connector or to the S/PDIF RCA connector on the back panel of the Digi 002 (see “Connecting a Digital Deck (DAT)” on page 50). The Optical connectors accept standard optical “lightpipe” cables; the RCA connectors accept standard RCA cables.

Both the RCA and Optical ports accept S/PDIF signals at sample rates up to 96 kHz.

964530300294856

RCA S/PDIF Input and Output

OUT

S / PDIF

Optical Input and Output ports

OPTICAL

OUT

SERIAL NUMBER

MIDI OUT 1MIDI OUT 2

Digital connectors (back panel)

Only one S/PDIF input pair can be used at a time. For example, if you use the optical input for S/PDIF data, you cannot use the RCA inputs.

Chapter 5: Connecting Your Studio 47

Using External Effects Devices

The Digi 002 can make dedicated connections to external analog or digital devices. You can send and return signals to analog devices using the analog inputs and outputs on the Digi 002. You can also send and return a digital signal to an external device that supports digital I/O (such as a reverb unit), and monitor the return by connecting its analog outputs to available inputs on Digi 002.

When you use the digital inputs and outputs on your Pro Tools LE system as effects sends and returns to a digital effects device, Pro Tools LE should be the clock master in most cases. Set your digital effects device to accept an external digital clock so that it synchronizes to Pro Tools LE.

To connect an external analog device to your system:

1 Connect each input of the external signal pro-

cessor to an available analog output on the Digi 002.

2 Connect each output of the external signal

processor to an available analog input on the Digi 002.

If you plan to use the external device as an Insert in Pro Tools, connect it to inputs and outputs of the same number (for example, Input 5 and Output 5) of Digi 002.

2 In Pro Tools, choose Setups > Hardware Setup.

3 Under Digital Input, select one of the follow-

ing options:

• If the external effects device is connected to the S/PDIF RCA jacks, select “RCA = S/PDIF.”

• If the external effects device is a S/PDIF device and connected to the Optical ports, select “Optical = S/PDIF.”

• If the external effects device is an ADAT Optical compatible device, select “Optical = ADAT.”

4 Choose Internal from the Clock Source pop-

up menu.

5 Click OK.

You can use the I/O Setup dialog (Setups > I/O Setup) to label the inputs and outputs you are using in Pro Tools LE and identify them as inserts or sends when working in a session. Refer to the Pro Tools Reference Guide for details.

Monitoring and Recording from Alternate Sources

Digi 002 provides a pair of additional inputs for monitoring and recording from an external sound source such as a CD player or tape deck. This alternate input is equipped with standard RCA connectors and is designed for input signals with a nominal operating level of –10 dBV.

To set up a send to an external digital effects device (digital sends/returns only):

1 Connect the digital inputs and outputs of the

external signal processor to the appropriate digital connectors (the S/PDIF RCA connectors or the Optical ports) on Digi 002.

Getting Started with Digi 00248

Alt Source Inputs

ALT SRC

INPUT

INPUT 7

INPUT 8

INPUT 5

INPUT 6

Alternate Source Input connectors (back panel)

+4 -10 +4 -10 +4 -10 +4 -10

To monitor an alternate sound source through the Digi 002 Monitor Outputs:

1 Connect the outputs of the external device to

the left and right Alternate Source Inputs on the back panel of Digi 002.

2 Press the “Alt Src to Mon” switch on the top

panel of Digi 002 to route the signal to the Monitor Output.

To mirror the Digi 002 Main Outputs on the S/PDIF outputs:

1 Open the Pro Tools session whose channel

outputs you want mirror.

2 In the Mix window, click on the Output Selec-

tor of any audio or Auxiliary Input track to select the main output destination, for example, Analog 1–2.

3 Adjust Monitor Output or Headphone Output

levels to audition the input.

To monitor an external device through the Alternate Source Inputs, Digi 002 must be powered on.

To record an alternate sound source directly into Pro Tools:

1 Connect the outputs of the external device to

the left and right Alternate Source Inputs on the back panel of Digi 002.

2 Press the “Alt Src to 7–8” switch on the top

panel of Digi 002 to route the signal directly to Inputs 7–8 in Pro Tools.

When the “Alt Src to 7–8” switch is engaged, Inputs 7 and 8 on the Digi 002 back panel are inactive. Also, because the signal can be monitored from Pro Tools, it no longer passes directly to the Monitor Outputs.

Mirroring the Main Outputs

3 Hold the Control key and click to select a sec-

ond output for the same track, for example S/PDIF L-R.

The newly selected destination is indicated by an additional check mark in the output pop-up menu, and a plus sign in the Output Selector.

Choosing multiple output destinations for a track

When using Digi 002 with Pro Tools, you can send any pair of outputs (such as outputs 1–2) to the S/PDIF digital outputs at the same time by assigning the stereo mix to multiple output destinations.

Output mirroring is useful for recording to multiple media, creating separate monitoring mixes, or for output to digital effects processors.

Chapter 5: Connecting Your Studio 49

Connecting a Recorder for Mixdowns

After you record and mix your sessions using your Digi 002, you may want to mix them down to a DAT, audio cassette, or other stereo 2-track recording device.

Connecting an Analog Deck

◆ If your recorder operates at –10 dBV level,

connect its inputs to the Alt Main Outputs on the back of the Digi 002. These outputs are RCA connectors.

◆ If your recorder operates at +4 dBu level, con-

nect its inputs to the Main Outputs 1–2 on the back of the Digi 002. These outputs are 1/4-inch jacks. You may need adapter cables if your mixdown deck has RCA inputs.

ALT MAIN UNBAL (-10 dBV OUTPUT)

OPTICAL

OUT

MON OUTPUT L

MAIN L/1

MON OUTPUT R

MAIN R/2

964530300294856

SERIAL NUMBER

MIDI OUT 1MIDI OUT 2

Alt Main Outputs (–10

dBV) (+4

Alt Main and Main Outputs (back panel)

Connecting a Digital Deck (DAT)

ALT SRC

Main Outputs

dBu)

INPUT

Connecting Tascam DA-30 Recorders

If you are digitally transferring material to a Tascam digital device (such as a DA-30), you will need to configure the S/PDIF outputs of Digi 002.

To conﬁgure Pro Tools for recording to a Tascam digital recorder:

1 Choose Setups > Hardware Setup.

2 In the Hardware Setup dialog, select the Tas-

cam option under S/PDIF Output Cat Code.

3 Click OK.

Connecting an ADAT to Digi 002

To connect an ADAT to Digi 002:

1 Connect the Optical output on the ADAT to

the Optical In port on the Digi 002.

2 Connect the Optical input on the ADAT to the

Optical Out port on the Digi 002. (When the Digi 002 is on, its Optical Out port emits a red light.)

OPTICAL

Digital

Input

Output

IN OUT

METER BRIDGESYNC

AC POWER

If you have a DAT or other digital device that can receive S/PDIF digital audio data, connect it to the S/PDIF In and S/PDIF Out RCA jacks on the back of the Digi 002.

964530300294856

RCA S/PDIF Input and Output

S / PDIF

OUT

OPTICAL

OUT

SERIAL NUMBER

MIDI OUT 1MIDI OUT 2

S/PDIF Input and Output

Getting Started with Digi 00250

MON OUTPUT L

MAIN L/1

OUTPUT 3

OUTPUT 5

OUTPUT 7

ALT MAIN UNBAL (-10 dBV OUTPUT)

OUTPUT 4

OUTPUT 6

OUTPUT 8

OUT

LINK

S / PDIF

13941394

FOOT SWITCH

INPUT 7

ALT SRC

MON OUTPUT R

MAIN R/2

INPUT 8

INPUT

964530300294856

SERIAL NUMBER

OPTICAL

OUT

MIDI INMIDI OUT 1MIDI OUT 2

Connecting an ADAT to Digi 002

INPUT 5

+4 -10 +4 -10 +4 -10 +4 -10

INPUT 6

48V

MIC MIC

LINE/ INST LINE/ INST LINE/ INST LINE/ INST

48V

1 23

MIDI Connections

Using the Digi 002 built-in MIDI ports, a MIDI keyboard controller and MIDI instruments, you can take full advantage of the MIDI features of Pro Tools LE. These include recording and editing MIDI tracks, synchronizing to MIDI Time Code or MIDI Beat Clock (this requires an appropriate MIDI interface) and using a MIDI control surface.

To connect MIDI devices to Digi 002:

Using standard 5-pin MIDI cables, connect the MIDI Out port of the MIDI device or controller to the MIDI In port of your Digi 002.

Connect the MIDI In port of your MIDI device or controller to either of the two MIDI Out ports of the Digi 002.

MON OUTPUT L

MAIN L/1

MAIN R/2

MON OUTPUT R

964530300294856

SERIAL NUMBER

ALT SRC

INPUT

MIDI INMIDI OUT 1MIDI OUT 2

MIDI Out ports

MIDI In port

MIDI In and Out ports (back panel)

Connect the audio outputs of your device to

available audio inputs of the Digi 002.

For information on configuring OMS (Open Music System), which is required by Pro Tools LE on the Macintosh, see Appendix A, “Configuring OMS (Macintosh Only).”

Chapter 5: Connecting Your Studio 51

Getting Started with Digi 002

chapter 6

Working with Pro Tools LE

This chapter takes you on a guided tour of Pro Tools LE, introducing its main windows and features. Also included is a step-by-step overview of basic audio recording (see “Basic Recording” on page 65).

How to Use This Chapter

If you are new to Pro Tools LE, read this chapter for an overview of how to get started learning to record, edit, and mix using Digi 002.

Session Basics

Pro Tools LE projects are created and saved as

sessions . Sessions store all tracks, audio, MIDI,

and other session information. Audio and fade files are stored in folders within the Session folder.

All of the features described in this chapter are explained fully in the Refer to that guide and its index to find additional information on all Pro Tools features.

Pro Tools Reference Guide .

Session folder, containing the session ﬁle and its Audio Files and Fade Files folders

Pro Tools LE remembers audio interface configuration and other system settings and applies them to all new sessions.

Chapter 6: Working with Pro Tools LE 53

Starting a Session

Main Windows

The basic steps to set up a new session are:

Launch Pro Tools LE.

Choose File > New Session.

In the New Session dialog, set sample rate, bit depth, and other session parameters for the new session.

The Mix, Edit, and Transport windows are the main Pro Tools work areas (see Figure 5 on page 55). You can show (or hide) any of these windows by choosing show (or hide) commands in the Windows menu.

Mix Window Displays the Pro Tools mixer.

When you create new tracks, this window will show each of those tracks with its familiar fader strip controls for track level, pan, solo, mute, and signal routing.

Edit Window Displays tracks, with audio wave-

forms, MIDI notes, and automation data along the session’s Timeline (see “Timebase Rulers” on page 55). You will work in the Edit window to edit audio, MIDI, and automation data.

Transport Provides on-screen access to standard

transport controls for Play, Stop, Rewind, FastForward, Pause, and Record. The Transport window can also show Counter and MIDI Control displays.

New Session dialog

Select where you want to save your session. Make sure to save your session on a dedicated hard drive. Recording to your computer’s system drive is not recommended.

Type a name for your session.

Choose Save. The new session opens its Mix, Edit, and Transport windows (see Figure 5 on page 55).

Use the Edit and Mix switches on Digi 002, or press Command+”=” on Macintosh, or Ctrl+”=” on Windows to quickly switch between the Edit and Mix windows.

Getting Started with Digi 002

Edit window

Timebase

Rulers

Tracks

Transport window

Figure 5. Main session windows

Session Settings

Timebase Rulers

Pro Tools LE provides several different Timebase Rulers to select the time scale for your session. Timebase Rulers, displayed along the top of the Edit window (such as Bars:Beats or Minutes:Seconds) provide a valuable timeline reference for editing (for example, spotting regions). The current Timebase determines the format of the time counters (at the top of the Edit window and in the Transport window), and provides the basis for the Edit window Grid.

Mix window

Tracks

To select a Timebase Ruler:

■

Click the dot next to the desired Timebase Ruler at the top left side of the Edit window (labeled Bars:Beats, Min:Secs, or Samples).

– or –

■

Select the desired Timebase Ruler from the Display menu.

Tempo

You can set the default tempo for your session using Tempo Events, or using the MIDI tempo controls in the expanded Transport window.

For information on Tempo Events and MIDI Tempo controls, refer to the Pro Tools Reference Guide.

Chapter 6: Working with Pro Tools LE 55

To insert a default tempo event:

Choose Windows > Show Tempo/Meter.

– or –

Double-click the Meter button in the Transport window (see Figure 6).

Enable the Transport Conductor in the Trans-

port Window.

At the top of the Tempo/Meter Change window, choose Tempo Change from the pop-up menu.

To conﬁgure and enable the Pro Tools click:

Choose MIDI > Click Options.

Conﬁgure the click parameters as needed for

your MIDI sound source.

On Macintosh, you can use QuickTime Channel 10 for the click.

During recording or playback, you can turn the Click on or off using the Click button in the Transport window, MIDI Controls display.

Click

Tempo Controls

Tempo/Meter Change window

Enter the BPM value you will use for the session and set the Location to 1|1|000 (so the inserted tempo event replaces the default tempo).

To base the BPM value on a different note value (such as an eighth-note rather than the default quarter-note), select the desired note value.

Click Apply to insert the new tempo event.

Click and Metronome

Pro Tools provides its own MIDI Click options. This feature can be turned on and off using the Click button (Metronome icon) in the Transport window, and is configured from the MIDI Click Options dialog.

Conductor

Figure 6. Transport window, displaying Click and Tempo Controls

Meter

Saving Sessions

As you build a session by adding tracks and changing session parameters, you will want to save your work. Pro Tools provides three ways to save sessions, with each providing a different set of options.

Saving sessions is most often performed for data security, archiving, and in preparation for transferring projects. In addition, session files can be saved in order to perform sample rate conversion, or even to create session templates. Session templates are Pro Tools sessions that have tracks, routing, plug-ins, or any other parameters predefined.

See the Pro Tools Reference Guide for more information about how to create and use session templates.

To save a session:

■

Choose File > Save Session, Save Session As, or

Save Session Copy In.

Getting Started with Digi 002

Save Session

Saves the currently open session as

is, leaving it open to continue working.

Save Session As

Creates only a new session file with the name you choose. This command does not copy any of the audio or fade files being used in the session, nor does it create a new Audio Files or Fade Files folder. This can be useful if you want to experiment with different arrangements without affecting the original session.

Transport Window

The Transport window provides access to all Pro Tools LE transport commands. Different transport controls can be displayed according to the type of work you are doing.

To show the Transport window:

■

Choose Windows > Show Transport Window.

Save Session Copy In

Saves a copy of the Session file along with copies of all the active audio and fade files used in the session. This is useful for creating a clean copy of a session with only those audio and fade files currently accessed in the session.

System Resources and Settings

You can customize many Pro Tools LE system settings in the Playback Engine dialog to optimize system performance. See “Configuring the Playback Engine” on page 11 for Macintosh, and “Configuring the Playback Engine” on page 20 for Windows.

System Usage Window

The System Usage window displays information on System and CPU performance. It is useful to monitor CPU usage if you are using RTAS plugins, particularly those that are DSP intensive, because you do not want to assign more plug-ins than your CPU can handle.

Transport window

To conﬁgure the Transport window:

■

Choose Display > Transport Window Shows

and select the desired view options.

Each of the standard Transport window controls below (except the Online button) maps to the transport controls on the Digi 002 control surface.

Return To Zero

Rewind

Online

Transport window, standard view

Stop

Play

Fast Forward

Go to End

Record

The Expanded Transport window provides preand post-roll, start, end, and length indicators for Timeline selection, as well as the Transport Master selector.

Meters in the System Usage window

To view system resources and usage:

■

Choose Windows > Show System Usage.

Expanded Transport

Chapter 6: Working with Pro Tools LE

The Transport window can also display the following MIDI Controls: Wait for Note, Click, Countoff, MIDI Merge, Conductor, Meter, and Tempo.

Transport window MIDI Controls

To start and stop playback:

Click Play in the Transport window to begin

playback.

Click Stop in the Transport window to stop

playback.

Use the Spacebar to start and stop playback.

Enable the Selector tool at the top of the Edit window by clicking it (see“Edit Tools” on page 71).

Selector tool

Edit tools in Edit window

Click in a track or Timebase Ruler at the de-

sired location. The cursor appears at the selected

location and the counters display the current time location.

Click in a track, or on a Timebase Ruler

Pro Tools LE starts playing from the location of the cursor, or from the beginning of the current selection. The current setting of the Link Edit and Timeline Selection command in the Operations menu also affects playback. See the Pro Tools Reference Guide for more information.

Navigating

Pro Tools LE provides many ways to navigate in a session, including using the mouse or entering a location into one of the counters.

To navigate to a location in the Edit window:

Select Operations > Link Edit and Timeline Se-

lection.

Getting Started with Digi 002

Navigating in the Edit window

To navigate using the counters:

Click in the Main counter in the Edit window

toolbar and type the desired location.

Click Enter.

Click and enter a location into either counter

Navigating in the Counter

Press the * key on the numeric keypad as an alternative way of selecting the counter.

Memory Locations

Memory Locations provide another way to navigate within sessions. Memory locations appear as markers under the Timebase Rulers.

To deﬁne a Memory Location:

■ Press the Enter key on the numeric keypad

while stopped or during playback. The New Memory Location window appears, in which you can deﬁne a marker, store a selection, or store any combination of the other available settings. These settings include track height, group enables, pre- and post-roll values, and track Show/Hide. Choose settings for the marker and click OK.

To go to a stored Memory Location:

■ Choose Windows > Show Memory Locations

and click directly on the name of the memory location in the Memory Locations window.

– or –

■ Press the Period (.) key on the numeric key-

pad, followed by the marker number, followed by the Period (.) key.

Tracks

Pro Tools LE lets you create audio and MIDI tracks as needed, for audio and MIDI recording, submixing, routing, automating, and editing. There are four types of tracks: audio tracks, Auxiliary Inputs, Master Faders, and MIDI tracks. Audio tracks, Auxiliary Inputs, and Master Faders can be mono or stereo.

Audio Track Record and play back audio to and from hard disk, monitor audio input when record-enabled, and edit audio regions.

Auxiliary Input Audio mixer channels, used for input, routing, and submixing.

Master Fader Provides master channel controls and options for any Output or Bus path.

MIDI Track Record, play back, and edit MIDI data.

To create a new track:

1 Choose File > New Track.

New Track dialog

2 Specify the number of tracks, track type (Au-

dio Track, Aux Input, Master Fader, or MIDI track), and mono or stereo (except for MIDI).

3 Click Create.

Chapter 6: Working with Pro Tools LE 59

Tracks in the Mix window

MIDI Tracks

Audio, Auxiliary Input, Master Fader, and MIDI tracks appear as vertical channel strips in the Mix window. Track type is indicated by the Track Type icons, just below the faders.

Stereo Aux Input

Master Fader

MIDI

Stereo

Mono

Audio

Tracks in the Mix window

Audio Tracks

MIDI tracks provide track level, solo, and mute, in addition to MIDI input, output, channel, and program (patch) controls. MIDI volume, mute, and pan can also be automated using Pro Tools automation features (see “Mix Automation” on page 77 for more information).

Adjusting the Volume and Panning of a Track

To adjust the volume of a track:

■ Click the Volume fader on the channel strip of

an audio or MIDI track and move it up or down to increase or decrease volume.

To adjust panning of a track:

■ Click the Pan slider on the channel strip of an

audio or MIDI track and drag it to the left or right to pan the track left or right in the mix.

You can return a fader or pan slider to its default position (unity gain or center) by Option-clicking (Macintosh) or Alt-clicking (Windows) the fader or slider on-screen in Pro Tools.

All audio tracks—whether audio (disk) tracks, Auxiliary Inputs, or Master Faders—share many identical controls. Figure 7 on page 61 shows the Channel controls found in the Mix window for a stereo audio or Auxiliary Input track. Master Fader tracks do not provide all the controls of an audio track, such as Sends, Pan, or Record Enable, Mute and Solo buttons.

Getting Started with Digi 00260

Record Enable

Solo

Input

Output

Volume

Pan

Automation mode

Mute button

Pan slider

Group enable

Volume fader

Figure 7. Stereo audio track in the Mix window

Open Output window

Clipping indicator (lights red when clipping occurs)

Level meters (stereo)

Track name

Chapter 6: Working with Pro Tools LE 61

Tracks in the Edit Window

In the Edit window, tracks are displayed horizontally under the Timebase Rulers. The area in which audio appears for each track is called a Playlist (see “Playlists and Non-Destructive Editing” on page 74). Use the Edit window to create and edit audio regions in audio tracks and MIDI notes in MIDI tracks.

Timebase Rulers View

Audio Track

To change track height:

■ Click the Track Height Selector, and select a

view size for the track.

To zoom in horizontally for all tracks:

■ Click the right Horizontal Zoom button. To

zoom out, click the other (left) Horizontal Zoom button.

– or –

■ Press Command+] (Macintosh) or Control+]

(Windows). To zoom out, press Command+[ (Macintosh) or Control+[ (Windows).

– or –

MIDI Track

Timebase Rulers, and a stereo Audio Track and a MIDI Track in the Edit window

Viewing and Zooming

When viewing tracks in the Edit window, you can adjust the height of tracks as well as zoom in vertically and horizontally using the Track Height selector and Zoom tools.

Zoom buttons

Zoom presets

Track Height Selector

Zoomer

■ Click and drag on the Horizontal Zoom but-

ton to zoom continuously.

– or –

■ On the Digi 002, press the Zoom key and use

the Navigation keys to adjust the track view.

To zoom in vertically for all tracks:

■ Click the (top) Vertical Zoom button with the

audio waveform for audio tracks or the Vertical Zoom button with the MIDI notes for a MIDI track. To zoom out, click the bottom Vertical Zoom button.

– or –

■ Press Command+Option+] (Macintosh) or

Control+Alt+] (Windows). To zoom out, press Command+Option+[ (Macintosh) or Control+Alt+[ (Windows).

– or –

■ Click and drag on the Vertical Zoom button to

zoom continuously.

– or –

Zoom and Track Height tools in the Edit window

Getting Started with Digi 00262

■ On the Digi 002, press the Zoom key and use

the Navigation keys to adjust the track view.

Zoom Presets

Pro Tools also provides five Zoom preset buttons. You can use these to immediately return to established zoom levels (you can define the magnification level for each preset, on a sessionby-session basis).

To store a new Zoom preset deﬁnition:

■ Command-click (Macintosh), or Alt-click

(Windows) a Zoom preset button (1–5) to store the current horizontal and vertical Zoom to that preset.

Regions Lists

All regions that are recorded, imported, or created by editing appear in the Audio and MIDI Regions Lists. Regions can be dragged from either list to tracks and arranged in any order. Regions can also be auditioned from the Regions List by Option-clicking (Macintosh) or Alt-clicking (Windows) them. The Regions List pop-up menus provide several useful features for managing regions and files (such as, Sorting, Import Audio, Clear Selected, Rename Selected, Export Selected As Files, and so on).

To recall a Zoom preset:

■ Click the desired Zoom preset button (1–5).

Using Memory Locations for Zoom Control

Pro Tools Memory Locations let you store many attributes with each marker or memory location, including Track Height and Zoom Settings. By creating Memory Locations that are neither Markers or Selections, but have Track Height, Zoom Settings, or other options enabled, you can use Memory Locations to zoom in and out using just the numeric keypad.

Drag to resize width of Regions Lists

Click to hide Regions Lists

Audio and MIDI Regions Lists

Click for pop-up menus

Drag to resize height of Regions Lists

For more information on Regions Lists, refer to the Pro Tools Reference Guide.

Chapter 6: Working with Pro Tools LE 63

Importing Audio

4 When the Save dialog appears, click the Op-

tions button.

Pro Tools LE lets you import existing audio files from disk, as well as import tracks from an audio CD (Macintosh only), into the Regions List or directly to new tracks. This is very useful if you are working with sample libraries or you have audio files you’ve already recorded to disk that you want to use in a new session.

Selected Region

in a track and in the Regions List

Selected audio region on a track and in the Regions List

To import audio ﬁles or regions from disk:

■ Use File > Import Audio to Track to import

ﬁles and regions to separate audio tracks (they will also appear as regions in the Audio Regions List).

– or –

5 In the Options dialog, select the sample rate,

bit resolution, and stereo format.

6 To audition a selected ﬁle or region before you

import it, use the Play and Stop buttons.

7 At the bottom of the Options dialog, set the

range of the audio track to be imported by adjusting the Start and End times, then click OK.

8 Specify the destination folder for the selected

converted audio ﬁle and click Save. Pro Tools imports the CD audio track as a QuickTime movie and writes it to your hard drive.

9 When the Track Import window appears, click

OK, then select a destination for the Pro Tools audio ﬁles.

Pro Tools converts the audio track to your session’s sample rate and bit resolution and imports the selected audio tracks into the Audio Regions List. From there you can drag the regions to existing tracks.

Use File > Import Audio to Track to import an audio file into a new track. Pro Tools LE also lets you import tracks from other Pro Tools sessions using File > Import Tracks.

Use Import Audio from the Audio Regions List to import files and regions to only the Audio Regions List.

To import a CD audio track (Macintosh Only):

1 Insert the audio CD into your CD-ROM drive.

2 Choose Movie > Import Audio From Other

Movie.

3 Locate and select the audio track to be im-

ported, then click Convert.

Getting Started with Digi 00264

Basic Recording

2 Choose File > New Track and specify 1 Mono

Audio Track, then click Create.

Before you begin recording in Pro Tools LE, you will need to route audio to a track and set input levels.

Routing Audio to a Track

To route audio to a track:

1 Verify the connections to your microphones

and instruments. For more information on making studio connections, see Chapter 5, “Connecting Your Studio.”

3 Click the Input Selector of the new track and

select the desired input from the pop-up menu (see Figure 8 on page 65). For example, specify Mic/Line 1 if your audio source is plugged into the ﬁrst analog input. The menu displays the names of the inputs deﬁned in the I/O Setup dialog.

Analog inputs

Optical (ADAT) inputs

S/PDIF (RCA) inputs

Figure 8. Routing an input to a track in the Mix window

Chapter 6: Working with Pro Tools LE 65

Setting Input Levels with Digi 002

Input levels for Mic/Line 1–4 are adjustable using the gain knobs on the top panel of the Digi 002. Input levels for all other inputs on Digi 002 cannot be adjusted in Pro Tools, and need to be set at the source.

The key to setting input levels is to get the peak of the signal as loud as possible while retaining sufficient headroom to avoid digital clipping. Signals that get close to the top of the meter in Pro Tools LE use more of the full bit range (the 16 or 24 bits that make up each audio sample). The more you maximize this bit range, the better your sound quality. In addition, by setting optimum levels, you'll get the lowest possible noise and distortion.

Set levels to avoid digital clipping. Clipping occurs when you feed a signal to an audio device that is louder than the circuitry can accept, resulting in distortion. Digital clipping is indicated by the red clip light at the top of the Pro Tools on-screen meters.

To adjust input gain on Mic/Line inputs 1–4:

1 Connect an audio source to the appropriate

input connector on the back panel of Digi 002. Microphones should be plugged into to an XLR connector. Line inputs or instruments should be plugged into a 1/4-inch TRS connector.

2 Press the Mic/Line/Instrument Selector switch

on the top panel of the Digi 002 to match the type of device you connected.

3 If you connected a microphone that requires

phantom power, apply phantom power now by pressing the 48V switch on the back panel of the Digi 002.

4 Choose File > New Track and specify 1 Mono

Auxiliary Input track, then click Create.

5 Set the track input to the correct Digi 002 in-

put channel (Mic/Line 1–4).

6 Play the instrument or sound source at the

volume you will record.

7 Adjust the input gain for the channel using

the gain knob on the top panel of the Digi 002. Increase or decrease gain until you are able to achieve maximum peak levels in the Auxiliary Input track meter without clipping. Typically such peak levels are in the yellow area of the meter.

Optimizing Gain Structure

In order to maximize the dynamic range and signal-to-noise ratio of your recording, you’ll want to apply the correct gain at each stage of your audio chain.

◆ With microphones, place the mic close

enough to the source to maximize input levels, but far enough away to avoid proximity effect, then set the input gain on Digi 002.

◆ With line inputs and instrument direct in-

puts, raise the input level to achieve as strong a signal as possible without excessive noise, then set the input gain on Digi 002.

Mic/Line High-Pass Filters

Mic/Line Inputs 1–4 include a high-pass filter set at 75 Hz. This filter can be useful for filtering out low-end rumble from a noisy recording environment, microphone handling, or AC noise.

High Pass Filter switches

LINE/ INST MIC

1 GAIN 2 GAIN 3 GAIN 4 GAIN

High Pass Filter switches (top panel)

Getting Started with Digi 00266

Recording an Audio Track

To record an audio track:

1 Click the Record Enable button for a track, as-

sign its input (see “Routing Audio to a Track” on page 65), and set the input levels appropriately (see “Setting Input Levels with Digi 002” on page 66).

2 In the Transport window (Windows > Show

Transport), click Return To Zero to ensure that you are starting from the beginning of the session. You can also record to a selection in the timeline or from the cursor location in the Edit window.

Setting Digital Format and Clock Source

Before recording from a digital source, make sure you have enabled the appropriate Digital Format in the Hardware Setup dialog. For more information, see “Configuring Hardware Setup” on page 12 for Macintosh, or “Configuring Hardware Setup” on page 21 for Windows.

Recording To and From an ADAT

You can use Digi 002 to interface with an ADAT, either to record tracks from an ADAT into Pro Tools LE for editing, or to record tracks from Pro Tools LE to an ADAT.

3 Click Record in the Transport window to en-

able recording.

4 Click Play or press the Spacebar to record on

all record-enabled tracks.

5 Start playing your instrument.

6 Click Stop in the Transport window or press

the Spacebar when you are done recording.

To play back a recorded track:

1 Disable the track’s Record Enable button.

2 Click Play in the Transport window or press

the Spacebar to start playback.

3 Click Stop in the Transport window or press

the Spacebar to stop playback.

Recording To and From Digital Devices

Digi 002 provides both S/PDIF (RCA) digital input connectors and Optical connectors for transfer of digital audio.

To record ADAT tracks into Pro Tools LE:

1 Open or create a session in Pro Tools LE.

2 Record enable up to eight audio tracks (de-

pending on how many tracks are used on the ADAT tape).

3 Assign ADAT Optical Inputs 1–8 to your eight

tracks.

4 Verify that Pro Tools LE is synchronized to

Optical, and that the Optical Format is set to ADAT.

5 Click Record in the Transport window.

6 Click Play in the Transport window to begin

recording, then press Play on the ADAT.

7 When playback from the ADAT tape is ﬁn-

ished, click Stop in the Transport window, or press the Spacebar.

To record Pro Tools LE tracks to an ADAT:

1 Open the session you want to record to ADAT.

2 Record enable up to eight audio tracks on the

ADAT.

3 Route the output of up to eight audio tracks in

Pro Tools to the Optical outputs on Digi 002.

Chapter 6: Working with Pro Tools LE 67

4 Verify that Pro Tools LE is referencing its Inter-

nal Clock Source in the Hardware Setup dialog.

5 Start recording on the ADAT, then click Play in

the Transport window in Pro Tools LE. When playback is complete, stop both systems.

For detailed information on connecting an ADAT to your system, see “Connecting an ADAT to Digi 002” on page 50.

Low Latency Monitoring

Pro Tools LE includes a feature called Low Latency Monitoring for Digi 002 systems. This feature allows you to use a built-in mixer in the Digi 002 unit to record and monitor up to 18 inputs (8 analog, 8 ADAT, and 2 RCA-S/PDIF) with extremely low latency. This mode is useful for recording multiple instruments at the same time.

Monitoring Latency and Recording

Because Pro Tools LE uses the host processor in your computer for audio processing, playback, and recording, there is a small amount of audio delay, or latency, when monitoring audio through the system. You can set the latency to be shorter when you are recording and monitoring through Digi 002, and longer when you are trying to achieve higher track counts with more plug-ins.

Set latency in the Playback Engine dialog. Latency is controlled by the H/W Buffer Size setting, and is displayed in samples. The recommended setting for listening back to audio is 512–1024 samples. For recording, when monitoring through Digi 002, the recommended setting is 128–256 samples.

To set the Hardware Buffer Size for record or playback:

1 Choose Setups > Playback Engine.

2 Choose the number of samples from the H/W

Buffer Size pop-up, then click OK.

To use Low Latency Monitoring, tracks must be record-enabled, assigned to an actual audio input (not a bus), and assigned to outputs 1 or 2.

To enable Low Latency Monitoring:

■ Select Operations > Low Latency Monitoring.

When Low Latency Monitoring is enabled, any plug-ins and sends assigned to record-enabled tracks (routed to Outputs 1–2) are automatically bypassed, and must remain bypassed. Also, these tracks will not register on meters for Master Faders.

Getting Started with Digi 00268

Recording MIDI

To conﬁgure a new MIDI track for recording:

1 Choose File > New Track and specify 1 MIDI

Track, then click Create.

2 In the Mix window, click on the track’s MIDI

Device/Channel Selector and assign a device and channel from the pop-up menu.

MIDI Device Channel Selector

3 If you want, you can assign a default program

change to the track by clicking on the Program button in the Mix window and making the necessary selections for program and bank select, and then clicking Done. Default program changes are sent when playing a track.

4 In the Mix Window, record enable the MIDI

track.

5 Make sure MIDI > MIDI Thru is selected, then

play some notes on your MIDI controller. The MIDI instrument assigned to the track should sound, and the track’s meters should register MIDI activity.

To record the new MIDI track:

1 Verify that the MIDI track you want to record

to is record-enabled and receiving MIDI.

2 In the Transport window, click Return To Zero

to ensure that recording starts from the beginning of the track. You can also record according to a selection or from the cursor location in the Edit window.

3 Click Record in the Transport window.

4 Click Play in the Transport window or press

the Spacebar to begin recording.

– or –

If using Wait for Note, the Play, Record, and Wait for Note buttons flash. Recording begins when the first MIDI event is received.

– or –

If using Countoff, click Play. The Record and Play buttons flash during the Countoff—after which, recording begins.

5 Play your MIDI instrument.

6 When you have ﬁnished recording, click Stop

in the Transport window, or press the Spacebar. The newly recorded MIDI data appears as a MIDI region on the track in the Edit window, as well as in the MIDI Regions List.

To play back the recorded MIDI track:

1 Disable Record Enable on the MIDI track to

take it out of Record-Ready mode.

2 In the Transport window, click Return To Zero

to play back from the beginning of the track. You can also play back according to a selection or from the cursor location in the Edit window.

3 Click Play in the Transport window to begin

playback. The recorded MIDI data plays back through the track’s assigned instrument and channel.

Monitoring MIDI Instruments with Pro Tools

Create an Auxiliary Input to monitor your MIDI instrument. Auxiliary Inputs function as inputs for both internally bussed signals and external audio sources.

Chapter 6: Working with Pro Tools LE 69

To conﬁgure an Auxiliary Input for MIDI monitoring:

1 Connect the MIDI instrument’s audio output

to the appropriate inputs on your audio interface.

2 Choose File > New Track and specify 1 mono

or stereo Auxiliary Input track, then click Create.

3 Click the Input selector of the Auxiliary Input

channel and choose the input to which your MIDI instrument is connected.

4 Click the Output selector of the Auxiliary In-

put channel and choose an output.

5 Adjust the level of the Auxiliary Input with its

volume fader.

QuickPunch Recording

QuickPunch recording lets you punch in and out of audio recording on armed tracks. Recording can be triggered from the Transport window, or using a standard footswitch. You can use a standard footswitch (such as a keyboard sustain pedal) with QuickPunch to “punch in” when recording audio. You can also punch in when recording MIDI, without enabling QuickPunch.

For more information on QuickPunch and punch recording, see the

Guide

To connect a footswitch to Digi 002:

1 Turn off the Digi 002 unit.

2 Plug the footswitch into the Footswitch con-

nector on the back panel of Digi 002.

Pro Tools Reference

3 Power up the Digi 002 unit.

OPTICAL

OUT

LINK

S / PDIF

FOOT SWITCH

Footswitch jack

13941394

Footswitch jack (back panel)

Footswitch polarity is detected by Digi 002 firmware when you power up the unit. Make sure the footswitch is connected and not pressed when turning on the Digi 002.

To punch in with QuickPunch when recording audio:

1 Select Operations > QuickPunch.

2 Set input routing and click the Record button

on each audio track you want to punch in. You can punch in on up to 8 audio tracks while playing back 32 tracks, or you can punch in on up to 16 tracks while playing back 24 tracks.

3 Click Play in the Transport window.

4 Click Record in the Transport window or step

on the footswitch to begin recording (punch in) on all record-enabled tracks.

5 Click Record in the Transport window or step

on the footswitch again to stop recording (punch out).

Note that the session continues to play, and you can continue to punch in and out as many times as you want.

With QuickPunch enabled, press Command+Spacebar (Macintosh) or Ctrl+Spacebar (Windows) to punch in and punch out.

Getting Started with Digi 00270

To punch in when recording MIDI:

1 Set your MIDI input routing and click the

Record button on each MIDI track you want to punch in. QuickPunch is not required to punch in on MIDI tracks.

2 Click Play in the Transport window.

3 Click Record in the Transport window or step

on the footswitch to begin recording (punch in) on all record-enabled tracks.

4 Click Record in the Transport window or step

on the footswitch again to stop recording (punch out).

Editing

Pro Tools LE provides several tools for editing audio and MIDI. In the Edit window, audio and MIDI tracks can be edited into regions or repeated in different locations, to create loops, rearrange sections or entire songs, or to assemble tracks using material from multiple takes.

Audio and MIDI editing are typically used to:

• Fix or replace mistakes

• Re-arrange songs and projects

• Clean up track timing and rhythm by aligning hits to Grid values like bars and beats.

• Create ﬁnal tracks using selections from multiple takes (also known as comp tracks, or compilation)

Edit Modes

Pro Tools LE has four Edit modes: Shufﬂe, Spot, Slip, and Grid. The Edit mode is selected by clicking the desired button in the upper left of the Edit window.

Edit mode buttons

You can also use F1 (Shuffle), F2 (Slip), F3 (Spot), and F4 (Grid) to set the Edit mode.

The Edit mode affects the movement and placement of audio and MIDI regions (and individual MIDI notes), how commands like Copy and Paste function, and also how the various edit tools (Trimmer, Selector, Grabber, and Pencil) work.

For detailed descriptions of Edit mode, see the Pro Tools Reference Guide.

Edit Tools

Pro Tools LE has seven Edit tools: Zoomer, Trimmer, Selector, Grabber, Scrubber, Pencil, and Smart Tool. Select the desired Edit tool by clicking it in the tool bar along the top of the Edit

Chapter 6: Working with Pro Tools LE 71

window. The Trimmer, Grabber, and Pencil tools have multiple modes. Click and select the desired mode from a pop-up menu for these Edit tools.

Trimmer

Zoomer

Edit tools in Edit window

Selector

Smart Tool

Grabber

Scrubber

Pencil

Use the Esc key to toggle through the Edit tools.

Trimming Regions

The following example demonstrates how you might trim a region to exclude unwanted audio. After having recorded an audio track (for example, a guitar solo), you will have an audio region on that track. If there is some silence at the beginning of the region that you want to trim, and there is some extra audio at the end of the region that you want to trim, you can use the Trimmer tool in Slip mode to shorten the beginning and end of the region as desired.

Audio region on a track

For detailed descriptions of the Edit Tools in Pro Tools LE, see the Pro Tools Reference Guide.

Editing Regions

The Edit tools in Pro Tools LE are used to edit regions in the Edit window. A region is a piece of audio or MIDI data that can also have associated automation data. A region could be a loop, a guitar riff, a verse of a song, a sound effect, a piece of dialog, or an entire sound file. In Pro Tools, regions are created from audio or MIDI files, and can be arranged in audio and MIDI track playlists.

Audio region

To trim an audio region:

1 Select Slip mode.

2 Select the Trimmer tool.

3 Move the cursor near the beginning of the au-

dio region (notice the cursor changes to a “[”).

Trimming the beginning of a region

4 Click at the beginning of the region and drag

right to shorten the region.

5 Move the cursor near the end of the audio re-

gion (notice the cursor changes to a “]”).

Trimming the end of a region

Getting Started with Digi 00272

6 Click at the end of the region and drag left to

shorten the region.

The trimmed region

You can also lengthen a region using the trimmer tool if there is audio data beyond the current boundaries of a region. If trimming the region’s beginning, click and drag to the left; if trimming the region’s end, click and drag to the right.

Arranging Regions

There are many ways to edit and arrange regions; the following example demonstrates how you might create and arrange a drum loop to compose a rhythm track.

To create and arrange a rhythm sequence:

1 Record a drum track keeping in mind that you

want to use only the best bar (measure).

– or –

Import an existing audio file, such as a drum loop from a sample library.

2 Specify the session meter (MIDI > Change

Meter) and tempo (MIDI > Change Tempo).

3 Select Grid mode.

4 Select the Selector tool.

5 Make the desired selection. Note that the se-

lection snaps to the grid.

6 Create a new audio track (File > New Track).

7 From the Grabber pop-up, select the Separa-

tion Grabber tool.

8 With the Separation Grabber tool, click and

drag the selection to the beginning of the new audio track. A new region will be created and appear at the beginning of the new track.

Dragging a selection with the Separation Grabber tool to a track

9 With the new region still selected, choose

Edit > Repeat.

Repeat dialog

10 In the Repeat dialog, enter the desired num-

ber of repeats, and then click OK.

You now have a new rhythm track with a “looped” (repeated) phrase. You can use these editing tools to do much more advanced and involved editing of regions. For example, you could separate beats or “hits” into individual regions and rearrange them in Grid mode as a way of coming up with new and interesting rhythms.

Making a selection in Grid mode

Chapter 6: Working with Pro Tools LE 73

Playlists and Non-Destructive Editing

Playlists let you create and retrieve multiple versions of track edits. A playlist can be a complete take, an overdub, or an arrangement of selections from multiple takes. You can duplicate playlists to save edits in their current state, then continue making additional edits to the new playlist knowing you can always go back to the previous version. The following example demonstrates how you can use playlists to create different versions of track edits.

To create multiple playlists for editing:

1 Start with a track on which you want to try

different edits.

2 From the Playlist Selector pop-up menu,

choose Duplicate.

In this fashion, you can try out different edits of a track, and switch back and forth between playlists for comparison.

Mixing

Pro Tools LE provides many familiar channel strip controls for setting track level, pan, solo, and mute (see Figure 7 on page 61). You can also automate your mix or use a MIDI control surface to “play” your mix in real-time. Once you have finished preparing your mix, you will probably want to mixdown to a stereo recording. For example, you can record your mix to an external analog or digital deck (such as a cassette or DAT), or you can “bounce” your mix to a stereo file so you can burn it to CD.

Mixer and I/O controls for signal routing can be shown in both the Mix and Edit windows. Mixing is done primarily in the Mix window.

To view the Mix window:

■ Select Windows > Show Mix.

Duplicating a playlist

3 Name the duplicated playlist and click OK.

4 Make your ﬁrst series of edits as desired.

5 Return to the original playlist by selecting it

from the Playlist Selector pop-up menu.

6 Repeat steps 2–5 as desired.

Getting Started with Digi 00274

Press Command+”=” on Macintosh, or Ctrl+”=” on Windows, to quickly switch between the Edit and Mix windows.

Using Channel Strip Controls

Volume Increase or decrease the track level by

clicking the Volume fader and dragging it up or down.

Pan Pan a track left or right in the mix by clicking the Pan slider and dragging it left or right.

Solo Solo a track (muting all other tracks) by clicking the Solo button.

Mute Mute a track by clicking the Mute button.

Basic Signal Routing

Signal routing is accomplished by assigning track inputs and outputs. Audio track inputs can be from any hardware input. Once recorded, an audio track’s input is its audio file on disk. Auxiliary Track inputs can be any hardware input or internal mix bus. For all types of audio tracks, outputs can be routed to any hardware output or internal bus send.

Together, these signal routing features let you set up virtually any mixer architecture needed for your projects, including submixing, and sends and returns for effects processing.

To assign a send on a track:

1 Make sure Sends View is enabled in the Mix

window (Display > Mix Window Shows > I/O View).

2 Click the Send button on an audio track and

choose a path from the pop-up menu.

Assigning a send to a mono bus path

Creating a Send

Pro Tools LE provides up to five sends per audio track. A send can be mono or stereo, routing to an output or one of sixteen internal bus paths (as configured in Setups > I/O Setup).

When you are submixing for reverb, delay, and similar effects processing, use sends to achieve traditional send/return bussing. You can use a real-time plug-in (see “Plug-Ins” on page 78) or a hardware I/O insert (see “Using External Effects Devices” on page 48) as a shared resource for all tracks included in a submix. The wet/dry balance in the mix can be controlled using the track faders (dry level) and Auxiliary Input fader (effect return, or wet, level).

3 Set the output level of the send. You can set

the send level to zero by Option-clicking (Macintosh) or Alt-clicking (Windows) the send fader. When you create a new send, its output

level is automatically set to –∞.

You can configure the default level for new sends to be off or at unity gain (0) by enabling or disabling the Sends Default To “–INF” option under the Operation tab in Setups > Preferences.

Chapter 6: Working with Pro Tools LE 75

Creating a Return

Master Faders

Auxiliary Input tracks can be created to act as return channels for busses, as well as for inputs from hardware sources.

Send Aux Input to bus 9–10 input from bus 9–10

Send window

Audio and Auxiliary Input tracks conﬁgured for a send and return

Master Faders are provided, to be used as output and bus masters. Master Faders can be used for master level, solo, mute, and insert assignment (plug-ins or hardware inserts) of any mono or stereo Output or Bus path. It is recommended that you use a dithering plug-in on a Master Fader when you are mastering your final mix (see “Dither” on page 79).

Dither plug-in applied to final mix

Output assigned to control main mix (Analog 1–2)

To assign a return:

1 Choose File > New Track and specify 1 mono

or stereo Auxiliary Input track, then click Create.

2 Click the Input Selector of the Auxiliary Input

track and set it to the bus path you assigned to the sends on the source tracks.

3 Click the Output Selector of the Auxiliary In-

put track and choose an output path (your main mix, or other output).

Getting Started with Digi 00276

Master Fader controlling main outputs

To create a Master Fader:

1 Choose File > New Track and specify 1 mono

stereo Master Fader track, then click Create.

2 In the Mix window, click the Master Fader’s

Output Selector and choose the output path that you want to control. You can choose either audio interface outputs or internal busses. If the Master Fader is a stereo fader, you can control the level of a pair of outputs.

To use Master Faders as a master volume control for all tracks in a session:

1 Choose File > New Track and specify 1 stereo

Master Fader track, then click Create.

2 Set the outputs of all audio tracks in the ses-

sion to outputs 1–2 and set the panning of each track.

3 Set the output of the Master Fader to your

main output path (outputs 1–2).

Mix Automation

3 Begin playback and begin automation record-

ing, adjusting faders and other controls as desired. Pro Tools LE remembers all moves performed on enabled parameters.

Enabling automation (left) and setting a track Automation mode (right)

Once recorded, automation can be re-recorded, or displayed and edited graphically in the Edit window.

Mix automation lets you record, or automate, changes to track and send levels, mutes, pan, and plug-in parameters. MIDI tracks provide track level, pan, and mute automation only.

The basic steps for automation recording are:

1 In the Automation Enable window

(Windows > Show Automation Enable), enable an automation type (volume, pan, mute, send level, send pan, send mute, or any plug-in auto-

rack View set to Volume

Volume breakpoint automation

Volume automation in a track in the Edit window

Pro Tools also provides Automation Safe mode for protecting plug–in automation from being overwritten, as well as many Automation Preferences to fine-tune performance.

mation).

2 Select an automation mode for the tracks to be

automated (Write, Touch, Latch, or Trim mode).

For more information on using automation, see the

Pro Tools Reference Guide.

Chapter 6: Working with Pro Tools LE 77

Plug-Ins

Pro Tools LE comes with a complete set of DigiRack plug-ins, and many more are available from Digidesign and our Development Partners. Plug-ins provide EQ, dynamics, delays and many other types of effects processing.

Plug-ins function either in real-time or in nonreal-time. RTAS plug-ins are non-destructive effects, which are inserted on tracks to process audio in real-time—just like an external, hardware processor (during playback). AudioSuite plugins, on the other hand, are destructive effects that process audio files on disk in non-real-time. For purposes of mixing, use real-time plug-ins

Real-time plug-ins are assigned to tracks from the Inserts view in the Mix or Edit windows. Once assigned to a track, plug-ins appear in the track’s Inserts view, and can be opened by clicking on the Insert button.

Plug-InInsert button

To insert a real-time plug-in on a track:

1 Make sure the Inserts View is shown in the

Mix or Edit window.

2 Click the Insert Selector on the track and se-

lect the plug-in that you want to use.

For more information about plug-ins, see the DigiRack Plug-Ins Guide, the Digidesign Plug-Ins Guide, and the Plug-Ins chapter of the Pro Tools Reference Guide.

Bouncing Sessions to Disk

The Bounce to Disk command lets you write a final mix to disk, create a new loop, print effects, or bounce any submix. Once you have bounced your final mix to disk, you can use another program (such as MasterList CD) to burn the resulting file to Compact Disc.

When you bounce a track to disk, the bounced mix includes the following:

Audible Tracks All audible tracks are included in the bounce. Any muted tracks do not appear in the bounce. If you solo a track or region, only the soloed elements appear in the bounced mix.

Compressor plug-in

Getting Started with Digi 00278

Automation All read-enabled automation is played back and incorporated in the bounced mix.

Inserts and Sends All active inserts, including real-time plug-ins and hardware inserts, are applied to the bounced mix.

Selection or Track Length If you make a selection in a track, the bounced mix will be the length of the selection. If there is no selection in any track, the bounce will be the length of the longest audible track in the session.

To Bounce to Disk:

1 Choose File > Bounce to Disk.

2 Select any mono, stereo, or multichannel out-

put or bus path as the source for the bounce.

3 Select the File Type (such as WAV or MP3), For-

mat (such as mono or stereo), Resolution (such as 16-bit), and Sample Rate (such as 44.1 kHz).

4 Click Bounce.

Dither

You should use a dither plug-in when mastering to a 16-bit file with the Bounce To Disk command, or when mastering to an external device that records at 16-bit. If you use Bounce to Disk, it is important to understand that the Bounce to Disk process does not apply dither. To dither a bounce file, you should insert one of the included Digidesign Dither plug-ins, or another dithering plug-in, on a Master Fader assigned to the bounce source path. Master Faders are often preferable to Auxiliary Inputs because Master Fader inserts are post-fader (which is better for dither applications).

For more information on using dither, see the

Pro Tools Reference Guide.

Chapter 6: Working with Pro Tools LE 79

Getting Started with Digi 00280

chapter 7

Using Digi 002 as a Stand-Alone Mixer

In addition to its function as an integrated front end and control surface for Pro Tools, Digi 002 can operate as a stand-alone digital mixer in a variety of settings. Figure 9 shows Digi 002 as the hub of a small studio setup, with analog audio, digital audio, and MIDI connections. Figure 10 shows Digi 002 in a small live performance setup.

See Chapter 5, “Connecting Your Studio” for details on analog audio and MIDI connections, and see “Digital Audio Connections in Stand-Alone Mode” on page 85 for details on making digital audio connections to Digi 002.

microphones

instruments

audio cables

effects module

MID

audio cable

MIDI sound module

Figure 9. Digi 002 stand-alone studio conﬁguration

ADAT Optical outputs

S/PDIF digital output

ble

Monitor Outputs

MIDI keyboard

DAT

ADAT

eakers

powered

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 81

.The stand-alone mixing and processing capabilities of Digi 002 are provided by a powerful built-in digital signal processor (DSP). The Digi 002 unit does not need to be connected to a computer to operate in Stand-alone Mode. See Appendix D, “Digi 002 Stand-Alone Block Diagram” for an overview of signal flow in Stand-alone mode.

CD Player

microphones

Alternate Source Inputs

instrument

Figure 10. Digi 002 stand-alone live conﬁguration

S/PDIF digital I/O

utp

DAT

tem

sys

Getting Started with Digi 00282

Overview

When operating in Stand-alone Mode, Digi 002 is a 8x4x2 digital mixer, consisting of:

• 8 inputs corresponding to Analog Inputs 1–8 on the Digi 002 back panel, controlled by the eight channel strips on the top panel

• 4 available sends on each channel, for adding internal Delay or Reverb effects, or for integrating external effects processors

• Dedicated, in-line three-band EQ on input channels 1–8

• Dedicated, in-line compressor on input channels 1–4

• A stereo output corresponding to Main Outputs 1–2 on the Digi 002 back panel

Digital Mixer Sample Rate

In Stand-alone mode, Digi 002 functions as a digital mixer with a nominal sample rate of

44.1 kHz. Analog input signals are converted to

digital signals for processing and mixing.

In Stand-alone mode, Digi 002 supports digital inputs at sample rates up to 48 kHz.

In Stand-alone mode, Digi 002 will not operate correctly with an external clock source greater than 48 kHz.

Inputs 5–8 These inputs accept line-level signals and are switchable between –10 dBV and +4 dBu with the operating level switches on theDigi 002 back panel.

Alt Src Inputs These inputs are active in Standalone Mode, allowing you to connect and monitor alternate audio sources such as CD players or tape decks. The signal from the Alt Src Inputs can be routed directly to the Monitor and Headphone Outputs (by pressing the Alt Src to Mon switch) or to Input channels 7–8 (by pressing the Alt Src to 7–8 switch).

When Alt Src to 7–8 is enabled, analog inputs 7–8 (1/4-inch TRS connectors on the back panel of Digi 002) are disabled.

S/PDIF Digital Inputs In Stand-alone Mode, you can activate these digital inputs so that they appear on inputs 5–6, allowing you to bring a stereo digital signal into the Digi 002. (See “Digital Audio Connections in Stand-Alone Mode” on page 85.)

Sends

Each of the 8 channels of Digi 002 can send to any or all of the four available sends at the same time. Sends can be either pre- or post-fader.

Send A Routes the input signal to the internal Delay processor

Mixer Inputs

Inputs 1–4 These inputs accept microphone-, line-, or instrument-level signals, and provide variable gain with the Input Gain control on the Digi 002 top panel.

Phantom power is available to Inputs 1–4, in channel pairs, using the Phantom Power switches on the back panel of Digi 002.

Send B Routes the input signal to the internal Reverb processor

Send C Routes the input signal to output 7 on the back panel of Digi 002

Send D Routes the input signal to output 8 on the back panel of Digi 002

All the send assignments in Stand-alone mode are fixed, and cannot be changed.

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 83

Dynamics

Input channels 1–4 have a dedicated, in-line compressor, with controls for the following parameters:

• Input gain

• Threshold

• Compression ratio

• Attack and release times

• Hard or soft knee (slope)

• Phase inversion

• Output gain

Each of the 8 Input channels has a dedicated, inline 3-band equalizer, consisting of the following:

• Switchable high pass/low shelf EQ band

• Parametric EQ band

• Switchable low pass/high shelf EQ band

These EQ bands can be used in conjunction with the built-in hardware high-pass filters available on Inputs 1–4.

ADAT Optical Outputs In Stand-alone mode all 8 Input channels are passed directly to the 8 ADAT Optical Outputs, pre-fader, pre-effects, except for the high-pass filter on channels 1–4. This allows you to route input signals directly to an ADAT device without repatching cables.

Entering Stand-Alone Mode

You can put Digi 002 into Stand-alone Mode when the unit is in Standby Mode or in Pro Tools Mode. However, if Digi 002 is in Pro Tools Mode when you put it in Stand-alone Mode, communication with Pro Tools is suspended, and Pro Tools posts a warning dialog, allowing you to either return to Pro Tools mode, or save your session and quit Pro Tools.

To put Digi 002 in Stand-alone Mode:

1 Press the Standalone switch on the right-hand

side of the Digi 002 top panel. Digi 002 displays “Enter Standalone Mode? Yes/No.”

2 Press the ﬂashing Channel Select switch under

“Yes” to enter Stand-alone Mode. Press the switch under “No” to remain in the previous state.

Mixer Outputs

Main Outputs In Stand-alone mode, all 8 Input channels, the Delay return, and the Reverb return are summed to outputs 1–2, which are routed to the Main Outputs, Alt Main Outputs, and the S/PDIF outputs on the back panel of Digi 002. Outputs 1–2 are also mirrored on the Monitor Outputs and Headphone Output.

Getting Started with Digi 00284

If you enter Stand-alone Mode while you are in Pro Tools Mode, Pro Tools software will prompt you to either exit Standalone Mode or quit Pro Tools. If a Pro Tools session is open, you can save the session before quitting Pro Tools.

To exit Stand-alone Mode:

■ Press the Standalone switch a second time.

Digi 002 goes into Standby Mode, or enters Pro Tools mode automatically if Pro Tools software is still running.

Digital Audio Connections in Stand-Alone Mode

Digital Inputs

In Stand-alone mode, you can set Inputs 5–6 to accept S/PDIF digital input instead of analog input.

When Inputs 5–6 are set to S/PDIF, the 1/4-inch analog connectors for Inputs 5–6 (on the back panel of Digi 002) are inactive.

To set Inputs 5–6 to S/PDIF digital input:

1 In Stand-alone mode, press the Utility (F1)

switch.

2 Press the illuminated Channel Select switch

under Pref.

3 Press the illuminated Channel Select switch

under In56 (Inputs 5–6).

4 Press the illuminated Channel Select switch

repeatedly to toggle Inputs 5–6 to Analog or S/PDIF.

5 Press the Escape (Esc) switch to exit Input 5–6

preferences.

6 Press the far right-hand Channel Select switch

to save the preference settings.

7 Press the Escape (Esc) switch twice to exit Util-

ity mode.

Digital Input Format

You can set Digi 002 to receive S/PDIF input at the RCA Input connector or the Optical Input port on the back panel of Digi 002. See “Digital Audio Connections” on page 47 for details on S/PDIF input format.

In Stand-alone mode, the RCA and Optical ports accept S/PDIF signals at sample rates up to 48 kHz.

964530300294856

RCA S/PDIF Input

S / PDIF

OUT

Optical Input port

OPTICAL

OUT

SERIAL NUMBER

MIDI OUT 1MIDI OUT 2

Digital input connectors (back panel)

To change the digital input format for Inputs 5–6:

1 In Stand-alone mode, press the Utility (F1)

switch.

2 Press the illuminated Channel Select switch

under Pref.

3 Press the illuminated Channel Select switch

under SPDF (S/PDIF).

4 Press the illuminated Channel Select switch

repeatedly to toggle the digital format to RCA or Optical.

5 Press the Escape (Esc) switch to exit SPDF pref-

erences.

6 Press the far right-hand Channel Select switch

to save the preference settings.

7 Press the Escape (Esc) switch twice to exit Util-

ity mode.

Only one S/PDIF input pair can be used at a time. For example, if you use the optical input for S/PDIF data, you cannot use the RCA inputs.

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 85

Digital Clock Source

S/PDIF Outputs

When you connect an external digital source, you can set Digi 002 to synchronize to external Word Clock (the clock signal coming from the device) or internal Word Clock (generated by Digi 002). In most cases, such as with DAT decks, you will use external clock.

To change the clock source for the digital inputs on Inputs 5–6:

1 In Stand-alone mode, press the Utility (F1)

switch.

2 Press the illuminated Channel Select switch

under Pref.

3 Press the illuminated Channel Select switch

under WClk (Word Clock).

4 Press the illuminated Channel Select switch

repeatedly to toggle the clock source to Internal or S/PDIF (external).

5 Press the Escape switch to exit SPDF prefer-

ences.

6 Press the far right-hand Channel Select switch

to save the preference settings.

7 Press the Escape (Esc) switch twice to exit Util-

ity mode.

When the Word Clock source is set to S/PDIF (external), the Sample Rate indicator flashes to indicate that no clock signal is present, or that Digi 002 is not receiving valid clock signal. The Sample Rate indicator lights solid to indicate Digi 002 is receiving valid clock signal.

Digital Outputs

The output configuration of Digi 002 in Standalone mode depends on the digital output format chosen in the S/PDIF preference setting. (This is the same setting used to configure the digital input format.)

In Stand-alone mode, the S/PDIF outputs on the back panel of Digi 002 mirror outputs 1–2 at all times. If RCA is chosen in the S/PDIF preferences, only the RCA S/PDIF connector is active. If Optical is chosen in the S/PDIF preferences, both the RCA and Optical S/PDIF connectors are active.

If Optical is chosen in the S/PDIF preferences, only Main Outputs 1–2 are mirrored in the Optical Output port.

ADAT Optical Outputs

In Stand-alone mode, if RCA is chosen in the S/PDIF preferences, all 8 Input channels are passed directly to the ADAT Optical Output port, pre-fader and pre-effects. This allows you to route input signals directly to an ADAT device and record raw input data on all 8 channels.

964530300294856

OPTICAL

OUT

SERIAL NUMBER

MIDI OUT 1MIDI OUT 2

RCA S/PDIF Output

OUT

S / PDIF

Optical Output port

Digital output connectors (back panel)

To change the digital output format:

1 In Stand-alone mode, press F1 (Utility).

2 Press the illuminated Channel Select switch

under Pref.

3 Press the illuminated Channel Select switch

under SPDF (S/PDIF).

4 Press the illuminated Channel Select switch

repeatedly to toggle the digital format to RCA or Optical.

5 Press the Escape (Esc) switch to exit SPDF pref-

erences.

Getting Started with Digi 00286

6 Press the far right-hand Channel Select switch

to save the preference settings.

7 Press the Escape (Esc) switch twice to exit Util-

ity mode.

Views in Stand-Alone Mode

In Stand-alone Mode, Digi 002 can display the mixer controls in several views.

Home View

Home View is the default mixer view that you see when you first enter Stand-alone Mode. This view is actually the same as Console View with the Pan controls displayed on the Rotary Encoders, and channel names on the Channel Scribble Strips.

To display pan position for all channels:

■ In Stand-alone Mode, press the Pan switch in

the upper left-hand corner of the Console View area.

Send View This view displays the send level controls for each track on the rotary encoders. In Send View, the faders continue to control Input channel volume.

In Send view, the Channel Scribble Strips show the names associated with each send position (Send A=Dly, Send B=Rvrb, Send C=Snd C, Send D=Snd D in Stand-alone Mode) across all channel strips.

To display send level controls for all channels:

1 In Stand-alone Mode, press the Send switch in

the upper left-hand corner of the Console View area.

To put Digi 002 in Stand-alone Home View:

■ In Stand-alone Mode, press the Pan switch in

the upper left-hand corner of the Console View area.

Console View

Console View lets you toggle the Digi 002 to display either the pan position controls or the send controls for each channel.

Pan View This is the default mixer view that appears when you first enter Stand-alone mode. In Pan View, the faders control Input channel volume and the rotary encoders control pan position.

In this view, the Channel Scribble strips show the channel names. Channel names can be changed in this view. (See “Naming Channels” on page 90.)

2 Press any of the Send Position switches (A–D)

to display the levels for the corresponding send in the rotary encoders. (In Stand-alone Mode, the switch for Send E is inactive.)

When you are displaying individual sends in Send view, the Channel Select switches toggles the send between pre- and post-fader operation.

When you first display sends, the send names are shown in the Channel Scribble Strips. To see the send level value in a Scribble Strip, move its Rotary Encoder. By default, send levels are turned all the way down (– INF).

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 87

Master Fader View

Reverb and Delay Solo Safe

Master Fader View displays 5 channels in the Digi 002 channel strip area. The Master Faders and Effects Returns appear, with the Master Faders on the right.

To put Digi 002 into Master Fader View:

■ In Stand-alone Mode, press the Master Fader

switch to the left of the Navigation and Transport controls.

Master Faders The left and right Master Faders control the output level to Main Outputs 1–2 on the back panel of Digi 002.

Reverb Returns These are the left and right returns for Send B, the internal Reverb effect.The amount of reverb effect in the mix output can be controlled with these faders.

Delay Return This is a mono return for Send A, the internal Delay effect. The fader controls the amount of delay effect, and the rotary encoder controls its pan position in the mix output.

Reverb and Delay Mute

You can mute the Reverb and Delay effect returns by pressing the Mute switch on the respective channel while in Master Fader View. This allows you to audition the source tracks with the effects temporarily removed.

In Stand-alone mode, the Reverb and Delay returns have a Solo Safe feature. If any input channel (1–8) has a send assigned to the Reverb or Delay and the solo switch is pressed on an input channel, the Reverb and Delay effect returns are not muted, and the effect can still be heard. You can disable the Solo Safe feature by changing the Solo preference setting.

To change the Solo Safe preference:

1 In Stand-alone mode, press F1 (Utility).

2 Press the illuminated Channel Select switch

under Pref.

3 Press the illuminated Channel Select switch

under Solo.

4 Press the illuminated Channel Select switch

repeatedly to toggle the Solo Safe feature On or Off.

5 Press the Escape switch to exit Solo Safe pref-

erences.

6 Press the far right-hand Channel Select switch

to save the preference settings.

7 Press the Escape switch twice to exit Utility

mode.

Getting Started with Digi 00288

Channel Strip Controls

Channel Name

In Console View, each of the 8 channel strips on Digi 002 controls its corresponding input.

Channel Name

Encoder/Meter LED ring

Rotary Encoder

SEL

Channel Select switch

SOLO

MUTE

-5

-10

-15

-20

-30

-40

-60

-90

Channel Solo and Mute switches

Channel Volume Fader

Digi 002 channel strip controls in Stand-alone Mode

The name of each channel appears in the Channel Scribble strips If you move a fader or rotary encoder, the scribble strip temporarily shows the volume level or pan position. You can rename each of the input channels. (See “Naming Channels” on page 90.)

Encoder/Meter LED Ring

Encoder Mode In normal mode (when the “L” and “R” Encoder/Meter indicators are lit), the LED rings above the rotary encoders indicate one of the following:

◆ In Pan View (or Home View), the LED rings in-

dicate channel pan position.

◆ In Send View, the LED rings indicate the level

for the selected send (A–D) for each channel.

◆ In Master Fader View, the Delay Return LED

ring shows pan position. (No other Rotary Encoders are active in this view.)

◆ In Channel View, the LED rings display EQ,

Compressor, or Pan/Send information.

Meter Mode When you press the Encoder/Meter mode switch to the right of the Channel View area so the Meter LED is lit, the LED rings act as meters in the following ways:

◆ In Pan View and Send View, the LED rings act

as post-fader meters for each input channel.

◆ In Master Fader View, the LED rings act as

post-fader meters for the effect return and Master Fader channels.

◆ When viewing EQ controls in the Channel

View area, the LED rings act as post-fader meters for each input channel.

◆ When viewing compressor controls in the

Channel View area, the LED rings act as input, output, and gain reduction meters for the displayed compressor.

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 89

Channel Volume Fader

The volume of each input is controlled by its corresponding channel fader.

Pan

2 Press F2 (Naming). The Channel Selector

switches ﬂash on channels 2–8 and a cursor appears beneath the ﬁrst character in the Scribble Strip of channel 1. The Channel Select switch below channel 1 lights solid to indicate that its name is being edited.

The pan position of each input on the stereo output bus is controlled by its corresponding rotary encoder when Digi 002 is in Pan View.

Solo and Mute

The solo and mute status of each channel are controlled by the corresponding switches on each channel strip. In Stand-alone mode, the Solo switches behave in latched fashion, allowing more than one channel to be soloed at the same time.

Channel Select Switch

Depending on the current view, the Channel Select switch performs a variety of functions. In Pan/Send View, this switch toggles the corresponding send between pre- and post-fader operation. In Channel View, you press this switch to select a channel and display the controls for any of the internal effects on Digi 002.

Naming Channels

3 Turn the Rotary Encoder for the ﬁrst channel

to select the ﬁrst character. (Available characters include uppercase and lowercase letters, numerals, and symbols.)

4 Press the Left and Right Arrow keys in the

Navigation Section of Digi 002 to move the cursor left and right in the Scribble Strip display.

5 When you are ﬁnished naming the ﬁrst chan-

nel, you can press the Channel Select switch or move the Rotary Encoder for another channel to edit its name.

6 When you are ﬁnished naming channels,

press the Escape switch or F2 again to return to Home View.

The new channel names are retained in Standalone mode as long as Digi 002 remains powered on.

To save the channel names for recall at a later time, you can store the names as part of a Snapshot

page 97.

. See “Storing Snapshots” on

In Stand-alone mode, you can name the input channels so that the name appears in each channel’s scribble strip. (The names of the Master Fader and Effect Return channels cannot be changed.)

To change the name of an input channel:

1 If Digi 002 is not in Home View, press the Pan

switch in the upper left-hand corner of the Console View area to return the unit to Home View.

Getting Started with Digi 00290

Channel Scribble Strips

Channel View selectors

Effect Bypass switch

INSERT PAN/SENDDYNAMICS

Console View

selectors

Send Position

selectors

(A–D)

CONSOLE VIEW

PAN

SEND INSERT

SEL SEL SEL SEL SEL SEL SEL SEL

Digi 002 Console and Channel View controls in Stand-alone Mode

Channel View

Channel View lets you display the controls for the internal EQ and Dynamics effects on each channel, and also offers a way to view the all

Dynamics

Input channels 1–4 offer a dedicated compressor, accessible from the Dynamics switch in the Channel View area.

pan and send controls on a single channel.

To display the compressor controls for a track:

Each Input channel offers a dedicated 3-band EQ, accessible from EQ switch in the Channel View area.

1 In Stand-alone Mode, press the Dynamics

switch in the Channel View area.

2 Select from channels 1–4 the channel whose

Dynamics controls you want to display by pressing its Channel Select switch.

To display the EQ controls for a track:

1 In Stand-alone Mode, press the EQ switch in

the Channel View area.

2 Select a channel whose EQ controls you want

to display by pressing its Channel Select switch. The Display Scribble Strips show “EQ” and the number of the selected channel.

Digi 002 displays the compressor controls across the Channel Scribble Strips. The Display Scribble Strips show “Dyn” and the number of the selected channel.

See “Dynamics Controls” on page 94 for more information on working with Dynamics effects.

PAGE MASTER BYPASS

ESC

CHANNEL VIEW

Digi 002 displays the EQ controls across the Channel Scribble Strips.

See “EQ Controls” on page 93 for more information on working with EQ effects.

Chapter 7: Using Digi 002 as a Stand-Alone Mixer 91

Pan/Send

Displaying Parameter Values

The Pan/Send view allows you to view the pan position and the controls for all of the sends on a selected track across all the Channel Scribble Strips.

To display the pan and send controls for a track:

1 In Stand-alone Mode, press the Pan/Send

switch in the Channel View area.

2 Select a channel whose Pan and Send controls

you want to display by pressing its Channel Select switch. The Display Scribble Strips show “P/S” and the number of the selected channel.

Channel Scribble Strip 1 and the first rotary encoder show track pan position for the selected channel.

Channel Scribble Strips 3–6 show the names and their rotary encoders control the levels for all five sends on that track. (Channel Scribble Strips 2, 7 and 8 are inactive.)

When you are displaying sends in Pan/Send view, the Channel Select switches toggles the send between pre- and post-fader operation.

The default view for channels, inserts in sends shows the name of the control in the Channel Scribble Strips, and the control’s numerical value is shown only when the control is touched or moved.

By pressing the Command switch and the Display Mode switch in tandem, you can change the default view to the numerical value of a control rather than its name.

To revert to the default display, press the Command switch and the Display Mode switch a second time.

Getting Started with Digi 00292

Digidesign Getting Started with Digi 002 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Audio and MIDI Features

Control Surface Features

Stand-Alone Mixing Features

System Requirements

Compatibility Information

Computer Requirements

Macintosh

Windows

Hard Drive Requirements

Macintosh

Windows

Using System Drives for Audio

Formatting and Defragmenting Drives

Initializing and Defragmenting Drives

Hard Drive Storage Space

Digidesign Registration

Conventions Used in This Guide

About the Guides

Apple System Settings

About the Digidesign Control Panel

Installing the Demo Session

Windows System Settings

Other Software and Hardware Affecting System Performance

Disable Virus-Protection Software

Completing Windows System Settings

Installing QuickTime

Digidesign WaveDriver

Installing the Demo Session

Standby Mode

Stand-Alone Mode

Home View

Console View

Channel View

Fader Section

Channel Strip Controls

Channel Faders

Channel Select switch

Channel Solo/Mute Switches

Channel Record Ready Indicator

Channel Scribble Strip

Rotary Encoders

Encoder/Meter LED Ring

Global Fader Controls

Record Enable Switch

Fader Flip Switch

Master Fader Switch

Console/Channel View Section

Console View

Console View Selectors

Insert/Send Position Selectors

Channel View

Channel View Selectors

Transport and Navigation Controls

Transport controls

Record/Playback Mode switches

Window Show/Hide Switches

Navigation and Zoom Section

Function/Utility Switches

Fader Bank, Nudge and Display Zoom Switches

Navigation and Zoom Keys

Mic/Line/Instrument Input Controls

Monitor Section

Alternate Input Routing controls

Monitor and Headphone Level Controls

Status Indicators and Display Controls

Display Scribble Strips and Display Mode Switch

Status Mode

Counter Mode

Enter/OK Switch

Edit Undo Switch

Standalone Mode Switch

Session Sample Rate Indicators

Pan/Meter Indicators and Encoder/Meter Mode Switch

MIDI Data Indicators

Analog Inputs

Analog Outputs