®
Mbox Pro User Guide
Version 8.0.4
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contents
Chapter 1. Welcome to Mbox Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Mbox Pro Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Pro Tools LE Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 2. Installing Pro Tools on Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Installing Pro Tools LE and Connecting Your Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 3. Installing Pro Tools on Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Installation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Installing Pro Tools LE and Connecting Your Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Launching Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Additional Software on the Pro Tools Installer Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Uninstalling Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Chapter 4. Configuring Your Pro Tools System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Starting Up or Shutting Down Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Configuring Pro Tools LE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Configuring the Pro Tools Hardware Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Optimizing a Mac System for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Optimizing a Windows System for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Contents iii
Chapter 5. Mbox Pro Hardware Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Mbox Pro Front Panel Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Mbox Pro Back Panel Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Chapter 6. Making Studio Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Connecting Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Connecting Audio Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Connecting a Microphone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Connecting Instruments to the Mbox Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Connecting Keyboards and Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Digital Input and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Using a Footswitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Appendix A. Using the Driver Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Additional Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Stereo Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Using the Stereo Mix Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Appendix B. Using the Multi Button. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Using the Multi Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Press and Release Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Press and Hold Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Hold Duration Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Appendix C. Configuring AMS (Mac OS X Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Audio MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
MIDI Patch Name Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Appendix D. Configuring MIDI Studio Setup (Windows Only). . . . . . . . . . . . . . . . . . . . 77
MIDI Studio Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
MIDI Patch Name Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Mbox Pro User Guideiv
Appendix E. Hard Drive Configuration and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . 81
Avoid Recording to the System Drive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Supported Drive Formats and Drive Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Formatting an Audio Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Partitioning Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Defragmenting an Audio Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Using Mac Drives on Windows Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Hard Disk Storage Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Appendix F. Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Before You Call Avid Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Appendix G. Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
About the Pro Tools Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Appendix H. Compliance Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Environmental Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
EMC (Electromagnetic Compliance). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Safety Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Contents v
Mbox Pro User Guidevi
chapter 1
Welcome to Mbox Pro
Welcome to the Mbox®Pro desktop production
system from Avid
Mbox Pro and Pro Tools LE
FireWire-equipped computer with six channels
of analog audio input, six channels of analog audio output, two channels of S/PDIF digital audio
input and output, MIDI and Word Clock I/O,
and two front panel headphone outputs with
independent level controls. Mbox Pro provides
professional-quality mic preamps and 24bit/192 kHz analog-to-digital and digital-to-analog converters.
®
.
®
provide your
Mbox Pro Features
The Mbox Pro provides the following:
Audio Inputs and Outputs
Mbox Pro lets your Pro Tools LE sessions utilize
up to eight discrete channels of input and up to
eight discrete channels of output, using the following analog and digital I/O:
Analog Inputs
• Two channels of analog audio input with high
quality microphone preamps (inputs 1–2).
Each input channel 1–2 provides:
• +48v Phantom Power and inserts.
• Two XLR/TRS (Mic/DI) combo connectors
on the front panel, and two 1/4-inch TRS
Line connectors with switchable +4/-10 input level on the rear panel.
• Mic preamps feature a –20 dB pad and softlimit switch separately on each analog input channel.
• Mic/DI signal is adjusted by the Gain knob
for each channel.
• Two additional channels of analog audio input with high quality microphone preamps.
Each input channel 3–4 provides:
• +48v Phantom Power and inserts.
• Analog input jacks include two XLR Mic
connectors on the rear panel, and two 1/4inch TRS Line connectors with switchable
+4/-10 input level also on the rear panel.
• Mic preamps feature a –20 dB pad and softlimit switch separately on each analog input channel.
• Mic signal is adjusted by the Gain knob for
each channel.
• Two channels of analog audio input via RCA
or 1/8-inch connectors (Aux 5/6). Each input
channel provides:
• Analog input jacks provide an unbalanced
line input on either RCA connectors or a
1/8-inch mini stereo connector (common
for connecting most MP3 players).
Chapter 1: Welcome to Mbox Pro 1
• Inputs are fully functioning inputs to
Pro Tools as well as providing an alternate
monitor source using the Speaker button.
Analog Outputs
• Six balanced 1/4-inch TRS analog outputs,
supporting line level outputs, multiple stereo
monitors, or up to 5.1 surround monitoring.
• Insert jacks (1–4) for inserting external processing devices on input channels.
• 24-bit A/D and D/A converters, supporting
sample rates of 44.1 kHz, 48 kHz, 88.2 kHz,
96 kHz, 176.4 kHz, and 192 kHz.
Digital I/O
• Two channels of S/PDIF digital input and output. S/PDIF inputs are available independent
of, and in addition to, analog inputs 1–6
when clocking to S/PDIF. S/PDIF outputs are
always available in Pro Tools.
MIDI
• One MIDI In and one MIDI Out port, providing 16 MIDI input channels and 16 MIDI output channels.
Other Capabilities and Specifications
• Front panel “Multi” button, assignable to a
variety of common Pro Tools functions.
• Low latency direct record monitoring.
• On-board tuner.
• Two 1/4-inch (TRS) stereo headphone outputs
(A and B) with independently adjustable level
and routing controls.
• Control room functionality including front
panel Dim/Mute, Mono and Speaker/Source
switches.
• Footswitch jack for starting or stopping playback or punching in and out while recording.
• Multi-pin port (DB15 connection) that handles Word Clock, MIDI, and S/PDIF via breakout Cable (included).
Pro Tools LE Capabilities
Pro Tools LE™ on Mac or Windows provides the
following capabilities with Mbox Pro:
• Playback of up to 48 mono or stereo digital
audio tracks, or a combination of playing
back and rec ordin g up t o 48 mo no or ster eo
digital audio tracks, depending on your
computer’s capabilities.
• Up to 128 audio tracks (with up to 48 active
tracks), 128 Auxiliary Input tracks, 64 Master Fader tracks, 256 MIDI tracks, and 32 Instrument tracks per session.
• 16-bit or 24-bit audio resolution, at sample
rates up to 96 kHz.
• Non-destructive, random-access editing
and mix automation.
• Audio processing with up to 10 inserts per
track (RTAS plug-ins or hardware inserts).
• Up to 10 sends per track.
• Up to 32 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.
Mbox Pro User Guide2
System Requirements and Compatibility
Mbox Pro can be used with a qualified Windows
or Mac computer.
A DVD drive is required to use the Pro Tools Installer disc.
Avid can only assure compatibility and provide
support for hardware and software it has tested
and approved.
For complete system requirements and a list of
qualified computers, operating systems, hard
drives, and third-party devices, visit:
www.avid.com/compatibility
MIDI Requirements
Mbox Pro includes one MIDI In port and one
MIDI Out port, providing 16 channels of MIDI
input and 16 channels of MIDI output.
If you require additional MIDI ports, add a MIDI
interface to your system. USB MIDI interfaces
work effectively with Pro Tools systems on Windows or Mac. Serial MIDI interfaces are supported on Windows systems only.
Hard Drive Requirements
For optimal audio recording and playback, all
Pro Tools systems require one or more qualified
hard drives.
If you are using an ATA/IDE or FireWire hard
drive, initialize your drive with the Disk Utility
application included with Apple System software (Mac) or Windows Disk Management
(Windows).
For more information, see Appendix E,
“Hard Drive Configuration and Maintenance.”
Avoid Recording to the System Drive
Recording to your system drive is not recommended. Recording and playback on a system
drive may result in lower track counts and fewer
plug-ins.
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.
For a list of supported MIDI interfaces and
controllers, visit www.avid.com.
Chapter 1: Welcome to Mbox Pro 3
Conventions Used in This Guide
All of our guides use the following conventions
to indicate menu choices and key commands:
:
Convention Action
About www.avid.com
The Avid website (www.avid.com) is your best
online source for information to help you get
the most out of your Pro Tools system. The following are just a few of the services and features
available.
File > Save Choose Save 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 Click with the right
mouse button
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight
important information:
User Tips are helpful hints for getting the
most from your system.
Important Notices include information that
could affect your data or the performance of
your system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Product Registration Register your purchase
online.
Support and Downloads Contact Avid Customer
Success (technical support); download software
updates and the latest online manuals; browse
the Compatibility documents for system requirements; search the online Knowledge Base
or join the worldwide Pro Tools community on
the User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Avid
products; download demo software or learn
about our Development Partners and their
plug-ins, applications, and hardware.
News and Events Get the latest news from Avid
or sign up for a Pro Tools demo.
Cross References point to related sections in
this guide and other Pro Tools guides.
Mbox Pro User Guide4
chapter 2
Installing Pro Tools on Mac
This chapter contains information for Mac systems only. If you are installing Pro Tools on a
Windows computer, see Chapter 3, “Installing
Pro Tools on Windows.”
Before installing this version of Pro Tools,
refer to the Read Me information included
on the Pro Tools Installer disc.
Installing Pro Tools LE and Connecting Your Interface
Before connecting your Pro Tools LE interface to
the computer, you need to install Pro Tools LE
software.
Do not start this procedure with your
Mbox Pro connected to your computer.
Installation Overview
Installation of the Mbox Pro on a Mac includes
the following steps:
1 “Installing Pro Tools LE and Connecting Your
Interface” on page 5.
2 “Launching Pro Tools LE” on page 7.
3 Configuring your system for improved perfor-
mance (see Chapter 4, “Configuring Your
Pro Tools System”).
4 Making audio connections to the Mbox Pro
(see Chapter 6, “Making Studio Connections”).
The Pro Tools Installer disc includes additional software for your system. For more information, see “Additional Software on the
Pro Tools Installer Disc” on page 7.
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.
When the installation is complete, you will
need to restart your computer.
For details on Administrator privileges in
Mac OS X, see your Apple OS X documentation.
2 Insert the Pro Tools LE Installer disc in your
DVD drive.
Chapter 2: Installing Pro Tools on Mac 5
3 On the Installer disc, locate and double-click
Install Pro Tools LE.mpkg.
Install Pro Tools LE.mpkg icon
4 Follow the on-screen instructions to proceed
with installation.
5 Click Continue each time you are prompted.
6 At the Installation Type page, do one of the
following:
• To install all Pro Tools application files and
free plug-in suites (and associated content),
leave the default Installation options selected and click Continue.
– or –
• Select (or deselect) a custom configuration
of Installation options (see “Installation
Options” on page 6) and click Continue.
7 Click Install.
8 If prompted, enter your Administrator pass-
word and click OK to authenticate the installation.
Installation Options
Pro Tools LE Options
To install a subset of Pro Tools software and
plug-ins (and associated content), click the reveal triangle for the Pro Tools LE option in the
installer, and deselect any of the following options that you do not want installed. (If an item
is checked, it will be installed.)
Application Files (Required for Pro Tools) Installs
the Pro Tools application and supporting library
files needed to run Pro Tools. This option must
be selected to install Pro Tools.
DigiRack Plug-Ins Installs free plug-ins including
DigiRack plug-ins, free Bomb Factory plug-ins,
Eleven Free, TL Utilities, and Digidesign D-Fi
and Maxim plug-ins. For more information, see
the Audio Plug-Ins Guide.
Pro Tools Creative Collection Options
Select any of the Pro Tools Creative Collection
options you want installed. For more information, see the Audio Plug-Ins Guide.
Effect Plug-Ins Installs 6 free virtual instrument
plug-ins from Avid’s AIR group.
9 Follow the remaining on-screen instructions.
10 When installation is complete, click Restart.
11 After the computer has restarted, connect
one end of the provided FireWire cable to the
FireWire port on Mbox Pro. Connect the other
end of the cable to any available FireWire port
on your computer. Connect the power cable and
turn on the Mbox Pro using the power switch
on the back. Then follow the remaining onscreen instructions to complete installation.
Mbox Pro User Guide6
Virtual Instruments Installs 20 free effects plugins from Avid’s AIR group.
Virtual Instrument Content Installs sample content for AIR virtual instruments.
Virtual Instrument Content is very large
and may take up to 20 minutes to install.
During this time, the progress bar may not
appear to move but your software is still installing. Do not terminate your installation.
Additional Options
The Pro Tools installer provides the following
additional options to install along with
Pro Tools software and plug-ins:
Avid CoreAudio Drivers This option installs a
multichannel sound driver that allows CoreAudio-compatible applications to record and play
back through Avid audio interfaces.
Avid Video Engine This option lets you integrate
®
Avid
video peripherals (such as the Avid Mojo®
with your Pro Tools system). Do not install unless you will be using one of these products.
MIDI I/O Driver The MIDI I/O
quired if you are using the Avid MIDI I/O interface. Do not install unless you will be using a
MIDI I/O.
™
Driver is re-
Launching Pro Tools LE
When launching Pro Tools LE the first time, you
are prompted to enter an authorization code to
validate your software. (The code begins with
the letters DIGI.)
To authorize Pro Tools LE software:
1 Make sure Mbox Pro is connected to your
computer.
2 Click the Pro Tools LE icon in the Dock (or
double-click the application icon in the
Pro Tools folder inside the Digidesign folder).
3 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 back of your Pro Tools DVD wallet.)
4 Use the Quick Start dialog to do one of
the following:
• Create a new session from template.
• Create a new blank session.
• Open any other session on your system.
Quick Start dialog
For more information on the Quick
Start dialog and session templates, see the
Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).
Additional Software on the Pro Tools Installer Disc
The Pro Tools LE Installer disc provides additional software for your system, including audio
drivers (for playing other audio applications
through your Pro Tools hardware) and a
Pro Tools demo session.
Check your Pro Tools Installer disc for additional software and installers.
Chapter 2: Installing Pro Tools on Mac 7
Third-Party Applications and
Plug-Ins
Your Pro Tools package also includes free applications and plug-ins from Avid and selected
Avid Third Party developers (content subject to
change). Once you've completed your Pro Tools
installation, you can install these separately.
Installers are located on your Pro Tools LE Installer disc in the Additional Files\3rd Party
Content folder.
Pro Tools Demo Session
The Pro Tools LE Installer disc includes a demo
session that you can use to verify that your system is working.
The demo session for Pro Tool LE is named “Filtered Dream.”
Before installing the demo session to your
audio drive, make sure the drive is configured as described in “Formatting an Audio
Drive” on page 82.
Avid CoreAudio Driver
The Avid CoreAudio Driver is a multi-client,
multichannel sound driver that lets Core Audio–compatible applications record and play
back through Pro Tools hardware.
The Avid CoreAudio Driver is installed by default when you install Pro Tools.
For information on configuring the
Avid CoreAudio Driver, see the CoreAudio
Drivers Guide.
Standalone CoreAudio Driver
The Avid CoreAudio Driver can be installed as a
standalone driver on Mac systems that do not
have Pro Tools software installed.
For information on installing and configuring
the standalone version of the Avid CoreAudio
Driver, see the CoreAudio Drivers Guide.
If you uninstall Pro Tools, the CoreAudio
Driver is automatically uninstalled at that
time.
To install the demo session:
1 Insert the Pro Tools LE Installer disc into your
DVD drive.
2 On the Pro Tools LE Installer disc, locate and
open the Additional Files/Pro Tools Demo Sessions Installer folder.
3 Double-click Install demo session.pkg.
4 Follow the on-screen instructions.
5 When prompted, select your audio drive as
the install location and click Next to begin the
installation. When installation is complete,
click Close.
The demo session can be opened by doubleclicking the Filtered Dream.ptf file (located
in the Filtered Dream Demo Session folder).
Mbox Pro User Guide8
Uninstalling Pro Tools
If you need to uninstall Pro Tools software from
your computer, use the Uninstaller application.
To remove Pro Tools from your computer:
1 Make sure you are logged in as an Administra-
tor for the account where Pro Tools is installed.
For details on Administrator privileges in
Mac OS X, see your Apple OS X documentation.
2 Go to Applications/Digidesign/Pro Tools/
Pro Tools Utilities and double-click
Uninstall Pro Tools.
3 Click Continue to proceed with the uninstall.
4 Choose the type of uninstall you want to per-
form:
Safe Uninstall Leaves certain plug-ins and system files needed for compatibility with some
Avid products. Use Safe Uninstall if you are using an Avid application or preparing to update
to a CS (customer support) release.
Clean Uninstall Removes all Pro Tools files, including system files, Avid plug-ins, and MIDI
patch names. Use Clean Uninstall whenever you
are preparing to upgrade, or to troubleshoot
from a clean system.
5 Click Uninstall.
6 Enter your Administrator password and click
OK.
7 Click Finish to close the Installer window.
Chapter 2: Installing Pro Tools on Mac 9
Mbox Pro User Guide10
chapter 3
Installing Pro Tools on Windows
This chapter contains information for Windows
systems only. If you are installing Pro Tools on a
Mac computer, see Chapter 2, “Installing
Pro Tools on Mac”.
Before installing this version of Pro Tools,
refer to the Read Me information included
on the Pro Tools LE Installer disc.
Installing Pro Tools LE and Connecting Your Interface
Before connecting your Pro Tools LE interface to
the computer, you need to install Pro Tools LE
software.
Do not start this procedure with your
Mbox Pro connected to your computer.
Installation Overview
Installing the Mbox Pro on a Windows computer includes the following steps:
1 “Installing Pro Tools LE and Connecting Your
Interface” on page 11.
2 “Launching Pro Tools LE” on page 14
3 Configuring your system for improved perfor-
mance (see Chapter 4, “Configuring Your
Pro Tools System”).
4 Making audio and MIDI connections to the
Mbox Pro (see Chapter 6, “Making Studio Connections” for details).
The Pro Tools Installer disc includes additional software for your system. For more information, see “Additional Software on the
Pro Tools Installer Disc” on page 14.
To install Pro Tools LE:
1 Start Windows, logging in with Administrator
privileges. For details on Administrator privileges, refer to your Windows documentation.
When the installation is complete, you will
need to restart your computer.
2 Insert the Pro Tools LE Installer disc in your
DVD drive and do on of the following:
• If Windows AutoRun is enabled, a
mini-browser appears. Select Install
Pro Tools LE to begin your installation.
– or –
• If Windows AutoRun is disabled, locate and
double-click Setup.exe. on the Installer
disc.
Setup.exe icon
Chapter 3: Installing Pro Tools on Windows 11
In Windows 7 and Windows Vista, if the
User Account Control dialog appears, click
Allow.
3 Follow the on-screen instructions to proceed
with installation and click Next when prompted.
4 To install the complete compliment of
Pro Tools software and plug-ins, leave Pro Tools
selected.
5 At the Select Features page, do one of the fol-
lowing:
• To install all Pro Tools application files and
free plug-in suites (and associated content),
leave the default Installation options selected and click Continue.
– or –
• Select (or deselect) a custom configuration
of Installation options (see “Installation
Options” on page 12) and click Continue.
6 Click Next.
7 Click Install.
8 When prompted, connect one end of the in-
cluded FireWire cable to one of the FireWire
ports on Mbox Pro. Connect the other end of
the FireWire cable to any available FireWire
(6-pin 1394) port on your computer. Connect
the power cable and turn on the interface using
the power switch on the back.
9 Click OK.
In Windows 7 and Windows Vista, a series
of Windows Security dialogs may appear.
Click “Install” on each one until they go
away.
In Windows XP, a series of Software Installation dialogs about the driver not passing
Windows Logo testing may appear. Click
Continue Anyway on each one until they go
away.
If any other dialogs appear (such as the
“Found New Hardware” dialog), leave them
open and do not click on them. These dialogs will close on their own.
10 Wait for the installer to finish installing all
software components, drivers, and PACE System
files before proceeding to the next step.
11 When installation is complete, click Finish
and restart your computer.
Installation Options
Pro Tools LE Options
To install a subset of Pro Tools software and
plug-ins (and associated content), click the reveal triangle for the Pro Tools LE option in the
installer, and deselect any of the following options that you do not want installed. (If an item
is checked, it will be installed.)
Application Files (Required for Pro Tools) Installs
the Pro Tools application and supporting library
files needed to run Pro Tools. This option must
be selected to install Pro Tools.
DigiRack Plug-Ins Installs free plug-ins including
DigiRack plug-ins, free Bomb Factory plug-ins,
Eleven Free, TL Utilities, and Digidesign D-Fi
and Maxim plug-ins. For more information, see
the Audio Plug-Ins Guide.
Pro Tools Creative Collection Options
Select any of the Pro Tools Creative Collection
options you want installed. For more information, see the Audio Plug-Ins Guide.
Mbox Pro User Guide12
Effect Plug-Ins Installs 6 free virtual instrument
plug-ins from Avid’s AIR group.
Virtual Instruments Installs 20 free effects plugins from Avid’s AIR group.
Virtual Instrument Content Installs sample content for AIR virtual instruments.
Virtual Instrument Content is very large
and may take up to 20 minutes to install.
During this time, the progress bar may not
appear to move but your software is still installing. Do not terminate your installation.
Additional Options
The Pro Tools installer provides the following
additional options to install along with
Pro Tools software and plug-ins:
Mac HFS+ Disk Support Option This option lets
your Pro Tools system read, write, record, and
play back using Mac-formatted HFS+ disks. HFS+
disks are commonly referred to as Mac OS Extended disks.
Installing QuickTime
QuickTime is required for Pro Tools if you plan
to include movie files, or import MP3 or MP4
(AAC) files in your sessions. QuickTime for Windows is available as a free download from the
Apple website (www.apple.com).
For information on which version of
QuickTime is compatible with your version of
Pro Tools, visit www.avid.com/compatibility).
To install QuickTime:
1 Visit www.apple.com and go to the Quick-
Time page.
2 Download the QuickTime installer applica-
tion to your computer.
3 Double-click the QuickTime installer applica-
tion and follow the on-screen installation instructions.
4 Restart your computer.
For information on using the Mac HFS+
Disk Support option, see the HFS+ Disk Support Option Guide.
Avid Video Engine This option lets you integrate
®
Avid
video peripherals (such as the Avid Mojo®
with your Pro Tools system). Do not install unless you will be using one of these products.
Command|8 Controller and Driver This option installs the personality file and device driver for
the Avid Command|8 Control Surface. Do not
install unless you will be using Command|8.
Chapter 3: Installing Pro Tools on Windows 13
Launching Pro Tools LE
When launching Pro Tools LE the first time, you
are prompted to enter an authorization code to
validate your software. (The code begins with
the letters DIGI.)
To authorize Pro Tools LE software:
1 Make sure Mbox Pro is connected to your
computer.
2 Double-click the Pro Tools LE shortcut on
your desktop (or the application icon in the
Pro Tools folder inside the Digidesign folder).
3 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 back of your Pro Tools DVD wallet.)
4 Use the Quick Start dialog to do one of
the following:
• Create a new session from template.
• Create a new blank session.
• Open any other session on your system.
Additional Software on the Pro Tools Installer Disc
The Pro Tools LE Installer disc provides additional software for your system, including audio
drivers (for playing other audio applications
through your Pro Tools hardware) and a
Pro Tools demo session.
Check your Pro Tools Installer disc for
additional software and installers.
Third-Party Applications and
Plug-Ins
Your Pro Tools package also includes free applications and plug-ins from Avid and selected
Avid Third Party developers (content subject to
change). Once you've completed your Pro Tools
installation, you can install these separately.
Installers are located on your Pro Tools LE
Installer disc in the Additional Files\3rd Party
Content folder.
Avid Audio Drivers
Quick Start dialog
For more information on the Quick
Start dialog and session templates, see the
Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).
Mbox Pro User Guide14
The Avid Audio Drivers are multi-client, multichannel sound drivers that allow Pro Tools and
third-party audio programs that support the
ASIO Driver or WaveDriver MME/DirectX
(Multimedia Extension) standards to record and
play back through qualified Pro Tools audio
interfaces.
For information on configuring settings for
your audio interface for use with Pro Tools or
other audio applications, see Appendix A,
“Using the Driver Control Panel.”
For additional information on the Avid
Audio Drivers, see the Windows Audio
Drivers Guide.
Pro Tools Demo Session
The Pro Tools LE Installer disc includes a demo
session that you can use to verify that your system is working.
Uninstalling Pro Tools
Use the Uninstall Pro Tools application to uninstall Pro Tools software from your computer.
The demo session for Pro Tool LE is named
“Filtered Dream.”
Before installing the demo session to your
audio drive, make sure the drive is configured as described in “Formatting an Audio
Drive” on page 82.
To install the demo session:
1 Insert the Pro Tools LE Installer disc into your
DVD drive.
2 On the Pro Tools LE Installer disc, locate and
open the Additional Files\Pro Tools Demo Sessions Installer folder.
3 Double-click LE Demo Session Setup.exe.
4 Follow the on-screen instructions.
5 When prompted, select your audio drive as
the install location and click Next to begin the
install.
6 When installation is complete, click Finish.
The demo session can be opened by doubleclicking the Filtered Dream.ptf file (located
in the Filtered Dream Demo Session folder).
To uninstall Pro Tools from your computer:
1 Start Windows, logging in with Administrator
privileges. For details on Administrator privileges, refer to your Windows documentation.
2 Go to C:\Program Files\Digidesign\
Pro Tools\Pro Tools Utilities and double-click
Uninstall Pro Tools.exe.
3 Click Next.
4 Click Uninstall to proceed with the uninstalla-
tion.
Chapter 3: Installing Pro Tools on Windows 15
Mbox Pro User Guide16
chapter 4
Configuring Your Pro Tools System
After you have connected your system and installed Pro Tools software, you are ready to start
up and configure your Pro Tools system.
Starting Up or Shutting Down Your System
To ensure that the components of your
Pro Tools system communicate properly with
each other, you need to start them in a particular order.
Start up your Pro Tools system in this order:
1 Make sure all your equipment (including your
computer) is off.
2 Lower the volume of all output devices in your
system (especially the main outputs to your
speakers!).
3 Turn on any external hard drives. Wait ap-
proximately ten seconds for them to spin up to
speed.
4 Turn on any control surfaces (such as Com-
mand|8).
5 Turn on any MIDI interfaces, MIDI devices, or
synchronization peripherals.
6 With the volume of all output devices low-
ered, turn on your Pro Tools audio interfaces.
Wait at least fifteen seconds for the audio interface to initialize and the status LEDs to stopflashing.
7 Turn on your computer.
8 Launch Pro Tools or any third-party audio or
MIDI applications.
9 Bring the output levels up to a comfortable lis-
tening level.
Shut down your Pro Tools system in this order:
1 Quit Pro Tools and any other running applica-
tions.
To quit Pro Tools, choose Pro Tools > Quit
(Mac) or File > Exit (Windows).
2 Turn off or lower the volume of all output de-
vices in your system.
3 Turn off the interface.
4 Turn off your computer.
5 Turn off any MIDI interfaces, MIDI devices, or
synchronization peripherals.
6 Turn off any control surfaces.
7 Turn off any external hard drives.
Chapter 4: Configuring Your Pro Tools System 17
Configuring Pro Tools LE
To change the Hardware Buffer Size:
1 Launch Pro Tools.
Pro Tools System Settings
In the Playback Engine dialog, 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
The Hardware Buffer Size (H/W Buffer Size) controls the size of the buffer used to handle host
processing tasks such as Real-Time AudioSuite™
®
(RTAS
) plug-ins.
• Lower Hardware Buffer Size settings are useful
for improving latency issues in certain recording situations or for improving certain system
performance problems. On Pro Tools LE systems, lower settings reduce all input-to-output monitoring latency on any record-armed
tracks or Auxiliary Input tracks with live inputs.
• Higher Hardware Buffer Size settings are useful for sessions that are using more RTAS plugins for playback. These settings allow for more
audio processing. They can also be useful to
reduce errors on some machines that require a
higher buffer size.
2 Choose Setup > Playback Engine.
3 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
Playback Engine dialog for Pro Tools LE, with Structure
Free plug-in installed. (Mbox 2 shown)
4 Click OK.
In addition to causing slower screen response and monitoring latency, higher
Hardware Buffer Size settings can increase
the latency caused by RTAS plug-ins, and
affect the accuracy of plug-in automation,
mute data, and MIDI track timing.
Mbox Pro User Guide18
Host Processors
The Host Processors setting lets you manage
multi-processor support for RTAS (Real-Time
AudioSuite) plug-in processing.
Used in combination with the CPU Usage Limit
setting, the Host Processors setting lets you control the way RTAS and other host-based processing tasks are carried out by the system.
For example:
• For sessions with large numbers of RTAS plugins, you can allocate 2 or more processors to
RTAS processing and set a high CPU Usage
Limit.
• For sessions with few RTAS plug-ins, you can
allocate fewer Host Processors to RTAS and set a
low CPU Usage Limit settings to leave more host
processing resources available for automation
accuracy, screen response, and video.
• Depending on the importance of video and
overall screen response, and on the density of
automation being employed, try different
combinations of Host Processors and CPU Us-
age Limit settings to achieve the best results.
For example, to improve screen response in a
medium-sized session using a moderate number of RTAS plug-ins, try reducing the number
of RTAS plug-ins, but keep the CPU Usage Limit
set to the maximum (up to 99% on a single
processor system).
To set the number of Host Processors:
1 Choose Setup > Playback Engine.
2 From the Host Processors pop-up menu, select
the number of available processors you want to
allocate. The number of processors varies depending on your computer:
• Select 1Processor to limit processing to
one CPU in the system.
• Choose 2 Processors to enable load balancing across two available processors.
• On systems running four or more processors, choose the number of processors for
processing.
3 Click OK.
System Usage Window and Processing
The System Usage window (Window > System Usage) displays the combined amount of process-
ing occurring on all enabled processors with a
single indicator, regardless of how many processors are available in the system. If the System Usage Window shows that you are at the limit of
available resources, increase the number of processors and adjust the CPU Usage Limit setting.
Chapter 4: Configuring Your Pro Tools System 19
CPU Usage Limit
Host Engine (Error Suppression)
The CPU Usage Limit setting controls the percentage of CPU resources allocated to Pro Tools
host processing tasks. Used in combination with
the Host Processors setting, the CPU Usage Limit
setting lets you control the way Pro Tools tasks
are carried out by the system.
•Lower CPU Usage Limit settings limit the effect
of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful when you are experiencing slow system
response, or when running other applications
at the same time as Pro Tools.
•Higher CPU Usage Limit settings allocate more
processing power to Pro Tools, and are useful
for playing back large sessions or using more
RTAS plug-ins.
The maximum available CPU Usage Limit depends on the number of processors in your computer and on the number of processors you specify for RTAS processing. This value can range
from 85% for single-processor computers, and
99% for multiprocessor computers (which dedicate one entire processor to Pro Tools).
The Host Engine option determines error reporting during playback and recording. This is especially useful when working with instrument
plug-ins.
You should only enable error suppression if you
are experiencing frequent RTAS errors that are
interrupting your creative workflow. When error suppression is enabled, you can experience a
degradation of audio quality. However, this may
be acceptable in order to avoid interrupting
playback and recording when working with instrument plug-ins. Be sure to disable error suppression when you need to ensure the highest
possible audio quality, such as for a final mix.
To enable error suppression:
1 Choose Setup > Playback Engine.
2 Select Host Engine: Ignore Errors During Play-
back/Record.
3 On Mac, you can also select Minimize Additional
I/O Latency.
4 Click OK.
On multiprocessor computers, the maximum
CPU Usage Limit is reduced when you use all your
processors (as selected in the Processing pop-up
menu). For example, on dual-processors, the
limit is 90%. On four-processor computers, the
limit is 95%.
Increasing the CPU Usage Limit may slow
down screen responses on slower computers.
To change the CPU Usage Limit:
1 Choose Setup > Playback Engine.
2 From the CPU Usage Limit pop-up menu, select
the percentage of CPU processing you want to
allocate to Pro Tools.
3 Click OK.
Mbox Pro User Guide20
Error Suppression Options
Ignore Errors During Playback/Record
When the Ignore Errors During Playback/Record
option is enabled, Pro Tools continues to play
and record even if the host processing requirements exceed the selected CPU Usage Limit. This
can result in pops and clicks in the audio, but
does not stop the transport.
Minimize Additional I/O Latency (Mac Only)
When enabled, any additional latency due to
suppressing errors during playback and record is
minimized to 128 samples. Suppressing RTAS errors requires at least 128 samples of additional
buffering on some systems. If this option is disabled, the buffer is half the H/W Buffer Size, or at
least 128 samples (whichever is greater). If you
are on an older, slower computer, you may want
to disable this option to avoid adverse performance.
This option is only available on Mac if the Ignore
Errors During Playback/Record option is enabled.
DAE Playback Buffer Size
The DAE Playback Buffer Size setting determines
the amount of memory DAE allocates for disk
buffers. In addition to levels, the DAE Playback
Buffer Size shows values in milliseconds, which
indicate the amount of audio buffered when the
system reads from disk.
The optimum DAE Playback Buffer Size for most
disk operations is 1500 msec; Level 2 (Default).
• DAE Playback Buffer Size settings lower than
1500 msec; Level 2 (Default) may improve
playback and recording initiation speed, as
well as preview in context in DigiBase browsers. However, a lower setting may make it difficult to play or record tracks reliably with
sessions containing a large number of tracks
or a high density of edits, or with systems that
have slower or heavily-fragmented hard
drives.
• DAE Playback Buffer Size settings higher than
1500 msec; Level 2 (Default) allow higher track
count, higher density of edits in a session, or
the use of slower hard drives. However, a
higher setting may increase the time lag when
starting playback or recording, starting preview in context from DigiBase browsers, or
cause a longer audible time lag while editing
during playback.
Using a larger DAE Playback Buffer Size
leaves less system memory for other tasks.
The default setting of 1500 msec (Level 2) is
recommended unless you are encountering
–9073 (“Disk too slow or fragmented”)
errors.
To change the DAE Playback Buffer Size:
1 Choose Setup > Playback Engine.
2 From the DAE Playback Buffer pop-up menu, se-
lect a buffer size. Memory requirements for each
setting are shown at the bottom of the Playback
Engine dialog.
3 Click OK.
If Pro Tools needs more system memory for the
DAE Playback Buffer, it will prompt you to restart your computer.
Chapter 4: Configuring Your Pro Tools System 21
Cache Size
The Cache Size setting determines the amount
of memory DAE allocates to pre-buffer audio for
playback and looping when using Elastic Audio.
Minimum Reduces the amount of system memory used for disk operations and frees up memory for other system tasks. However, performance when using Elastic Audio features may
decrease.
Normal Is the optimum Cache Size for most sessions.
Plug-In Streaming Buffer Size
(Structure Plug-In Only)
This setting appears in the Playback Engine dialog only if Structure, Structure LE, or
Structure Free is installed on your system. The
Plug-In Streaming Buffer Size determines the
amount of memory DAE allocates for streaming
playback from disk with the Structure plug-in.
This setting only affects playback if disk streaming is activated in Structure’s plug-in controls
(see the AIR Virtual Instruments Guide for more
information).
Large Improves performance when using Elastic
Audio features, but it also decreases the amount
of memory available for other system tasks, such
as RTAS processing.
Using a larger Cache Size leaves less system
memory for other tasks. The default setting
of Normal is recommended unless you are
encountering -9500 (“Cache too small”)
errors.
To change the Cache Size:
1 Choose Setup > Playback Engine.
2 From the Cache Size pop-up menu, select a
disk cache size.
3 Click OK.
The optimum Plug-In Streaming Buffer Size for
most sessions is 250 ms (Level 2).
• Plug-In Streaming Buffer Size settings lower
than 250 msec (Level 2) reduce the amount of
system memory used for sample playback and
frees up memory for other system tasks. However, audio quality of sample playback may
decrease.
• Plug-In Streaming Buffer Size settings higher
than 250 msec (Level 2) improve the audio
quality of sample playback, but they also decrease the amount of memory available for
other system tasks, such as RTAS processing.
Using a larger Plug-In Streaming Buffer Size
leaves less system memory for other tasks.
The default setting of 250 ms (Level 2) is
recommended unless you are experiencing
problems with the audio quality of sample
playback.
To change the Plug-In Streaming Buffer Size:
1 Choose Setup > Playback Engine.
2 From the Plug-In Streaming Buffer Size pop-up
menu, select a buffer size.
3 Click OK.
Mbox Pro User Guide22
Optimizing the Plug-In Streaming Buffer
Size
(Structure Plug-In Only)
This option appears in the Playback Engine dialog only if one of the Structure sampler instrument plug-in is installed on your system. This
option is useful when you are playing samples
from the same drive that contains audio for the
current session. When this option is selected,
Pro Tools automatically optimizes the size of the
Plug-In Streaming Buffer to facilitate disk access
from both Pro Tools and Structure. The Plug-In
Streaming Buffer Size pop-up menu is unavailable when this option is selected.
To set Pro Tools to optimize the Plug-In Streaming
Buffer Size:
1 Choose Setup > Playback Engine.
2 Select the Optimize for Streaming Content op-
tion.
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
Guide for details.)
To change the default Sample Rate:
1 Choose Setup > Hardware.
the Pro Tools Reference
Configuring the Pro Tools Hardware Settings
In the Hardware Setup dialog, Pro Tools lets you
set the default sample rate and clock source for
your system, as well as a range of controls specific to each type of audio interface.
Hardware Setup dialog for Mbox Pro
2 Select the sample rate from the Sample Rate
pop-up menu.
3 Click OK.
Chapter 4: Configuring Your Pro Tools System 23
Clock Source
The Pro Tools Hardware Setup dialog lets you select the Clock Source for the system.
Internal If you are recording an analog signal directly into Pro Tools, you will usually use the Pro
Tools Internal clock source.
S/PDIF Use this setting if you are recording
through the Mbox Pro S/PDIF input from an external digital device. This setting will synchronize Pro Tools to that digital device.
Word Clock If you are transferring material into
Pro Tools from an external digital device, or if
you utilize a common house clock signal, you
will need to synchronize Pro Tools to that digital
device or common signal. For details, refer to
the Pro Tools Reference Guide or to the guide for
your specific audio interface.
To select the Clock Source:
1 Choose Setup > Hardware.
2 Choose the clock source from the Clock Source
pop-up menu.
3 Click OK.
Your digital input device must be connected
and powered on for Pro Tools to synchronize to it. If your input device is not powered
on, leave the Clock Source set to Internal.
Configuring I/O Setup
Using the I/O Setup dialog, you can label
Pro Tools LE input, output, insert, and bus signal
paths. The I/O Setup dialog provides a graphical
representation of the inputs, outputs, and signal
routing of the Mbox Pro.
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 Setup > I/O.
I/O Setup dialog for Mbox Pro
2 Click the Input, Output, Insert, or Bus tab to dis-
play the corresponding connections.
3 To change the name of a path or subpath, dou-
ble-click directly on the Path Name, type a new
name for the path, and press Enter.
4 Click OK.
See the Pro Tools Reference Guide (Help >
Pro Tools Reference Guide) for more information on renaming I/O paths.
Mbox Pro User Guide24
Configuring MIDI Setup
If you plan to use any MIDI devices with Pro Tools,
do one of the following:
On Mac, configure your MIDI setup with Au-
dio MIDI Setup. See Appendix C, “Configuring
AMS (Mac OS X Only)” for details.
– or –
On Windows, configure your MIDI setup with
MIDI Studio Setup. See Appendix D, “Configuring MIDI Studio Setup (Windows Only)” for details.
Backing Up your System
Configuration
After configuring your system and Pro Tools,
you should save an image of your system drive
using a backup utility such as Bombich Carbon
Copy Cloner or Time Machine (Mac) or Acronis
True Image or Norton Ghost (Windows). By doing this, you can quickly restore your system
configuration and settings if you encounter any
problems.
Optimizing a Mac System for Pro Tools
To ensure optimum performance with
Pro Tools, configure your computer before using
Pro Tools software.
Before configuring your computer, make sure
you are logged in as an Administrator for the account where you want to install Pro Tools. For
details on Administrator privileges in Mac OS X,
see your Apple OS X documentation.
Do not use the Mac OS X automatic
Software Update feature, as it may upgrade
your system to a version of Mac OS that has
not yet been qualified for Pro Tools. For
details on qualified versions of Mac OS, visit
www.avid.com/compatibility.
Turning Off Software Update
To turn off the Software Update feature:
1 Choose System Preferences from the Apple
menu and click Software Update.
2 Click the Scheduled Check tab.
3 Deselect “Check for Updates.”
Turning Off Energy Saver
To turn off the Energy Saver feature:
1 Choose System Preferences from the Apple
menu and click Energy Saver.
2 Do the following:
• Set the computer sleep setting to Never.
• Set the display sleep setting to Never.
• Deselect “Put the hard disk(s) to sleep when
possible.”
Chapter 4: Configuring Your Pro Tools System 25
Disable or Reassign Mac Keyboard
Shortcuts Used by Pro Tools
To have the full complement of Pro Tools keyboard shortcuts, you need to disable or reassign
any conflicting Mac OS X Keyboard Shortcuts in
the Apple System Preferences, including the following:
• “Show Help menu”
• Under “Keyboard Navigation”
• “Move focus to the window drawer”
• Under “Dock, Exposé, and Dashboard”
• “Automatically hide and show the Dock”
•“All windows”
• “Application windows”
•“Desktop”
•“Dashboard”
•“Spaces”
• Under “Spotlight”
• “Show Spotlight search field”
• “Show Spotlight window”
For a complete list of Pro Tools keyboard
shortcuts, see the Keyboard Shortcuts Guide
(Help > Keyboard Shortcuts).
To disable or reassign Mac OS X keyboard
shortcuts:
1 Choose System Preferences from the Apple
menu and click Keyboard.
Reassign Spaces Keyboard Shortcuts
If you want to use Spaces, you should reassign
the Spaces keyboard shortcuts to avoid conflicts
with important Pro Tools keyboard shortcuts.
You can reassign Spaces keyboard shortcuts to
use a combination of modifier keys (Command+Option+Control+Shift) in addition to
the default Spaces keyboard shortcut assignments to avoid these conflicts.
To reassign Spaces keyboard shortcuts to use
modifier key combinations that do not conflict
with Pro Tools keyboard shortcuts:
1 Choose System Preferences from the Apple
menu and click Exposé & Spaces.
2 Click the Spaces tab.
3 Ensure that Enable Spaces is selected.
4 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Command+F8” from the “To activate Spaces” pop-up
menu.
5 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Command+Arrow Keys” from the “To switch between
spaces” pop-up menu.
6 Press and hold Command+Option+Con-
trol+Shift and select “Control+Option+Shift+Command+Number Keys” from the “To switch directly
to a space” pop-up menu.
2 Click the Keyboard Shortcuts tab.
3 Do one of the following:
• Deselect the Mac OS X options that conflict
with Pro Tools keyboard shortcuts.
– or –
• Assign different, non-conflicting keyboard
shortcuts to the corresponding Mac OS X
options.
Mbox Pro User Guide26
Disabling Spotlight Indexing
The Mac OS X Spotlight feature automatically
indexes files and folders on local hard drives in
the background. In most cases, this is not a concern for normal Pro Tools operation. However,
if Spotlight starts indexing drives while recording in a Pro Tools session with high track counts
for an extended period of time, it can adversely
affect Pro Tools system performance. You may
want to disable Spotlight indexing for all local
drives before using Pro Tools for big recording
projects.
Disabling Spotlight indexing also disables
the Find function in Mac OS X.
To disable Spotlight indexing:
1 Choose System Preferences from the Apple
menu and click Spotlight.
2 In the Spotlight window, click the Privacy tab.
3 To prevent indexing of a drive, drag its icon
from the desktop into the list.
Enabling Journaling for Audio Drives
To yield higher performance from audio drives,
enable journaling.
To enable journaling:
1 Launch the Disk Utility application, located in
Macintosh HD/Applications/Utilities.
2 Select the volume in the left column of the
Disk Utility window.
Optimizing a Windows System for Pro Tools
To ensure optimum performance with
Pro Tools LE, configure your computer before
using Pro Tools hardware and software.
For Mac System Optimization, see “Optimizing a Mac System for Pro Tools” on
page 25
Before configuring your computer, make sure
you are logged in as an Administrator for the account where you want to install Pro Tools. For
details on Administrator privileges, see your
Windows documentation.
Required Optimizations
To ensure optimum performance with
Pro Tools, configure the following settings before using Pro Tools hardware and software.
When you are finished changing Windows
system settings, restart your computer.
Enabling 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 detects and activates
DMA mode by default.
Select Enable Journaling in the toolbar.
Chapter 4: Configuring Your Pro Tools System 27
To enable DMA for any IDE hard drives
(Windows 7, Windows Vista, Windows XP):
1 Choose Start.
2 Right-click Computer (Windows 7, Windows
Vista) or My Computer (Windows XP) and choose
Manage.
Configuring Windows Power
Management Settings
Pro Tools requires maximum CPU performance
for optimal RTAS processing and disk streaming.
For best performance, use the following recommended Windows Power Management settings.
3 In the left pane of Computer Management un-
der System Tools, click on Device Manager.
4 In the right pane, click the triangle
(Windows 7) or the plus (+) sign (Windows
Vista, Windows XP) next to IDE ATA/ATAPI
Controllers.
5 Double-click on an IDE Channel.
6 Click the Advanced Settings tab.
7 Under Device Properties, check the box Enable
DMA (Windows 7, Windows Vista) or under each
listed Device, set the Transfer Mode to DMA if
available (Windows XP).
8 Click OK.
9 Repeat for each IDE Channel.
To configure Windows Power Management
Settings (Windows 7, Windows Vista):
1 Choose Start > Control Panel.
2 Click Hardware and Sound > Power Options.
3 In the Power Options control panel, click High
Performance.
4 Click Change plan settings.
5 Click Change advanced power settings to
change additional settings.
6 Click Hard disk > Turn off hard disk after =
Never. You can make optional changes such as
disabling sleep and disabling shutting down the
monitor.
7 Click OK or click Save changes to save the
changes.
8 Close the window.
Mbox Pro User Guide28
To configure Windows Power Management
Settings (Windows XP):
1 Choose Start > Control Panel.
2 Double-click Power Options.
3 Click the Power Schemes tab.
4 From the Power Schemes pop-up menu, select
Always On.
5 Verify that the following settings are set to
Never:
• Turn off hard disks
• System standby
• System hibernates
6 Click OK.
Disabling User Account Control
(Windows 7, Windows Vista)
Recommended Optimizations
Pro Tools 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 do the following:
• Avoid running any unneeded 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 running Pro Tools.
• If your video display card supports it, enable Bus Mastering in the manufacturer’s
Control Panel. See the manufacturer’s instructions for details.
Some third-party applications that interface
with Pro Tools may require UAC to be disabled
for proper operation.
To disable User Account Control (UAC):
1 Choose Start > Control Panel.
2 Click User Accounts and Family Safety.
3 In the User Accounts and Family Safety control
panel, click User Accounts.
4 Click Change User Account Control settings
(Windows 7) or Turn User Account Control on or off
(Windows Vista).
5 Move the User Account Control slider to Never
Notify (Windows 7), or deselect the Use User Account Control (UAC) to help protect your computer
option (Windows Vista).
6 Click OK.
7 Restart your computer.
Optional Optimizations
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.
Chapter 4: Configuring Your Pro Tools System 29
Disabling Network Cards
Adjusting Processor Scheduling
If applicable, disable any networking cards
(other than a FireWire card that you might use
to connect an external drive to your system).
To disable a network card (Windows 7, Windows
Vista):
1 Choose Start > Computer.
2 Click System Properties.
3 In the left-hand pane under Control Panel
Home, click on Device Manager.
4 In the Device Manager window, double-click
Network adapters.
5 Right-click on the network adapter and select
Disable.
6 Repeat as necessary for additional network
adapters
7 Close the Device Manager window.
To disable a network card (Windows XP):
1 Right-click My Computer and choose Manage.
2 Under System Tools, select Device Manager.
To adjust Processor Scheduling performance
(Windows 7, Windows Vista, Windows XP):
1 Right-click Computer (Windows 7, Windows
Vista) or My Computer (Windows XP) and choose
Properties.
2 Click the Advanced system settings link in the
left pane (Vista, Windows 7) or the Advanced
tab (Windows XP).
3 Under the Performance section, click the Set-
tings button.
4 In the Performance Options window, click the
Advanced tab.
5 Under the Processor Scheduling section, select
the Background Services option.
6 Click OK to close the Performance Options
window.
7 Click OK to close the System Properties win-
dow.
8 Restart the computer for the changes to take
effect.
3 In the right-hand pane, click “+” to reveal Net-
work adapters.
4 In the Device Manager window, double-click
Network adapters.
5 Right-click on the network adapter and select-
Disable.
6 Repeat as necessary for additional network-
adapters.
7 Close the Computer Management window.
Mbox Pro User Guide30
Disabling System Startup Items
The fewer items in use by your computer, the
more resources are available for Pro Tools. Some
startup applications may be consuming unnecessary CPU resources, and can be turned off.
If you disable any of the following startup items,
do so carefully:
• Portable media serial number (required for
some applications that utilize a copy protection key)
• The Plug and Play service
•Event log
• Cryptographic services
To Disable System Startup Items:
(Windows 7, Windows Vista, Windows XP):
1 From the Start menu, type “msconfig” in Start
Search (Windows 7, Windows Vista) or in Run
(Windows XP) and click OK to open the System
Configuration Utility.
2 Under the General tab, choose Selective
Startup.
3 Deselect Load Startup Items and click OK.
4 Click Restart to restart the computer.
After restarting, the computer displays a System
Configuration message. Check to see if Pro Tools
performance has increased before you deselect
the Don't show this message again option. If performance has not changed, run “msconfig” and
return your computer Startup Selection back to
Normal Startup - load all device drives and services.
Alternatively, try disabling Startup items and
non-essential processes individually.
Chapter 4: Configuring Your Pro Tools System 31
Mbox Pro User Guide32
chapter 5
Headphones A and B Volume knob
Gain/–20 dB
Master volume
knob
Gain/–20 dB Pad Switches
Pad Swi tch
Input combo jacks
Multi button
Power indicator LED
Dim/Mute
switch
LED ladders
(Inputs 1 - 4)
Mono
switch
Speaker.source
select switch
Headphone
outputs
Soft
Front/Back
input source
Soft
Front/ Back
input source
switch
switch
switch
limit
switches
limit
Mic/Line
input source button
+48V switch
Mbox Pro Hardware Overview
Mbox Pro Front Panel Features
Figure 1 identifies controls, indicators, and input and output ports on the front panel on the
Mbox Pro.
Figure 1. Mbox Pro front panel
The Mbox Pro front panel provides the following:
Input Combo Jacks (Mic/DI)
These combination jacks (Mic/DI) provide XLR
and 1/4-inch (TS) inputs for Input channels 1
and 2 (01, 02).
Gain/–20 dB Pad Switches
These knobs adjust the input gain levels of
Mic/DI 1 and 2, or Mic 3 and 4. Turn the knob
clockwise to increase gain, and counter-clockwise to decrease gain.
Chapter 5: Mbox Pro Hardware Overview 33
If your input signal is too hot even with the
Gain knob at a low setting, pull the Gain knob
out to engage a “pad” that attenuates the signal
by –20dB.
Front/Rear Input Source Switches
Phantom Power (+48V) Switch
The 48V switches toggle phantom power on/off
for all mic input channels. The LED, when lit,
indicates that 48V phantom power is active on
the Mic inputs.
These buttons select the input source for input
channels 1 and 2. When “out”, the front panel
Mic/DI input is active; when “in” the back panel
Line Input is active for that channel.
Soft Limit Switch
These switches engage a soft limiter on that
channel, applying a smooth, overdriven tapetype limiter to strong input signals.
Mic/Line Input Source Button
These buttons select the input source for input
channels 3 and 4. When “out”, the back panel
Mic input is active; when “in” the back panel
Line Input is active for that channel.
LED Ladders (Inputs 1–4)
These four, eight-segment LED ladder-style meters illuminate green in the presence of audio
signal, and illuminate red when the signal is
about to clip. The LEDs are associated with signals routed from Inputs 1–4.
Multi Button
About Phantom Power
Most condenser microphones (such as an
M-Audio Solaris) require phantom power to operate. Dynamic microphones (such as a Shure
SM57) do not require phantom power to operate, but are not harmed by it.
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.
When using phantom power, Mbox Pro’s
maximum current per microphone is 10 mA.
If you are not sure about the phantom power requirements for your microphone, consult your
microphone’s documentation or contact the
manufacturer.
Headphone A and B Volume Knobs
The headphone knobs adjust the output level of
their corresponding Headphone output (A or B).
The Multi button can be assigned to execute several functions in Pro Tools, including
Track Create, Start/stop Record, Tap Tempo,
Toggle Marker Locations, and Save Session. For
detailed information, see Appendix B, “Using
the Multi Button.”
Mbox Pro User Guide34
Dim/Mute Switch
Mono Switch
The Dim/Mute switch affects the output volume
for control room outputs as assigned in the
Driver Control Panel setup (by default, Line
Outputs 1 and 2.)
There are two functions of the switch:
When pushed, Line Outputs 1 and 2 (or the
currently assigned Control Room outputs) are
dimmed. When Dim is engaged, the switch LED
lights solid.
When pushed and held in, Line Outputs 1
and 2 (or the currently assigned Control Room
outputs) are muted. When Mute is engaged, the
switch LED flashes.
Power Indicator LED
The Power LED indicates that the Mbox Pro is
receiving power from its power supply. Once the
light is on, audio can pass in or out of the system. If the light is flashing, the power is not correct or clock is not locked.
The Mono Button sums the control room outputs to a mono signal (delivering that identical
signal to both speakers) via the Driver Control
Panel or the Mbox Pro. When engaged, the
Mono LED lights.
Speaker/Source Select Switch
If you push and hold the Speaker/source select
switch, it sources Aux Inputs 5 and 6 so you can
switch between monitoring Pro Tools playback
and monitoring an external source (such an
MP3 player).
When pushed, it lets you toggle through the
control room output pairs so you only hear one
of them at a time. (For more information on
control room output pairs and Speaker/source
functionality, see Appendix A, “Using the
Driver Control Panel.”)
When pushed and held in, it lets you have
Aux Inputs 5-6 “take over” from Pro Tools - to
listen to something such as an MP3 player.
Master Volume Knob
The Master Volume knob controls the output
level of assigned control room outputs. You can
turn it up to the level you like while playing an
instrument, recording into a mic, or while playing back audio from Pro Tools.
Headphone Outputs
Use the A and B, front panel Headphone Outputs to connect stereo headphones with a 1/4inch stereo connector.
Chapter 5: Mbox Pro Hardware Overview 35
Mbox Pro Back Panel Features
Power switch
Power input jack
Line Outputs
Aux Inputs 5/6
Foot switch
FireWire por ts
Word clock, MIDI
S/PDIF connector
Line inputs
Insert jacks
Mic inputs
+4/–10 switches
(RCAs and 1/8-inch mini)
Figure 2 identifies each port on the back panel of the Mbox Pro.
Figure 2. Mbox Pro back panel
The Mbox Pro back panel provides the following:
Power Switch
This button is used to turn Mbox Pro on or off.
Power Input Jack
This port supplies power to Mbox Pro using the
included power supply. The Mbox Pro requires
the power supply to function. For stand-alone
mode you power on the unit with a power connection and no FireWire connection.
Line Outputs
There are six balanced 1/4-inch TRS analog
outputs that support line level outputs,
multiple stereo monitors, or up to 5.1 surround
monitoring. For more information on stereo
and surround monitor configuration, see
“Setup (Output Setup)” on page 59.
Aux inputs 5–6
The RCA jacks and the 1/8-inch mini are all part
of Aux Input 5/6.
Use the RCA jacks is for line-level devices like
a CD player.
Use the 1/8-inch mini to connect line-level
sources such as MP3 players with an 1/8-inch
stereo connector.
Line Inputs
There are four TRS balanced analog line inputs
on the back panel for Input channels 1–4. For
Inputs channels 1–2, Line inputs are selected using the 01 and 02 Front/Rear switch on the front
panel (set to “Rear”). For Inputs 3–4, Line inputs
are selected using the 03 and 04 Mic/Line
switches on the front panel (set to “Line”). Mic
inputs are selected using the 03 and 04 Mic/Line
(set to “Mic”).
Mbox Pro User Guide36
Insert Jacks
These 1/4-inch TRS jacks let you patch (or “insert”) an external analog effect such as a compressor or limiter into the input signal, between
the preamp and the A/D converter.
These inserts are only active when a connector is
inserted, and are otherwise bypassed. The TRS
jack is configured as follows: Tip=Send;
Ring=Return; Sleeve=Ground.
Mic Inputs
These two jacks provide XLR inputs for Input
channels 3 and 4. The Mic signal is adjusted by
the Gain knob for each channel.
Foot Switch Connector
The footswitch connector on Mbox Pro lets you
use a footswitch to control either playback
start/stop or recording punch in/out. Both
QuickPunch audio punch-in and punch-out
and MIDI punch-in and punch-out recording
are supported.
The footswitch connector is designed specifically for instantaneous (momentary) on/off
pedals with a 1/4-inch TS connector. Continuous on/continuous off pedals can also be used,
but may result in unexpected behavior.
Word Clock, MIDI, S/PDIF
Connector
The DB15 connection that handles Word Clock,
MIDI, and S/PDIF is a multi-pin port where you
plug in a breakout cable (included). On the opposite end of the cable you can connect to Word
Clock, MIDI, and S/PDIF devices.
Breakout cable
FireWire Ports
These standard FireWire 1394 connectors are
used to connect your computer to Mbox Pro.
The Mbox Pro cannot be powered solely
through its 1394 connection to your computer.
The Mbox Pro requires the power supply to
function.
+4/–10 Switches
These switches let you select +4 or –10 input levels channel settings 1–2 and 3–4. When “out”
the level is set to +4 and when “in” it is set to
(–10).
Chapter 5: Mbox Pro Hardware Overview 37
Mbox Pro User Guide38
chapter 6
1/4-inch
Headphone jacks (A, B)
Headphone level (A, B)
Making Studio Connections
This chapter provides step-by-step instructions
for connecting mics, instruments, mixers,
headphones, speakers, and other devices to
Mbox Pro.
Connecting Outputs
To hear audio recorded into a Pro Tools session,
you will need to connect headphones or an external sound system (such as powered monitors
or a home stereo) to Mbox Pro. Sound from
Mbox Pro cannot be played through your computer’s speakers or your computer’s sound output.
Connecting Headphones
On the front panel of the Mbox Pro are two 1/4inch headphone connectors, each with an associated level control, labelled A and B. Connect
up to two sets of headphones for mixing and
tracking.
By default, headphone A monitors the Pro Tools
main mix outputs (usually output channels
1–2).
You can configure headphone output through
the Driver Control Panel. See “Using the
Driver Control Panel” on page 51.
Do not use the front panel headphone outputs for anything but headphones. If you
use a headphone distribution amp or cue
system, use any of the six available Line
Out channels on the back panel. See “Additional Analog Outputs” on page 40.
Connecting a Sound System
The default monitor outputs on the back of the
Mbox Pro, (Line outputs 1 and 2) support 1/4inch plugs. These connections can be balanced,
TRS (Tip, Ring, Sleeve) style connectors, or unbalanced connectors. To listen to your Pro Tools
session, these outputs can be connected to any
amplification system: powered speakers, a home
stereo system, or an audio mixer.
Headphone jacks and controls on front of Mbox Pro
When connecting to a stereo system, connect
the left channel (often the white plug) to
Line Out 1, and the right channel (often the red
plug) to Line Out 2.
Chapter 6: Making Studio Connections 39
Line Out connectors for monitors on Mbox Pro
Line Outputs 1–6
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 Pro to the RCA connectors on
your home stereo.
To connect a sound system:
For stereo monitoring, connect Line out 1 and
2 to the inputs of your left and right speakers/monitors. You can hook up more than one
set of stereo speakers and switch between them
(Speaker A, B, C switching). See “Setup (Output
Setup)” on page 59
Mbox Pro is capable of 5.1 control room
monitoring complete with custom configuration and routing controls. For more information, see “Setup (Output Setup)” on
page 59.
Line Output 1–6
Line Outputs 1–6 can be connected to any device that has analog inputs. Use these six balanced 1/4-inch TRS outputs to feed analog devices such as headphone amps or cue systems
for discrete headphone mixes, samplers, or a secondary recorder.
There are other use for Line Outputs, such as:
• Stereo main monitors (Outputs 1–2)
• Stereo/Alt monitors (Outputs 3–4)
• Surround (Outputs 1–6)
To connect additional Mbox Pro outputs:
1 Using 1/4-inch TRS cables, connect any of the
Line Out (1–6) connectors on the back panel to
the inputs of your external devices.
See the Pro Tools Reference Guide for infor-
mation on signal routing, sends and bussing.
Additional Analog Outputs
Mbox Pro provides a total of four insert jacks
(Inserts 1–4), for inserting external processing
devices on input channels. (See “Insert Jacks” on
page 37.) Insert jacks are for putting a hardware
signal processor (like and EQ or compressor) between the onboard mic preamp and the onboard analog to digital convertor.
Mbox Pro Setup Guide40
To connect to an external processor:
Inserts jacks 1–4
Word Clock, MIDI, S/PDIF connector
01, 02, 03, 04
Aux Inputs 5/6
(and 1/8-inch)
Using a 1/4-inch insert cable, connect the single
end of the cable from Insert 1, and the “Y” end
(send and return) to the external processor.
Insert cable
Word Clock, MIDI, S/PDIF Connector on Mbox Pro
When recording from Pro Tools to a digital
device, make sure the Pro Tools Clock
Source setting is set correctly. For more information, see “Digital Input and Output”
on page 46.
Connecting Audio Inputs
This section describes the analog inputs available on Mbox Pro. For information about connecting specific audio sources, see “Connecting
a Microphone” on page 42, and “Connecting
Instruments to the Mbox Pro” on page 45.
Insert jacks for external processing on Mbox Pro
Connecting a Digital Deck
If you have a CD, DVD, DAT or other device that
accepts S/PDIF connections, connect it to
S/PDIF In and S/PDIF Out RCA ports via a
breakout cable. (Connect the included breakout
cable into the Word Clock, MIDI, S/PDIF Connector on the back panel, then connect RCARCA cable.)
Overview of Analog Inputs
There are a total of six channels of analog input.
On the front, they are labelled 01, 02, 03, and
04, On the back, the label is Aux Inputs 5/6.
(There are also two channels of digital input.)
Inputs channels on the front/back of Mbox Pro
Chapter 6: Making Studio Connections 41
Mic/DI 1 and Mic/DI 2
Each Input section (01, 02) on the front panel
has a combination jack (Mic/DI) that provides
an XLR and 1/4-inch input for Inputs 1 and 2.
(If you plug in an XLR mic, it’s Mic; if you plug
in a 1/4-inch it’s DI).
Connecting a Microphone
Mic Cables and Connectors
Use a microphone with an XLR connector to
connect the microphone to the Mbox Pro.
Or, you can toggle the Front/rear input source
switch to source Input channels 1–2 from the
back panel Line inputs instead.
Mic Inputs
The Mic Inputs (03–04) section on the back
panel provide two dedicated XLR connectors for
Input channels 3 and 4.
Or, you can toggle the Mic/Line switch on the
front panel for Input channels 3 and 4. When
“out” the Mic input is active; when “in” the Line
Input (3 or 4) is active for that channel.
Aux Inputs 5/6
Aux In connectors are provided for Line and
Phono sources via RCA or 1/8-inch connectors.
You can keep something plugged into RCA jacks
(5/L and 6/R) but as soon as a 1/8-inch is
plugged in, it will defeat the RCAs. Whenever
something is plugged into the 1/8-inch, that’s
what Pro Tools will see.
5/L and 6/R For interfacing with a pair of RCA
cables from mixers, CD or DVD players, or similar sources.
1/8-inch For a 1/8-inch stereo plug from iPod or
similar sources.
The Mbox Pro can only supply power through a
microphone cable with an XLR connector. If
you are not sure about the phantom power requirements for your microphone, refer to your
microphone’s documentation or contact the
manufacturer.
XLR connector
Phantom Power
Some microphones require power to operate.
This power, called phantom power, is supplied either by a battery in the microphone, or through
an audio interface (such as Mbox Pro) that can
supply power through the microphone cable.
Most condenser microphones (such as an
M-Audio Solaris) require phantom power to operate. Dynamic microphones (such as a Shure
SM57) do not require phantom power to operate, but are not harmed by it.
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 a ribbon microphone.
Mbox Pro Setup Guide42
The Mbox Pro can only supply phantom power
Input 1
Mic input
Input 2 Mic/DI input
Front/Rear switches
48V (Phantom Power)
Master volume knob
Gain knob
–20 dB Pad
through a microphone cable with XLR connectors. If you are not sure about the phantom
power requirements for your microphone, refer
to your microphone’s documentation or contact the manufacturer.
Using a Mic with an XLR Connector
(Input Channels 1–2)
To use a microphone with an XLR connector:
1 Plug your microphone cable into one of the
two Mic/DI inputs on the front of Mbox Pro (in
this example, input 2).
XLR connector plugged into Input 2 (Mic/DI combo jack)
2 Set the input source to Mic/DI (microphone)
by pressing the Front/Rear switch for channel 2
to the “out” position. (When the button is set to
the “out” position, the front panel, combo
Mic/DI inputs will be active. When the button is
set to the “in” position, the back panel Line inputs will be active.)
3 If your microphone requires phantom power,
make sure the microphone is connected, then
press the Phantom Power switch (labeled 48V)
on the front of the Mbox Pro. This switch sends
48V to all four mic inputs. The 48V LED on the
front of the Mbox Pro will light when phantom
power is being supplied.
Phantom Power switch
4 On the front of the Mbox Pro, turn the master
volume knob to the desired level.
Gain knob for Input 1 (Master volume knob shown)
5 On the front of the Mbox Pro, carefully turn
the Gain knob to the right to increase the input
level of your microphone signal.
6 If the incoming signal is too loud, press the
Push/Pull knob to engage the –20 dB pad.
Front/Rear switches for Mic/DI combo jacks
Input 2 Pad
Chapter 6: Making Studio Connections 43
Using a Mic with an XLR Connector
Mic Input 3
Mic/Line switches
48V (Phantom Power)
Master volume knob
Gain knob
–20 dB Pad
(Input Channels 3–4)
To use a microphone with an XLR connector:
1 Plug your microphone cable into one of the
two Mic inputs (XLR) on the back of Mbox Pro
(In this example, input 3).
XLR connector plugged into Mic Input 3 (XLR jack)
Phantom Power switch
4 On the front of the Mbox Pro, turn the master
volume knob to the desired level.
2 There are two Mic Inputs (XLR) on the back
panel, (Input 3 and 4). On the front panel, set
the Mic/Line input switch for channel 3 to the
“out” position (microphone).
Use the corresponding back panel inputs
(marked Line Input 3 and Line Input 4) on
the back when working with line-level signals. In that case, you would set the Mic/Line
input switch for channel 3 to the “in” position (line).
Mic/Line switches for Mic/DI combo jacks
3 If your microphone requires phantom power,
make sure the microphone is connected, then
press the Phantom Power switch (labeled 48V)
on the front of the Mbox Pro. This switch sends
48V to all four inputs. The 48V LED on the front
of the Mbox Pro will light when phantom
power is being supplied.
Gain knob for Input 3 (Master volume knob shown)
5 On the front of the Mbox Pro, carefully turn
the Gain knob to the right to increase the input
level of your microphone signal.
6 If the incoming signal is too loud, press the
Push/Pull knob to the “out” position to engage
the –20 dB pad.
Input 3 Pad
Mbox Pro Setup Guide44
Connecting Instruments to the Mbox Pro
Mbox Pro provides three input types (DI, Line
and Aux In) that correspond to the different signal strengths output by different types of instruments and other equipment.
DI Input (Front Panel) Instruments such as electric guitar or electric bass that usually have a
lower level of output than line level instruments
use the front panel DI (“Direct Inject”) input.
3 On the front of the Mbox Pro, turn the master
volume knob to the desired level.
4 On the front of the Mbox Pro, carefully turn
the Gain control knob to the right to increase
the input level of your guitar.
You can tune your guitar using the on-board
tuner from the front panel of the Mbox Pro.
Hold down the Mono and Dim buttons to
launch the tuner in the Driver Control Panel.
See “Tuner” on page 54.
Line Inputs (Back Panel) Line level devices, including electronic audio sources such as mixers,
samplers, keyboards, and synthesizers use the
back panel Line inputs.
Aux 5/6 (Back Panel) RCA jacks for line level
devices such as a CD players. 1/8-inch mini port
for line level sources such as MP3 players with
stereo connectors. (The RCA jacks and 1/8-inch
mini port are all part of Aux 5/6).
Connecting Electric Guitar or Bass
To use a guitar with Mbox Pro:
1 On the front of the Mbox Pro, plug your guitar
or bass cable into one of the Mic/DI inputs.
Connecting Keyboards and Mixers
To use a keyboard or mixer with Mbox Pro:
1 Plug your keyboard (with line outputs), mixer,
or other audio source into any one of the four
Line Input channels on the back of the
Mbox Pro. If your source is stereo (such as a stereo keyboard or the stereo output from a mixer),
connect the left channel (often the white plug)
to Input 1, and right channel (often the red
plug) to Input 2.
If your keyboard has unbalanced outputs,
set the line input switch to -10 instead of
+4. Refer to your keyboard’s documentation.
2 On the front of the Mbox Pro, set the
Front/Rear switch to Rear or Mic/Line switch to
Line (that corresponds to your channel).
3 On the front of the Mbox Pro, turn the master
volume knob to the desired level.
Connecting guitar to the Mic/DI 1 connector
2 On the front of the Mbox Pro, make sure the
Front/Rear switch for Mic/DI 1 is in the “out”
position.
4 Set your instrument’s volume to its optimal
level. For example, the optimal level for most
keyboards is between 80% and 100% of maximum volume.
Chapter 6: Making Studio Connections 45
5 On the rear panel of the Mbox Pro, use the In-
Multi-pin port for breakout cable input
put Level switch for +4/-10 input line level settings (one for each stereo pair, 1/2 & 3/4). In the
“out” position the level is set to +4; and when
pushed to the “in” position, it is set to (-10).
To use Aux Input 5/6 Line inputs:
1 Plug your keyboard, mixer or other line level
device into the Aux Input 5/6 inputs (L and R).
Connecting Digital Devices
To connect Mbox Pro to an external digital device:
1 Using the included breakout cable, connect it
to the Word Clock, MIDI, and S/PDIF input on
the back panel of the Mbox Pro.
2 Using RCA (coaxial) cables, connect the
Mbox Pro S/PDIF In to the S/PDIF output of the
device.
Connecting DJ Equipment
To use the Aux Inputs 5/6:
1 Plug your DJ mixer, DVD player, or similar
outputs into the Aux Input 5/6 inputs (L and R).
There is no RIA A preamp or grounding post
on the Mbox Pro, so connecting a turntable
is not recommended.
Connecting an MP3 player or having something plugged in to the 1/8-inch mini port
will defeat the RCA input signal.
Digital Input and Output
Mbox Pro provides two channels of S/PDIF digital input and output on the back panel (via a
breakout cable that you connect to the multipin port). This lets you record signals from digital devices into Pro Tools, and send digital audio
from Pro Tools to other digital devices.
Use 75 ohm RCA cables (the standard for
digital audio) as other cables (such as home
stereo cables) may have problems.
3 Connect the Mbox Pro S/PDIF Out to the
S/PDIF input of the external device.
4 Be sure to read the next section for important
information.
Using S/PDIF Input
In Pro Tools, you can record or listen to an external digital device that is connected to
Mbox Pro’s S/PDIF Input connector. Pro Tools
must first be configured to enable the S/PDIF Inputs.
Refer to this section whenever you plan to use
S/PDIF input on Mbox Pro.
The following requirement only applies to
using S/PDIF input to record or monitor digital signals through Pro Tools LE and
Mbox Pro.
Word Clock, MIDI, and S/PDIF input on Mbox Pro
Mbox Pro Setup Guide46
Mbox Pro does not support external sync at
88.2 kHz, 96 kHz, 176.4 kHz, and
192 kHz sample rates.
To enable the S/PDIF inputs on Mbox Pro:
1 Make sure your have connected the external
digital device to the correct Mbox Pro S/PDIF
connector (In and Out).
2 Make sure the external device is powered on,
Clock Source
that it is set to the correct sample rate, and that
it is configured to provide S/PDIF clock (if relevant to your device).
3 Launch Pro Tools LE.
4 Choose Hardware > Setup.
5 Click the Clock Source pop-up menu and
choose “S/PDIF.”
Enabling S/PDIF Input in the Hardware Setup dialog
Once enabled in the Hardware Setup dialog, the
S/PDIF inputs become active and will pass audio
to Mbox Pro.
Setting the Clock Source to S/PDIF is the only
way to utilize S/PDIF input. Doing so lets you record or monitor up to eight discrete input channels (six analog and two S/PDIF).
Selecting any other Clock Source (Internal,
or Word Clock) disables S/PDIF input.
S/PDIF output remains available.
If you need additional MIDI ports you can add a
compatible MIDI interface. USB MIDI interfaces
work effectively with Pro Tools systems on Windows or Mac. 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.
To connect MIDI devices to Mbox Pro:
1 Using a breakout cable, connect it to the
Word Clock, MIDI, and S/PDIF input on the
back panel of the Mbox Pro.
2 Connect the MIDI OUT of your MIDI device
or controller to the MIDI IN port on the breakout cable.
3 Connect the MIDI IN of your MIDI device or
controller to the MIDI OUT port on the breakout cable.
Word Clock
Mbox Pro provides Word Clock In and Out connectors on the back panel that let you synchronize, or “clock” Pro Tools LE and Mbox Pro to
industry standard Word clock. Word clock is
used to synchronize a wide range of devices such
as non-linear video systems and other types of
equipment typically found in professional audio
facilities.
MIDI Connections
Two MIDI ports become available when you
connect the provided breakout cable into the
Word Clock, MIDI, and S/PDIF input on the
back panel of the Mbox Pro. See “Word Clock,
MIDI, S/PDIF Connector” on page 37.
With both Word clock input and output, your
Mbox Pro-equipped Pro Tools LE system can act
as Word clock “slave” or “master.”
Chapter 6: Making Studio Connections 47
Do not confuse Word clock and other forms
of “clock reference” with time code and
other forms of “positional reference.” For an
overview of synchronization terminology
and concepts, see the
Pro Tools Reference
guide.
2 Configure all external devices to slave to the
Word clock coming from Mbox Pro. (Be sure to
verify sample rate settings, termination requirements and other internal settings for the device;
refer to the manufacturer’s documentation if
you need more information on the particular requirements for your other equipment.)
Mbox Pro will synchronize to Word clock at
88.2 kHz, 96 kHz, 176.4 kHz, and
192 kHz sample rates.
To connect Word clock to Mbox Pro:
Using high-quality, 75 ohm BNC cables (not
included) connect the Mbox Pro Word Clock In
and Out connectors to the appropriate ports on
the other Word clock-capable devices in your
studio.
Using Word Clock with
Pro Tools LE
Pro Tools LE with Mbox Pro can act as Word
clock master, or as a slave to Word clock supplied by an external device.
Pro Tools LE as Word Clock Master
Mbox Pro Word clock output is always active,
letting Pro Tools supply Word clock to any connected devices that support standard Word
clock.
3 Launch Pro Tools.
4 Choose Hardware > Setup.
5 Click the Clock Source pop-up menu and
choose Internal.
Pro Tools LE as Word Clock Slave
In order to slave Pro Tools to an external Word
clock source, you must configure Word clock as
the Pro Tools Clock source, as follows:
To configure Pro Tools LE with Mbox Pro as a Word
clock slave:
1 Make sure all Word clock and audio connec-
tions are correct as described earlier in this section.
2 Make sure the external Word clock source is
powered on, and configured to output 1x Word
clock. (Be sure to verify any required termination; refer to the manufacturer’s documentation
if you need more information on the particular
requirements for your device.)
3 Launch Pro Tools.
To use Pro Tools LE as Word clock master:
1 Make sure all connections are correct between
Mbox Pro and your external devices.
Mbox Pro Setup Guide48
4 Choose Hardware > Setup.
5 Click the Clock Source pop-up menu and
choose Word Clock.
S/PDIF digital input is not available when
the Pro Tools Clock source is set to Word
clock or Internal. To use S/PDIF input,
S/PDIF must be the Pro Tools Clock source.
For more information, see “Digital Input
and Output” on page 46.
Using a Footswitch
The footswitch connector on Mbox Pro lets you
use a footswitch pedal to control either playback
start/stop or recording punch in/out. Both
QuickPunch audio punch-in and punch-out
and MIDI punch-in and punch-out recording
are supported.
The footswitch connector is designed specifically for instantaneous (momentary) on/off
pedals with a 1/4-inch TS connector. Continuous on/continuous off pedals can also be used,
but may result in unexpected behavior.
To use a footswitch control:
1 Connect a footswitch to the footswitch con-
nector on the back panel of the Mbox Pro.
2 Launch Pro Tools.
3 Choose Setup > Hardware.
4 Select Record Punch In/Out or Playback
Start/Stop.
5 Click OK.
Chapter 6: Making Studio Connections 49
Mbox Pro Setup Guide50
appendix a
Presets
Additional Functions
Layout
Using the Driver Control Panel
The Mbox Pro Driver Control Panel lets you
configure settings for your audio interface for
use with Pro Tools or other audio applications
that support the CoreAudio Drivers (Mac) or
ASIO Audio Drivers (Windows) standard.
Several features of Mbox Pro can be accessed directly from the Mbox Pro front panel, such as input gain, phantom power, and output levels.
But there are many additional parameters that
cannot be accessed from the front panel. These
additional features are available to you using the
included Driver Control Panel application.
To open the Driver Control Panel:
On Mac, launch System Preferences (Apple
menu > System Preferences), then double-click
Avid Mbox Pro. (You can also open the Driver
Control Panel from the Applications menu.)
– or –
On Windows, choose Start > Control Panel >
Mbox Pro.
Mbox Pro Driver Control Panel (Horizontal view shown)
Appendix A: Using the Driver Control Panel 51
To open the Driver Control Panel from Pro Tools:
1 Choose Setup > Hardware in the Edit window.
2 Click launch control panel.
Mbox Pro Driver Control Panel launched in a Pro Tools
session
Load Button
The Load Button opens a file browser that lets
you load a previously saved Settings file.
Save as...
The Save as button opens a file browser that lets
you save the current settings of the Driver Control Panel to a Settings file.
Layouts
The Layout drop-down menu lets you choose
what information you would like the Driver
Control Panel to show, and how you would like
that information to be displayed. There are four
layouts to select from:
Horizontal
Presets
The Preset view lets you load and save Mbox Pro
Settings files, which contain all settings of the
Mbox Pro Driver Control Panel. This is useful if
you'd like to save various configurations so that
you do not have to manually reconfigure your
system ea ch time you wor k on a diff erent type of
project.
For example, you could save the following presets:
• A preset for live tracking, in stereo (low-latency/direct monitoring, and/or for discrete headphone mixes).
• A preset for mixing in stereo (alternate
speakers, etc.).
• A preset for working in multi-channel/surround.
Mbox Pro User Guide52
The Horizontal layout is the default layout. It
shows all knobs, faders, meters and buttons in a
layout similar to that of a mixing console. The
Horizontal layout is used for all the screen captures in this chapter.
Horizontal (Meters Only)
The Meters Only layout emphasizes pre-fader
hardware input and software return metering,
but does not provide access to the stereo mixers.
Mbox Pro Driver Control Panel
(Horizontal (Meters Only) shown)
Vertical
Mbox Pro Driver Control Panel
(Vertical shown)
Vertical (Meters Only)
The Meters Only layout emphasizes pre-fader
hardware input and software return metering,
but does not provide access to the stereo mixers.
The Vertical layout provides access to all controls and meters in a vertical window. The Vertical layout was designed for compact operation,
which is convenient if you want to run it along
with Pro Tools (uses far less screen real estate,
but provides full functionality).
Mbox Pro Driver Control Panel
(Vertical (Meters Only) shown)
Appendix A: Using the Driver Control Panel 53
Additional Functions
Mbox Pro also features a variety of functions accessible through pop-up menus located at the
upper-right area of the Control Panel:
•Tuner
•Setup
• General Setup
• Output Setup
•Flow
•About
Tun er
The Tuner activates the tuner function of
Mbox Pro. You can also access the tuner by
pressing the front panel Mono and Dim buttons
simultaneously. A tuner display will appear in
the center of the Driver Control Panel, and the
front panel input meters will function as tuning
indicators as well.
When tuning from the front panel, use the input meters (LED ladders). They are red when
out of tune and green when in tune.
Setup
Setup has two modes; “General Setup” and
“Output Setup.” You can toggle between modes
by clicking General Setup or Output Setup in the
Setup pop-up menu.
General Setup is where you define the hardware
settings of the Mbox Pro. For example, you can
set buffer size, sample rate, and clock source.
You can also define how Mbox Pro functions
when it’s connected to a computer or when it’s
in standalone mode (not connected to a computer). Think of General Setup as a quick way to
customize Mbox Pro behavior.
Output Setup is where you define the preferences of your monitoring environment. For example, you can configure up to three stereo
hardware output pairs to function as “control
room output pairs.” Then you can use
Mbox Pro’s Speaker button (front panel) to cycle
through the control room output pairs.
Setup (General Setup)
Setup pop-up menu (General Setup mode shown)
Mbox Pro User Guide54
The “General Setup” options are grouped in the
following categories:
Hardware Settings
This section of the Control Panel provides parameters you can set on your interface when it is
connected to a computer using a FireWire cable
(i.e., Hosted Mode).
Disable Host Control
This setting lets you rest control of the Driver
Control Panel from Pro Tools. When you launch
Pro Tools, it takes control of the Driver Control
Panel's first stereo mixer. If you want to obtain
full manual control of the Driver Control Panel,
choose this option.
If you want to use the Low Latency Monitoring option in Pro Tools, this option must not
be checked.
Clock Source
This setting determines the clock source to
which Mbox Pro is synchronized.
Internal If you are using Mbox Pro by itself (i.e.,
without other digital devices or an external
clock), select the Internal option for the interface
to work properly
S/PDIF If you have connected a S/PDIF device to
your Mbox Pro and would like to use that device
as the master clock source, select the S/PDIF option. This will make Mbox Pro clock to the external device’s clock.
Sample Rate
This drop-down menu sets the sample rate of
Mbox Pro. Note that when using the interface
with an ASIO or CoreAudio application, the
sample rate can also be determined by your audio application. This parameter may not be editable from within the Mbox Pro Control Panel
if your audio application is running. In this case,
any changes to the sample rate must be made
through the audio application itself. If the application does not provide a way to set the sample
rate, quit the application, then change the sample rate through the Mbox Pro Control Panel.
In Windows Vista, when using the
Mbox Pro WDM/MME (i.e., non-ASIO)
drivers, the sample rate of the interface (and
your audio software) is always determined
by this drop-down menu. Your selection in
this menu is the only item that will appear
in your audio application. For example, if
you select “44.1kHz” in this menu, your
audio application’s control panel will only
display “44.1kHz” and you will not be able
to select any other rates from within the application.
When the sample rate is locked to an external
digital clock source, the Mbox Pro’s LED is solid
blue. When the sample rate is set and there is no
digital clock source detected (or cannot lock to it
for some reason), the LED will blink. (A message
appears at the bottom of the Hardware Settings
section stating that: “External clock not detected, Audio Streaming is Disabled.”).
Wor d Clo ck If you are transferring material into
Pro Tools from an external digital device, or if
you utilize a common house clock signal, you
will need to synchronize Pro Tools to that digital
device or common signal. Select the Word Clock
option.
Appendix A: Using the Driver Control Panel 55
Buffer Size (Windows only)
Soft Button Settings
This menu sets the size of the input and output
buffers on Mbox Pro.
Buffers are used to help keep audio hardware
and software running smoothly by processing
audio in groups of samples rather than one sample at a time. Due to variations between computer hardware and software, it is impossible to
recommend a single optimum setting for all systems. It may be necessary to experiment with
various settings until you find the best buffer
size for your system.
The goal of setting a buffer size is to reduce it as
much as possible without hearing any clicks,
pops, or other glitches. If the buffer size is too
small, the computer will not be able to make all
the required audio calculations on time and you
will hear pops, clicks, and stuttering in your audio streams. On the other hand, if the buffer size
is set too high, your computer will process audio
without incident, but your software will feel
sluggish and unresponsive. See “Hardware Buffer Size” on page 18.
To find your system’s optimum buffer size setting, begin with a high setting and gradually reduce the size until you begin to hear clicks,
pops, or other audible glitches in your audio.
Then, raise the buffer size setting until these
glitches disappear. You may need to stop playing audio any time you change this setting and
certain applications will require you to relaunch the program before the new buffer size
settings become active.
This menu only appears on Windows systems. Most Mac OS X applications allow to
change the buffer size from within the audio application itself. Please see your audio
application’s user guide to learn how to
change this setting.
Press and Hold Duration
This pop-up menu gives you four choices of
Press and Hold duration for all soft buttons on
the front of the Mbox Pro. Choose between 250
msec, 500 msec, 750 msec, and 1 sec.
Use Dim LEDs for Button off State
Checking this option gives you a dim LED for all
the soft buttons that are off (so you can still discern the LED in the dark).
High-pass Filter Enable
There is a high-pass filter on the first four channels. Let’s say you are recording an instrument
that does not produce very low frequency
sounds. You can enable the associated channel’s
high-pass filter (check In 1, In 2, In 3, or In 4) to
remove handling and low rumble from a vocal
microphone.
Driver Control Panel Options
Hold Clipping Indicators until Clicked
The top section of the meters (or right section
for horizontal meters) of the Driver Control
Panel feature a red clipping indicator. When this
option is selected, the clipping indicators will remain lit until they are clicked.
Load Latency and Clock Settings from Settings
Files
When this option is selected, the clock source
and buffer settings are recalled when loading a
setting file.
Mbox Pro User Guide56
Post-Fader Meters
Standalone Settings
When this option is selected, fader positions will
affect the meters. Post-Fader Meters mean the
meter indicate post-fader levels.
Pre-Fader Meters
When this option is selected, the meters display
the level of a signal before it passes the fader.
This allows signal levels to be displayed regardless of the fader positions within the stereo mix
(in other words, a fader can be all the way down
and no sound will be heard from the mixer’s
output, but you can still see if there is any activity on that input).
FX Sends Mode
Pre-Fader FX Sends
When Pre-Fader FX Sends is selected, the full audio signal will be sent to the FX Sends, regardless
of the position of the Channel Faders of stereo
mix 1–2.
Post-Fader (Mix 1/2) FX Sends
When Post-Fader (Mix 1/2) is selected, the audio
signal level being sent to the FX Sends will be affected by the position of the Channel Faders of
Stereo Mix 1.
Standalone settings affect the setting of the
Mbox Pro when it's in standalone mode with no
host computer connected.
When you set up your standalone settings,
you must be connected to the computer.
The interface can function in the following two
modes:
Hosted Operation If there is a FireWire connection to the computer when the Mbox Pro is first
powered on, then it boots into hosted mode.
Standalone Operation If there is no FireWire connection to the computer when the Mbox Pro is
first powered on, then it boots into standalone
mode.
When you are in standalone mode, the following functions can be adjusted:
•Clock source
•Sample rate
•Mode
Clock Source
Clock source and sample rate settings work in
the same manner as above, it defines what the
clock source will be; internal, S/PDIF, or word
clock.
The clock source can be switched from the front
panel when in standalone, using the Multi button.
The LED button will either be off/on/pulsing to
indicate which clock source is currently assigned.
• If the LED if off, the clock source is internal.
• If the LED is on, the clock source is word clock
• If the LED is pulsing, clock source is S/PDIF
Appendix A: Using the Driver Control Panel 57
Sample Rate
This setting assigns the sample rate when it's set
to internal clock source in standalone mode.
Mode
The Mbox Pro can be in the following three
types of sub-standalone modes:
AD/DA Converter When in AD/DA mode, analog
inputs 1 and 2 are routed to S/PDIF outputs left
and right and S/PDIF inputs left and right are
routed to analog outputs 1 and 2.
Preamp When in Preamp mode, analog input 1
is sent to analog output 1 and S/PDIF left. Analog input 2 is sent to analog output 2 and S/PDIF
Right. Analog inputs 3–6 are sent to analog outputs 3–6.
Mixer When in Mixer mode, all analog and digital inputs are summed and routed to analog
outputs 1-2 are mirrored to S/PDIF outputs left
and right.
Changing Sub-standalone Modes
Once you are in standalone mode you can tell
which of the three sub-standalone modes the
Mbox Pro is in and change them using the
Speaker source select switch (pushing the
Speaker button cycles through them all).
The button displays the following colors for
each mode:
• Green in AD/DA Converter Mode
• Red in Preamp mode
• Amber in Mixer mode
Mbox Pro User Guide58
Setup (Output Setup)
Output Setup lets you set up stereo and surround monitoring options/settings.
Stereo Monitor Configuration
You can configure up to three stereo hardware
output pairs to function as control room monitor pairs. Pressing the speaker button on the
front panel of the hardware cycles through the
control room output pairs. This is useful for
A/B-ing your mix between different studio monitors.
For example, if you check “Master Volume” for
the first three output pairs, then the master volume would control all of them at once. This is
useful if you are mixing in surround.
Setup pop-up menu (Output Setup mode shown)
The Output Setup options are grouped in the following categories:
Mbox Pro (Speaker button shown)
Surround Monitor Configuration
You can also choose which output pairs are controlled by Mbox Pro’s master volume knob.
Appendix A: Using the Driver Control Panel 59
Hardware Outputs (1–2, 3–4, 5–6)
Name
This is where you can assign a name to your stereo output pairs. The name appears in the tabs
of the Output Pair Select View. See “Output Pair
Select View” on page 61.
Control Room Assignment
This drop-down menu assigns a hardware output (1–2 or 3–4 or 5–6) as a control room output.
You have four choices when setting up your
control room monitor pairs: Choose between
the following options:
•None
• Speakers A (Green LED)
• Speakers B (Red LED)
•Speakers C (Amber LED)
Let’s say that outputs 1–2 are set up to be Speak-
ers A, outputs 3–4 are set up to be Speakers B,
and outputs 5–6 are set up to be Speakers C.
Pressing Mbox Pro’s Speaker button lets you
switch between the three pairs of speakers.
(Only one control room output pair is active at
any time in Stereo mode.)
Left Trim This knob trims the level of the Left
(odd numbered) output.
Right Trim This knob trims the level of the Right
(even numbered) output.
Hardware Outputs 7–8
These outputs are not assignable as control
room outputs.
Headphones 1 This lets you label the headphone
out for Headphone output A.
Headphones 2 This lets you label the headphone
out for Headphone output B.
Close Select this button to closes the dialog box.
Flow
Clicking the Flow pop-up menu opens a display
showing the signal flow from the inputs to the
outputs of Mbox Pro. This is a useful reference
for understanding the path of an audio signal
flowing through Mbox Pro.
Master Vol.
Checking this option lets you choose which output pairs are controlled by Mbox Pro’s master
volume knob.
If you check “Master Volume” for the first three
output pairs, then the master volume knob controls all of them at once. (If one output pair is
designated as a control room speaker pair, this
checkbox is automatically checked and cannot
be unchecked.)
Mbox Pro User Guide60
About
Web links
Firmware and driver information
Output Pair Select View
The About pop-up menu lets you view the firmware version of the Mbox Pro hardware, and the
package version of the Mbox Pro driver installer.
Accessing the Web Links
Along the bottom-right of the Driver Control
Panel you can easily access helpful online resources on our Avid website (www.avid.com) by
clicking on the following pop-up menus:
•Manual
•Updates
• Support
•FAQs
•Register
Clicking on any of the “Web links” will
open your web browser. Your computer must
have Internet access for these pages to load.
For each hardware output pair of Mbox Pro
(Line outputs 1–2, 3–4, 5–6, S/PDIF Left and
Right, or Headphones A and B), there is a representative tab in the output pair select view. The
output pair select view lets you choose the audio
source for each hardware output pair, and where
applicable, edit the audio source.
Tabs representing each Mbox Pro hardware output pair
(output pair select view shown)
Each output pair select tab includes a dropdown menu where you can select the audio
source you want. The sources include:
•Stereo Mix 1
•Stereo Mix 2
• Stereo Mix 3 (Available only at sample rates
at or below 96 kHz)
• Stereo Mix 4 (Available only at sample rates
at or below 96 kHz)
• Stereo Mix 5 (Available only at sample rates
at or below 96 kHz)
• Stereo Mix 6 (Available only at sample rates
at or below 96 kHz)
• Software Returns 1–2
• Software Returns 3–4
• Software Returns 5–6
• Software Returns 7–8
• Hardware Inputs 1–2
• Hardware Inputs 3–4
• Hardware Inputs 5–6
• Hardware Inputs 7–8
Appendix A: Using the Driver Control Panel 61
The available output pair audio sources can be
divided into two categories:
Stereo Mixes
A stereo mix lets you set up a custom stereo mix,
setting the desired level for each hardware input
and software return that is fed to the hardware
output pair. See the Stereo Mix section below for
details.
Direct Routes
A direct route means that the chosen signal is
passed directly to the hardware output pair. For
example, if the source for output pair 1–2 were
“Hardware Inputs 1–2,” then the signal coming
into hardware inputs 1–2 of the Mbox Pro
would be fed directly to hardware outputs 1–2.
Similarly, if the source were “Software Returns
1–2,” the signal fed from an audio host software
returns 1–2 would be fed directly to hardware
outputs 1–2.
Notes:
• The source of the currently selected tab is
displayed below the output pair select view.
See “Setup (Output Setup)” on page 59.
• For Stereo Mix sources, a traditional mixer
view is displayed. See “Stereo Mixes” on
page 63.
• For direct route sources, a view with meters
is displayed, and the input source and output destination are highlighted.
• You can drag and drop the tabs to reorder
them if you want.
Notes on output pairs that are designated as
control room outputs:
• If an output pair is a designated control
room output (see Setup Drawer section
above), a speaker icon will appear in the
upper right corner of the tab. Click the
speaker icon, or double click the tab, to
make the associated output pair the active
control room speaker pair.
• Control room output pairs must have stereo mixes as their source. This is enforced
automatically by the software.
• In most cases, you will want to use the
same stereo mixer (for example, Stereo
Mix 1) for all designated control room output pairs. This is not enforced by the software, because there are cases in which
varying sources for control room output
pairs would be desirable.
Mbox Pro User Guide62
Stereo Mixes
These 16-input, 2-output mixes allow you to create up to six stereo mixes when running at a
sample rate at or below 96 kHz, and up to two
stereo mixes when running at a sample rate
above 96 kHz.
This lets you set up near-zero latency cue mixes
in which the performers hear a “customized”
mix while recording.
It is important to note that any changes made to
the stereo mix will only affect what is audible
from the mixer’s outputs—the stereo mix does
not affect the signals that are sent to Pro Tools
for recording. For example, if you are recording
a vocalist and he/she tells you to turn up the vocal track so they can hear themselves better, you
can increase the vocalist’s microphone channel
in the stereo mix. This will make the vocal part
louder in the vocalist’s headphones, but it will
still be recorded into Pro Tools at the volume determined by the front panel Gain Adjustment
Knob.
The stereo mix is set up like a standard mixing
console: There are 16 input channels, each with
its own volume fader, pan and aux send knobs,
solo, and mute buttons, as well as a master output section with its own pair of faders and m ute
buttons.
A pair of channels can be linked together by
clicking the link icon between the two channels.
Linking channels lets you adjust mute, solo, and
fader settings simultaneously by modifying parameters on either one of the linked channels.
However, linking two channels will not have
any effect on their Pan controls, which are always made on a per-channel basis.
The stereo mix features multi-segment meters to
show input channel levels (directly above each
channel) and main mixer output levels (at the
top right of the mixer). The pre/post fader metering operation can be set from the Setup Tab
of the Control Panel. The clip indicators can be
set to “stick” by choosing Hold Clipping Indicators
until Clicked in the Setup pop-up menu, and reset
by clicking on the clip indicator itself.
Setting or adjusting the stereo mix will not affect the signal that is recorded into Pro Tools.
For example, you’ll still be able to record a channel while its corresponding stereo mix channel
is muted. You won’t hear the part through the
stereo mix as it is being recorded, but it will still
record into Pro Tools and play back properly.
Appendix A: Using the Driver Control Panel 63
Using the Stereo Mix Section
Signal Meter
Solo
Channel Fader
Pan
Mute
Link
Channel Label
Hardware Inputs
Software Returns
Master
Effects
The stereo mix section is located in the main view of the Driver Control Panel and is divided into
four main sections:
• Hardware Inputs
• Software Returns
•Master
•Effects
Hardware Inputs
The Hardware Inputs section is where the
Mic/Line and Instrument inputs are monitored,
as well as the S/PDIF input of Mbox Pro. Hardware Inputs 1–6 are the analog inputs, and Hardware Inputs 7–8 are the S/PDIF inputs.
Mbox Pro User Guide64
Software Returns
The Software Returns section is where the audio
coming back from Pro Tools (or other audio application) is monitored. Software Returns 1 and
2 will be the default stereo output from
Pro Tools.
Pan
Links buttons
Link
The Pan knobs control the position of a channel’s audio signal in the stereo image of the stereo mix (double-click the knob to return pan to
center).
Solo
Each Solo button lets audio be monitored for the
channel of which it is a part, while simultaneously muting all other Hardware Input channels
and Software Returns (except for those that also
have their Solo buttons activated).
Mute
The Mute buttons are used to individually turn
off audio monitoring for each channel in the
stereo mix.
Channel Faders
The Channel Faders control the monitoring volume level of each channel in the stereo mix.
Channel Labels
The Link buttons connect stereo pairs of knobs
or faders (and also links the corresponding FX
Send knobs), so that adjusting either channel
(left/right) adjusts the other side identically.
Pan controls are unaffected by linking two
channels.
Hardware Input FX Sends
FX Sends are shared by all Stereo Mixes, unless
“Post-Fader Stereo Mix 1” is chosen in the Setup
pop-up menu.
Software Return FX Sends
FX Sends are shared by all Stereo Mixes, unless
“Post-Fader Stereo Mix 1” is chosen in the Setup
pop-up menu.
By default, the Channel Labels show the input
name of each channel (1–8), except for the Master fader pair (which is labeled L/R by default).
Clicking on a Channel Label gives you a cursor,
allowing you to type in your own custom channel name (such as “guitar,” “vocals,” etc.).
The Channel Labels also display the signal level
(in dB) while a fader is being adjusted.
Appendix A: Using the Driver Control Panel 65
FX Returns
Master section
FX Returns section
Master fader
Width knob
Stereo Mix Copy
Balance knob
Mute button (L)
Mute button (R)
Swap button
pull-down
Link button
Mono button
Channel Fader
FX Returns
section
Master
These knobs control how much of the Effect audio output will be mixed in with the monitor
signal Master L/R outputs. Unlike sends,
FX Returns are individually adjustable for each
stereo mix.
FX Returns (below Master section)
The Clip LED will show clipping if the input to
the FX is clipping and if the output is clipping
(the rest of the meter is just output).
Effect
The Effe ct drop-down menu is used t o se lect the
effect to be applied to the Hardware Inputs
and/or Software Returns (effects are not available if the sample rate is > 96 kHz). There are five
available reverb types: Three room reverbs and
two hall reverbs, delay, and echo. These effects
can be customized by using the following three
controls:
Duration This knob controls decay time (for the
reverbs) or delay time (for delay and echo).
Feedback This knob controls the number of repeats for the delay and echo effects. It does not
affect the reverbs.
Volume This knob controls the effects output
level being sent to the FX Returns
The Master section lets you control the main
mixer output. This output can be routed to any
hardware output. Each Stereo Mix includes a
master section with several controls:
Master section of the Driver Control Panel
Master Fader Adjusts the overall level of the stereo mix.
Balance Knob Adjusts the left/right balance of
the stereo mix (double-click the knob to return
it to center).
Width Knob Adjusts the width of the stereo image, where fully counter-clockwise is mono, and
fully clockwise is full stereo (double-click the
knob to return it to center).
Mute Buttons Mutes the left and/or right side of
the stereo mix.
Mbox Pro User Guide66
Swap Button Swaps the stereo image, making the
Status indicators
left channel play out the Right output, and the
right channel play out the Left output.
Link Button Links the FX Returns section and the
mute buttons.
Status Indicators
Along the bottom-left of the Driver Control
Panel are the following status indicators:
Hardware Connected
Master Meters Lets you have a visual representation of the audio signal being fed to the associated hardware output pair.
Stereo Mix Copy Lets you copy the settings of the
current stereo mix to one of the other stereo
mixes.
Mono Button The Mono button is available only
under the following circumstances:
• At least one output pair is assigned as a control room output pair.
• The currently displayed stereo mix is the
stereo mix used by the current control
room output pair.
This tells you the status of the hardware; if a
properly installed, powered-on Mbox Pro is connected to the computer.
Streaming
This indicates if audio from a Digital Audio
Workstation or a media player (such as Pro Tools
or Windows Media Player) is currently streaming audio to the Mbox Pro.
Host Control Enabled
If an application such as Pro Tools has control
over the Driver Control Panel, then “Host Control Enabled” displays.
Appendix A: Using the Driver Control Panel 67
Mbox Pro User Guide68
appendix b
Using the Multi Button
The Multi button on the front panel of the
Mbox Pro can be assigned to easily execute several functions in Pro Tools including (but not
limited to):
•Add Track
• Start/Stop Record
•Tap Tempo
• Locating to Next/Previous Marker
• Save Session
Using the Multi Button
In the Hardware Setup dialog, Pro Tools lets you
set three Multi button parameters for your
Mbox Pro using the “Multi Button Function”
pane. (You can also launch the Driver Control
Panel from here).
For more information on the Driver Control
Panel, see Appendix A, “Using the Driver
Control Panel.”.
The Multi Button Function includes the following options:
Press and Release Displays the options available for Press and Release mode.
Press and Hold Displays the options available
for Press and Hold mode.
Mbox Pro (Multi button shown)
You can use the Multi button to do these and
other common tasks with a single button instead of using on-screen menu commands. By
pressing the Multi button two different ways
(Press and Release, Press and Hold) you can perform two functions with one button.
Duration Gives four time duration options for
Press and Hold button.
Launch Control Panel Launches Driver Control
Panel.
Appendix B: Using the Multi Button 69
To use the Multi Button Function pane and
configure its parameters (example):
1 Launch Pro Tools.
2 Choose Track > New and create 1 Mono audio
track.
You need to have at least one track available in a session to use the Add Last Track
and Add Selected Track functions.
3 Choose Setup > Hardware.
4 From the Press and Release list, select
Start/Stop Record (the default).
Press and Release Options
When you click on the Press and Release list, a
pop-up menu provides access to the following
options:
5 From the Press and Hold list, select Add Se-
lected Tracks (the default).
6 From the Hold Duration list, select 500 msec
(the default).
Multi Button Function pane (Shown in Hardware Setup
dialog)
7 Go to the Edit Window and select the track
you just created.
8 Press and hold the Multi button for 500 msec,
then release. A new track is added in Record Enable mode.
9 Press and immediately release the Multi but-
ton. The track begins recording.
This is just one example of how easy it is to use
the Multi button if you want to quickly throw
down tracks and record. But you can personalize
the Multi button settings to fit any audio workflow that works for you.
None No function is selected in this mode.
Add Last Track Adds the last track type that you
created in the session. Say you have created two
Audio tracks in a session. It will add another
mono Audio track.
Add Selected Track Adds whatever tracks that
you have selected in a session. Say you have selected two Audio tracks in a session. It will add
another two Audio tracks.
Cursor to Next Marker Each time the button is
pressed and released, the transport will locate to
the next marker location.
Cursor to Previous Marker Each time the button
is pressed and released, the transport will locate
to the previous marker location.
Start/Stop Playback Each time the button is
pressed and released, it starts/stops playing back
:
the session.
Start/Stop Record Each time the button is
pressed and released, it starts/stops recording.
Loop Playback Toggle Each time the button is
pressed and released, the Loop Playback mode is
toggled between enabled and disabled.
Mbox Pro User Guide70
Undo Each time the button is pressed and released, it undoes that last operation you performed in Pro Tools. (Same as the Undo command from the Pro Tools menu)
Add Last Track Adds the last track type that you
created in the session. Say you have created two
Audio tracks in a session. It will add another
mono Audio track.
Save Session Each time the Multi button is
pressed and released, it saves the session.
Tap Temp o The Multi button can be tapped to
adjust the session tempo. Tapping tempo will
cause Pro Tools to come out of Conductor mode
and match its tempo to the tapped tempo. If
Pro Tools is already in Manual Tempo mode, the
session will automatically adjust its tempo to
match the value created by the Tap Tempo function.
Press and Hold Options
When you click on the Press and Hold list, a
pop-up menu provides access to the following
options:
Add Selected Track Adds whatever tracks that
you have selected in a session. Say you have selected two Audio tracks in a session. It will add
another two Audio tracks.
Cursor to Next Marker Each time the button is
held and released, the transport will locate to
the next marker location.
Cursor to Previous Marker Each time the button
is held and released, the transport will locate to
the previous marker location.
Start/Stop Playback Each time the button is
held and released, it starts/stops playing back
the session.
Start/Stop Record Each time the button is held
and released, it starts/stops recording.
Loop Playback Toggle Each time the button is
held and released, the Loop Playback mode is
toggled between enabled and disabled.
Undo Each time the button is held and released,
it undoes that last operation you performed in
Pro Tools. (Same as the Undo command from
the Pro Tools menu)
None No function is selected in this mode.
Save Session Each time the Multi button is held
and released, it saves the session.
Appendix B: Using the Multi Button 71
Hold Duration Options
When you click on the Hold Duration list, a
drop-down menu provides access to the following options:
Hold Duration There are four choices of Hold Duration (250 msec, 500 msec, 750 msec, and 1 sec),
which is the amount of time you choose to hold
the Multi button down in Press and Hold mode.
The default is 500 msec.
Mbox Pro User Guide72
appendix c
Configuring AMS (Mac OS X Only)
2 Click MIDI Devices. AMS scans your system for
Audio MIDI Setup
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 Do one of the following:
• Launch Audio MIDI Setup (located in Macintosh HD/Applications/Utilities). Click
Window > Show MIDI Window to view MIDI
studio.
– or –
• In Pro Tools, choose Setup > MIDI > MIDI
Studio. In Audio MIDI Setup, click
Window > Show MIDI Window to view MIDI
studio.
connected MIDI interfaces. If your MIDI interface is properly connected, it appears in the window with each of its ports numbered.
Audio MIDI Setup (MIDI Devices)
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.
Appendix C: Configuring AMS (Mac OS X Only) 73
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.
Making MIDI input and output connections
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.)
Naming a new MIDI device
For Manufacturer and Model names, AMS
refers to one or more files with the suffix
“.middev” in the directory Root/Library/
Audio/MIDI Devices. Pro Tools installs a
file that contains information for many
commercially available MIDI devices,
named “Digidesign Device List.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 the
.middev file in any text editor (such as
TextEdit).
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
Mbox Pro User Guide74
3 Click the More Information 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 C: Configuring AMS (Mac OS X Only) 75
MIDI Patch Name Support
Patch Select button
(Edit window)
Patch Select button
(Mix window)
Change button
Pro Tools supports XML (Extensible Markup
Language) for storing and importing patch
names for you external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
factory default patch names of many common
MIDI devices. These files reside in directories,
sorted by manufacturer, in Macintosh HD/
Library/Audio/MIDI Patch Names/Digidesign.
To import MIDI patch names into Pro Tools:
1 Verify the MIDI Device name in the Audio
MIDI Setup window (see “Aud io MIDI Setup” on
page 73).
2 Verify the Instrument or MIDI track output is
correctly assigned to the MIDI device.
3 Click the Instrument or MIDI track Patch Se-
lect button.
4 In the Patch Select dialog, click Change.
Patch Select dialog
5 In the Open dialog, navigate to /Library/Au-
dio/MIDI Patch Names/Digidesign/<name of
manufacturer>, and select the MIDI Patch Name
file (.midnam) for the MIDI device.
6 Click Open.
The Patch Select dialog is populated with patch
names and the Patch Name Bank pop-up menu
appears in the upper left hand corner of the window.
Once patch names have been imported into
Pro Tools, they are available for that MIDI device in all sessions.
Patch Select button
Mbox Pro User Guide76
To clear patch names:
In the Patch Select dialog, click Clear, and the
click Done.
MIDI patch name files (.midnam) can be
edited in any text editor, or you can use
third-party patch librarian and editor software to create your own custom patch
names.
appendix d
Configuring MIDI Studio Setup (Windows Only)
MIDI Studio Setup
MIDI Studio Setup (MSS) lets you configure the
MIDI controllers and sound modules that are
connected to your system, and control the routing of MIDI data between your MIDI equipment
and Pro Tools.
MSS automatically finds MIDI interfaces, and
lets you specify a custom name for each of the
MIDI ports within the MIDI Studio Setup document.
MSS also supports XML-based patch file names
for storing and importing patch names for your
external MIDI devices.
Entire MIDI Studio Setup configurations created
within MSS can be imported and exported.
MIDI Studio Setup Window
The MIDI Studio Setup window is organized
into three sections. Interface controls are at the
top of the window. All the currently defined instruments are displayed in the Instrument Name
list on the left side of the window. A detailed
view of MIDI parameters is shown in the Properties section on the right.
MIDI Studio Setup window
Appendix D: Configuring MIDI Studio Setup (Windows Only) 77
Interface Controls
Properties Section
Create Adds a new instrument to the Instrument Name list.
Delete Deletes the instrument or instruments selected in the Instrument Name list.
Import Imports an existing MIDI Studio Setup
file.
Export Exports the current MIDI Studio Setup
file.
Show Duplicate Emulated Ports When this option is selected and you are using a MIDI interface that supports timestamping (such as MIDI
I/O), in addition to the MIDI ports on Mbox Pro,
the MIDI Studio setup window shows both the
DirectMusic time-stamped output ports, and
non-stamped duplicate emulated output ports.
Some MIDI Interfaces will not properly load
or unload their drivers unless you quit and
re-launch Pro Tools. Check the documentation that came with your MIDI interface for
more information.
Instrument List
The Instrument list contains all the currently
defined instruments. Selecting an instrument in
the list displays that instrument’s properties in
the Properties section of the window.
The Properties section lets you edit information
for new instruments, or instrument currently selected in the Instrument list.
MIDI Studio Setup Properties section
When a previously defined instrument is selected in the Instrument list, the Properties section changes to reflect the properties of the selected instrument.
To define an instrument with MIDI Studio Setup:
1 Choose Setup > MIDI > MIDI Studio.
2 Click Create.
3 In the Instrument Name field, type the name
of your instrument, and press Enter.
If you do not enter an instrument name, the
Instrument Name field will automatically
inherit information from the Manufacturer
and Model pop-up menu.
4 Set a manufacturer and model for the new de-
vice from the corresponding pop-up menus. If
the Manufacturer and Model pop-up menus do
not provide a name for your particular device,
select None.
5 From the Input pop-up menu, select the input
po rt on y our MI DI int erface that is connected to
the MIDI Out of your instrument.
Mbox Pro User Guide78
6 From the Output pop-up menu, select the out-
put port on your MIDI interface that is connected to the MIDI In of your instrument.
7 Enable the appropriate MIDI channels (1–16)
for the Send Channels and Receive Channels options (These determine which channels send
and receive MIDI.)
terface port that is set and displayed here is the
port through which MIDI data is sent from the
external MIDI device specified in the Instrument Name field into your MIDI interface.
If you set the input port to None, the defined
instrument will not appear as a choice in a
MIDI Input selector.
Instrument Name
The Instrument Name field shows the user-definable instrument name for the currently selected instrument.
Manufacturer
The Manufacturer pop-up menu provides a list
of MIDI equipment manufacturers. This list is
derived from the XML-based MIDI device files.
For more information, see “MIDI Patch
Name Support” on page 79.
Model
The Model pop-up menu provides a list of MIDI
devices, filtered by the manufacturer name. This
list is derived from the XML-based MIDI device
files provided with your Pro Tools installation.
For more information, see “MIDI Patch
Name Support” on page 79.
Input Port
Output Port
The Output Port pop-up menu displays a list of
available MIDI interface output ports. The port
set and displayed here is the port through which
MIDI data is sent from your MIDI interface to
the MIDI device specified in the Instrument
Name field.
If you set the output port to None, the defined instrument will not appear as a choice
in a MIDI Output selector.
Send Channels
The Send Channels grid sets the send channels
for the MIDI device specified in the Instrument
Name field.
Receive Channels
The Receive Channels grid sets the receive channels for the MIDI device specified in the Instrument Name field.
The Input Port pop-up menu displays a list of
available MIDI interface input ports. Inputs will
include Mbox Pro and any additional MIDI interfaces enabled on your system. The MIDI in-
MIDI Patch Name Support
Pro Tools supports XML (Extensible Markup
Language) for storing and importing patch
names for your external MIDI devices. Pro Tools
installs MIDI patch name files (.midnam) for the
factory default patch names of many common
MIDI devices. These files reside in directories,
sorted by manufacturer, in C:\Program Files\
Common Files\Digidesign\MIDI Patch Names\
Digidesign.
Appendix D: Configuring MIDI Studio Setup (Windows Only) 79
To import MIDI patch names into Pro Tools:
Patch Select button
(Edit window)
Patch Select button
(Mix window)
Change button
1 Verify the MIDI Device name in the MIDI Stu-
dio Setup window (see “MIDI Studio Setup” on
page 77).
2 Verify the Instrument or MIDI track output is
correctly assigned to the MIDI device.
3 Click the Instrument or MIDI track Patch Se-
lect button.
Patch Select button
4 In the Patch Select dialog, click Change.
The Patch Select dialog is populated with patch
names and the Patch Name Bank pop-up menu
appears in the upper left hand corner of the window.
Patch Select dialog with patch names
Once patch names have been imported into
Pro Tools, they are available for that MIDI device in all sessions.
To clear patch names:
In the Patch Select dialog, click Clear and then
click Done.
Patch Select dialog
5 In the Open dialog, navigate to C:\Program
Files\Common Files\Digidesign\MIDI Patch
Names\Digidesign\<name of manufacturer>,
and select the MIDI Patch Name file (.midnam)
for the MIDI device.
6 Click Open.
Mbox Pro User Guide80
MIDI patch name files (.midnam) can be
edited in any text editor, or you can use
third-party patch librarian and editor software to create your own custom patch
names.
appendix e
Hard Drive Configuration and Maintenance
It is recommended that you start with a newly
formatted external or secondary internal audio
drive. You should also periodically defragment
your audio drive to ensure continued system
performance.
Supported Drive Formats and Drive Types
Drive Formats
Always back up any important data on your
drive before formatting it, as it will erase all
data on the drive.
Avoid Recording to the System Drive
Recording to your system drive is not recommended. Recording and playback on a system
drive may result in lower track counts or fewer
plug-ins.
Mac Mac systems should use drives formatted
with HFS+ or HFS file system only.
HFS drives are supported as Transfer drives
only.
Windows Windows systems should use drives
formatted as NTFS only.
Windows systems can also support Mac
drives formatted with HFS+ system (also
commonly referred to as Mac OS Extended).
Refer to the Pro Tools Reference Guide for
more information (Help > Pro Tools Reference Guide).
Hard drive performance depends on factors including system configuration, number of tracks,
session sample rate, density of edits, and the use
of crossfades and other processes such as Beat
Detective in a session.
For complete hard drive requirements, visit our
website (www.avid.com).
Appendix E: Hard Drive Configuration and Maintenance 81
FireWire Hard Drives
Avid recommends qualified FireWire drives and
(on Windows systems) a qualified FireWire host
adapter.
For complete information on track count and
the supported number and configuration of
FireWire drives, visit our website
(www.avid.com).
ATA/SATA Hard Drives
A qualified internal ATA/SATA drive may be
used as a dedicated audio drive.
2 Click the Erase tab.
For complete information on track count with
internal drives, refer to our website
(www.avid.com).
SCSI Hard Drives
Avid recommends qualified SCSI hard drives
and a qualified SCSI host bus adapter (HBA) card
or (on Windows systems) a qualified built-in
SCSI HBA connector on the motherboard.
For complete information on track count and
the supported number and configuration of
SCSI drives, visit our website (www.avid.com).
Formatting an Audio Drive
Formatting Mac Audio Drives
For optimum performance, audio drives should
be formatted as Mac OS Extended (Journaled).
To format an audio drive:
1 Launch the Disk Utility application, located in
Macintosh HD/Applications/Utilities.
Disk Utility (Mac OS X)
3 Select the drive you want to initialize in the
column on the left side of the window.
4 Choose the Mac OS Extended (Journaled) for-
mat.
Do not choose the “Case-Sensitive” format
option. Pro Tools will not operate properly
with case-sensitive formatted drives.
5 Type a name for the new volume.
6 If you plan to connect the drive to a Mac OS 9
computer, select Install Mac OS 9 Drivers.
7 Click Erase.
The drive appears on the Desktop with the new
volume name.
Formatting Windows Audio Drives
For optimal performance, audio drives should
be formatted as NTFS.
Pro Tools only supports Basic drive types.
Do not convert the drive to a Dynamic type.
Mbox Pro User Guide82
To format an audio drive (Windows 7,
Windows Vista, and Windows XP):
1 Right-click Computer (Windows 7,
Windows Vista) or My Computer (Windows XP)
and choose Manage.
2 Under Storage, choose Disk Management.
Disk Management window (Windows XP)
• In the New Partition Wizard window, click
Next.
• When prompted, select the partition type.
Avid recommends using Primary partitions,
instead of Extended partitions.
• Follow the on-screen instructions to select
a partition size and other partition settings.
• When prompted, choose a file system. For
optimum performance, audio drives
should be formatted as NTFS.
• Select Perform a quick format.
•Make sure Enable file and folder compression
is not selected.
• Set the Allocation unit size to Default.
• Click OK.
3 If the volume is “Healthy,” do the following:
Healthy volumes are volumes that have previously been partitioned and formatted.
• In the Disk Management window, rightclick the hard drive you will use for audio
and choose Format.
• In the Format window, name the volume.
• Choose a file system. For optimum performance, audio drives should be formatted as
NTFS.
• Select Perform a quick format.
•Make sure Enable file and folder compression
is not selected.
• Set the Allocation unit size to Default.
• Click OK.
4 If the volume is “Unallocated,” do the follow-
ing:
• In the Disk Management window, Rightclick the hard drive you will use for audio
and choose New Partition.
Partitioning Drives
Partitioning creates a logical volume or volumes
on a physical drive, almost as if you were creating virtual hard drives. Partitions can then be
formatted with the appropriate file system
(NTFS for Windows, HFS+ for Mac).
Mac OS allows drives larger than 4096 MB
to be seen as whole volumes. Drives must be
initialized with a disk utility that recognizes the 2 terabyte limit. Single Pro Tools
audio files cannot exceed 3.4 GB in size.
Windows XP allows drives formatted with
the NTFS file system to be seen as whole
volumes. Single Pro Tools audio files cannot exceed 3.4 GB in size.
Appendix E: Hard Drive Configuration and Maintenance 83
Seek Times on Partitioned Drives
Seek times are actually faster on partitioned
drives (assuming that reads and writes are performed on a single partition), since the heads
only have to seek within the partition boundaries, rather than the whole capacity of the drive.
Smaller partitions perform faster than larger partitions, but this comes at the expense of contiguous storage space. When you partition a drive,
you will need to find the compromise that best
suits your performance and storage requirements.
Avoid distributing audio files within a session over different partitions on the same
drive since this will adversely affect drive
performance.
Defragmenting an Audio Drive
Mac Systems
When working with larger files (such as video),
you can limit fragmentation by backing up your
important files to another disk, erasing the files
from the original hard disk, then copying the
files back, instead of doing a defragmentation.
Window Systems
In multitrack recording, audio tracks are written
in discrete files, spaced evenly across the disk.
While fragmentation of individual files may be
zero, the tracks may be far enough apart that
playback will still be very seek-intensive. Also,
the remaining free space on the disk will be discontiguous, increasing the likelihood of file
fragmentation on subsequent record passes.
Increased fragmentation increases the chance of
disk errors, which can interfere with playback of
audio, and result in performance errors.
On Windows, to avoid fragmentation,
format drives with higher cluster sizes
(such as 32K).
Optimizing (Defragmenting) Drives
To prevent fragmentation, you can optimize
your drive, which rearranges your files into a
contiguous format. Most optimizing software
lets you run a check on a drive to find out the
percentage of fragmentation. If your drive
shows moderate to heavy fragmentation, you
should consider optimizing it.
If you use your system for intensive editing, or if
you frequently delete audio or fade files from
your hard drive, you may need to optimize your
drives on a weekly basis, or even every few days,
since it doesn’t take long for even a large hard
drive to become fragmented.
Periodically defragment audio drives to maintain
system performance.
For maximum recording and playback efficiency, data should be written to your hard
drive in a contiguous fashion—minimizing the
seek requirements to play back the data. Unfortunately, your computer can’t always store the
sound files in this way and must write to disk
wherever it can find space.
Mbox Pro User Guide84
Backing Up Data Before Optimizing
Since your files will be rewritten by the optimization process, always make a backup copy of
the data on your hard drive before you optimize
it. You should also use a hard drive utility to find
and repair any problems before optimizing data
or re-initializing your drives. If there is any damage to your hard drive's directories prior to optimizing, serious data loss may result.
Defragmenting Windows Audio Drives
To defragment an audio drive (Windows 7 and
Windows Vista):
1 Click Start.
2 Type “disk defragmenter” in the search field at
the bottom. “Disk Defragmenter” should appear
at the top of the search results.
3 Click the Disk Defragmenter.
4 Click the Defragment disk button (Windows 7)
or the Defragment now button (Windows Vista).
Follow the on-screen instructions.
5 When defragmenting is complete, close the
Disk Defragmenter window.
In Windows 7 you can Ctrl-Click on the
drive names to select multiple drives to defragment, and once more than one drive is
selected, the button changes to “Defragment disks.”
The “Defragment Now” (Vista only) command defragments all your hard drives.
This can take a lot of time, especially on
systems with multiple drives.
Advanced users can use the command line
tool Defrag.exe to defragment individual
drives. See your Windows Vista documentation for more information.
5 When defragmenting is complete, close the
Computer Management window.
Using Mac Drives on Windows Systems
Pro Tools for Windows lets you record and play
back sessions directly from a Mac-formatted
(HFS+) drive connected to a Windows system.
This functionality requires that all Mac session
and audio files be stored on Mac-formatted
drives.
During Pro Tools installation, make sure to select the Mac HFS+ Disk Support option. This option lets your Pro Tools system read, write, record, and play back using Mac-formatted HFS+
disks.
For information on sharing sessions between Mac and Windows systems, see the
Pro Tools Reference Guide (Help >
Pro Tools Reference Guide).
Formatting and Maintaining HFS+
Drives
To format and partition any drives as HFS+, connect the drives to a Mac computer and use the
Apple OS X Disk Utility to format the drives as
Mac OS Extended (Journaled).
To defragment an audio drive (Windows XP):
1 Right-click My Computer and choose Manage.
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.
Appendix E: Hard Drive Configuration and Maintenance 85
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.
Stereo audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately
10 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about
15 MB per minute.
Table 6 lists the required disk space for certain track numbers and track lengths, to help you estimate
your hard disk usage.
Table 6. Required hard drive space for audio tracks (44.1 kHz and 48 kHz sessions shown)
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
16-bit at
48 kHz
24-bit at
44.1 kHz
24-bit at
48 kHz
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
Mbox Pro User Guide86
appendix f
Troubleshooting
Backing Up Your Work
It is highly recommended that you back up your
work on a regular basis, and especially before
making changes to your system configuration.
Backing Up Your Session Data
Back up your session and audio data frequently.
There are a variety of media that are suited to
back up projects of various sizes, from automated tape backup systems to high-capacity optical drives, or to CD burners.
The best way to back up an entire session is to
use the Save Copy In command. This command
lets you save the session file and all of its associated files to a new location.
You can also use the Auto Save Backup feature (in the Operation Preferences page) to
have Pro Tools automatically save backups
of the session file while you work.
Backing Up Your System
Configuration
After configuring your system and Pro Tools,
you should save an image of your system drive
using a backup utility such as Norton Ghost
(Windows) or Bombich Carbon Copy Cloner
(Mac). By doing this, you can quickly restore
your system configuration and settings if you
encounter any problems.
Common Issues
Pro Tools Won’t Launch
Problem
When you double-click the Pro Tools application or a Pro Tools session file, Pro Tools doesn’t
launch, or displays an error message.
Possible Solutions
Check to be sure your computer has the re-
quired amount of RAM to launch Pro Tools.
Visit www.avid.com/compatibility.
Try a complete restart. Turn off your audio in-
terfaces, computer peripherals and your computer, and then turn them on again in the
proper sequence.
Appendix F: Troubleshooting 87
If you tried to launch Pro Tools by double-
clicking a Pro Tools session file, do the following:
• Close any error message.
• Double-click the Pro Tools application.
• In Pro Tools, choose File > Open Session to
open the session.
Reinstall the Pro Tools application, using the
Pro Tools Installer disc.
Audio Interface Is Not Recognized
Problem
When you launch Pro Tools it does not recognize an audio interface, or a connected audio interface is not available.
Performance Factors
There are several conditions that may adversely
affect the performance of Pro Tools. These include:
Network Connections Close any network connections unless you are using them for network
interchange of audio data.
Background Applications Any software utilities
that run in the background or generate disk activity, such as virus protection, disk optimization, or file savers, should be turned off or removed.
Screen Savers Screen saver software should be
completely disabled on your computer before
running Pro Tools.
Possible Solutions
Turn off your computer and check to be sure
your cables are properly and securely connected
to your computer and to your audio interface.
Verify that your Hardware Setup dialog set-
tings are correct.
Power Saver Features Some automatic power
saver features, such as those that spin down the
system hard drive, can affect Pro Tools performance. These features should be turned off.
Mbox Pro User Guide88
Before You Call Avid Support
Register Your System
Register your purchase by following the instructions on the Registration Information Card included with your system. By registering, you become eligible to receive the following:
• Technical support information
• Software update and upgrade notices
• Hardware warranty information
Gather Important Information
Avid wants to help you resolve problems as
quickly and efficiently as possible. If you collect
the following information before you contact
Avid Support, it will make the diagnosis of your
problem easier.
Pro Tools Software
• Pro Tools software version
• Plug-In versions
• Other Pro Tools software options or components
• Additional plug-ins from Avid Development Partners
Other Hardware
Refer to the manufacturer’s documentation for
operational details.
The most common hardware additions include:
• 1394 (FireWire) cards for Windows systems
(manufacturer, model)
• Video Capture cards (manufacturer, model)
To verify that your hardware is qualified for use
with your Pro Tools system, visit:
www.avid.com/compatibility
System Information
Computer
• Make, model, processor speed
• Amount of system RAM
• Operating system (version of Windows or
Mac OS)
• Any Drivers, Disk Utilities, or other systemrelated applications you may have installed
Pro Tools Hardware
• Type of cards, interfaces, or peripherals
Hard Drives
•Make, Model
•Drive size (GB)
• Drive speed (RPM)
• Drive type (SCSI, FireWire, IDE/ATA)
• Utility used to format the drive
• Number and size of partitions on the drive
Other Software
If you are using other audio or video applications, refer to the manufacturer’s documentation for operational details.
Make note of any other software that was running when a problem occurred.
Diagnostic Information
Note any DAE errors or other error codes you encounter. Additonally, note the ability to reproduce the problem under different conditions,
for example, with another session, or after
changing settings (such as the Hardware Buffer
Size).
Appendix F: Troubleshooting 89
Mbox Pro User Guide90
appendix g
Resources
Whether you are new to Pro Tools or just starting out with your new system, we encourage
you to read and utilize the many guides that
Pro Tools provides. There are also useful online
resources available, giving you everything from
Pro Tools tips to Pro Tools answers.
About the Pro Tools Guides
In addition to any printed guides included with
your system, PDF versions of the printed guides
and many additional Pro Tools guides and Read
Mes are installed automatically during Pro Tools
installation (see “Documentation Installed Automatically with Pro Tools” on page 92). The
PDFs are located in the Digidesign/Documentation folder on your local drive.
Printed copies of the Pro Tools Reference
Guide and other guides in the Pro Tools guide
set can be purchased separately from t
Avid Store (http://shop.avid.com).
User Guide
The User Guide for your system gives you detailed instructions for setting up and configuring software and hardware for optimum performance.
he
Printed Intro to Pro Tools Guide
The printed Intro to Pro Tools has tutorials on using Pro Tools (such as recording in a Pro Tools
session, importing audio from a CD, and creating an audio CD from a Pro Tools session).
Guides Accessible in Pro Tools
The main Pro Tools guides are accessible from
the Pro Tools Help menu. (Choose Help, then
select a guide.)
These include:
• Pro Tools Shortcuts, provides a complete list of
keyboard and Right-click shortcuts for
Pro Tools.
• Audio Plug-Ins Guide, describes the audio plugins included with Pro Tools for both real-time
and file-based audio processing as well as
many other paid plug-in option offered from
Avid.
• Pro Tools Menus Guide, covers all the Pro Tools
on-screen menus.
• Pro Tools Reference Guide, explains Pro Tools
software in extensive detail.
Appendix G: Resources 91
Documentation Installed
Automatically with Pro Tools
When you install Pro Tools, you get useful PDF
versions of many Pro Tools guides and
Read Mes. This documentation can be found in
the following locations:
Mac Applications/Digidesign/Documentation
Windows C:\Program Files\Digidesign\
Documentation
To view or print PDF guides, you can use
Adobe Reader (recommended) or Apple
Preview (Mac only).
Read Me Files
These contain late-breaking information and
known issues pertaining to Pro Tools software
and hardware configurations. Read Me files are
installed in the Documentation folder when you
install Pro Tools.
Helpful Online Resources
Once you get going, here are some helpful online resources:
• For questions about installation, visit
Avid’s online Knowledge Base. Go to:
http://www.avid.com/onlinesupport
• Get useful information, help, and tips from
the worldwide community of Pro Tools users
at the online User Conference. Go to:
http://duc.avid.com
• If you can’t find your answers on the User
Conference or the Knowledge Base, contact
Avid email support. Go to:
http://www.avid.com/support
Mbox Pro User Guide92
appendix h
Compliance Information
Environmental Compliance
Disposal of Waste Equipment by Users
in the European Union
This symbol on the product or its packaging indicates that this
product must not be disposed of with other waste. Instead, it
is your responsibility to dispose of your waste equipment by
handing it over to a designated collection point for the recycling
of waste electrical and electronic equipment. The separate
collection and recycling of your waste equipment at the time of
disposal will help conserve natural resources and ensure that
it is recycled in a manner that protects human health and the
environment. For more information about where you can drop
off your waste equipment for recycling, please contact your
local city recycling office or the dealer from whom you
purchased the product.
Proposition 65 Warning
This product contains chemicals, including lead,
known to the State of California to cause cancer and
birth defects or other reproductive harm. Wash hands
after handling.
Perchlorate Notice
This product may contain a lithium coin battery. The State of
California requires the following disclosure statement:
“Perchlorate Material – special handling may apply, See
www.dtsc.ca.gov/hazardouswaste/perchlorate.”
Recycling Notice
Appendix H: Compliance Information 93
EMC (Electromagnetic
Avid
Compliance)
Avid declares that this product complies with the following
standards regulating emissions and immunity:
• FCC Part 15 Class B
• EN 55022 Class B
• EN 55204 Class B
• AS/NZS 3548 Class B
• CISPR 22 Class B
FCC Compliance for United States
Radio and Television Interference
This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules.
DECLARATION OF CONFORMITY
We, Avid, 2001 Junipero Serra Boulevard
Daly City, CA 94014-3886, USA
650-731-6300
declare under our sole responsibility that the product
Mbox Pro
complies with Part 15 of FCC Rules.
Operation is subject to the following two conditions:
(1) this device may not cause harmful interference, and
(2) this device must accept any interference received,
including interference that may cause undesired operation.
Australian Compliance
Canadian Compliance
This Class B digital apparatus complies with Canadian
ICES-003
Cet appareil numérique de la classe A est conforme à la norme
NMB-003 du Canada
CE Compliance
(EMC and Safety)
Avid is authorized to apply the CE (Conformité Europénne)
mark on this compliant equipment thereby declaring conformity
to EMC Directive 89/336/EEC and Low Voltage Directive
73/23/EEC.
Communication Statement
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
Avid, could void the user's authority to operate the
equipment.
Mbox Pro User Guide94
Safety Compliance
Safety Statement
This equipment has been tested to comply with USA and
Canadian safety certification in accordance with the
specifications of UL Standards: UL60065 7th /IEC 60065 7th
and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been
authorized to apply the appropriate UL & CUL mark on its
compliant equipment.
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