Pinnacle Systems Pro Tools Academic - 7.3 User Manual

Getting Started

Pro Tools Academic

™ with M-Audio® Interfaces

Version 7.3

Avid, Digidesign, M-Audio, M-Powered, Pro Tools, Pro Tools Academic, Pro Tools|HD, and Pro Tools LE are either trademarks or registered trademarks of Avid Technology, Inc. in the US and other countries. All other trademarks contained herein are the property of their respective owners.

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

PN 9320-55965-00 REV A 1/07

Chapter 1. Pro Tools Academic QuickStart

Windows Installation Overview

Mac Installation Overview

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Chapter 2. Welcome to Pro Tools Academic

Academic Systems with M-Audio Interfaces

Pro Tools Academic Packages

Pro Tools Academic Capabilities

How Pro Tools Academic Differs from Pro Tools LE or M-Powered

System Requirements

Digidesign Registration

About the Pro Tools Guides

About www.digidesign.com

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Chapter 3. Windows Installation

Installation Overview

Windows System Optimization

Installing an M-Audio Interface

Installing M-Audio Drivers

Installing Pro Tools Academic Software

Launching Pro Tools Academic

Configuring Pro Tools Academic

Additional Software on the Pro Tools Installer Disc

Removing Pro Tools Academic

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Contents

iii

Chapter 4. Mac Installation

Installation Overview

Mac System Optimization

Installing Your M-Audio Interface

Installing M-Audio Drivers

Installing Pro Tools Academic Software

Additional Software on the Pro Tools Installer Disc

Launching Pro Tools Academic

Configuring Pro Tools Academic

Removing Pro Tools

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Chapter 5. Making Hardware Connections

Connecting Headphones

Connecting a Sound System

Connecting Audio Inputs

Connecting a Microphone

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Chapter 6. Common Tasks with Pro Tools Academic

Recording a Pro Tools Session

Importing Audio from a CD

Creating an Audio CD from a Pro Tools Session

Recording MIDI in a Pro Tools Session

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Chapter 7. Time Code and Synchronization Features

Timebase Rulers

Selecting Time Code Rate

Selecting Feet+Frame Rate

Redefining Time Code Position

Redefining Current Feet+Frames Position

Use Subframes Option

Half-Frame Grid/Nudge Capability

Pull Up and Pull Down Commands

Import Session Data Enhancements

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Pro Tools Academic Getting Started

Chapter 8. Post Production Features

Export of AAF Sequences at HD Frame Rates

Expanding Alternate Channels to New Tracks

Selecting an Alternate Channel for a Specific Region

Multiple QuickTime Movies on Individual Video Tracks

Multiple Video Tracks in the Timeline

Multiple Video Track Playlists

Dragging Video Files from the Region List to the Timeline

Video Import Options Dialog Additions

General Video Editing

Renaming Video Disk Files

Video Region Groups

Video Window Right-Click Commands

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Appendix A. Configuring MIDI Studio Setup (Windows Only)

MIDI Studio Setup

MIDI Patch Name Support

Appendix B. Configuring AMS (Mac OS X Only)

Audio MIDI Setup

MIDI Patch Name Support

Appendix C. Hard Drive Configuration and Maintenance

Avoid Recording to the System Drive

Supported Drive Formats and Drive Types

Formatting an Audio Drive

Partitioning Drives

Defragmenting an Audio Drive

Hard Disk Storage Space

Index

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Contents

Pro Tools Academic Getting Started

chapter 1

Pro Tools Academic QuickStart

Windows Installation Overview

(Windows Systems Only)

Pro Tools Academic “Standalone” (Software-Only with iLok)

Installing Pro Tools Academic on a Windows computer includes the following steps:

“Windows System Optimization” on page 9.

“Installing an M-Audio Interface” on page 12.

“Installing M-Audio Drivers” on page 12.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

“Installing Pro Tools Academic Software” on

page 13.

“Launching Pro Tools Academic” on page 14.

For Pro Tools Academic Standalone, this step includes inserting the pre-authorized iLok (included with your Pro Tools Academic Standalone package) into an available USB port on your computer.)

Pro Tools Academic “Bundled Hardware” (No iLok)

Installing Pro Tools Academic on a Windows computer includes the following steps:

“Windows System Optimization” on page 9.

“Installing an M-Audio Interface” on page 12.

“Installing M-Audio Drivers” on page 12.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

“Installing Pro Tools Academic Software” on

page 13.

“Launching Pro Tools Academic” on page 14.

“Conﬁguring Pro Tools Academic” on

page 15.

“Making Hardware Connections” on page 35.

“Conﬁguring Pro Tools Academic” on

page 15.

“Making Hardware Connections” on page 35.

Chapter 1: Pro Tools Academic QuickStart

Mac Installation Overview

(Mac OS X Systems Only)

Pro Tools Academic “Standalone” (Software-Only with iLok)

Installation of Pro Tools Academic on a Mac includes the following steps:

1 “Mac System Optimization” on page 23.

2 “Installing Your M-Audio Interface” on

page 25.

3 “Installing M-Audio Drivers” on page 25.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

4 “Installing Pro Tools Academic Software” on

page 26.

5 “Launching Pro Tools Academic” on page 27.

For Pro Tools Academic Standalone, this step includes inserting the pre-authorized iLok (included with your Pro Tools Academic Standalone package) into an available USB port on your computer.)

Pro Tools Academic “Bundled Hardware” (No iLok)

Installation of Pro Tools Academic on a Mac includes the following steps:

1 “Mac System Optimization” on page 23.

2 “Installing Your M-Audio Interface” on

page 25.

3 “Installing M-Audio Drivers” on page 25.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

4 “Installing Pro Tools Academic Software” on

page 26.

5 “Launching Pro Tools Academic” on page 27.

6 “Conﬁguring Pro Tools Academic” on

page 27.

7 “Making Hardware Connections” on page 35

6 “Conﬁguring Pro Tools Academic” on

page 27.

7 “Making Hardware Connections” on page 35

Pro Tools Academic Getting Started

chapter 2

Welcome to Pro Tools Academic

Welcome to Pro Tools Academic. This guide documents how to install and configure Pro Tools Academic software on Academic systems with M-Audio

For Mbox 2 Academic system installation and configuration information, refer to the Mbox 2 Academic Getting Started Guide.

interfaces.

Academic Systems with M-Audio Interfaces

The basic components of an Academic system with an M-Audio interface are as follows:

• Digidesign-qualiﬁed M-Audio interface (included with Pro Tools Academic “bundled hardware” kits)

• Digidesign-qualiﬁed Windows or Mac computer (not included)

• Pro Tools Academic software (included)

For a list of Digidesign-qualified M-Audio interfaces and computers, refer to the Digidesign website (www.digidesign.com)

Chapter 2: Welcome to Pro Tools Academic 3

Pro Tools Academic Packages

Pro Tools Academic “Standalone” (Software-Only with iLok)

Pro Tools Academic “Standalone” software-only packages for Digidesign-qualified M-Audio interfaces includes the following:

• Pro Tools Installer disc containing Pro Tools Academic software, updated M-Audio drivers, DigiRack RTAS (Real-Time AudioSuite) and AudioSuite plug-ins, and electronic PDF guides

• Pre-authorized iLok for running Pro Tools Academic

• This Getting Started Guide, covering installation, conﬁguration, and common tasks for your Pro Tools system

• Digidesign Registration Information Card

Pro Tools Academic “Bundled Hardware” (No iLok)

Pro Tools Academic bundled hardware kits include the following:

• M-Audio interface and hardware (such as a MobilePre USB Academic or Ozone Academic)

• Pro Tools Installer disc containing Pro Tools Academic software, updated M-Audio drivers, DigiRack RTAS (Real-Time AudioSuite) and AudioSuite plug-ins, and electronic PDF guides

• This Getting Started Guide, covering installation, conﬁguration, and common tasks for your Pro Tools system

• Digidesign Registration Information Card

Pro Tools Academic Capabilities

Pro Tools Academic software provides the following capabilities:

• Playback of up to 32 mono (or 16 stereo) digital audio tracks, or a combination of playing back and recording up to 32 mono (or 16 stereo) digital audio tracks, depending on your M-Audio interface and computer’s capabilities

• Up to 128 audio tracks (with 32 voiceable tracks maximum), 64 video 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 the sample rates supported by your M-Audio interface

• Non-destructive, random-access editing and mix automation

• Audio processing with up to 5 RTAS plugins per track, depending on your computer’s capabilities

• Up to 5 hardware inserts per track

• Up to 10 sends per track

• Up to 32 internal mix busses

Pro Tools Academic 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.

Pro Tools Academic Getting Started4

How Pro Tools Academic Differs from Pro Tools LE or M-Powered

Additional Features

Pro Tools Academic includes the following additional features, which are not included with standard Pro Tools LE or M-Powered:

Time Code and Synchronization Features

• Time Code Timebase ruler

• Feet+Frame Timebase ruler

• Time Code Rate selector

• Feet+Frame Rate selector

• Redeﬁne Current Time Code Position

• Redeﬁne Current Feet+Frames Position

• Use Subframes option

• Half-Frame Grid/Nudge Capability

• Audio and Video Pull Up and Pull Down commands

• Time Code Mapping options

Post Production Features

• Export of AAF and OMF sequences

• Expand to New Tracks command, for expanding alternate channels to new tracks when working with ﬁles from digital ﬁeld recorders

• Ability to select alternate channels when working with ﬁles from digital ﬁeld recorders

• Support for multiple QuickTime movies on each video track

• Support for multiple video tracks in the Timeline

• Support for multiple video playlists on each video track

• Ability to drag video from Region List to Timeline

• Video Import Options dialog additional options

• General Video editing features

DigiTranslator Software Option

Pro Tools Academic automatically installs DigiTranslator software. DigiTranslator lets Pro Tools exchange audio and video files, and sequences with other AAF and OMFI-compatible applications.

Refer to the DigiTranslator Integrated Option Guide for details on using DigiTranslator.

Conﬁguration Dialogs and Procedures

Some Pro Tools Academic configuration dialogs (such as Hardware Setup) and configuration procedures differ from the Pro Tools LE dialogs and procedures presented in the Pro Tools Reference Guide. For specific Pro Tools Academic configuration steps, see Chapter 3, “Windows Installation” or Chapter 4, “Mac Installation.”

Unsupported Options

Pro Tools LE and M-Powered Options

Pro Tools Academic does not support the following Pro Tools LE and M-Powered option:

• Music Production Toolkit

Pro Tools LE Only Options

Pro Tools Academic does not support the following Pro Tools LE only options:

• DV Toolkit 2

• Digidesign Ethernet-based control surfaces (such as Control|24)

• Avid video peripherals

• Mac HFS+ Disk Support Option

Chapter 2: Welcome to Pro Tools Academic 5

System Requirements

Pro Tools Academic can be used with a Digidesign-qualified M-Audio interface, running on a Digidesign-qualified Windows or Mac computer.

For complete system requirements, visit the Digidesign website (www.digidesign.com).

Compatibility Information

Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved.

This key can hold over 100 authorizations for all of your iLok-enabled software. Once an iLok is authorized for a given piece of software, you can use the iLok to authorize that software on any computer.

The Pro Tools Academic Standalone preauthorized iLok must be inserted in an available USB port on your computer to run Pro Tools Academic Standalone.

For additional information about iLok technology and authorizations, see the electronic PDF of the iLok Usage Guide.

For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, visit the Digidesign website (www.digidesign.com).

Pre-Authorized iLok

(Pro Tools Academic Standalone Only)

Pro Tools Academic Standalone software is authorized using the iLok USB Smart Key (iLok) from PACE Anti-Piracy.

Pro Tools Academic Standalone packages include one iLok, which is pre-authorized for Pro Tools Academic software.

Pre-Authorized iLok

The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple software applications from a variety of software developers.

MIDI Requirements

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.

For a list of supported adapters, visit the Digidesign website (www.digidesign.com).

Pro Tools Academic Getting Started6

Hard Drive Requirements

For optimal audio recording and playback, all Pro Tools systems require one or more Digidesign-qualified drives.

For a list of Digidesign-qualified hard drives, visit the Digidesign website (www.digidesign.com).

If you are using an ATA/IDE or FireWire hard drive, initialize your drive with Windows Disk Management (Windows) or the Disk Utility application included with Apple System software (Mac).

For more information, see Appendix C, “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.

Digidesign does not recommend recording to the system drive. Record to a system drive only when necessary.

Digidesign Registration

Review the enclosed Digidesign Registration Information Card and follow the instructions on it to quickly register your purchase online. Registering your purchase is the only way you can be eligible to receive complimentary technical support and future upgrade offers. It is one of the most important steps you can take as a new user.

About the Pro Tools Guides

This Getting Started guide explains how to install Pro Tools Academic software, make basic connections to your M-Audio interface (to get sound in and out your interface), and do common tasks (such as recording in Pro Tools).

Online guides provided with Pro Tools Academic refer to Pro Tools|HD and LE systems. References to Pro Tools LE are usually interchangeable with Pro Tools Academic, except as documented differently in this guide.

For information on your M-Audio interface, see your M-Audio interface documentation.

In addition to any printed guides or documentation included with your system, PDF versions of Pro Tools guides and read mes are installed automatically with Pro Tools.

The main guides (such as the Pro Tools Reference Guide and the Pro Tools Menus Guide) are accessi- ble from the Pro Tools Help menu.

• Pro Tools Reference Guide explains Pro Tools software in detail.

• Pro Tools Menus Guide covers all the Pro Tools on-screen menus.

• DigiRack Plug-Ins Guide explains how to use the RTAS and AudioSuite plug-ins included with Pro Tools.

• Digidesign Plug-Ins Guide explains how to use optional Digidesign plug-ins.

• Pro Tools Shortcuts lists keyboard and Rightclick shortcuts for Pro Tools.

Chapter 2: Welcome to Pro Tools Academic 7

These guides and other guides are installed on your startup drive during installation. To view or print PDF guides, you can use Adobe Reader or Apple Preview (Mac only).

Printed copies of the Pro Tools Reference Guide and other guides in the Pro Tools guide set can be purchased separately from the DigiStore (www.digidesign.com).

Conventions Used in This Guide

About www.digidesign.com

The Digidesign website (www.digidesign.com) is your best source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available.

Registration Register your purchase online. See the enclosed Digidesign Registration Information Card for instructions.

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

Convention Action

File > Save Choose Save from the File

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 following symbols are used to highlight important information:

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

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

Support Contact Digidesign Technical Support or Customer Service; download software updates and the latest online manuals; browse the Compatibility documents for system requirements; search the online Answerbase; join the worldwide Pro Tools community on the Digidesign User Conference.

Training and Education Become a certified Pro Tools Operator or Expert; study on your own using courses available online, or find out how you can learn in a classroom setting at a certified Pro Tools Training Center.

Products and Developers Learn about Digidesign products; download demo software; learn about our Development Partners and their plug-ins, applications, and hardware.

News and Events Get the latest news from Digidesign; sign up for a Pro Tools demo.

To learn more about these and other resources available from Digidesign, visit the Digidesign website (www.digidesign.com).

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in other guides.

Pro Tools Academic Getting Started8

chapter 3

Windows Installation

This chapter contains information for Windows systems only. If you are installing Pro Tools Academic on a Mac computer, see Chapter 4, “Mac Installation.”

Before installing this version of Pro Tools, refer to the Read Me information included on the Pro Tools Installer disc.

Installation Overview

Installing Pro Tools Academic on a Windows computer includes the following steps:

Windows System Optimization

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, refer to your Windows documentation.

Required Optimizations

To ensure optimum performance with Pro Tools Academic, configure the following settings before you install Pro Tools software.

1 “Windows System Optimization” on page 9.

2 “Installing an M-Audio Interface” on page 12.

3 “Installing M-Audio Drivers” on page 12.

4 “Installing Pro Tools Academic Software” on

page 13.

5 “Launching Pro Tools Academic” on page 14.

(This step includes inserting the pre-authorized iLok into an available USB port on your computer.)

6 “Conﬁguring Pro Tools Academic” on

page 15.

7 Making audio connections to the M-Audio in-

terface.

For complete details, see your M-Audio interface documentation.

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 the computer can do other Pro Tools tasks.

In most cases the DMA option will already be set correctly, as Windows XP detects and activates DMA mode by default.

To enable DMA for any IDE hard drives:

1 Choose Start > Control Panel.

2 In Classic View, launch System.

3 Click the Hardware tab.

Chapter 3: Windows Installation 9

4 Under Device Manager, choose Device Man-

ager.

5 In the Device Manager window, double-click

IDE ATA/ATAPI controllers, then double-click the Primary IDE Channel for your IDE hard drive.

6 Click the Advanced Settings tab.

7 For each device, set the Transfer Mode to

“DMA if available,” and click OK.

8 Repeat steps 5–7 for any additional IDE Chan-

nels.

9 Close the Computer Management window.

Disabling System Standby and Power Management

When using Pro Tools, the Windows System Standby power scheme must be set to Always On. This helps prevent long record or playback passes from stopping due to system resources powering down.

To conﬁgure Windows Power Management:

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 Click OK.

This sets System Standby, System Hibernate, and “Turn off hard disks” to Never.

On AMD processors, be sure to check and disable Cool N’Quiet in the System BIOS (in the Cool & Quiet Configuration section). Refer to the manufacturer’s documentation for instructions on disabling this power option, if necessary.

Disabling ClearType Font Smoothing

When using Pro Tools, the Effects “Clear Type” setting must be disabled.

To disable ClearType font smoothing:

1 Choose Start > Control Panel.

2 Double-click Display.

3 Click the Appearance tab.

4 Click Effects.

5 Deselect “Use the following methods to

smooth edges of screen fonts.”

6 Click OK to save your settings and close the

Effects dialog.

7 Click OK.

8 Restart the computer.

Recommended Optimizations

Pro Tools can also be affected by other software and hardware drivers installed on your computer. 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 nonessential USB devices while running Pro Tools.

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

Pro Tools Academic Getting Started10

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.

Disabling Network Cards

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:

1 Right-click My Computer and choose Man-

age.

2 Under System Tools, select Device Manager.

3 In the Device Manager window, double-click

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

4 Under the General tab, choose “Do not use

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

5 Close the Computer Management window.

Adjusting Processor Scheduling

6 Under the Processor scheduling section, select

the Background Services option.

7 Under the Memory Usage section, select the

System cache option.

8 Click OK to close the Performance Options

window.

9 Click OK to close the System Properties win-

dow.

10 Restart the computer for the changes to take

effect.

Disabling Hyper-Threading

Pro Tools Academic takes advantage of the added processing power of computers that have multiple processors, or that feature multi-core processing or Hyper-Threading, for RTAS processing.

However, if you set the number of processors available for RTAS processing to 1 (in the Pro Tools Playback Engine dialog), some computers with Hyper-Threading capability may experience decreased performance.

If this occurs, you can increase the number of RTAS processors in the Playback Engine dialog, or you can disable Hyper-Threading on the computer.

To Adjust Processor Scheduling Performance:

1 Choose Start > Control Panel.

2 In Classic View, double-click System.

3 Click the Advanced tab.

4 Under the Performance section, click the Set-

tings button.

5 In the Performance Options window, click the

Advanced tab.

Refer to your computer’s documentation for steps on how to enter the computer’s BIOS and disable Hyper-Threading.

Chapter 3: Windows Installation 11

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 should be turned off.

If you disable any of the following startup items, do so carefully:

• Portable media serial number (required for applications that utilize a copy protection key)

• Plug and play

• Event log

• Cryptographic services

• DHCP Client, TCP/IP Net BIOS, and other networking-related items (unless the computer has no network or internet connection, in which case these items can be disabled)

Installing an M-Audio Interface

Before you install Pro Tools Academic, you must first install your M-Audio interface. Install your M-Audio interface according to the instructions in your M-Audio interface documentation.

In your M-Audio Control Panel, make sure that output channels 1 and 2 are not set to –Infinity (–

∞

). Refer to the instructions in

your M-Audio interface documentation.

When you have completed the instructions in your M-Audio documentation, return to this guide and continue with “Installing M-Audio Drivers” on page 12.

Installing M-Audio Drivers

To disable System Startup Items:

1 From the Start menu, choose Run.

2 Type “msconﬁg” and click OK. The System

Conﬁguration Utility opens.

3 Under the General tab, choose Selective Star-

tup.

4 Deselect Load Startup Items and click OK.

5 Click Restart to restart the computer.

6 After restarting, the computer displays a Sys-

tem 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 Selective Startup back to Normal Startup. Alternatively, try disabling Startup items and non-essential processes individually.

Pro Tools Academic Getting Started12

The Pro Tools Academic Installer disc includes M-Audio drivers for using Digidesign-qualified M-Audio interfaces on Windows XP.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

To install the M-Audio driver for your M-Audio interface:

1 If you are using an M-Audio FireWire inter-

face, disconnect it before proceeding.

2 Insert the Pro Tools Academic Installer disc for

Windows in your CD/DVD drive.

3 Locate and open the M-Audio Driver Installers

folder, and double-click the driver for your interface type only:

• For M-Audio FireWire interfaces, doubleclick the ﬁle starting with “FW_WDM.”

• For M-Audio PCI interfaces, double-click the ﬁle starting with “Delta_WDM.”

• For M-Audio BlackBox, double-click the ﬁle starting with “BB_WDM.”

• For M-Audio Connective, double-click the ﬁle starting with “Connectiv_WDM.”

• For M-Audio FastTrack, double-click the ﬁle starting with “FastTrack_WDM.”

• For M-Audio FastTrack Pro, double-click the ﬁle starting with “FTP_WDM.”

• For M-Audio JamLab, double-click the ﬁle starting with “JamLab_WDM.”

• For M-Audio MobilePre USB, double-click the ﬁle starting with “MP_WDM.”

• For M-Audio MobilePre USB Academic, double-click the ﬁle starting with “MPA_WDM.”

• For M-Audio Ozone, double-click the ﬁle starting with “Ozone_WDM.”

• For M-Audio Ozone Academic, doubleclick the ﬁle starting with “OzoneA_WDM.”

• For M-Audio Transit, double-click the ﬁle staring with “Transit_WDM.”

4 Follow the on-screen instructions to install

the driver.

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

5 When installation is complete, shut down

your computer.

6 If you are using an M-Audio FireWire inter-

face, wait until the computer has shut down completely, then connect your interface and power it on.

7 Turn on your computer.

8 When your system recognizes the new hard-

ware, run the Found New Hardware Wizard. Follow the on-screen instructions.

If you are prompted to run the Found New Hardware Wizard a second time, run it again.

Installing Pro Tools Academic Software

After the Windows System software settings are configured and you have installed your M-Audio interface and drivers, you are ready to install Pro Tools Academic.

To install Pro Tools Academic:

1 Start Windows, logging in with Administrator

privileges. For details on Administrator privileges, refer to your Windows documentation.

2 Insert the Pro Tools Academic Installer disc for

Windows in your CD/DVD drive.

3 On the Installer disc, locate and open the

Pro Tools Installer folder.

4 Double-click the Setup icon.

5 Follow the on-screen instructions to proceed

with installation.

6 Select the install location. For maximum reli-

ability, install Pro Tools on your startup drive.

7 Click Next.

8 Select the Pro Tools application for installa-

tion.

9 You can also select from a list of optional

items to install along with Pro Tools.

Chapter 3: Windows Installation 13

Command|8 Controller and Driver The Command|8 Driver is required if you are using the Digidesign Command|8 control surface.

MP3 Export Option The MP3 Export Option lets you export MP3 files from Pro Tools. This option is purchased separately.

10 Click Next.

11 Click Install.

Windows will display several messages during installation that can be ignored, including multiple “Found New Hardware” dialogs and “A Problem Occurred During Hardware Installation.”

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

12 Wait for the installer to ﬁnish installing all

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

13 When installation is complete, click Finish.

Installing QuickTime

2 Download the QuickTime for Windows XP in-

staller application to your computer.

3 Double-click the QuickTime installer applica-

tion and follow the on-screen installation instructions.

4 Restart your computer.

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 21.

Launching Pro Tools Academic

To authorize Pro Tools Academic software:

1 For Pro Tools Academic Standalone only, in-

sert the pre-authorized iLok into an available USB port on your computer.

To use Pro Tools Academic Standalone software with an M-Audio interface, you must always have an iLok with an authorization for Pro Tools Academic. One pre-authorized iLok is included with your Pro Tools Academic Standalone package.

A Digidesign-qualified version of 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 XP 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 the compatibility pages of the Digidesign website (www.digidesign.com).

To install QuickTime:

1 Visit www.apple.com and go to the Quick-

Time page.

Pro Tools Academic Getting Started14

2 Double-click the Pro Tools Academic shortcut

on your desktop (or the application in Program Files\Digidesign\Pro Tools).

For Pro Tools Academic Standalone, do not remove the pre-authorized iLok during Pro Tools launch or use.

3 For Pro Tools Academic bundled hardware kits

only, enter the authorization code in the dialog (making sure to type it exactly as printed, and observing any spaces and capitalization), then click Validate.

Your authorization code is located on the inside front cover of this guide.

Conﬁguring Pro Tools Academic

Pro Tools System Settings

Pro Tools lets you adjust the performance of your system by changing system settings that affect its capacity for processing, playback, and recording

In most cases, the default settings for your system provide optimum performance, but you may want to adjust them to accommodate large or processing-intensive Pro Tools sessions.

Hardware Buffer Size

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.

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. The H/W Buffer setting can also be used to manage monitoring latency.

◆ Lower Hardware Buffer Size settings reduce

monitoring latency, and are useful when you are recording live input.

◆ Higher Hardware Buffer Size settings allow for

more audio processing and effects, and are useful when you are mixing and using more RTAS plug-ins.

In addition to causing slower screen response and monitoring latency, higher Hardware Buffer Size settings can increase the latency caused by RTAS plug-ins, and affect the accuracy of plug-in automation, mute data, and MIDI track timing.

Playback Engine dialog for Pro Tools Academic (Ozone shown)

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

the audio buffer size, in samples.

3 Click OK.

RTAS Processors

The RTAS Processors setting determines the number of processors in your computer allocated for RTAS plug-in processing.

With computers that have multiple processors, or that feature multi-core processing or hyperthreading, this setting lets you enable multi-processor support for RTAS processes. Used in combination with the CPU Usage Limit setting, the RTAS Processors setting lets you control the way RTAS processing and other Pro Tools tasks are carried out by the system.

◆ A higher number of processors reserves more

CPU processing capacity for RTAS plug-in processing. This is useful for sessions with large number of RTAS plug-ins.

Chapter 3: Windows Installation 15

◆ A lower number of processors leaves more

CPU processing capacity for automation, screen redraws, and video playback in Pro Tools, or for other application running at the same time as Pro Tools.

To set the number of RTAS Processors:

1 Choose Setup > Playback Engine.

2 From the RTAS Processors pop-up menu, select

the number of processors you want to allocate for RTAS plug-in processing.

3 Click OK.

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

2 From the CPU Usage Limit pop-up menu, se-

lect the percentage of CPU processing you want to allocate to Pro Tools.

3 Click OK.

RTAS Engine (RTAS Error Suppression)

The RTAS Engine options determine RTAS error reporting during playback and recording. This is especially useful when working with instrument plug-ins.

CPU Usage Limit

The CPU Usage Limit controls the percentage of CPU resources allocated to Pro Tools host processing tasks. Used in combination with the RTAS 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 ef-

fect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful when you are experiencing slow system response, or when running other applications at the same time as Pro Tools.

◆ Higher CPU Usage Limit settings allocate

more processing power to Pro Tools, and are useful for playing back large sessions or using more real-time plug-ins.

The maximum available CPU Usage Limit depends on the number of processors in your computer and on the number of processors you specify with the RTAS Processor setting. This value can be up 99 percent for single-processor computers or 90 percent for multi-processor computers.

Increasing the CPU Usage Limit may slow down screen response on slower computers.

You should only enable RTAS error suppression if you are experiencing frequent RTAS errors that are interrupting your creative workflow. When RTAS 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 RTAS error suppression when you need to ensure the highest possible audio quality, such as for a final mix.

There are two RTAS Engine options:

Ignore Errors During Playback/Record When enabled, Pro Tools continues to play and record even if the RTAS 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 When enabled, any additional latency due to suppressing RTAS 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

Pro Tools Academic Getting Started16

128 samples (which ever is greater). If you are on an older, slower computer, you may not want to enable this option since doing so can adversely affect performance.

The Minimize Additional I/O Latency option is only available if the Ignore Errors During Playback/Record option is enabled.

To enable RTAS error suppression:

1 Choose Setup > Playback Engine.

2 Select Ignore Errors During Playback/Record.

3 If available, you can also select Minimize Ad-

ditional I/O Latency.

4 Click OK.

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory DAE allocates for disk buffers. The optimum DAE Playback Buffer Size for most disk operations is Level 2.

◆ DAE Playback Buffer Size settings lower than

Level 2 may improve playback and recording initiation speed, but 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

Level 2 will allow for a higher density of edits in a session or a higher track count when using slower hard drives. However, a higher setting can also cause a time lag to occur when starting playback or recording, or 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 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,

select a buffer size.

3 Click OK.

Pro Tools Hardware Settings and M-Audio Control Panel

The Hardware Setup dialog in Pro Tools (Setup > Hardware) displays the name of your M-Audio peripheral. The dialog also displays a message, which tells you that various hardware functions can be changed in the M-Audio Control Panel.

Using the M-Audio Control Panel, you can change M-Audio hardware interface settings in the following areas:

• Mixer Settings

• Output Settings

• Hardware Settings (including sample rate, hardware buffer size, and sync source).

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

Reference Guide for details.)

the Pro Tools

Chapter 3: Windows Installation 17

For specific steps on changing Sync Source, see “Sync Source (Pro Tools Clock Source)” on page 18.

To use low latency monitoring (M-Audio devices that have Control Panel mixers with a direct monitoring feature only), see “Low Latency Monitoring” on page 19.

Sync Source (Pro Tools Clock Source)

If your M-Audio interface has a digital I/O (such as S/PDIF I/O), use the M-Audio Control Panel to select the Sync Source for the system.

With Pro Tools Academic, Sync Source cannot be set in the Pro Tools Session Setup window.

To change M-Audio Control Panel settings:

1 If Pro Tools Academic is running, exit

Pro Tools.

Although Pro Tools Academic must be closed to change hardware settings (such as sample rate) in the M-Audio Control Panel, Pro Tools Academic and the M-Audio Control Panel can be open at the same time. This is useful for changing Mixer settings in the M-Audio Control Panel Mixer.

2 Choose Start > Control Panel.

3 Launch the M-Audio Control Panel as follows:

• For FireWire interfaces, launch M-Audio FW Audio.

• For PCI interfaces, launch M-Audio Delta Audio.

• For USB Interfaces, launch the M-Audio control panel with the name of your interface.

4 Change settings in the M-Audio Control

Panel.

For details on each Control Panel setting, see your M-Audio interface documentation.

5 When ﬁnished, close the M-Audio Control

Panel.

To select the Sync Source:

1 If Pro Tools Academic is running, exit

Pro Tools.

2 Choose Start > Control Panel.

3 Launch the M-Audio Control Panel as follows:

• For FireWire interfaces, launch M-Audio FW Audio.

• For PCI interfaces, launch M-Audio Delta Audio.

• For USB Interfaces, launch the M-Audio control panel with the name of your interface.

4 Click the Hardware tab.

5 Select a Sync Source.

Your digital input device must be connected and turned on. If your input device is not turned on, leave the Sync Source set to Internal.

For more information on connecting your digital input device and selecting the Sync Source for your M-Audio interface, refer to your M-Audio interface documentation.

6 Click OK.

Pro Tools Academic Getting Started18

Low Latency Monitoring

M-Audio direct or low-latency monitoring controls are not available from within Pro Tools Academic.

However, with M-Audio devices that have Control Panel mixers with a direct monitoring feature, it is possible to use this feature as a low-latency monitoring path while recording in Pro Tools.

For specific information on using the direct monitoring feature of your M-Audio interface, refer to your M-Audio interface documentation.

Example: FireWire 410

To use the M-Audio FireWire 410 mixer’s direct monitoring feature while recording:

1 In Pro Tools, record-enable the tracks you

want to record and mute their output.

2 Open the M-Audio Control Panel for your M-

Audio interface.

3 In the Control Panel mixer for your interface,

route the input channels you want to monitor to the main outputs of the mixer (usually Outputs 1–2) by clicking the corresponding output control.

Mixer output 1–2 control

Control Panel mixer for M-Audio FireWire 410)

4 Adjust the output level and balance with the

Control Panel mixer volume and pan controls.

5 In Pro Tools, begin recording.

6 To listen back to the recorded tracks, unmute

the tracks in Pro Tools and begin playback.

7 When you are ﬁnished recording, turn off the

mixer output control in the Control Panel mixer.

Chapter 3: Windows Installation 19

Conﬁguring I/O Setup

Using the I/O Setup dialog, you can label Pro Tools 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 M-Audio interface.

The M-Audio interface’s hardware inputs and outputs show up directly in Pro Tools I/O Setup. However, the Pro Tools I/O setup does not use the M-Audio mixer I/O names that are displayed in the M-Audio Control Panel.

Pro Tools Academic 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.

3 To change the name of a path or subpath,

double-click directly on the Path Name, type a new name for the path, and press Enter.

4 Click OK.

See the Pro Tools Reference Guide for more information on renaming I/O paths.

MIDI Studio Setup

(Optional)

If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with MIDI Studio Setup. See Appendix A, “Configuring MIDI Studio Setup (Windows Only)” for details.

Backing Up your System Conﬁguration

To rename I/O paths in I/O Setup:

1 Choose Setup > I/O.

I/O Setup dialog for Pro Tools Academic (M-Audio FireWire 1814 shown)

2 Click the Input, Output, Insert, or Bus tab to

display the corresponding connections.

After configuring your system and Pro Tools, you should save an image of your system drive using a backup utility such as Norton Ghost. By doing this, you can quickly restore your system configuration and settings if you encounter any problems.

Pro Tools Academic Getting Started20

Additional Software on the Pro Tools Installer Disc

The Pro Tools Installer disc provides additional software for your system, including a Pro Tools demo session.

Refer to your Pro Tools Installer disc for additional software and installers.

Pro Tools Demo Session

The Pro Tools Academic Installer disc includes a demo session that you can use to verify that your system is working.

Before installing the demo session to your audio drive, make sure the drive is configured as described in Appendix C, “Hard Drive Configuration and Maintenance.”

To install the demo session:

1 Insert the Pro Tools Academic Installer disc in

your CD/DVD drive.

2 From your CD/DVD drive, locate and double-

click the Pro Tools Academic Demo installer icon.

Removing Pro Tools Academic

If you need to remove Pro Tools Academic software from your computer, you can use the Add or Remove Programs command.

To remove Pro Tools from your computer:

1 Choose Start > Control Panel.

2 Launch Add or Remove Programs.

3 From the Currently installed programs list, se-

lect Digidesign Pro Tools Academic.

4 Click the Change/Remove button.

5 Follow the on-screen instructions to remove

Pro Tools Academic.

3 Set the install location to your audio drive and

click Install.

4 When installation is complete, click OK.

Chapter 3: Windows Installation 21

Pro Tools Academic Getting Started22

chapter 4

Mac Installation

This chapter contains information for Mac systems only. If you are installing Pro Tools Academic on a Windows computer, see Chapter 3, “Windows Installation.”

Before installing this version of Pro Tools, refer to the Read Me information included on the Pro Tools Installer disc.

Installation Overview

Installation of Pro Tools Academic on a Mac includes the following steps:

1 “Mac System Optimization” on page 23.

2 “Installing Your M-Audio Interface” on

page 25.

3 “Installing M-Audio Drivers” on page 25.

4 “Installing Pro Tools Academic Software” on

page 26.

5 “Launching Pro Tools Academic” on page 27.

(This step includes inserting the pre-authorized iLok into an available USB port on your computer.)

6 “Conﬁguring Pro Tools Academic” on

page 27.

7 Making audio connections to the M-Audio in-

terface.

For complete details, see your M-Audio interface documentation.

Mac System Optimization

To ensure optimum performance with Pro Tools, configure your computer before installing Pro Tools hardware and 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, refer to 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 the Digidesign website (www.digidesign.com).

Turning Off Software Update

To turn off the Software Update feature:

1 Choose System Preferences from the Apple

menu and click Software Update.

Chapter 4: Mac Installation 23

2 Click Update Software and 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 Click Sleep and 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” option.

Disabling the Spotlight Shortcuts

The Mac OS X Spotlight feature uses the same key commands Pro Tools uses to start recording (Command+Spacebar), and to record online (Command+Option+Spacebar). If you want to retain use of these key commands in Pro Tools, these shortcuts must be disabled.

To disable the Spotlight keyboard shortcut:

1 Choose System Preferences from the Apple

menu and click Spotlight.

2 Deselect “Spotlight menu keyboard shortcut”

and “Spotlight window keyboard shortcut.”

Setting Processor Performance

(Mac G5 Computers Only)

To set the Processor Performance:

1 Choose System Preferences from the Apple

menu and click Energy Saver.

2 Click Options and set Processor Performance

to Highest.

Disabling Spotlight Indexing

The Mac OS X Spotlight feature indexes files and folders in the background, affecting system performance. It is recommended that you disable Spotlight indexing before using Pro Tools.

To disable Spotlight indexing:

1 Choose System Preferences from the Apple

menu and click Spotlight.

2 In the Spotlight window, click Privacy.

3 To prevent indexing of a drive, drag its icon

from the desktop into the list.

Disabling Dashboard and Exposé

The Mac OS X Dashboard and Exposé features use function keys that are also used by Pro Tools (F9-F12). To retain use of these keys in Pro Tools, these features must be disabled.

To disable Dashboard and Exposé:

1 Choose System Preferences from the Apple

menu and click Dashboard and Exposé.

2 In the pop-up menus for each keyboard short-

cut, set the shortcut to “–” to disable it.

Enabling Journaling for Audio Drives

If you plan to use an audio drive that you used with a previous version of Pro Tools for Mac, enable journaling.

To enable journaling:

1 Launch the Disk Utility application, located in

Applications/Utilities.

2 Select the volume in the left column of the

Disk Utility window.

3 Click Enable Journaling in the toolbar.

Pro Tools Academic Getting Started24

Installing Your M-Audio Interface

Before you install Pro Tools Academic, you must first install your M-Audio interface. Install your M-Audio interface according to the instructions in your M-Audio interface documentation.

In your M-Audio Control Panel, make sure that output channels 1 and 2 are not set to –Infinity (–

∞

). Refer to the instructions in

your M-Audio interface documentation.

When you have completed the instructions in your M-Audio documentation, return to this guide and continue with “Installing M-Audio Drivers” on page 25.

Installing M-Audio Drivers

The Pro Tools Academic Installer disc includes M-Audio drivers for using Digidesign-qualified M-Audio interfaces on Mac.

Pro Tools will not see your M-Audio interface if you do not install the M-Audio driver that is included with Pro Tools Academic.

To install the M-Audio driver for your M-Audio interface:

1 If you are using an M-Audio FireWire inter-

face, disconnect it before proceeding.

2 Insert the Pro Tools Academic Installer disc for

Mac in your CD/DVD drive.

3 Locate and open the M-Audio Driver Installers

folder, and double-click the driver for your interface type only:

• For M-Audio FireWire interfaces, doubleclick the ﬁle starting with “FireWire_OSX.”

• For M-Audio PCI interfaces, double-click the ﬁle starting with “Delta_OSX.”

• For M-Audio Audiophile interfaces, doubleclick the ﬁle starting with “Audiophile_USB_OSX.”

• For M-Audio BlackBox, double-click the ﬁle starting with “BlackBox_OSX.”

• For M-Audio Connective, double-click the ﬁle starting with “Connectiv_OSX.”

• For M-Audio FastTrack, double-click the ﬁle starting with “FastTrack_OSX.”

• For M-Audio FastTrack Pro double-click the ﬁle starting with “FastTrackPro_OSX.”

• For M-Audio JamLab, double-click the ﬁle starting with “JamLab_OSX.”

• For M-Audio MobilePre USB, double-click the ﬁle starting with “MobilePre_OSX.”

• For M-Audio MobilePre USB Academic, double-click the ﬁle starting with “MobilePreAcademic_OSX.”

• For M-Audio Ozone, double-click the ﬁle starting with “Ozone_OSX.”

• For M-Audio Ozone Academic, doubleclick the ﬁle starting with “OzoneAcademic_OSX.”

• For M-Audio Transit, double-click the ﬁle starting with “Transit_OSX.”

4 Follow the on-screen instructions to install

the driver.

5 When installation is complete, shut down

your computer.

6 If you are using an M-Audio FireWire inter-

face, wait until the computer has shut down completely, then connect your interface and power it on.

7 Turn on your computer.

Chapter 4: Mac Installation 25

Installing Pro Tools Academic Software

After the Apple System software settings are configured and you have installed your M-Audio interface and drivers, you are ready to install Pro Tools Academic.

To install Pro Tools Academic:

1 Make sure you are logged in as an Administra-

tor for the account where you want to install Pro Tools. For details on Administrator privileges in Mac OS X, refer to your Apple Mac OS X documentation.

2 Insert the Pro Tools Academic Installer disc in

your CD/DVD drive.

3 On the Installer disc, locate and double-click

“Install Pro Tools.”

4 Follow the on-screen instructions to proceed

with installation.

12 When installation is complete, click Restart.

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 26.

Additional Software on the Pro Tools Installer Disc

The Pro Tools Installer disc provides additional software for your system, including a Pro Tools demo session.

Check your Pro Tools Installer disc for additional software and installers.

Pro Tools Demo Session

The Pro Tools Installer disc includes a separate demo session installer. You can use this session to verify that your system is working.

5 Select the install location. For maximum reli-

ability, install Pro Tools on your startup drive.

6 Click Continue.

7 Select the Pro Tools application for installa-

tion.

8 You can also select from a list of optional

items to install along with Pro Tools:

MP3 Export Option The MP3 Export Option lets you export MP3 files from Pro Tools. This option is purchased separately.

9 Click Install.

10 If prompted, enter your Administrator pass-

word and click OK to authenticate the installation.

11 Follow the remaining on-screen instructions.

Pro Tools Academic Getting Started26

To install the demo session:

1 Insert the Pro Tools Academic Installer disc in

your CD/DVD drive. Locate and double-click the Pro Tools Academic Demo installer icon.

2 Select your audio drive as the install location

and click Install.

3 When installation is complete, click Quit.

Launching Pro Tools Academic

To authorize Pro Tools Academic software:

1 For Pro Tools Academic Standalone only, in-

sert the pre-authorized iLok into an available USB port on your computer.

2 Click the Pro Tools Academic shortcut in your

Dock, (or double-click the application in Applications\Digidesign\Pro Tools).

For Pro Tools Academic Standalone, do not remove the pre-authorized iLok during Pro Tools launch or use.

3 For Pro Tools Academic bundled hardware kits

only, enter the authorization code in the dialog (making sure to type it exactly as printed, and observing any spaces and capitalization), then click Validate.

Your authorization code is located on the inside front cover of this guide.

Conﬁguring Pro Tools Academic

Pro Tools System Settings

Pro Tools 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

◆ Lower Hardware Buffer Size settings reduce

monitoring latency, and are useful when you are recording live input.

◆ Higher Hardware Buffer Size settings allow for

more audio processing and effects, and are useful when you are mixing and using more RTAS plug-ins.

Chapter 4: Mac Installation 27

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.

◆ A lower number of processors leaves more

CPU processing capacity for automation, screen redraws, and video playback in Pro Tools, or for other application running at the same time as Pro Tools.

To change the number of RTAS Processors:

1 Choose Setup > Playback Engine.

2 From the RTAS Processors pop-up menu, select

the number of processors you want to allocate for RTAS plug-in processing.

3 Click OK.

CPU Usage Limit

Playback Engine dialog for Pro Tools Academic (Ozone shown)

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

the audio buffer size, in samples.

3 Click OK.

RTAS Processors

The RTAS Processors setting determines the number of processors in your computer allocated for RTAS plug-in processing.

◆ A higher number of processors reserves more

CPU processing capacity for RTAS plug-in processing. This is useful for sessions with large number of RTAS plug-ins.

◆ Lower CPU Usage Limit settings limit the ef-

◆ Higher CPU Usage Limit settings allocate

more processing power to Pro Tools, and are useful for playing back large sessions or using more real-time plug-ins.

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 percent for single-processor computers to 99 percent for multi-processor computers.

Increasing the CPU Usage Limit may slow down screen response on slower computers.

Pro Tools Academic Getting Started28

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

2 From the CPU Usage Limit pop-up menu, se-

lect the percentage of CPU processing you want to allocate to Pro Tools.

3 Click OK.

128 samples (which ever is greater). If you are on an older, slower computer, you may not want to enable this option since doing so can adversely affect performance.

The Minimize Additional I/O Latency option is only available if the Ignore Errors During Playback/Record option is enabled.

RTAS Engine (RTAS Error Suppression)

The RTAS Engine options determine RTAS error reporting during playback and recording. This is especially useful when working with instrument plug-ins.

There are two RTAS Engine options:

To enable RTAS error suppression:

1 Choose Setup > Playback Engine.

2 Select Ignore Errors During Playback/Record.

3 If available, you can also select Minimize Ad-

ditional I/O Latency.

4 Click OK.

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory DAE allocates for disk buffers. The optimum DAE Playback Buffer Size for most disk operations is Level 2.

◆ DAE Playback Buffer Size settings lower than

Chapter 4: Mac Installation 29

◆ DAE Playback Buffer Size settings higher than

For specific steps on changing Sync Source, see “Sync Source (Pro Tools Clock Source)” on page 31.

To use low latency monitoring (M-Audio devices that have Control Panel mixers with a direct monitoring feature only), see “Low Latency Monitoring” on page 31.

To change M-Audio Control Panel settings:

1 If Pro Tools Academic is running, exit

Pro Tools.

To change the DAE Playback Buffer Size:

1 Choose Setup > Playback Engine.

2 From the DAE Playback Buffer pop-up menu,

select a buffer size.

3 Click OK.

Pro Tools Hardware Settings and M-Audio Control Panel

Using the M-Audio Control Panel, you can change M-Audio hardware interface settings in the following areas:

• Mixer Settings

• Output Settings

• Hardware Settings (including sample rate, hardware buffer size, and sync source).

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

Reference Guide for details.)

the Pro Tools

2 Choose Start > Control Panel.

3 Launch the M-Audio Control Panel as follows:

• For FireWire interfaces, launch M-Audio FW Audio.

• For PCI interfaces, launch M-Audio Delta Audio.

• For USB Interfaces, launch the M-Audio control panel with the name of your interface.

4 Change settings in the M-Audio Control

Panel.

For details on each Control Panel setting, see your M-Audio interface documentation.

5 When ﬁnished, close the M-Audio Control

Panel.

Pro Tools Academic Getting Started30

Sync Source (Pro Tools Clock Source)

Low Latency Monitoring

If your M-Audio interface has a digital I/O (such as a S/PDIF I/O), use the M-Audio Control Panel to select the Sync Source for the system.

With Pro Tools Academic, Sync Source cannot be set in the Pro Tools Session Setup window.

To select the Sync Source:

1 If Pro Tools Academic is running, quit

Pro Tools.

2 In the Applications folder, locate and launch

the M-Audio Control Panel, as follows:

• For FireWire interfaces, launch M-Audio FW.

• For PCI interfaces, launch M-Audio Delta Control Panel.

• For USB Interfaces, launch the M-Audio control panel with the name of your interface.

3 Click the Hardware tab.

4 Select a Sync Source.

M-Audio Direct or low-latency monitoring controls are not available from within Pro Tools Academic.

However, with M-Audio devices that have Control Panel mixers with a direct monitoring feature, it is possible to use this feature as a low-latency monitoring path while recording in Pro Tools.

For specific information on using the direct monitoring feature of your M-Audio interface, refer to your M-Audio interface documentation.

Example: FireWire 410

To use the M-Audio FireWire 410 mixer’s direct monitoring feature while recording:

1 In Pro Tools, record-enable the tracks you

want to record and mute their output.

2 Open the M-Audio Control Panel for your M-

Audio interface.

Your digital input device must be connected and turned on. If your input device is not turned on, leave the Sync Source set to Internal.

For more information on connecting your digital input device and selecting the Sync Source for your M-Audio interface, refer to your M-Audio interface documentation.

5 When ﬁnished, close the M-Audio Control

Panel.

Chapter 4: Mac Installation 31

3 In the Control Panel mixer for your interface,

route the input channels you want to monitor to the main outputs of the mixer (usually Outputs 1–2) by clicking the corresponding output control.

Conﬁguring I/O Setup

Pro Tools Academic 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.

Mixer output 1–2 control

Control Panel mixer for M-Audio FireWire 410)

4 Adjust the output level and balance with the

Control Panel mixer volume and pan controls.

5 In Pro Tools, begin recording.

6 To listen back to the recorded tracks, unmute

the tracks in Pro Tools and begin playback.

7 When you are ﬁnished recording, turn off the

mixer output control in the Control Panel mixer.

To rename I/O paths in I/O Setup:

1 Choose Setup > I/O.

I/O Setup dialog for Pro Tools Academic (M-Audio FireWire 1814 shown)

2 Click the Input, Output, Insert, or Bus tab to

display the corresponding connections.

3 To change the name of a path or subpath,

double-click directly on the Path Name, type a new name for the path, and press Return.

Pro Tools Academic Getting Started32

4 Click OK.

See the Pro Tools Reference Guide for more information on renaming I/O paths.

Audio MIDI Setup (AMS)

(Optional)

If you plan to use any MIDI devices with Pro Tools, configure your MIDI setup with the Apple Audio MIDI Setup (AMS) utility. See Appendix B, “Configuring AMS (Mac OS X Only)” for details.

Removing Pro Tools

If you need to remove 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, refer to your Apple OS X documentation.

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. By doing this, you can quickly restore your system configuration and settings if you encounter any problems.

2 Go to Applications/Digidesign/Pro Tools/

Pro Tools Utilities and double-click the “Uninstall Pro Tools” ﬁle.

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.

Clean Uninstall Removes all Pro Tools files, including system files, Digidesign plug-ins, and MIDI patch names.

5 Click Uninstall.

6 Enter your Administrator password and click

OK.

7 Click Finish to close the Installer window.

Chapter 4: Mac Installation 33

Pro Tools Academic Getting Started34

chapter 5

Making Hardware Connections

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 your M-Audio interface. Sound from your M-Audio interface cannot be played through your computer’s speakers or your computer’s sound output.

Connecting Headphones

Depending on which M-Audio interface you have, there will be one or more headphone jacks on the front or back of your interface. These can be either a 1/4-inch jack or a 1/8-inch mini plug jack.

Headphone jacks on the front of a FireWire 1814

1/4-inch Headphone jack

Headphone jack on the back of an Ozonic

Chapter 5: Making Hardware Connections 35

To connect headphones, do one of the following:

• Connect headphones with a 1/4-inch stereo connector (or an adapter) to interfaces that have a 1/4-inch Headphone jack.

– or –

• Connect headphones with a 1/8-inch stereo mini connector (or an adapter) to interfaces that have a 1/8-inch Headphone jack.

Some M-Audio interfaces include a front panel Headphone control to adjust the volume level of the Headphone jacks.

Connecting a Sound System

Output 1

(left output)

Output 2

(right output)

1/4-inch stereo outputs on a FireWire 1814

Monitor Left (left output)

Depending on which M-Audio interface you have, the outputs will be 1/4-inch or RCA plugs, and the 1/4-inch connections can be balanced, TRS (Tip, Ring, Sleeve) style connectors, or unbalanced. 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.

When connecting to a stereo system, connect the left channel (often the white plug) to the first output, and right channel (often the red plug) to the second output.

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 on some M-Audio interfaces) to the RCA connectors on your home stereo.

Monitor Right (right output)

1/4-inch stereo (monitor) outputs on an Audiophile 192

Analog Out 1 (left output)

RCA stereo outputs on an Audiophile 2496

Analog Out 2 (right output)

The first and second outputs play the audio that is routed to analog outputs 1 and 2 within Pro Tools.

Pro Tools Academic Getting Started36

Connecting Audio Inputs

Depending on which M-Audio interface you have, the inputs will be 1/4-inch, RCA, or a 1/4inch and XLR combination plug for microphones and for instruments that usually have a lower level (such as guitars).

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 some M-Audio interfaces) that can supply power through the microphone cable.

For information about connecting specific audio sources, see See “Connecting a Microphone to Your M-Audio Interface” on page 38., and “Connecting Instruments to an M-Audio Interface” on page 39.

For stereo inputs, use the first input for the left input, and the second input for the right input. For additional stereo inputs, use subsequent input pairs, if available.

Connecting a Microphone

There can be several ways to use an M-Audio interface with a microphone, depending on the type of microphone and cables that you use, and the type of M-Audio interface.

Mic Cables and Connectors

Some microphone cables use an XLR connector to attach a microphone to an input; other microphones use a 1/4-inch connector. If you have a choice, use an XLR connector to connect the microphone to your M-Audio interface to yield better results.

M-Audio interfaces that support phantom power can only provide phantom power when their “wall wart” power supply is used to power the interface. Check your M-Audio interface guide for details

Most condenser microphones (such as an AKG C3000) require phantom power to operate. Dy- namic 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.

M-Audio interfaces can only supply power 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.

XLR connector

XLR and 1/4-inch connectors

1/4-inch connector

Chapter 5: Making Hardware Connections 37

Connecting a Microphone to Your M-Audio Interface

To use a microphone that has an XLR connector:

1 Plug your microphone cable into one of the

Mic (or Mic/Inst) inputs on your M-Audio interface.

3 If your microphone requires phantom power,

make sure the microphone is connected, then press the Phantom Power switch on your M-Audio interface. This switch sends 48V to each mic input. The Phantom Power LED on your M-Audio interface will light when phantom power is being supplied.

Phantom Power switch

Phantom Power switch on a FireWire 1814

Mic/Inst 1

XLR connector plugged into Mic/Inst input on a FireWire 1814

Mic input

XLR connector plugged into Mic input on an Ozonic

2 If your M-Audio interface has a Mic/Line

switch, press it to its Out position.

Mic/Line selector

Mic/Line selector on the front of a FireWire 1814

4 If your M-Audio interface has a Signal Gain

control, carefully turn the input control to the right to increase the input level of your microphone signal.

To use a microphone that has a 1/4-inch connector:

1 Plug the 1/4-inch connector from your micro-

phone into one of the Mic (or Mic/Inst) 1/4inch inputs on your M-Audio interface.

1/4-inch connector plugged into Mic/Inst input on a FireWire 1814

2 If your M-Audio interface has a Mic/Line se-

lector, press it to its Out position.

Mic/Line selector

Mic/Line selector on the front of a FireWire 1814

Pro Tools Academic Getting Started38

3 If your M-Audio interface has a Signal Gain

control, carefully turn the input control to the right to increase the input level of your microphone signal.

On M-Audio interfaces that have separate inputs for lower level sources (such as guitars) and line level sources (such as keyboards), use the inputs that support your source.

Signal Gain Control

Signal Gain control on a FireWire 1814

Connecting Instruments to an M-Audio Interface

Instruments such as electric guitar or electric bass usually have a lower level of output than instruments and electronic audio sources such as mixers, samplers, keyboards, turntables, and synthesizers.

To use a guitar with your M-Audio interface:

1 Plug your guitar cable into one of the inputs

on your M-Audio interface.

Mic/Inst 1

Guitar cable plugged into Mic/Inst input on a FireWire 1814

Input 2

Guitar cable plugged into Input 2 on an Ozonic

2 If your M-Audio interface has a Mic/Line se-

lector, press it to its Out position.

Mic/Line selector

Mic/Line selector on the front of a FireWire 1814

3 If your M-Audio interface has a Signal Gain

control, carefully turn the control for the input to the right to increase the level of your microphone signal.

Chapter 5: Making Hardware Connections 39

To use a keyboard or mixer with your M-Audio

)

interface:

1 Plug your keyboard, mixer, or other audio

source into one of the inputs on your M-Audio interface.

On M-Audio interfaces that have separate inputs for lower level sources (such as guitars) and line level sources (such as keyboards), use the inputs that support your source.

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 the first input, and right channel (often the red plug) to the second input.

Input 1 (left channel)

Input 2 (right channel

FireWire 1814 conﬁguration for stereo input

2 If your M-Audio interface has a Mic/Line se-

lector, press it to its In position.

Mic/Line selector

Mic/Line selector on the front of a FireWire 1814

3 Set your instrument output volume to its op-

timal level. For example, the optimal level for most keyboards is between 80% and 100% of maximum volume.

4 If your M-Audio interface has a Signal Gain

control, carefully turn the control for the input to the right to increase the input level of your microphone signal.

Analog In 1 (left channel)

Audiophile 2496 conﬁguration for stereo input

Pro Tools Academic Getting Started40

Analog In 2 (right channel)

chapter 6

Common Tasks with Pro Tools Academic

This chapter is designed to give new users specific methods for accomplishing common tasks with Pro Tools Academic systems.

For the most complete information on using Pro Tools, see the Pro Tools Reference Guide.

You can view an electronic PDF version of the

Reference Guide by choosing it from the

Pro Tools Help menu.

Recording a Pro Tools Session

Before you record with Pro Tools Academic, you first create a Pro Tools session, then prepare an audio track for recording.

To create a Pro Tools session:

1 Verify the connections between your M-Audio

interface and your instrument or microphone.

For basic connection information, see Chapter 5, “Making Hardware Connections.” For more information, refer to your MAudio interface documentation.

3 Choose File > New Session.

4 In the New Session dialog, set the session pa-

rameters as needed, or leave them at their default settings. (For details on New Session settings, see the Pro Tools Reference Guide.)

New Session dialog

5 Choose the audio drive where you want to

save your session.

6 Type a name for your session.

7 Click Save.

2 Launch Pro Tools.

Chapter 6: Common Tasks with Pro Tools Academic 41

To prepare an audio track for recording:

1 Choose Track > New.

2 Specify 1 Mono Audio Track in Samples, if

your source is mono, or 1 Stereo Audio Track in Samples, if your source is stereo.

Creating a new Stereo audio track

3 Click Create.

A mono instrument uses one input on an M-Audio interface, and a stereo instrument uses two. Creating a stereo track in Pro Tools will not make a mono instrument into a stereo instrument. If a mono instrument is recorded on a stereo track, one of the sides of the stereo track will show no signal.

4 Make sure the Mix window is open by choos-

ing Window > Mix.

5 In the Mix window, click the Audio Input Path

selector on the new track.

6 From the pop-up menu, select the interface in-

put you want to record. For example, select Mic/Line 1 if your audio source is plugged into the ﬁrst input of your M-Audio interface.

Routing an input to a mono track

7 Play the instrument or sound source at the

volume you will record.

8 Use the Signal Gain controls on your M-Audio

interface (if any) to maximize the signal going into Pro Tools while avoiding clipping.

Clipping occurs when you feed a signal to an audio device that is louder than the circuitry can accept. To avoid clipping, adjust the Signal Gain control (if any). If the M-Audio interface has front panel Clip LEDS, adjust the gain to a level where the Peak LEDs do not light.

Input Path selector

Choosing an input in the Mix window

Pro Tools Academic Getting Started42

To record an audio track:

1 Click the track’s Record Enable button.

Record enabling a track in the Mix window

2 Choose Window > Transport to display the

Transport window. Click Return to Zero to go to the beginning of the session.

Return to Zero

Rewind

Online

Transport window

3 Click Record in the Transport window to arm

Stop

Fast Forward

Go to EndPlay

Record

Pro Tools for recording. The Record button ﬂashes red to indicate that Pro Tools is ready to record.

4 When you are ready to start recording, click

Play or press the Spacebar.

5 Record your performance.

6 Click Stop in the Transport window or press

the Spacebar when you are ﬁnished recording.

Importing Audio from a CD

To import audio from a compact disc:

1 Put the source CD into your computer’s

CD/DVD drive.

2 In Pro Tools, open the Workspace browser by

choosing Window > Workspace. The Workspace browser is a window where you can ﬁnd, audition, and manage your audio ﬁles.

Opening the Workspace browser

3 In the Workspace browser, click the Audio CD

icon to show the ﬁles on the CD.

4 Click the speaker icon in the Waveform col-

umn to audition the audio ﬁle. Press the Spacebar to stop playback.

To play back a recorded track:

1 If the track’s Record Enable button is lit, click

on it to take it out of Record mode.

2 Click Play in the Transport window or press

the Spacebar to start playback.

3 Click Stop in the Transport window or press

the Spacebar to stop playback.

Auditioning an audio ﬁle in the Workspace browser

Chapter 6: Common Tasks with Pro Tools Academic 43

5 Drag the audio ﬁle from the Workspace

browser to the Track List in the Edit window to import the ﬁle to a new audio track.

Dragging an audio ﬁle from the Workspace browser to the Edit window Track List

To play back the new track:

1 In the Transport window, click Return to Zero

to go to the beginning of the track.

2 Click Play in the Transport window to begin

playback.

3 Click Stop in the Transport window or press

the Spacebar to stop playback.

If you are bouncing down audio from 24-bit resolution to 16-bit (CD resolution), you should use a dither plug-in on the main output. (For details, see the Pro Tools Reference Guide.)

To bounce audio to disk:

1 After you have finished recording and mixing

a session in Pro Tools, select the length of the session in the timeline ruler (or on a track), plus an additional amount of time to avoid cutting off any reverb tails that might continue past the end of the last region.

Session audio selected and ready to bounce

2 Choose File > Bounce to > Disk.

Creating an Audio CD from a Pro Tools Session

Pro Tools does not create audio CDs directly, but you can create stereo audio files from your Pro Tools sessions that can be used by most CD burning software.

Bouncing Audio to Disk

Use the Pro Tools Bounce to Disk feature to combine all your audible tracks into a single “master” audio file. After the new audio file has been bounced to disk, you can burn it to a CD.

Pro Tools Academic Getting Started44

Choosing Bounce to Disk from the File menu

3 In the Bounce Options dialog, choose Outputs

1–2 as the Bounce Source.

4 Choose BWF (.WAV) for the File Type.

5 Choose Stereo Interleaved for the Format.

10 Click Save.

6 Choose 16 for the Resolution and 44100 for

the Sample Rate.

7 If you are changing the sample rate of the

bounced ﬁle, choose a Conversion Quality setting. (For details, see the Pro Tools Reference Guide.)

8 Choose “Convert after Bounce,” and click

Bounce.

Pro Tools begins bouncing to disk. Pro Tools bounces are done in real time, so you hear audio playback of your mix during the bounce process (though you cannot adjust it).

Bouncing to Disk dialog

Burning a CD

After the bounce is completed, you will have an audio file that is ready for burning onto a CD. Quit Pro Tools and launch any common CD burning application to burn your bounced mix to CD.

Bounce options for creating CD burnable tracks

9 In the Bounce dialog, give the bounce tracks a

name and choose where they should be saved.

Entering a name for the bounced ﬁle

Make certain that you configure your CD burning application to create an audio CD rather than a data CD.

Chapter 6: Common Tasks with Pro Tools Academic 45

Recording MIDI in a Pro Tools Session

What is MIDI?

MIDI (Musical Instrument Digital Interface) data is not audio, and has no sound. MIDI is a way for musical devices to communicate. MIDI is data that can trigger a MIDI device (such as a keyboard or software synthesizer).

In order to create or play a MIDI recording, you must have a MIDI controller or sound module (real or virtual) connected to the computer through a MIDI interface. Audio from your MIDI instrument can be monitored through the audio interface or sent to an external mixer.

Some M-Audio interfaces (such as Ozone and Ozonic) are also a MIDI keyboard with MIDI ports.

Other M-Audio interfaces (such as Audiophile 192) include MIDI ports.

Recording MIDI on an Instrument Track

Pro Tools Instrument tracks provide both MIDI and audio capabilities, so you can record MIDI and monitor audio from software and hardware instruments.

To record or playback tracks using MIDI data, your Pro Tools system must be configured for MIDI. See Appendix A, “Configuring MIDI Studio Setup (Windows Only)” or Appendix B, “Configuring AMS (Mac OS X Only).”

To create an Instrument track and conﬁgure it for recording:

1 Choose Setup > MIDI > Input Devices and

make sure your input device is selected in the MIDI Input Enable window, and click OK.

2 Choose Track > New and specify 1 Mono In-

strument Track, then click Create.

Refer to your M-Audio interface guide for details.

MIDI sound module

MIDI

MIDI keyboard (controller)

Signal paths for MIDI instruments

Pro Tools Academic Getting Started46

Audio

Mixer

Creating a new Mono Instrument track

3 Select View > Mix Window > Instruments to

display the MIDI controls for the Instrument track.

To amplifier

Showing the Instrument View in the Mix window

4 At the top of the Instrument track in the Mix

window, click the track’s MIDI Input selector and assign the device and channel to be recorded, or leave it set to All.

MIDI Input selector

MIDI Input selector in an Instrument track

5 Do one of the following, depending on the

type of instrument you are using:

• If you are using an instrument plug-in, click an Insert selector and insert the plugin on the Instrument track. The track’s MIDI output is automatically assigned to the instrument plug-in.

MIDI Output selector in an Instrument track

If your connected MIDI device does not appear, check that you have configured your computer and its MIDI settings. For more information, refer to Appendix A, “Configuring MIDI Studio Setup (Windows Only)” or Appendix B, “Configuring AMS (Mac OS X Only).”

6 If you are using an external MIDI device and

connected its audio output to your audio interface for monitoring in Pro Tools, click the Input selector of the Instrument track and choose the corresponding audio input. (This step is not necessary if you are using an instrument plugin.)

Inserting an instrument plug-in on an Instrument track

• If you are using an external MIDI device, click the track’s MIDI Output selector (at the top of the Instrument track) and assign the device and channel to receive the MIDI output (the choices will vary depending on the device).

Choosing an audio input for an Instrument track

Chapter 6: Common Tasks with Pro Tools Academic 47

7 In the Mix Window, click the track’s Record

Enable button to enable the Instrument track for MIDI recording.

Track Record Enable button

Enabling an Instrument track for MIDI recording

8 Make sure Options > MIDI Thru is selected.

9 Play some notes on your MIDI controller and

look for the track’s MIDI Velocity meter to move. Remember, MIDI is not audio, and the MIDI Velocity meter is not registering sound output, but MIDI activity.

3 Click Record in the Transport window.

Return to Zero

Online

Transport window

4 Click Play in the Transport window or press

Rewind

Stop

Fast Forward

Go to EndPlay

Record

the Spacebar to begin recording.

5 Play your MIDI controller or input device.

MIDI Velocity meter

MIDI meter in Instrument track showing MIDI activity

10 Adjust the audio output level of the Instru-

ment track with its Volume fader.

Volume fader

Adjusting the Volume fader on an Instrument track

To record MIDI on the Instrument track:

1 Verify that the Instrument track you want to

record to is record-enabled and receiving MIDI.

2 In the Transport window, click Return to Zero

to start recording from the beginning of the session. You can also record to a selection in a track or from the cursor location in the Edit window.

6 When you have ﬁnished recording, click Stop

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

MIDI data in an Instrument track

To play back recorded MIDI data:

1 Click the track’s Record Enable button to take

the Instrument track out of Record mode.

2 In the Transport window, click Return to Zero

to play back from the beginning of the track.

3 Click Play in the Transport window to begin

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

Pro Tools Academic Getting Started48

chapter 7

Time Code and Synchronization Features

Pro Tools Academic enables various time code and synchronization features for working with audio, film, video, or digital video in Pro Tools, which are not included with standard Pro Tools LE or M-Powered software.

For more information on working in Pro Tools with time code and synchronization, see the Pro Tools Reference Guide.

Timebase Rulers

Pro Tools Academic add two Timebase rulers to Pro Tools sessions: Time Code and Feet+Frames.

In Pro Tools Academic, you can spot audio to Time Code or Feet+Frames.

For information on other Timebase rulers, see the Pro Tools Reference Guide.

To add the Time Code or Feet+Frames ruler to the Timebase ruler:

■ Select View > Rulers > Time Code or View >

Rulers > Feet+Frames.

To set the Main Time Scale to Time Code or Feet+Frames, do one of the following:

■ Click a Main Counter selector (located at the

top of the Edit window and also in the Transport window, when it is set to display Counters) and select Time Code or Feet+Frame.

Main Counter selector (in the Edit window)

– or –

■ If Time Code or Feet+Frame are displayed in

the Timebase ruler, click its name so it becomes highlighted.

Setting the Main Time Scale to the timebase currently displayed in the Sub Counter switches the two Time Scales, setting the Sub Time Scale to the previous timebase of the Main Time Scale.

Switching the Main Time Scale

Chapter 7: Time Code and Synchronization Features 49

Pro Tools will display time code values in the currently selected SMPTE frame rate or the currently selected Feet+Frames rate.

Selecting Time Code Rate

The Time Code Rate for the session can be set in the Session Setup window with the Time Code Rate selector. The Time Code ruler displays the current Time Code Rate in SMPTE (hours:minutes:seconds:frames).

Selecting Feet+Frame Rate

The Feet+Frame Rate for the session can be set in the Session Setup window with the Feet+Frame Rate selector. The Feet+Frame ruler displays the current Feet+Frame Rate in feet+frames. Supported rates are 23.976, 24, and 25 fps.

Set this rate to match the rate of the film projector, or the video if the film projector speed is taken into account.

Redeﬁning Time Code Position

Use the Current Time Code Position command to redefine the current time code position and session start time. By creating an insertion point (or selection), and then entering the desired new time code position for that location, the session start time will be recalculated based on the new, relative Time Code location.

Session Setup window with Pro Tools Academic

Pro Tools supports the following rates and formats: 23.976 fps, 24 fps, 25 fps, 29.97 fps NonDrop, 29.97 fps Drop, 30 fps Non-Drop, and 30 fps Drop. In addition, Pro Tools Academic supports audio pull up and pull down (see “Pull Up and Pull Down Commands” on page 52).

See the Pro Tools Reference Guide for more information on time code and synchronization.

Pro Tools Academic Getting Started50

To set the current Time Code position:

1 With the Selector, click in a track (or make a

selection) where you want to redeﬁne the position.

If your insertion or selection is not on a frame boundary, it will round to the closest boundary.

2 Choose Setup > Current Time Code Position.

Redeﬁne Current Time Code Position dialog

3 Enter a new time code position in the dialog.

4 Click OK.

Redeﬁning Current Feet+Frames Position

Use the Current Feet+Frames Position command to redefine the Feet+Frames position at the current insertion point (or starting point of a selection).

Redefining Feet+Frames does not redefine the session start time.

Typically, this command is used for integrating test tones, pre-roll, Academy leader, and similar pre-program material into Pro Tools sessions.

Use Subframes Option

When spotting or shifting material in Pro Tools, or using the Go To dialog, enable the Use Subframes option for greater precision.

Shift dialog with the Use Subframes option enabled

To set a relative frame position for a session (Feet+Frames):

1 With the Selector, click in a track (or make a

selection) where you want to redeﬁne the position.

If your insertion or selection is not on a frame boundary, it will round to the closest boundary.

2 Choose Setup > Current Feet+Frames Position.

Redeﬁne Current Feet+Frame Position dialog

3 Enter a Feet+Frame position in the dialog.

4 Click OK.

A subframe is 1/100th of a frame. The Use Subframes option enables you to use these smaller units for greater accuracy. When enabled, this command adds a decimal and two decimal places of additional time for subframes in SMPTE and Feet+Frames–based fields in the Spot, Shift, and Go To dialogs.

Half-Frame Grid/Nudge Capability

Pro Tools includes an additional grid resolution of 1/2 Frame to allow for quick alignment of material against the Time Code ruler.

Chapter 7: Time Code and Synchronization Features 51

Pull Up and Pull Down Commands

Use Audio Rate Pull Up/Down and Video Rate Pull Up/Down for audio layback to film or video, or when recording audio for film or video. See the Pro Tools Reference Guide for more information.

For example, when 24 frame film to 29.97 NTSC video transfers are made, it is necessary to slow the film playback speed during the transfer process by 0.1%.

In order to make the same speed change for production audio to match the speed of this new slower picture, Pro Tools audio needs to also be “pulled down” by 0.1%.

When using Audio Rate Pull Up/Down, Pro Tools does not automatically adjust the Pro Tools sample rate clock during playback or recording. To synchronize to your external device, or to do a real-time transfer, you must manually adjust your external (S/PDIF or Optical) clock device according to the pull factors that are being used.

Audio Rate Pull Up/Down Applies pull up or pull down factors to session audio record and playback. The Audio Rate Pull Up/Down pop-up menu is located in the Session Setup window.

Video Rate Pull Up/Down Lets you change the frame rate of video playback independently from the audio pull-ups (if any). The Video Pull Up/Down pop-up menu is located below the Audio Rate Pull Up/Down pop-up menu in the Session Setup window. Choices are determined by the file format of the video clip, as well as its frame rate.

Audio Pull Down Factors and QuickTime Movies

Audio “pulls” are an industry standard method of adjusting the speed of audio playback to line up with off-speed picture.

To slow audio in Pro Tools, the audio can either be sample rate converted on import or the incoming word clock sample rate source must be “pulled down” by 0.1% (resulting in a 48,000 Hz session speed to be pulled down to play in real time at 47,952 Hz). The pull down setting in Pro Tools adjusts the visual representation of regions on the timeline to equal the word clock pull up/down change.

When the clock is reset to the non-pulled down sample rate, the audio plays at the original film speed.

MIDI is always pulled in line with audio pulls.

Pro Tools Academic offers limited pull capabilities, primarily for users who interchange sessions between Pro Tools|HD and Pro Tools Academic systems.

Although Pro Tools Academic offers some pull down options, it does not have the ability to adjust the internal sample clock the same way Pro Tools|HD systems do in tandem with the Digidesign SYNC I/O peripheral.

In normal industry standard workflows, when audio is pulled down, video and time code maintain their current speed, and only the audio and MIDI are pulled down, in relationship to the video and time code.

Pro Tools Academic Getting Started52

Since Pro Tools Academic does not have any means to adjust the Pro Tools sample clock, it instead simulates the audio/video pull relationship by pulling up the video instead of pulling down the audio. This maintains the proper video/audio speed relationship when using the fixed Pro Tools internal clock. The audio sample clock is not pulled down, so the digital outputs are not outputting a pulled down sample clock.

If you are using an external clocking source (such as S/PDIF or ADAT Optical), Pro Tools audio and MIDI are resolved to the digital input’s clock speed. If you select audio pull down, the audio still doesn’t pull down in Pro Tools Academic; the video still pulls up to maintain the proper relationship, and the actual Pro Tools sample rate is now dependent on the digital clock source. However, if the incoming digital clock speed is pulled down, Pro Tools audio and MIDI will run at a pulled down rate, and the video will play back at its normal speed.

When pull down is selected in Pro Tools Academic, the following occurs:

• If the external clock is not pulled down, the actual sample rate of Pro Tools Academic audio and MIDI is not pulled down, but the video is pulled up.

• If the external clock is pulled down, the actual sample rate of Pro Tools Academic audio and MIDI is pulled down, and the video plays at its original non-pulled speed.

Import Session Data Enhancements

Time Code Mapping Options

You can specify where the imported tracks are placed in the current session. Times are indicated in time code for Pro Tools|HD, Pro Tools Academic, and Pro Tools LE with DV Toolkit 2 systems, and minutes:seconds for standard Pro Tools LE and M-Powered systems.

From the Import Session Data dialog, the following Import Mapping Options are available:

Maintain Absolute Time Code Values This option places tracks at the locations where they were located in the source session. For example, if the current session starts at 00:01:00:00, and the session from which you are importing starts at 10:00:00:00, the earliest imported tracks can appear in your session is 9 hours and 59 minutes after the start of the session.

Maintain Relative Time Code Values This option places tracks at the same offset from session start as they had in the source session. For example, if the source session starts at 01:00:00:00 and contains a track that starts at 01:01:00:00, and the current session start is 02:00:00:00, the track will be placed at 02:01:00:00 in the current session.

Map Start Time Code To This option places tracks relative to their original session start time. (With Pro Tools Academic, times are expressed in hh:mm:ss:ff.) For example, if the current session starts at 00:01:00:00, and the session from which you are importing starts at 10:00:00:00, you can reset the start time code to 00:01:00:00, to avoid placing files 9 hours and 59 minutes from the start of your session.

This section provides information on Pro Tools Academic’s Import Session Data features that are not included with Pro Tools LE or M-Powered.

Chapter 7: Time Code and Synchronization Features 53

Pro Tools Academic Getting Started54

chapter 8

Post Production Features

Pro Tools Academic enables various post productions features for working with audio, film, video, or digital video in Pro Tools, which are not included with standard Pro Tools LE or MPowered software.

For more information on working in Pro Tools with video and post production features, see the Pro Tools Reference Guide.

Export of AAF Sequences at HD Frame Rates

When exporting to an AAF sequence, Pro Tools supports HD rates as target time code formats to ensure compatibility with Avid workstations that support HD rate AAF files. The Pro Tools Export to AAF command can export sequences at the following rates:

• 23.976 FPS

• 24 FPS

• 25 FPS

• 29.97 FPS

• 29.97 FPS Drop

• 50 FPS

• 59.94 FPS

• 59.94 FPS Drop

• 60 FPS

• 60 FPS Drop

Chapter 8: Post Production Features 55

Expanding Alternate Channels to New Tracks

When working with a mono region that is part of a multichannel recording, you can expand that region (or a selected portion of it) to new tracks that reflect its matching alternate channels while preserving any edits or fades.

Expanding a selection to new tracks

Matching alternate channels are mono channels that were recorded simultaneously with the original region (such as multichannel recordings made by one or more field recorders). For detailed criteria that alternate matching channels must meet, see the Field Recorder Workflow Guide.

For example, you could use this feature to easily create duplicates of an edited dialogue track that reflect different channel inputs (microphones) that were recorded simultaneously.

To expand alternate channels to new tracks:

1 In the Timeline, do one of the following:

• To expand only a portion of the regions on the track, make a selection that includes or overlaps any number of regions on a track, and Right-click (Windows or Mac) or Control-click (Mac) the selection.

– or –

• To expand all of the regions on the track, Right-click (Windows or Mac) or Controlclick (Mac) the track name.

2 Choose the Expand to New Tracks pop-up

menu, and select one of the following methods by which to expand alternate channels for the selection to new tracks:

• By Channel Name

• By Channel Number

• By Channel Name and Number

For detailed information on how each of these options expand to new track, see the Field Recorder Workflow Guide.

If alternate channels are available, Pro Tools expands them to new tracks according to the chosen parameters, including the channel represented in the original track.

Result of expanding a selection to new tracks

Pro Tools Academic Getting Started56

Selecting an Alternate Channel for a Speciﬁc Region

You can replace a mono region (or selected portion of a mono region) with a matching segment of an alternate channel that was recorded simultaneously. Any fades performed on the original region are automatically recalculated against the replacement region, and any pre-existing automation on that track is unchanged.

To replace a region with a matching alternate channel:

1 In the Timeline, make a selection that in-

cludes or overlaps the region or portion of the region you want to replace.

2 Do one of the following:

• With any Edit tool, Right-click (Windows or Mac) or Control-click (Mac) the selection you want to replace, then select Matches from the pop-up menu.

– or –

• With the Selector tool, Control-click (Windows) or Command-click (Mac) the selection you want to replace.

The Matches pop-up menu appears, displaying matching alternate channels under the Channels header. (This pop-up menu also displays any available alternate takes under the Alternates header.)

3 From the Matches pop-up menu, select the

name of the alternate region that you want to use to replace the original region.

Selecting an alternate matching channel to replace a region

4 Repeat this procedure for every region you

want to replace on each track.

For detailed information on working with multichannel recordings made with field recorders, see the Field Recorder Workflow Guide.

Multiple QuickTime Movies on Individual Video Tracks

You can add multiple QuickTime movies to any individual video track. QuickTime video data appear in the Timeline as video regions.

Multiple Video Tracks in the Timeline

You can add multiple video tracks to the Timeline, but only one video track can be played back at a time. This track is known as the main video track.

Chapter 8: Post Production Features 57

Main Video Track

The main video track is the video track that is currently online, and will be played back with any audio in the session.

When the main video track is offline, you can play back the audio in your session without playing back the video. When the video is offline, the Video Online button changes to grey so you can tell at a glance whether your video is offline or simply playing black fill.

If no video track is currently online, the main video track is the video track that was last online.

See the Pro Tools Reference Guide for information on switching the a video track online or offline with the Video Online button.

Multiple Video Track Playlists

You can select from multiple video playlists on each video track.

Playlists provide an easy way of changing between alternate versions of a video track.

You can perform all of the same operations with video playlists as you can with audio playlists, including:

• Duplicating a playlist

• Creating a playlist

• Assigning a playlist to another video track

• Renaming a playlist

• Deleting a playlist

Dragging Video Files from the Region List to the Timeline

You can add QuickTime movies to the Timeline by dragging and dropping directly from the Region List to a video track.

To add video ﬁles to a video track by dragging them from the Region List:

1 Select one or more video ﬁles in the Region

List.

2 In any Edit mode, drag the selected video ﬁles

to a blank area in the Timeline (to create a new video track) or an existing video track (to place it within that track).

Video Import Options Dialog Additions

The Video Import Options dialog appears when you import video into Pro Tools by using the Import Video command or dragging video files from a DigiBase browser, Windows Explorer, or Mac Finder.

See the Pro Tools Reference Guide for detailed information on the Video Import Options dialog.

With Pro Tools Academic, the Video Import Options dialog includes additional options:

Region List (Destination Section) Imports the video file directly into the Region List, where it will be available to drag and drop into Pro Tools.

See the Pro Tools Reference Guide for detailed information on playlists.

Pro Tools Academic Getting Started58

Gaps Between Regions (Additional Video Import Options Section) When you import more than

one video file into a track, they will be shuffled together by default. This option lets you indicate the number of seconds by which each video clip will be separated when imported into the video track.

To show or hide video regions in the Region List:

1 In the Edit window, click the Region List pop-

up menu, and choose Show.

2 Select the Video option to show or hide video

regions.

Bypassing the Video Import Options Dialog

You can bypass the Video Import Options dialog when dragging video files from DigiBase browsers. Pro Tools adds video files exactly where you drop them in the Timeline following the current Pro Tools editing mode.

To bypass the Video Import Options dialog when importing video into Pro Tools:

■ Alt-drag (Windows) or Option-drag (Mac) one

or more video ﬁles from a DigiBase browser into the Region List.

Video Regions in the Region List

A video region displays in the Region List with a small video icon next to its name.

See the Pro Tools Reference Guide for detailed information on working with regions in the Region List.

Showing or Hiding Video Regions in the Region List

The Region List pop-up menu provides commands that let you show or hide video regions in the Region List.

General Video Editing

Most editing operations that are available for audio regions can be applied to video regions. This section describes all available video editing operations. Unless noted, the procedure for each video editing operation is the same as its audio editing counterpart.

See the Pro Tools Reference Guide for detailed information on performing editing operations.

Basic Video Editing Features

• Nondestructive editing

• Multiple video playlists

• Multiple Undo

• Video region groups in Region List

• All Edit modes

• All Edit Tools (except for Time Compression Expansion and Pencil tools)

Playing and Selecting Video Track Material

• Selecting within video frame boundaries (see “Selecting within Video Frame Boundaries” on page 61)

• Selecting and editing across multiple Video and audio tracks (see “Selecting and Editing Across Multiple Audio and Video Tracks” on page 60)

• Link or unlink track and edit selections

• Auto-scroll video tracks

• Loop playback

Chapter 8: Post Production Features 59

Working with Regions and Selections

• Capture regions

• Separate regions and Separate Grabber Tool

• Region overlap and underlap

• All trimming commands except for TCE

• Heal separated regions

• Place, align, slide, shufﬂe, and spot regions

• Sync points

• Nudging

• Shift command

• Quantize region to Grid (rounds to nearest video frame)

• Cut, Copy, Paste, and Clear commands

• Special Cut, Copy, Paste, and Clear commands

• Repeat to ﬁll selection

• Editing across multiple tracks

• Duplicate command

• Repeat command

• Region groups (see “Video Region Groups” on page 61)

• Region looping

Managing Regions

• Insert “silence” (available in all versions of Pro Tools)

• Compact Selected (nothing happens to the video, and at least one audio track must be selected)

• All naming and displaying of region commands

• Renaming disk ﬁles in the Region List or Timeline (available in all versions of Pro Tools)

• Fades

• Mute/unmute regions

• AudioSuite plug-ins

• Waveform Repair with the Pencil tool

• Strip silence

• Consolidate regions

Editing Caveats

The following caveats apply to video editing in Pro Tools:

• MPEG-2 video in the Timeline cannot be edited.

• If you create and enable a track group containing audio and video tracks—and any audio track has region boundaries that do not line up with video frame boundaries— you cannot tab through those region boundaries.

Selecting and Editing Across Multiple Audio and Video Tracks

You can create a selection across multiple audio and video tracks, group video regions, and cut, copy, or paste audio and video simultaneously.

General Editing Operations Not Applicable to Video Regions

The following editing operations are applicable to audio regions, but are not applicable video regions:

Pro Tools Academic Getting Started60

Before After

Selecting and editing across multiple tracks (Slip mode shown)

Audio and video that is selected and cut, copied, or pasted follow the current Edit mode.

Selecting within Video Frame Boundaries

Pro Tools does not let you select, play back, or edit a partial video frame. The following rules apply when selecting or editing video:

• When you make a selection in a video track, the selection boundaries follow the current Grid setting but round to the nearest video frame boundary, as follows:

• If the selection includes more than half of a video frame, the video frame is included within the selection.

• If the selection includes less than half of a video frame, it is not included in a video selection.

• When you paste a selection containing video to a video track, the insertion point automatically aligns with the closest video frame boundary.

When you paste audio and video simultaneously, this video frame re-alignment may result in the audio not being positioned exactly where you placed it. A warning dialog displays when this occurs.

Renaming Video Disk Files

When renaming audio regions in either the Timeline or the Region List, you have the option of also renaming the audio files on disk. However, this does not apply to video files on disk.

To rename video files on disk, you must rename them in a DigiBase browser, Windows Explorer, or Mac Finder.

Video Region Groups

You can include video regions within region groups for the following operations:

• Creating region groups

• Creating multitrack region groups (including audio tracks)

• Editing region groups

• Creating fades and crossfades for audio ﬁles in region groups

• Importing and exporting region group ﬁles

See the Pro Tools Reference Guide for detailed information on working with region groups.

Video Window Right-Click Commands

Right-click Shortcut Task

Video window Access Video windows commands:

• Online

• Half Size

• Actual Size

• Double Size

• Fit Screen

Chapter 8: Post Production Features 61

Pro Tools Academic Getting Started62

appendix a

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

Interface Controls

Create This button adds a new instrument to the Instrument Name list.

Delete This button deletes the instrument or instruments selected in the Instrument Name list.

Import This button lets you import an existing MIDI Studio Setup file.

Export This button lets you export the current MIDI Studio Setup file.

Appendix A: Conﬁguring MIDI Studio Setup (Windows Only) 63

Show Duplicate Emulated Ports If you are using a MIDI interface that supports timestamping (such as MIDI I/O), when the Show Duplicate Emulated Outputs option is selected, the MIDI Studio Setup window shows both the DirectMusic time-stamped output ports, and nonstamped 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.

Properties Section

The Properties section lets you edit information for new instruments, or instrument currently selected in the Instrument list.

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, choose None.

5 From the Input pop-up menu, choose the in-

put port on your MIDI interface that is connected to the MIDI Out of your instrument.

6 From the Output pop-up menu, choose the

output 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.)

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.

Pro Tools Academic Getting Started64

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 65.

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 65.

Input Port

The Input Port pop-up menu displays a list of available MIDI interface input ports. The MIDI interface 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.

MIDI Patch Name Support

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 Program Files\ Common Files\Digidesign\MIDI Patch Names\ Digidesign.

To import MIDI patch names into Pro Tools:

1 Verify the MIDI Device name in the MIDI Stu-

dio Setup window (see “MIDI Studio Setup” on page 63).

If you set the input port to None, the defined instrument will not appear as a choice in a MIDI Input selector.

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.

2 Verify the MIDI track’s output is correctly as-

signed to the MIDI device.

3 Click the MIDI track’s Patch Select button.

Patch Select button

Patch Select button, Edit window

Patch Select button

Patch Select button, Mix window

Appendix A: Conﬁguring MIDI Studio Setup (Windows Only) 65

4 In the Patch Select dialog, click the Change

button.

Change button

Patch Select dialog

5 In the Open dialog, navigate to 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.

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.

To clear patch names:

■ In the Patch Select dialog, click the Clear but-

ton, and 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.

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.

Pro Tools Academic Getting Started66

appendix b

Conﬁguring AMS (Mac OS X Only)

2 Click the MIDI Devices tab. AMS scans your

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 Applications/Utilities).

– or –

• In Pro Tools, choose Setup > MIDI > MIDI Studio Setup.

system for 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 tab)

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 B: Conﬁguring AMS (Mac OS X Only) 67

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 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

2 Select a manufacturer and model for the new

device from the corresponding pop-up menus. (If the Manufacturer and Model pop-up menus do not provide a name for your particular device, you can type a name.)

To 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.

Pro Tools Academic Getting Started68

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 popup menus, you can add them by editing the .middev file in any text editor (such as TextEdit).

3 Click the More Properties arrow to expand the

dialog, then enable the appropriate MIDI channels (1–16) for the Transmits and Receives options. (These determine which channels the device will use to send and receive MIDI.)

Enabling MIDI channels

4 Click the device image. The window expands

to show images for various MIDI devices (such as keyboards, modules, interfaces, and mixers). Select an icon for your device.

Selecting a device icon

To use your own custom icons, you can place TIFF image files in /Library/ Audio/MIDI Devices/Generic/Images, and they will appear as choices in the AMS device window.

5 Click OK.

The device names you enter appear as MIDI input and output choices in Pro Tools.

Appendix B: Conﬁguring AMS (Mac OS X Only) 69

MIDI Patch Name Support

To import MIDI patch names into Pro Tools:

1 Verify the MIDI Device name in the Audio

MIDI Setup window (see “Audio MIDI Setup” on page 67).

2 Verify the MIDI track’s output is correctly as-

signed to the MIDI device.

3 Click the MIDI track’s Patch Select button.

Patch Select button

4 In the Patch Select dialog, click the Change

button.

Change button

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, Edit window

Patch Select button

Patch Select button, Mix window

Pro Tools Academic Getting Started70

To clear patch names:

■ In the Patch Select dialog, click the Clear but-

ton, and 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 c

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.

Windows Windows XP systems should use drives formatted as NTFS or FAT32 (NTFS preferred).

Windows systems can also support Mac drives formatted with HFS+ system (also commonly referred to as Mac OS Extended). A third party application (such as MacDrive) is needed to mount Mac-based HFS+ drives on a Windows-based Pro Tools system. Refer to the Pro Tools Reference Guide for more information.

Mac Mac systems should use drives formatted with HFS or HFS+ file system only.

HFS drives are supported as Transfer drives only.

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, see the Digidesign website (www.digidesign.com).

Appendix C: Hard Drive Conﬁguration and Maintenance 71

SCSI Hard Drives

Digidesign 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 the Digidesign website (www.digidesign.com).

FireWire Hard Drives

Digidesign 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 the Digidesign website (www.digidesign.com).

IDE/ATA/SATA Hard Drives

Formatting an Audio Drive

Formatting Windows Audio Drives

(Windows Only)

For optimal performance, audio drives should be formatted as FAT32 or NTFS.

To format an audio drive:

1 Right-click My Computer and choose Man-

age.

2 Under Storage, choose Disk Management.

A qualified internal IDE/ATA/SATA drive may be used as a dedicated audio drive.

For complete information on track count with internal drives, refer to the Digidesign website (www.digidesign.com).

Pro Tools Academic Getting Started72

Disk Management window (Windows XP)

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. (FAT32 is also supported.)

Windows Disk Management can only create FAT32 volumes 32 GB or smaller. To create FAT32 volumes greater than 32 GB (up to 2 TB). use a third part utility (such as Swiss Knife or Partition Magic).

• 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.

• In the New Partition Wizard window, click Next.

• When prompted, select the partition type.

Digidesign 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. (FAT32 is also supported.)

Windows Disk Management can only create FAT32 volumes 32 GB or smaller. To create FAT32 volumes greater than 32 GB (up to 2 TB). use a third part utility (such as Swiss Knife or Partition Magic).

Pro Tools only supports Basic drive types. Do not convert the drive to a Dynamic type.

• Select “Perform a quick format.”

• Make sure “Enable ﬁle and folder compression” is not selected.

• Set the Allocation unit size to Default.

• Click OK.

Pro Tools only supports Basic drive types. Do not convert the drive to a Dynamic type.

Appendix C: Hard Drive Conﬁguration and Maintenance 73

Formatting Mac Audio Drives

(Mac Only)

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

Applications/Utilities.

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 or FAT32 for Windows, HFS+ for Mac).

FAT32 drive partitions have a limit of 2 terabytes (2000 gigabytes), whereas NTFS drive partition sizes are almost limitless.

Windows XP allows drives formatted with the NTFS or FAT32 file systems to be seen as whole volumes. Single Pro Tools audio files cannot exceed 2048 MB in size.

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 2048 MB in size.

Disk Utility (Mac OS X)

2 Click the Erase tab.

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.

Pro Tools Academic Getting Started74

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

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.

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.

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):

1 Right-click My Computer and choose Man-

age.

2 Under Storage, choose Disk Defragmenter.

3 In the Disk Defragmenter window, choose the

drive you want to defragment

4 Click the Defragment button and follow the

on-screen instructions.

When defragmenting is complete, close the Computer Management Window.

Appendix C: Hard Drive Conﬁguration and Maintenance 75

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

Table 4. 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

Pro Tools Academic Getting Started76

index

alternate channel 57 Audio MIDI Setup (AMS) (Mac) 67 authorizing Pro Tools

Mac 27 Windows 14

Clock Source 18, 31 CPU Usage Limit 16, 28

DAE Playback Buffer Size 17, 29 drive formatting

Mac 74 Windows 73

drive maintenance 71 drive requirements 7

field recorder

alternate channels 57

FireWire requirements 72

hard drives

drive formats 71 FireWire requirements 72 formatting 73, 74 formatting (Mac) 74 IDE/ATA requirements 72 maintenance 71, 75 optimizing 75 partitioning 74 requirements 7 SCSI requirements 72 space requirements 76

Hardware Buffer Size

Mac 27 Windows 15

hardware installation 9 Hardware Setup dialog 17, 30

I/O Setup 20, 32 IDE/ATA requirements 72 installing Pro Tools

Mac 26 Windows 13

installing QuickTime

Windows 14

key commands 8

Main Time Scale 49 M-Audio Control Panel 18, 30 MIDI

requirements 6 setup (Mac) 67 setup (Windows) 63

MIDI Input Selector 47 MIDI Studio Setup (MSS) (Windows) 63 multi-processor 16, 28

optimizing hard drives 75

partitioning hard drives 74 phantom power 38

when to use 37

Index 77

power management settings

Mac 24 Windows 10

Pro Tools

capabilities 4 configuration (Mac) 27 configuration (Windows) 15 demo session 21, 26 installing (Mac) 26 installing (Windows) 13 removing 33

Program Change dialog 66, 70

QuickTime

installing on Windows 14

removing Pro Tools 33 RTAS Processors setting 15, 28

SCSI requirements 72 Spot dialog

Use Subframes option 51

Stereo Width control 40 subframes 51 system optimization

Mac 23, 24 Windows 9, 10, 11, 12

system requirements 6 system settings

Clock Source 18, 31 CPU Usage Limit 16, 28 DAE Playback Buffer Size 17, 29 Hardware Buffer Size 15, 27 I/O Setup 20, 32 RTAS Processors 15, 28

Time Scale

Main 49

Use Subframes option 51

Pro Tools Academic Getting Started78

www.digidesign.com

DIGIDESIGN

2001 Junipero Serra Boulevard

Daly City, CA 94014-3886 USA Tel: 650.731.6300 Fax: 650.731.6399

TECHNICAL SUPPORT (USA)

Tel: 650.731.6100 Fax: 650.731.6384

PRODUCT INFORMATION (USA)

Tel: 800.333.2137

INTERNATIONAL OFFICES

Visit the Digidesign website for contact information

Pinnacle Systems Pro Tools Academic - 7.3 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

contents

Pro Tools Academic QuickStart

Windows Installation Overview

Pro Tools Academic “Standalone” (Software-Only with iLok)

Pro Tools Academic “Bundled Hardware” (No iLok)

Mac Installation Overview

Pro Tools Academic “Standalone” (Software-Only with iLok)

Pro Tools Academic “Bundled Hardware” (No iLok)

Welcome to Pro Tools Academic

Pro Tools Academic Packages

Pro Tools Academic “Standalone” (Software-Only with iLok)

Pro Tools Academic “Bundled Hardware” (No iLok)

Pro Tools Academic Capabilities

How Pro Tools Academic Differs from Pro Tools LE or M-Powered

Additional Features

DigiTranslator Software Option

Unsupported Options

System Requirements

Pre-Authorized iLok

MIDI Requirements

Hard Drive Requirements

Digidesign Registration

About the Pro Tools Guides

Conventions Used in This Guide

About www.digidesign.com

Windows Installation

Installation Overview

Windows System Optimization

Required Optimizations

Enabling DMA

Disabling System Standby and Power Management

Disabling ClearType Font Smoothing

Recommended Optimizations

Optional Optimizations

Disabling Network Cards

Adjusting Processor Scheduling

Disabling Hyper-Threading

Disabling System Startup Items

Installing an M-Audio Interface

Installing M-Audio Drivers

Installing Pro Tools Academic Software

Installing QuickTime

Launching Pro Tools Academic

Pro Tools System Settings

Hardware Buffer Size

RTAS Processors

RTAS Engine (RTAS Error Suppression)

CPU Usage Limit

DAE Playback Buffer Size

Pro Tools Hardware Settings and M-Audio Control Panel

Sync Source (Pro Tools Clock Source)

Low Latency Monitoring

MIDI Studio Setup

Additional Software on the Pro Tools Installer Disc

Pro Tools Demo Session

Removing Pro Tools Academic

Mac Installation

Installation Overview

Mac System Optimization

Turning Off Software Update

Turning Off Energy Saver

Disabling the Spotlight Shortcuts

Setting Processor Performance

Disabling Spotlight Indexing

Disabling Dashboard and Exposé

Enabling Journaling for Audio Drives

Installing Your M-Audio Interface

Installing M-Audio Drivers

Installing Pro Tools Academic Software

Additional Software on the Pro Tools Installer Disc

Pro Tools Demo Session

Launching Pro Tools Academic

Pro Tools System Settings

Hardware Buffer Size

CPU Usage Limit

RTAS Processors