Getting Started with Mbox
Version 6.4 for LE Systems on Windows or Macintosh
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
Copyright
This guide is copyrighted ©2004 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.
Product features, specifications, system requirements, and
availability are subject to change without notice.
PN 932013288-00 REV A 04/04
DECLARATION OF CONFORMITY
We Digidesign,
2001 Junipero Serra Boulevard, Suite 200
Daly City, CA 94014 USA
tel: 650-731-6300
declare under our sole responsibility that the product
Mbox
complies with Part 15 of FCC Rules.
Current Consumption 500mA
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 ICES-
003.
Cet appareil numérique de la classe B est conforme à la norme
NMB-003 du Canada.
Australian Compliance
European Compliance
contents
Chapter 1. Welcome to Mbox
Mbox Package
Mbox Features
Pro Tools LE Capabilities
System Requirements
Digidesign Registration
About the Pro Tools Guides
About www.digidesign.com
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Chapter 2. Windows Configuration
Windows System Settings
Installing Pro Tools LE and Mbox
Installing Optional Software for Pro Tools LE
Launching Pro Tools LE
Configuring Pro Tools LE
Hard Drive Configuration and Maintenance
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Chapter 3. Macintosh Configuration
Apple System Settings for Mac OS X
Installing Pro Tools LE
Installing the Demo Session
Connecting Mbox to the Computer
Launching Pro Tools LE
Configuring Pro Tools LE
Hard Drive Configuration and Maintenance
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Chapter 4. Mbox Hardware and Connections
Mbox Front Panel Features
Mbox Back Panel Features
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Contents
iii
Making Signal Connections to Mbox
Connecting a Recorder for Mixdowns
MIDI Connections
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Chapter 5. Working with Pro Tools LE
Session Basics
Transport Controls
Tracks
Regions Lists
Navigating in a Session
Importing Audio
Basic Recording
Editing
Mixing
Plug-Ins
Mix Automation
Final Mixdown
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Appendix A. Windows System Optimizations
Troubleshooting
Advanced Settings
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Appendix B. Digidesign ASIO Driver (Windows Only)
Introduction
Compatible Software
Installing the ASIO Driver
Changing ASIO Driver Settings
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Appendix C. Digidesign WaveDriver (Windows Only)
Introduction
Compatible Software
Installing the WaveDriver
Configuring WaveDriver for QuickTime Player (Required for Using iTunes)
Configuring WaveDriver for Windows Media Player and Other Third-Party WaveDriver Programs
Getting Started with Mbox
iv
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64
Appendix D. Digidesign CoreAudio Driver (Macintosh Only)
Introduction
Compatible Software
Installing the CoreAudio Driver
Configuring the Digidesign CoreAudio Driver
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Appendix E. Configuring AMS (Mac OS X Only)
Index
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Contents
v
Getting Started with Mbox
vi
chapter 1
Welcome to Mbox
Welcome to Mbox, Digidesign’s portable
Pro Tools micro-studio, designed in collaboration with Focusrite.
Mbox provides your USB-equipped computer
with two channels of analog and digital audio
input and output, employing professional-quality mic preamps and 24-bit analog-to-digital
and digital-to-analog converters.
Mbox Package
The Mbox package includes the following:
• Mbox desktop audio interface
•Installer CD-ROMs containing Pro Tools LE
software, DigiRack RTAS (Real-Time AudioSuite) and AudioSuite plug-ins, optional software, and electronic PDF guides
• This
Getting Started with Mbox Guide
cludes instructions for installing and configuring Mbox, and an introduction to
Pro Tools LE software
• The
Mbox Basics Guide
users specific methods for accomplishing
common tasks (such as getting sound in and
out of your Mbox, connecting a mic or instrument, and recording a session)
• USB connector cable
• Digidesign registration card
, designed to give new
, which in-
Chapter 1: Welcome to Mbox
1
Mbox Features
Pro Tools LE Capabilities
The Mbox desktop audio interface provides the
following:
•Two analog audio inputs with Focusrite microphone preamps and switchable 48V phantom power
• Analog input jacks that accept both XLR and
1/4-inch (TRS) connectors, and are switchable
between Mic, Line, and Instrument levels
•Two channels of S/PDIF digital input and output
•Two analog monitor outputs
• 24-bit A/D and D/A converters, supporting
sample rates of 44.1 kHz and 48 kHz
• Zero-latency analog record monitoring with
adjustable balance between input and playback
• Mono switch for summing the input signal
with the monitor mix
• Analog 1/4-inch TRS insert on each input
• 1/4-inch
output with adjustable level control
• USB-powered operation
(
TRS) or 1/8-inch stereo headphone
Mbox will not function properly if connected
to a USB hub. If you need to use a hub for
other USB peripherals, use a separate USB
port; Mbox must have a dedicated port in order to function properly.
Pro Tools LE software provides the following capabilities with Mbox:
•Playback up to 32 mono digital audio
tracks, and playback up to 30 tracks while
recording up to 2 tracks, depending on
your computer’s capabilities.
• Sessions can include up to 128 audio tracks
(with 32 voiceable tracks maximum), 256
MIDI tracks, 128 Auxiliary Input tracks,
and 64 Master Fader tracks.
•16-bit or 24-bit audio resolution, at sample
rates up to 48 kHz.
• Nonlinear, random-access editing and mix
automation.
• Audio processing with up to 5 RTAS plugins per track, depending on your computer’s capabilities.
• Up to 5 inserts and 5 sends per track
• Up to 16 internal mix 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.
Getting Started with Mbox
2
System Requirements
Mbox can be used with a Digidesign-qualified
Windows or Macintosh computer running
Pro Tools LE software.
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, hard drives, and third-party devices, refer to the latest compatibility information on the Digidesign Web site
(www.digidesign.com/compato).
Hard Drive Configuration and
Maintenance
It is recommended that you start with a newly
initialized audio drive. You should also periodically defragment your audio drive to ensure
continued system performance.
For a list of qualified hard drives, visit the
Digidesign Web site
(www.digidesign.com/compato).
Avoid Recording to System Drives
Although Pro Tools LE will let you record to
your system drive, this is generally not recommended. Recording and playback on system
drives results in lower track counts and fewer
plug-ins.
Hard Disk 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. Table 2 lists
the required disk space for certain track numbers and track lengths, to help you estimate
your hard disk usage.
Table 2. Required hard drive space for audio tracks
Number of tracks and length 16-bit at
44.1 kHz
1 mono track, 1 minute 5 MB 5.5 MB 7.5 MB 8.2 MB
1 stereo track (or two mono
tracks), 5 minutes
1 stereo track (or two mono
tracks), 60 minutes
24 mono tracks, 5 minutes 600 MB 662 MB 900 MB 991 MB
24 mono tracks, 60 minutes 7 GB 7.8 GB 10.5 GB 11.6 GB
32 mono tracks, 5 minutes 800 MB 883 MB 1.2 GB 1.3 GB
32 mono tracks, 60 minutes 9.4 GB 10.4 GB 14 GB 15.4 GB
50 MB 55 MB 75 MB 83 MB
600 MB 662 MB 900 MB 991 MB
16-bit at
48 kHz
24-bit at
44.1 kHz
Chapter 1: Welcome to Mbox
24-bit at
48 kHz
3
MIDI Requirements
USB MIDI interfaces work effectively with
Pro Tools systems on Windows or Macintosh.
Serial MIDI interfaces are supported on Windows systems only.
Only USB MIDI interfaces are compatible
with Pro Tools systems for Mac OS X. Modem-to-serial port adapters and serial MIDI
devices are not supported.
Refer to the Digidesign Web site
(www.digidesign.com) for a list of supported
adapters.
Digidesign Registration
Complete and return the registration card included with your Pro Tools Mbox system. Registered users will receive periodic software update
and upgrade notices. Refer to the registration
card for information on technical support.
About the Pro Tools Guides
The
Getting Started with Mbox Guide
how to install and use Mbox to record, edit, and
mix audio and MIDI tracks in Pro Tools LE.
If you are new to working with digital workstations, it is recommended that you read the
Basics Guide.
tion on a number of topics, including how to get
sound in and out of your Mbox, connect a mic
or instrument, and record a performance.
For additional information, see the following
online guides:
•
Pro Tools Reference Guide
software in detail.
•
Pr Tools Menus Guide
on-screen menus.
•
DigiRack Plug-Ins Guide
the RTAS and AudioSuite plug-ins included
with Pro Tools LE.
•
Digidesign Plug-Ins Guide
optional Digidesign plug-ins.
•
DigiBase Guide provides details on using
Pro Tools DigiBase databasing and browsers
for data and media management.
• Pro Tools Keyboard Shortcuts lists keyboard
shortcuts for Pro Tools LE.
This guide provides basic informa-
explains Pro Tools LE
covers all the Pro Tools
explains how to use
explains how to use
explains
Mbox
Getting Started with Mbox
4
PDF versions of the Pro Tools guides are installed automatically with Pro Tools LE, and are
accessible from the Pro Tools Help menu (Windows), or the Pro Tools menu (Macintosh). To
view or print the PDF guides, you can install Acrobat Reader (included on the Pro Tools LE Installer CD-ROM).
Printed copies of the Pro Tools LE Guide set
(including the Pro Tools Reference Guide)
can be purchased separately from the
DigiStore (www.digidesign.com).
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
Control+N Hold down the Control key
and press the N key
Control-click Hold down the Control key
and click the mouse button
Right-click (Windows) Click with the right mouse
button
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your 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.
About www.digidesign.com
The Digidesign Web site (www.digidesign.com)
is your best source for information to help you
get the most out of your Pro Tools system. The
following are just a few of the services and features available.
Support Contact Digidesign Technical Support
or Customer Service; download software updates and the latest online manuals; browse the
Compatibility documents for system requirements; search the online Answerbase; join the
worldwide Pro Tools community on the Digidesign User Conference.
Training and Education Become a certified
Pro Tools Operator or Expert; study on your
own using courses available online, or find out
how you can learn in a classroom setting at a
certified Pro Tools Training Center.
Products and Developers Learn about Digidesign
products; download demo software; learn about
our Development Partners and their plug-ins,
applications, and hardware.
News and Events Get the latest news from Digidesign; sign up for a Pro Tools demo.
To learn more about these and other resources
available from Digidesign, visit our Web site
(www.digidesign.com).
Chapter 1: Welcome to Mbox 5
Getting Started with Mbox6
chapter 2
Windows Configuration
Installing the Mbox on a Windows computer includes the following steps:
1 Configure Windows System Software settings.
(See “Windows System Settings” on page 7.)
2 Connect the Mbox unit to your computer and
install Pro Tools LE software. (See “Installing
Pro Tools LE and Mbox” on page 9.)
3 Restart your computer.
4 Configure your Pro Tools system. (See “Con-
figuring Pro Tools LE” on page 13.)
5 Make audio connections to the Mbox. (See
Chapter 4, “Mbox Hardware and Connections”
for details.)
Windows System Settings
Configure your Window system settings, as follows:
Required Settings These instructions must be
followed before installing Pro Tools.
Recommended Configuration These instructions
should be followed to optimize your system’s
capabilities, or to let older computers run
Pro Tools.
If problems occur after configuring all required and recommended settings, see
Appendix A, “Windows System Optimizations” for information on troubleshooting
and configuring advanced settings.
Required Settings
To ensure optimum performance with
Pro Tools LE, configure the following Control
Panel settings for your version of Windows XP.
Disable Hyper-Threading
For Pentium IV computers with Hyper-Threading, disable Hyper-Threading in the BIOS.
Enable DMA
Enabling your computer's DMA (Direct Memory
Access) frees up CPU bandwidth so your computer can do other Pro Tools tasks.
In most cases the DMA option will already be set
correctly, as Windows XP detects and activates
DMA mode by default.
Chapter 2: Windows Configuration 7
To enable DMA for any IDE hard drives:
1 Choose Start > Control Panel.
To configure Windows Power Management:
1 Choose Start > Control Panel.
2 In Classic View, launch System.
3 Click the Hardware tab.
4 Under Device Manager, choose Device Man-
ager.
5 In the Device Manager window, double-click
IDE ATA/ATAPI controllers, then double-click
the Primary IDE Channel for your IDE hard
drive.
6 Click the Advanced Settings tab.
7 For each device, set the Transfer Mode to
“DMA if available,” and click OK.
In most cases, this will already be set correctly as
Windows XP will detect and activate DMA
mode by default.
8 Repeat steps 5–7 for any additional IDE Chan-
nels.
9 Close the Computer Management window.
Disable System Standby and Power Management
2 In Classic View, launch Power Options.
3 Click the Power Schemes tab.
4 From the Power Schemes pop-up menu, select
Always On.
5 Click OK.
This sets System Standby, System Hibernate,
and “Turn off hard disks” to Never.
Disable ClearType Font Smoothing
When using Pro Tools, the Effects “Clear Type”
setting must be disabled.
To disable ClearType font smoothing:
1 Choose Start > Control Panel.
2 In Classic View, launch Display.
3 Click the Appearance tab.
4 Click Effects.
5 Deselect “Use the following methods to
smooth edges of screen fonts.”
When using Pro Tools, the Windows System
Standby power scheme must be set to Always
On. This helps prevent long record or playback
passes from stopping due to system resources
powering down.
Getting Started with Mbox8
6 Click OK to save your settings and close the
Effects dialog.
7 Click OK.
Completing Required Windows System Settings
When finished updating required Windows system settings, restart your computer.
Recommended Configuration
Pro Tools LE can also be affected by other software and hardware drivers installed on your
computer. For best possible performance, it is
recommended (but not required) that you:
•Avoid running other Windows programs at
the same time as Pro Tools.
•Turn off any software utilities that run in
the background, such as Windows Messenger, calendars, and disk maintenance programs.
•Turn off any non-essential USB devices
while using Pro Tools.
• If your video display card supports it, enable Bus Mastering in the manufacturer’s
Control Panel.
• Disable any networking cards (other than
any 1394 “FireWire” card that you might
use to connect an external drive to your
system).
For information on disabling networking
cards, see “Disabling Network Cards” on
page 57.
4 Connect the other end of the USB cable to any
available USB port on your computer. Wait for
the Found New Hardware Wizard dialog to appear and leave it open: Do not click Next.
Mbox may not function properly if connected to a USB hub. If you need to use a
hub for other USB peripherals, connect the
hub to a separate USB port; Mbox must
have a dedicated port in order to function
properly.
5 Insert the Pro Tools Installer CD-ROM for
Windows in your CD-ROM drive. Locate and
open the Pro Tools Installer folder, and doubleclick the Setup icon.
6 Click Next to begin installation.
7 Select the components you want to install and
click Next.
If you get a warning dialog about the driver
not passing Windows Logo testing, click
Continue Anyway.
8 Wait for the installer to finish installing all
software components, drivers, and PACE System
files before proceeding to the next step.
Installing Pro Tools LE and Mbox
To install Pro Tools LE on Windows:
1 Make sure you have configured all the re-
quired Windows system settings, and restarted
your computer. See“Windows System Settings”
on page 7 for more information.
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 Connect the small end of the included USB ca-
ble to the USB port on Mbox.
9 Click Quit when prompted to install Quick-
Time. If required, you can install QuickTime
later (see “Installing QuickTime” on page 10).
10 Restart your computer.
If the USB LED on the front panel of the
Mbox does not illuminate after installation,
try unplugging the USB cable from the
Mbox USB port, and plugging it back in. If
the USB LED still does not illuminate, shut
down the computer, disconnect Mbox and
start the computer. Once the computer has
fully restarted, reconnect Mbox.
Chapter 2: Windows Configuration 9
Installing QuickTime
(Optional)
QuickTime 6.5 or later is required for Pro Tools
LE if you plan to include movie files in your sessions. QuickTime is available as a free download
from the Apple Web site (www.apple.com).
If all the lights stay on after you update the
firmware, run the firmware update again. If
the lights will not go out, contact Digidesign Technical Support. (Refer to the registration card for information on technical
support.)
Updating Mbox Firmware
Firmware version 2.0 or later is required to use
Mbox on Windows XP.
Before Mbox firmware can be updated,
Pro Tools LE software must be installed
and Mbox must be connected to your computer.
To check and update the firmware on Mbox:
1 Make sure Pro Tools is installed and the Mbox
is connected to the computer.
2 Double-click on MboxFirmwareUpdater.exe.
In Local Disk (C:\Program Files\Digidesign\
Pro Tools\Pro Tools Utilities.)
3 To check the firmware version currently on
Mbox, click the Start button in the Mbox Firmware Update window. The window displays the
version number of the firmware that the Mbox
is currently using.
4 Click Start to begin the firmware upgrade pro-
cess.
Removing Pro Tools LE
If you need to remove Pro Tools LE from your
computer use the Add or Remove Programs
command.
To remove Pro Tools from your computer:
1 Choose Start > Control Panel.
2 In Classic View, launch Add or Remove Pro-
grams.
3 From the Currently Installed Programs list, se-
lect Digidesign Pro Tools LE.
4 Click the Change/Remove button.
5 Follow the onscreen instructions to remove
Pro Tools.
5 Follow the on-screen instructions:
• Disconnect Mbox from the USB port of the
computer.
• Reconnect Mbox to the USB port of the
computer. The new firmware will be uploaded to the Mbox.
• Disconnect and reconnect Mbox.
6 Click OK.
Getting Started with Mbox10
Installing Optional Software for Pro Tools LE
Your Pro Tools Installer CD-ROM includes several software options (as available for your system).
Stand-Alone WaveDriver Installer
Digidesign WaveDriver 6.4 can be installed on
Digidesign-qualified Windows XP systems with
Pro Tools 6.4 (for example, if the WaveDriver
was uninstalled), or it can be installed as a standalone driver on systems that do not have any
version of Pro Tools installed.
Digidesign ASIO Driver 6.4
Digidesign ASIO Driver 6.4 is a single-client,
multichannel sound driver that allows ASIOcompatible programs to record and play back
through Digidesign hardware.
ASIO Driver 6.4 is automatically installed when
you install Pro Tools 6.4.
Stand-Alone ASIO Driver Installer
Digidesign ASIO Driver 6.4 can be installed on
Digidesign-qualified Windows XP systems with
Pro Tools 6.4 (for example, if the ASIO Driver
was uninstalled), or it can be installed as a standalone driver on systems that do not have any
version of Pro Tools installed.
For detailed information on installing and
using the Digidesign ASIO Driver, see
Appendix B, “Digidesign ASIO Driver
(Windows Only).”
Digidesign WaveDriver 6.4
Digidesign WaveDriver 6.4 is a single-client,
multichannel sound driver that allows
WaveDriver compatible programs to play back
through Digidesign hardware.
For detailed information on installing and
using the Digidesign WaveDriver, see
Appendix C, “Digidesign WaveDriver
(Windows Only).”
Installing the Demo Session
The Pro Tools LE Installer CD includes a demo
session that you can use to verify that your system is working.
Before installing the demo session to your
audio drive, make sure the drive is configured as described in “Formatting an Audio
Drive” on page 16.
To install the demo session:
1 Insert the Pro Tools LE Installer CD in your
CD-ROM drive. Locate and double-click
Setup.exe, in D (CD-ROM drive):\Additional
Files\Pro Tools LE Demo Session Installer.
2 Set the install location to your audio drive and
click Install.
3 When installation is complete, click OK.
WaveDriver 6.4 is automatically installed when
you install Pro Tools 6.4.
Chapter 2: Windows Configuration 11
Installing MacOpener
MacOpener 6.0.5 and higher lets you mount
HFS/HFS+ drives on a Windows-based Pro Tools
system, as a Transfer drive.
Transfer drives can be used for storage, but
not for playback or recording.
3 Choose Start > Programs > MacOpener >
MacOpener Driver Preferences.
4 Verify that the MacOpener Driver is enabled.
Under Driver Settings, select “Enable MacOpener Driver.”
5 Under Extension Mapping, select “Do not add
the PC extension to the Mac file name.”
The MacDrive utility can be used instead of
MacOpener. Refer to the MacDrive Web site
(www.macdrive.com).
To share Pro Tools sessions between Macintosh
and Windows systems, select the “Enforce
Mac/PC Compatibility” option when creating
the session, or when saving a session copy to a
Windows audio drive formatted using NTFS or
FAT32.
Avoid using MacOpener on HFS-formatted
drives. It is recommended that you use MacOpener on NTFS or FAT32 drives instead.
To move material from HFS-formatted
drives to NTFS or FAT32 drives, use the
Save Session Copy In command in
Pro Tools.
While SDII files can be exported or converted on import, they cannot be used
within Pro Tools sessions on Windows.
To install and configure the MacOpener demo
included with Pro Tools:
1 Insert the Pro Tools Installer CD into your CD-
ROM drive.
2 Locate and double-click the MacOpener in-
staller file in the MacOpener Demo folder located at D (CD-ROM drive):\Additional
Files\MacOpener Demo Installer. Follow the onscreen instructions to install the MacOpener. After installation is complete, restart your computer.
6 Click OK to quit the MacOpener Driver Pref-
erences.
7 Choose Start > Programs > MacOpener >
Mac Lic.exe. When installation is complete,
close the installer.
All formatting and maintenance of
HFS/HFS+ drives should be carried out
when the drive is connected to a Macintosh.
For more information about MacOpener
and its performance limitations, see the
Pro Tools Reference Guide.
Launching Pro Tools LE
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
(making sure to type it exactly as printed, and
observing any spaces and capitalization), then
click Validate.
Your authorization code is located on the inside
cover of this guide.
Getting Started with Mbox12
Configuring Pro Tools LE
Pro Tools System Settings
Pro Tools LE lets you adjust the performance of
your system by changing system settings that affect its capacity for processing, playback, and recording
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.
Hardware Buffer Size
To change the Hardware Buffer Size:
1 Choose Setups > Playback Engine.
Playback Engine dialog for Mbox
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins.
◆ Lower Hardware Buffer Size settings reduce
monitoring latency, and are useful when you are
recording live input.
◆ Higher Hardware Buffer Size settings allow for
more audio processing and effects, and are useful when you are mixing and using more RTAS
plug-ins.
In addition to causing slower screen response and monitoring latency, higher
Hardware Buffer Size settings can affect the
accuracy of plug-in automation, mute data,
and timing for MIDI tracks.
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks such as Real-Time AudioSuite
(RTAS) plug-ins.
◆ Lower CPU usage settings reduce how much
Pro Tools processing affects other CPU-intensive
tasks (such as screen redraws), and limit the
amount of processor resources available for
Pro Tools tasks. They are useful when you are experiencing slow system response, or when running other applications at the same time as
Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
Increasing the CPU Usage Limit may slow
down screen response on slower computers.
The maximum CPU Usage Limit is 85 percent
for single-processor computers, and 99 percent
for multi-processor computers. (The 99 percent
setting dedicates one entire processor to
Pro Tools.)
Chapter 2: Windows Configuration 13
To change the CPU Usage Limit:
1 Choose Setups > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
Pro Tools Hardware Settings
Using the Hardware Setup dialog, you can select
the default sample rate and clock source for your
system, and configure the clock source for your
system.
3 Click OK.
DAE Playback Buffer Size
The DAE Playback Buffer Size determines the
amount of memory DAE uses to manage disk
buffers, which affects system performance.
◆ Lower DAE Playback Buffer Size settings can
improve playback and recording initiation
speed. However, a lower setting can make it difficult for slower hard drives to play or record
tracks reliably.
◆ Higher DAE Playback Buffer Size settings can
allow for a higher density of edits in a session.
However, a higher setting 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.
To change the DAE Playback Buffer Size:
1 Choose Setups > Playback Engine.
2 From the DAE Playback Buffer pop-up menu,
select a buffer size.
3 Click OK.
Default Sample Rate
The Sample Rate setting appears as the default
sample rate when you create a new session.
(This setting is available in the Hardware Setup
dialog only when no session is open.)
You can change the sample rate when creating a new Pro Tools session by selecting a
different sample rate in the New Session dialog. (Refer to
for details.)
To change the default Sample Rate:
1 Make sure that no Pro Tools session is open.
2 Choose Setups > Hardware Setup.
Hardware Setup dialog for Mbox
3 Select the sample rate from the Sample Rate
pop-up menu.
the Pro Tools Reference Guide
4 Click OK.
Getting Started with Mbox14
Channel 1–2 Input Source
The Pro Tools Hardware Setup dialog allows you
to configure the two inputs on Mbox to receive
analog or digital signals.
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.
To select the Channel 1–2 input format for Mbox:
1 Choose Setups > Hardware Setup.
2 Choose the Channel 1–2 Input format by do-
ing one of the following:
• Choose Analog if you are sending a microphone, line, or instrument signal through
the 1/4-inch TRS or XLR connectors on
Mbox.
– or –
• Choose S/PDIF if you are sending signal
from a digital device to the S/PDIF input on
Mbox.
Clock Source
Using the Hardware Setup dialog, you can select
the clock source for the system.
Internal If you are recording an analog signal directly into Mbox, you will usually use the
Pro Tools Internal clock source. The clock
source automatically changes to Internal when
you change the Ch. 1–2 Input to Analog.
Configuring I/O Setup
Using the I/O Setup dialog, you can label
Pro Tools LE input, output, insert, and bus sig-
nal paths. The I/O Setup dialog provides a graphical representation of the inputs, outputs, and
signal routing of the Mbox.
Pro Tools LE has default I/O Setup settings that
will get you started. Use the I/O Setup dialog
only if you want to rename the default I/O
paths.
To rename I/O paths in I/O Setup:
1 Choose Setups > I/O Setup.
SPDIF If you are transferring material into
Pro Tools from an external digital device, you
will usually synchronize Pro Tools to that digital
device. The clock source automatically changes
to SPDIF when you change the Ch. 1–2 Input to
SPDIF.
To select the clock source:
1 Choose Setups > Hardware Setup.
2 Choose the clock source from the Clock
Source pop-up menu.
3 Click OK.
I/O Setup dialog for Mbox, Input page
2 Click the Input, Output, Insert, or Bus tab to
display the corresponding connections.
3 To change the name of a path or subpath,
double-click directly on the Path Name, type a
new name for the path, and press Return.
4 Click OK.
Chapter 2: Windows Configuration 15
T
Refer to the Pro Tools Reference Guide (or
choose Help > Pro Tools Reference Guide)
for more information on renaming I/O
paths.
5 Make sure the Quick Format option is dese-
lected, then click Start, and follow the on-screen
instructions.
Pro Tools only supports Basic drive Types.
After configuring Pro Tools LE and your
system, you should save an image of your
system using Norton Ghost. Norton Ghost
lets you save and recall known good configurations of your system and settings, which
can help you recover if you encounter any
problems in the future.
Hard Drive Configuration and
Maintenance
Formatting an Audio Drive
On Windows, it is recommended that you start
with newly formatted drives dedicated for audio, such as a secondary hard drive purchased
just for audio. For optimum performance, audio
drives should be formatted with the FAT32 or
NTFS file system.
To format and configure an audio drive:
1 Right-click My Computer and choose Man-
age.
2 Under Storage, choose Disk Management.
3 In the Disk Management window, right-click
the hard drive you will use for audio and choose
Format.
6 When formatting is complete, close the For-
mat window.
Audio Drives and Disk Cleanup
The process of recording, editing, and deleting
tracks and sessions can quickly decrease overall
drive performance. It is suggested that you regularly use Disk Cleanup (or an equivalent utility)
to asses the condition of drives and, if necessary,
delete temporary files and other unused data.
To use Disk Cleanup:
1 Choose Start > Control Panel.
2 In Classic View, launch Administrative Tools.
3 Double-click Computer Management.
4 Double-click Storage.
5 Double-click Disk Management.
6 Select the desired volume in the list, then
choose File > Options.
Disk Cleanup determines how performance is
being affected by drive condition, and lets you
review and delete temporary and other unnecessary files from the selected volume. For more information on using Disk Cleanup, see your Windows XP documentation.
4 For optimal disk performance, select 32K from
the Allocation unit size pull-down. This increases how efficiently audio data is written to
and read from the drive.
Getting Started with Mbox16
Defragmenting an Audio Drive
Periodically defragment audio drives to maintain
system performance.
To defragment an audio drive:
1 Right-click My Computer and choose Man-
age.
2 Under Storage, choose Disk Defragmenter.
3 In the Disk Defragmenter window, choose the
drive you want to defragment
4 Click the Defragment button and follow the
on-screen instructions.
5 When defragmenting is complete, close the
Computer Management Window.
Avoid Recording to System Drives
Although Pro Tools will let you record to your
system drive, this is generally not recommended. Recording and playback on system
hard drives results in lower track counts and
fewer plug-ins. You should record to system
drives only when necessary (for example, if your
computer has just one hard drive).
Chapter 2: Windows Configuration 17
Getting Started with Mbox18
chapter 3
Macintosh Configuration
Installation of the Mbox on a Macintosh includes the following steps:
1 Configure Apple System Software settings.
(See “Apple System Settings for Mac OS X” on
page 19.)
2 Install Pro Tools LE software. (See “Installing
Pro Tools LE” on page 20.)
3 Restart your computer.
4 Connect the Mbox interface to your com-
puter. (See “Connecting Mbox to the Computer” on page 21.)
5 Configure your system. (See “Configuring
Pro Tools LE” on page 21.)
6 Make audio connections to Mbox. (See
Chapter 4, “Mbox Hardware and Connections”
for details.)
Apple System Settings for Mac OS X
To ensure optimum performance with
Pro Tools LE, configure the following settings
before you install Pro Tools software.
To configure Mac OS X for Pro Tools LE:
1 Make sure you are logged into an administra-
tor account where you want to install
Pro Tools LE. For details on Administrator privileges in Mac OS X, refer to your Mac OS X documentation.
Do not use the Mac OS X automatic Software Update feature, as it may install components that have not yet been qualified for
Pro Tools. For details on qualified versions
of Mac OS, refer to the latest compatibility
information on the Digidesign Web site
(www.digidesign.com).
2 Choose System Preferences from the Apple
Menu and click Energy Saver.
3 Click the Sleep tab and turn off the Energy
Saver feature by setting the sleep feature to
Never.
4 Return to the System Preferences and click
Software Update.
5 Deselect “Automatically check for updates
when you have a network connection.”
Chapter 3: Macintosh Configuration 19
6 Close the Software Update dialog box.
7 Proceed to “Installing Pro Tools LE” on
page 20.
Installing Pro Tools LE
After the Apple System software settings are configured, you’re ready to install Pro Tools LE.
To install Pro Tools LE on Mac OS X:
1 Make sure you are logged in as an Administra-
tor for the account where you want to install
Pro Tools. For details on Administrator privileges in Mac OS X, refer to your Apple Mac OS X
documentation.
Removing Pro Tools LE from Mac OS X
If you need to remove Pro Tools LE from your
computer, you can use the Installer CD-ROM.
To remove Pro Tools LE from your computer:
1 Make sure you are logged in as an Administra-
tor for the account where Pro Tools LE is installed. For details on Administrator privileges
in Mac OS X, refer to your Mac OS X documentation.
2 Insert the Pro Tools LE Installer CD-ROM in
your CD-ROM drive. Double-click “Install
Pro Tools LE.”
3 Enter your Administrator password and click
OK to authenticate the installation.
2 Insert the Pro Tools LE Installer CD-ROM in
your CD-ROM drive. Double-click “Install
Pro Tools LE.”
3 Enter your Administrator password and click
OK to authenticate the installation.
4 Select your Startup hard drive as the install lo-
cation and click Install.
5 When installation is complete, click Restart.
– or –
Click Continue to install any additional software or documentation, and restart your computer when you are finished.
If you plan to use any MIDI devices with
Pro Tools, configure your MIDI setup with
the Apple Audio MIDI Setup (AMS) utility.
See Appendix E, “Configuring AMS
(Mac OS X Only)” for details.
4 In the Installer window, choose Uninstall
from the pop-up menu, and click Uninstall.
5 Click Quit to close the Installer window.
Installing the Demo Session
(Optional)
The Pro Tools LE Installer CD-ROM includes a
demo session that you can use to verify that
your system is working.
To install the demo session:
1 Insert the Pro Tools LE Installer CD in your
CD-ROM drive. Locate and double-click the
demo session installer icon.
2 Select your audio drive as the install location
and click Install.
3 When installation is complete, click Quit.
Getting Started with Mbox20
Connecting Mbox to the Computer
Before launching Pro Tools LE software, connect
Mbox to your computer.
To connect Mbox to your computer :
1 Connect the small end of the included USB ca-
ble to the USB port on Mbox.
2 With your computer on, connect the other
end of the USB cable to any available USB port
on your computer.
If the USB LED on the front panel of Mbox does
not illuminate after you connect it and launch
Pro Tools, try unplugging the USB cable from
the Mbox USB port, then plugging it back in.
If the USB LED still does not illuminate, shut
down the computer, disconnect Mbox and start
the computer. Once the computer has fully restarted, re-connect Mbox, then launch
Pro Tools.
Configuring Pro Tools LE
Mbox may not function properly if connected to a USB hub. If you need to use a
hub for other USB peripherals, connect the
hub to a separate USB port; Mbox must be
connected to a dedicated port on the computer in order to function properly.
Launching Pro Tools LE
When launching Pro Tools LE the first time, you
are prompted to enter an authorization code to
validate your software.
With new Mbox systems, the authorization
code is located on the inside cover of the Getting
Started with Mbox Guide. With software upgrades, the authorization code is located on the
inside cover of the Upgrading Guide.
To authorize Pro Tools LE software:
1 Double-click the Pro Tools LE application (lo-
cated in the Pro Tools folder, inside the Digidesign folder).
Pro Tools System Settings
Pro Tools LE allows you to adjust the performance of your system by changing system set-
tings that affect its capacity for processing, playback, and recording.
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.
Hardware Buffer Size
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins.
◆ Lower Hardware Buffer Size settings improve
MIDI timing and automation accuracy, but limit
the number of RTAS plug-ins and mixer configurations you can run on your system
2 Enter the authorization code in the dialog
when prompted (making sure to type it exactly
as printed, and observing any spaces and capitalization) then click Validate.
Chapter 3: Macintosh Configuration 21
◆ Higher Hardware Buffer Size settings allow for
more audio processing and effects, and are useful when you are using larger mixer configurations or more RTAS plug-ins on your system.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
In addition to causing slower screen response and monitoring latency, higher
Hardware Buffer Size settings can affect the
accuracy of plug-in automation, mute data,
and timing for MIDI tracks.
To change the Hardware Buffer Size:
1 Choose Setups > Playback Engine.
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
Playback Engine dialog for Mbox (Pro Tools 6.x)
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks.
◆ Lower CPU Usage Limit settings limit the ef-
fect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
Increasing the CPU Usage Limit may slow
down screen response on slower computers.
◆ The maximum CPU Usage Limit is 85 percent
for single-processor computers, and 99 percent
for multi-processor computers. (The 99 percent
setting dedicates one entire processor to
Pro Tools.)
To change the CPU Usage Limit:
1 Choose Setups > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools.
3 Click OK.
DAE Playback Buffer Size
The DAE Playback Buffer Size determines the
amount of memory DAE uses to manage disk
buffers, which affects system performance.
◆ Lower DAE Playback Buffer Size settings can
improve playback and recording initiation
speed. However, a lower setting can make it difficult for slower hard drives to play or record
tracks reliably.
◆ Higher DAE Playback Buffer Size settings can
allow for a higher density of edits in a session.
However, a higher setting 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.
Getting Started with Mbox22
To change the DAE Playback Buffer Size:
1 Choose Setups > Playback Engine.
2 From the DAE Playback Buffer pop-up menu,
select a buffer size.
Channel 1–2 Input Format
The Pro Tools Hardware Setup dialog allows you
to configure the two inputs on Mbox to receive
either analog or digital signals.
3 Click OK.
Pro Tools Hardware Settings
Using the Hardware Setup dialog, you can select
the default sample rate, input format, and clock
source for your system.
Default Sample Rate
The Sample Rate setting appears as the default
sample rate when you create a new session.
(This setting is available in the Hardware Setup
dialog only when no session is open.)
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
To change the default Sample Rate:
1 Make sure that no Pro Tools session is open.
2 Choose Setups > Hardware Setup.
3 Select the sample rate from the Sample Rate
popup menu.
4 Click OK.
“Starting a Session” on page 35.)
To select the Channel 1–2 input format for Mbox:
1 Choose Setups > Hardware Setup.
2 Choose the Channel 1–2 Input format by do-
ing one of the following:
• Choose Analog if you are sending a microphone, line, or instrument signal through
the 1/4-inch TRS or XLR connectors on
Mbox.
• Choose S/PDIF (RCA) if you are sending
signal from a digital device to the S/PDIF
input on Mbox.
Clock Source
Using the Hardware Setup dialog, you can select
the clock source for the system.
Internal If you are recording an analog signal directly into Mbox, you will usually use the
Pro Tools Internal clock source. The Clock
Source automatically changes to Internal when
you change the Ch. 1–2 Input to Analog.
S/PDIF If you are recording a digital signal into
Pro Tools from an external digital device, you
will usually synchronize Pro Tools to that digital
device. The Clock Source automatically changes
to S/PDIF when you change the Ch. 1–2 Input to
S/PDIF.
Hardware Setup dialog for Mbox
Chapter 3: Macintosh Configuration 23
To select the Clock Source:
1 Choose Setups > Hardware Setup.
2 Select a clock source.
3 Click OK.
Your digital input device must be connected
and turned on. If your input device is not
turned on, leave the Clock Source set to Internal.
3 To change the name of a path or subpath,
double-click directly on the Path Name, type a
new name for the path, and press Return.
4 Click OK.
Refer to the Pro Tools Reference Guide (or
choose Help > Pro Tools Reference Guide)
for more information on renaming I/O
paths.
Configuring I/O Setup
Using the I/O Setup dialog, you can label
Pro Tools LE input, output, insert, and bus sig-
nal paths. The I/O Setup dialog provides a graphical representation of the inputs, outputs, and
signal routing of the Mbox.
Pro Tools LE has default I/O Setup settings that
will get you started. Use the I/O Setup dialog
only if you want to rename the default I/O
paths.
To rename I/O paths in I/O Setup:
1 Choose Setups > I/O Setups.
Hard Drive Configuration and
Maintenance
It is recommended that you start with a newly
initialized audio drive. You should also periodically defragment your audio drive to ensure
continued system performance.
If you are using an ATA/IDE or FireWire hard
drive, initialize your drive with the utility
named Disk Utility included with your Apple
System software.
Avoid Recording to System Drives
Although Pro Tools will let you record to your
system drive, this is generally not recommended. Recording and playback on system
drives results 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.
I/O Setup dialog for Mbox, Input page
2 Click the Input, Output, Insert, or Bus tab to
display the corresponding connections.
Getting Started with Mbox24
chapter 4
Mbox Hardware and Connections
This chapter explains how to connect your Mbox for monitoring, playback and recording. If you are
new to working with digital audio workstations, first read through the Mbox Basics Guide for basic
setup information (such as connecting audio inputs, headphones, mics and instruments).
The following illustrations show two possible setups depending on the equipment in your studio.
monitor
outputs
mixer
S/PDIF
digital I/O
USB
cable
Mbox
FireWire
drive
headphones
computer
display
Figure 1. Mbox micro studio configuration running Pro Tools LE on a desktop computer
DAT or
CD recorder
instrument
Chapter 4: Mbox Hardware and Connections 25
powered speakers
microphone
FireWire
drive
USB
cable
Mbox
instrument
Laptop
laptop
Figure 2. Mbox micro studio configuration running Pro Tools LE on a laptop computer
headphones
Getting Started with Mbox26
Mbox Front Panel Features
48V LED
Source Selector
CH 1
Peak
Gain
Source
Selector
CH 2
Gain
S/PDIF
LED
Mix (Ratio)
Headphone
Gain
Headphone
Output
Figure 3. Mbox front panel
The Mbox front panel has the following features:
48V LED
LED
Peak
LED
USB
LED
Mono
About Phantom Power
Dynamic microphones (such as 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.
Although phantom power can be used
safely with most microphones, it is possible
to damage some ribbon microphones with
it. Always turn off phantom power and
wait at least ten seconds before connecting
or disconnecting a ribbon microphone.
If you are not sure about the phantom power requirements for your microphone, consult your
microphone’s documentation or contact the
manufacturer.
Source Selector
These switches select among three types of inputs:
• Mic (microphone) for XLR inputs
• Line for line level signals on TRS or TS inputs
• Inst (instrument) for other 1/4-inch TRS or
TS connections
For more information, see “Analog Audio” on
page 32.
This LED, when lit, indicates that 48V phantom
power is active on the Mic/Line inputs. These
inputs provide phantom power for microphones that require it to operate. Phantom
power is activated by the switch labeled 48V on
the top of the back panel of Mbox.
Gain Controls
These knobs adjust the input gain levels of the
Mic/Line inputs.
Chapter 4: Mbox Hardware and Connections 27
Peak LEDs
These LEDs are triggered just below analog clipping levels. In other words, if the Peak LEDs
flicker occasionally, the signal is approaching
clipping levels, but they do not necessarily indicate distortion or clipping.
To listen to just the Source input signal, turn the
Mix knob fully left to Input. To listen to
Pro Tools output only, turn the knob fully right
to Playback.
The output from the Mix control is routed directly to the TRS line outputs, and is mirrored in
the Headphone ports and S/PDIF output ports.
USB LED
The USB LED indicates that the Mbox has received power from its USB connection. Once the
USB light is on, audio can pass in or out of the
system.
S/PDIF LED
This LED indicates that channels 1 and 2 are set
to receive digital input rather than analog input.
See “S/PDIF Digital I/O” on page 30.
Mix (Ratio) Control
Mbox gives you the ability to monitor your analog input signals while recording, without the
delay incurred by A/D/A converters and hostbased processing.
This zero-latency analog monitoring is controlled with the Mix knob, which you can use to
blend and adjust the monitor ratio between
Mbox analog inputs and Pro Tools playback.
The Mix knob has no effect when you are using
S/PDIF digital inputs, since it controls the signal
before it reaches the A/D converters.
This ability to blend and control the relative levels of Pro Tools playback and latency-free live
analog inputs can be particularly effective when
overdubbing.
Mono Switch
The Mono switch sums the stereo signal to a
mono signal (delivering that identical signal to
both speakers). This has no effect on Pro Tools
playback monitoring or on the main outputs.
Switching your stereo signal to mono is useful
when you are recording a mono input while listening to stereo playback, or for checking the
phase relationship of stereo inputs.
Monitoring while Overdubbing
By panning signals to the center, or using the
Mono switch, as opposed to panning them hard
left and right in the Headphone outputs, you
can create a more focused monitor mix to help
minimize distractions while overdubbing.
In situations where you are monitoring stereo
microphones, stereo synthesizers, or any source
pairs with a comfortable balance, you will probably not want to use the Mono switch.
Getting Started with Mbox28
Checking Phase Relationships
The Mono switch can also be used for a quick
check of the phase relationship between
Channel 1 and Channel 2 inputs.
When the two input signals are out of phase,
pressing the Mono switch will result in a sudden
“hollow” sound that is the result of phase cancellation. This quick test with the Mono switch
can help to avoid phase problems later when
mixing these tracks. Frequent checking of phase
relationships with the Mono switch can also assist you in finding the optimal microphone
placement.
Mbox Back Panel Features
back panel
Headphones
output
Line
outputs
48V
USB port
S/PDIF
digital I/O
Headphone Gain
The headphone gain control adjusts the output
level of the front and back Headphone ports,
which output the signal that is routed to Outputs 1–2 in Pro Tools LE, and mirrors the Line
Outputs.
Front Panel Headphone Output
Use the front panel Headphone port to connect
stereo headphones with a 1/8-inch stereo mini
connector.
The front panel 1/8-inch Headphone port is disabled when a 1/4-inch stereo connector is inserted into the back panel Headphone port.
Inserts
Source 2
(analog
input 2)
Source 1
(analog
input 1)
Figure 4. Mbox back panel
The Mbox back panel has the following features:
Back Panel Headphone Output
Use this Headphone Output to connect stereo
headphones with a 1/4-inch stereo connector.
When a 1/4-inch stereo connector is inserted
into the back panel Headphone port, the front
panel 1/8-inch Headphone port is disabled.
Chapter 4: Mbox Hardware and Connections 29
48V Switch
Line Outputs
This button activates phantom power on the
Mic inputs for microphones that require it to
operate.
Be sure to check the 48V LED on the front
panel of Mbox before plugging in any microphones. The 48V switch on the back is
located directly above the USB connector
and may be inadvertently activated when
connecting the USB Cable.
USB Port
This standard USB v1.1 connector is used to
connect your computer to the Mbox. One standard USB cable is included with your system.
The Mbox is compatible with USB 2.0 ports.
However, the USB 2.0 bus will switch to the
slower USB v.1.1 speed to accommodate Mbox.
S/PDIF Digital I/O
The S/PDIF in and out ports are unbalanced twoconductor phono (RCA) connectors that utilize
a full 24-bit, two-channel digital data stream.
The Sony/Philips Digital Interface Format
(S/PDIF) is used in many professional and consumer CD recorders and DAT recorders. To
avoid RF interference, use 75-ohm coaxial cable
for S/PDIF transfers and keep the cable length to
a maximum of 10 meters.
These outputs support balanced TRS, or unbalanced TS, 1/4-inch connections. To monitor
your mix, these outputs can be connected to a
mixing board, directly to a monitoring system
such as a stereo power amp, or another stereo
destination.
The Line Outputs 1 and 2 play the audio that is
routed to analog outputs 1 and 2 from within
Pro Tools, respectively. These analog outputs
feature 24-bit digital-to-analog converters.
Source 1 and 2
These balanced/unbalanced analog audio inputs support a broad range of input levels, including microphone, instrument, or line-level
inputs. The ports accept XLR, TRS, or TS audio
input connectors. The input signal is adjusted
by the Gain control for each channel, in conjunction with the Source switch.
The XLR connectors only support microphone level inputs. If Line or Inst are chosen, the XLR portion of the port is ignored.
Likewise, if you choose Mic, the 1/4-inch
part of the connector is ignored.
Inserts 1 and 2
Mbox provides an insert point on each input
channel. These TRS ports send and return the
input channel’s signal directly after the preamplifier, and before the A/D converter. This allows the insertion of analog processors such as
Getting Started with Mbox30
compressors or equalizers, which are typically
used as inserts on traditional analog recording
consoles. See “Using the Analog Inserts” on
page 32.
Do not plug instruments, speakers, or headphones into the 1/4-inch jacks labelled “Inserts.” These are not inputs. They are special connectors for using an external effects
processor such as a compressor or EQ.
Mbox Line Outputs feature 24-bit digital-to-analog converters capable of maximum output of
+4 dBu/+2 dBV (balanced/unbalanced signal).
The connectors are TRS ports; unbalanced TS
connectors are also supported.
You cannot monitor Pro Tools audio
through speakers connected to your computer. To monitor audio, connect headphones, powered speakers, or an external
amplifier to your Mbox.
Making Signal Connections to Mbox
Mbox can be used in a variety of audio setups.
This section describes how to make basic connections for:
• Monitoring
• Analog and digital input for recording
• Hardware Inserts
• Mixdown
Monitoring Audio
There are two Headphone ports, giving you a
choice between the back panel 1/4-inch TRS
port or the 1/8-inch mini port on the front
panel.
Mbox Line Outputs play the audio that is routed
in Pro Tools to Analog Outputs 1–2, and can
provide left and right outputs to a two-track
deck for mixdown, or to another stereo destination.
To connect headphones:
• Connect headphones with an 1/8-inch stereo
mini connector (or an adapter) to the front
Headphone jack.
– or –
• Connect headphones with a 1/4-inch stereo
connector (or adapter) to the back Headphone jack.
The front panel Headphone control adjusts
the volume level of both the front and back
Headphone jacks.
The Mbox Headphone output can produce
very loud output levels. Prolonged exposure
can cause hearing damage. Adjust headphone volume carefully.
Only one Headphone output can be used at
a time. When headphones are connected to
both Headphone outputs, the front panel
Headphone output is muted.
Chapter 4: Mbox Hardware and Connections 31
To connect to a home stereo:
■ Using 1/4-inch cables, connect the Line Out-
puts on the back panel of Mbox to the appropriate inputs on your stereo.
To connect an analog audio source:
1 Plug an XLR or TRS cable directly into
Mic/Line Input 1 or 2 on Mbox. These inputs accept XLR connectors or TRS connectors.
Home stereo systems often use RCA connectors. You can use an adaptor or a special cable to convert from the TRS or TS connectors
used by Mbox to the RCA connectors on
your home stereo.
To connect monitor speakers with a power amp or
self-powered monitor speakers:
■ Using 1/4-inch cables, connect the Line Out-
puts on the back of Mbox to the appropriate inputs on your mixer, power amp, or powered
speakers.
Connecting Audio Sources to Mbox for Recording
Digital and analog audio sources can be connected directly to Mbox.
Analog Audio
Analog audio signals are output by microphones, synthesizers, mixers, and instruments
with magnetic pickups.
Of these sources, microphones and magnetic
pickup instruments output the quietest signals,
and generally require the most amplification.
Keyboards, preamps, and mixers output “linelevel” audio, which varies with each device between the –10 dBV and +4 dBu standards.
To accommodate these varying sources, Mbox
provides switchable line input types (and associated impedances) with adjustable gain for each
input channel.
2 Step through choices by repeatedly pressing
each channel’s Source button until the LED corresponding to your choice lights.
To activate phantom power:
■ If your microphone requires phantom power,
first make sure the microphone is connected,
then press the Phantom Power switch (labeled
48V).
Enabling phantom power enables 48V
through
both mic inputs.
Using the Analog Inserts
The analog input channels on Mbox each feature a dedicated Tip Ring Sleeve (TRS) insert
point. These hardware inserts break the analog
input path before it is converted to a digital signal and sent to Pro Tools. This is where you can
insert a compressor, equalizer, or other serial effect into the analog signal path.
Because the inserts on Mbox are hardware
inserts that divert the signal path before it
reaches Pro Tools, they are
hardware inserts within Pro Tools. For more
information, see the Pro Tools Reference
Guide.
To insert a device you will need a TRS Insert cable that has a TRS connector on one end, breaking out to two unbalanced (T/S) Y-connectors.
The connector attached to the tip is the send,
and the connector attached to the ring is the return.
not available as
Getting Started with Mbox32
To inser t a device in the signal path:
1 You will need a cable that breaks a TRS con-
nector on one end out to two unbalanced connectors. The type of unbalanced connector is
determined by the inputs of the device.
2 Locate the unbalanced connectors and deter-
mine which corresponds to tip, and which to
ring.
3 Connect the unbalanced connector that cor-
responds to tip to the input port of the device.
4 Connect the unbalanced connector that cor-
responds to ring to the output port of the device.
To configure Mbox to record from a digital
source, choose Setups > Hardware Setup in
Pro Tools, then select S/PDIF in the Clock
Source and Ch 1–2 Input pop-up menus.
S/PDIF Mirroring
Pro Tools LE uses S/PDIF mirroring to automatically “mirror” the audio that is sent to Line Outputs 1 and 2 on the S/PDIF RCA outputs. This is
useful, for example, if you are monitoring a mix
using your Line Outputs, and also recording the
same source to an external S/PDIF device.
5 Insert the TRS connector into an insert port
on Mbox.
Digital Audio
Mbox provides digital inputs and outputs for
S/PDIF format digital audio.
About S/PDIF
S/PDIF (Sony/Philips Digital Interchange Format) I/O is available on many DAT decks, compact disc players, and other digital devices. Each
S/PDIF connection provides two channels of
digital audio with 24-bit capability.
To connect a S/PDIF device to Mbox:
1 Use two 75-ohm coaxial cables with male RCA
connectors on both ends (purchased separately).
2 Connect the device’s S/PDIF output to Mbox’s
S/PDIF input port, and the device’s S/PDIF input
to Mbox’s S/PDIF output port.
Connecting a Recorder for Mixdowns
After you record and mix your sessions in
Pro Tools, you may want to mix them down to a
DAT, CD recorder, Mini-Disc, or other stereo 2track recording device.
Connecting an Analog Deck
Connect the Line Outputs on the back of the
Mbox to your recorder’s analog inputs. Line
Outputs 1 and 2 should be routed to the left and
right inputs, respectively, on your recorder.
These outputs are TRS ports. You may need
adapter cables if your mixdown deck has RCA
inputs.
Connecting a Digital Deck
If you have a CD recorder, DAT deck or other device that accepts S/PDIF connections, connect it
to the S/PDIF In and S/PDIF Out RCA ports on
the back of Mbox.
When recording from Pro Tools to a digital
device, make sure Pro Tools is in Internal
clock mode.
Chapter 4: Mbox Hardware and Connections 33
MIDI Connections
By adding a compatible MIDI interface to your
system, you can take advantage of all the MIDI
features of Pro Tools LE, including recording
and editing MIDI tracks.
MIDI Concepts
MIDI is not audio. The messages that travel
down a MIDI cable translate to specific instructions. For instance, when you strike a key on
your MIDI keyboard, it sends a message to its
MIDI OUT port telling another device (if connected and set to the same MIDI channel) to
play that particular note.
Signal paths for MIDI instruments
However, to actually hear that second device
(sound source) you’ll need to connect its audio
outputs to a sound system (or your Mbox). Your
MIDI instruments have two signal paths, one for
audio and another for MIDI.
MIDI does not allow you to use your devices beyond their capabilities. Particular instruments
have their own sound generation, polyphony,
and multi-timbral limitations.
Connecting a MIDI interface
USB MIDI interfaces work effectively with
Pro Tools systems on Windows or Macintosh.
Serial MIDI interfaces are supported on Windows systems only.
Only USB MIDI interfaces are compatible
with Pro Tools systems for Mac OS X. Modem-to-serial port adapters and serial MIDI
devices are not supported.
See Appendix E, “Configuring AMS (Mac OS X
Only)” for information on configuring Audio
MIDI Setup and your MIDI devices.
To connect MIDI devices to your system:
1 Connect the MIDI interface to your computer
according to the MIDI interface’s documentation.
2 Install any MIDI driver software required by
the MIDI interface. (Once you have installed
your MIDI interface hardware and software,
confirm that it is working properly using the
procedure given in the interface’s documentation.)
3 Connect the MIDI OUT of your MIDI device
or controller to the MIDI IN of your MIDI interface.
4 Connect the MIDI IN of your MIDI device or
controller to the MIDI OUT of your MIDI interface.
MIDI is not audio. To hear the output of
your MIDI devices within Pro Tools, you
must route the audio output of your MIDI
device into your Mbox inputs, and monitor
or record the audio into your session. See
“Making Signal Connections to Mbox” on
page 31.
Getting Started with Mbox34
chapter 5
Working with Pro Tools LE
This tutorial of Pro Tools LE software introduces
its main windows and features, and also includes a step-by-step overview of audio recording (see “Basic Recording” on page 46).
All features described in this chapter are explained fully in the Pro Tools Reference Guide.
You can view an electronic PDF version of the
Reference Guide by choosing it from the
Pro Tools menu.
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.
Starting a Session
To create a new session:
1 Launch Pro Tools LE.
2 Choose File > New Session.
3 In the New Session dialog, set the sample rate,
bit depth, and other options for the new session.
New Session dialog
4 Select where you want to save your session. If
you are using external hard drives with your
Pro Tools system, make sure you select the appropriate drive in the New Session dialog.
Session file, Audio Files and Fade Files folders
5 Type a name for your session.
6 Click Save. The new session opens its Mix,
Edit, and Transport windows (see Figure 5 on
page 36).
Chapter 5: Working with Pro Tools LE 35
Main Windows
The Mix, Edit, and Transport windows are the
main Pro Tools work areas. You can show any of
these windows by choosing them from the Windows menu.
Press Control+Equals (=) in Windows or
Command+Equals (=) on Macintosh to
switch between the Edit and Mix windows.
Mix Window Displays the Pro Tools mixer, with
its familiar fader strip controls for volume, pan,
solo, mute, and signal routing.
Workspace The Workspace browser is a DigiBase feature available in Pro Tools 6 and higher.
For more information see the DigiBase Guide.
Rulers
Pro Tools LE provides several different rulers to
select as the timebase for your session.
Timebase Rulers, displayed along the top of the
Edit window, include Bars:Beats, Minutes:Sec-
onds, and Samples. The current timebase determines the format of the Main counter, and provides the basis for the Edit window Grid.
Edit Window Displays tracks in the session along
the Timeline, for editing of audio, MIDI, and automation data.
Transport Provides standard transport controls
for Play, Stop, Rewind, Fast-Forward, Pause, and
Record. The Transport window can also show
Counter and MIDI Control displays.
Edit window
Rulers
Tracks
Transport window
Main Counter
To select a Timebase Ruler:
■ Click the name of the ruler at the top left side
of the Edit window (Bars:Beats, Minutes:Seconds, or Samples).
Mix window
Main Counter
Tracks
Figure 5. Main session windows
Getting Started with Mbox36
Setting a Tempo
You can set the tempo for your session by using
Tempo Events, or by using the MIDI tempo controls in the expanded Transport window.
To inser t a tempo event:
1 Choose Windows > Show Tempo/Meter.
2 At the top of the Tempo/Meter Change win-
dow, choose Tempo Change from the pop-up
menu.
Tempo/Meter Change window
3 Enter the BPM (beats per minute) value you
will use for the session and set the Location to
1|1|000 (so the inserted tempo event replaces
the default tempo).
4 To base the BPM value on a different note
value (such as an eighth-note rather than the
default quarter-note), select a note value.
The Click plug-in is one of many plug-ins
that can be inserted on a Pro Tools track.
See “Plug-Ins” on page 54.
Click plug-in
Click Parameters
MIDI In LED Illuminates each time the Click
plug-in receives a click message from the
Pro Tools application, indicating the tempo.
Accented Controls the output level of the accent beat (beat 1 of each bar) of the audio click.
Unaccented Controls the output level of the unaccented beats of the audio click.
To use the Click plug-in:
1 Choose MIDI > Click to enable the Click op-
tion.
– or –
5 Click Apply to insert the new tempo event.
Using the Click Plug-In
The Click plug-in creates an audio click during
session playback. This works like a metronome
that you can use as a tempo reference when performing and recording.
The Click plug-in is synchronized to the tempo
and meter of the Pro Tools session, and follows
any changes in tempo and meter.
Click the Metronome button in the Transport
window.
2 Create a mono Auxiliary Input (Aux Input)
track.
3 Insert a Click plug-in on the Auxiliary Input
track.
4 In the Click plug-in window, choose a click
sound from the Librarian pop-up menu (this
menu displays “factory default” when you first
insert the plug-in).
Chapter 5: Working with Pro Tools LE 37
5 Choose MIDI > Click Options and set the
Click and Countoff options as desired. (Click
OK to apply these options.)
The Note, Velocity, Duration, and Output
options in this dialog are for use with MIDI
instrument-based clicks and do not affect
the Click plug-in.
Refer to the Pro Tools
more
information on configuring Click op-
Reference Guide for
tions.
6 Begin playback. A click is generated according
to the tempo and meter of the current session
and the settings in the Click Options dialog.
Using an External MIDI Click
2 Configure the click parameters as needed for
your MIDI sound source.
If set up on a Mac, your MIDI studio must
be configured with AMS. For more information, see Appendix E, “Configuring AMS
(Mac OS X Only).”
3 Select the desired MIDI sound source from the
Output pop-up menu and click OK.
4 During recording or playback, you can turn
the Click on or off with the Metronome button
in the MIDI Controls display of the Transport
window.
Metronome
Pro Tools also provides a MIDI Click option that
lets you use an external MIDI device to play a
click. This feature can be turned on and off in
the Transport window, and is configured from
the MIDI Click Options dialog.
To configure and enable an external MIDI click:
1 Choose MIDI > Click Options.
Click/Countoff Options dialog
Tempo Controls
Click and Tempo Controls in the Transport window
Saving Sessions
As you build a session by adding tracks and
changing session controls, you will want to save
your work. Pro Tools provides three ways to save
sessions.
To save a session:
■ Choose File > Save Session, Save Session As, or
Save a Session Copy In.
Save Session Saves the currently open session
file, leaving it open for you to continue working.
Save Session As Creates a duplicate session file
with the name you choose, and leaves the duplicate open for you to continue working. It does
not create a new Audio Files or Fade Files folder.
This can be useful if you want to experiment
with different arrangements in the session without affecting the original session.
Getting Started with Mbox38
Save Session Copy In Saves copies of the session
file and the files that you are using in the current session. This can be useful for creating a final copy of the session that does not include audio files or fades you are no longer using.
System Resources and Settings
You can change specific Pro Tools system settings to optimize system performance.
Transport Controls
The Transport window provides access to all
Pro Tools LE transport commands. Different
transport controls can be displayed or hidden in
this window.
To show the Transport window:
■ Choose Window > Show Transport Window.
Playback Engine Dialog
The Playback Engine dialog lets you adjust system buffer sizes and allocate CPU processing
power to Pro Tools.
To configure system resources:
■ Choose Setups > Playback Engine.
For Windows systems, see Chapter 2,
“Windows Configuration.” For Macintosh
systems, see Chapter 3, “Macintosh Configuration.”
System Usage Window
The System Usage window displays approximate information on CPU load, DSP usage, and
(on Macintosh systems only) overall disk performance, so you can gauge your system’s processing capacity.
Return To Zero
Rewind
Online
Transport window (Expanded view shown)
Stop
Fast Forward
Play
Go to End
Record
To configure the Transport window:
■ Choose Display > Transport Window Shows
and select view options.
The Transport window provides Play, Stop, and
other standard transport controls.
The Expanded view of the Transport window
provides pre- and 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.
Chapter 5: Working with Pro Tools LE 39
The Transport window can also display a Master
Counter, as well as the following MIDI controls:
Wait for Note, Click, Countoff, MIDI Merge,
Conductor, Meter, and Tempo.
Click
Wait for Note
Conductor
Transport window (MIDI Controls)
Countoff
MIDI Merge
Tempo Controls
Meters
To star t and stop playback:
1 Click Play in the Transport window to begin
playback.
2 Click Stop in the Transport window to stop
playback.
Press the Spacebar on your computer keyboard to start and stop playback.
Tracks
Pro Tools LE lets you create audio and MIDI
tracks for audio and MIDI recording, submixing,
routing, automating, and editing.
Pro Tools provides 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 Tracks Record and play back audio to and
from hard disk, monitor audio input when
record-enabled, and edit audio regions
Auxiliary Inputs Audio mixer channels, used for
input, routing, and submixing
Master Faders Provide master channel controls
and options for any output or bus path
MIDI Tracks Record, play back, and edit MIDI
data
To create a new track:
1 Choose File > New Track.
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.
Getting Started with Mbox40
New Track dialog
2 Specify the number of tracks, track type, and
mono or stereo (for all types except MIDI).
3 Click Create.
In the Mix window, audio tracks, Auxiliary Inputs, Master Faders, and MIDI tracks appear as
vertical channel strips.
Track type is indicated by the Track Type icons
just below the faders.
Audio
track
Aux
Input
MIDI
track
Master
Fader
Tracks in the Mix window
In the Edit window, tracks are displayed horizontally along the Timeline. The area in which
audio appears for each track is the Playlist.
Timeline
Rulers View
Audio tracks, Auxiliary Inputs, Master Faders,
and MIDI tracks can be automated.
Inserts
Sends
Input
Output
Automation mode
Pan sliders
Record
Enable
Solo
Mute
Open Output window
Volume
fader
Clipping indicator
(lights red)
Level meter
Voice Selector
Group enable
Track Type icon
Volume
Track name
Track comment area
Audio Track
Timeline Rulers and a stereo audio track in the Edit
window
Figure 6. Stereo audio track in the Mix window
Audio Tracks
Audio tracks, Auxiliary Inputs, and Master Faders share many identical controls. Master Faders
provide all the same features as audio tracks and
Auxiliary Inputs, with the following exceptions:
Input Selector A Master Fader’s output assignment determines its input, or source (always
outputs 1–2).
Chapter 5: Working with Pro Tools LE 41
Inserts Inserts on Master Faders are post-fader
only. (Audio track and Aux input track inserts
are all pre-fader.)
Sends Master Faders do not provide sends. To
send an output to another destination, use an
Auxiliary Input.
Drag border to resize
width of Regions Lists
Click Audio Regions
for pop-up menus
MIDI Tracks
MIDI tracks provide volume, 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 55 for more information).
Regions Lists
A region is a piece of audio or MIDI data that can
also have associated automation data. For example, 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.
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. Audio regions can also be auditioned from the Regions Lists by Option-clicking the audio region
name. The Regions List pop-up menus provide
features for managing regions and files (such as
sorting, selecting, importing, or exporting files).
Drag border to
resize height of
Regions Lists
Click MIDI Regions
for pop-up menus
Click to hide Regions Lists
Audio and MIDI Regions Lists
For more information on Regions Lists, refer
to the Pro Tools Reference Guide or the
DigiBase Guide.
Navigating in a Session
Pro Tools LE provides many ways to navigate in
a session, including using the mouse or entering
a memory location into one of the counters.
To navigate to a location in the Edit window:
1 In the Operations menu, make sure Link Edit
and Timeline Selection option is enabled.
2 Enable the Selector tool at the top of the Edit
window by clicking it.
Selector tool
Edit tools in Edit window
Getting Started with Mbox42
3 Click in a track or Timebase Ruler. The cursor
appears at the selected location and the
counters display the current time location.
Click in a track or on a Timebase Ruler
Memory Locations
Memory Locations provide another way to navigate within sessions. Memory Locations appear
as markers under the Timebase Rulers.
To define a memor y location:
1 Navigate to the location at which you want to
store a marker or memory location.
– or –
Begin playback.
Clicking with the Selector in the Edit window
To navigate using the counters:
1 Click in the Main counter and enter a location
using your computer keyboard.
2 Press Enter (Windows) or Return (Macintosh).
Navigating with the Counter
Press the * (asterisk) key on the numeric
keypad as an alternative to clicking in the
counter. (The cursor will always appear in
the Transport window’s Main Counter if it
is displayed.)
2 Press Enter on the numeric keypad while
stopped or during playback (or click the Markers
icon).
In the New Memory Location window, 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 status.
3 Choose settings for the memory location and
click OK.
New Memory Location window
To go to a stored memor y location:
1 Choose Windows > Show Memory Locations.
2 In the Memory Locations window, click the
name of the memory location.
Chapter 5: Working with Pro Tools LE 43
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 presets
Zoom buttons
Track Height Selector
Zoomer
To zoom in or out on any area of a track in the Edit
window:
1 Click to select the Zoomer.
2 Click or drag with the Zoomer to zoom in hor-
izontally for a track or Ruler.
– or –
Press Option and click or drag with the Zoomer
to zoom out horizontally for a track or Ruler.
To zoom in or out incrementally:
■ In Pro Tools, click the appropriate Zoom but-
ton:
• Left Arrow (Horizontal Zoom Out)
• Right Arrow (Horizontal Zoom In)
•Waveform and MIDI buttons, to increase or
decrease vertical zoom of the appropriate
track type (audio or MIDI)
Zoom and Track Height tools in the Edit window
To change track height:
■ Click the Track Height Selector, and select a
track height from the pop-up menu.
You can apply many commands, including
track height selection, to more than just a
single track. Hold down the Alt key (Windows) or Option key (Macintosh) while performing an operation to apply it to all
tracks. Hold down both the Shift and Alt
keys (Windows) or Shift and Option keys
(Macintosh) while performing an operation
to apply it to all selected tracks.
Getting Started with Mbox44
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 use a stored Zoom preset:
■ Click the appropriate Zoom preset 1–5.
To store a new Zoom preset definition:
■ Command-click a Zoom preset number to
store the current horizontal and vertical Zoom
to that preset.
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 nor 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.
For more information on creating memory
locations, see “Memory Locations” on
page 43.
3 In the session, create a new track by choosing
File > New Track.
Creating a new stereo audio track
Importing Audio
Pro Tools LE lets you import existing audio files
from disk. This is very useful if you have audio
files already recorded to disk or if you are working with CD-based sample libraries that you
want to use in a new session.
To impor t audio files or regions from disk:
■ Choose File > Import Audio to Track to import
files and regions to new audio tracks (they will
also appear as regions in the Audio Regions List).
– or –
■ Choose Import Audio from the Audio Regions
List pop-up menu to import files and regions to
the Audio Regions List only.
For more information on importing audio
into sessions, refer to the Pro Tools Reference Guide.
To impor t a CD audio track:
1 Put the source CD into your computer’s CD
drive.
2 Use a third party software program of your
choice to extract audio from the CD.
4 In the New Track dialog, specify 1 Stereo Au-
dio Track, and click Create.
5 Open the Workspace Browser by choosing
Windows > Show Workspace. The Workspace
Browser is a window where you can find, audition, and manage your audio files.
Opening the Workspace Browser
6 In the Workspace Browser, navigate to the lo-
cation where you saved the audio you extracted
from your CD in step 2.
Audio file in the Workspace Browser
Chapter 5: Working with Pro Tools LE 45
7 You can audition the audio file by clicking on
the speaker icon in the waveform window.
Auditioning an audio file in the Workspace Browser
If you are running Pro Tools on Mac OS X,
you can import audio using the Movie > Import Audio From Other Movie command.
For more information, see the Pro Tools Reference Guide.
DigiBase provides additional options for
importing audio. See the DigiBase Guide for
more information.
Basic Recording
This section describes how to record audio and
MIDI into Pro Tools LE.
3 In the Mix window, click the Input Selector on
the new track.
Input selector
Choosing an input in the Mix window
4 From the pop-up menu, select the interface in-
put you want to record. For example, select
Mic/Line 1 if your audio source is plugged into
the Source 1 jack on the back of the Mbox.
Routing an input to a mono track
5 Use the Gain controls on Mbox to maximize
the signal going into Pro Tools while avoiding
clipping.
Preparing for Recording
To prepare an audio track for recording:
1 Verify the connections to your instruments.
For more information about connecting instruments to Mbox, refer to Chapter 4,
“Mbox Hardware and Connections” as well
as the Mbox Basics Guide.
2 Create a new track to record on by choosing
File > New Track. Specify 1 Mono Audio Track
and click Create.
Getting Started with Mbox46
Clipping occurs when you feed a signal to
an audio device that is louder than the circuitry can accept. To avoid clipping, adjust
the Gain control to a level where the Peak
LEDs on the front of the Mbox flicker occasionally.
6 On the front of the Mbox, turn the Mix knob
fully left to Input. To hear an equal mix of playback and input signals, turn the Mix knob to the
center. See Mbox Basics Guide for more information on using the Mix knob during recording.
Recording an Audio Track
To record an audio track:
1 Assign the input for a track and set its input
levels appropriately.
2 Click the Record Enable button for a track.
(See Figure 6 on page 41).
3 Choose Windows > Show Transport to display
the Transport window.
3 Click Stop in the Transport window or press
the Spacebar to stop playback.
Recording MIDI
To configure a MIDI track for recording:
1 For Macintosh systems, choose MIDI > Input
Devices and make sure your input device is selected in the MIDI Input Enable window. Click
OK to apply your changes.
Return To Zero
Rewind
Online
Transport window (Expanded view shown)
4 Click Return To Zero to start recording from
Stop
Fast Forward
Play
Go to End
Record
the beginning of the session. You can also record
according to a selection or from the cursor location in the Edit window.
5 Click Record in the Transport window to en-
able recording.
6 Click Play or press the Spacebar to record on
all record-enabled tracks.
7 Record your performance.
8 Click Stop in the Transport window or press
the Spacebar when you are finished recording.
To play back a recorded track:
1 Click the track’s Record Enable button a sec-
ond time to take it out of Record mode.
2 Click Play in the Transport window or press
the Spacebar to start playback.
2 Choose File > New Track and specify 1 MIDI
Track, then click Create.
3 In the Mix window, click the track’s MIDI De-
vice/Channel Selector and choose the destination (assignment) for that MIDI track by
choosing a MIDI interface port, a channel, or a
device from the pop-up menu. Choices vary depending on the operating system, Pro Tools version, and the hardware and instruments you
have connected.
MIDI Device/Channel Selector
4 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.
Chapter 5: Working with Pro Tools LE 47
5 In the Mix Window, record-enable the MIDI
track.
6 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 play back a recorded MIDI track:
1 Click the Record Enable button to take the
MIDI track out of Record 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.
To record onto a 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 start recording from the beginning of the session. 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, then recording begins.
5 Play your MIDI instrument.
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 Without a Mixer
To monitor your MIDI instrument’s analog output, you can use an Auxiliary Input. Auxiliary
Inputs function as inputs for both internally
bussed signals and external audio sources.
To configure an Auxiliar y Input for MIDI
monitoring:
1 Connect the MIDI instrument’s audio output
to the appropriate inputs on your Mbox.
2 Choose File > New Track and specify 1 mono
or stereo Auxiliary Input, 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 Adjust the level of the Auxiliary Input with its
volume fader.
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.
Getting Started with Mbox48
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.
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 modes, refer to the Pro Tools Reference Guide.
Edit Modes
Edit modes and tools (Slip mode, Smart Tool enabled)
Edit Tools
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).
Edit Modes
Pro Tools LE has four Edit modes: Shuffle, Spot,
Slip, and Grid. The Edit mode is selected by
clicking the corresponding button in the upper
left of the Edit window.
Edit mode buttons
Edit Tools
Pro Tools LE has seven Edit tools: Zoomer, Trimmer, Selector, Grabber, Scrubber, Pencil, and
Smart Tool. Select an Edit tool by clicking it in
the Edit window. The Zoomer, Trimmer, Grabber, and Pencil tools have multiple modes,
which you can select from a pop-up menu when
you click the tool.
Trimmer
Zoomer
Edit tools in Edit window
Press the Escape key to toggle through the
Edit tools.
For detailed descriptions of the Edit Tools,
refer to the Pro Tools Reference Guide.
Selector
Smart Tool
Grabber
Scrubber
Pencil
Press F1 (Shuffle), F2 (Slip), F3 (Spot), and
F4 (Grid) to set the Edit mode.
Chapter 5: Working with Pro Tools LE 49
Editing Regions
The Edit tools in Pro Tools LE are used to edit regions in the Edit window.
5 Move the cursor near the end of the audio re-
gion (notice the cursor changes to a “]”).
Trimming the end of a region
Audio region
Trimming Regions
After recording an audio track, you will have an
audio region on that track. If there is some silence at the beginning of the region, or there is
some extra audio at the end of the region, you
can use the Trimmer tool in Slip mode to
shorten the beginning or end of the region.
Audio region on a track
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 “[”).
6 Click at the end of the region and drag left to
shorten the region.
The trimmed region
You can also extend a region using the Trimmer
tool if there is audio data beyond the current
boundaries of the region. If extending the region’s beginning, drag to the left; if extending
the region’s end, 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 Open or create a session in Pro Tools LE.
2 Specify the session meter (MIDI > Change
Meter) and tempo (MIDI > Change Tempo).
Trimming the beginning of a region
4 Click at the beginning of the region and drag
right to shorten the region.
Getting Started with Mbox50
3 Select Grid mode.
4 Prepare to record using a MIDI click (see “Us-
ing the Click Plug-In” on page 37 or “Using an
External MIDI Click” on page 38).
5 Record a drum track (see “Recording an Audio
Track” on page 47) keeping in mind that you
want to use only the best bar (measure). Your recording should fit the grid at the specified
tempo and meter.
– or –
Import an existing audio file, such as a drum
loop from a sample library, and place it on an
audio track (see “Importing Audio” on page 45).
6 Click the Selector tool, and drag on the wave-
form with the Selector to make a one-bar selection. Note that the selection snaps to the
specified grid.
10 With the new region still selected, choose
Edit > Repeat.
Repeat dialog
11 In the Repeat dialog, enter a number of re-
peats, and 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 or Shuffle
mode as a way of coming up with new and interesting rhythms.
Making a selection in Grid mode
7 Create a new audio track (File > New Track).
8 From the Grabber pop-up menu, select the
Separation Grabber tool.
9 With the Separation Grabber tool, drag the se-
lection to the beginning of the new audio track.
A new region is created and appears at the beginning of the new track.
Dragging a selection with the Separation Grabber tool
Playlists and Nondestructive 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.
Chapter 5: Working with Pro Tools LE 51
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.
Using Channel Strip Controls
Volume Increase or decrease the track level by
dragging its Volume fader up or down.
Pan Pan a track left or right in the mix by dragging its Pan slider left or right.
Solo Solo a track (muting all other tracks) by
clicking its Solo button.
Playlist Selector
Popup Menu
Playlist Selector Popup Menu
3 Name the duplicated playlist and click OK.
4 Make your first series of edits.
5 Return to the original playlist by selecting it
from the Playlist Selector pop-up menu.
6 Repeat steps 2–5 for any further edits.
In this way, you can try out different edits of a
track, and switch back and forth between playlists for comparison.
Mixing
The Pro Tools mix environment provides many
familiar channel strip controls for setting volume, pan, solo, and mute. Mixer and I/O controls can be shown in both the Mix and Edit
windows.
To view the Mix window:
■ Select Windows > Show Mix.
Press Control+Equals (=) in Windows or
Command+Equals (=) on Macintosh to
switch between the Edit and Mix windows.
Mute Mute a track by clicking its Mute button.
Basic Signal Routing
Signal routing is accomplished by assigning
track inputs and outputs. Audio track inputs can
be from any hardware input or bus path. Once
recorded, an audio track’s input is its audio file
on disk. Auxiliary Inputs can be any hardware
input or internal bus path. For all types of audio
tracks, outputs can be routed to any hardware
output or internal bus path.
Together, these signal routing features let you
set up virtually any mixer architecture for your
projects, including sends and returns for effects
processing and submixing.
Send and Return Submixing for Effects Processing
When you are submixing for reverb, delay, and
similar effects processing, you can use sends and
Auxiliary Inputs to achieve traditional send/return bussing. You can use a real-time plug-in
(see “Plug-Ins” on page 54) 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
(wet, or effect return level).
Getting Started with Mbox52
Creating a Send
Creating a Return
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 16 internal bus paths.
To assign a send on a track:
1 Make sure Sends View is enabled in the Mix
window (Display > Mix Window Shows > Sends
View).
2 Click the Sends button on an audio track and
choose a path from the pop-up menu.
Assigning a send to a stereo bus path
3 Set the output level of the send. You can set
the send level to zero by Option-clicking the
send fader.
You can configure the default level for new
sends to be
–∞ or at unity gain (0 dB) by
enabling or disabling the Sends Default To
“–INF” option under the Operation
Preferences.
Auxiliary Inputs can be created to act as return
channels for busses, as well as for inputs from
hardware sources.
Send window
Audio and Auxiliary Input tracks configured for a send
and return
Send
to bus 5–6
Real-time plug-in
Aux Input
input from bus 5–6
To create a return:
1 Choose File > New Track and specify 1 mono
or stereo Auxiliary Input, then click Create.
2 Click the Input Selector of the Auxiliary Input
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 and choose an output path.
Chapter 5: Working with Pro Tools LE 53
Master Faders
Master Faders are used as output and bus masters, and can control any mono or stereo output
or bus path in a session. You can then use the
controls on the Master Fader to control the volume, solo and mute, or apply inserts to those
paths.
To use a Master Fader as a master stereo 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.
When you are mastering your final mix, it is recommended that you use a dither plug-in on the
Master Fader controlling your main outputs (for
more information on dither, see the Pro Tools
Reference Guide).
Dither plug-in applied to final mix
Output assigned to control
main mix
Master Fader controlling main outputs
3 Set the output of the Master Fader to your
main output path (outputs 1–2).
Plug-Ins
Plug-ins provide EQ, dynamics, delay, and
many other types of effects processing, and
function either in real time or in non-real time.
RTAS plug-ins are nondestructive effects, which
are inserted on tracks to process audio in real
time—just like an external hardware processor
(during playback).
AudioSuite plug-ins are destructive effects that
process and create new audio files on disk in
non-real-time. (AudioSuite plug-ins can also be
used nondestructively, leaving the original, unprocessed audio file on disk.)
To create a Master Fader:
1 Choose File > New Track and specify 1 mono
or 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
outputs or internal busses.
Getting Started with Mbox54
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 the Insert button.
Plug-In windowInsert button
Compressor plug-in
To inser t 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.
Mix Automation
Mix automation lets you record, or automate,
changes to track and send levels, mutes, pan,
and plug-in parameters. MIDI tracks provide
volume, pan, and mute automation only.
To write automation:
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 automation).
2 Select an automation mode for the tracks to be
automated (Write, Touch, or Latch mode).
3 Start playback and begin writing automation
by adjusting faders and other controls during
playback. Pro Tools LE remembers all moves
performed on enabled parameters.
Pro Tools comes with a complete set of DigiRack
plug-ins, and many more are available from
Digidesign and our Development Partners.
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.
Enabling automation (left) and choosing a track
Automation mode (right)
Chapter 5: Working with Pro Tools LE 55
Once written, automation can be re-written or
displayed and edited graphically in the Edit window.
Track view set to Volume
Volume breakpoint automation
Volume automation in a track in the Edit window
For more information on using automation,
see the
Pro Tools Reference Guide.
Final Mixdown
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 continue until it
reaches the end of the session.
To Bounce to Disk:
1 Choose File > Bounce to Disk.
2 Select any mono or stereo output or bus path
as the source for the bounce.
3 Select the File Type (such as WAV), Format
(such as mono or stereo), Resolution (such as 16bit), and Sample Rate (such as 44.1 kHz).
To create a mixdown that can be written to
an audio CD, be sure to select WAV, stereo
interleaved, 16-bit, 44.1 kHz.
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 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.
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.
4 Click Bounce.
Using Dither on Mixdown
You should use a dither plug-in when using the
Bounce To Disk command, or when mastering
to an external device. Bounce to Disk does not
automatically apply dither. To dither a bounce
file, insert an included Digidesign Dither plugin, or another dither 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, refer
to the
Pro Tools Reference Guide.
Getting Started with Mbox56
appendix a
Windows System Optimizations
When installing Pro Tools on Windows XP,
there are many system variables that affect performance. If you have followed all the Windows
configuration instructions in Chapter 2, “Windows Configuration” and are still experiencing
problems, try the following troubleshooting
suggestions.
Norton Ghost is highly recommended, as it
lets you save your system in a working state
and easily revert to that state should you accidentally disable anything that your computer needs.
Troubleshooting
Blue Screen at Startup
If, after installing Pro Tools and QuickTime,
your computer crashes with a blue screen, do
the following:
•Use Add/Remove Programs to uninstall
Pro Tools.
• Use Add/Remove Programs to uninstall
QuickTime.
• Repeat the installation instructions in “Installing Pro Tools LE and Mbox” on page 9.
Advanced Settings
The following system optimizations may help
Pro Tools perform better on some systems. It is
recommended that you only try these optimizations if necessary, as they may disable or adversely affect the functionality of other programs on your system.
Disabling Network Cards
If applicable, disable any networking cards
(other than a 1394 “FireWire” card that you
might use to connect an external drive to your
system).
To disable a network card:
1 Right-click My Computer and choose Man-
age.
2 Under System Tools, select Device Manager.
3 In the Device Manager window, double-click
Network adapters, then double-click the Network Adapter card you want to disable.
4 Under the General tab, choose “Do not use
this device (disable)” from the Device Usage
pop-up menu, and click OK.
5 Close the Computer Management window.
Appendix A: Windows System Optimizations 57
Processor Scheduling
To Adjust Processor Scheduling Performance:
1 Choose Start > Control Panel.
2 In Classic View, launch System.
Norton Ghost is highly recommended, as it
lets you save your system in a working state
and easily revert to that state should you accidentally disable anything that your computer needs.
3 Click the Advanced tab.
4 Under the Performance section, click the Set-
tings button.
5 Click the Advanced tab.
6 Under the Processor scheduling section, select
the Background Services option.
7 Under the Memory Usage section, select the
System cache option.
8 Click OK twice. You will need to restart your
computer for the changes to take effect.
Startup Items
The fewer items in use by your computer, the
more resources are available for Pro Tools LE.
Some startup applications may be consuming
unnecessary CPU resources, and should be
turned off.
Be very careful when disabling startup items, including (but not limited to) the following:
• Portable media serial number (required for applications that utilize a copy protection key)
• Plug and play
• Event log
•Cryptographic services
• DHCP Client, TCP/IP Net BIOS, and other networking-related items (unless the computer
has no network or internet connection, in
which case these items can be disabled)
To Disable System Star tup Items:
1 From the Start menu, choose Run.
2 Type “msconfig” and click OK. The System
Configuration Utility opens.
3 Under the General tab, choose Selective Star-
tup.
4 Deselect Load Startup Items and click OK.
5 Click Restart to restart the computer.
6 After restarting your computer, a System Con-
figuration message dialog is displayed. Try
Pro Tools to see if performance has increased before you uncheck the don't show this message
again box. If performance has not changed, run
“msconfig” and return your computer Selective
Startup back to Normal Startup. Alternatively,
try disabling start up items and non-essential
processes individually.
Getting Started with Mbox58
appendix b
Digidesign ASIO Driver (Windows Only)
The Digidesign ASIO Driver will provide up to
Introduction
The Digidesign ASIO Driver is a multichannel,
multimedia sound driver that allows third-party
audio programs that support the ASIO standard
to record and play back through Digidesign
hardware.
The ASIO Driver is not multi-client. Only
one application at a time can use the ASIO
Driver. Be sure to disable the Windows system sounds. It is also recommended that
you use a separate sound card for games or
other general work.
Check the Digidesign Web site
(www.digidesign.com) for the latest thirdparty drivers for Pro Tools hardware, as
well as current known issues.
18 channels of input and output, depending on
your Pro Tools hardware:
• Up to 8 channels of input and output with
Pro Tools|HD systems
• Up to 18 channels of input and output
with Digi 002 and Digi 002 Rack
• Up to 2 channels of input and output with
Mbox
Compatible Software
For a list of ASIO Driver-compatible software,
see the compatibility documents available on
the Digidesign Web site (www.digidesign.com/compato).
Full-duplex playback of 24- and 16-bit audio are
supported at sample rates up to 96 kHz, depending on the Digidesign hardware and ASIO Driver
program used.
Appendix B: Digidesign ASIO Driver (Windows Only) 59
Installing the ASIO Driver
The ASIO Driver is installed by default when you
install Pro Tools.
Removing the ASIO Driver
If you need to remove the ASIO Driver from
your computer, complete the following steps.
To remove the ASIO Driver:
1 Choose Start > Control Panel.
2 In Classic View, launch Add or Remove Pro-
grams.
3 From the Currently installed programs list, se-
lect Digidesign Pro Tools.
Changing ASIO Driver Settings
Changing ASIO Driver settings is done in your
third party ASIO program. Refer to the documentation that came with your software program. For example, with Propellerhead Reason,
click on the ASIO Control Panel button (shown
below).
4 Click the Change/Remove button.
5 Modify your installation by unchecking the
Digidesign ASIO Driver option only.
ASIO Control Panel
button
Setup Example, using Propellerhead Reason
ASIO Driver Control Panel
Digidesign ASIO Control Panel
Getting Started with Mbox60
The Digidesign ASIO Driver Control Panel cannot be accessed under the following circumstances:
• When Pro Tools is running.
• When playing or recording in an audio
program that does not support the ASIO
Driver.
• When using a third-party audio program
that has an option to keep the ASIO Driver
“open” even when you are not playing or
recording. (You must close the audio program before you can open the ASIO Driver
Control Panel.)
Buffer Size Control
When you play a file from a client audio program, the client program divides the file into
buffers and sends each of these to the ASIO
Driver. The ASIO Driver copies the client program’s buffers to your Digidesign hardware’s
own buffers in a double-buffering scheme. The
Buffer Size control in this dialog allows you to
set the size of each of the two buffers the ASIO
Driver uses on Digidesign hardware. You may
select from the following buffer sizes:
• 128 samples
• 256 samples
• 512 samples
• 1024 samples
• 2048 samples
In some third-party audio programs, performing
various tasks such as maximizing or minimizing
windows will interrupt the ASIO Driver and create glitches in the audio. Choosing medium or
large buffers (such as 256–1024) can help alleviate this problem.
Changing the Buffer Size for the ASIO Driver
does not affect the H/W Buffer Size settings in
the Pro Tools Playback Engine dialog.
Device
The Device Type will always be set to your installed Pro Tools hardware.
Advanced Button
The Advanced button opens the Hardware Setup
dialog for your Digidesign system.
Small buffers have the advantage of low latency
in the record monitor path. Larger buffers have
the advantage of making the ASIO Driver more
immune to audio dropouts during playback and
recording.
Appendix B: Digidesign ASIO Driver (Windows Only) 61
Getting Started with Mbox62
appendix c
Digidesign WaveDriver (Windows Only)
Playback of 24- and 16-bit audio are supported
Introduction
The Digidesign WaveDriver is a multichannel,
multimedia sound driver that allows third-party
audio programs that support the WaveDriver
standard to play back through Digidesign hardware.
Check the Digidesign Web site
(www.digidesign.com) for the latest thirdparty drivers for Pro Tools hardware, as
well as current known issues.
The WaveDriver is not multi-client. Only
one application at a time can use the
WaveDriver. Be sure to disable the Windows system sounds. It is also recommended that you use a separate sound card
for games or other general work. For thirdparty soft-synthesizer and samplers, use the
Digidesign ASIO Driver (refer to the ASIO
Driver Usage Guide).
at sample rates supported by the hardware and
WaveDriver program used.
The Digidesign WaveDriver will provide up to
18 channels of output, depending on your
Pro Tools hardware:
• Up to 8 channels of output with
Pro Tools|HD systems
• Up to 18 channels of output with Digi 002
and Digi 002 Rack
•Up to 2 channels of output with Mbox
Compatible Software
For a list of WaveDriver-compatible software,
see the compatibility documents available on
the Digidesign Web site (www.digidesign.com/compato).
Appendix C: Digidesign WaveDriver (Windows Only) 63
Installing the WaveDriver
The WaveDriver is installed by default when
you install Pro Tools.
4 From the pop-up menu, choose Sound Out.
5 From the Choose a device for playback pop-up
menu, select the waveOut option (and the name
of your Digidesign device, if any).
Removing the WaveDriver
If you need to remove the WaveDriver from
your computer, complete the following steps.
To remove the WaveDriver:
1 Choose Start > Control Panel.
2 In Classic View, launch Add or Remove Pro-
grams.
3 From the Currently installed programs list, se-
lect Digidesign WaveDriver.
4 Click the Change/Remove button.
5 Click OK to remove the WaveDriver.
Configuring WaveDriver for
QuickTime Player (Required
for Using iTunes)
In order to let Digidesign hardware play back
through iTunes for Windows, you must configure WaveDriver in the waveOut option of the
QuickTime Player SoundOut settings to waveOut.
6 Close QuickTime Player.
7 Re-launch iTunes.
Configuring WaveDriver for
Windows Media Player and
Other Third-Party WaveDriver
Programs
WaveDriver is configured in the Sounds and Audio Devices Control Panel (for programs that
use the Windows Sound Playback Default Device, such as Windows Media Player), or as a
preference for third-party WaveDriver programs
(such as Sound Forge).
To configure WaveDriver as the iTunes default
device:
1 Close all WaveDriver third-party applications
(including iTunes).
2 Choose Start > Programs > QuickTime >
QuickTime Player.
3 In QuickTime Player, choose Edit > Prefer-
ences > QuickTime Preferences.
Getting Started with Mbox64
To configure WaveDriver as the Windows Sound
Playback Default Device (for example, for
Windows Media Player):
1 Choose Start > Control Panel.
2 In Classic View, launch Sounds and Audio De-
vices.
3 Click the Audio tab.
4 Select the Digidesign audio interface in the
Sound Playback default device lists.
5 Close the Control Panel. When you run Win-
dows Media Player, it automatically outputs to
your Digidesign hardware.
To configure WaveDriver for a third party
WaveDriver application:
■ In the third-party program, select the Digi-
design audio interface as the preference for your
playback hardware. Refer to your program’s documentation.
Appendix C: Digidesign WaveDriver (Windows Only) 65
Getting Started with Mbox66
appendix d
Digidesign CoreAudio Driver (Macintosh Only)
Introduction
The Digidesign CoreAudio Driver is a multichannel, multimedia sound driver that allows
third-party audio programs that support the
CoreAudio standard to record and play back
through Digidesign hardware.
Check the Digidesign Web site
(www.digidesign.com) for the latest thirdparty drivers for Pro Tools hardware, as
well as current known issues.
Full-duplex playback of 24- and 16-bit audio are
supported at sample rates up to 96 kHz, depending on the Digidesign hardware and CoreAudio
Driver program used.
The Digidesign CoreAudio Driver will provide
up to 18 channels of input and output, depending on your Pro Tools hardware:
• Up to 8 channels of input and output with
Pro Tools|HD systems
• Up to 18 channels of input and output
with Digi 002 and Digi 002 Rack
•Up to 2 channels of input and output with
Mbox
Compatible Software
For a list of CoreAudio Driver-compatible software, see the compatibility documents available
on the Digidesign Web site (www.digidesign.com/compato).
Installing the CoreAudio Driver
The Core Auto Driver is installed by default
when you install Pro Tools.
Removing the CoreAudio Driver
To uninstall the Digidesign CoreAudio Driver :
1 Power on your system.
2 On the Pro Tools Installer CD, locate and dou-
ble-click the Install CoreAudio file.
– or –
From the Digidesign Web site, download and
double-click the Install CoreAudio file.
3 In the Install CoreAudio window, select Unin-
stall from the Custom Install pop-up menu.
4 When the uninstall is complete, quit the
CoreAudio Installer.
Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 67
Configuring the Digidesign
CoreAudio Driver
You can configure the Digidesign CoreAudio
Driver using Digidesign CoreAudio Setup, or
from within most third-party CoreAudio-compatible client applications (such as BIAS Peak or
Logic Audio). Consult the manufacturer’s documentation for more information.
Some applications, such as Apple’s iTunes or
QuickTime Player, also require that you configure either the Apple Sound Preferences or Apple
Audio MIDI Setup to use the Digidesign CoreAudio Driver.
Digidesign CoreAudio Setup
Use Digidesign CoreAudio Setup to specify
which third-party CoreAudio applications can
use the CoreAudio Driver, change the CoreAudio Buffer Size setting, and access the Hardware
Setup dialog for your Digidesign hardware. Digidesign CoreAudio Setup also identifies your
Digidesign hardware and the supported number
of Input and Output Channels.
v
Digidesign CoreAudio Setup cannot be accessed
under the following circumstances:
• When Pro Tools is running.
• When another CoreAudio-client application is using the Digidesign CoreAudio
Driver.
Supported Applications
The Digidesign CoreAudio Driver provides the
Supported Applications feature for CoreAudiocompatible applications. This lets you specify
which CoreAudio-compatible applications can
be used with the Digidesign CoreAudio Driver.
To add suppor t for a CoreAudio-compatible
application:
1 Launch Digidesign CoreAudio Setup (located
in /Applications/Digidesign).
2 Click Supported Applications. The Digidesign
CoreAudio Supported Applications window
opens.
Figure 7. Digidesign CoreAudio Setup
Getting Started with Mbox68
Digidesign CoreAudio Supported Applications window
3 In the Digidesign CoreAudio Supported Appli-
cations window, click Add New Application.
The Open dialog appears.
4 In the Open dialog, navigate to and select the
CoreAudio-compatible application you want to
add.
5 Click Open. The selected application is added
to the Supported Applications list and can be
used with the Digidesign CoreAudio Driver.
6 When you are finished adding to the Sup-
ported Applications List, click Done.
7 In Digidesign CoreAudio Setup, click Done to
apply your changes.
ering scheme. The Buffer Size control in this dialog lets you set the size of each of the two buffers the Digidesign CoreAudio Driver uses on
Digidesign hardware. You may select from the
following buffer sizes (depending on your Digidesign hardware):
• 128 samples
• 256 samples
• 512 samples
• 1024 samples
• 2048 samples
To remove support for a CoreAudio-compatible
application:
1 Launch Digidesign CoreAudio Setup (located
in /Applications/Digidesign).
2 Click Supported Applications. The Digidesign
CoreAudio Supported Applications window
opens.
3 In the Supported Applications list, select the
application you want to remove.
4 Click Remove Selected Application. The se-
lected application is removed from the Supported Applications list and cannot be used with
the Digidesign CoreAudio Driver.
5 When you are finished removing applications
from the Supported Applications List, click
Done.
6 In Digidesign CoreAudio Setup, click Done to
apply your changes.
Buffer Size
When you play a file from a client audio application, the client application divides the file
into small packets (buffers) and sends each of
these to the Digidesign CoreAudio Driver. The
Digidesign CoreAudio Driver copies the client
application’s input and output buffers to your
Digidesign hardware’s buffers in a double-buff-
Small buffers have the advantage of low latency
in the record monitor path. (Latency is the time
delay between a signal entering the audio inputs
and leaving the outputs during recording.)
Larger buffers have the advantage of making the
Digidesign CoreAudio Driver more immune to
audio dropouts during playback and recording.
In some CoreAudio-client applications, performing various tasks will interrupt the CoreAudio Driver and may result in clicks and pops in
audio playback or recording. Choosing medium
or large buffers (such as 256, 512, or 1024) can
help alleviate this problem.
Changing the Buffer Size for the Digidesign
CoreAudio Driver does not affect the H/W
Buffer Size settings in the Pro Tools Playback Engine dialog.
Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 69
To configure Digidesign CoreAudio Hardware
Buffer Size:
1 Launch Digidesign CoreAudio Setup (located
in /Applications/Digidesign).
2 From the Buffer Size pop-up menu, select the
desired CoreAudio buffer size (in samples). Generally, smaller buffer sizes are preferable. However, if you experience any problems with
performance (such as clicks and pops during recording or playback), try increasing the CoreAudio Buffer Size setting.
Most audio applications that support
CoreAudio will let you adjust the CoreAudio
Buffer Size setting from within the application.
3 In Digidesign CoreAudio Setup, click Done to
apply your changes.
To configure Digidesign CoreAudio HW Setup:
1 Launch Digidesign CoreAudio Setup (located
in /Applications/Digidesign).
2 Click the HW Setup button to open the Hard-
ware Setup dialog.
Figure 8. Hardware Setup dialog
3 Configure the Hardware Setup dialog for your
Digidesign hardware..
HW Setup Button
The HW Setup button opens the Hardware
Setup dialog for your Digidesign hardware. For
more information, refer to the Getting Started
Guide for your Pro Tools system or the Pro Tools
Reference Guide.
Getting Started with Mbox70
For more information on the Hardware
Setup dialog, refer to the Pro Tools Reference Guide.
4 When you are finished, click OK to close the
Hardware Setup dialog.
5 In Digidesign CoreAudio Setup, click Done to
apply your changes.
Configuring the Apple Sound
Preferences or Apple Audio MIDI
Setup
To use your Digidesign hardware with common
CoreAudio-compatible playback applications
(such as Apple iTunes or QuickTime Player), you
will need to configure either Sound Preferences
or Audio MIDI Setup in addition to Digidesign
CoreAudio Setup. However, for most CoreAudio-compatible client applications (such as BIAS
Peak or Cubase SX) this is unnecessary because
you can configure the CoreAudio Buffer Size setting, and input and output channels from
within the application.
4 Click the Input tab and select Digidesign HW
as the device for sound input.
Apple Sound Preferences
To configure the Apple Sound Preferences:
1 Launch System Preferences (Apple menu >
System Preferences).
2 Click Sound.
3 Click the Output tab and select Digidesign
HW as the device for sound output.
Sound Preferences, Output tab
Sound Preferences, Input tab
5 Quit System Preferences.
Apple Audio MIDI Setup
To configure the Apple Audio MIDI Setup:
1 Launch Audio MIDI Setup (located in
Home/Applications/Utilities).
2 Select the Audio Devices tab.
Apple Audio MIDI Setup application, Audio tab
Appendix D: Digidesign CoreAudio Driver (Macintosh Only) 71
3 From the System Settings Default Input pop-
up menu, select Digidesign HW.
4 From the System Settings Default Output pop-
up menu, select Digidesign HW.
Leave System Output and Selected Audio
Device set to Built-in audio controller. The
Digidesign CoreAudio Driver cannot be
used for system sounds.
Getting Started with Mbox72
appendix e
Configuring AMS (Mac OS X Only)
Pro Tools recognizes the ports on your MIDI interface as generic ports. With Mac OS X, you use
Apple’s Audio MIDI Setup (AMS) utility to identify external MIDI devices connected to your
MIDI interface and configure your MIDI studio
for use with Pro Tools.
To configure your MIDI studio in AMS:
1 Launch Audio MIDI Setup (located in Applica-
tions/Utilities).
– or –
In Pro Tools, choose Setups > Edit MIDI Studio
Setup.
2 Click the MIDI Devices tab. AMS scans your
system for connected MIDI interfaces. If your
MIDI interface is properly connected, it appears
in the window with each of its ports numbered.
3 For any MIDI devices connected to the MIDI
interface, click Add Device. A new external device icon with the default MIDI keyboard image
will appear.
4 Drag the new device icon to a convenient lo-
cation within the window.
5 Connect the MIDI device to the MIDI inter-
face by clicking the arrow for the appropriate
output port of the device and dragging a connection or “cable” to the input arrow of the corresponding port of the MIDI interface.
Audio MIDI Setup (MIDI Devices tab)
Making MIDI input and output connections
Appendix E: Configuring AMS (Mac OS X Only) 73
6 Click the arrow for the appropriate input port
of the device and drag a cable to the output arrow of the corresponding port of the MIDI interface.
To
remove a connection, select the cable and
press Delete. To delete all connections, click
Clear Cables.
7 Repeat steps 3–6 for each MIDI device in your
MIDI setup.
2 Select a manufacturer and model for the new
device from the corresponding pop-up menus.
(If the Manufacturer and Model pop-up menus
do not provide a name for your particular device, you can type a name.)
To configure an external MIDI device:
1 Select the external device icon and click Show
Info (or double-click the new device icon).
External Device Icon
Naming a new MIDI device
AMS refers to one or more files with the suffix “.middev” in the directory Root/Library/Audio/MIDI Devices for Manufacturer and Model names. Pro Tools installs
two such files that contain information for
many commercially available MIDI devices,
“Legacy Devices.middev” and “Digidesign
Devices.middev.” If the Manufacturer or
Model names for any of your external MIDI
devices is not available in the AMS Manufacturer and Model pop-up menus, you can
add them by editing any of the current
.middev files in any text editor (such as
TextEdit).
Getting Started with Mbox74
3 Click the More Properties arrow to expand the
dialog, then enable the appropriate MIDI channels (1–16) for the Transmits and Receives options. (These determine which channels the
device will use to send and receive MIDI.)
Enabling MIDI channels
4 Click the device image. The window expands
to show images for various MIDI devices (such
as keyboards, modules, interfaces, and mixers).
Select an icon for your device.
Selecting a device icon
To use your own custom icons, you can
place TIFF image files in /Library/
Audio/MIDI Devices/Generic/Images, and
they will appear as choices in the AMS device window.
5 Click OK.
The device names you enter appear as MIDI input and output choices in Pro Tools.
Appendix E: Configuring AMS (Mac OS X Only) 75
Getting Started with Mbox76
index
Numerics
32K clusters 16
A
AMS (Audio MIDI Setup) 73
configuring MIDI devices in 74
ASIO driver 59
audio
analog 32
editing 49
importing 45
monitoring 31
preparing 46
routing 46, 52
audio connections
home stereo 32
self-powered monitors 32
Audio Regions List 42
audio tracks 40, 41
authorization code
Windows 12
authorizing Pro Tools 21
automation 55
creating 55
Auxiliary Inputs 40, 41, 48, 52
B
Bounce to Disk command 56
C
channel strip controls
Mute 52
Pan 52
Solo 52
Volume 52
click 38
Click plug-in
Accented parameter 37
Unaccented parameter 37
Clock Source 15, 23
cluster size 16
CPU Usage Limit 22
D
DAE Playback Buffer Size 22
defragment
Windows 17
Disk Cleanup 16
DMA 7
E
Edit mode buttons 49
Edit modes 49
Grid 49
selecting 49
Shuffle 49
Slip 49
Spot 49
Edit tools 49
Grabber 49
Pencil 49
Scrubber 49
Selector 49
Smart Tool 49
Trimmer 49
Zoomer 49
Edit window 36
editing 49
editing regions 50
Index 77
F
fade files 35
FAT32 16
firmware 10
G
gain
headphones 29
input 27
Grabber tool 49
Grid mode 49
H
hard drive
and Macintosh system drive 24
and Windows system drive 17
hard drives
cluster size 16
formatting 24
maintenance 17
space requirements 3
Windows maintenance 16
Hardware Buffer Size 21
hardware installation 7
USB 9
headphones
gain control 29
output
back panel 29
front panel 29
HFS 12
Hibernate 8
I
I/O Setup
Macintosh configuration 15, 24
Windows configuration 15
importing audio 45
indicators
peak level 28
phantom power 27
S/PDIF input 28
USB connection 28
Input Format 23
input gain 27
inputs
analog 30
digital 30
inserts 30
analog on Mbox 32
plug-ins 55
K
key commands 5
L
latency
see monitoring
M
MacOpener 12
Master Faders 40, 41, 54
creating 54
Mbox
features 2
back panel 29
front panel 27
memory locations 43, 44
defining 43
recalling 43
MIDI
and signal paths 34
connections 34
editing 49
monitoring 48
MIDI click 38
MIDI controls 37, 38, 40
MIDI Regions List 42
MIDI tracks 40, 42
mix automation 55
mix control 28
Mix window 36, 52
mixing 52
monitoring 31
audio 31
MIDI 48
when overdubbing 28
zero latency 28
mono switch 28
multi-processor 22
Mute button 52
Getting Started with Mbox78
N
NTFS 16
O
outputs
analog 30
digital 30
P
Pan slider 52
peak indicators 28
Pencil tool 49
phantom power 30, 32
indicator 27
when to use 27
playback
starting and stopping 40
Playback Engine dialog 39
playlists 51
creating 52
plug-ins 54
power
Windows System Standby 8
Pro Tools
authorizing 21
capabilities 2
main windows 36
software configuration 21
validating 21
Windows configuration 13
Pro Tools LE
installing, Windows 9
Q
QuickTime 10
R
ratio control 28
recording
audio 47
MIDI 48
regions 42
arranging 50
creating 42
editing 50
trimming 50
returns 53
creating 53
rulers 36
S
S/PDIF I/O 30
S/PDIF input indicator 28
S/PDIF mirroring 33
Sample Rate 14, 23
Scrubber tool 49
Selector tool 49
sends 42, 53
assigning 53
sessions 35
creating 35
duplicating 38
navigating 42
saving 35, 38
saving copies of 39
Shuffle mode 49
Slip mode 49
Smart Tool 49
Solo button 52
sources
analog 30, 32
connecting 32, 33
instrument 27
line 27
microphone 27
selecting 27
Spot mode 49
submixing 52
system requirements
MIDI 34
System settings
for Windows 7
system settings 39
Clock Source 15, 23
CPU Usage Limit 22
DAE Playback Buffer Size 22
Hardware Buffer Size 21
I/O Setup 15, 24
Input Format 23
Sample Rate 14, 23
System Usage window 39
Index 79
T
tempo 37
setting 37
tempo events 37
track height
changing 44
tracks 40
audio 40, 41
Auxiliary Inputs 40, 41, 52
creating 40
Master Faders 40, 41, 54
MIDI 40, 42
playing back audio 47
playing back MIDI 48
recording audio 47
recording MIDI 48
types 40
Transport
MIDI controls 40
Transport window 36, 39
Trimmer tool 49
U
USB 9
connection indicator 28
port 21
Z
Zoom presets 44
recalling 44
storing 44
Zoomer tool 49
Zooming 44
V
validating Pro Tools 21
validating Pro Tools software
Windows configuration 12
Volume fader 52
W
Windows
required System settings 7
System Standby 8
windows 36
Edit window 36
Mix window 36, 52
Transport window 36, 39
Windows System Standby 8
Windows XP
maintenance 16
Workspace 36
Getting Started with Mbox80
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