Pinnacle Systems Pro Tools HD - 7.1 Getting Started

Getting Started

Pro Tools|HD

Version 7.1

Avid, Digidesign, and Pro Tools 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 9106-18596-00 REV A 11/05

Chapter 1. Welcome to Pro Tools|HD

Pro Tools|HD Systems

Included with Pro Tools|HD Systems

Pro Tools HD Capabilities

Pro Tools Hardware Overview

System Requirements

Digidesign Registration

About the Pro Tools Guides

About www.digidesign.com

Chapter 2. Windows Installation

Installation Overview

Configuring Your Computer

Windows System Optimization

Hard Drive Configuration and Maintenance

Installing Pro Tools Hardware

Installing Pro Tools HD Software

Optional Software on the Pro Tools Installer CD

Removing Pro Tools

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Chapter 3. Macintosh Installation

Installation Overview

Macintosh System Optimization

Hard Drive Configuration and Maintenance

Installing Pro Tools Hardware

Installing Pro Tools HD Software

Optional Software on the Pro Tools Installer CD

Removing Pro Tools

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Contents

iii

Chapter 4. Launching and Configuring Pro Tools

Checking the System

Launching Pro Tools

Configuring Pro Tools

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Chapter 5. Connecting Your Studio

Setting Up Your Studio

Example Studio Setup with a Mixing Console

Example Studio Setup without a Mixing Console

Connecting Equipment with Digital Audio Ins and Outs

Connecting Effects Units

Connecting MIDI Devices

Connecting SMPTE Synchronization Devices

Connecting Ethernet Control Surfaces

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Chapter 6. Working with Pro Tools

Session Basics

Transport Controls

Tracks

Region List

Navigating in a Session

Importing Data into Pro Tools Sessions

Basic Recording

Editing

Mixing

Plug-Ins

Mix Automation

Final Mixdown

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Appendix A. Connecting SCSI Drives

SCSI Requirements

Connecting SCSI Drives

Quick Formatting SCSI Drives

General Hard Drive Maintenance

Using Macintosh Drives on Windows Systems

Pro Tools|HD Getting Started Guide

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Appendix B. DigiTest Error Codes

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Appendix C. Configuring MIDI Studio Setup (Windows Only)

MIDI Studio Setup

MIDI Patch Name Support

Appendix D. Configuring AMS (Mac OS X Only)

Audio MIDI Setup

MIDI Patch Name Support

Appendix E. DSP-Induced Delays in Mixing

Introduction to DSP-Induced Delay

Automatically Compensating for Delays

Manually Compensating for Delays

Delay Factors

Appendix F. TDM Mixing and DSP Usage

Benefits of TDM II

DSP Allocation

DSP Usage and Mixer Plug-Ins

DSP Usage with TDM Plug-Ins

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Appendix G. Troubleshooting

Index

Backing Up Your Work

Common Issues

Using DigiTest as a Diagnostic Tool

Performance Factors

Before You Call Digidesign Technical Support

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Contents

Pro Tools|HD Getting Started Guide

chapter 1

Welcome to Pro Tools|HD

Welcome to Pro Tools|HD. Pro Tools|HD audio cards and interfaces bring high-definition digital audio recording, editing, signal processing, mixing, and I/O capabilities to Pro Tools.

This guide covers installation and configuration of Pro Tools|HD hardware and Pro Tools software on Windows and Macintosh platforms.

Pro Tools|HD Systems

Pro Tools 7.1 software supports the following systems:

Pro Tools|HD (for PCIe) Systems

(Macintosh Only)

Pro Tools|HD (for PCIe) systems are available in the following configurations:

Pro Tools|HD 1 (for PCIe)

• Accel Core (for PCIe) card

Pro Tools|HD (for PCI) Systems

(Windows and Macintosh)

Pro Tools|HD (for PCI) systems are available in the following configurations:

Pro Tools|HD 1 (for PCI)

• HD Core (for PCI) card

Pro Tools|HD 2 Accel (for PCI)

• HD Core (for PCI) card

• HD Accel (for PCI) card

Pro Tools|HD 3 Accel (for PCI)

• HD Core (for PCI) card

• (2) HD Accel (for PCI) cards

Pro Tools 7.1 also supports earlier Pro Tools|HD 2 (for PCI) and Pro Tools|HD 3 (for PCI) systems. These systems shipped with HD Process cards instead of HD Accel cards

Pro Tools|HD 2 Accel (for PCIe)

• Accel Core (for PCIe) card

• HD Accel (for PCIe) card

Pro Tools|HD 3 Accel (for PCIe)

• Accel Core (for PCIe) card

• (2) HD Accel (for PCIe) cards

Chapter 1: Welcome to Pro Tools|HD

Included with Pro Tools|HD Systems

All Pro Tools|HD systems include the following:

• Pro Tools|HD card(s)

• Pro Tools HD software

• DigiLink cable (to connect the primary card to an audio interface)

• Multi-card systems include TDM FlexCables to connect the cards to each other

Audio Recording and Playback Capabilities

Pro Tools|HD 1 (for PCIe and PCI)

Pro Tools|HD 1 systems provide recording and playback of 24-bit or 16-bit audio ﬁles with the following track counts:

• Up to 96 tracks at 44.1 kHz or 48 kHz

• Up to 48 tracks at 88.2 kHz or 96 kHz

• Up to 12 tracks at 176.4 kHz or 192 kHz

All Pro Tools|HD systems also require at least one Digidesign audio interface (sold separately). See “Audio Interfaces” on page 5.

Pro Tools HD Capabilities

Pro Tools HD 7.1 on Windows or Macintosh provides the following capabilities:

• Up to a total of 256 Audio tracks, 160 Auxiliary Input tracks, 64 Master Fader tracks, 256 MIDI tracks, and 128 Instrument tracks per session

• 16-bit or 24-bit audio resolution, at sample rates up to 192 kHz

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

• Audio processing with up to 5 TDM or RTAS plug-ins per track, depending on your computer’s capabilities

• Up to 5 hardware inserts per track

• Up to 10 sends per track

• Up to 128 internal busses for routing and mixing

Pro Tools|HD 2 Accel and HD 3 Accel (for PCIe and PCI)

Pro Tools|HD 2 Accel and HD 3 Accel systems provide recording and playback of 24-bit or 16-bit audio ﬁles with the following track counts:

• Up to 192 tracks at 44.1 kHz or 48 kHz

• Up to 96 tracks at 88.2 kHz or 96 kHz

• Up to 36 tracks at 176.4 kHz or 192 kHz

Non-HD Accel Systems (for PCI)

Pro Tools|HD 2 and HD 3 systems (original Pro Tools|HD systems with no HD Accel cards) provide recording and playback of 24-bit or 16-bit audio ﬁles with the following track counts:

• Up to 128 tracks at 44.1 kHz or 48 kHz

• Up to 64 tracks at 88.2 kHz or 96 kHz

• Up to 24 tracks at 176.4 kHz or 192 kHz

The number of simultaneous tracks of audio recording or playback depends on the type of Pro Tools|HD system.

Pro Tools|HD Getting Started Guide

Pro Tools Hardware Overview

This section describes each hardware component of a Pro Tools|HD system. The number of Pro Tools|HD cards in your system will differ depending on your system conﬁguration.

Pro Tools|HD (for PCIe) Hardware

Accel Core (for PCIe) Card

All Pro Tools|HD (for PCIe) systems include an Accel Core (for PCIe) card.

The Accel Core (for PCIe) card provides up to 96 tracks of direct-to-disk recording and playback, as well as DSP power for mixing and plug-in processing. The Accel Core (for PCIe) card supports up to 24-bit and up to 192 kHz sessions.

DigiLink

DigiSerial

Accel Core (for PCIe) card

DigiLink Port The Accel Core (for PCIe) card includes a single DigiLink port for connecting up to 32 channels of audio input and output to your Pro Tools|HD system.

HD Accel (for PCIe) Card

The HD Accel (for PCIe) card is included in Pro Tools|HD 2 Accel (for PCIe) and Pro Tools|HD 3 Accel (for PCIe) systems. The HD Accel (for PCIe) card is an expansion card, and requires the presence of at least one Accel Core (for PCIe) card.

The HD Accel (for PCIe) card provides additional channels of direct-to-disk recording and playback, as well as additional DSP power for mixing and plug-in processing. The HD Accel (for PCIe) card supports sessions up to 24-bit and up to 192 kHz.

DigiLink

HD Accel (for PCIe) card

DigiLink Port The HD Accel (for PCIe) card includes a single DigiLink port for connecting up to 32 channels of audio input and output to your Pro Tools|HD system.

DigiSerial Port The DigiSerial port on the HD Accel (for PCIe) card does not offer any functionality.

DigiSerial Port The DigiSerial port on the Accel Core (for PCIe) card is for connecting a Digidesign SYNC I/O. This connector is an 8-pin mini-DIN.

The DigiSerial port on an Accel Core (for PCIe) card does not support MachineControl connections.

Chapter 1: Welcome to Pro Tools|HD 3

Pro Tools|HD (for PCI) Hardware

HD Accel (for PCI) Card

HD Core (for PCI) Card

All Pro Tools|HD (for PCI) systems include an HD Core (for PCI) card.

The HD Core (for PCI) card provides up to 96 tracks of direct-to-disk recording and playback, as well as DSP power for mixing and plug-in processing. The HD Core (for PCI) card supports up to 24-bit and up to 192 kHz sessions.

DigiLink

DigiSerial

HD Core (for PCI) card

DigiLink Port The HD Core (for PCI) card includes a single DigiLink port for connecting up to 32 channels of audio input and output to your Pro Tools|HD system.

DigiSerial Port The DigiSerial port on the HD Core (for PCI) card is for connecting a Digidesign SYNC I/O. This connector is an 8-pin miniDIN.

The DigiSerial port on an HD Core (for PCI) card does not support MachineControl connections.

The HD Accel (for PCI) card is included in Pro Tools|HD 2 Accel (for PCI) and Pro Tools|HD 3 Accel (for PCI) systems. The HD Accel (for PCI) card is an expansion card, and requires the presence of at least one HD Core (for PCI) card.

The HD Accel (for PCI) card provides additional tracks of direct-to-disk recording and playback, as well as additional DSP power for mixing and plug-in processing. The HD Accel (for PCI) card supports sessions up to 24-bit and up to 192 kHz.

DigiLink

HD Accel (for PCI) card

DigiLink Port The HD Accel (for PCI) card includes a single DigiLink port for connecting up to 32 channels of audio input and output to your Pro Tools|HD system.

DigiSerial Port The DigiSerial port on the HD Accel (for PCI) card does not offer any functionality.

If your HD Core (for PCI) card has two DigiSerial ports, use the DigiSerial port closest to the DigiLink connector.

Pro Tools|HD Getting Started Guide4

TDM FlexCable

Audio Interfaces

The TDM FlexCable is used to connect a pair of cards in your Pro Tools system so they can share data along the TDM bus. One FlexCable comes with each expansion card.

The TDM FlexCable is a flexible printed circuit board with delicate traces. Do not overbend, twist, or pinch the cable. Doing so may cause unpredictable behavior in Pro Tools as well as harm to your system.

TDM FlexCable

To record and play audio you must have at least one of the following Digidesign audio interfaces:

192 I/O Audio Interface

• Supports sample rates up to 192 kHz. (At least one 192 I/O or 192 Digital I/O must be connected to your Pro Tools|HD system for 192 kHz recording, processing, and playback.)

• Supports both analog and digital connections, including AES/EBU, S/PDIF, TDIF, and ADAT Optical:

• Digital (Digital I/O Card): 8 channels, DB25 (AES/EBU and TDIF), or one pair of Lightpipe (ADAT Optical) connectors. Expandable up to 16 channels digital I/O with the addition of the 192 Digital expansion card.

• Analog: 8 channels, DB-25 (balanced) connectors, inputs selectable between +4 dBu or –10 dBV, outputs +4 dBu only. Expandable up to 16 analog inputs or 16 outputs using an optional 192 AD or 192 DA expansion card, respectively.

• Digital (Enclosure): 2 channels, XLR (AES/EBU) connectors; 2 channels RCA (S/PDIF) connectors.

• Optical (Enclosure): 8 channels, one pair of Lightpipe (ADAT Optical) connectors (switchable to 2 channels, S/PDIF).

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Word clock (conﬁgurable to 256x for Legacy support, see “Optional Legacy I/O Audio Interfaces” on page 7).

Chapter 1: Welcome to Pro Tools|HD 5

192 Digital I/O Audio Interface

• Supports sample rates up to 192 kHz. (At least one 192 I/O or 192 Digital I/O must be connected to your Pro Tools|HD system for 192 kHz recording, processing, and playback.)

• Supports digital connections, including AES/EBU, S/PDIF, TDIF, and ADAT Optical:

• Digital (2 Digital I/O Cards): 16 channels, DB-25 (AES/EBU and TDIF), or two pairs of Lightpipe (ADAT Optical) connectors.

• Digital (Enclosure): 2 channels, XLR (AES/EBU) connectors; 2 channels RCA (S/PDIF) connectors.

• Optical (Enclosure): 8 channels, one pair of Lightpipe (ADAT Optical) connectors (selectable to 2 channels, S/PDIF).

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Word clock (conﬁgurable to 256x for Legacy support, see “Optional Legacy I/O Audio Interfaces” on page 7).

96 I/O Audio Interface

• Supports sample rates up to 96 kHz.

• Supports analog and digital connections, including AES/EBU, S/PDIF, and ADAT optical:

• Analog: 8 channels, 1/4-inch TRS (balanced or unbalanced) connectors, +4 dBu or –10 dBV

• Digital: 2 channels, XLR (AES/EBU) connectors; 2 channels, RCA (S/PDIF) connectors

• Optical: 8 channels, one pair of Lightpipe (ADAT Optical) connectors (switchable to 2 channels, S/PDIF)

• External Clock In and Out receive or send 1x Word clock (conﬁgurable to 256x for Legacy support, see “Optional Legacy I/O Audio Interfaces” on page 7)

96i I/O Audio Interface

• Supports sample rates up to 96 kHz

• 16 discrete channels of input, and 2 channels of output, with 4-segment LED meters on each channel. Audio inputs and outputs include:

• 16 channels of 24-bit, 96-kHz capable analog input, with adjustable input sensitivity

•2 channels of 24-bit, 96-kHz capable analog output, with selectable operating level

•2 channels of 24-bit, 96 kHz-capable digital S/PDIF RCA input and output

• Loop Sync In and Out for connecting Pro Tools|HD interfaces and peripherals

• External Clock In and Out receive or send 1x Word clock

Pro Tools|HD Getting Started Guide6

Optional Legacy I/O Audio Interfaces

For additional input and output channels, older Digidesign audio interfaces (or Legacy I/Os) can be connected to the 192 I/O, 192 Digital I/O, or 96 I/O (the 96i I/O does not support Legacy interfaces). The following supported legacy interfaces can only be used with 44.1 kHz or 48 kHz sessions:

888|24 I/O Audio Interface

• Analog: 8 channels, XLR (balanced or unbalanced) connectors, selectable between +4 dBu or –10 dBV

• Digital: 8 channels, XLR (AES/EBU) connectors; 2 channels, RCA (S/PDIF) connectors

882|20 I/O Audio Interface

• Analog: 8 channels, 1/4-inch TRS (balanced or unbalanced) connectors, selectable between +4 dBu and –10 dBV

• Digital: 2 channels, RCA (S/PDIF) connectors

1622 I/O Audio Interface

• Analog: 16 input channels and 2 output channels, 1/4-inch TRS (balanced or unbalanced) connectors. Inputs are selectable from +4 dBu to –10 dBV line levels and higher in 2 dB gain steps; outputs are selectable between +4 dBu or –10 dBV.

• Digital: 2 channels, RCA (S/PDIF) connectors.

Digidesign 24-bit ADAT Bridge I/O

• Optical: 16 channels, a pair of Lightpipe (ADAT) connectors.

• Analog output: 2 channels, 1/4-inch TRS (balanced) connectors, selectable between +4 dBu and –10 dBV.

• Digital: 2 channels, XLR (AES/EBU); 2 channels RCA (S/PDIF) connectors.

System Requirements

Pro Tools|HD system hardware and supported audio interfaces can be used with a Digidesignqualified Windows or Macintosh computer running Pro Tools HD software.

For complete system requirements, visit the compatibility page of the Digidesign Web site (www.digidesign.com/compato).

Compatibility Information

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

For a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer to the latest compatibility information on the Digidesign Web site (www.digidesign.com/compato).

MIDI Requirements

USB MIDI interfaces work effectively with Pro Tools systems on Windows or Macintosh. Serial MIDI interfaces are supported on Windows systems only.

Only USB MIDI interfaces are compatible with Pro Tools systems for Mac OS X. Modem-to-serial port adapters and serial MIDI devices are not supported.

For a list of supported adapters, refer to the Digidesign Web site (www.digidesign.com).

Chapter 1: Welcome to Pro Tools|HD 7

Hard Drive Requirements

SCSI Hard Drives

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

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 a system drive. Record to a system drive only when necessary.

Drive Formats

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

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

The UNIX File System (UFS) is not supported with Pro Tools on Mac OS X.

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.

Be sure to check the latest compatibility information on the Digidesign Web site for drive requirements (www.digidesign.com/compato).

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, refer to the Digidesign Web site (www.digidesign.com/compato).

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, refer to the Digidesign Web site (www.digidesign.com/compato).

IDE/ATA/SATA Hard Drives

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 Web site (www.digidesign.com/compato).

IDE/ATA/SATA hard drives provide limited track count performance and are not supported when an Expansion Chassis is used. For more information regarding Expansion Chassis operating procedures, see the Pro Tools Expanded Systems Guide.

Pro Tools|HD Getting Started Guide8

Hard Disk Storage Space

Mono audio tracks recorded with 16-bit resolution at 44.1 kHz (CD quality) require approximately 5 MB of hard disk space per minute. The same tracks recorded with 24-bit resolution require about

7.5 MB per minute.

Table 2 lists the required disk space for certain track numbers and track lengths, to help you estimate your hard disk usage.

Table 2. Required hard drive space for audio tracks

Number of tracks and length

16-bit at

44.1 kHz

16-bit at

48 kHz

24-bit at

44.1 kHz

24-bit at

48 kHz

16-bit at

88.2 kHz

16-bit at

96 kHz

24-bit at

88.2 kHz

24-bit at

96 kHz

1 mono track 1 minute

1 stereo track 5 minutes

1 stereo track 60 minutes

32 mono tracks 5 minutes

32 mono tracks 60 minutes

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

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

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

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

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

Chapter 1: Welcome to Pro Tools|HD 9

Digidesign Registration

Review the enclosed 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.

Conventions Used in This Guide

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

About the Pro Tools Guides

In addition to the printed guides included with your system, PDF versions of the Pro Tools guides are installed automatically with Pro Tools. The main guides (such as the Reference Guide and the Menus Guide) are accessible from the Pro Tools Help menu. To view or print the PDF guides, you can use Adobe Reader or Apple Preview.

Control-click Hold down the Control key

and click the mouse button

Right-click (Windows) Click with the right mouse

button

The following symbols are used to highlight important information:

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

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

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in Digidesign guides.

Pro Tools|HD Getting Started Guide10

About www.digidesign.com

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

Registration Register your purchase online. See the enclosed registration form for instructions.

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 Web site (www.digidesign.com).

Chapter 1: Welcome to Pro Tools|HD 11

Pro Tools|HD Getting Started Guide12

chapter 2

Windows Installation

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

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

Installation Overview

Installation of a Pro Tools|HD system on a Windows computer includes the following steps:

1 “Conﬁguring Your Computer” on page 13.

2 “Windows System Optimization” on page 15.

3 “Installing Pro Tools Hardware” on page 20.

4 “Installing Pro Tools HD Software” on

page 26.

5 “Connecting Audio Interfaces” on page 22.

Conﬁguring Your Computer

To ensure optimum performance with Pro Tools|HD, configure your computer before installing Pro Tools hardware and software.

Before you make any changes to your computer’s system settings, make a backup copy of your registry (where many of these essential settings are stored). By doing so, you will be able to restore your system’s original settings if problems arise. Consider using a disk recovery utility such as Norton Ghost for additional security. See your Windows XP documentation for details.

Conﬁguring the System BIOS

BIOS (Basic Input/Output System) parameters vary depending on the make and model of the computer. Refer to the documentation that came with your computer for details.

6 “Launching and Conﬁguring Pro Tools” on

page 43.

7 “Connecting Your Studio” on page 59.

The names and options that appear in your computer’s system BIOS may differ slightly from those described in this section.

If your computer does not have the BIOS configuration options included in this section, or if you do not feel comfortable changing system BIOS parameters, consult a Windows system administrator, computer dealer, or manufacturer for assistance.

Chapter 2: Windows Installation 13

To modify your computer’s system BIOS:

1 Start or restart the computer.

2 While the computer is starting up, enter BIOS

Setup by pressing the appropriate key (usually indicated in the startup message) on the computer keyboard. The F1, F2, or the Delete keys are commonly used.

3 In the appropriate page of the BIOS Setup, dis-

able PCI Parity. If the PCI Parity option isn’t available on your computer, skip this step.

4 If you will be using SCSI drives or devices, and

your computer is equipped with built-in SCSI hardware, enable SCSI support. SCSI support parameters are typically found on the Devices & I/O Options page of the BIOS setup utility. If you do not have built-in SCSI hardware and are using a SCSI host bus adapter (HBA) card instead, you do not need to enable SCSI support.

5 Disable Power Management, if present.

6 Enable PCI Dynamic Bursting, if present.

7 Save the new BIOS settings.

Modifying the Computer’s SCSI BIOS

To modify your computer’s SCSI BIOS:

1 Start or restart the computer.

2 While the computer is starting up, when the

text message regarding the SCSI BIOS appears, press the key combination listed on the screen to enter the SCSI BIOS setup utility.

3 Refer to your SCSI host bus adapter card doc-

umentation to set the following parameters:

• For each SCSI ID and SCSI channel connected to your audio drives, set the Maximum Sync Transfer Rate parameter to 20 MB/sec for the ATTO EPCI-DC, or to Ultra 160 for Ultra 160 cards.

• If you are using an ATTO host bus adapter card, change the PCI Burst Size to 128 Bytes and the Burst Length Selection Timeout to 16 ms (UL3D only).

4 Save the new SCSI BIOS settings.

5 Exit SCSI BIOS setup and restart the computer.

8 Exit BIOS setup and restart the computer.

Conﬁguring the SCSI BIOS

If you are using SCSI drives or devices, you must modify the settings of your built-in SCSI hardware or SCSI host bus adapter card. This allows SCSI hard drives and devices to work properly with Pro Tools. This procedure varies on different computers. Refer to the documentation that came with your computer.

Pro Tools|HD Getting Started Guide14

Updating the ATTO SCSI BIOS

(ATTO SCSI HBA Cards Only)

If you are using an ATTO SCSI HBA card, you may need to update its SCSI BIOS. When starting your computer, you will see the version number of the currently installed ATTO SCSI BIOS. If it is not version 1.68 or higher, you must update the SCSI BIOS.

The following procedure uses a ﬂoppy disk as a DOS boot disk. You can use another type of bootable media if available.

To update the BIOS on the ATTO SCSI card:

1 Insert a PC-formatted ﬂoppy disk in your

ﬂoppy drive (this needs to be a DOS boot disk).

2 Copy the DOS folder from the ATTO folder on

the Pro Tools Installer CD-ROM to the ﬂoppy disk.

3 Shut down the computer.

4 Disconnect any hard drives connected to the

SCSI card.

5 Start the computer with the ﬂoppy disk in the

ﬂoppy drive.

6 From within DOS, change directory to the

DOS/UTILITY folder and run ﬂash.bat.

7 When prompted with the Update MAC, PC

Setup Program message, type Y for Yes and press Enter.

The SCSI BIOS update may take a few minutes.Do not interrupt this process or your system may be damaged.

For more information, see the flash.txt in the DOS/UTILITY folder.

Installing the ATTO SCSI Driver

The full name of the ATTO driver is:

■ ATTO ExpressPCI

To install the ATTO SCSI driver:

1 Start or restart the computer.

2 Insert the Pro Tools Installer CD-ROM in your

CD-ROM drive.

3 In the Additional Files\ATTO\Driver 1.68

folder, locate and click Setup.exe.

4 Follow the on-screen instructions to update

the driver on your SCSI Host Bus Adapter.

5 When Setup is ﬁnished, restart the computer.

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.

8 When updating is ﬁnished, remove the ﬂoppy

disk and restart the computer.

Installing SCSI Drivers

For Pro Tools to run at maximum efficiency with SCSI Host Bus Adapters and SCSI drives, install a Digidesign approved SCSI driver.

For a list of Digidesign approved computers and supported SCSI driver versions, refer to to the latest compatibility information on the Digidesign Web site (www.digidesign.com/compato).

Required Optimizations

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

When you are finished changing Windows system settings, restart your computer.

Chapter 2: Windows Installation 15

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, double-click System.

3 Click the Hardware tab.

4 Under Device Manager, choose Device Man-

ager.

5 In the Device Manager window, double-click

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

6 Click the Advanced Settings tab.

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.

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.

Pro Tools|HD Getting Started Guide16

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 method 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.

• If your computer is connected to a network, make sure that all mapped network drives are available. If necessary, unmap any network drives that are not available.

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.

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

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.

6 Under the Processor scheduling section, select

the Background Services option.

7 Under the Memory Usage section, select the

System cache option.

Disabling Network Cards

If applicable, disable any networking cards (other than a 1394 “FireWire” card that you might use to connect an external drive to your system).

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.

Chapter 2: Windows Installation 17

Disabling Hyper-Threading

Pro Tools 7.0 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 hyperthreading 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.

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

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.

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.

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)

Pro Tools|HD Getting Started Guide18

Hard Drive Conﬁguration and Maintenance

5 Choose a ﬁle system. For optimum perfor-

mance, audio drives should be formatted as NTFS. (FAT32 is also supported.)

It is recommended that you start with a newly initialized audio drive. You should also periodically defragment your audio drive to ensure continued system performance.

Always back up any important data on your drive before initializing 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.

Formatting an Audio Drive

To format an audio drive:

1 Right-click My Computer and choose Man-

age.

2 Under Storage, choose Disk Management.

6 Select “Perform a quick format.”

7 Make sure “Enable ﬁle and folder compres-

sion” is not selected.

8 Set the Allocation unit size to Default.

9 Click OK.

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

10 When formatting is complete, close the For-

mat window.

Defragmenting an Audio Drive

Periodically defragment audio drives to maintain system performance.

To defragment an audio drive:

1 Right-click My Computer and choose Man-

age.

2 Under Storage, choose Disk Defragmenter.

3 In the Disk Defragmenter window, choose the

drive you want to defragment

Disk Management window

3 In the Disk Management window, right-click

the hard drive you will use for audio and choose Format.

4 In the Format window, name the volume.

4 Click the Defragment button and follow the

on-screen instructions.

5 When defragmenting is complete, close the

Computer Management Window.

Chapter 2: Windows Installation 19

Installing Pro Tools Hardware

Disabling Driver Signing Warnings

Before you install Pro Tools|HD cards, temporarily disable the Driver Signing warning option. This expedites and automates much of the installation process. If you do not temporarily disable this option, warning messages (that you are installing an unsigned driver) will appear for each DSP chip detected during software installation.

To disable the warning option:

1 Choose Start > Control Panel.

2 Double-click System.

3 Click the Hardware tab in the System Control

Panel.

4 Click the Driver Signing button.

5 Select “Ignore—Install the software anyway

and don’t ask for my approval.”

6 Click OK to close the Driver Signing Options

window.

Installing Pro Tools|HD Cards

This section shows how to install Pro Tools|HD cards into a Windows computer. To install cards into an expansion chassis, see the Expanded Sys- tems Guide.

To install Pro Tools cards:

1 Turn off your computer and any peripherals.

Leave your computer’s power cable plugged in so the computer is grounded.

2 Disconnect all cables attached to the com-

puter (such as hard drives, displays, USB and FireWire devices) except for the power cable.

3 Open the computer case.

4 Remove the metal access port cover behind

the slot you want to use by removing the screw and sliding the cover out from the access port.

Before handling any card, discharge static electricity from your clothes or body by touching a grounded metal surface, such as the power supply case inside your computer.

5 Install the HD Core card in the ﬁrst PCI slot.

7 Click OK to close the System Properties win-

dow.

8 Turn the computer off.

9 Proceed to “Installing Pro Tools|HD Cards” on

page 20.

Pro Tools|HD Getting Started Guide20

6 If you are installing additional Pro Tools cards

(or other cards), skip to the next step. If you have no additional cards to install, do the following:

• Secure the card in place with the slot access port screw you removed earlier.

• Close the computer case.

• Skip to “Connecting Audio Interfaces” on page 22.

7 Install the ﬁrst HD Accel card (if any) in the

second PCI slot.

8 Install any remaining HD Accel cards in the

remaining consecutive PCI slots.

9 Install any HD Process cards in the remaining

consecutive PCI slots (64-bit or 32-bit).

10 If you are installing a SCSI host bus adapter

(HBA) card, install it in the highest-numbered remaining slot.

11 Check to be sure that your cards are installed

in the proper order for your system, starting with the lowest numeric slot:

• Display card for your computer monitor

• HD Core card

• HD Accel cards

• HD Process cards

• SCSI host bus adapter (HBA) card

Connecting Pro Tools|HD Cards

In systems that include more than one card, you must connect all the Pro Tools|HD cards to each other with TDM FlexCables.

Each Pro Tools|HD card has two ports along the top of the card, labeled Port A and Port B. The FlexCable has two connectors, also labeled Port A and Port B, to ensure proper connection. Data communication across multiple cards is achieved by connecting Port B of the first card to Port A of the next card with a TDM FlexCable.

The first FlexCable always goes from Port B on the core card to Port A on the first expansion card, as described in the following steps.

To connect Pro Tools|HD cards:

1 Shape the FlexCable before installing it on the

card by holding the cable with its printed side facing you, and moving the Port B portion of the cable straight towards you and inwards, as shown below. Do not bend the cable more than you need to, as you may damage the traces in the cable.

12 Secure each card in place with the slot access

port screws you removed earlier.

Preparing TDM FlexCable for installation

Chapter 2: Windows Installation 21

2 Slide the FlexCable into the notch of the ﬁrst

card, so that the Port B connector of the FlexCable can be aligned with Port B of the ﬁrst card; and the Port A connector of the FlexCable can be aligned with Port A of the second card, as shown below.

Inserting TDM FlexCable

3 Connect the Port A connector of the FlexCa-

ble to Port A on the second card. Push gently but ﬁrmly until the cable is fully connected to the card. Attach the other end of the FlexCable (labeled Port B) to Port B on the ﬁrst card.

Top view of two cards connected with TDM FlexCable

4 Verify the connection. Make sure the FlexCa-

ble ports seat ﬂat against the sockets on the cards, and are ﬁrmly attached.

5 For systems with more than two cards, con-

nect each additional card to its preceding card. Use FlexCables to connect card pairs together, as described above, until all cards are connected. (Each HD Accel or HD Process card is packaged with a FlexCable.)

Connecting Audio Interfaces

Each Pro Tools|HD audio interface supplies up to 16 channels of input and output to your system. Audio interfaces are connected directly to Pro Tools|HD cards, or through the Expansion ports on other Pro Tools|HD interfaces.

Each Pro Tools|HD card supports up to 32 channels. To get a full 32 channels of I/O from one card, you can connect, or daisy-chain, a second 16-channel Pro Tools|HD I/O to the first Pro Tools|HD I/O that is connected directly to the Pro Tools|HD card.

Pro Tools|HD supports up to a maximum of ten 192 I/Os, 192 Digital I/Os, or 96 I/Os. Up to five 96i I/Os can be used simultaneously.

For examples of connecting multiple I/Os, see Figure 1 and Figure 2 on page 24.

Pro Tools|HD audio interfaces need room at their sides to maintain proper air flow for cooling. Do not block the sides of the unit or disconnect the internal fan. If the units are rack-mounted in a case, remove the case lids or doors before operating the system. Failure to do so can result in the units overheating very quickly, which can permanently damage sensitive components.

Legacy audio interfaces can also be connected to Pro Tools|HD interfaces. See “Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces” on page 25.

6 Close the computer case.

7 Proceed to “Connecting Audio Interfaces” on

page 22.

Pro Tools|HD Getting Started Guide22

To connect Pro Tools|HD audio interfaces:

1 If you are using a single 192 I/O,

192 Digital I/O, 96 I/O, or 96i I/O, connect its Primary Port to the HD Core card with the DigiLink cable provided with the card. You must attach at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O to your system in order for Pro Tools to launch.

If you have at least one 192 I/O or 192 Digital I/O in your system configuration, it must be connected to the HD Core card as the primary interface.

2 Connect additional Pro Tools|HD audio inter-

faces to subsequent Digidesign audio cards, or daisy-chain the interfaces (by connecting the Primary Port of the secondary interface to the Expansion Port of the primary interface).

If you are connecting both 192 I/O (or 192 Digital I/O) and 96 I/O audio interfaces to your system, connect the 192 I/O (or 192 Digital I/O) to your HD Core card, followed by any additional 192 I/O (or 192 Digital I/O) interfaces connected to subsequent cards. Then connect 96 I/O interfaces to subsequent cards, or to other interfaces, then connect 96i I/O interfaces.

Connecting Loop Sync

If you are using two or more Pro Tools|HD audio interfaces or a SYNC I/O peripheral, Loop Sync must be connected to maintain proper clock among the devices.

To make Loop Sync connections:

1 Connect the Loop Sync Out of each interface

to the Loop Sync In of the next interface with the BNC cables included in your I/O packaging.

2 Connect the Loop Sync Out of the last inter-

face to the Loop Sync In of the primary interface or SYNC I/O peripheral.

Connecting Legacy Audio Interfaces

If you are connecting a Digidesign Legacy audio interface, continue with “Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces” on page 25. (The 96i I/O does not support Legacy I/O.)

You can also connect a single Pro Tools|HD interface to each Pro Tools|HD card in your system using the provided DigiLink cables. (However, there is no advantage to this conﬁguration over daisy-chaining interfaces.)

Chapter 2: Windows Installation 23

12-foot DigiLink cable

HD Core or

Accel Core card

18-inch DigiLink cable

Figure 1. Two 96 I/Os (32-channel system)

18-inch DigiLink cable

Loop Sync cables

12-foot DigiLink cable

Loop Sync cables

HD Core or

Accel Core card

TDM FlexCable

12-foot DigiLink cable

Figure 2. Three 96 I/Os (48-channel system)

Pro Tools|HD Getting Started Guide24

HD Accel card

or HD Process card

Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces

Each 192 I/O, 192 Digital I/O, and 96 I/O can support 16 channels of audio to and from Digidesign Legacy I/Os. (The 96i I/O does not support Legacy I/O.) Legacy I/Os include the 888|24 I/O, 882|20 I/O, 1622 I/O, and the 24-bit ADAT Bridge I/O.

3 To properly clock the Legacy audio interface,

connect the Ext. Clock output port on the Pro Tools|HD I/O to the Slave Clock IN on the Legacy audio interface. The Legacy audio interface will switch to Slave mode once the proper clock is outputting from the Pro Tools|HD I/O. Always use the Ext. Clock Out port of the same I/O to which the Legacy audio interface is attached.

The original 888 I/O and 882 I/O interfaces are not supported with Pro Tools|HD.

To connect Digidesign Legacy audio interfaces:

1 Connect the “MIX card” end of the peripheral

cable that came with your Legacy audio interface (60-pin side) to the Legacy Port on the primary Pro Tools|HD audio interface. Connect the other end to the Computer Port on the Legacy audio interface.

2 Connect any additional Legacy audio inter-

faces in the same manner, to Pro Tools|HD audio interfaces connected directly to HD cards.

– or –

If you are using a Y cable (Legacy 16-channel peripheral cable adapter), connect this to the Legacy port first, then connect the audio interface peripheral cables to Port A and Port B of the Y cable.

“A” to ﬁrst Legacy I/O

“B” to second Legacy I/O

To Legacy Por t on Pro Tools|HD audio interface

If you are using the Y cable to connect multiple MIX audio interfaces, you must also connect the Slave Clock Out of the first Legacy interface to the Slave Clock In of the second Legacy interface with the provided BNC cable. You cannot clock more than two MIX audio interfaces from a single Pro Tools|HD audio interface. If you have a third MIX audio interface, supply its 256x clock from the Pro Tools|HD I/O to which its 60-pin cable is attached (either your second audio interface, or directly to an HD Accel or HD Process card).

To ensure the proper functioning of Legacy audio interfaces (such as an 888|24 I/O or 882|20 I/O), launch Pro Tools and declare the Legacy audio interfaces in the Hardware Setup dialog before turning them on. Then quit Pro Tools, shut down your computer, turn on your audio interfaces, and turn on your computer.

Before you turn on and configure your Legacy audio interfaces, turn down the volume of output devices. Very loud digital noise may be emitted before the Legacy audio interface is initialized.

Optional 16-channel peripheral cable adapter

Chapter 2: Windows Installation 25

Installing Pro Tools HD Software

After your Pro Tools|HD hardware is installed and connected, you are ready to install Pro Tools software.

To install Pro Tools HD software:

1 Start Windows, logging in with Administrator

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

2 Wait for the Found New Hardware Wizard di-

alog to appear and leave it open: Do not click Next.

9 Select whether to install the Surround Mixer

plug-in. This plug-in is required for mixing, mastering, and monitoring in surround.

• Select “Yes – Monitor in Pro Tools Film Format” if your monitoring is conﬁgured for Film Format surround.

• Select “Yes – Monitor in ProControl (DTS Format)” if you are using a ProControl dedicated controller.

• Select “No – Stereo mixing only” if your monitoring is conﬁgured for Stereo.

AFL/PFL Solo modes require the Surround Mixer plug-in. See the Pro Tools Reference Guide for more information.

3 Insert the Pro Tools Installer CD for Windows

in your CD-ROM drive. Locate and open the Pro Tools Installer folder, and double-click the Setup icon.

4 Click Next to begin installation.

5 Select the install location. For maximum reli-

ability, install Pro Tools on your startup drive. Click Next.

6 Select any options you want to install. For

more information, see “Optional Software on the Pro Tools Installer CD” on page 27.

7 Click Next.

8 Select your work environment. This loads an

initial set of Pro Tools Preferences that include some of the more popular settings for post production, audio, or audio with MIDI.

Preference settings can be customized at any time in Pro Tools. See the

ence Guide

for more information.

Pro Tools Refer-

10 Click Next.

11 When installation is complete, click Finish.

Installing QuickTime

QuickTime 6.5 or higher 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 Web site.

To install QuickTime:

1 Visit www.apple.com and download the

QuickTime installer application to your computer.

2 Double-click the QuickTime installer applica-

tion and follow the on-screen installation instructions.

3 Restart your computer.

If you turned off Driver Signing Warning on your computer, be sure to enable it once Pro Tools hardware and software have been installed.

Pro Tools|HD Getting Started Guide26

Optional Software on the Pro Tools Installer CD

Your Pro Tools Installer CD includes several software options.

The Digidesign WaveDriver is installed by default when you install Pro Tools.

For detailed information on configuring the Digidesign WaveDriver, see the

WaveDriver Guide

Digidesign

Digidesign ASIO Driver

The Digidesign ASIO (Audio Sound Input Output) Driver is a single-client multichannel sound driver that allows third-party audio programs that support the ASIO standard to record and play back through Digidesign hardware.

The Digidesign ASIO Driver is installed by default when you install Pro Tools.

For detailed information on configuring the Digidesign ASIO Driver, see the

ASIO Guide

To use the Digidesign ASIO Driver without Pro Tools, you can install the standalone version of the Digidesign ASIO Driver, available on the Digidesign Web site (www.digidesign.com).

Digidesign

Digidesign WaveDriver

The Digidesign WaveDriver is a single-client, multichannel sound driver that allows thirdparty audio programs that support the WaveDriver MME (Multimedia Extensions) standard to play back through Digidesign hardware.

To use the Digidesign WaveDriver without Pro Tools, you can install the standalone version of the Digidesign WaveDriver, available on the Digidesign Web site (www.digidesign.com).

Digidesign Ethernet Software for Control Surface Support

D-Control, D-Command, ProControl or Control|24 Only

If you plan to use any of these Ethernet-based control surfaces with your system, you will need to install the Digidesign Ethernet software.

To install Digidesign Ethernet software:

1 Click Start, right-click My Network Places, and

then choose Properties.

2 Right-click the relevant Local Area Connec-

tion icon, and then choose Properties.

3 Click Install, select Protocol, and click Add.

4 Click Have Disk.

5 Select the DigiNet.inf ﬁle (on your Pro Tools

Installer CD, in the Controllers folder), and click OK.

The Installer installs the DigiNet.inf files in the Program Files\Common Files\Digidesign\DAE\Controllers folder.

6 Click Close.

Chapter 2: Windows Installation 27

Pro Tools Demo Session

The Pro Tools Installer CD-ROM includes a demo session that you can use to verify that your system is working.

To install the demo session:

1 Insert the Pro Tools Installer CD into your CD-

ROM drive.

4 Follow the on-screen instructions to install

MacDrive. After installation is complete, restart your computer.

All formatting and maintenance of HFS+ drives should be carried out when the drives are connected to a Macintosh. Do not use the MacDrive utility to initialize or partition Macintosh drives.

2 From your CD-ROM drive, locate the Addi-

tional Files/Pro Tools Demo Session Installer folder.

3 Double-click Setup.exe.

4 Set the install location to your audio drive and

click Install.

5 When installation is complete, click OK.

MacDrive Demo

The MacDrive utility lets you mount Macintoshbased HFS+ drives on a Windows-based Pro Tools system and use them as Transfer drives.

Transfer drives can be used for storage, but not for playback or recording. To use Macbased audio files on a Windows Pro Tools system, copy the files from the Mac-based HFS+ audio drive to a Windows-based NTFS audio drive.

To install the MacDrive demo included with Pro Tools:

1 Insert the Pro Tools Installer CD into your CD-

ROM drive.

2 From your CD-ROM drive, locate and open

the Additional Files\MacDrive Demo Installer folder.

When reformatting an HFS+ drive to NTFS format, be sure to disable the MacDrive utility before formatting the drive.

To ensure that files are correctly linked to sessions when they are transferred from Windows to Macintosh systems, enable the “Don’t Remove Extensions” option in MacDrive Properties.

Removing Pro Tools

If you need to remove Pro Tools 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.

4 Click the Change/Remove button.

5 Follow the on-screen instructions to remove

Pro Tools.

3 Double-click the MacDrive demo installer.

Pro Tools|HD Getting Started Guide28

chapter 3

Macintosh Installation

This chapter contains information for Macintosh systems only. If you are installing Pro Tools on a Windows computer, see Chapter 2, “Windows Installation.”

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

Installation Overview

Installation of a Pro Tools|HD system on a Macintosh computer includes the following steps:

1 “Macintosh System Optimization” on

page 29.

2 “Installing Pro Tools Hardware” on page 31.

3 “Installing Pro Tools HD Software” on

page 41.

4 “Connecting Audio Interfaces” on page 37.

5 “Launching and Conﬁguring Pro Tools” on

page 43.

6 “Connecting Your Studio” on page 59.

Macintosh 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, refer to the latest compatibility information on the Digidesign Web site (www.digidesign.com/compato).

Turning Off Software Update

To turn off the Software Update feature:

1 Choose System Preferences from the Apple

menu and click Software Update.

2 Click Update Software and deselect Check for

Updates.

Chapter 3: Macintosh Installation 29

Turning Off Energy Saver

Disabling the Spotlight Shortcuts

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.

Setting Processor Performance

(Macintosh 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.

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). 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.”

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.

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.

Pro Tools|HD Getting Started Guide30

Enabling Journaling for Audio Drives

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

Hard Drive Conﬁguration and Maintenance

It is recommended that you start with a newly initialized audio drive.

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.

Always back up any important data on your drive before initializing it, as initializing 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, fewer plug-ins, or disk errors.

Formatting an Audio Drive

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.

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.

Installing Pro Tools Hardware

To install Pro Tools|HD hardware, you first install Pro Tools|HD cards, then for systems with more than one card, connect the cards with a TDM FlexCable.

Installing Pro Tools|HD Cards

This section shows how to install Pro Tools|HD cards into a Macintosh computer. To install cards into an expansion chassis, see the Ex- panded Systems Guide.

To install Pro Tools cards:

1 Turn off your computer and any peripherals.

Leave your computer’s power cable plugged in so the computer is grounded.

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.

2 Disconnect all cables attached to the com-

puter (such as hard drives, displays, USB and FireWire devices) except for the power cable.

3 Open the computer case.

Chapter 3: Macintosh Installation 31

4 Remove the metal access port cover behind

the slot you want to use by removing the screw and sliding the cover out from the access port.

Before handling any card, discharge static electricity from your clothes or body by touching a grounded metal surface, such as the power supply case inside your computer.

Power Mac G5 (PCI) The PCI-equipped Power Mac G5 has three PCI slots (named PCI slot 2, 3, and 4). Slot numbers increase from bottom to top as you face the open computer case from the side. Install the HD Core (for PCI) card into PCI slot 2.

5 Install the Accel Core (for PCIe) or HD Core

(for PCI) card into the lowest-numbered slot in the computer. This will be the slot closest to the graphics card, as shown in the following examples:

Power Mac G5 (PCI Express) The PCI Expressequipped Power Mac G5 has three PCI Express (PCIe) slots (named slots 2, 3, and 4). The PCI Express slot numbers increase from bottom to top as you face the open computer case from the side. Install the Accel Core (for PCIe) card into PCI slot 2.

PCIe slot 4

PCIe slot 3

PCIe slot 2

AGP slot 1 (video card)

Figure 3. Power Mac G5 (PCI Express equipped)

PCI slot 4

PCI slot 3

PCI slot 2

AGP slot 1 (video card)

Figure 4. Power Mac G5 (PCI equipped)

Power Macintosh “Mirrored Door” G4 The Power Macintosh “Mirrored Door” G4 has reflective drive bay doors and four holes across the front. Its PCI slot numbers increase from left to right as you face the open computer case from the front.

Note that the PCI slot numbering in the newer “Mirrored Door” G4 computer runs in the opposite direction of previous G4 models.

Be very careful when opening or closing the case of a “Mirrored Door” G4 computer. Any PCI cards installed in the higher-numbered slots may be damaged if they touch the top of the computer case.

Pro Tools|HD Getting Started Guide32

AGP slot 1 (video card)

PCI slot 2

PCI slot 3

PCI slot 4

PCI slot 5

PCI slot 4

PCI slot 3

PCI slot 2

PCI slot 1 (video card)

Power Macintosh “Mirrored Door” Dual Processor G4

Power Macintosh “QuickSilver” G4 The Power Macintosh “QuickSilver” and earlier G4 models have a single speaker grille or hole on the front. Their PCI slot numbers increase from right to left as you face the open computer case from the front.

PCI slot 4

PCI slot 3

PCI slot 2

AGP slot 1 (video card)

Power Macintosh “QuickSilver” Dual Processor G4

Power Macintosh Single Processor G4

6 If you are installing additional Pro Tools|HD

cards, skip to the next step. If you have no additional cards to install, do the following:

•Secure the card in place with the screw you removed earlier.

•Close the computer case.

• Skip to “Connecting Audio Interfaces” on page 37.

7 Install the ﬁrst expansion card (if any) in the

second slot (slot 3).

8 Install any remaining expansion cards in the

remaining consecutive slots.

9 If you are installing a SCSI host bus adapter

(HBA) card, install it in the highest-numbered remaining slot.

Chapter 3: Macintosh Installation 33

10 Check to be sure that your cards are installed

in the proper order for your system, starting with the lowest numeric slot:

Pro Tools|HD (for PCIe) Systems

• Display card for your computer monitor

• Accel Core (for PCIe) card

• HD Accel (for PCIe) cards

• Digidesign-approved video capture card

• SCSI host bus adapter (HBA) card

Pro Tools|HD (for PCI) Systems

• Display card for your computer monitor

• HD Core (for PCI) card

• HD Accel (for PCI) cards

• HD Process (for PCI) cards

• Digidesign-approved video capture card

• SCSI host bus adapter (HBA) card

11 Secure each card in place with the slot access

port screws you removed earlier.

Connecting Pro Tools|HD Cards

In systems that include more than one card, you must connect all the Pro Tools|HD cards to each other with TDM FlexCables.

The first FlexCable always goes from Port B on the core card to Port A on the first expansion card, as described in the following steps.

The slot numbering in your computer determines whether you will be working right-to-left or left-to-right when connecting cards. Refer to the instructions below for your model of computer.

To connect Pro Tools|HD cards in the Power Mac G5:

1 Shape the FlexCable before installing it on the

card by holding the cable with its printed side facing you, and moving the Port B portion of the cable away from you and outwards, as shown below. Do not bend the cable more than you need to, as you may damage the traces in the cable.

Preparing TDM FlexCable for installation

Pro Tools|HD Getting Started Guide34

2 Turn the cable on its side, so that the connec-

tors are facing downwards, and Port A is the higher side.

Port A

Port B

Orienting the FlexCable

3 Slide the FlexCable into the notch of the sec-

ond card, so that the Port B connector of the

FlexCable can be aligned with Port B of the ﬁrst card; and the Port A connector of the FlexCable can be aligned with Port A of the second card, as shown below.

Port A connector

Port B connector

Expansion card

Core card

5 Verify the connection. Make sure the FlexCa-

ble ports seat ﬂat against the sockets on the cards, and are ﬁrmly attached.

6 For systems with more than two cards, con-

nect each additional card to its preceding card. Use FlexCables to connect card pairs together, as described above, until all cards are connected. (Each expansion card is packaged with a FlexCable.)

7 Close the computer case.

8 Proceed to “Connecting Audio Interfaces” on

page 37.

To connect Pro Tools|HD cards in the Power Macintosh “Mirrored Door” G4:

1 Shape the FlexCable before installing it on the

Inserting TDM FlexCable

4 Connect the Port A connector of the FlexCa-

ble to Port A on the second card. Push gently but ﬁrmly until the cable is fully connected to the card. Attach the other end of the FlexCable (labeled Port B) to Port B on the ﬁrst card.

Expansion card in PCI slot 3

Port B Port A

Port B

Core card in PCI slot 2

Port A

Port APort B

Port A

Top view of two cards connected with TDM FlexCable

Preparing TDM FlexCable for installation

Chapter 3: Macintosh Installation 35

2 Slide the FlexCable into the notch of the ﬁrst

Expansion card

To connect Pro Tools|HD cards in Power Macintosh “QuickSilver” and earlier G4 computers:

1 Shape the FlexCable before installing it on the

card by holding the cable with its printed side facing you, and moving the Port A portion of the cable straight towards you and inwards, as shown below. Do not bend the cable more than you need to, as you may damage the traces in the cable.

PORT B

PORT A PORT B

PORT A

Inserting TDM FlexCable

3 Connect the Port A connector of the FlexCa-

ble to Port A on the second card. Push gently but ﬁrmly until the cable is fully connected to the card. Attach the other end of the FlexCable (labeled Port B) to Port B on the ﬁrst card.

Expansion card

Core card

Top view of two cards connected with TDM FlexCable

4 Verify the connection. Make sure the FlexCa-

ble ports seat ﬂat against the sockets on the cards, and are ﬁrmly attached.

5 For systems with more than two cards, con-

nect each additional card to its preceding card. Use FlexCables to connect card pairs together, as described above, until all cards are connected. (Each expansion card is packaged with a FlexCable.)

6 Close the computer case.

Preparing TDM FlexCable for installation

2 Slide the FlexCable into the notch of the sec-

ond card, so that the Port B connector of the

FlexCable can be aligned with Port B of the ﬁrst card; and the Port A connector of the FlexCable can be aligned with Port A of the second card, as shown below.

PORT A

PORT B

PORT A

Expansion card

PORT B

PORT A

Inserting TDM FlexCable

7 Proceed to “Connecting Audio Interfaces” on

page 37.

Pro Tools|HD Getting Started Guide36

3 Connect the Port A connector of the FlexCa-

ble to Port A on the second card. Push down gently but ﬁrmly until the cable is fully connected to the card. Next, attach the other end of the FlexCable (labeled Port B) to Port B on the ﬁrst card.

PORT A

Top view of two cards connected with TDM FlexCable

4 Verify the connection. Make sure the FlexCa-

PORT B

ble ports seat ﬂat against the sockets on the cards, and are ﬁrmly attached.

5 For systems with more than two cards, con-

nect each additional card to its preceding card. Use FlexCables to connect card pairs together, as described above, until all cards are connected. (Each expansion card is packaged with a FlexCable.)

6 Close the computer case.

7 Proceed to “Connecting Audio Interfaces” on

page 37.

Connecting Audio Interfaces

Each Pro Tools|HD audio interface (except the 96i I/O) supplies up to 16 channels of input and output to your system. Audio interfaces are connected directly to Pro Tools|HD cards, or through the Expansion ports on other Pro Tools|HD interfaces.

Each Pro Tools|HD card supports up to 32 channels. To get a full 32 channels of I/O from one card, you can connect, or daisy-chain, a second 16-channel Pro Tools|HD I/O to the first 16channel Pro Tools|HD I/O that is connected directly to the Pro Tools|HD card.

Pro Tools|HD supports up to a maximum of ten 192 I/Os, 192 Digital I/Os, or 96 I/Os. Up to five 96i I/Os can be used simultaneously.

For examples of connecting multiple I/Os, see Figure 5 and Figure 6 on page 39.

Legacy audio interfaces can also be connected to Pro Tools|HD interfaces. See “Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces” on page 40.

Chapter 3: Macintosh Installation 37

To connect Pro Tools|HD audio interfaces:

1 If you are using a single 192 I/O,

192 Digital I/O, 96 I/O, or 96i I/O, connect its Primary Port to the HD Core For PCI) or Accel Care (for PCIe) card with the DigiLink cable provided with the HD Core (for PCI) or Accel Core (for PCIe) card. You must attach at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O to your system in order for Pro Tools to launch.

If you have at least one 192 I/O or 192 Digital I/O in your system configuration, it must be connected to the HD Core (for PCI) or Accel core (for PCIe) card as the primary interface.

Connecting Loop Sync

If you are using two or more Pro Tools|HD audio interfaces or a SYNC I/O peripheral, Loop Sync must be connected to maintain proper clock among the devices.

To make Loop Sync connections:

1 Connect the Loop Sync Out of each interface

to the Loop Sync In of the next interface with the BNC cables included in your I/O packaging.

2 Connect the Loop Sync Out of the last inter-

face to the Loop Sync In of the primary interface or SYNC I/O peripheral.

2 Connect additional Pro Tools|HD audio inter-

faces to subsequent Digidesign audio cards, or daisy-chain the interfaces (by connecting the Primary Port of the secondary interface to the Expansion Port of the primary interface).

If you are connecting both 192 I/O (or 192 Digital I/O) and 96 I/O audio interfaces to your system, connect the 192 I/O (or 192 Digital I/O) to your HD Core (for PCI) or Accel Core (for PCIe) card, followed by any additional 192 I/O (or 192 Digital I/O) interfaces connected to subsequent cards. Then connect 96 I/O interfaces to subsequent cards, or to other interfaces, then connect 96i I/O interfaces.

Connecting Legacy Audio Interfaces

If you are connecting a Digidesign Legacy audio interface, continue with “Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces” on page 40. (The 96i I/O does not support Legacy I/O.)

Pro Tools|HD Getting Started Guide38

12-foot DigiLink cable

HD Core or

Accel Core card

18-inch DigiLink cable

Figure 5. Two 96 I/Os (32-channel system)

18-inch DigiLink cable

Loop Sync cables

12-foot DigiLink cable

Loop Sync cables

HD Core or

Accel Core card

TDM FlexCable

12-foot DigiLink cable

Figure 6. Three 96 I/Os (48-channel system)

HD Accel card

or HD Process card

Chapter 3: Macintosh Installation 39

Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces

3 To properly clock the Legacy audio interface,

The original 888 I/O and 882 I/O interfaces are not supported with Pro Tools|HD.

To connect Digidesign Legacy audio interfaces:

1 Connect the “MIX card” end of the peripheral

2 Connect any additional Legacy audio inter-

faces in the same manner, to Pro Tools|HD audio interfaces connected directly to Pro Tools|HD cards.

– or –

If you are using a Y cable (Legacy 16-channel peripheral cable adapter), connect this to the Legacy port first, then connect the audio interface peripheral cables to Port A and Port B of the Y cable.

“A” to ﬁrst Legacy I/O

“B” to second Legacy I/O

To Legacy Por t on Pro Tools|HD audio interface

Before you turn on and configure your Legacy audio interfaces, turn down the volume of output devices. Very loud digital noise may be emitted before the Legacy audio interface is initialized.

Optional 16-channel peripheral cable adapter

Pro Tools|HD Getting Started Guide40

Installing Pro Tools HD Software

After your Pro Tools|HD hardware is installed and connected, you are ready to install Pro Tools software.

Do not install or operate Pro Tools while logged in as a root-level user. File permissions of a root-level user make it possible to perform actions that may conflict with Pro Tools file management tasks.

To install Pro Tools HD software:

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 OS X documentation.

2 Insert the Pro Tools Installer CD in your CD-

ROM drive. Double-click “Install Pro Tools.”

3 Enter your Administrator password and click

OK to authenticate the installation.

4 Follow the on-screen instructions to continue

and accept installation.

5 In the Installer window, make sure the Install

Location is on your Startup drive.

6 In the Installer window, choose Custom In-

stall from the pop-up menu, and click Install.

9 Select your work environment. This loads an

initial set of Pro Tools Preferences that include some of the more popular settings for post production, audio, or audio with MIDI.

Preference settings can be customized at any time in Pro Tools. See the Pro Tools Reference Guide for more information.

10 Select whether to install the Surround Mixer

plug-in. This plug-in is required for mixing, mastering, and monitoring in surround:

• Select “Yes – Monitoring in Standard Pro Tools (Film Format)” if your monitoring is conﬁgured for Film Format surround.

• Select “Yes – Monitoring in ProControl (DTS Format)” if you are using a ProControl dedicated controller.

• Select “No – Stereo mixing only” if your monitoring is conﬁgured for Stereo.

AFL/PFL Solo modes require the Surround Mixer plug-in. See the Pro Tools Reference Guide for more information.

11 Click Continue.

12 When installation is complete, click Restart.

– or –

Click Continue to install any additional software or documentation, and restart your computer when you are finished.

7 Select the Pro Tools Installer. You can also se-

lect from a list of optional items to install along with Pro Tools. Click the information button next to each item for a description of its contents.

8 Click Install.

Chapter 3: Macintosh Installation 41

Digidesign CoreAudio Driver

The Digidesign CoreAudio Driver is a multi-client, multichannel sound driver that allows CoreAudio compatible applications to record and play back through Digidesign hardware.

The CoreAudio Driver is installed by default when you install Pro Tools.

For detailed information on configuring the Digidesign CoreAudio Driver, see the

design CoreAudio Guide

Digi-

Optional Software on the Pro Tools Installer CD

Your Pro Tools Installer CD includes separate installers for the following optional items.

Standalone CoreAudio Driver

2 Set the install location to your audio drive,

and click Install.

3 When installation is complete, click Quit.

Removing Pro Tools

If you need to remove Pro Tools software from your computer, you can use the Installer CD or the downloaded Installer file.

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.

2 Insert the Pro Tools Installer CD in your CD-

ROM drive or locate the downloaded Installer ﬁle.

The Digidesign CoreAudio Driver can be installed as a standalone driver on Macintosh systems that do not have Pro Tools installed.

For detailed information on installing and configuring CoreAudio Driver, see the CoreAudio Usage Guide.

Pro Tools Demo Session

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

To install the demo session:

1 Insert the Pro Tools Installer CD in your CD-

ROM drive. Locate and double-click the demo session installer icon.

Pro Tools|HD Getting Started Guide42

3 Double-click “Install Pro Tools.”

4 Enter your Administrator password and click

OK.

5 In the Installer window, choose Uninstall

from the pop-up menu, and click Uninstall.

6 Follow the on-screen instructions to remove

Pro Tools.

7 When ﬁnished, click Quit to close the Installer

window.

chapter 4

Launching and Conﬁguring Pro Tools

Checking the System

Before you launch Pro Tools, you may want to run the DigiTest diagnostic application to ensure that all Pro Tools|HD cards in the system are recognized, installed in the proper order, and have valid TDM FlexCable connections.

Starting Up Your System

Whenever you start your system, turn on all of your system components in a specific order.

To start your Pro Tools system:

1 Make sure all your equipment (including your

computer) is off.

2 For Pro Tools|HD systems with an expansion

chassis, turn on the expansion chassis.

3 Turn on any external hard drives. Wait ap-

proximately ten seconds for them to spin up to speed.

4 Turn on any MIDI interfaces and devices, or

synchronization peripherals.

Running DigiTest

DigiTest is installed with Pro Tools and resides in the following folder on your hard drive: Digidesign/Pro Tools/Pro Tools Utilities.

Before you run DigiTest, lower the volume of all output devices. Very loud digital noise may be emitted during the test.

To run DigiTest:

1 Quit Pro Tools if it is running.

2 Lower the volume of all output devices on

your system.

3 Locate and double-click the DigiTest icon on

your hard drive.

DigiTest opens and lists the supported cards it finds in your system, showing their corresponding slot locations.

5 Lower the volume of all output devices, then

turn on your Pro Tools audio interfaces. Wait at least ﬁfteen seconds for the audio interface to initialize and the status LEDs to stop ﬂashing.

6 Turn on your computer.

Chapter 4: Launching and Conﬁguring Pro Tools 43

If you have a large number of cards or audio interfaces, it may take a while for the DigiTest window to appear, as DigiTest scans for all cards and interfaces connected to the system.

6 When prompted, power cycle all Pro Tools pe-

ripherals in your system. Click Continue.

7 To test the interfaces connected to your sys-

tem, check “Test I/O Box.”

LEDs on your digital interfaces may light up during this test. This is normal.

8 When the test is ﬁnished, you can view the

test results by doing one of the following:

• Click the Get Results button next to a card name.

• Click the Results tab and choose a card slot from the pop-up menu.

9 In the Results page of the DigiTest window,

click Show Failures Only to display failed tests for the selected card, or click Show All Results to display all test results for the selected card.

DigiTest main test window

The order in which cards are listed within DigiTest may not match the actual slot locations of cards installed in your computer or expansion chassis. This is normal, and does not affect DigiTest operations in any way.

4 Select the cards in your system you want to

test by selecting Test in the left hand column for each card.

5 Click Run.

If cards are not installed in the proper order, DigiTest will display error codes in the Status box of each card identified as being misconfigured.

The more cards and audio interfaces in your system, the longer the test will take.

For descriptions of error codes, refer to Appendix B, “DigiTest Error Codes.”

10 Click Quit to close DigiTest.

11 Restart your computer.

Pro Tools|HD Getting Started Guide44

Errors and Undetected Cards

Complete the steps below if any of the following occur:

■ DigiTest fails to launch.

■ An error message has been displayed for a card

in DigiTest.

■ A supported card is installed but not automat-

ically detected during DigiTest.

Identifying Digidesign Cards with DigiTest

You can use DigiTest to identify which cards are in which slots in your system. This is especially useful if you have multiple Digidesign cards of the same type installed in your system.

To identify Digidesign cards with DigiTest

1 Quit Pro Tools if it is running.

If a supported card is installed and is not automatically detected:

1 Quit DigiTest.

2 Turn off the entire Pro Tools system.

3 Reinstall the Pro Tools|HD cards.

4 Check the card seating.

5 Check the TDM FlexCable connections.

Check the orientation of the cable from card to card (ports B to A), and check the integrity of the FlexCable connections to the cards.

6 Turn on the system.

7 Run DigiTest again.

2 Locate and double-click the DigiTest icon on

your hard drive.

DigiTest opens and lists the supported cards it finds in your system.

3 Open your computer case or expansion chas-

sis so you can see the top edge of the cards installed in your system.

4 In the DigiTest window, select the ID check

box next to a card name. The green LED near the top edge of the corresponding card ﬂashes.

Viewing Card Information with DigiTest

DigiTest can display identifying information such as serial number, date of manufacture, and firmware ROM version for each card in your system. This information is useful if you need to contact Digidesign Technical Support about your Pro Tools hardware.

To display information for a card in your system:

1 Quit Pro Tools if it is running.

2 Locate and double-click the DigiTest icon on

your hard drive.

3 Click the Slot Info tab.

4 Choose a card slot from the pop-up menu.

Chapter 4: Launching and Conﬁguring Pro Tools 45

Updating Audio Peripheral Firmware with DigiTest

If firmware updates are available for any of your Pro Tools|HD audio interfaces (192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O), you can use DigiTest to perform the update. Within DigiTest, the Firmware Update page tells you the firmware version for the selected peripheral and lets you update to a newer version, if necessary.

To update the ﬁrmware in a Pro Tools|HD audio interface:

1 Quit Pro Tools if it is running.

2 Locate and double-click the DigiTest applica-

tion on your hard drive.

3 Click the Firmware tab.

4 Choose a card slot from the pop-up menu. If

any Pro Tools|HD audio interfaces are connected to the card, the Primary or Secondary options will become available in the HD Peripheral section of the Firmware page.

If any connected interfaces are not recognized, check the connections and power to each interface and click Re-Scan.

5 Under HD Peripheral, select Primary or Sec-

ondary to view the ﬁrmware version for the corresponding interface. The ﬁrmware version is displayed just below the HD Peripheral section of the Firmware page.

6 If the ﬁrmware version is not current, click Be-

gin Update to update the ﬁrmware in the selected audio interface.

The status of the firmware update process is displayed in the status area at the bottom of the Firmware page.

Launching Pro Tools

To use Pro Tools HD, you must always have an inserted iLok with an authorization for Pro Tools HD. One pre-authorized iLok is included with the Pro Tools HD software.

To authorize Pro Tools HD software:

1 Insert the pre-authorized iLok into an avail-

able USB port on your computer.

2 Do one of the following:

• Double-click the Pro Tools HD shortcut on the desktop (Windows) or click the Pro Tools HD icon in the Dock (Macintosh).

– or –

• Locate and double-click the Pro Tools HD application on your hard drive.

Do not remove the iLok during Pro Tools launch or use.

Conﬁguring Pro Tools

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.

7 After the update process is complete, click

Quit to close DigiTest.

Pro Tools|HD Getting Started Guide46

Hardware Buffer Size

RTAS Processors

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.

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.

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.

◆ 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.

Playback Engine dialog for Pro Tools|HD system

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

the audio buffer size, in samples.

3 Click OK.

2 From the RTAS Processors pop-up menu, select

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

3 Click OK.

Chapter 4: Launching and Conﬁguring Pro Tools 47

CPU Usage Limit

Number of Voices

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 for RTAS processing. This value can range from 85 percent for single-processor computers to 99 percent for multi-processor computers.

The Number of Voices setting lets you control the number of voices available on your system. For example, the default number of voices on an Pro Tools|HD 1 system is 48 voices, using one DSP (at sample rates of 44.1 kHz or 48 kHz).

Changing the number of voices affects DSP usage, the total number of voiceable tracks, and overall system performance.

Depending on the current sample rate and the number of cards in your system, and whether you are using an expansion chassis, you will have different choices for voice count.

For additional information on voice count, refer to the Pro Tools Reference Guide and the Expanded Systems Guide.

To change the Number of Voices and DSP to allocate for voicing:

1 Choose Setup > Playback Engine.

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

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

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

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

3 Click OK.

Pro Tools|HD Getting Started Guide48

2 Select the number of voices and DSPs to allo-

cate for voicing by choosing a value from the Number of Voices pop-up menu.

• Select higher voice numbers when your Digidesign cards are the only PCI cards in your computer, or when you are using an expansion chassis to run higher track counts (such as 64 tracks at 96 kHz) and you want more voices per DSP (such as 16 voices per DSP at 96 kHz). These settings use fewer DSP chips for mixing (leaving more available for plug-ins) but place the highest processing load on each.

• Select medium voice numbers when your Digidesign cards are in an expansion chassis, or when you are using other PCI cards along with Digidesign cards. These settings generally provide an optimum balance between number of chips needed for voicing, and the processing load placed on each.

• Select minimum voice numbers if you are using high-bandwidth PCI cards (such as video capture cards) along with your Digidesign cards. These settings place the lightest processing load on each allocated DSP chip, but generally require more DSP chips be dedicated to voicing and mixing (leaving fewer available for plug-ins).

Default Sample Rate

The Sample Rate setting appears as the default sample rate when you create a new session. (This setting is available only when there is no session open.)

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

“Starting a Session” on page 67.)

To change the default Sample Rate:

1 Choose Setup > Playback Engine.

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

Delay Compensation Engine

Delay Compensation automatically manages DSP delays that occur on audio tracks, Auxiliary Inputs, or Master Faders because of plug-in use and mixer routing. With Delay Compensation enabled, Pro Tools maintains time-alignment between tracks that have plug-ins with differing DSP delays, tracks with different mixing paths, tracks that are split off and recombined within the mixer, and tracks with hardware inserts.

Number of Voices menu (HD Accel-equipped system)

3 Click OK.

To maintain time alignment, Pro Tools adds the exact amount of delay to each track necessary to make that particular track’s delay equal to the delay of the track that has the longest delay.

Delay Compensation should be enabled during mixing and playback for optimal delay compensated sound. In some cases when recording, Delay Compensation should be turned off.

For more information on using Delay Compensation, see the Pro Tools Reference Guide.

Chapter 4: Launching and Conﬁguring Pro Tools 49

Delay Compensation Settings

DAE Playback Buffer Size

There are three settings in the Playback Engine dialog for dedicating DSP resources for Delay Compensation:

None Allocates no DSP resources for Delay Compensation.

Short Allocates minimal DSP resources of delay compensation for each channel. This is the most efficient setting for Pro Tools|HD Accel systems.

Long Allocates maximum DSP resources for Delay Compensation for each mixer channel. Long Delay Compensation uses the same DSP resources used by high DSP overhead plug-ins.

To conﬁgure the Delay Compensation Engine:

1 Choose Setup > Playback Engine.

2 From the Delay Compensation Engine pop-up

menu, select a Delay compensation setting.

3 Click OK.

The Delay Compensation setting is saved as a session and system preference.

To enable Delay Compensation:

■ Choose Options > Delay Compensation.

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.

Pro Tools|HD Getting Started Guide50

2 From the DAE Playback Buffer pop-up menu,

select a buffer size. Memory requirements for each setting are shown at the bottom of the Playback Engine dialog.

Playback Engine dialog for Pro Tools|HD Accel system

3 Click OK.

MIDI Studio Setup

(Windows Only)

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

Audio MIDI Setup (AMS)

(Macintosh Only)

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 D, “Configuring AMS (Mac OS X Only).”

If Pro Tools needs more system memory for the DAE Playback Buffer, it will prompt you to restart your computer.

System Memory Allocation

When you start your computer, Pro Tools automatically reserves a portion of system memory for the DAE Playback Buffer. This reserved memory is unavailable to other applications, even if Pro Tools is not running.

You can set Pro Tools to reserve only the minimum amount of required memory, so that more system memory is available to other applications.

To minimize system memor y allocation:

1 Choose Setup > Playback Engine.

2 Select the “Minimize System Memory Alloca-

tion” option.

3 Click OK.

4 Restart your computer.

Pro Tools Hardware Settings

Pro Tools lets you set the default sample rate and clock source for your system, as well as a range of controls specific to each type of audio interface.)

Default Sample Rate

The Sample Rate setting appears as the default sample rate when you create a new session. (This setting is available in the Hardware Setup dialog only when no session is open.)

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

“Starting a Session” on page 67.)

Chapter 4: Launching and Conﬁguring Pro Tools 51

To change the default Sample Rate:

1 Choose Setup > Hardware.

Hardware Setup dialog for 192 I/O, Main page

2 Choose the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

[Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and Word Clock. For details, refer to the Pro Tools Reference Guide or the guide for your audio interface.

To select the Clock Source:

1 Choose Setup > Hardware.

2 Choose the clock source from the Clock

Source pop-up menu.

3 Click OK.

Your digital input device must be connected and powered on for Pro Tools to synchronize to it. If your input device is not powered on, leave the Clock Source set to Internal.

High Sample Rates and Expanded Systems

With 176.4 kHz and 192 kHz sample rates, as many as four Pro Tools|HD cards can be used. Any additional cards (up the total system maximum of seven cards) will switch to Inactive mode. The cards and any attached peripherals will become active again when the sample rate is set to 96 kHz or lower. See the Pro Tools Expanded Systems Guide for more information.

Clock Source

The Pro Tools Hardware Setup dialog lets you select the Clock Source for the system.

Internal If you are recording an analog signal directly into Pro Tools, you will usually use the Pro Tools Internal clock source.

External If you are transferring material into Pro Tools from an external digital device, or if you utilize a common house clock signal, you will synchronize Pro Tools to that digital device or common signal. Depending on your audio interface, external options can include AES/EBU

Conﬁguring Audio Interfaces

Pro Tools|HD audio interfaces support 16 channels of simultaneous I/O and multiple I/O formats (including analog, AES/EBU, ADAT Optical, S/PDIF, and TDIF).

Hardware Setup dialog for 192 I/O, Main page

The Main page of the Hardware Setup dialog is where you define which physical inputs and outputs on your audio interface are routed to available inputs and outputs in Pro Tools. You can think of this window as a patchbay that allows you to route any of the inputs or outputs on your Pro Tools|HD audio interfaces to channel assignments in the Pro Tools mixer.

Pro Tools|HD Getting Started Guide52

The Main page also provides controls for defining whether Expansion Port or Legacy Port peripherals are active.

To configure the interfaces in your system, you select each interface in the Peripherals list and set the parameters for that interface.

Identifying Audio Interfaces

If you have multiple audio interfaces of the same type connected to your system, before you make audio connections to them, you should confirm the identity of each interface. This ensures that you choose the appropriate interface in the Peripherals list when you define its inputs and outputs in the Hardware Setup dialog.

To identify audio interfaces in your system:

1 Choose Setup > Hardware.

2 From the Peripherals list, select an audio inter-

face connected to your system.

Use the Up and Down Arrow keys to scroll though the Peripherals list in the Hardware Setup dialog.

3 Make sure the Main page tab is chosen.

4 Select the Identify option, located in the lower

left corner of the Hardware Setup dialog. This illuminates all the LEDs on the front panel of the selected audio interface.

5 Make a note of which interface in your studio

setup corresponds to the identiﬁed interface.

6 Repeat the above steps for each additional au-

dio interface in your setup.

Legacy audio interfaces must be initialized in the Peripherals list before they can be identified. See “Configuring Legacy Audio Interfaces” on page 56.

To conﬁgure Pro Tools|HD audio interfaces:

1 Choose Setup > Hardware.

2 From the Peripherals list, select an audio inter-

face connected to your system.

3 Make sure Main page tab is chosen.

4 From the Clock Source pop-up menu, select

the appropriate clock source for the interface.

5 If you want to send clock output to other de-

vices attached to the audio interface, select the appropriate output from the Ext. Clock Output pop-up menu.

If the Legacy I/O Port is enabled (and not the Expansion I/O Port) then the Ext. Clock Output automatically switches to Slave Clock (256x sample rate). To reset the Ext. Clock Output to Word Clock, change the Port Settings back to Expansion I/O, then select the Legacy audio interface in the Peripherals list, and set it to No Interface in the Interface pop-up menu. (The 96i I/O does not support Legacy I/O.)

6 Select which digital I/O port on your audio in-

terface enclosure is active by selecting an option under Digital Format. Depending on the type of interfaces in your system, choices include AES/EBU, S/PDIF, and Optical (S/PDIF). Selecting Optical (S/PDIF) resets the Optical I/O port (which is, by default, eight channels of ADAT Optical I/O) to two channels of S/PDIF Optical I/O. (The 96i I/O supports stereo S/PDIF RCA digital input and output only.) For more information about Pro Tools|HD enclosure and card ports, refer to the guide for your audio interface.

7 For S/PDIF compatibility with Tascam DA-30

DAT recorders, select the Tascam option under S/PDIF Format.

Chapter 4: Launching and Conﬁguring Pro Tools 53

8 From the Input and Output channel pop-up

menus, select the physical ports (such as Analog 1–2 or Optical 1–2), that will be routed to the corresponding Pro Tools input and output channels (such as Ch 1–2, Ch 3–4), listed on the left side of the Main page. (This feature is not available with the 96i I/O.)

Inputs and outputs of similar format are differentiated in the input and output channel popup menus. For example, the AES/EBU inputs and outputs in the 192 I/O enclosure are listed as AES/EBU [Encl], while the AES/EBU inputs and outputs on the factory-installed Digital I/O card are listed (in pairs) as AES/EBU 1–2, AES/EBU 3–4, AES/EBU 5–6, and AES/EBU 7–8. For 192 I/Os equipped with the optional Digital I/O Card, the additional AES/EBU I/O ports on the optional card are listed as AES/EBU 9–10, AES/EBU 11–12, AES/EBU 13–14, and AES/EBU 15–16.

Refer to your peripheral’s guide for configuration details and restrictions. For example, the Optical 1–8 channels (on the 192 I/O enclosure) will not be available at session sample rates of 88.2 kHz or higher, while the ports on the 192 I/O Digital I/O card will still be available.

9 Conﬁgure controls for your Pro Tools|HD au-

dio interface. See “Conﬁguring 192 I/O and 192 Digital I/O Controls” on page 54, “Conﬁguring 96 I/O Controls” on page 55, and “Conﬁguring 96i I/O Controls” on page 56.

Conﬁguring 192 I/O and 192 Digital I/O Controls

To conﬁgure controls for a 192 I/O:

1 With the 192 I/O selected in the Peripherals

list, click the Analog In tab for the following options:

•You can set your operating level on a channel-by-channel basis by selecting Reference Level +4 dBu or –10 dBV. These settings correspond to two different input connectors on the rear of the 192 I/O. Refer to the 192 I/O Guide for more information on setting operating levels.

• Each of the analog channels in the 192 I/O has two Input Trims, labeled A and B, for precisely calibrating and switching levels. You can select Input Trim A or B on a channel-by-channel basis. Refer to the 192 I/O Guide for information on setting the rear panel trims.

•You can select Soft Clip on a channel-bychannel basis. The Soft Clip limiter attenuates the incoming analog signal, providing extra protection from temporary clipping transients that can cause digital distortion when they exceed the maximum input of the unit. With Soft Clip enabled, 192 I/O supports an additional 4 dB of headroom by rounding off the top 4 dB to the clip point. This is useful for eliminating stray transients or for emulating analog tape saturation.

10 For additional Pro Tools|HD interfaces,

choose the interface in the Peripherals list, and repeat the above steps.

Pro Tools|HD Getting Started Guide54

Hardware Setup dialog for 192 I/O, Analog In page

2 Click the Analog Out tab for the following op-

tion:

• Each of the analog channels in the 192 I/O has two Output Trims, labeled A and B, respectively. You can select Output Trim A or B on a channel-by-channel basis.

Hardware Setup dialog for 192 I/O, Analog Out page

To conﬁgure controls for a 192 Digital I/O or 192 I/O with an optional Digital I/O card:

■ On the 192 Digital I/O or a 192 I/O with an

optional Digital I/O card, click the Digital tab to set the Input Format (AES/EBU, TDIF, or ADAT Optical) and enable real-time sample rate conversion (in channel pairs, with the SR Conversion option).

At session sample rates above 48 kHz, sample rate conversion for the TDIF and Optical (ADAT) inputs on the Digital I/O card is automatically enabled on all eight inputs of the selected format.

Conﬁguring 96 I/O Controls

To conﬁgure controls for a 96 I/O:

1 With the 96 I/O selected in the Peripherals

list, conﬁgure your I/O front panel meters for input or output metering from the Meters pop-up.

2 Click the Analog In tab for the following op-

tion:

•You can set your operating level on a channel-by-channel basis by selecting Reference Level +4 dBu or –10 dBV. Refer to the 96 I/O Guide for more information on setting operating levels.

Hardware Setup dialog for 96 I/O, Analog In page

3 Click the Analog Out tab for the following op-

tion:

•You can set your output level on a channelby-channel basis by selecting Reference Level +4 dBu or –10 dBV. Refer to the 96 I/O Guide for more information on setting operating levels.

Hardware Setup dialog for 192 I/O, Digital page

Hardware Setup dialog for 96 I/O, Analog Out page

Chapter 4: Launching and Conﬁguring Pro Tools 55

Conﬁguring 96i I/O Controls

To conﬁgure controls for a 96i I/O:

1 With the 96i I/O selected in the Peripherals

list, conﬁgure your I/O front panel meters for input or output metering from the Meters pop-up.

2 Set input sensitivity by doing the following:

• For Inputs 1–4, set the input trim slider to match the output level of the connected instrument. Choices range from –12 dBV to +4 dBu. If you do not know the output level of the device, use the default input trim level, then ﬁne tune the input level sensitivity.

• For each input 5–16 being used, select –8 dBV or +4 dBu as appropriate to best match the output level of the connected instrument.

3 Set Output levels (select –10 dBV or +4 dBu).

4 Click Done.

To select analog or digital input for channels 1-2:

1 Choose Setup > Hardware, and select 96i I/O

in the Peripherals list to display the 96i I/O window.

2 Click to set Ch 1–2 Input to Analog or S/PDIF,

as appropriate.

The 96i I/O only supports analog and digital switching for channels 1–2, and only from within the Hardware Setup and I/O Setup dialogs. The 96i I/O does not support path remapping within I/O Setup.

Conﬁguring Legacy Audio Interfaces

Before you can configure a Legacy audio interface, it must first be initialized in Hardware Setup.

To initialize a Legacy audio interface:

1 Make sure to lower the volume of your output

devices. Very loud digital noise may be emitted before the Legacy audio interface is initialized.

2 Turn on your Legacy audio interface.

Hardware Setup for 96i I/O

You can select analog or digital input as sources for 96i I/O channels 1–2. Only channels 1–2 can access the S/PDIF inputs.

Pro Tools|HD Getting Started Guide56

3 From the Peripherals list, choose the primary

audio interface (the interface to which your Legacy audio interface is connected).

4 In the Main page of the Hardware Setup dia-

log, select the Legacy I/O option under Port Settings.

5 In the Peripherals list, “No Interface” is listed

twice, directly below the primary audio interface. Click the ﬁrst “No Interface.” An Interface pop-menu appears in the Hardware Setup dialog, listing supported I/O choices.

6 From the Interface pop-up, select the type of

Legacy audio interface you connected. (If your Legacy interface does not appear, check connections and repeat from step 1, above. See also “Ofﬂine Peripherals” on page 57.)

After you select the type of Legacy audio interface, the Main page updates with controls that can be configured.

7 Repeat the above steps for each additional

Legacy audio interface.

For more information on Hardware Setup controls for each I/O, refer to its

guide.

Ofﬂine Peripherals

When a Legacy audio interface and Pro Tools|HD peripheral are connected to your primary Pro Tools|HD peripheral, only one can be online at a time. An offline peripheral is indicated by brackets in the Peripherals List of the Hardware Setup dialog. For example, if you have a 96 I/O and an 882|20 connected to a 192 I/O, and the 96 I/O is offline, it will appear in the Peripherals List as “[96 I/O].”

Peripherals will also go offline if the audio interface or card to which they are attached is made inactive.

Pro Tools comes with default I/O Setup settings that will get you started. You only need to go to I/O Setup if you want to remap or rename the default I/O paths or if you change your system hardware (for example, adding an expansion card to a 192 I/O).

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

To conﬁgure I/O routing in I/O Setup:

1 Choose Setup > I/O.

2 Click the Input or Output 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 Enter.

4 To change the destination of an Input or Out-

put path or subpath, click directly on an Input or Output Selector for an interface channel pair, just below an audio interface icon. (This feature is not available for the 96i I/O.)

Conﬁguring I/O Setup

The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface, with controls to route physical ports to Pro Tools inputs and outputs. These controls mirror the routing controls found in the Hardware Setup dialog—changes made to physical routing in one dialog are always reflected in the other. The I/O Setup dialog also lets you label and map Pro Tools input, output, insert, and bus signal paths.

5 From the pop-up menu, select a physical port

pair (such as Analog 1–2), to route to the corresponding Pro Tools channel pair (such as A 1–2) in the Path Name column on the left.

6 Repeat the above steps for additional channel

pairs.

Chapter 4: Launching and Conﬁguring Pro Tools 57

7 Click OK.

I/O Setup dialog for Pro Tools|HD system

Routing a Pro Tools Output Pair to Multiple Destinations

Pro Tools channel pairs can be routed to multiple outputs on your Digidesign audio interface through the Hardware Setup dialog.

For example, if Pro Tools Outputs 1–2 are assigned to both Analog 1–2 and Digital 1–2, that signal will be routed simultaneously to both pairs of output ports on your audio interface.

This lets you send the same signal (such as a stereo pair, a stem mix, or a multichannel mix) to multiple destinations (such as multiple mastering devices).

To route a Pro Tools output channel pair to multiple audio interface output ports:

1 Choose Setup > Hardware.

2 From the Peripherals list, select an interface.

3 Click the Main tab.

4 Select an output pair from an Output pop-up

menu.

5 Start-click the same pop-up menu and choose

an additional output pair.

The output name updates with a plus sign (“+”) before it to indicate that multiple output ports are selected. In the pop-up menu, each physical port pair assigned to that Pro Tools output pair is indicated by a check mark.

Hardware Setup dialog for 96 I/O, Main page

6 Repeat the above steps to select additional

output destinations. The only limit to output choices is the number of outputs available in your system.

Backing Up your System Conﬁguration

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

Pro Tools|HD Getting Started Guide58

chapter 5

Connecting Your Studio

This chapter provides general information on connecting Pro Tools to your system, including digital equipment, effects units, MIDI gear, and SMPTE synchronization devices.

Refer to the 192 I/O Guide, 192 Digital I/O Guide, 96 I/O Guide, or 96i I/O Guide for specific details regarding:

• Front and back panel connectors and indicators

• Installation of optional expansion I/O cards (192 I/O only)

Setting Up Your Studio

Figure 7 illustrates a typical studio setup, with a 192 I/O connected to a mixing console, effects and other equipment.

Figure 8 illustrates a setup without a mixer, where effects and monitoring gear are connected directly to a 96 I/O.

Chapter 5: Connecting Your Studio 59

Example Studio Setup with a Mixing Console

Analog Inputs

Channel Outputs

Optical

in/out

to ADAT

Analog Outputs

Digital Inputs/Outputs

to DAT recorder

Digital Effects Device (set to external sync)

Effects Devices

Tape Returns

or Inputs

Instruments

Connected to Console

Figure 7. Typical studio conﬁguration using a 192 I/O with mixer connections

Pro Tools|HD Getting Started Guide60

Power Amp

and Speakers

Example Studio Setup without a Mixing Console

Mic Preamp,

Direct Box, Synth

Digital Inputs/Outputs

Analog Inputs

Analog Outputs

to DAT recorder

Optical

in/out

to ADAT

Digital Effects Device (set to external sync)

Effects Devices

Power Amp

and Speakers

Figure 8. Typical studio conﬁguration using a 96 I/O without a mixer

Chapter 5: Connecting Your Studio 61

192 I/O

96i I/O

The 192 I/O features two DB-25 breakout connectors for two sets of eight inputs each, at +4 dBu and –10 dBV respectively.

There are no –10 dBV outputs, however; analog outputs break out from a single DB-25 output at +4 dBu operating levels.

When driving unbalanced lines on the 192 I/O output card, leave the negative “–” terminals disconnected. Failure to do so will result in noisy outputs.

The 192 I/O requires a custom DB-25 snake. Digidesign sells several different DigiSnake DB25 cables for this purpose. Contact your dealer or Digidesign for more information.

192 Digital I/O

The 192 Digital I/O features two DB-25 breakout connectors for two sets of eight AES/EBU or TDIF inputs and outputs, along with a pair of ADAT Optical ports.

The 192 Digital I/O requires a custom DB-25 snake. Digidesign sells several different DigiSnake (DB-25) cables for this purpose. Contact your dealer or Digidesign for more information.

96 I/O

The 96 I/O analog connectors are TRS 1/4-inch with TIP wired hot (or “+”), RING cold (or “ and SLEEVE ground. If connecting to unbalanced loads, use unbalanced TS cables.

There is one bank of eight inputs (software-switchable between +4 dBu and –10 dBV line levels on a line-by-line basis).

There is one bank of eight outputs (that use +4 dBu line levels).

–”),

The 96i I/O analog connectors are balanced TRS 1/4-inch with TIP wired hot (or “+”), RING cold (or “

–”), and SLEEVE ground. If connecting to

unbalanced loads, use unbalanced TS cables.

The 96i I/O provides 16 inputs and two outputs. Inputs 1–4 feature variable, multi-level input sensitivity, controllable from within Pro Tools (from –12 dBV to +4 dBu). Inputs 5–16 provide a choice of two fixed operating levels (–8 dBV or +4 dBu).

Outputs 1–2 are selectable between –10 dBV and +4 dBu.

Connecting Equipment with Digital Audio Ins and Outs

Each Pro Tools|HD audio interface includes at least one AES/EBU, S/PDIF, or Optical (ADAT) digital option. For example, the 192 I/O includes additional AES/EBU and optical ports, as well as TDIF, dual-wire AES/EBU at 192 kHz, and sample rate converters. The 96i I/O provides two channels of S/PDIF only. (See the documentation for your audio interface for details.)

The following example provides basic setup guidelines for connecting Pro Tools to a DAT recorder. For detailed information for recording to and from an ADAT, see “Recording To and From Digital Devices” on page 85.

To connect your Pro Tools system to a DAT recorder:

1 Connect the AES/EBU or S/PDIF output on the

enclosure of your Pro Tools|HD audio interface to the AES/EBU or S/PDIF input of your DAT deck. By default, this port is assigned to Pro Tools Output 1–2.

Pro Tools|HD Getting Started Guide62

2 Connect the AES/EBU or S/PDIF input on the

enclosure to the AES/EBU or S/PDIF output of your DAT deck. Route the digital input to Pro Tools inputs in the Hardware Setup dialog.

You can route any of the physical input or output pairs to any of the input and output channel assignments in the Pro Tools mixer. (The 96i I/O does not support input mapping, however.) For more information see the Pro Tools Reference Guide.

Connecting Effects Units

The 192 I/O, 192 Digital I/O and 96 I/O let you connect analog or digital effects units to your Pro Tools system, and use them as inserts or make them the destination for effects sends and returns. (The 96i I/O supports a single pair of hardware inserts using channels 1–2. See the 96i I/O Guide for more information.)

Five inserts are available on each audio channel. Each insert can be a hardware insert (or software plug-in), and can be mono or stereo.

When using a hardware insert, you must connect the device to matching inputs and outputs on your system. For example, a stereo insert could use outputs 7–8 and inputs 7–8 for the sends and returns, respectively. Routing the physical inputs and outputs of the interface to Pro Tools inputs and outputs can be done in either the Hardware Setup dialog or I/O Setup dialog. From I/O Setup, inserts can also be defined, and their channels mapped to audio interface channels. (For more information, see the Pro Tools Reference Guide).

You can also connect effects units to your system by using any analog or digital inputs and outputs as Auxiliary Inputs and Outputs for effects sends and returns. Once an effects unit is attached this way, you can send a variable amount of a track’s output to the effects unit using a send in Pro Tools.

Ten separate send controls on each Pro Tools track allow you to route audio to any of the available outputs connected to your system or through any of the 128 internal busses in the Pro Tools Mixer. Outputs can be returned to Auxiliary Inputs for automated mixing or processing.

When you are using an effect in this send and return type of configuration, make sure the unit’s internal mix or balance between direct (unprocessed) and wet (effected) signal is set so that only the processed signal is returned to Pro Tools. On most effect units, a balance setting of 100% (completely wet) is the appropriate setting.

If you’ve been using an effects unit in an instrument setup, such as a guitar effects rack, you’ll probably find the balance to be below 50%. If the unit has separate dry and effect level knobs, turn dry level control off. If you don’t do this, the dry, unprocessed signal will be present in an effect’s output along with the desired processed sound, and you’ll have trouble accurately controlling the effect balance in your final mix.

Connecting Effects Units Digitally

To use your audio interface’s inputs and outputs as effects sends and returns to a digital effects device, set your interface’s Clock Source to Internal in the Hardware Setup dialog (unless it is referenced to another clock source or peripheral). You should then set your digital effects devices to accept an external digital clock so that they

Chapter 5: Connecting Your Studio 63

will synchronize themselves to Pro Tools. Make sure you set the channel pair to the digital input in the Hardware Setup dialog (or I/O Setup dialog).

3 Connect the MIDI OUT of your MIDI device

to the MIDI IN of your MIDI interface.

4 Connect the MIDI IN of your MIDI device to

the MIDI OUT of your MIDI interface.

Connecting MIDI Devices

By adding a compatible MIDI interface to your system, you can take advantage of all the MIDI features of Pro Tools, including recording and editing MIDI tracks, and synchronizing to MIDI Time Code or MIDI beat clock.

USB MIDI interfaces work effectively with Pro Tools systems on Windows or Macintosh. Serial MIDI interfaces are supported on Windows systems only.

Only USB MIDI interfaces are compatible with Pro Tools systems for Mac OS X. Modem-to-serial port adapters and serial MIDI devices are not supported.

See Appendix C, “Configuring MIDI Studio Setup (Windows Only)”or Appendix D, “Configuring AMS (Mac OS X Only)” for detailed information on how to identify external MIDI devices connected to your MIDI interface and configure your MIDI studio for use with Pro Tools.

To connect MIDI devices to your system:

1 Connect the MIDI interface to your computer

according to the MIDI interface’s documentation.

2 Install any MIDI driver software required by

the MIDI interface. (Once you have installed your MIDI interface hardware and software, conﬁrm that it is working properly using the procedure given in the interface’s documentation.)

Connecting SMPTE Synchronization Devices

If you intend to synchronize Pro Tools to external devices with SMPTE, your system must be connected properly. For details on SMPTE and synchronization, see the Pro Tools Reference Guide or the SYNC I/O Guide.

Digidesign SYNC I/O

Digidesign’s SYNC I/O is a multi-purpose synchronization peripheral that provides all the functions and connections needed to synchronize to a variety of devices with Pro Tools|HD.

SYNC I/O lets you synchronize Pro Tools to LTC, VITC, and Bi-Phase/Tach, or internal for positional reference (time code), and supports all major clock references.

SYNC I/O integrates into the Loop Sync configuration of a Pro Tools|HD system, offering extremely fast lockup, near-sample accurate synchronization, and an exceptionally low-jitter clock. These features provide professional performance and maximum audio fidelity under a wide range of synchronization conditions.

For more information, refer to the SYNC I/O

Guide.

Pro Tools|HD Getting Started Guide64

Connecting Ethernet Control Surfaces

Windows

If you are connecting your computer to an Ethernet control surface, you will need to install the Digidesign Ethernet software. See “Digidesign Ethernet Software for Control Surface Support” on page 27.

Macintosh

If you are using the built-in Ethernet port or a PCI Ethernet card to connect your computer directly (rather than across a network) to ProControl or Control|24, the TCP/IP address must be set manually. The default manual settings will work in most cases. Do not use DHCP unless your computer is connected to a network that provides DHCP services.

Chapter 5: Connecting Your Studio 65

Pro Tools|HD Getting Started Guide66

chapter 6

Working with Pro Tools

This tutorial of Pro Tools software introduces its main windows and features, and also includes a step-by-step overview of audio recording.

All features described in this chapter are explained fully in the Pro Tools Reference Guide.

You can view an electronic PDF version of the Reference Guide by choosing it from the Pro Tools Help menu.

Session Basics

Pro Tools projects are created and saved as sessions. Sessions store all tracks, audio, MIDI, and

other session information. Audio files, Video files, Fade files, Region Group files, and backup Session files are stored in folders within the Session folder.

Starting a Session

To create a new session:

1 Launch Pro Tools.

2 Choose File > New Session.

3 In the New Session dialog, set the audio ﬁle

type, sample rate, and bit depth parameters for the new session.

New Session dialog

4 Choose where you want to save your session.

If you are using external hard drives with your Pro Tools system, make sure you select the appropriate drive in the New Session dialog.

Session folder containing the session ﬁle and its associated folders

5 Type a name for your session.

6 Click Save. The new session opens its Mix,

Edit, and Transport windows.

Chapter 6: Working with Pro Tools 67

Main Windows

The Mix, Edit, and Transport windows are the main Pro Tools work areas. You can show any of these windows by choosing them from the Window menu.

Main and Sub CountersEdit tools

Edit

Mode

buttons

Track

List

Edit Window Displays tracks in the session along the Timeline, for editing of audio, MIDI, and automation data.

Mix Window Displays the Pro Tools mixer, with fader strip controls for volume, pan, solo, mute, record enable, and signal routing.

To switch between the Edit and Mix windows, press Control+Equals (=) (Windows) or Command+Equals (=) (Macintosh).

Rulers

Group

List

Figure 9. Edit window

Pro Tools|HD Getting Started Guide68

Audio region

Tracks

MIDI notesAutomation data

Plug-In Insert

Inserts

Sends

Send controls

Pan sliders

Track controls

Volume fader Level meter

Tracks

Figure 10. Mix window

Transport Window Provides controls for Play, Stop, Rewind, Fast-Forward, Pause, and Record. The Transport window can also show Counter and MIDI Control displays.

Figure 11. Transport window

Transport controls

MIDI controls

Main and Sub Counters

Chapter 6: Working with Pro Tools 69

Rulers

Setting a Tempo

Pro Tools provides several different rulers to help navigate your session.

Timebase Rulers

The Timebase rulers, displayed along the top of the Edit window, include Bars:Beats, Minutes:Sec- onds, Samples, Time Code, and Feet+Frames. The current timebase determines the format of the Main counter, and provides the basis for the Edit window Grid.

To select a Timebase ruler:

■ Click the name of the ruler at the top left side

of the Edit window.

Selecting a Timebase ruler

For post production, select either Time Code or Feet+Frames as the Timebase for your session in

the Rulers View.

You can set the tempo for your session by using the Song Start Marker, located in the Tempo ruler.

To set the session tempo with the Song Star t Marker:

1 In the Tempo ruler, double-click the Song Start

Marker.

Song Start Marker

2 In the Tempo Change dialog, enter the BPM

(beats per minute) value you will use for the session. The inserted tempo event replaces the default session tempo.

Conductor Rulers

The Conductor rulers, displayed just below the Timebase rulers, include Tempo, Meter, and Markers. The Meter and Tempo rulers indicate changes in meter and tempo within the session. The Markers ruler displays markers to important track locations.

Pro Tools|HD Getting Started Guide70

Change Tempo dialog

3 To base the BPM value on a different note

value (such as an eighth note rather than the default quarter note), select a note value from the Resolution pop-up menu.

4 Click OK.

Using the Click Plug-In

The Click plug-in creates an audio click during session playback. This works like a metronome that you can use as a tempo reference when performing and recording.

The Click plug-in is synchronized to the tempo and meter of the Pro Tools session, and follows any changes in tempo and meter.

The Click plug-in is one of many plug-ins that can be inserted on a Pro Tools track. See “Plug-Ins” on page 96.

Click plug-in

Click Parameters

To use the Click plug-in:

1 Choose Options > Click to enable the Click

option.

– or –

Enable the Metronome Click button in the Transport window.

Metronome Click button

Click controls in the Transport window

2 Create a mono Auxiliary Input (Aux Input)

track.

3 Insert the Click plug-in on the Auxiliary Input

track.

4 In the Click plug-in window, choose a click

sound from the Librarian pop-up menu (this menu displays “factory default” when you ﬁrst insert the plug-in).

MIDI In LED Illuminates each time the Click plug-in receives a click message from the Pro Tools application, indicating the tempo.

Accented Controls the output level of the accent beat (beat 1 of each bar) of the audio click.

Unaccented Controls the output level of the unaccented beats of the audio click.

Selecting a Click sound

5 Choose Setup > Click and set the Click and

Countoff options.

The Note, Velocity, Duration, and Output options in the Click/Countoff Options dialog are for use with MIDI instrument-based clicks and do not affect the Click plug-in.

6 Click OK.

7 Begin playback. A click is generated according

to the tempo and meter of the current session and the settings in the Click/Countoff Options dialog.

Chapter 6: Working with Pro Tools 71

Using an External MIDI Click

Pro Tools also lets you use an external MIDI device to play the click. This feature can be turned on and off in the Transport window, and is configured from the Click/Countoff Options dialog.

To conﬁgure and enable an external MIDI click:

1 Choose Setup > Click.

Click/Countoff Options dialog

4 During recording or playback, you can turn

the Click on or off with the Metronome Click button in the MIDI Controls display of the Transport window.

Metronome Click button

Click controls in the Transport window

Saving Sessions

As you build a session by adding tracks and changing session controls, you will want to save your work. Pro Tools provides three ways to save sessions.

To save a session:

■ Choose File > Save, File > Save As, or

File > Save Copy In.

Save Saves the currently open session file, leaving it open for you to continue working.

2 Conﬁgure the click parameters as needed for

your MIDI sound source.

See Appendix C, “Configuring MIDI Studio Setup (Windows Only)” or Appendix D, “Configuring AMS (Mac OS X Only)” for information on configuring your MIDI studio for use with Pro Tools.

3 Choose a MIDI sound source from the Output

pop-up menu and click OK.

Pro Tools|HD Getting Started Guide72

Save As Creates a duplicate session file with the name you choose, and leaves the duplicate open for you to continue working. This can be useful if you want to experiment with different arrangements in the session without affecting the original session.

Save Copy In Saves a copy of the session file and lets you save copies of all audio files that are used in the session. This can be useful for archiving a session, preparing a session for transfer to another system, saving to older Pro Tools session formats, or saving a session at another sample rate.

System Resources and Settings

System Usage Window

You can change specific Pro Tools system settings in the Playback Engine dialog to optimize system performance.

Playback Engine Dialog

The Playback Engine dialog lets you adjust system buffer sizes, allocate CPU processing power, and choose delay compensation settings in Pro Tools.

Playback Engine dialog for Pro Tools|HD system

To conﬁgure system resources:

■ Choose Setup > Playback Engine.

See Chapter 4, “Launching and Configuring Pro Tools” for details on configuring system settings.

The System Usage window displays approximate information on CPU load, DSP usage, and overall disk performance. Use this window to gauge your system’s basic processing capacity.

Monitor CPU usage if you are using RTAS plugins, and DSP usage if you are using TDM plugins.

CPU Usage meter

DSP Usage meters

Meters in the System Usage window in a new session

To view system resources and usage:

■ Choose Window > System Usage.

Chapter 6: Working with Pro Tools 73

Transport Controls

The Transport window provides access to all Pro Tools transport commands. Different transport controls can be displayed or hidden in this window.

To show the Transport window:

■ Choose Window > Transport.

Online

Return to Zero

Rewind

Stop

Fast Forward

Play

Go to End

Record Enable

The Transport window can also display the following MIDI controls: Wait for Note, Metronome Click, Countoff, MIDI Merge, Tempo Ruler Enable, and Meter and Tempo controls.

Metronome Click

Wait for Note

Tempo Ruler Enable

Transport window (MIDI Controls)

Countoff

MIDI Merge

Meter and Tempo controls

To start and stop playback:

1 Click Play in the Transport window to begin

playback.

Transport window

To conﬁgure the Transport window:

■ Choose View > Transport and select a view op-

tion from the submenu.

The Transport window provides Play, Stop, and other standard transport controls.

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

Pro Tools|HD Getting Started Guide74

2 Click Stop in the Transport window to stop

playback.

Press the Spacebar on your computer keyboard to start and stop playback.

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

Tracks

Pro Tools lets you create tracks for audio and MIDI recording, submixing, routing, automating, and editing.

Pro Tools provides five types of tracks: audio tracks, Auxiliary Input tracks, Master Faders, MIDI tracks, and Instrument tracks. Audio tracks, Auxiliary Inputs, Master Faders, and Instrument tracks can be mono, stereo, or any of the supported multichannel formats for surround mixing.

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

Auxiliary Inputs Audio mixer channels used for input, routing, and submixing

Master Faders Provide master channel controls and options for any Output or Bus path

MIDI Tracks Record, play back, and edit MIDI data

To create multiple new track types in one step, click the “+” button in the New Tracks dialog. Specify the number of tracks, track type, and track format for each additional row of new tracks you want to create.

3 Click Create.

In the Mix window, audio tracks, Auxiliary Inputs, Master Faders, MIDI tracks, and Instrument tracks appear as vertical channel strips.

Track type is indicated by the Track Type icons just below the faders, and by the track colors.

Instrument Tracks Combine the functions of MIDI and Auxiliary Input tracks, letting you control and monitor instrument plug-ins or external MIDI devices in a single channel strip.

To create a new track:

1 Choose Track > New.

New Track dialog

2 Specify the number of tracks, track type, and

channel conﬁguration (for all types except MIDI).

Auxiliary Input

Audio Master

Tracks in the Mix window

track

Instrument track

Chapter 6: Working with Pro Tools 75

MIDI track

Fadertrack

In the Edit window, tracks are displayed horizontally along the Timeline. The area in which audio appears for each track is the Playlist.

Timeline

Inserts (up to 5)

Sends (up to 10)

Playlist

Timeline and an audio playlist in the Edit window

Audio tracks, Auxiliary Inputs, Master Faders, MIDI tracks, and Instrument tracks can all be automated. See “Mix Automation” on page 97 for more information.

Audio Tracks

Audio tracks, Auxiliary Inputs, and Master Faders share many identical controls. Figure 12 shows the controls found in audio or Auxiliary Input tracks. Master Faders provide all the same features as audio tracks and Auxiliary Input tracks, with the following exceptions:

Input Selector A Master Fader’s output assignment determines its input, or source.

Output Path

selector

Pan indicator

Record Enable

button

Solo button

Volume fader

Voice selector

Volume indicator

Color bar

Input Path selector

Automation mode selector

Pan sliders

Mute button

Output window button

Level meter

Group ID Track Type indicator

Track name

Track comment area

Figure 12. Stereo audio track in the Mix window

Inserts Inserts on Master Faders are post-fader only. (Audio track and Auxiliary Input track inserts are all pre-fader.)

Sends Master Faders do not provide sends. To send an output to another destination, use an Auxiliary Input track.

Pro Tools|HD Getting Started Guide76

MIDI Tracks

Instrument Tracks

MIDI tracks provide volume, solo, and mute, in addition to MIDI input, output, channel, and program (patch) controls. Figure 13 shows the controls found in MIDI tracks.

MIDI Input selector

MIDI Output selector

Pan slider

Record Enable

button

Solo button

Volume

fader

Patch Select

Volume indicator

Color bar

Automation Mode selector

Pan indicator

Mute button

MIDI Velocity meter

Group ID

Track Type indicator

Track name

Track comment

Figure 13. MIDI track in the Mix window

Instrument tracks have many controls in common with audio tracks, and also have an additional Instruments View, which provides controls for MIDI input, output, mute, volume, and pan. Figure 14 shows the controls found in Instrument tracks.

MIDI Input selector MIDI Output selector

MIDI Volume

MIDI Pan

Audio Output Path

selector

Pan sliders

Record Enable

button

Solo button

Volume

fader

MIDI Velocity meter

MIDI Mute button

Inserts (up to 5)

Sends (up to 10)

Audio Input Path selector

Automation Mode selector

Pan indicators

Mute button

Output Window button

Level meter

Patch Select

Volume indicator

Color bar

Group ID Track Type indicator

Track name

Track comment area

Figure 14. Stereo Instrument track in the Mix window

Chapter 6: Working with Pro Tools 77

Region List

Navigating in a Session

A region is a piece of audio or MIDI data that can also have associated automation data. For example, a region could be a loop, a guitar riff, a verse of a song, a sound effect, a piece of dialog, or an entire sound file.

In Pro Tools, regions are created from audio or MIDI files, and can be arranged in audio, MIDI, and Instrument track playlists.

All regions that are recorded, imported, or created by editing appear in the Region List. Regions can be dragged from the list to tracks and arranged in any order. Audio regions can also be auditioned from the Region List by Alt-clicking (Windows) or Option-clicking (Macintosh) the audio region name. The Region List pop-up menu provides features for managing regions and files (such as searching, sorting, or selecting regions, and importing or exporting files).

Drag border to resize width of Region List

Click Region List button for pop-up menu

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

To navigate to a location in the Edit window:

1 In the Options menu, make sure Link Time-

line and Edit Selection is enabled.

2 Enable the Selector tool at the top of the Edit

window by clicking it.

Selector tool

Edit tools in Edit window

3 Click in a track or Timebase ruler. The cursor

appears at the selected location and the counters display the current time location.

Click in a track or on a Timebase ruler

Click to show/hide Region List

Region List

For more information on the Region List, see the Pro Tools Reference Guide.

Pro Tools|HD Getting Started Guide78

Clicking with the Selector tool in the Edit window

To navigate using the counters:

1 Click in the Main Counter and enter a loca-

tion using your computer keyboard.

2 Press Enter (Windows) or Return (Macintosh).

Navigating with the Main Counter

Press the * (asterisk) key on the numeric keypad as an alternative to clicking in the counter. (The cursor will always appear in the Transport window’s Main Counter if it is displayed.)

Memory Locations

Memory Locations and markers provide another way to navigate within sessions. Memory Locations appear as markers under the Timebase rulers. You can store up to 999 Memory Location s or markers in a session.

To deﬁne a Memory Location:

1 Navigate to the point where you want to store

a Memory Location or marker.

– or –

Begin playback somewhere before the point where you want to store a Memory Location or marker.

In the New Memory Location dialog, you can define a marker, store a selection, or store any combination of the other available settings. These settings include Track Height, Group Enables, Pre- and Post-Roll values, and Track Show/Hide status.

3 Choose settings for the Memory Location and

click OK.

New Memory Location dialog

To go to a stored Memor y Location:

1 Choose Window > Memory Locations.

2 In the Memory Locations window, click the

name of the memory location.

2 Create a memory location by doing one of the

following:

• Press Enter on the numeric keypad.

– or –

• Click the Add Marker/Memory Location (“+”) button, located to the left of the Markers ruler.

Memory Locations window

Chapter 6: Working with Pro Tools 79

Viewing and Zooming

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

Zoom In/Out buttons

Zoom Preset buttons

Zoom and Track Height tools in the Edit window

Zoomer tool

To change track height:

■ Click the Track Height selector (the scaled ver-

tical bar at the left of the track), and select a track height from the pop-up menu.

You can apply many commands, including track height selection, to more than just a single track. Hold down the Alt key (Windows) or Option key (Macintosh) while performing an operation to apply it to all tracks. Hold down both the Shift and Alt keys (Windows) or Shift and Option keys (Macintosh) while performing an operation to apply it to all selected tracks.

Zoom Toggle button

Track Height selector

To Zoom in or out on any area of a track in the Edit window:

1 Click to select the Zoomer tool.

2 Click or drag with the Zoomer tool to zoom in

horizontally for a track or ruler.

– or –

Press Alt (Windows) or Option (Macintosh) and click with the Zoomer tool to zoom out horizontally for a track or ruler.

To zoom in or out incrementally:

■ Click the appropriate Zoom button:

•Zoom Out button (Left Arrow)

• Zoom In button (Right Arrow)

• Audio or MIDI Zoom buttons, to increase or decrease vertical zoom of the corresponding track type

To zoom in or out continuously:

1 Select the Zoom tool.

2 Hold the Start key (Windows) or Control

(Macintosh) and drag in a track as follows:

• Drag up to zoom in vertically

• Drag down to zoom out vertically

• Drag to the right to zoom in horizontally

• Drag to the left to zoom out horizontally

Pro Tools|HD Getting Started Guide80

Zoom Toggle

Zoom Presets

The Zoom Toggle button lets you store a zoom state and toggle between it and the current zoom state. When Zoom Toggle is enabled, the Edit window displays the stored zoom state. When Zoom Toggle is disabled, the Edit window reverts to the last zoom state.

To store a zoom state using Zoom Toggle:

1 Make an Edit selection.

2 Click the Zoom Toggle button so that it is

highlighted.

Zoom Toggle button

Zoom Toggle button in the Tool bar

3 Adjust Track Height, Vertical Zoom, Track

view, and the Grid setting.

4 Make any desired edits.

5 Click the lit Zoom Toggle button again to re-

vert to the last zoom state.

6 Make another edit selection and click the

Zoom Toggle button to recall the stored zoom state, and continue editing.

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

To store a new Zoom preset deﬁnition:

1 Use the Zoom tool to establish a Zoom setting.

2 Click a Zoom Preset button (1–5) and choose

Save Zoom Preset from the Zoom Preset pop-up menu.

Zoom Preset pop-up menu

To recall a saved Zoom preset:

■ Click the corresponding Zoom Preset button

(1–5).

Using Memory Locations for Zoom Control

Pro Tools Memory Locations let you store many attributes with each marker or Memory Location, including Track Height and Zoom Settings. By creating Memory Locations that are neither markers nor selections, but have Track Height, Zoom Settings, or other options enabled, you can use Memory Locations to zoom in and out using just the numeric keypad.

For more information on creating memory locations, see “Memory Locations” on page 79.

Chapter 6: Working with Pro Tools 81

Importing Data into Pro Tools Sessions

Pro Tools lets you import audio, MIDI, video, and a wide range of Pro Tools session data into your current session.

4 Do one of the following:

■ Drag audio ﬁles from the Workspace browser

to the Track List in the Edit window to import the ﬁles to new audio tracks (they will also appear as regions in the Region List).

– or –

Importing Audio

Pro Tools lets you import audio files from your hard drive or from a CD. This is very useful if you have audio files already recorded to disk or if you are working with CD-based sample libraries that you want to use in a session.

To import audio ﬁles or regions from disk:

■ Choose File > Import > Audio to Track to im-

port ﬁles and regions to new audio tracks (they will also appear as regions in the Region List).

– or –

■ Choose File > Import > Audio to Region List to

import ﬁles and regions to the Region List only.

To import a CD audio track:

1 Put the source CD into your computer’s CD

drive.

2 Choose Window > Workspace and click the

Audio CD icon to show the ﬁles on the CD.

3 Click the speaker icon in the waveform col-

umn of the Workspace browser to audition the corresponding ﬁle. Press the Spacebar to stop playback.

■ Drag audio ﬁles from the Workspace browser

to the Region List in the Edit window to import the ﬁles to the Region List only.

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

For more information on searching, auditioning, and importing audio with DigiBase, refer to the DigiBase Guide.

Importing MIDI

Pro Tools lets you import MIDI files into the Region List or directly into MIDI tracks in a session.

To import MIDI ﬁles into the Region List:

■ Choose File > Import > MIDI to Region List.

Auditioning an audio ﬁle in the Workspace Browser

Pro Tools|HD Getting Started Guide82

To import MIDI ﬁles to tracks:

1 Choose Window > Workspace and locate the

MIDI ﬁles you want to import.

2 Drag MIDI ﬁles from the Workspace browser

to the Track List.

Dragging a MIDI file from the Workspace Browser to the Edit window Track List

3 In the Import MIDI Settings dialog box,

choose the import location and settings for the MIDI you are importing.

Basic Recording

This section describes how to record audio and MIDI into Pro Tools.

Preparing for Recording

To prepare an audio track for recording:

1 Verify the connections to your instruments.

Refer to the guide for your audio interface for more information about setting up your studio and monitoring output.

2 Choose Track > New. Specify 1 Mono Audio

Track, and click Create.

3 In the Mix window, click the Audio Input Path

selector on the new track.

Audio Input Path selector

Import MIDI Settings dialog

Importing Files from Windows Explorer and Macintosh Finder

Pro Tools lets you drag and drop audio, MIDI, region group, REX, and ACID files directly from Windows Explorer or Macintosh Finder to the Timeline or the Region List.

For more information on importing data into Pro Tools sessions, see the Pro Tools Reference Guide.

Routing an input to a mono track

4 From the pop-up menu, select the input you

want to record. The menu displays the names of the inputs as deﬁned in the I/O Setup dialog.

Chapter 6: Working with Pro Tools 83

Setting Input Levels

5 Click OK.

Adjust the level of the input at the source (instrument, mic pre-amp, or mixer) to set Pro Tools recording levels.

When you feed a signal into Pro Tools, make sure to adjust the input level to optimize the dynamic range and signal-to-noise ratio of the recorded file. If the input level is too low, you will not take full advantage of the dynamic range of your Pro Tools system. If the input level is too high, the waveform will be clipped, distorting the recording.

Try to set levels so that they register within the top 6 dB of the input meter without triggering the clipping indicator on your audio interface.

Set input levels to avoid clipping. Clipping is indicated by the red Peak LEDs on the audio interface and by the red indicator at the top of each on-screen meter.

Setting Reference Levels

To conﬁgure input levels for the 192 I/O:

1 In Pro Tools, choose Setup > Hardware.

2 If you are using multiple audio interfaces, se-

lect an interface in the Peripherals list.

3 In the Interface area, click the Analog In tab.

To conﬁgure output levels for the 192 I/O:

1 In Pro Tools, choose Setup > Hardware.

2 If you are using multiple audio interfaces, se-

lect an interface in the Peripherals list.

3 In the Interface area, click the Analog Out tab.

Hardware Setup, 192 I/O Analog Out settings

4 Set the Reference Level for each Output Chan-

nel.

5 Click OK.

Recording an Audio Track

To record an audio track:

1 Assign the input for a track and set its input

levels.

2 Click the Track Record Enable button.

Hardware Setup, 192 I/O Analog In settings

4 Set the Reference Level for each Input Chan-

nel.

Pro Tools|HD Getting Started Guide84

Record enabling a track in the Mix window

3 Choose Window > Transport to display the

Transport window.

Recording To and From Digital Devices

Return to Zero

Rewind

Online

Transport window

4 Click Return to Zero to start recording from

Stop

Fast Forward

Play

Go to End

Record Enable

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

5 Click Record Enable in the Transport window

to enable recording.

6 Click Play or press the Spacebar to record on

all record-enabled tracks.

7 Record your performance.

8 Click Stop in the Transport window or press

the Spacebar when you are ﬁnished recording.

To play back a recorded track:

1 Click the track’s Record Enable button a sec-

ond time to take it out of Record mode.

2 Click Play in the Transport window or press

the Spacebar to start playback.

3 Click Stop in the Transport window or press

the Spacebar to stop playback.

You can digitally transfer up to 16 tracks on a single 192 I/O or 192 Digital I/O, up to a system maximum of 96 inputs. Using a single 96 I/O audio interface, you can digitally transfer as many as eight tracks at a time to or from a digital device. Using a single 96i I/O audio interface, you can digitally transfer up to two tracks at a time to or from any S/PDIF-compatible device.

Setting Digital Format and Clock Source

Before recording from a digital source, make sure you have enabled the appropriate Clock Source and Digital Format in the Hardware Setup dialog. Digital Format defaults to AES/EBU, meaning your Pro Tools|HD I/O will listen to the AES/EBU (Encl) In port for digital clock (if any). If you want to record from a DAT machine connected to your S/PDIF RCA inputs, select S/PDIF Format. If you are using multiple Pro Tools|HD interfaces, be sure to configure the appropriate interface in the Hardware Setup dialog.

After enabling a different digital format, appropriate clock signals will become available in the Clock Source selector. If you have multiple interfaces, choose the appropriate clock source on each Pro Tools|HD I/O.

Using Pro Tools Output Pairs

Because of the way that outputs function in Pro Tools, each track looks for a stereo output pair. In order to send eight channels out of Pro Tools from its Optical port, you have to send four pairs of Pro Tools tracks (each pair panned hard left and right) to four pairs of Optical digital outputs.

Chapter 6: Working with Pro Tools 85

Working with 88.2 kHz or Higher Sample Rates

If the session sample rate is 88.2 kHz or higher, Optical (ADAT) and TDIF input sources can still be used with Digidesign’s 192 I/O, but the sample rate conversion option must be enabled.

96 I/O and 96i I/O audio interfaces do not have sample rate conversion capability. On the 96 I/O, the Optical (ADAT) port will go offline with sample rates above 48 kHz.

When the sample rate conversion option is disabled, signal does not pass through the sample rate converter.

To record ADAT tracks into Pro Tools:

1 Connect the Optical Out connector from your

ADAT deck to the Optical In connector on the back of your Pro Tools|HD audio interface.

2 Open or create a session in Pro Tools.

3 Record Enable up to eight audio tracks.

4 For each track, click its Input Selector and as-

sign Inputs 9–16 to your eight tracks.

Analog inputs

To enable sample rate conversion on the 192 I/O:

1 Choose Setup > Hardware in Pro Tools.

2 From the Peripherals list, select the primary

192 I/O audio interface.

3 Click the Digital tab.

4 Select an Input Format (AES/EBU 1–8, ADAT

1–8, or TDIF 1–8).

5 Enable the SR Conversion option for channel

pairs.

Recording to and from an ADAT

The 192 I/O and 192 Digital I/O each provide 16 channels of ADAT input and output (eight on the chassis, eight on the digital card). These inputs and outputs are numbered 9–16 and 17–24 by default in the Pro Tools Hardware Setup and I/O Setup dialogs.

The 96 I/O provides eight channels of ADAT input and output. These inputs and outputs are labeled Optical 1–8 (ADAT) by default in the Pro Tools Hardware Setup and I/O Setup dialogs.

Optical (ADAT) inputs

Routing an Optical input pair to a mono track

5 Verify that Pro Tools is synchronized to Opti-

cal in the Hardware Setup dialog, and that the Optical Format is set to ADAT.

6 Click Record Enable in the Transport window.

7 Click Play in the Transport window to begin

recording, then press Play on the ADAT.

8 When playback from the ADAT tape is ﬁn-

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

(The 96i I/O does not support ADAT Optical input or output.)

Pro Tools|HD Getting Started Guide86

To record Pro Tools tracks to an ADAT:

1 Connect the Optical Out connector on your

Pro Tools|HD audio interface to the Optical In connector on the back of the ADAT deck.

2 Open the session you want to record to ADAT.

3 Record Enable up to eight tracks on the ADAT.

4 On the ADAT, enable Digital In.

5 In Pro Tools, pan the four pairs of tracks you

want to record to ADAT so that each pair is panned hard stereo (one track of each pair is panned all the way left, and the other is panned all the way right).

6 Route each track pair to a separate Optical out-

put pair by selecting from the Output pop-up menu for each track.

7 Verify that Pro Tools is synchronized to Inter-

nal in the Hardware Setup dialog.

8 Start recording on the ADAT, then click Play in

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

Recording MIDI

Instrument tracks combine a MIDI track and Auxiliary Input into a single channel strip that provides both MIDI and audio capabilities. Instrument tracks let you record MIDI and monitor audio from software and hardware instruments.

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.

3 Select View > Mix Window > Instruments to

display the MIDI controls at the top of the Instrument track in the Mix window.

4 Click the track’s MIDI Input selector and as-

sign the device and channel to be recorded, or leave it set to All.

MIDI Input selector

MIDI Input selector in an Instrument track

Chapter 6: Working with Pro Tools 87

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.

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 it to an available device and channel (the choices will vary depending on the device).

6 You can assign a default program change to

the track by clicking the Patch Select button in the Mix window and making the necessary selections for program and bank select, and then clicking Done. Default program changes are sent when playing the track.

Patch Select button

Patch Select button in an Instrument track

7 If you are using an external MIDI device and

connected its audio output to an audio interface for monitoring in Pro Tools, click the Audio Input Path selector of the Instrument track and choose the corresponding audio input.

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. See Appendix C, “Configuring MIDI Studio Setup (Windows Only)” or Appendix D, “Configuring AMS (Mac OS X Only)” for more information.

Pro Tools|HD Getting Started Guide88

Choosing an audio input for an Instrument track

8 Click the Track Record Enable button to en-

able the Instrument track for MIDI recording.

9 Make sure Options > MIDI Thru is selected.

10 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, but MIDI activity.

MIDI Velocity meter

MIDI Velocity meter showing MIDI activity

11 Adjust the audio output level of the Instru-

ment track with its Volume fader.

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 the Instrument track

To play back recorded MIDI data:

1 Click the Track 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.

3 Click Record Enable in the Transport window.

4 Do one of the following:

• Click Play in the Transport window or press the Spacebar to begin recording.

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

• If you are using Countoff, click Play. The Record Enable and Play buttons ﬂash during the Countoff, then recording begins.

5 Play your MIDI controller or input device.

Chapter 6: Working with Pro Tools 89

Editing

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

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

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

Edit modes

Edit modes and tools

Audio and MIDI editing are typically used to:

• Fix or replace mistakes.

• Re-arrange songs and projects.

• Clean up track timing and rhythm by aligning hits to Grid values like bars and beats, time code, grooves, or other timebases.

• Create ﬁnal tracks using selections from multiple takes (also known as a comp tracks).

Edit tools

Edit Modes

Pro Tools has the following Edit modes: Shuffle, Spot, Slip, and two Grid modes, Absolute (standard Pro Tools Grid mode), and Relative.

The Edit mode is selected by clicking the corresponding button in the upper left of the Edit window.

Edit Tools

Pro Tools has seven Edit tools: Zoomer, Trimmer, Selector, Grabber, Scrubber, Pencil, and Smart Tool. Select an Edit tool by clicking it in the Edit window. The Zoomer, Trimmer, Grabber, and Pencil tools have multiple modes, which you can select from a pop-up menu when you click the tool.

Trimmer tool Grabber tool

Selector tool

Edit tools in Edit window

Press the Escape key to toggle through the Edit tools.

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

Scrubber tool

Pencil toolSmart ToolZoomer tool

Edit mode buttons

Press F1 (Shuffle), F2 (Slip), F3 (Spot), and F4 (Grid) to set the Edit mode.

Pro Tools|HD Getting Started Guide90

Playlists and Nondestructive Editing

Editing Regions

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

To create multiple playlists for editing:

1 Start with a track on which you want to try

different edits.

2 Click the Playlist selector and choose Dupli-

cate.

Playlist selector

Playlist selector and pop-up menu

3 Name the duplicated playlist and click OK.

4 Make your ﬁrst series of edits.

5 Return to the original playlist by clicking the

Playlist selector and selecting its name.

6 Repeat steps 2–5 for any further edits.

The Edit tools in Pro Tools are used to edit regions in the Edit window.

Audio region

Trimming Regions

After recording an audio track, you will have an audio region on that track. If there is some silence at the beginning of the region, or there is some extra audio at the end of the region, you can use the Trimmer tool in Slip mode to shorten the beginning or end of the region.

Audio region on a track

To trim an audio region:

1 Select Slip mode.

2 Select the Trimmer tool.

3 Move the cursor near the beginning of the au-

dio region (notice the cursor displays as a “[”).

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

Trimming the beginning of a region

4 Click at the beginning of the region and drag

right to shorten the region.

Chapter 6: Working with Pro Tools 91

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

gion (notice the cursor displays as a “]”).

Trimming the end of a region

Add Tempo Change Add Meter Change

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

shorten the region.

The trimmed region

You can also extend a region using the Trimmer tool if there is audio data beyond the current boundaries of a region. If extending the region’s beginning, drag to the left; if extending the region’s end, drag to the right.

Arranging Regions

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

To create and arrange a rhythm sequence:

1 Open or create a session in Pro Tools.

2 Set the session meter and tempo by doing the

following in the Edit window:

• Click the Ruler View selector and select both Tempo and Meter.

• Click the Add Tempo Change button and specify the tempo.

• Click the Add Meter Change button and specify the meter.

Add Tempo Change and Add Meter Change buttons

3 Click the Grid mode button to put Pro Tools

in Grid mode.

4 Prepare to record using a click (see “Using the

Click Plug-In” on page 71 or “Using an External MIDI Click” on page 72).

5 Record a drum track (see “Recording an Audio

Track” on page 84) keeping in mind that you want to use only the best bar (measure). Your recording should ﬁt the grid at the speciﬁed tempo and meter.

– or –

Import an existing audio file, such as a drum loop from a sample library, and place it on an audio track (see “Importing Audio” on page 82).

6 Click the Selector tool, then drag on the wave-

form to make a one-bar selection. Note that the selection snaps to the speciﬁed grid.

Making a selection in Grid mode

7 Choose Track > New and create a new Stereo

Audio track.

8 Click the Grabber tool and select the Separa-

tion Grabber tool.

Pro Tools|HD Getting Started Guide92

9 With the Separation Grabber tool, drag the se-

lection to the beginning of the new audio track. A new region is created and appears at the beginning of the new track.

Dragging a selection with the Separation Grabber tool

10 With the new region still selected, choose

Region >Loop.

Mixing

The Pro Tools mix environment provides many familiar channel strip controls for setting volume, pan, solo, and mute. Mixer and I/O controls can be shown in both the Mix and Edit windows.

To view the Mix window:

■ Select Window > Mix.

Press Control+Equals (=) (Windows) or Command+Equals (=) (Macintosh) to switch between the Edit and Mix windows.

Using Channel Strip Controls

The following controls are common to Audio, Auxiliary Input, and Instrument tracks.

Volume Fader Increase or decrease the track level by dragging its Volume fader up or down.

Region Looping dialog

11 In the Region Looping dialog, enter the

number times you want to loop the region, and click OK.

You now have a new rhythm track with a “looped” (repeated) phrase.

You can use these editing tools and Beat Detective to do much more advanced editing of regions.

Grouping Regions

The Region Groups feature in Pro Tools lets you group regions on multiple adjacent audio, MIDI, and Instrument tracks. Region Groups are useful for groove and tempo manipulation, editing, and arranging.

For more information on Region Groups, see the Pro Tools Reference Guide.

Pan Slider Pan a track left or right in the mix by dragging its Pan slider left or right.

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

Mute Button Mute a track by clicking its Mute button.

Chapter 6: Working with Pro Tools 93

Basic Signal Routing

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

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

Send and Return Submixing for Effects Processing

When you are submixing for reverb, delay, and similar effects processing, you can use sends and Auxiliary Inputs to achieve traditional send/return bussing. You can use a real-time plug-in (see “Plug-Ins” on page 96) or a hardware I/O insert (see “Connecting Effects Units” on page 63) as a shared resource for all tracks included in a submix. The wet/dry balance in the mix can be controlled using the track faders (dry level) and Auxiliary Input fader (wet, or effect return level).

Creating a Send

Pro Tools provides up to ten sends per audio track. A send can be mono or stereo, routing to an output or one of 128 internal bus paths.

To assign a send on a track:

1 Make sure the Sends you want to use are visi-

ble in the Mix window (View > Mix Window > Sends A–E or Sends F–J).

2 In the Mix window, click a Send selector on an

audio track and choose a bus path from the popup menu.

Assigning a send to a stereo bus path

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

the send level to zero by Alt-clicking (Windows) or Option-clicking (Macintosh) the Send fader.

You can configure the default level for new sends to be

–∞ or at unity gain

(0 dB) by enabling or disabling the Sends Default To “–INF” option in the Operation Preferences page.

Pro Tools|HD Getting Started Guide94

Pinnacle Systems Pro Tools HD - 7.1 Getting Started

Specifications and Main Features

Frequently Asked Questions

User Manual

contents

Welcome to Pro Tools|HD

Pro Tools|HD Systems

Pro Tools|HD (for PCIe) Systems

Pro Tools|HD (for PCI) Systems

Included with Pro Tools|HD Systems

Audio Recording and Playback Capabilities

Pro Tools HD Capabilities

Pro Tools Hardware Overview

Pro Tools|HD (for PCIe) Hardware

Accel Core (for PCIe) Card

HD Accel (for PCIe) Card

Pro Tools|HD (for PCI) Hardware

HD Accel (for PCI) Card

HD Core (for PCI) Card

TDM FlexCable

Audio Interfaces

192 I/O Audio Interface

192 Digital I/O Audio Interface

96 I/O Audio Interface

96i I/O Audio Interface

Optional Legacy I/O Audio Interfaces

System Requirements

MIDI Requirements

Hard Drive Requirements

SCSI Hard Drives

Avoid Recording to the System Drive

Drive Formats

FireWire Hard Drives

IDE/ATA/SATA Hard Drives

Hard Disk Storage Space

Digidesign Registration

Conventions Used in This Guide

About the Pro Tools Guides

About www.digidesign.com

Windows Installation

Installation Overview

Modifying the Computer’s SCSI BIOS

Updating the ATTO SCSI BIOS

Installing the ATTO SCSI Driver

Windows System Optimization

Installing SCSI Drivers

Required Optimizations

Enabling DMA

Disabling ClearType Font Smoothing

Disabling System Standby and Power Management

Recommended Optimizations

Optional Optimizations

Adjusting Processor Scheduling

Disabling Network Cards

Disabling Hyper-Threading

Disabling System Startup Items

Avoid Recording to the System Drive

Formatting an Audio Drive

Defragmenting an Audio Drive

Installing Pro Tools Hardware

Disabling Driver Signing Warnings

Installing Pro Tools|HD Cards

Connecting Pro Tools|HD Cards

Connecting Audio Interfaces

Connecting Loop Sync

Connecting Legacy Audio Interfaces

Connecting an Additional 16 Channels of Audio with Legacy Audio Interfaces

Installing Pro Tools HD Software

Installing QuickTime

Optional Software on the Pro Tools Installer CD

Digidesign ASIO Driver

Digidesign WaveDriver

Digidesign Ethernet Software for Control Surface Support

Pro Tools Demo Session

MacDrive Demo

Removing Pro Tools

Macintosh Installation

Installation Overview

Turning Off Software Update

Turning Off Energy Saver