Pinnacle Systems Pro Tools LE - 5.3, Pro Tools HD - 6.2 User Manual
Digidesign
Plug-Ins Guide
Version 6.2 for HD Systems on Windows or Macintosh
Version 6.1 for TDM or LE Systems on Windows or Macintosh
Version 5.1.1 to 5.3.x for TDM or LE Systems on Macintosh
Digidesign
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
tel: 650·731·6300
fax: 650·731·6399
Technical Support (USA)
tel: 650·731·6100
fax: 650·731·6384
Product Information (USA)
tel: 650·731·6102
tel: 800·333·2137
International Offices
Visit the Digidesign Web site
for contact information
Web Site
www.digidesign.com
Copyright
This guide is copyrighted ©2003 by Digidesign, a division of
Avid Technology, Inc. (hereafter “Digidesign”), with all rights
reserved. Under copyright laws, this guide may not be
duplicated in whole or in part without the written consent of
Digidesign.
DIGIDESIGN, AVID and PRO TOOLS are trademarks or
registered trademarks of Digidesign and/or Avid Technology,
Inc. All other trademarks are the property of their respective
owners.
All features and specifications subject to change without
notice.
PN 932912448-00 REV A 09/03
contents
Chapter 1. Getting Started With Plug-Ins
System Requirements
Plug-In Formats
Installing Plug-Ins
Digidesign Registration
Authorizing Plug-Ins
Removing Expired Plug-Ins
Allocating Additional Memory to Pro Tools
Conventions Used in This Guide
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Chapter 2. Working with Real-Time Plug-Ins
Processing Power Requirements of TDM and RTAS Plug-Ins
Delay in Digital Signal Processing
Plug-Ins as Inserts
Inserting Plug-Ins on Tracks
The Plug-In Window
Adjusting Parameters
Using a Key Input for Side-Chain Processing
Automating Plug-Ins
Using the Librarian
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter 3. Working with AudioSuite Plug-Ins
The AudioSuite Window
The AudioSuite Processing Preferences Dialog
Using AudioSuite Plug-Ins
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Contents
iii
Chapter 4. D-Fi
Lo-Fi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Sci-Fi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Recti-Fi
Vari-Fi
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
D-Fi Demo Session
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 5. DINR
Broadband Noise Reduction
Broadband Noise Reduction Controls
Using Broadband Noise Reduction
Using BNR AudioSuite
Hum Removal
Chapter 6. Maxim
About Peak Limiting
Maxim Controls
Using Maxim
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Chapter 7. Bruno and Reso
DSP Requirements
Inserting Bruno/Reso onto an Audio Track
Playing Bruno/Reso
Using a Key Input for Side-chain Processing
Bruno Controls
Reso Controls
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Chapter 8. Reverb One
System Requirements
A Reverb Overview
Reverb One Controls
Digidesign Plug-Ins Guide
iv
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Chapter 9. SoundReplacer
Audio Replacement Techniques
SoundReplacer Controls
Using SoundReplacer
Getting Optimum Results With SoundReplacer
Using the Audio Files Folder for Frequently Used Replacement Files
SoundReplacer Demo Session
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
. . . . . . . . . . . . . . . . . . . 102
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Chapter 10. SurroundScope
Using SurroundScope
SurroundScope Displays
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Appendix A. DSP Requirements for TDM Plug-Ins
DSP Requirements
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Appendix B. DSP Delays Incurred by TDM Plug-Ins
Index
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
. . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Contents
v
Digidesign Plug-Ins Guide
vi
chapter 1
Getting Started With Plug-Ins
Digidesign plug-ins provide a comprehensive
set of digital signal processing tools for professional audio production.
This guide explains the use of each of the plugins currently available from Digidesign.
These plug-ins include:
◆
Bruno™ & Reso™ cross-synthesis plug-ins
D-Fi™ creative sound design plug-ins
◆
◆
DINR™ intelligent noise reduction
◆
Maxim™ peak limiter/sound maximizer
Reverb One
◆
◆
SoundReplacer™ drum and sound replacement
™
plug-in
◆
SurroundScope
™
System Requirements
To use Digidesign plug-ins you need:
◆
A Digidesign-qualified Pro Tools system
– or –
◆
A third-party software application that supports the Digidesign TDM, RTAS, or AudioSuite
plug-in standard
Digidesign can only assure compatibility and
provide support for hardware and software it
has tested and approved. For a list of Digidesignqualified computers, operating systems, hard
drives, and third-party devices, refer to the latest
compatibility information on our Web site
(www.digidesign.com/compato).
For more information on using plug-ins
during mixdown with Pro Tools, see the
Pro Tools Reference Guide.
Chapter 1: Getting Started With Plug-Ins
1
Plug-In Formats
Plug-ins are special-purpose software components that provide additional signal processing
functionality to Pro Tools. There are three formats of plug-ins:
• TDM plug-ins (real-time, DSP-based)
•RTAS plug-ins (real-time, host-based)
• AudioSuite plug-ins (non-real-time, file-based
processing)
TDM Plug-Ins
(TDM Systems Only)
RTAS Plug-Ins
RTAS (Real-Time AudioSuite) plug-ins provide
features and functionality similar to their TDM
counterparts, but unlike TDM plug-ins, they rely
on and are limited by the processing power of
your computer. The more powerful your computer, the greater the number and variety of
RTAS plug-ins that you can use simultaneously.
Because of this dependence on the CPU or
processing
currently in a session, the greater the impact on
other aspects of system performance, such as
available track count, edit density, and automation latency.
, the more RTAS plug-ins you use con-
host
TDM (Time Division Multiplexing) plug-ins
function as track inserts, are applied to audio
during playback, and process audio nondestructively in real time. TDM plug-ins are designed
for use on Pro Tools TDM systems, and rely on
the processing power of Digidesign DSP cards.
The number and variety of TDM plug-ins that
you can use simultaneously in a session are limited only by the amount of DSP available. You
can increase available DSP by installing additional HD Accel, HD Process, MIX Farm, or
DSP Farm cards in your computer. This poweron-demand aspect is a significant advantage of
TDM-based systems.
MIX Farm and DSP Farm cards are not
supported on Pro Tools|HD-series systems.
HD Accel and HD Process cards are not
supported on Pro Tools|24 MIX-series systems.
RTAS plug-ins can be used on both Pro Tools
TDM and LE systems.
AudioSuite Plug-Ins
Non-real-time AudioSuite plug-ins are not used
during playback, but are instead used to process
audio files on disk, creating new, rewritten audio
files with the effect permanently applied. AudioSuite plug-ins can be used on all Pro Tools systems.
Installing Plug-Ins
The Digidesign Plug-In Installer CD-ROM lets
you install and use not only the plug-ins which
you have purchased, but also a demo version of
other Digidesign plug-ins. Demo versions of
plug-ins can be used for the length of their
demo period, after which they will expire. Once
the demo version of a plug-in has expired, purchase the plug-in and authorize it, or remove it
(see “Removing Expired Plug-Ins” on page 4).
Digidesign Plug-Ins Guide
2
Demo Plug-Ins and Authorization
Some plug-ins require an iLok USB Smart Key
present in order to run in demo mode. Demo authorization for such plug-ins can only be installed over the internet from Digidesign’s Web
site (www.digidesign.com) while you launch
Pro Tools. Make sure that your Pro Toolsequipped computer is internet-ready and that
your iLok USB Smart Key is inserted in an available USB port before you launch Pro Tools to
complete this automated process. This is a onetime-only procedure for plug-ins that require it.
Updating Older Plug-Ins
Because the Plug-In Installer CD-ROM contains
the latest versions of all Digidesign plug-ins, you
can use it to update any plug-ins you already
own by installing the desired plug-in from the
CD-ROM. If the installed iLok is already authorized, or there is already a valid authorization
key on the destination hard disk, you will not be
prompted for a new one.
Digidesign plug-ins for Pro Tools 5.3 and
lower are not supported in Pro Tools 6.0
and higher.
Installation
To install a plug-in:
1
Insert the Plug-Ins Installer CD-ROM in your
CD-ROM drive.
6 Repeat steps 3 through 5 for additional plug-
ins that you want to install.
You will be prompted to authorize the plug-ins
when you launch Pro Tools.
Digidesign Registration
Make sure to complete and return the registration card included with your Digidesign plug-in.
Registered users will receive periodic software
update and upgrade notices. Please refer to the
registration card for information on technical
support.
Authorizing Plug-Ins
Digidesign plug-ins are authorized using the
iLok USB Smart Key from PACE Anti-Piracy. The
iLok is similar to a dongle, but unlike a dongle,
it is designed to securely authorize multiple software applications from a variety of software developers.
One iLok USB Smart Key is included with
Pro Tools|HD core systems. This key can hold
over 100 authorizations for all your iLok-enabled software. Once a software authorization is
added to an iLok USB Smart Key, you can use the
iLok to authorize that software on any computer. (For more information, see the iLok Usage
Guide.)
2 Open the Digidesign Plug-Ins directory.
3 Locate and double-click the Install file on the
Installer CD-ROM for the plug-in you want to
install.
4 Follow the on-screen instructions.
5 When the installation is complete, click Fin-
ish (Windows) or Quit (Macintosh).
Authorizations are added to an iLok using License Cards that have a small punch-out GSM
plastic chip. License Cards are specific to each
plug-in. You will receive the appropriate License
Cards for the plug-ins that you purchase.
Chapter 1: Getting Started With Plug-Ins
3
To add an authorization to an iLok:
1 Insert the iLok into an available USB port on
your computer.
2 Launch Pro Tools. You will be prompted to au-
thorize any installed unauthorized plug-ins.
If you are already using a demo version of
the plug-in, launch Pro Tools before you insert the iLok, then insert the iLok into any
available USB port when prompted by
Pro Tools.
3 Follow the on-screen instructions until you
are prompted to insert the License Card into the
iLok.
4 Separate the License Card—the smaller GSM
cutout—from the larger protective card by pulling the cutout up and out with your thumb.
5 Insert the License Card into the iLok. Visually
verify that the License Card makes contact with
the iLok’s metal card reader.
Removing Expired Plug-Ins
If you let a demo version of a plug-in expire, you
should remove it from your system. Otherwise,
each time you open Pro Tools you will be
prompted with a message that the plug-in has
expired.
Windows
To remove an expired plug-in:
1 From the Start menu, choose Settings > Con-
trol Panel and double-click Add or Remove Programs.
2 Select the expired plug-in from the list of in-
stalled applications and click the Change/Remove button.
3 When removal is complete, click OK to close
the window.
Mac OS X
To remove an expired plug-in:
1 Locate the Library/Application Sup-
port/Digidesign folder on your Startup drive.
iLok with License Card
6 Follow the on-screen instructions to complete
the authorization process.
7 After authorization is complete, remove the
License Card from the iLok. (If you have to remove the iLok to remove the License Card, be
sure to re-insert the iLok in any available USB
port on your computer.)
Digidesign Plug-Ins Guide4
2 Open the Plug-Ins folder or Plug-Ins (Unused)
folder and drag the expired plug-in to the Trash.
3 Empty the Trash.
Mac OS 9
To remove an expired plug-in:
1 Open the DAE folder inside your System
Folder.
2 Open the Plug-Ins folder or Plug-Ins (Unused)
folder and drag the expired plug-in to the Trash.
3 Empty the Trash.
Allocating Additional Memory to Pro Tools
(Mac OS 9 Only)
If you plan to use a large number of TDM plugins in addition to the DigiRack TDM plug-ins included with Pro Tools, allocating additional
memory to Pro Tools will help ensure reliable
system performance.
If enough RAM is available in your computer, allocate 1–2 megabytes of additional RAM to
Pro Tools for each non-DigiRack plug-in installed on your system.
To allocate additional memor y to Pro Tools:
1 Start Pro Tools so that it can calculate its basic
memory allocation.
2 Go to the Finder and choose About This Com-
puter from the Apple menu.
8 Close the Get Info dialog.
The next time you start Pro Tools, it will use this
new memory allocation.
Conventions Used in This Guide
All Digidesign guides use the following conventions to indicate menu choices and key commands:
:
Convention Action
File > Save Session Choose Save Session
from the File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
3 If you have 3 MB or more of memory available
(as indicated in the Largest Unused Block portion of this window), go to step 4. If you have
less than 3 MB of free memory, stop here: Do
not allocate additional memory to Pro Tools unless you install additional RAM in your computer.
4 Quit Pro Tools.
5 Open the Pro Tools folder, select the Pro Tools
application, and choose Get Info from the
Finder’s File menu.
6 Choose Memory from the Show menu.
7 Enter the desired amount of memory above the
minimum requirement in the Preferred Size field.
For example, if the Preferred Size field currently
says “30410”k and you want to allocate an additional 3 MB of memory (1 megabyte equals
1,024 kilobytes), enter “33482”k into the Preferred Size field.
Right-click (Windows) Click with the right
mouse button
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the
most from your Pro Tools system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your Pro Tools system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
the Pro Tools Guides.
Chapter 1: Getting Started With Plug-Ins 5
Digidesign Plug-Ins Guide6
chapter 2
Working with Real-Time Plug-Ins
Real-time plug-ins process audio nondestructively in real time. They do not alter the original
source audio, but only apply their effect during
playback.
Processing Power Requirements of TDM and RTAS Plug-Ins
There are two formats of real-time plug-ins:
TDM Plug-Ins Rely on the processing power of
Digidesign DSP cards. TDM plug-ins run only on
TDM-equipped Pro Tools systems.
RTAS Plug-Ins Rely on the processing power of
your computer. RTAS plug-ins run on Pro Tools
TDM and LE systems.
TDM and RTAS plug-ins differ in their processing power requirements.
TDM Plug-Ins
Each real-time TDM plug-in that is inserted in a
Pro Tools session uses a portion of your system’s
total available DSP resources. Since these DSP resources reside on the cards that make up your
particular Pro Tools hardware configuration,
the amount of DSP available depends entirely
on the number and type of DSP cards in your
system.
You can add more mixing and processing power
to your system by installing additional DSP
cards, provided you have unused PCI expansion
slots in your computer or use a Digidesign-approved Expansion Chassis.
Chapter 2: Working with Real-Time Plug-Ins 7
The System Usage window (Windows > Show
System Usage) shows how much DSP is available
on your system and approximately how it is currently being used.
For more information on the System Usage
window, see the
System Usage window
Pro Tools Reference Guide.
See Appendix A, “DSP Requirements for
TDM Plug-Ins” for the number of instances
of each Digidesign TDM plug-in that can be
powered by a single DSP chip. DSP usage
differs according to card type.
DSP Sharing Between TDM Plug-Ins
With Digidesign’s MultiShell II technology, different types of TDM plug-ins can share the same
DSP chip at the same time. This lets you simultaneously use a greater variety of plug-ins by efficiently managing the DSP available on each
chip in your system.
In order to take advantage of this capability,
plug-ins must be MultiShell II compatible.
The following Digidesign plug-ins are Multishell:
• Maxim
• D-Fi
• SurroundScope
SoundReplacer is an AudioSuite only plug-in.
RTAS Plug-Ins
RTAS plug-ins rely on and are limited by the processing power of your computer’s CPU. The
more RTAS plug-ins you use concurrently in a
session, the greater the impact it will have on
other aspects of your system’s performance,
such as maximum track count, the density of
edits possible, and latency in automation and
recording.
The CPU meter in the System Usage window
(Windows > Show System Usage) shows how
much of your computer’s processing power is
currently being used by Pro Tools, and how
much is still available.
For more information on the System Usage
window, see the
Digidesign Plug-Ins Guide8
Pro Tools Reference Guide.
Improving RTAS Plug-In Performance
You can increase the number of RTAS plug-ins
your system can use concurrently by increasing
the Hardware Buffer Size and CPU Usage Limit.
Hardware Buffer Size
The Hardware Buffer Size (H/W Buffer Size) controls the size of the hardware cache used to handle host processing tasks such as Real-Time AudioSuite (RTAS) plug-ins.
◆ Lower Hardware Buffer Size settings reduce
monitoring latency, and are useful when you are
recording live input.
◆ Higher Hardware Buffer Size settings allow for
more audio processing and effects, and are useful when you are mixing and using more RTAS
plug-ins.
In addition to causing slower screen response and monitoring latency, higher
Hardware Buffer Size settings can affect the
accuracy of plug-in automation, mute data,
and timing for MIDI tracks.
To change the Hardware Buffer Size:
1 Choose Setups > Playback Engine.
CPU Usage Limit
The CPU Usage Limit controls the percentage of
CPU resources allocated to Pro Tools host processing tasks.
◆ Lower CPU Usage Limit settings limit the ef-
fect of Pro Tools processing on other CPU-intensive tasks, such as screen redraws, and are useful
when you are experiencing slow system response, or when running other applications at
the same time as Pro Tools.
◆ Higher CPU Usage Limit settings allocate
more processing power to Pro Tools, and are
useful for playing back large sessions or using
more real-time plug-ins.
Increasing the CPU Usage Limit may slow
down screen response on slower computers.
To change the CPU Usage Limit:
1 Choose Setups > Playback Engine.
2 From the CPU Usage Limit pop-up menu, se-
lect the percentage of CPU processing you want
to allocate to Pro Tools. (On dual-processor Macintosh computers, this setting controls the allocation of a single processor.)
2 From the H/W Buffer Size pop-up menu, select
the audio buffer size, in samples.
3 Click OK.
Choosing the CPU Usage Limit
3 Click OK.
For more information on Hardware Buffer
Size and CPU Usage Limit, see the
Reference Guide
Chapter 2: Working with Real-Time Plug-Ins 9
.
Pro Tools
Delay in Digital Signal Processing
DSP processing in digital audio systems incurs
signal delay of varying amounts. Such delays
can vary from as short as a few samples to as
long as several hundred samples, depending on
the type of processing applied.
If you have recorded an instrument on multiple
tracks using multiple microphones (a drum kit
for example) and process the different tracks
with different plug-ins, the tracks may go out of
phase. You will then need to compensate for
these delays to avoid phase correlation problems.
See Appendix B, “DSP Delays Incurred by
TDM Plug-Ins” for information on delays
inherent in specific Digidesign TDM plugins. See the
guide to calculating DSP-induced delays.
Pro Tools Reference Guide for a
Plug-Ins as Inserts
Real-time plug-ins are available as in-line inserts
on audio tracks, Auxiliary Inputs, and Master
Faders. A maximum of 5 real-time plug-ins can
be used per track.
When more than one insert is used on a track,
they process the audio in series, each effect being added to the previous one, from top to bottom in the Mix window.
If you are using both TDM and RTAS plugins on the same track, RTAS plug-ins must
occur first in the signal chain, followed by
TDM plug-ins. You cannot place TDM
plug-ins before RTAS plug-ins.
Inserts can be used in two ways:
On Single Tracks An insert can be applied to an
individual audio track or Auxiliary Input using
the Insert Selector on that track.
Compensating for Delay with TimeAdjuster
(TDM Systems Only)
You can compensate for TDM plug-in-induced
delays by using the TimeAdjuster plug-in. This
plug-in lets you apply a specific number of samples of delay to the signal path of a Pro Tools
track. TimeAdjuster provides settings files that
apply the correct compensation time in samples
for delay introduced by one or more plug-ins.
See the DigiRack Guide for information about the
Time Adjuster plug-in.
Digidesign Plug-Ins Guide10
With in-line inserts, you control the level of effect by adjusting the controls of the plug-in.
As Shared Resources An insert can be used as a
shared resource in a send-and-return arrangement by bussing signals from several tracks to
an Auxiliary Input, and applying the insert to
the Auxiliary Input track. With such an arrangement, you can control the send level for each
track and the overall level of the effect can be
controlled from the Auxiliary Input track.
Shared arrangements let you make more efficient use of your system’s processing power.
On TDM systems, RTAS plug-ins can be inserted on audio tracks only. For Auxiliary
Inputs or Master Faders, use TDM plug-ins.
Pre-Fader Operation
Real-time plug-ins function as pre-fader inserts
(except on Master Fader tracks, where inserts are
post-fader), meaning that their input levels are
not affected by a track’s volume fader.
Real-time plug-ins are pre-fader, but post-disk.
This means that if you record to disk with a
plug-in inserted on the record track, you will
hear the effect of the plug-in, but the effect will
not be recorded to disk.
To record with a plug-in effect, create an Auxiliary Input, insert the desired effect on the Auxiliary Input track, then route the Auxiliary Input
to the audio track to which you want to record.
Alternatively, bounce the audio track with the
plug-in after recording in order to write the effected audio to disk.
Mono, Multi-Mono, and Multichannel Plug-Ins
Plug-ins can be used in mono, multi-mono, or
multichannel formats, depending on the type of
plug-in and whether the destination is a mono
or multichannel track.
Mono Plug-Ins Used on mono tracks. Some
mono plug-ins let you generate a stereo output
from a mono channel. Plug-ins that occur on a
track after a stereo plug-in are used in stereo as
well.
Multi-Mono Plug-Ins Used on stereo or greaterthan-stereo multichannel tracks when a multichannel version of the plug-in is not available.
Multi-mono plug-ins will analyze and process
each channel independently without regard to
each other. Controls for all channels are linked
by default so that you can adjust them in tandem. You can unlink controls for independent
adjustment using the Master Link button. See
“Linking and Unlinking Controls on MultiMono Plug-ins” on page 16.
Multi-mono plug-ins, such as dynamicsbased or reverb plug-ins, may not function
as you expect. Use the multichannel version
of a multi-mono plug-in when available.
Multichannel Plug-Ins Used on stereo and
greater-than-stereo multichannel tracks. On
greater-than-stereo multichannel tracks, the
controls for all channels are always linked together.
In general, when working with stereo and
greater-than-stereo tracks, use multichannel
plug-ins. If a multichannel version of a plug-in
is not available, use a multi-mono version.
Plug-in formats
Chapter 2: Working with Real-Time Plug-Ins 11
Inserting Plug-Ins on Tracks
To use a real-time plug-in in a Pro Tools session,
insert it on a track. Before doing so, make sure
the Inserts View is shown in the Mix window.
To show inser ts in the Mix window:
■ Choose Display > Mix Window Shows > In-
serts View.
To inser t a plug-in on a track:
■ Click the Insert Selector on the track and se-
lect the plug-in that you want to use.
click here
Inserting Plug-Ins During Playback
On Pro Tools|HD and Pro Tools|24 MIX systems
(Pro Tools 6.x only) and Pro Tools LE systems,
plug-ins can be inserted or removed during
playback, with the following restrictions:
◆ Plug-ins cannot be inserted or removed dur-
ing recording (Pro Tools 6.x only).
◆ A plug-in cannot be dragged to a different in-
sert location during playback or recording. Stop
playback to do this.
◆ Plug-ins that change a track's format (a mono-
to-stereo plug-in, for example) cannot be inserted or removed during playback. Stop playback to do this.
◆ Plug-ins that contain automation cannot be
removed during playback. Stop playback to do
this.
◆ Playback must be stopped when enabling
plug-in controls for automation.
◆ Side-chain inputs cannot be created during
playback. Stop playback to do this.
Inserting a plug-in
To remove an insert from a track:
■ Click the Insert Selector and select No Insert.
Removing a plug-in
Digidesign Plug-Ins Guide12
Moving and Duplicating Inserts
You can move or duplicate an insert by dragging
it to a different position on the same track or a
different track. Inserts that are moved or duplicated retain their original settings and automation.
To move an insert:
■ Drag the insert to a new insert location.
Moving a plug-in
Dragging an insert on top of an existing insert will replace it.
To toggle plug-ins in the same insert position on all
tracks active or inactive:
■ Control-Start-Alt click (Windows) or Com-
mand-Control-Option click (Macintosh) an Insert button in the position you want to toggle.
To toggle plug-ins in the same insert position on all
selected tracks active or inactive:
■ Control-Start-Alt-Shift-click (Windows) or
Command-Control-Option-Shift-click (Macintosh) an Insert button in the position you want
to toggle.
To duplicate an inser t:
■ Alt-drag (Windows) or Option-drag (Macin-
tosh) the insert to a new insert location. The duplicated plug-in retains its original settings and
automation.
Making Plug-Ins Inactive
Pro Tools lets you set plug-ins as inactive in order to free up DSP resources for other plug-ins
and processing. When a plug-in is inactive it retains its assignment, position, and related automation playlists. However, it will not pass audio
and does not consume any DSP or TDM resources.
To toggle a plug-in active or inactive:
■ Control-Start-click (Windows) or Command-
Control-click (Macintosh) the Insert button.
– or –
Make the track inactive.
For more information about making tracks
inactive, refer to the
Guide
.
Pro Tools Reference
The Plug-In Window
The Plug-In window appears whenever you click
a plug-in Insert button on a track. This floating
window lets you set the controls of any realtime plug-in insert in use on a track.
Insert button
Insert
Selector
Settings menu
Track Selector
key input
selector
Plug-In window (mono Bruno shown)
Librarian menu
Insert Position
Selector
Plug-In Selector
Compare
Effect Bypass
Automation
Safe button
Target button
Convert plug-in
Chapter 2: Working with Real-Time Plug-Ins 13
Link Enable buttons
Channel Selector
Plug-In window (multi-mono Bruno shown)
Master Link button
Settings Menu Lets you copy, paste, save, and
import plug-in settings.
Track Selector Accesses any non-MIDI track in a
session.
Librarian Menu Recalls settings files saved in the
plug-in’s root settings folder or in the current
session’s Settings folder. See “Using the Librarian” on page 20.
Insert Position Selector Accesses any insert on
the current track.
Key Input Selector Lets you select audio on a
particular input or bus and route it to trigger the
plug-in. This menu only appears on plug-ins
that feature side-chain processing. Key inputs
are monophonic.
Plug-In Selector Lets you select any real-time
plug-in installed in the Plug-Ins folder (that is
created when you install Pro Tools).
Compare Toggles between the original saved
plug-in setting and any changes you have made
to it so you can compare them.
Auto Lets you enable individual plug-in controls
for automation recording. See “Automating
Plug-Ins” on page 19.
Safe When enabled, prevents existing plug-in
automation from being overwritten.
Convert Plug-In Lets you convert the insert from
a TDM plug-in to an RTAS plug-in of the same
type (or vice-versa). This feature can only be
used on plug-ins that are available in both TDM
and RTAS formats.
Target Button When multiple Plug-In windows
are open, clicking this button selects that plugin as the target for any computer keyboard commands.
Phase Invert Button Inverts the phase polarity of
the input signal.
Channel Selector Accesses a specific channel
within a multichannel track for plug-in control
editing. This menu appears only on multi-mono
plug-ins inserted on tracks with more than one
channel. Shift-clicking this selector opens a separate Plug-In window for each channel of the
multichannel track on which the plug-in is inserted.
Master Link Button When enabled, links the
controls on all channels of a multi-mono plugin so that they can be adjusted in tandem.
Link Enable Buttons Let you selectively link the
controls of specific channels of a multi-mono
plug-in. Each square represents a speaker channel. The Master Link button must be disabled to
use the Link Enable buttons. See “Linking and
Unlinking Controls on Multi-Mono Plug-ins”
on page 16.
Effect Bypass Disables the currently displayed
plug-in. This lets you compare the track with
and without the effect.
Digidesign Plug-Ins Guide14
LFE Enable Enables plug-in processing of the
LFE (low-frequency effects) channel on a multichannel track formatted for 5.1, 6.1, or 7.1 surround formats. To disable LFE processing, deselect this button. For more information on the
LFE channel, refer to the Pro Tools Reference
Guide.
Opening Plug-In Windows
To open a Plug-In window:
■ Click the plug-in button in the Mix or Edit
window channel strip.
By default, each plug-in you open will appear in
the same location as a currently open plug-in,
replacing it in the same window location.
Opening Multiple Plug-In Windows
Pro Tools normally displays a single Plug-In
window from which you can adjust the controls
of any plug-in in a session. You can also open
additional Plug-In windows for specific plugins.
To close all currently open Plug-In windows:
■ Alt-click (Windows) or Option-click (Macin-
tosh) the close box of any currently open PlugIn window.
Plug-In Window Controls
All plug-ins provide standard Pro Tools controls
for track and insert selection, bypass, and other
controls, in addition to processor-specific controls.
To select a different plug-in on the same track:
■ Click the Insert Selector and select a plug-in
from the pop-up menu.
Once you begin working with multiple Plug-In
windows, you will need to click the Target button on the plug-in whose controls you want to
adjust using keyboard commands.
To open an additional Plug-In window:
■ In the Mix window, Shift-click the Insert but-
ton for the additional plug-in.
To open Plug-In windows for each channel of a
multi-mono plug-in:
■ Alt-click (Windows) or Option-click (Macin-
tosh) the Channel Selector in the Plug-In window of the multi-mono plug-in.
Choosing a plug-in from the Plug-In window
Chapter 2: Working with Real-Time Plug-Ins 15
To choose a different track:
■ Click the Track Selector and select a track from
the pop-up menu.
Choosing a track from the Plug-In window
Bypassing Plug-Ins
some channels bypassed (half blue)
bypassed (blue)
unbypassed (black)
Bypass states indicated by color (Pro Tools 5.3)
Linking and Unlinking Controls on Multi-Mono Plug-ins
When a multi-mono plug-in is used on a multichannel track, the controls are normally linked.
Adjusting the Gain control on one channel, for
example, will adjust it for all channels.
If necessary, you can unlink plug-in controls on
specific channels of a track and edit them independently. You can also selectively link the controls of specific channels.
To bypass a plug-in:
■ Click the Plug-In window’s Bypass button.
– or –
■ Control-click (Windows) or Command-click
(Macintosh) the plug-in’s Insert button in the
Mix or Edit window.
When a plug-in insert is bypassed, the Insert Selector in the Mix window changes its
color to blue for easy visual reference. If
some, but not all channels of an unlinked
multi-mono plug-in are bypassed, the Insert
Selector appears purple (Pro Tools 6.x) or
half blue and half black (Pro Tools 5.x).
some channels bypassed (purple)
bypassed (blue)
Bypass states indicated by color (Pro Tools 6.x)
unbypassed (gray)
Master Link button
Link Enable buttons
Channel Selector
Channel Selector and Link controls
To unlink controls on a multi-mono plug-in:
■ Deselect the Master Link button.
To access controls for a specific channel:
■ Select the channel from the Channel Selector.
To link the controls of specific channels:
1 Deselect the Master Link button if it is not al-
ready deselected.
2 Click the Link Enable buttons for the chan-
nels whose controls you want to link.
Digidesign Plug-Ins Guide16
Adjusting Parameters
Editing Parameters Using a Computer Keyboard
Editing Parameters Using a Mouse
You can adjust plug-in controls by dragging the
control’s slider or knob, or by typing a value into
the control’s text box.
To adjust a plug-in control:
1 Begin audio playback so that you can hear the
control changes in real time.
2 Adjust the controls of the plug-in for the effect
you want.
3 Closing the plug-in will save the most recent
changes.
Keyboard Shortcuts
◆ For finer adjustments, Control-drag (Win-
dows) or Command-drag (Macintosh) the control.
◆ To return a control to its default value, Alt-
click (Windows) or Option-click (Macintosh)
the control.
You can use your computer keyboard to edit
plug-in controls.
If multiple Plug-In windows are open, Tab and
keyboard entry remain focused on the plug-in
that is the target window.
Most controls have a corresponding parameter
text field directly below it. This displays the current value of the parameter. You can edit the numeric value of a parameter with your computer
keyboard.
To type a parameter value:
1 Click on the parameter text that you want to
edit.
2 Change the value.
•Type the desired value.
– or –
•To increase a value, press the Up Arrow on
your keyboard. To decrease a value, press
the Down Arrow on your keyboard.
• In fields that support values in kilohertz,
typing “k” after a number value will multiply the value by 1,000. For example, type
“8k” to enter a value of 8,000.
•To move forward through the different
control fields, press the Tab key. To move
backward, press Shift+Tab.
3 Press Enter on the numeric keyboard to input
the value and remain in keyboard editing mode.
– or –
Press Enter on the alpha keyboard (Windows) or
Return (Macintosh) to enter the value and leave
keyboard editing mode.
Chapter 2: Working with Real-Time Plug-Ins 17
Using a Key Input for SideChain Processing
Some plug-ins feature side-chain processing capabilities. With side-chain processing you can
trigger a plug-in from a separate reference track
or external audio source. The source used for
triggering is referred to as the Key Input. Key inputs are monophonic.
A typical use for this feature is to control the dynamics of one audio signal using the dynamics
of another signal (the Key Input). For example, a
kick drum track could be used to trigger gating
of a bass track to tighten it up, or a rhythm guitar track could be used to gate a keyboard pad.
RTAS plug-ins do not provide side-chain
processing when used on TDM-based systems. If you want to use side-chain processing, use the TDM versions of plug-ins on
TDM-based systems.
Key Input Filters
Some plug-ins feature key high-pass and lowpass filters. These controls let you define a specific frequency range in the Key Input signal
with which to trigger the plug-in effect. A common production technique is to use these controls to filter a drum track so that only specific
high frequencies (a hi-hat, for example) or low
frequencies (a tom or a kick, for example) trigger
the effect.
To use a Key Input for side-chain processing:
1 From the Key Input menu, choose the input
or bus carrying the audio you want to use to trigger the plug-in.
Choosing a Key Input
2 Click External Key to activate side-chain pro-
cessing.
3 To hear the audio source you have selected to
control side-chain input, click Key Listen.
4 To filter the Key Input so that only specific fre-
quencies trigger the plug-in, use the Key HPF
and Key LPF controls (if available) to select the
frequency range.
5 Begin playback. The plug-in uses the input or
bus that you chose as a Key Input to trigger its
effect.
6 Adjust the plug-in’s Threshold control (if
available) to fine-tune Key Input triggering.
7 Adjust other controls to achieve the desired ef-
fect.
Digidesign Plug-Ins Guide18
Automating Plug-Ins
You can automate changes to plug-in controls.
Because Pro Tools creates a separate playlist for
each plug-in control that you automate, you can
later edit and modify each automated control
individually. This lets you build up complex automation in stages.
To create automation for a stereo plug-in
with separate controls for each channel,
record the automation for one channel then
copy and paste it to the other channel.
To enable plug-in controls for automation:
1 Open the Plug-In window for the plug-in you
want to automate.
2 Click the Automation button in the Plug-In
window.
Plug-In Automation
Accessing the Plug-In Automation dialog
3 Choose the controls to automate and click
Add. If there are multiple plug-ins on the same
track, you can select from among these by clicking their buttons in the Inserts section of this dialog.
Plug-In automation dialog
4 Click OK to close the Plug-In Automation di-
alog.
As an alternative to using the Plug-In Automation dialog, you can enable individual
plug-in controls directly from the Plug-In
window by Control-Alt-Start-clicking (Windows) or Command-Option-Control-clicking (Macintosh) the control.
– or –
Control-Alt-Start-click (Windows) or Command-Option-Control-click the Track View Selector in the Edit window.
You can also use this keyboard shortcut to
open the Plug-In Automation dialog.
Control-Alt-Start-click (Windows) or Command-Option-Control-click (Macintosh)
any plug-in control in the Plug-In window,
then choose Open Automation Dialog from
the pop-up menu.
Shortcut for enabling plug-in automation
Chapter 2: Working with Real-Time Plug-Ins 19
To automate a plug-in:
1 In the Automation Enable window, make sure
plug-in automation is enabled (Windows >
Show Automation Enable).
Plug--In Automation Enable button
Automation Enable window
2 Select an Automation mode for each track
containing plug-ins you want to automate. For
the initial automation pass, choose Auto Write.
3 Click Play to begin writing automation, and
move the controls you want to automate.
4 When you have finished, click Stop.
After the initial automation pass, you can write
additional automation to the track without
completely erasing the previous pass by choosing Auto Touch mode or Auto Latch mode.
These modes add new automation only when
you actually move the control.
To enable plug-in safe mode:
1 Open a plug-in.
2 Click the Safe button so that it is highlighted.
Safe enabled
Automation Safe enabled plug-in
To disable plug-in safe mode:
■ In the Plug-In window, click the Safe button
so that it is unhighlighted.
For more information on creating and editing automation, see the
Guide
.
Pro Tools Reference
Using the Librarian
The Settings Librarian makes it easy to create
your own library of plug-in settings. Using the
Librarian and Settings pop-up menus, you can
copy, paste, save, and import these settings from
plug-in to plug-in, or from session to session.
Record Safing Plug-In Automation
You can protect plug-in automation from being
overwritten by using Automation Safe mode.
Digidesign Plug-Ins Guide20
Librarian menu
Once you create and save settings files to disk
(and tell Pro Tools where to find them by assigning their root folder) they will appear in the Librarian menu.
The Settings Menu
The Settings menu let you save, copy, paste, and
manage plug-in settings files.
Settings menu
Settings menu commands include:
Save Settings Saves the current settings. This
command overwrites any previous version of
the settings. The setting then appears in the Librarian menu.
Save Settings As Saves the current settings under a different name.
Copy Settings Copies the current settings. You
can then apply these settings to the same type of
plug-in on a different track by choosing the
track in the Plug-In window and pasting the settings with the Paste Settings command.
Paste Settings Pastes settings copied with the
Copy Settings command.
Import Settings Imports a settings file from a location other than the Root Settings folder or Session folder.
Delete Current Settings File Permanently deletes the current settings file from disk.
Lock Settings File Prevents the current settings
from being overwritten by the Save command.
If you attempt to save control settings, you will
be required to save them using a different name
or disk location.
Set As User Default Defines the current settings
as the User Default for a specific plug-in.
Settings Preferences
The Settings Preferences sub-menus are for
choosing preferences for saving and importing
plug-in settings. They include:
Set Plug-In Default To Sets the default setting to
either Factory Default (the standard default setting for that plug-in) or User Default (your custom setting).
Save Plug-In Settings To Selects the folder where
plug-in settings are saved. If you choose Session
Folder, the settings are saved in a folder named
“Plug-In Settings” within the current Session
folder. If you choose Root Settings Folder, the
settings are saved in the folder you specified
with the Set Root Settings Folder command.
Set Root Settings Folder Selects a location or
root folder for saving and importing settings.
This root settings folder must be named “PlugIn Settings.” Use this command only if you want
to choose a location other than the default PlugIn Settings folder.
In Pro Tools 6.1 and higher, the default location
for the Root Plug-In Settings folder is as follows:
Windows Program Files\Common Files\Digidesign\DAE\Plug-In Settings
Macintosh Library\Application Support\Digidesign\Plug-In Settings
To save plug-in settings to any location
other than the default Plug-In Settings
folder, you must first create a folder named
“Plug-In Settings” in the new location and
then save to that folder.
Chapter 2: Working with Real-Time Plug-Ins 21
Choosing a Destination for Settings
Before you save plug-in settings, select their destination folder.
To select a destination folder :
■ From the Settings pop-up menu, choose Set-
tings Preferences > Save Plug-In Settings To, and
choose Session Folder or Root Settings Folder.
If you choose Root Settings folder, Pro Tools
saves to the default Plug-In Settings folder unless you have specified a different location for
the Root Settings folder.
To select a different Root Settings folder :
1 From the Settings pop-up menu, choose Set-
tings Preferences > Set Root Settings Folder.
2 Select the folder you want to use as your Root
folder and click Select.
To load a previously saved setting:
■ Choose the setting from the Librarian pop-up
menu.
To impor t a setting:
1 Choose Import Settings from the Settings pop-
up menu.
2 Locate the settings file you want to import
and click Open. Pro Tools loads the setting and
copies it to the root destination folder.
To copy a setting:
■ Choose Copy Settings from the Settings pop-
up menu.
Press Control+Shift+C (Windows) or Command+Shift+C (Macintosh) to copy plug-in
settings.
To paste a setting:
1 Open the destination plug-in.
Managing Settings
Use the Settings pop-up menu to manage settings.
Unlinked multi-mono plug-ins have specific
rules for settings. See “Editing Settings on
Unlinked Multi-Mono Plug-ins” on
page 23.
To save a setting:
1 Choose Save Settings from the Settings pop-
up menu.
2 Type a name and click OK. The setting appears
in the Librarian menu.
Press Control+Shift+S (Windows) or Command+Shift+S (Macintosh) to save plug-in
settings.
Digidesign Plug-Ins Guide22
2 Choose Paste Settings from the Settings pop-
up menu.
Press Control+Shift+V (Windows) or Command+Shift+V (Macintosh) to paste plugin settings.
To create a custom User Default setting:
1 Create and save a setting.
2 Choose Set As User Default from the Settings
pop-up menu.
To make a plug-in default to your custom setting:
■ From the Settings pop-up menu, choose Set
Plug-In Default To > User Setting.
Editing Settings on Unlinked MultiMono Plug-ins
When a multi-mono plug-in is unlinked, importing, copying, pasting, or bypassing settings
affects only the currently selected channel.
To apply an operation to all channels of an
unlinked plug-in:
■ Hold down the Alt key (Windows) or Option
key (Macintosh) while performing the command.
Creating Subfolders for Settings
To make it easier to find specific types of settings, you can subdivide settings files by creating subfolders for them.
If you are using Reverb One, for example, you
may want to organize settings by room size. This
lets you keep your library well organized with
hierarchical menus for settings.
Librarian menu with subfolders for settings
To create a settings subfolder :
1 From the Settings pop-up menu, choose Save
Settings.
2 Click the New Folder button and type a name
for the subfolder.
3 Name the setting and click Save. The setting is
saved within the subfolder.
Chapter 2: Working with Real-Time Plug-Ins 23
Digidesign Plug-Ins Guide24
Loading...