Pinnacle Systems Pro Tools MIX - 5.1.3 Getting Started

Download

Getting Started

with MIX

Version 5.1.3 on Macintosh

Version 5.3.1 on Windows

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

This guide is copyrighted ©2002 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 932710142-00 REV A 06/02

contents

Chapter 1. Introduction

Pro Tools TDM Systems

System Requirements

Digidesign Registration

About the Pro Tools Guides

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Chapter 2. Macintosh Configuration

Installing Pro Tools Hardware

Installing Pro Tools Software

Checking Your TDM System and Launching Pro Tools

Configuring Pro Tools

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Chapter 3. Windows Configuration

Installing Pro Tools

Upgrading to Windows 2000 with IBM IntelliStation E Pro Model 6846

Configuring Your Computer

Installing Pro Tools Hardware

Installing Pro Tools Software

Checking Your TDM System and Launching Pro Tools

Launching Pro Tools the First Time

Configuring Pro Tools

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Contents

iii

Chapter 4. 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

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Chapter 5. Working with Pro Tools

Session Basics

Transport Controls

Navigating

Tracks

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Regions Lists

Importing Audio

Basic Recording

Editing

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Mixing

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Appendix A. Connecting SCSI Drives

SCSI Requirements

Connecting SCSI Drives

Quick Formatting a SCSI Drives

General Hard Drive Maintenance Information

Using Macintosh Drives on Windows Systems

Appendix B. DigiTest Error Codes

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Appendix C. Configuring OMS (Macintosh Only)

Appendix D. Digidesign Control Panel (Macintosh Only)

Getting Started with MIX

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Appendix E. Digidesign WaveDriver (Windows Only)

Introduction

Installing the WaveDriver

How to Change WaveDriver Settings

Installing DigiGain

Removing DigiGain

How to Use DigiGain

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Index

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Contents

Getting Started with MIX

chapter 1

Introduction

Welcome to Pro Tools|24 MIX!

Pro Tools|24 MIX and Pro Tools|24 audio cards and interfaces, together with Pro Tools software version 5.1.3 for Macintosh or 5.3.1 for Windows, provide 24-bit hard disk recording, editing, processing, mixing, and I/O capabilities to Pro Tools. This guide tells you how to install Pro Tools|24 MIX and Pro Tools|24 hardware and Pro Tools version 5.1.3 software on Macintosh and Pro Tools version 5.3.1 software on Windows platforms. System and installation tests are provided, as well as a chapter covering the basics of working with Pro Tools (designed for anyone who is new to Pro Tools).

Pro Tools TDM Systems

Pro Tools 5.1.3 for Macintosh and Pro Tools

5.3.1 for Windows support the following systems:

Pro Tools|24 MIX

A core system includes:

• MIX Core card

• Pro Tools software

• Digidesign audio interface (sold separately)

MIXplus

A MIXplus system includes:

• MIX Core card

• MIX Farm card

• Pro Tools software

• Digidesign audio interface (sold separately)

MIX

A MIX3 system includes

• MIX Core card

• Two MIX Farm cards

• Pro Tools software

• Digidesign audio interface (sold separately)

All Pro Tools|24 MIX systems provide:

• Up to 64 tracks of recording and playback of 24-bit and 16-bit audio ﬁles

• TDM digital mixing and DSP plug-in environment

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

• MIDI recording, playback and editing

Chapter 1: Introduction

Pro Tools|24

A core system includes:

• d24 Audio card

• DSP Farm card

• Pro Tools software

• Digidesign audio interface (sold separately)

A core Pro Tools|24 system provides:

• Up to 32 tracks of recording and playback of 24-bit and 16-bit audio ﬁles

• TDM digital mixing and DSP plug-in environment

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

• MIDI recording, playback and editing

Audio Interfaces

1622 I/O

◆

Analog: 1/4" TRS (balanced or unbalanced) connectors. Inputs are variable from +4 dBu to –10 dBV; outputs are selectable between +4 dBu or –10 dBV

◆

Digital: RCA (S/PDIF) connectors

Digidesign 24-Bit ADAT Bridge I/O and the Original ADAT Bridge I/O

◆

Analog: 1/4" TRS (balanced) connectors, +4 dBu or –10 dBV

Digital: XLR (AES/EBU) or RCA (S/PDIF) con-

◆

nectors

Optical: Two pairs of EIAJ ﬁber optic connec-

◆

tors

MIX systems do not support HD-series audio interfaces (such as the 96 I/O and the 192 I/O.

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

888|24 I/O

Analog: XLR (balanced or unbalanced) con-

◆

nectors, +4 dBu or –10 dBV

◆

Digital: XLR (AES/EBU) or RCA (S/PDIF) con-

nectors

882|20 I/O

◆

Analog: 1/4" TRS (balanced or unbalanced)

connectors, +4 dBu or –10 dBV

◆

Digital: RCA (S/PDIF) connectors

Getting Started with MIX

Pro Tools|24 MIX and Pro Tools|24 systems also support some older Digidesign audio interfaces, such as the 888 I/O and 882 I/O.

System Requirements

The CPU, hard disk, monitoring, and MIDI requirements for Pro Tools differ depending on your system configuration and computer platform (Macintosh or Windows). The requirements for each configuration are listed below.

Compatibility Information

• Three unused adjacent PCI slots for Pro Tools|24 MIX

• For higher track counts, 1 unused PCI card slot for a Digidesign-approved SCSI HBA.

• For expanded systems, the expansion chassis card takes the place of the Pro Tools card in the PCI slot and the Pro Tools card is placed in the chassis

• Apple System software version 9.1 or later

systems

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, and third-party devices, refer to the latest compatibility information on the Digidesign Web site:

www.digidesign.com

Computer Requirements

Macintosh

• A Digidesign-qualiﬁed Power Macintosh computer with:

• Minimum 256 MB RAM (Pro Tools application “Preferred” memory allocation set to 70 MB and DAE “Preferred” memory allocation set to 60 MB); virtual memory is not supported

• Additional RAM is highly recommended if you plan to use other applications concurrently with Pro Tools

• One unused PCI slot for Pro Tools|24 MIX systems

• Two unused adjacent PCI slots for Pro Tools|24 MIXplus systems and Pro Tools|24 systems

Mac OS X is not supported.

• System Utility software (included with Pro Tools):

• OMS (Open Music System) software version 2.3.8 or later

• Apple QuickTime System Extension version 4.1.2 or later

• ATTO ExpressPro-Tools version 2.3.2 or later

• Color monitor required, minimum resolution of 1024 x 768

• A Digidesign-qualiﬁed ﬂoppy drive, along with the appropriate driver software (included on the Pro Tools Installer CD-ROM) is required to authorize some plug-ins

The maximum number of Pro Tools|24 and Pro Tools|24 MIX cards supported in an expansion chassis is seven. However, there may be further restrictions depending on your operating system and the specific model of your expansion chassis. For more information, visit the Digidesign Web site at:

www.digidesign.com

Chapter 1: Introduction

Windows

• A Digidesign-qualiﬁed, single processor Pentium III, or Pentium 4-based (highly recommended) computer:

• Minimum 256 MB RAM (required for 64voice performance)

• Additional RAM is highly recommended if you plan to use other audio or MIDI applications concurrently with Pro Tools

• One unused PCI slot for Pro Tools|24 MIX systems

• Two unused adjacent PCI slots for Pro Tools|24 MIXplus systems and Pro Tools|24 systems

• Three unused adjacent PCI slots for Pro Tools|24 MIX

• For higher track counts, 1 unused PCI card slot for a Digidesign-approved SCSI HBA.

• For expanded systems, the expansion chassis card takes the place of the Pro Tools card in the PCI slot and the Pro Tools card is placed in the chassis

• VIA Apollo Pro133 chipset (for Pentium III)

Intel 860 or 850 chipset (for Pentium 4)

• Award BIOS

• A CD-ROM drive

• An AGP display card is strongly recommended

• Windows 2000 Professional Edition with Service Pack 2 or higher

• QuickTime 5 for Windows 2000

• Color monitor required, minimum resolution of 1024 x 768

• Additional RAM is highly recommended if you plan to use other applications concurrently with Pro Tools

systems

Hard Drive Requirements

Macintosh

For audio recording and storage, all Pro Tools TDM systems require one or more Digidesignqualified FireWire drives or SCSI drives attached to a qualified PCI SCSI HBA card.

To provide full 64-track, 24-bit, 48 kHz performance, a TDM system must include at least two Digidesign-qualified FireWire hard drives or SCSI hard drives attached to a qualified SCSI HBA (host bus adapter) card.

For 64-track sessions that have substantial edit densities (such as one edit every third of a second across 64 voices) or large amounts of crossfades, up to four FireWire or SCSI drives may be required, allocated with 16 tracks per drive and two drives per SCSI channel.

Dedicated internal IDE/ATA drives can provide 32-track performance to all TDM systems.

Refer to the Digidesign Web site for compatible hard drives and SCSI HBA cards:

www.digidesign.com

Older Power Macintosh Computers

Power Macintosh 9500 and 9600 computers have two SCSI busses: an internal fast SCSI bus and an external narrow SCSI bus. On these machines, sessions with higher track counts and high edit density require a SCSI HBA card. For optimum performance without a SCSI HBA card, use the internal fast SCSI bus.

For higher track counts on Power Macintosh 9500, 9600, and Beige G3 computers, avoid using the external narrow SCSI drive.

Getting Started with MIX

Windows

MIDI Requirements

For optimal audio recording and storage with your Pro Tools TDM system, use one or more Digidesign-qualified FireWire drives or SCSI drives attached to a qualified PCI SCSI HBA card or qualified built-in SCSI HBA connector on the motherboard. Drives should be initialized with Windows Disk Manager as NTFS or FAT32.

For optimal disk priming, set the cluster size to 32k using Windows Disk Manager or Partition Magic.

To provide full 64-track, 24-bit, 48 kHz performance, a TDM system must include at least two Digidesign-qualified FireWire or SCSI hard drives attached to a qualified SCSI HBA (host bus adapter) card.

For best 64-track, 24-bit performance, use 4 hard drives, with audio files distributed among them.

Both USB and serial MIDI interfaces work effectively with Pro Tools.

PCI-based serial expanders do not work with serial MIDI interfaces on Macintosh systems. Serial MIDI interfaces require a qualified modemto-serial port adapter. Refer to the Digidesign compatibility page for supported adapters:

www.digidesign.com

Digidesign Registration

Make sure to complete and return the registration card included with your Pro Tools TDM system. Registered users are entitled to one year of free technical support, and will receive periodic software updates and upgrade notices.

Pro Tools TDM systems can record and playback up to 32 tracks using ATA 100 (or higher) drives. Pro Tools TDM cannot record to or playback from the system drive.

Refer to the Digidesign Web site for compatible hard drives and SCSI HBA cards:

www.digidesign.com

Chapter 1: Introduction

About the Pro Tools Guides

The following symbols are used to highlight important information:

PDF versions of many Pro Tools guides are installed automatically with Pro Tools, several of which can be easily accessed from the Help menu in Pro Tools. Additional documentation, including important ReadMe files, can be found in Digidesign/Pro Tools/Release Notes & Documentation. To read the guide online, or print it, you must install Pro Tools Installer CD).

Acrobat Reader

(included on the

Conventions Used in This Guide

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

Convention Action

File > Save Session

Control+N While pressing the Control key,

Option-click While pressing the Option key,

Choose Save Session from the File menu

press the N key

click the mouse button

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 other Digidesign guides.

Right-click (Windows)

Getting Started with MIX

Click with the right mouse button

chapter 2

Macintosh Conﬁguration

To configure your Pro Tools|24 MIX or Pro Tools|24 system for Macintosh, you will need to install Pro Tools hardware and software, verify your TDM system, then launch Pro Tools.

Installing Pro Tools Hardware

Pro Tools TDM Cards

The number of Pro Tools TDM cards will differ depending on your system conﬁguration. Card components for each conﬁguration are listed below.

If you are using an Expansion Chassis to add additional cards to your system, refer to the

Expanded Systems Guide included with

your Pro Tools system.

Pro Tools|24 and Pro Tools|24 MIX Hardware

Pro Tools|24 and Pro Tools|24 MIX hardware comes in the following configurations:

Pro Tools|24 MIX

card and a 5-node TDM ribbon cable for connecting to other optional TDM-equipped cards.

Pro Tools|24 MIXplus

a MIX Farm card, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX Farm and other optional TDM-equipped cards.

Includes a single MIX Core

Includes a MIX Core card,

Pro Tools|24 MIX3

two MIX Farm cards, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX Farm and other optional TDM-equipped cards.

Pro Tools|24

Farm card, and a 5-node TDM ribbon cable for connecting them.

Includes a MIX Core card,

Includes a d24 audio card, a DSP

The MIX Core Card

The MIX Core card provides 24-bit, 64-track, 16channel I/O, direct-to-disk recording and playback to your Pro Tools 24 MIX system, as well as DSP power for its mixing and processing capabilities.

audio interface

port

DigiSerial port

MIX Core card

Chapter 2: Macintosh Conﬁguration

The Digi-Serial port is for connecting a Digidesign Universal Slave Driver (USD), or a 9-pin device for use with the Pro Tools MachineControl option.

The MIX Farm Card

The MIX Farm card provides more DSP power for mixing, processing, and DSP software such as the DigiRack plug-ins included with Pro Tools. It also provides a connector for attaching a single 888|24 I/O, 882|20 I/O, or 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O audio interface. If you purchase the optional 16-channel peripheral cable adapter, you can attach two 8-channel audio interfaces. The DigiSerial port is for connecting a Digidesign Universal Slave Driver (USD), or a 9pin device for use with the Pro Tools MachineControl option.

audio interface

port

DigiSerial port

MIX Farm card

The d24 Audio Card

The d24 audio card provides 24-bit, 32-track, 16channel I/O, direct-to-disk recording and playback capabilities to your Pro Tools 24 system. It also provides a connector for attaching a single 888/24 I/O, 882/20 I/O, or 1622 I/O Audio Interface. If you purchase the optional 16-channel peripheral cable adapter, you can attach two 8-

channel audio interfaces. The DigiSerial port is for connecting an optional Digidesign Universal Slave Driver, or a 9-pin device for use with the Pro Tools MachineControl option.

audio interface

port

DigiSerial port

d24 card

The DSP Farm

The DSP Farm provides the power for the Pro Tools 24 system’s mixing and processing capabilities. It powers DSP software such as the DigiRack plug-ins included with Pro Tools. It also provides a connector for attaching an 8-channel audio interface.

audio interface

port

DSP Farm card

The 1622 I/O Audio Interface is not supported by the DSP Farm. It must be connected to a MIX Core, MIX Farm, or d24 card. Only one 1622 I/O can be connected to any of these cards. The optional 16channel peripheral cable adapter is not supported by the 1622 I/O.

Getting Started with MIX

The TDM Ribbon Cable

The TDM ribbon cable is used to connect multiple cards in your Pro Tools system so they can share data along the TDM bus.

TDM Ribbon Cable

A 5-node cable comes with your system. If you plan to use your system with an expansion chassis, you can order a TDM cable with more nodes from your Digidesign dealer.

Installing the Pro Tools Cards

Install the Pro Tools cards:

Turn off your computer and any peripherals. Leave your computer’s power cable plugged in so the computer is grounded.

Open the computer case. The illustrations in this section show a Blue & White Macintosh G3 and a Macintosh 9600 computer. Even if you are using a different model, the installation should be similar. For additional details on installing a PCI card in your computer, refer to the computer’s documentation.

Install the MIX Core or d24 card (clock master with primary audio interface) in the lowest numbered slot in your computer.

Installing a Pro Tools card in a Macintosh G3

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

Remove the metal access port cover behind the expansion slot you want to use by removing the screw (if present) and sliding the cover out from the access port.

Installing a Pro Tools card in a Macintosh 9600

Install the remaining Digidesign cards in suc-

cessive slots.

Pro Tools cards must be installed in a specific order that is dependent on the slot numbering of the model of Macintosh you are using.

Chapter 2: Macintosh Conﬁguration

Group similar cards together (for example, put all MIX Farm cards next to each other).

If installing a SCSI HBA card, install it in the

highest numbered remaining slot.

Check Digidesign’s Compatibility Documents for a list of Digidesign approved computers and supported SCSI driver versions:

www.digidesign.com

For 9500 and 9600 computers, the SCSI HBA should reside before the video card.

Connect all TDM cards with the TDM ribbon cable:

Connect the ﬁrst node of the cable to the ﬁrst TDM card. Make sure the TDM cable is facing the right direction—align the white triangles on the cable plug with the triangle on the card.

Secure the cards in place with the slot access port screws you removed earlier and close your computer.

Connecting Audio Interfaces

Pro Tools provides you with a choice of the 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O interfaces. These devices supply the inputs and outputs for your system.

MIX systems do not support HD-series audio interfaces (such as the 96 I/O and the 192 I/O.

Pro Tools|24 MIX and Pro Tools|24 systems also support some older Digidesign audio interfaces: the 888 I/O and 882 I/O.

For instructions on connecting a 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O, see the ADAT Bridge I/O Installation Guide.

Attaching the TDM ribbon cable to MIX Core and MIX Farm cards

Push down gently but ﬁrmly until the node is fully connected to the card. When the plug is properly seated, the two tabs on the side of the cable’s TDM connector will click shut. To detach the ribbon cable, squeeze the tabs on the TDM connector inward.

Attach the remaining nodes on the TDM cable to subsequent cards.

It is OK to have ribbon connectors that go unused. They should reside after the last TDM card.

Getting Started with MIX

Connect the Pro Tools audio interfaces:

1 Connect the primary audio interface to the

primary MIX Core or d24 card with the provided interface cable. The primary audio interface functions as the clock master.

2 Connect additional audio interfaces to subse-

quent Digidesign audio cards.

If you are connecting both 888|24 and 882|20 or 1622 I/O Audio Interfaces to your system, for best system performance, connect the 888|24 to your MIX Core or d24 card, followed by any additional 888|24 interfaces to the next highestpriority cards (MIX Farm cards). Then connect the 882|20 or 1622 I/O interfaces to subsequent cards.

You can use Digidesign’s 16-channel peripheral cable adapter (optional) to connect two 8-channel audio interfaces to a single MIX Core, d24, or MIX Farm card.

to Audio Interface

cable

to Audio Interface

cable

to Pro Tools card

Optional 16-channel peripheral cable adapter

3 If using multiple audio interfaces, connect the

Slave Clock Out of the primary interface to the Slave Clock In of the second interface with the provided BNC cable. Connect the Slave Clock Out of the second interface to the Slave Clock In of the next audio interface (and so forth).

78563412785634125/6

ANALOG OUTPUT ANALOG INPUT AES/EBU OUTPUT AES/EBU INPUT

78563412785634125/6

ANALOG OUTPUT ANALOG INPUT AES/EBU OUTPUT AES/EBU INPUT

1234567812345678

7/8

ANALOG OUTPUTSANALOG INPUTS

OUT

1/2

3/4

1/2

3/4

SLAVE CLOCK

SLAVE CLOCKINS/PDIF

COMPUTER

5/6

1/2

7/8

3/4

S/PDIFINS/PDIF

SLAVE CLOCKINSLAVE CLOCK

OUT

COMPUTER

5/6

1/2

7/8

3/4

S/PDIFINS/PDIF

SLAVE CLOCKINSLAVE CLOCK

OUT

COMPUTER

OUT

S/PDIF

COMPUTER

OUT

Connecting multiple audio interfaces together

Installing Pro Tools Software

The complete Pro Tools software installation process includes:

• Preparing your Apple System software for Pro Tools

• Installing Pro Tools software

• Installing OMS

After software installation is completed, the first time you launch Pro Tools you will be prompted to enter your Pro Tools authorization code and configure hardware. Instructions for this begin in “Checking Your TDM System and Launching Pro Tools” on page 15.

If you haven’t already installed Pro Tools hardware, do so now. See “Installing Pro Tools Hardware” on page 7 for instructions.

Apple System Software Settings

To ensure optimum performance with Pro Tools, configure the Apple System software with the following settings for OS 9.1 or later.

Mac OS X is not supported.

To conﬁgure the Apple System software for optimum Pro Tools use:

1 In the Memory Control Panel do the follow-

ing:

• Set the Disk Cache to a Custom Setting of 512 K.

• Set Virtual Memory to Off.

• Set the Ram Disk to Off.

2 In the Energy Saver Control Panel, set the “in-

active” time to Never.

Chapter 2: Macintosh Conﬁguration 11

3 In the Appearance Control Panel do the fol-

lowing:

• Click the Fonts tab and set the Large System Font to Chicago. In addition, deselect “Smooth all fonts on screen.”

• Click the Sound tab and select None from the Sound Track pop-up menu.

4 In the Extensions Manager Control Panel do

the following:

• Choose Mac OS 9.1 Base (or Mac OS 9.2 Base, Mac OS 9.2.1, or Mac OS 9.2.2) from the Selected Set pop-up menu. This is done to avoid any potential extensions conﬂicts.

• Click Restart to restart your computer.

To install Pro Tools software:

1 Locate the Pro Tools Installer CD for Macin-

tosh and place it in your CD-ROM drive. Locate and double-click the ﬁle named “Install Pro Tools.”

2 Select the hard drive on which to install

Pro Tools from the Install Location pop-up menu. For maximum reliability, install Pro Tools on your startup drive.

DigiTranslator Enables the exchange of audio and video files, and sequences between OMFI-compatible applications and Pro Tools.

For more information on DigiTranslator, see the DigiTranslator Guide.

Procrastinator Add this item if you have a Pro Tools|24 MIX system and one or more DSP Farm cards and you want to use the Procrastina-

™

tor

extended delay plug-in. This is useful if you plan to open old sessions that use the Procrastinator Plug-In. (Do not select this item if you have a Pro Tools|24 system—Procrastinator is automatically installed for you.)

Machine Control Users Guide Install this document if you also use Digidesign’s MachineControl option for Pro Tools.

5 After selecting from the above options, click

Install.

6 Select an initial set of Pro Tools Preferences.

These Preference “sets” have been pre-conﬁgured to include some of the more popular settings for post production, audio, and audio with MIDI. After selecting a setting, click Continue.

3 Select the appropriate installer for your

Digidesign hardware: Pro Tools|24 MIX, or Pro Tools|24.

4 Several optional items are listed directly below

the main installation choices. To install any of these items, select them from the list:

Digidesign Control Panel Add this item if you want to use your Digidesign hardware with Sound Manager-compatible applications. For more information, see Appendix D, “Digidesign Control Panel (Macintosh Only).”

Getting Started with MIX12

Selecting a Pro Tools Preference

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

7 For Pro Tools|24 MIX systems, you are

prompted to install the Surround Mixer plug-in. This plug-in is required for mixing, mastering, and monitoring in surround. Select Yes to install Surround Mixer, or No for stereo, then click Continue.

Installing Surround Mixer

8 If you installed Surround Mixer in the previ-

ous step, the Installer prompts you to select a Surround Monitor Format. Select Standard Pro Tools if your monitoring is conﬁgured for Film Format, or select ProControl for DTS Format, then click Install.

Allocating Additional Memory to Pro Tools and DAE

Digidesign strongly recommends allocating additional RAM to both the Pro Tools and DAE applications.

To allocate additional memory to Pro Tools:

1 If Pro Tools is currently running, Quit

Pro Tools.

2 In the Finder, choose About This Computer

from the Apple menu.

3 If you have 3 megabytes 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 megabytes of free memory (3,000k), stop here: Do not allocate additional memory to Pro Tools unless you install additional RAM in your computer.

4 Locate the Pro Tools application on your hard

drive, select it, and choose Get Info from the Finder’s File menu.

5 Choose Memory from the Show pop-up

menu.

Selecting a Surround Monitor Format

9 When installation is complete, click Restart

(to restart your computer), then install OMS.

6 Enter the desired amount of memory above the

minimum requirement in the Preferred Size ﬁeld.

For example, if the Preferred Size ﬁeld currently says “30410k” and you wish to allocate an additional 60 megabytes of memory (1 megabyte equals 1024 kilobytes), enter “90410” into the Preferred Size ﬁeld.

7 Close the Get Info dialog.

The next time you start Pro Tools, it will use this new memory allocation.

Chapter 2: Macintosh Conﬁguration 13

To allocate additional memory to DAE:

1 Start Pro Tools so that DAE can calculate its

basic memory allocation.

2 Go to the Finder and choose About This Com-

puter from the Apple menu.

3 If you have 3 megabytes 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 megabytes of free memory (3,000k), stop here: Do not allocate additional memory to DAE unless you install additional RAM in your computer.

4 Quit Pro Tools.

5 Open the DAE folder inside your System

Folder, select DAE, 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 “30410k” and you wish to allocate an additional 30 megabytes of memory (1 megabyte equals 1024 kilobytes), enter “60410” into the Preferred Size ﬁeld.

Installing OMS

To use Pro Tools you must first install and configure the Open Music System (OMS). OMS, which is included on the Pro Tools Installer CD, has the following capabilities:

• Keeps track of which MIDI devices you are us-

ing, how they are connected, and which patches they are using

• Enables MIDI hardware to communicate with

your music applications

• Provides timing services and inter-application

communication

OMS stores a description of your MIDI studio in

Studio Setup documents, which are edited in the OMS Setup application. Once OMS is conﬁgured,

your music applications know which MIDI devices you are using by referencing the current Studio Setup document.

To install OMS:

1 Insert the Pro Tools Installer CD in your CD-

ROM drive.

2 Open the OMS Installer folder and double-

click the Installer.

8 Close the Get Info dialog.

The next time you start Pro Tools, DAE will use this new memory allocation.

Getting Started with MIX14

3 At the Install window, select the Easy Install

option, and set the Install Location to your Startup hard drive. Click Install.

4 Follow the on-screen installation instructions.

5 When the installation is complete, restart

your Macintosh.

If you are a first-time OMS user, see Appendix C, “Configuring OMS (Macintosh Only)” for more information.

Checking Your TDM System and Launching Pro Tools

We strongly urge you to launch the DigiTest diagnostics application before your initial launch to Pro Tools. Doing so ensures that you have all cards recognized in the system, in the proper order, and with valid TDM ribbon cable connections.

DigiTest is located in the Digidesign Utilities folder (see “Running DigiTest” on page 15).

When DigiTest has completed, restart your computer, then launch Pro Tools for the first time.

5 Turn on any MIDI interfaces and devices, or

synchronization peripherals.

6 Turn on your Pro Tools audio interfaces (such

as 888|24 I/O). On power up, the status LEDs will ﬂash. Wait at least ﬁfteen seconds for the audio interface to initialize, and the status LEDs to stop blinking and stay lit.

If you launch Pro Tools without turning on your audio interfaces, you will be prompted to turn them on. Allow fifteen seconds for audio interfaces to power-up and the status LEDs to stop blinking and stay lit, before clicking OK.

7 Turn on your computer.

You should also run DigiTest after making any changes to your hardware setup (such as adding or removing cards, adding or removing audio interfaces, adding or removing synchronization cables, and so on) to verify that your system is correctly configured and functioning properly. After running DigiTest, restart your computer.

Starting Up Your System

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

Start your Pro Tools System in this order:

1 Make sure all your equipment (including your

CPU) is off.

2 For TDM systems with an expansion chassis,

turn on the expansion chassis.

3 Turn on external hard drives, if any. Wait ap-

proximately ten seconds for them to spin up to speed.

Running DigiTest

Run the DigiTest diagnostics application to identify TDM cards and verify that they are correctly installed and working.

DigiTest is included on the Pro Tools Installer CD and installed with Pro Tools. DigiTest resides in the Digidesign Utilities folder located on your hard drive, under Digidesign/Pro Tools/Pro Tools Utilities.

Before you run DigiTest, lower the volume of your monitoring system and all output devices. Additionally, be sure to remove your headphones. Very loud digital noise may be emitted during the test.

To run DigiTest:

1 From the Digidesign Utilities folder, double-

click the DigiTest application program. DigiTest opens and lists the supported cards it ﬁnds in your system in their corresponding slot location.

4 Lower the volume of all output devices, then

turn on your Pro Tools audio interfaces.

Chapter 2: Macintosh Conﬁguration 15

If you have several TDM cards and connected MIX-series I/Os, it may take awhile for the main DigiTest screen to appear. This is due to the test scanning for all cards and I/Os connected to the system.

DigiTest window

If a supported card is installed and not listed, check card seating and TDM FlexCable connection. Close DigiTest, power down your system, and reinstall the cards (see “Installing the Pro Tools Cards” on page 9). After power up, begin DigiTest again.

4 From the DigiTest window, click Run.

If you haven’t done so already, turn down your speakers before running DigiTest. Additionally, be sure to remove your headphones.

DigiTest begins by checking the arrangement of your cards. If cards are installed in the correct order, DigiTest will automatically continue with the next step and check card functionality.

If cards are not installed in the proper order, DigiTest will stop, inform you that the system is misconfigured, and display error codes in the status box of each card identified as being misconfigured.

The more cards in your system, the longer the test will take. Furthermore, the more I/Os connected to the system, the longer it takes.

For descriptions of error codes, refer to Appendix B, “DigiTest Error Codes.” For test details, click the Info button to the right of the reported error, then click Failures in the pop-up window and change Failures to Detailed.

Refer to the Digidesign Web site for compatibility information:

www.digidesign.com/compato/

2 From the SlotArrangement menu, select your

computer. The number of computer card slots updates in the main window to reﬂect your computer model.

When you select a computer type, a second window also opens and displays the lowest slot in your computer.

3 If using an expansion chassis, select it from

the SlotArrangement menu.The number of Expansion Chassis card slots updates in the main window to reﬂect your chassis type.

Getting Started with MIX16

Make sure you quit and power down your system, before reconfiguring your cards.

5 After checking card arrangement, DigiTest

checks card functionality. The Status box for each tested card will indicate Passed or Failed.

DigiTest only reports valid test results for slots which contain Digidesign cards.

6 If all the Digidesign cards pass, quit DigiTest

and restart your computer.

– or –

If any cards fail, you can review test details by clicking the Info button for the corresponding card and slot. Following review, you will need to quit DigiTest, power down your system, and reinstall your cards. Verify proper card seating and TDM ribbon cable connection. (See “Installing Pro Tools Hardware” on page 7.)

If a card continues to fail DigiTest, contact Digidesign Technical Support:

tel: 650·731·6100

fax: 650·731·6384

The authorization code is located on the inside cover of this guide. Again, be sure to include any spaces in the authorization code.

Congratulations! Pro Tools is launched. When Pro Tools is launched for the first time only the menus will appear. To see Edit and Mix windows, a new session must be created. But before you begin working with Pro Tools, you should get acquainted with Pro Tools system settings, described in the following section.

Conﬁguring Pro Tools

Conﬁguring the Playback Engine

Launching Pro Tools the First Time

Validate Pro Tools Software

When launching Pro Tools the ﬁrst time, you are prompted to enter an authorization code to validate your software.

To validate Pro Tools software:

1 Double-click the Pro Tools application in the

Pro Tools folder inside the Digidesign folder.

2 If OMS was not previously conﬁgured, you

will be prompted to conﬁgure a New Studio Setup. For speciﬁc steps, see Appendix C, “Conﬁguring OMS (Macintosh Only).”

3 Enter the authorization code in the dialog

when prompted, making sure to observe any spaces, then click Validate.

Authorization code validation for Pro Tools

The Playback Engine sets the voice count (and voiceable tracks) for your system, and its sessions. Additionally, it lets you customize various System Usage parameters (such as buffers and CPU Usage).

To conﬁgure the Playback Engine:

1 Choose Setups > Playback Engine.

Playback Engine dialog for Pro Tools TDM system

Selecting Setups > Playback Engine when a Pro Tools session is currently open will automatically save, close, and reopen the session.

Chapter 2: Macintosh Conﬁguration 17

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

audio buffer size, in samples, for host processing tasks such as Real-Time AudioSuite (RTAS) plugin processing. The default setting is 512 samples. Select a higher setting if you need more buffer time for RTAS, TDM, and Direct Connect applications.

3 From the CPU Usage Limit pop-up, select the

maximum percentage of CPU resources to allocate to host processing tasks. The default setting is 40%. Select a higher setting if you need more host processing power for RTAS, TDM, and Direct Connect applications.

Increasing the CPU Usage Limit may slow down screen responses.

4 From the Playback Engine area, select the

amount of voices (and voiceable tracks), for your sessions. The default number of voices on a Pro Tools|24 MIX system is 32 voices (at the default 48 kHz sample rate).

Changing the number of voices, along with sample rate, affects DSP usage and your system performance. Please read the following carefully.

Depending on the current sample rate, and the number of MIX Core and Farm cards in your system, you will have different choices available. For example, each MIX card allows you to use one or two of its DSPs per card for voicing.

Most DSP amounts support three levels of voice numbers:

• Select higher voice numbers when your cards are in your machine, and you aren’t running extra PCI cards which may conﬂict with Digidesign cards. You should also select higher voice numbers when using a chassis to run higher track counts at higher sample rates (such as 64 tracks at 48 kHz) and you want more voices.

• Select medium voice numbers when running cards in an expansion chassis, or when using other PCI cards along with Digidesign cards.

• Select minimum voice numbers if you are running high bandwidth PCI cards (such as video capture).

For voice limits on different MIX systems, refer to the Pro Tools Reference Guide.

5 From the Sample Rate pop-up, select the ses-

sion sample rate.

Session sample rate can always be set in the Create a New Session dialog. (See the

Pro Tools Reference Guide.)

6 Click OK, when ﬁnished.

Getting Started with MIX18

Conﬁguring the DAE Playback Buffer

The DAE Playback Buffer Size determines the amount of memory allocated within DAE to manage disk buffers, which affects system performance.

Though DAE automatically selects the optimal playback buffer size for your system, you may want to adjust this parameter to modify your system’s performance:

◆ Allocating a larger buffer size can sometimes

allow for a higher density of edits. This can be useful if you experience system performance problems in sessions with a large number of edits in rapid succession. However, choosing a larger buffer size can cause a time lag to occur before playback or recording begins. It can also cause a time lag to occur when you are editing during playback.

◆ Allocating a smaller buffer size can sometimes

improve playback/recording initiation speed. This can be useful if you are experiencing a time lag when you initiate playback/recording. However, choosing a smaller buffer size can make it difﬁcult for slower hard drives to play or record tracks reliably.

To Conﬁgure the DAE Playback Buffer Size:

1 Launch DAE. If Pro Tools is already running,

switch to the DAE application.

2 Choose File > Set Playback Buffer Size.

DAE Playback Buffer Size dialog

3 Select the desired playback buffer size.

4 Click OK.

Chapter 2: Macintosh Conﬁguration 19

Conﬁguring Hardware Setup

Conﬁguring I/O Setup

The Pro Tools Hardware Setup dialog (Setups > Hardware) provides the same Interface Options as the Playback Engine dialog. Clicking the Other Options button will open a dialog specific to the audio interface (for example the Other Options dialog for the 882|20 I/O provides controls for the Output Line Level, Input Line Level, and S\PDIF Compatibility).

The I/O Setup dialog lets you label and map Pro Tools input, output, insert, and bus signal paths. The I/O Setup dialog provides a graphical representation of the signal routing for each connected audio interface. Each I/O attached to your system is displayed, with controls to route physical ports to Pro Tools inputs and outputs. If you have a Sample Cell card installed in your TDM system, you can also configure its routings with Pro Tools in the I/O Setup dialog.

Pro Tools ships 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.

To conﬁgure I/O routing in I/O Setup:

1 Choose Setups > I/O Setups in Pro Tools.

2 Map and name paths as desired.

3 If necessary, redeﬁne formats for I/O channels

of any peripherals.

Hardware Setup dialog for 882|20 I/O

For more information on Hardware Setup parameters for each I/O, refer to the peripheral’s

guide (for example the Digidesign

882|20 I/O Audio Interface Installation Guide).

Getting Started with MIX20

I/O Setup dialog for 882|20 I/O, Output page

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

chapter 3

Windows Conﬁguration

To configure your Pro Tools|24 MIX or Pro Tools|24 system for Windows, you will need to install Pro Tools hardware and software, verify your TDM system, then launch Pro Tools.

Installing Pro Tools

The complete Pro Tools software installation process includes:

• Upgrading to Windows 2000 Professional Edition

• Conﬁguring your computer

• Installing Pro Tools hardware

• Installing Pro Tools software

After hardware and software installation is completed, the first time you launch Pro Tools you will be prompted to enter your Pro Tools authorization code and configure hardware.

Upgrading to Windows 2000 with IBM IntelliStation E Pro Model 6846

If you are using IBM’s IntelliStation E Pro Model 6946 and downgraded from Windows 2000 to Windows NT (to be compatible with Pro Tools

5.0.1), you will need to recover Windows 2000 (to be compatible with Pro Tools 5.3.1).

Make sure you back up important files before recovering Windows 2000.

To recover Windows 2000:

1 If you have an IDE boot drive, you must dis-

able “Onboard SCSI” in your BIOS before starting the recovery process, as follows:

• Access “Devices and I/O Ports.”

• Set “Onboard SCSI” to disabled.

When you have completed the following recovery steps fully, you can re-enable “Onboard SCSI.”

2 Start or restart your computer.

3 Press F11 during the message, “To start the

IBM product recovery program, press F11.” This message appears brieﬂy, so you will need to be quick. If you miss it, allow the E Pro to boot into Windows and restart again.

4 Select Full Recovery of Windows 2000 in the

“IBM Product Recovery Program.”

Chapter 3: Windows Conﬁguration 21

5 Follow the on-screen instructions. You will be

warned that the recovery process will erase everything on that drive. The recovery process takes about 40 minutes.

6 You now have Windows 2000. Proceed to con-

ﬁguring your computer.

Conﬁguring Your Computer

To ensure optimum performance with Pro Tools, configure your computer before installing the Pro Tools software.

Conﬁguring Your 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 more details.

Different BIOS manufacturers often use different names to describe the same system function. Some manufacturers do not provide a particular configuration option at all. Consequently, the names and options that appear in your computer’s BIOS may differ from those described in this guide.

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 in case of trouble. See your Windows User’s Guide for details.

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

There are ﬁve parts to conﬁguring your computer :

1 Conﬁguring your BIOS

2 Conﬁguring your SCSI BIOS

3 Installing the SCSI drivers

4 Setting Application Response

5 Disable Driver Signing warning

To modify your computer’s BIOS:

1 Start or restart your computer.

2 During power up, enter BIOS Setup by press-

ing the appropriate key on your computer keyboard. On most computers, this is F1, F2, or the Delete key. Refer to the documentation that came with your computer.

3 Disable PCI Parity, if present.

4 Enable SCSI support, if your computer is

equipped with built-in SCSI hardware. 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 using a SCSI host adapter card instead, you do not need to set this setting.

5 Disable Power Management, if present.

6 Enable PCI Dynamic Bursting, if present.

7 Enable PCI Master 0 WS Write, if present.

8 Disable PCI Delay Transaction, if present.

9 Disable PCI#2 Access #1 Retry, if present.

10 Save settings.

Getting Started with MIX22

11 Exit BIOS setup and restart your computer.

Flashing the SCSI ROM

These BIOS settings are not applicable to the Compaq Evo W8000 and the IBM Intellistation M Pro 6850.

Conﬁguring Your SCSI BIOS

In addition to configuring your BIOS, you must also modify the settings of your built-in SCSI hardware or SCSI adapter card. This allows SCSI hard drives to work properly with Pro Tools. This procedure varies on different computers. Consult your computer’s User Guide.

To modify your computer’s SCSI BIOS:

1 Start your computer. If your computer is al-

ready on, restart it.

2 During power up, when the text message re-

garding the SCSI BIOS appears, press the key combination listed on the screen to enter the SCSI BIOS. The SCSI BIOS setup utility appears.

3 Consult your SCSI host bus adapter’s User

Guide to set the following parameters:

• Maximum Sync Transfer Rate parameter to 20 MB/sec for each SCSI ID and SCSI channel connected to your audio drives.

• If you are using an ATTO HBA, change the PCI Burst Size to 32 Bytes.

• If you are using an Adaptec HBA, enable the Host Adapter BIOS option.

4 Save these settings.

5 Exit SCSI BIOS setup and restart your com-

puter.

When booting your computer, you will see what version of the ATTO SCSI BIOS is installed on the ROM of the SCSI card. If it is not version

1.66, you will need to ﬂash the SCSI ROM with the ATTO SCSI BIOS 1.66. After you have updated the ATTO SCSI BIOS to 1.66, you will need to update the drivers to version 1.66 as well.

Flashing the ROM on the SCSI card using the ATTO SCSI BIOS:

1 Insert a High Density PC formatted ﬂoppy

disk.

2 Copy the DOS folder from the ATTO folder on

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

3 Shut Down your computer.

4 Disconnect any hard drives connected to the

SCSI card.

5 Boot your computer with the ﬂoppy disk in

the ﬂoppy drive.

6 Press Ctrl+Z when prompted.

7 Press Enter.

8 Select Adapter Menu.

9 Select Update Flash ROM.

10 Press Enter twice.

The SCSI ROM will be updated. This may take a few minutes.

11 Select Conﬁgure Adapter Channels.

12 Set Host Adapter BIOS to Disabled.

13 Press the Esc key twice.

14 Select Save Parameters and Exit, and press

Enter.

Chapter 3: Windows Conﬁguration 23

Installing the Adaptec SCSI Drivers

Pro Tools requires the use of SCSI host adapters and SCSI drives. For Pro Tools to run at maximum efficiency with these devices, install the Digidesign approved SCSI driver (ATTO or Adaptec, depending on the card you are using).

Check Digidesign’s Compatibility Documents for a list of Digidesign approved computers and supported SCSI driver versions:

www.digidesign.com

The full name of the Adaptec drivers for the IBM M Pro is:

■ Adaptec

AHA290/291/294x/394x/4944/AIC78xx

If you need to install the Adaptec driver, consult the driver manufacturer’s documentation.

The full name of the ATTO driver is:

■ ATTO ExpressPCI

Installing the ATTO SCSI Drivers

To install the Windows device driver:

1 Start up your computer. Note the version of

the ATTO SCSI BIOS when booting. If it is not version 1.66, you will need to ﬂash you SCSI ROM before continuing (see “Flashing the SCSI ROM” on page 23).

2 Insert the Pro Tools Installer CD-ROM.

3 Launch the System Control Panel.

4 Select the Hardware tab.

5 Click Device Manager.

6 Select SCSI and RAID controllers.

7 Double-click the Symbios Logic PCI SCSI

Adapter.

9 Click Update Driver and click Next.

10 Select “Search for a suitable driver for my de-

vice” and click Next.

11 Select “Specify a location” and click Next.

12 Click Browse and navigate to the ATTO

folder on the Pro Tools Installer CD-ROM.

13 Select EXPRESS.INF and click Open.

14 Click OK.

15 Select Install one of the other drivers and

click Next.

16 Select ExpressPCI Adapter and click Next.

17 Click Finish.

18 Click Close.

19 If you have a dual-channel SCSI card, repeat

steps 7–18 for the second channel.

20 Click OK.

Setting Application Response

The final step in configuring your computer is setting your system’s Application Response parameter.

To conﬁgure Application Response:

1 From the Start Menu, choose Settings > Con-

trol Panel.

2 Double-click on System.

3 Click the Advanced tab.

4 Click Performance Options.

5 Under Application Response select Back-

ground Services.

6 Click OK, twice.

8 Select the Driver tab.

Getting Started with MIX24

Disable Driver Signing Warning

Before you begin to physically install your Pro Tools cards, temporarily disable the Driver Signing warning option. This expedites and automates much of the installation process. If you do not temporarily disable the warning, warning messages (that you are installing an unsigned driver) appear after each DSP chip during the detecting Pro Tools phase of installation.

To disable the warning option:

1 Turn on your computer.

2 Right-click the My Computer icon located on

your Windows desktop.

Installing Pro Tools Hardware

Pro Tools TDM Cards

The number of Pro Tools TDM cards will differ depending on your system conﬁguration. Card components for each conﬁguration are listed below.

If you are using an Expansion Chassis to add additional cards to your system, refer to the

Expanded Systems Guide included with

your Pro Tools system.

Pro Tools MIX-Series Hardware

3 Choose Properties.

4 Select the Hardware Tab.

5 In the Device Manager section of the dialog

box that appears, click the Driver Signing button.

6 In Driver Signing Options, select “Ignore – In-

stall All Files Regardless Of File Signature.”

7 Click OK twice.

8 Turn your computer off.

9 Proceed with physically installing your

Pro Tools cards.

Disable Virus-Protection Software

If you are using virus-protection software, turn it off or remove it and restart your computer. Avoid running virus-protection software while using Pro Tools since it adversely affects system performance.

Pro Tools MIX-series hardware comes in three conﬁgurations:

Pro Tools 24 MIX Includes a single MIX Core card and a 5-node TDM ribbon cable for connecting to other optional TDM-equipped cards.

Pro Tools 24 MIXplus Includes a MIX Core card, a MIX Farm card, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX Farm and other optional TDM-equipped cards.

Pro Tools MIX

MIX Farm cards, and a 5-node TDM ribbon cable for connecting the MIX Core to the MIX Farm cards and other optional TDM-equipped cards.

Includes a MIX Core card, two

Chapter 3: Windows Conﬁguration 25

The MIX Core Card

The MIX Core card provides 24-bit, 64-track, 16channel I/O, direct-to-disk recording and playback to your Pro Tool MIX-series system, as well as DSP power for its mixing and processing capabilities.

terfaces. The DigiSerial port is for connecting a Digidesign Universal Slave Driver, or a 9-pin device for use with the Pro Tools MachineControl option.

audio interface port

audio interface

DigiSerial

port

DigiSerial port

MIX Core card

This card includes a connector for attaching a single 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O audio interface. If you purchase the optional 16-channel peripheral cable adapter, you can attach two 8-channel audio interfaces. The Digi-Serial port is for connecting a Digidesign Universal Slave Driver (USD), or a 9-pin device for use with the Pro Tools MachineControl option.

If you are using more than one MIX Core card in your system, the last MIX Core card will function as the master. Consequently, the primary audio interface must be connected to the last MIX Core card rather than the first.

The MIX Farm Card

The MIX Farm card provides more DSP power for mixing, processing, and DSP software such as the DigiRack plug-ins included with Pro Tools. It also provides a connector for attaching a single 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O audio interface. If you purchase the optional 16-channel peripheral cable adapter, you can attach two 8-channel audio in-

DigiSerial

audio interface

port

DigiSerial port

MIX Farm card

The d24 Audio Card

The d24 audio card provides 24-bit, 32-track, 16channel I/O, direct-to-disk recording and playback capabilities to your Pro Tools 24 system. It also provides a connector for attaching a single 888/24 I/O, 882/20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O audio interface. If you purchase the optional 16channel peripheral cable adapter, you can attach two 8-channel audio interfaces. The DigiSerial port is for connecting an optional Digidesign Universal Slave Driver, or a 9-pin device for use with the Pro Tools MachineControl option.

audio interface

port

DigiSerial port

d24 card

Getting Started with MIX26

The DSP Farm

Installing Pro Tools Cards

audio interface

port

DSP Farm card

The TDM Ribbon Cable

The TDM ribbon cable is used to connect multiple cards in your Pro Tools system so they can share data along the TDM bus.

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 Open the computer case. For additional de-

tails on installing a card in your computer, refer to its User’s Guide.

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

3 Remove the metal access port cover behind

the expansion slot you want to use by removing the screw (if present) and sliding the cover out from the access port.

4 If installing a SCSI HBA card, install it in the

lowest or highest PCI slot in your computer.

5 Install the MIX Core or d24 card (clock master

with primary audio interface) in the next available slot.

6 Install the remaining TDM cards in slots adja-

cent to the MIX Core or d24 card.

Group similar cards together (put all MIX Farm cards next to each other, for example).

TDM Ribbon Cable

A 5-node cable comes with your system. If you plan to use your system with an expansion chassis, you can order a TDM cable with more nodes from your Digidesign dealer.

7 If installing a SCSI HBA card, install it in the

highest numbered remaining slot.

Chapter 3: Windows Conﬁguration 27

Connect all TDM cards with the TDM ribbon cable:

1 Connect the ﬁrst node of the cable to the ﬁrst

TDM card. Make sure the TDM cable is facing the right direction—align the white triangles on the cable plug with the triangle on the card.

Attaching the TDM ribbon cable to MIX Core and MIX Farm cards

Connecting Audio Interfaces

Pro Tools provides you with a choice of the 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, or the original ADAT Bridge I/O audio interfaces. These devices supply the inputs and outputs for your system.

MIX systems do not support HD-series audio interfaces (such as the 96 I/O and the 192 I/O.

Pro Tools|24 MIX and Pro Tools|24 systems also support some older Digidesign audio interfaces: the 888 I/O and 882 I/O.

2 Push down gently but ﬁrmly until the node is

fully connected to the card. When the plug is properly seated, the two tabs on the side of the cable’s TDM connector click shut. To detach the ribbon cable, squeeze the tabs on the TDM connector inward.

3 Attach the remaining nodes on the TDM cable

to subsequent cards.

It is OK to have ribbon connectors that go unused. They should reside after the last TDM card.

4 Secure the cards in place with the slot access

port screws you removed earlier and close your computer.

The IBM Intellistation M Pro 6850 may not boot after updating the BIOS or changing the order of Pro Tools cards. Should this problem occur, remove all plug and play cards and you will be able to boot Windows, then shut down and re-install the cards. You should now be able to boot Windows.

For instructions on connecting a 24-Bit ADAT Bridge I/O or the original ADAT Bridge I/O, see the ADAT Bridge I/O Installation Guide.

Connect the Pro Tools audio interfaces:

1 Connect the primary audio interface to the

Mix Core or d24 card with the provided interface cable. The primary audio interface functions as the clock master.

2 Connect additional audio interfaces to subse-

quent Digidesign audio cards.

If you are connecting both 888|24 and 882|20 or 1622 I/O Audio Interfaces to your system, for best system performance, connect the 888|24 to the Mix Core or d24 card, followed by any additional 888|24 interfaces to the next highest-priority cards. Then connect the 882|20 or 1622 I/O interfaces to subsequent cards.

Getting Started with MIX28

You can use Digidesign’s 16-channel peripheral cable adapter (optional) to connect two 8-channel audio interfaces to a single MIX Core, d24, or MIX Farm card.

to Audio Interface

cable

to Audio Interface

cable

to Pro Tools

to Pro Tools card

card

Installing Pro Tools Software

To install Pro Tools software:

1 Turn on your computer.

2 Start up Windows, logging in with Adminis-

trator privileges. If you do not have Administrator privileges or do not know how to set them up, see your Windows User’s Guide.

3 Wait for the Found New Hardware Wizard di-

alog to appear and leave it open.

Optional 16-channel peripheral cable adapter

3 If using multiple audio interfaces, connect the

78563412785634125/6

ANALOG OUTPUT ANALOG INPUT AES/EBU OUTPUT AES/EBU INPUT

78563412785634125/6

ANALOG OUTPUT ANALOG INPUT AES/EBU OUTPUT AES/EBU INPUT

1234567812345678

7/8

ANALOG OUTPUTSANALOG INPUTS

OUT

1/2

3/4

1/2

3/4

SLAVE CLOCK

SLAVE CLOCKINS/PDIF

COMPUTER

5/6

1/2

7/8

3/4

S/PDIFINS/PDIF

SLAVE CLOCKINSLAVE CLOCK

OUT

COMPUTER

5/6

1/2

7/8

3/4

S/PDIFINS/PDIF

SLAVE CLOCKINSLAVE CLOCK

OUT

COMPUTER

OUT

S/PDIF

COMPUTER

OUT

Connecting multiple audio interfaces together

4 Place the Pro Tools Installer CD-ROM for Win-

dows in your CD-ROM drive. Locate (in the Pro Tools Installer folder) and double-click the blue icon named “Setup.”

5 Click Next.

6 Click OK to accept the License Agreement.

7 Select the hard drive on which to install

Pro Tools from the Install pop-up menu. For maximum reliability, install Pro Tools on your startup drive. Click Next.

8 Select Pro Tools|24 MIX or Pro Tools|24 for the

Digidesign Audio Hardware installation. Click Next.

Selecting Pro Tools|24 MIX or Pro Tools|24 installation

Chapter 3: Windows Conﬁguration 29

9 We recommend you choose the Typical Install

option. However, if you Custom Install, the next window will ask you to choose the options you want to install. To install any of these items, select them from the following list:

Program Files This component contains the Pro Tools executable and all support DLLs.

Plug-Ins This component contains the core plugins. These ﬁles are required by Pro Tools.

Controllers This component contains the Pro Tools Control Surface Personalities.

Documentation This component contains Pro Tools documentation and release notes.

System Files This component contains Digidesign System Files. These ﬁles are required by Pro Tools.

Pro Tools Utilities This component contains the DigiTest utility and calibration test tones.

Codecs This component contains the Pro Tools Audio Codecs: MP3, RealAudio, and Windows Media.

11 Select a “work environment.” This is an ini-

tial set of Pro Tools Preferences. These Preference “sets” have been pre-conﬁgured to include some of the more popular settings for post production, audio, and audio with MIDI. Click Next.

Selecting a Pro Tools Work Environment

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

ence Guide

for more information about Pref-

Pro Tools Refer-

erences.

DigiTranslator Enables the exchange of audio and video files, and sequences between OMFI-compatible applications and Pro Tools.

For more information on DigiTranslator, see the DigiTranslator Guide.

Answerbase This component contains standalone Pro Tools multi-lingual information databases. Note that these ﬁles require approximately 37 MB of disk space.

MacOpener is included on the Pro Tools installer CD-ROM disk and requires a separate installation process.

10 Click Next.

Getting Started with MIX30

12 Select whether to install the Surround Mixer

plug-in. This plug-in is required for mixing, mastering, and monitoring in surround. For Surround systems, select Yes – Monitoring Pro Tools Film Format if your monitoring is conﬁgured for Film Format, or select Yes – Monitoring in ProControl (DTS Format) if using a ProControl dedicated controller. Select No – Stereo mixing only, if your monitoring is conﬁgured for Stereo. After making a selection, click Next.

Installing QuickTime

QuickTime 5 is required for Pro Tools. Install the latest version of QuickTime for Windows (available on the Pro Tools TDM 5.3.1 CD-ROM or from www.apple.com). Be sure to install the “Recommended” install of QuickTime or Pro Tools will not handle QuickTime video correctly.

Using MIDI

Pro Tools in Windows uses your Multimedia Setup to configure MIDI devices and their properties. Refer to your device’s installation and usage documentation to properly configure the device.

Checking Your TDM System and Launching Pro Tools

Selecting a Pro Tools Surround Mixer

13 Wait for the installer to ﬁnish installing all

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

14 If QuickTime is not already installed, you

will be prompted to install the “Recommended” QuickTime installer option now (see “Installing QuickTime” on page 31). Follow the on-screen instructions to complete the QuickTime installation process.

15 When installation is complete, click Finish to

restart your computer.

If you do not follow the steps above or if you cancel any of the steps, your computer may not recognize your Pro Tools cards and you may receive the error message, “Cannot Create DAE Deck.” To resolve this error message, see “Cannot Create DAE Deck Or Error Number 4” on page 33.

Before you launch Pro Tools, run the DigiTest diagnostics application located in the Digidesign Utilities folder (see “Running DigiTest” on page 32). DigiTest ﬁnds your cards and conﬁrms that they are correctly installed and working.

When DigiTest has completed and you have rebooted your computer, launch Pro Tools for the first time.

Starting Up Your System

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

Start your Pro Tools System in this order:

1 Make sure all your equipment (including your

CPU) is off.

2 For TDM systems with an expansion chassis,

turn on the expansion chassis.

Chapter 3: Windows Conﬁguration 31

3 Turn on external hard drives, if any. Wait ap-

proximately ten seconds for them to spin up to speed.

4 Lower the volume of all output devices, then

turn on your Pro Tools audio interfaces.

5 Turn on any MIDI interfaces and devices, or

synchronization peripherals.

6 Turn on your Pro Tools audio interfaces (such

as 888|24 I/O). On power up, the status LEDs will ﬂash. Wait at least ﬁfteen seconds for the audio interface to initialize, and the status LEDs to stop blinking and stay lit.

7 Turn on your computer.

Running DigiTest

Run the DigiTest diagnostics application to identify TDM cards and verify that they are correctly installed and working.

DigiTest is included on the Pro Tools Installer CD and installed with Pro Tools. DigiTest resides in the Digidesign Utilities folder located in your hard drive, in the subdirectory 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 Turn off Pro Tools.

2 Go to Start > Programs > Digidesign >

Pro Tools > DigiTest.

3 Test cards.

• To test only one Digidesign card in your system, click the button that corresponds to this card.

• To test all Digidesign cards at once, press the “Test All Cards” button.

4 When prompted, recycle power on all

Pro Tools peripherals. Press Continue.

5 Check the “Test I/O Box.”

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

6 Exit DigiTest by clicking on the “close” box on

the top right hand corner of the application window.

7 Reboot your computer.

Errors and Undetected Cards

Complete the steps below if:

■ There is a problem with a component in your

system and an error message has been displayed to the right of the corresponding card’s button in DigiTest.

– or –

■ A supported card is installed but not automat-

ically detected during DigiTest.

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

1 Close DigiTest.

2 Power down your system.

3 Reinstall the cards (see “Installing Pro Tools

Cards” on page 27).

4 Check the card seating.

5 Check the TDM ribbon cable connection.

Getting Started with MIX32

6 Power up.

7 Begin DigiTest again.

For descriptions of all error codes, refer to Appendix B, “DigiTest Error Codes.” For test details, click the Info button to the right of the reported error, then click Failures in the pop-up window and change Failures to Detailed.

If a card continues to fail DigiTest, contact Digidesign Technical Support:

tel: 650·731·6100

Cannot Create DAE Deck Or Error Number 4

Your computer may not recognize your Pro Tools cards if you did not correctly follow all of the hardware and software installation steps.

Launching Pro Tools the First Time

Validate Pro Tools Software

When launching Pro Tools the ﬁrst time, you are prompted to enter an authorization code to validate your software.

To validate Pro Tools software:

1 Double-click the Pro Tools application in the

Pro Tools folder inside the Digidesign folder.

2 Enter the authorization code in the dialog

when prompted, making sure to observe any spaces, then click Validate.

Authorization code validation for Pro Tools

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

If you receive error message number 4 or “Cannot Create DAE Deck,” when you launch Pro Tools, complete the instructions below.

To correct a “Cannot Create DAE Deck” error:

1 Turn your computer off.

2 Conﬁrm that all your Pro Tools cards are

seated correctly and cables are tightly fastened.

3 Start your computer and launch Pro Tools. If

the error does not re-appear, you do not need to continue with these steps.

4 With your computer on, right-click the My

Computer icon (located on your Widows desktop).

5 Choose Properties > Hardware > Device Man-

ager.

6 Expand the Sound, Video and Game Control-

lers list.

7 In Multimedia Devices, you should see an “!”

icon next to each Pro Tools DSP chips that is not properly installed.

8 Select one of these “!” icons and press Delete.

Click OK in the Conﬁrm Device Remove dialog.

Chapter 3: Windows Conﬁguration 33

9 Repeat the previous step for each of these “!”

icons, until they are all removed. Then, click OK.

10 You are ready to install your Pro Tools cards.

See “Installing Pro Tools Hardware” on page 25.

Conﬁguring Pro Tools

3 From the CPU Usage Limit pop-up, select the

Increasing the CPU Usage Limit may slow down screen responses.

Conﬁguring the Playback Engine

The Playback Engine sets the voice count (and voiceable tracks) for your system, and it’s sessions. Additionally, it lets you customize various System Usage parameters (such as buffers, CPU Usage).

To conﬁgure the Playback Engine:

1 Choose Setups > Playback Engine.

Playback Engine dialog for Pro Tools TDM system

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

4 From the Number of Voices pop-up, select the

amount of voices (and voiceable tracks), for your sessions. The default number of voices on a Pro Tools|24 MIX system is 32 voices.

Changing the number of voices affects DSP usage and your system performance. Please read the following carefully.

Depending on the number of MIX Core, MIX Farm, and DSP Farm cards in your system, you will have different choices available. For example, each MIX card allows you to use one or two of its DSPs per card for voicing.

Most DSP amounts support two levels of voice numbers:

• Select higher voice numbers when your cards are in your machine. You should also select higher voice numbers when using a chassis to run higher track counts at higher sample rates (such as 64 tracks) and you want more voices (such as 32 voices per DSP).

• Select minimum voice numbers when running cards in an expansion chassis, using other PCI cards along with Digidesign cards, or if you are running high bandwidth PCI cards (such as video capture).

For voice limits on different MIX systems, refer to the Pro Tools Reference Guide.

5 Set DAE Playback Buffer Size.

6 Click OK, when ﬁnished.

Getting Started with MIX34

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory allocated within DAE to manage disk buffers, which affects system performance.

Though DAE automatically selects the optimal playback buffer size for your system, you may want to adjust this parameter to modify your system’s performance:

◆ Allocating a larger buffer size can sometimes

◆ Allocating a smaller buffer size can sometimes

Conﬁguring Hardware Setup (Audio Interfaces)

Pro Tools MIX peripherals support 8 channels of simultaneous I/O. The peripherals support multiple formats (such as analog, AES/EBU, and so on).

Hardware Setup dialog for 888|24 I/O

The Hardware Setup dialog provides controls for hardware Sample Rate, Clock Source, and operating levels. This dialog will display different controls depending on the audio interface selected in the Interface pop-up menu.

To properly configure connected peripherals for use with Pro Tools, you must select the peripheral, then set the parameters for the selected peripheral—repeating this for each peripheral in your system.

Use the Up and Down Arrow keys to scroll though each peripheral.

To validate audio interfaces with the Identify button:

1 Choose Setups > Hardware in Pro Tools.

2 From the Peripherals list, select the Digidesign

audio interface connected to the ﬁrst card in your MIX system. This will be the interface at the top of the list.

3 If “no interface” appears in the Peripherals

list, use the Interface pop-up menu to manually identify the audio interface.

Chapter 3: Windows Conﬁguration 35

4 Click on the Identify button, located in the

lower left corner of the Hardware Setup dialog, to illuminate all the LEDs on the front panel of the audio interface. If the LEDs do not light, make sure the interface is selected in the Peripherals list, and that it is powered on. If the LEDs continue to not light, review hardware installation and run DigiTest again.

5 Repeat the above steps for additional audio in-

terfaces.

To conﬁgure audio interfaces:

1 Choose Setups > Hardware in Pro Tools.

2 From the Peripherals list, select the Digidesign

audio interface connected to the ﬁrst card in your MIX system. This will be the interface at the top of the list.

3 From the Clock Source pop-up menu, select

the appropriate clock source for the system. In most cases, you will use Internal. The other choices are for resolving Pro Tools to external clock sources. Depending on your audio interface, Clock Source options can include: AES/EBU, S/PDIF, Optical, AES/EBU 1–8, and Word clock.

4 From the Clock Source pop-up menu, select

the appropriate clock source for devices attached to your I/O.

5 Conﬁgure controls speciﬁc to your MIX I/O.

6 For additional MIX-series I/Os, choose the I/O

in the Peripherals list, and repeat the above steps.

Conﬁguring 888|24 I/O Controls

To conﬁgure controls speciﬁc to an 888|24 I/O:

■ With the 888|24 I/O selected in the Peripher-

als list, you can conﬁgure the following options:

• Channel pairs can be set to Analog or Digital.

• You can set the sensitivity of the Output Meter Levels.

• You can set Peak Hold to Off or Normal.

• You can turn off or enable DAC Muting.

Hardware Setup dialog for 888|24 I/O

Conﬁguring 882|20 I/O Controls

To conﬁgure controls speciﬁc to an 882|20 I/O:

■ With the 882|20 I/O selected in the Peripher-

als list, you can conﬁgure the following options:

• You can set your Input and Output levels by selecting Reference Level +4 dBu or –10 dBV.

• Channels 1 and 2 can be set to Analog or Digital.

• You can set the S/PDIF Format for Tascam DA-30 or Other.

Getting Started with MIX36

Hardware Setup dialog for 882|20 I/O

Conﬁguring 1622 I/O Controls

To conﬁgure controls speciﬁc to an 1622 I/O:

■ With the 1622 I/O selected in the Peripherals

list, you can conﬁgure the following options:

• You can set your Input levels by using channel fader controls with a Reference Level range of +4 dBu to –10 dBV.

• You can set your Output levels by selecting Reference Level +4 dBu or –10 dBV.

• Channels 1 and 2 can be set to Analog or Digital.

• You can set the S/PDIF Format for Tascam DA-30 or Other.

Conﬁguring I/O Setup

The I/O Setup dialog provides a graphical representation of the Hardware Setup. Each I/O attached to your system is displayed, with controls to route physical ports to Pro Tools inputs and outputs. The I/O Setup dialog also lets you label and map Pro Tools input, output, insert, and bus signal paths.

I/O Setup dialog with a single 888|24 I/O

Pro Tools ships 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.

Hardware Setup dialog for 1622 I/O

Conﬁguring ADAT Bridge I/O Controls

For information on configuring the Hardware Settings for the 24-Bit ADAT Bridge I/O or the original ADAT Bridge I/O, please refer to the ADAT Bridge I/O Guide.

To conﬁgure I/O routing in I/O Setup:

1 Choose Setups > I/O Setups in Pro Tools.

2 Map and name paths as desired.

3 If necessary, redeﬁne formats for I/O channels

of any peripherals.

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

Chapter 3: Windows Conﬁguration 37

Getting Started with MIX38

chapter 4

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 888|24 I/O Guide, the 882|20 I/O

Guide, the 1622 I/O Guide, or the ADAT Bridge I/O Guide for speciﬁc details regarding:

• Front and back panel connectors and indicators

• Technical speciﬁcations

Setting Up Your Studio

The following diagrams provide general suggestions for connecting studio gear to your system.

Figure 1 illustrates a typical studio setup, with an 888|24 I/O connected to a mixing console, effects and other equipment.

The 888|24 I/O analog audio connectors are balanced XLRs with pin 2 wired hot (or “+”), pin 3 cold (or “–”), and pin 1 ground.

If you are connecting a balanced system, pin 1 and shield should be connected at the input only (not at the output). This will prevent ground loops between the shield and pin 1 conductor.

If you are connecting an unbalanced signal to the 888|24 I/O inputs or outputs, connect only pin 2 to the “+” signal, and pins 1 and 3 to ground at all inputs only.

Figure 2 illustrates a setup without a mixer, where effects and monitoring gear are connected directly to an 882|20 I/O.

Chapter 4: Connecting Your Studio 39

Example Studio Setup with a Mixing Console

Analog

Inputs 5-8

Analog

Audio

Outputs 5-8

Audio

Digital Inputs/Outputs

Channel 1-2

To DAT Recorder

L C E

V A

L C E

A L S

N I

D P /

S F I

Digital Inputs/Outputs

Channel 3-4

To Digital Effects Devices

DAT Recorder

Effects Devices

Tape Returns or Inputs 1-4

Instruments

Connected to Console

Outputs 1-4

Figure 1. Typical studio conﬁguration using an 888|24 I/O

Channel

Digital Effects Devices

Power Amp

and Speakers

Getting Started with MIX40

Example Studio Setup without a Mixing Console

Mic Preamp,

Direct Box, Synth, etc.

Analog

Audio

Inputs 1-2

INPUTS

ALO

2345678

Analog

Audio

Outputs 1-2

UTPU

ALO

123456

Analog

Audio

Inputs/Outputs

3-8

VE C

SLA

Power Amp

and Speakers

S/PDIF Digital Input/Output

To DAT Recorder

COMPUTER

DAT Recorder

Effects Devices

Figure 2. Typical studio conﬁguration without a mixer using an 882|20 I/O

Chapter 4: Connecting Your Studio 41

Connecting Equipment with Digital Audio Ins and Outs

Because the 888|24 I/O, 882|20 I/O, 1622 I/O, and 24-Bit ADAT Bridge I/O feature digital inputs and outputs, Pro Tools allows you to digitally record to or from a digital device such as a DAT recorder. The 888|24 I/O and 24-Bit ADAT Bridge I/O provide both AES/EBU and S/PDIF digital audio input and output. The 882|20 I/O and 1622 I/O provide S/PDIF digital audio input and output.

If you plan to use a DAT player, CD recorder, or other digital input and output device with your Pro Tools system, be sure the external device supports either the AES/EBU or S/PDIF format. Your interface’s AES/EBU inputs and outputs should only be connected to another AES/EBU device. Likewise, its S/PDIF inputs and outputs should only be connected to another S/PDIF device.

To connect your Pro Tools system to a DAT recorder:

1 Connect the digital output (AES/EBU or

S/PDIF) of the audio interface to the digital input (AES/EBU or S/PDIF) of the DAT deck. Audio channels 1 and 2 will be sent out of these outputs.

2 Connect the digital output (AES/EBU or

S/PDIF) of the DAT to the digital input (AES/EBU or S/PDIF) of the audio interface. The DAT recorder will be routed to Pro Tools inputs 1 and 2.

For information on using an ADAT with Pro Tools, see the ADAT Bridge I/O Guide.

Connecting Effects Units

The 888|24 I/O, 882|20 I/O, 1622 I/O, and 24Bit ADAT Bridge I/O audio interfaces allow you to 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 fader in Pro Tools.

Five 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 32-internal busses in the Pro Tools TDM Mixer. Outputs can be returned to mono or stereo Auxiliary Inputs for automated mixing or processing.

When you are using an effect in this send-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.

Getting Started with MIX42

Connecting Effects Units Digitally

To use your audio interface’s inputs and outputs as effects sends & returns to a digital effects device, set your interface to Internal mode (unless it is already synchronized to an external clock source such as a DAT deck). You should then set your digital effects devices to accept an external digital clock so that they will synchronize themselves to Pro Tools. In the Pro Tools Hardware Setup dialog, set the input of the channel pair to which you have connected the digital effects device to Digital, and set the Sync Mode to Internal.

Connecting MIDI Devices

Macintosh

By adding a Macintosh-compatible MIDI interface to your system, you can take advantage of all the MIDI features of Pro Tools, including recording and editing tracks, syncing to MIDI Time Code or MIDI beat clock (this requires an appropriate MIDI interface) and the use of MIDI Controllers.

For information on configuring a MIDI control surface for use with Pro Tools, see the Pro Tools MIDI Control Surfaces Guide.

To connect MIDI devices to your system:

1 Connect the MIDI interface to your computer

according to the MIDI interface’s documentation.

On 9600, 9500, and Beige G3 Power Macintosh computers, connect the MIDI interface to the modem port. MIDI timing data output through the modem port is more accurate than that output through the printer port.

2 Install any MIDI driver software required by

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

3 Connect the MIDI OUT of your MIDI device

or controller to the MIDI IN of your MIDI interface.

4 Connect the MIDI IN of your MIDI device or

controller to the MIDI OUT of your MIDI interface.

See Appendix C, “Configuring OMS (Macintosh Only)” for information on configuring OMS (Open Music System) software, which is required for Pro Tools and MIDI on the Macintosh.

Windows

By adding a Windows 2000-compatible MIDI interface to your system, you can take advantage of all the MIDI features of Pro Tools, including recording and editing tracks, syncing to MIDI Time Code or MIDI beat clock (this requires an appropriate MIDI interface) and the use of MIDI Controllers.

For information on configuring a MIDI control surface for use with Pro Tools, see the Pro Tools MIDI Control Surfaces Guide.

To connect MIDI devices to your system:

1 Connect the MIDI interface to your computer

according to the MIDI interface’s documentation.

Chapter 4: Connecting Your Studio 43

2 Install any MIDI driver and/or controller soft-

ware required by the MIDI interface. (When your MIDI interface hardware and software is installed, conﬁrm that it is working properly. To do so, use the procedure provided with the interface’s documentation.)

3 Connect the MIDI OUT of your MIDI device

or controller to the MIDI IN of your MIDI interface.

For fairly short pieces of audio program material, SMPTE Trigger is acceptable, especially if the sync master has a fairly stable transport or is resolved to house sync or a black burst generator. In this case, the master transport and Pro Tools will probably not drift very far apart in such a short period of time.

Trigger Sync for Audio Post Applications

(recommended for short duration audio regions)

4 Connect the MIDI IN of your MIDI device or

controller to the MIDI OUT of your MIDI interface.

Connecting SMPTE Synchronization Devices

If you intend to synchronize Pro Tools to external devices with SMPTE using MIDI Time Code, your system must be connected properly. This section provides setup suggestions for synchronizing Pro Tools to audio or video tape. For details on SMPTE and synchronization, see the Pro Tools Reference Guide.

Pro Tools and Synchronization

Pro Tools supports a type of SMPTE synchronization known as SMPTE Trigger through the use of SMPTE-to-MIDI Time Code converters. This type of synchronization allows Pro Tools to chase and start (or stop) playback and recording while slaved to other systems. With SMPTE Trigger alone, once playback or recording starts, there is no further synchronization, and Pro Tools will play back at a rate determined by the internal clock of the audio interface or selected external clock source.

Video Tape Recorder

VITC Video out

SMPTE

LTC and VITC to MIDI Time

Code Convertor

Composite

Video out

RGB Monitor

MIDI Time

Code out

MIDI Interface

to computer

Computer

Monitor

Synchronization setup using SMPTE Trigger alone

On the other hand, if the audio piece is several minutes long, or if the sync master has an unstable transport (as in the case of a low quality recording deck striped with SMPTE, for example), SMPTE Trigger alone is probably not an acceptable solution, since the two systems may drift apart noticeably over the duration of the source material.

A better alternative is to use Digidesign’s SYNC I/O or Universal Slave Driver (USD).

Getting Started with MIX44

The Digidesign Universal Slave Driver

The Universal Slave Driver (USD) is a multi-purpose synchronization peripheral that provides virtually all of the functions and connections needed to achieve synchronization to a variety of devices.

The USD allows synchronization of Pro Tools to Linear Time Code (LTC), VITC, and BiPhase/Tach while resolving to a video house reference or other word clock signals. It supports all major industry-standard clocks and formats and can also act as a standalone MIDI Time Code (MTC) or VITC reader/generator.

In addition, the Universal Slave Driver offers 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.

LTC or VITC-locked Sync for music/audio applications

with Digidesign’s Universal Slave Driver

(for resolving to LTC or VITC)

SYNC I/O

The SYNC I/O can be used with Pro Tools|24 MIX and Pro Tools|24 systems, as an alternative to the USD. When used with Pro Tools|24 MIX and Pro Tools|24 systems, the SYNC I/O emulates the USD.

For information on using the SYNC I/O, see the SYNC I/O Guide.

Video Tape Recorder

SMPTE

BI-PHASE / TACH / GPI

PC SERIAL

Composite

Video out

VIDEO REF

RGB Monitor

L T C

OUT

I N

MAC SERIAL

VIDEO

MTC OUT

VITC Video out

IN E S

9-PIN IN / ACC

OUT

OUT U T

SUPER CLOCK (256X)

WORD CLOCK

9-PIN OUT

serial output

direct to

MIX or d24 card's

DigiSerial port

85-264VAC, 47-63HZ, 115 W

Computer Computer

Digidesign Universal Slave Driver

Monitor

Synchronization setup using a USD

For information on using the Digidesign Universal Slave Driver, see the Digidesign Universal Slave Driver Guide.

Chapter 4: Connecting Your Studio 45

Getting Started with MIX46

chapter 5

Working with Pro Tools

This chapter takes you on a guided tour of Pro Tools, introducing its main windows and features. Also included is a step-by-step overview of basic audio recording (see “Basic Recording” on page 57).

How to Use This Chapter

If you are new to Pro Tools, read this chapter for an overview of how to get started learning to record, edit, automate, and mix using Pro Tools|24 MIX.

All of the features described in this chapter are explained fully in the Pro Tools Reference Guide. Refer to that guide, using its index, to find additional information on all Pro Tools features.

Session Basics

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

other session information. Audio and fade files are stored in folders within the session folder.

Session folder, containing the session ﬁle and its Audio Files and Fade Files folders

Pro Tools remembers audio interface configuration and other system settings and applies them to all new sessions.

Chapter 5: Working with Pro Tools 47

Starting a Session

Main Windows

The basic steps to set up a new session are:

1 Launch Pro Tools.

2 Choose File > New Session.

3 In the New Session dialog, set sample rate, bit

depth, and other options for the new session.

New Session dialog

4 Select where you want to save your session. If

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

The Mix, Edit, and Transport windows are the main Pro Tools work areas (see Figure 3 on page 49). You can show (or hide) any of these windows by choosing show (or hide) commands in the Windows menu.

Use Command+”=” on Macintosh, or Ctrl+”=” on Windows, to quickly switch between the Edit and Mix windows.

Mix Window Displays the Pro Tools mixer, with its familiar fader strip controls for track level, pan, solo, mute, and signal routing.

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

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

Session Setup Provides status display for important Pro Tools session settings, including sample and frame rate, clock source, and file format. Also includes the Current Time Code counter, and controls for clock reference, positional reference, and other time code features for the Digidesign Universal Slave Driver (USD).

Enable Enforce Mac/PC Compatibility to ensure cross-platform compatibility for your new session.

5 Type a name for your session.

6 Choose Save. The new session opens its Mix,

Edit, and Transport windows (see Figure 3 on page 49).

Getting Started with MIX48

Timebase

Rulers

Tracks

Edit window

Mix window

Regions

Lists

Transport

Figure 3. Main session windows (Macintosh shown)

Session Settings

Pro Tools provides several different Timebase Rulers to select the timebase for your session. Timebase Rulers, displayed along the top of the Edit window, include Bars:Beats, Minutes:Seconds, Time Code, Feet.Frames, and Samples. The current Timebase determines the format of your main counters, and provides the basis for the Edit window Grid.

For post production, select either Time Code or Feet.Frames as your session Timebase in the Rulers view.

To select a Timebase Ruler:

■ Click the circle next to the displays at the top

left side of the Edit window (labeled Bars:Beats, Time Code, Min.:Sec, and so on).

Tracks

Session Setup

Tempo

You can set a session tempo using the MIDI tempo controls in the expanded Transport window, or using the Tempo ruler.

To deﬁne your session tempo:

■ Click in the Tempo ﬁeld in the Transport win-

dow, and type in the desired tempo.

To tap in a session tempo:

1 Choose Display > Transport Window Shows >

MIDI Controls.

2 In the Transport MIDI controls, turn off the

Conductor to enable Manual Tempo mode.

3 Use the mouse to click on the Tap button.

Chapter 5: Working with Pro Tools 49

Click and Metronome

Pro Tools provides its own MIDI Click options. This feature can be turned on and off using the Metronome icon in the Transport window, and is configured from the MIDI Click Options dialog.

Saving Sessions

As you build a session by adding tracks, changing session parameters, and so forth, you will want to save your work. Pro Tools provides three ways to save sessions, with each providing a different set of options.

To conﬁgure and enable the Pro Tools click:

1 Choose MIDI > Click Options.

2 Conﬁgure the click parameters as needed for

your MIDI sound source in the Click/Countoff Options dialog.

3 During recording or playback, you can turn

the Click on or off using the Click switch in the Transport window, MIDI Controls display.

Metronome

Tempo Controls

Transport window, displaying Click and Tempo Controls

Frame Rate and Other Synchronization Settings

To set session frame rate or other synchronization settings:

1 Choose Windows > Show Session Setup.

2 Set parameters as desired.

If you are using an Ethernet or MIDI control surface, or an external synchronization peripheral, choose Setups > Peripherals, then select MIDI Controllers or Ethernet Controllers, as appropriate, and enable each device. For more information, refer to the guide for your control surface or the MIDI Control Surfaces Guide.

Saving sessions is most often performed for data security, archiving, and in preparation for transferring projects. In addition, session files can be saved in order to perform sample rate conversion, or even to create session templates. Session templates are Pro Tools sessions that have tracks, routing, plug-ins, or any other parameters predefined. See the Pro Tools Reference Guide for more information about how to create and use session templates.

To save a session:

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

Save Session Copy In.

Save Session Saves the currently open session as is, leaving it open to continue working.

Save Session As Creates a duplicate session file with the name you choose. It does not create a new Audio Files or Fade Files folder. This can be useful if you want to experiment with different arrangements in the session without affecting the original session.

Save Session Copy In Only saves the files that you are using in the current session. This can be useful for creating a final copy of the session that does not include audio files or fades you are no longer using.

Getting Started with MIX50

System Resources and Settings

You can customize many Pro Tools system settings in the Playback Engine dialog to optimize system performance.

For information on configuring the Playback Engine on Macintosh, see “Configuring Pro Tools” on page 17.

For information on configuring the Playback Engine on Windows, see “Configuring Pro Tools” on page 34.

System Usage Window

Displays information on CPU and DSP performance. The System Usage window is especially useful for monitoring your system’s performance when using RTAS or TDM plug-ins.

Transport Controls

The Transport window provides all Pro Tools transport commands. There are different available transport controls that can be displayed or hidden by selecting or deselecting them in the Transport Window Shows sub-menu.

To show the Transport window:

■ Choose Window > Show Transport Window.

Return To Zero

Rewind

Online

Transport window

Stop

To conﬁgure the Transport window:

■ Choose Display > Transport Window Shows

and select the desired view options.

Play

Fast Forward

Go to End

Record

Meters in the System Usage window (TDM shown)

To view system resources and usage:

■ Choose Windows > Show System Usage.

In standard view, the Transport window provides Play, Stop, and other standard transport controls. The Expanded Transport window provides pre- and post-roll, start, end, and length indicators for Timeline selection, as well as the Transport Master selector. The Transport window can also display the following MIDI Controls: Wait for Note, Click, Countoff, MIDI Merge, Conductor, Meter, and Tempo.

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

Chapter 5: Working with Pro Tools 51

Navigating

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

To go to a stored memory location:

■ Press the Decimal key on the numeric keypad,

followed by the marker number, followed by the Decimal key.

To navigate to a location in the Edit window:

■ Click at the desired location with the insert

bar.

Click in a track, or on a Timebase ruler

Navigating in the Edit window

To navigate using the counters:

■ Click in the Main counter and enter the de-

sired location using your computer keyboard.

Click and enter a location into either counter

Navigating in the Counter

Memory Locations

Memory locations provide another way to navigate within sessions.

To deﬁne a memory location:

■ Press the Enter key on the numeric keypad

while stopped or during playback. The New Memory Location window appears, in which 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. Choose settings for the marker and click OK.

Tracks

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

Pro Tools provides four types of tracks: Audio Tracks, Auxiliary Inputs, Master Faders, and MIDI Tracks. Audio Tracks, Auxiliary Inputs, and Master Faders can be mono, 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 a new track:

1 Choose File > New Tracks.

New Track dialog

Getting Started with MIX52

2 Specify the number of tracks, track type (Au-

dio Track, Aux Input, Master Fader, or MIDI Track), and mono, stereo, or any of the supported multichannel formats for surround mixing (except for MIDI).

3 Click Create.

Tracks in the Mix window

Audio, Auxiliary Input, Master Fader, and MIDI tracks appear as vertical channel strips in the Mix window. Track type is indicated by the Track Type icons, just below the faders.

Audio Tracks

All audio tracks—whether audio (disk) tracks, Auxiliary Inputs, or Master Faders—share many identical controls. Figure 4 on page 54 shows the Channel controls found in the Mix window for a stereo audio or Auxiliary Input track. Master Fader tracks do not provide all the controls of an audio track, such as Sends, Pan, or Record Enable, Mute and Solo buttons.

MIDI Tracks

MIDI tracks provide track level, solo, and mute, in addition to MIDI input, output, channel, and program (patch) controls. MIDI volume, mute, and pan can also be automated using Pro Tools automation features (see “Mix Automation” on page 66 for more information).

Adjusting the Volume and Panning of a Track

To adjust the volume of a track:

■ Click the Volume fader on the channel strip of

an audio or MIDI track and move it up or down to increase or decrease volume.

Audio

Aux Input

Tracks in the Mix window

Master Fader

MIDI

To adjust panning of a track:

■ Click the Pan slider on the channel strip of an

audio or MIDI track and drag it to the left or right to pan the track left or right in the mix.

Chapter 5: Working with Pro Tools 53

Record

Solo

Group enable

Inserts

Sends

Input Output Volume

Pan Automation mode

Voice Selector Mute button

Pan slider

Open Output window

Volume fader

Figure 4. Stereo audio track in the Mix window

Clipping indicator (lights red)

Level meters (stereo)

Track name

Tracks in the Edit Window

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

Timeline Rulers View

Audio Track

Timeline Rulers and a stereo Audio track in the Edit window

Audio, Auxiliary Input, Master Fader, and MIDI tracks can be automated. (See “Mix Automation” on page 66 for more information.)

Getting Started with MIX54

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 buttons

Zoom presets

Zoom and Track Height tools in the Edit window

Track Height Selector

Zoomer

To zoom in or out, incrementally:

■ Click the appropriate Zoom button.

• Left Arrow (Horizontal Zoom Out)

• Right Arrow (Horizontal Zoom In)

• Waveform and MIDI buttons, to increase or decrease vertical zoom of the appropriate track type (audio, or MIDI)

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

To use a stored Zoom preset:

■ Click the appropriate Zoom preset switch 1–5.

To store a new Zoom preset deﬁnition:

■ Command-click a Zoom preset number to

store the current horizontal and vertical Zoom to that preset.

To change track height:

■ Click the Track Height Selector, and select a

view size for the track.

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

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

1 Click to select the Zoomer.

2 Click or drag with the Zoomer to zoom in hor-

izontally for a track or Ruler.

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 or 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.

Chapter 5: Working with Pro Tools 55

Regions Lists

Importing Audio

All regions that are recorded, imported, or created by editing appear in the Audio and MIDI Regions Lists. Regions can be dragged from either list to tracks and arranged in any order. Regions can also be auditioned from the Regions List by Option-clicking (Macintosh) or Alt-clicking (Windows) them. The Regions List pop-up menus provide several useful features for managing regions and files (such as, Sorting, Import Audio, Clear Selected, Rename Selected, Export Selected As Files, and so on).

Drag to resize width of Regions Lists

Click to hide Regions Lists

Audio and MIDI Regions Lists

Click for pop-up menus

Drag to resize height of Regions Lists

For information on the Regions List, refer to the Pro Tools Reference Guide.

Pro Tools lets you import existing audio files from disk, as well as import tracks from an audio CD (Macintosh only), into the Regions List or directly to new tracks. This is very useful if you are working with sample libraries or you have audio files you’ve already recorded to disk that you want to use in a new session.

Selected Region

in a track and in the Regions List

Selected audio region on a track and in the Regions List

To import audio ﬁles or regions from disk:

■ Use File > Import Audio to Track to import

ﬁles and regions to separate audio tracks (they will also appear as regions in the Audio Regions List).

– or –

Use Import Audio from the Audio Regions List to import files and regions to only the Audio Regions List.

To import a CD audio track (Macintosh Only):

1 Insert the audio CD into your CD-ROM drive.

2 Choose Movie > Import Audio From Other

Movie.

3 Locate and select the audio track to be im-

ported, then click Convert.

Getting Started with MIX56

4 When the Save dialog appears, click the Op-

tions button.

5 In the Options dialog, select the sample rate,

bit resolution, and stereo format.

6 At the bottom of the Options dialog, set the

range of the audio track to be imported by adjusting the Start and End times, then click OK.

7 To audition a selected ﬁle or region before you

import it, use the Play and Stop buttons.

8 Specify the destination folder for the selected

converted audio ﬁle and click Save. Pro Tools imports the CD audio track as a QuickTime movie and writes it to your hard drive.

9 When the Track Import window appears, click

OK.

Pro Tools converts the audio track to your session’s sample rate and bit resolution and imports the selected audio tracks into the Audio Regions List. From there you can drag the regions to existing tracks.

2 Create a new track to record on by choosing

File > New Track. Select 1 Mono Audio Track and click Create.

3 In the Mix window, ﬁnd the track I/O con-

trols. If it is not already visible, select Display > Mix Window Shows > I/O View. The I/O View is located below the sends and above the solo and mute buttons.

4 Click the Input button of the new track.

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

want recorded. For example, specify A 1 if your audio source is plugged into analog input 1. The menu displays the names of the inputs deﬁned in the I/O Setup dialog (see “Conﬁguring I/O Setup” on page 20 for Macintosh and “Conﬁguring I/O Setup” on page 37 for Windows).

Basic Recording

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

Routing Audio to a Track

To route audio to a track:

1 Verify the connections to your instruments.

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

Routing an input to a mono track

Setting Levels

Adjust the level of the input at the source (instrument, mic pre-amp, or mixer) to set Pro Tools recording levels. The key to setting proper input levels is to get a signal as loud as possible without creating digital clipping. Signals that get close to the top of the meter in Pro Tools use more of the full bit range (the 24 bits that make up each audio sample). The more

Chapter 5: Working with Pro Tools 57

you are able to maximize this bit range, the better the sound quality will be—by setting optimum levels, you will get the least possible noise and distortion.

Watch out for digital clipping. Clipping occurs when you feed a signal to an audio device that is louder than the circuitry can accept. The result is distortion. Digital clipping is harsh, and usually not something you want to hear at all, so watch those meters!

Increasing gain raises the noise floor. Make sure that the device you have connected is outputting as strong a signal as possible without distorting.

Recording an Audio Track

To record an audio track:

1 Record-enable the desired track, assign its in-

put, and set the input levels appropriately.

2 In the Transport window (Windows > Show

Transport), click Return To Zero to ensure that you are starting from the beginning of the session. You can also record according to a selection or from the cursor location in the Edit window.

3 Click Record in the Transport window to en-

able recording.

4 Click Play or press the Spacebar to record on

all record-enabled tracks.

5 Start playing your instrument.

To play back a recorded track:

1 Disable the track’s Record-enable button.

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.

Recording To and From Digital Devices

The 882|20 I/O and the 1622 I/O provide S/PDIF (RCA) connectors for digital input and output. The 888|24 I/O also provides AES/EBU (XLR) connectors in addition to S/PDIF. The ADAT Bridge I/O adds optical input and output so that you can digitally transfer as many as eight tracks at a time to or from an ADAT.

For information on recording to and from ADAT, see the ADAT Bridge I/O Guide.

Setting Digital Format and Clock Source

Before recording from a digital source, make sure you have enabled the appropriate Sync Mode (Macintosh) or Clock Source (Windows), and Digital Format in either the Playback Engine or Hardware Setup dialog. For example, if you want to record from a DAT machine connected to your S/PDIF RCA inputs on an 888|24 I/O, select S/PDIF from the Sync Mode (Macintosh) or Clock Source (Windows) pop-up menu. If using multiple audio interfaces, be sure to configure the appropriate one in either the Playback Engine or Hardware Setup dialog.

6 Click Stop in the Transport window or press

the Spacebar when you are done recording.

Getting Started with MIX58

Recording MIDI

To conﬁgure a new MIDI track for recording:

1 Choose File > New Track and specify 1 MIDI

Track, then click Create.

2 In the Mix window, click on the track’s MIDI

Device/Channel Selector and assign a device and channel from the pop-up menu.

MIDI Device Channel Selector

3 If you want, you can assign a default program

change to the track by clicking on the Program button in the Mix window and making the necessary selections for program and bank select, and then click Done. Default program changes are sent when playing a track.

4 In the Mix Window, record-enable the MIDI

track.

5 Make sure MIDI > MIDI Thru is selected, then

play some notes on your MIDI controller. The MIDI instrument assigned to the track should sound, and the track’s meters should register MIDI activity.

3 Click Record in the Transport window.

4 Click Play in the Transport window or press

the Spacebar to begin recording.

– or –

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

– or –

If using Countoff, click Play. The Record and Play buttons flash during the Countoff—after which, recording begins.

5 Play your MIDI instrument.

6 When you have ﬁnished recording, click Stop

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

To play back the recorded MIDI track:

1 Disable record-enable on the MIDI track to

take it out of Record-Ready mode.

2 In the Transport window, click Return To Zero.

3 Click Play in the Transport window to begin

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

To record the new MIDI track:

1 Verify that the MIDI track you want to record

to is record-enabled and receiving MIDI.

2 In the Transport window, click Return To Zero

to ensure that recording starts from the beginning of the track. You can also record according to a selection or from the cursor location in the Edit window.

Chapter 5: Working with Pro Tools 59

Monitoring MIDI Instruments Without a Mixer

Create an Auxiliary Input to monitor your MIDI instrument. Auxiliary Inputs function as inputs for both internally bussed signals and external audio sources.

To conﬁgure an Auxiliary Input for MIDI monitoring:

1 Connect the MIDI instrument’s audio output

to the appropriate inputs on your audio interface.

2 Choose File > New Track and specify 1 mono

or stereo Auxiliary Input track, then click Create.

3 Click the Input selector of the Auxiliary Input

channel and choose the input to which your MIDI instrument is connected.

4 Click the Output selector of the Auxiliary In-

put channel and choose an output.

5 Adjust the level of the Auxiliary Input with its

volume fader.

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, or other timebases.

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

Edit Modes

Pro Tools has four Edit modes: Shufﬂe, Spot, Slip, and Grid. The Edit mode is selected by clicking the desired button in the upper left of the Edit window.

Edit mode buttons

You can also use F1 (Shuffle), F2 (Slip), F3 (Spot), and F4 (Grid) to set the Edit mode.

Editing

Pro Tools provides many tools for editing audio and MIDI tracks. Editing is done primarily in the Edit window. The Edit window toolbar provides Edit mode and Edit Tool selectors.

Edit Modes

Edit modes and tools (Grid mode, SmartTool enabled)

Getting Started with MIX60

Edit Tools

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

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

Edit Tools

Pro Tools has seven Edit tools: Zoomer, Trimmer, Selector, Grabber, Scrubber, Pencil, and Smart Tool. Select the desired Edit tool by clicking it in the tool bar along the top of the Edit

window. The Trimmer, Grabber, and Pencil tools have multiple modes. Click and select the desired mode from a pop-up menu for these Edit tools.

ginning of the region, and there is some extra audio at the end of the region, you can use the Trimmer tool in Slip mode to shorten the beginning and end of the region as desired.

Trimmer

Zoomer

Edit tools in Edit window

Selector

Smart Tool

Grabber

Scrubber

Pencil

Use the Esc key to toggle through the Edit tools.

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

Editing Regions

Edit tools are used to edit regions in the Edit window. A region is a piece of audio or MIDI data that can also have associated automation data. A region could be a loop, a guitar riff, a verse of a song, a sound effect, a piece of dialog, or an entire sound file. In Pro Tools, regions are created from audio or MIDI files, and can be arranged in audio and MIDI track play-lists.

Audio region on a track

To trim an audio region:

1 Select Slip mode.

2 Select the Trimmer tool.

3 Move the cursor near the beginning of the au-

dio region (notice the cursor changes to a “[”).

Trimming the beginning of a region

4 Click at the beginning of the region and drag

right to shorten the region.

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

gion (notice the cursor changes to a “]”).

Audio region

Trimming Regions

The following example demonstrates how you might trim a region to exclude unwanted audio. After having recorded an audio track (for example, a guitar solo), you will have an audio region on that track. If there is some silence at the be-

Trimming the end of a region

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

shorten the region.

The trimmed region

Chapter 5: Working with Pro Tools 61

You can also lengthen a region using the trimmer tool if there is audio data beyond the current boundaries of a region. If trimming the region’s beginning, click and drag to the left; if trimming the region’s end, click and drag to the right.

Arranging Regions

5 Select the Selector tool.

6 Click and drag on the waveform with the Se-

lector to make the desired selection. Note that the selection snaps to the grid.

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:

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 Specify the session meter (MIDI > Change

Meter) and tempo (MIDI > Change Tempo).

2 Select Grid mode.

3 Prepare to record using a MIDI click (see

“Click and Metronome” on page 50)

4 Record a drum track (see “Recording an Audio

Track” on page 58) 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 –

Making a selection in Grid mode

7 Create a new audio track (File > New Track).

8 From the Grabber pop-up, select the Separa-

tion Grabber tool.

9 With the Separation Grabber tool, click and

drag the selection to the beginning of the new audio track. A new region will be created and appear at the beginning of the new track.

Dragging a selection with the Separation Grabber tool to a track

10 With the new region still selected, choose

Edit > Repeat.

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 56).

If you do not know the tempo of an audio region, you can use the Identify Beat command and then calculate the tempo from the selection.

Getting Started with MIX62

Repeat dialog

11 In the Repeat dialog, enter the desired num-

ber of repeats, and then click OK.

You now have a new rhythm track with a “looped” (repeated) phrase. You can use these editing tools to do much more advanced and involved editing of regions. For example, you could separate beats or “hits” into individual regions and rearrange them in Grid mode as a way of coming up with new and interesting rhythms.

Playlists and Non-Destructive Editing

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

To create multiple playlists for editing:

1 Start with a track on which you want to try

different edits.

2 From the Playlist Selector pop-up menu,

choose Duplicate.

Duplicating a playlist

3 Name the duplicated playlist and click OK.

4 Make your ﬁrst series of edits as desired.

5 Return to the original playlist by selecting it

from the Playlist Selector pop-up menu.

6 Repeat steps 2–5 as desired.

In this fashion, you can try out different edits of a track, and switch back and forth for comparison until you come up with the best version, while maintaining the original playlist.

For detailed information about editing in Pro Tools, see the Editing and MIDI Editing chapters of the Pro Tools Reference Guide.

Mixing

Pro Tools provides many familiar channel strip controls for setting track level, pan, solo, and mute (see Figure 4 on page 54). You can also automate your mix or use a control surface to “play” your mix in real-time. Once you have finished preparing your mix, you will probably want to mixdown to a stereo recording. For example, you can record your mix to an external analog or digital deck (such as a cassette or DAT), or you can “bounce” your mix to a stereo file so you can burn it to CD.

Mixer and I/O controls for signal routing can be shown in both the Mix and Edit windows. Mixing is done primarily in the Mix window.

Chapter 5: Working with Pro Tools 63

To view the Mix window:

■ Select Windows > Show Mix.

Use Command+”=” on Macintosh, or Ctrl+”=” on Windows, to quickly switch between the Edit and Mix windows.

Using Channel Strip Controls

Volume Increase or decrease the track level by

clicking the Volume fader and dragging it up or down.

Pan Pan a track left or right in the mix by clicking the Pan slider and dragging it left or right.

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

Creating a Send

Pro Tools provides up to five sends per audio track. A send can be mono or stereo, routing to an output or one of 64 internal bus paths (as configured in Setups > I/O Setup).

When you are submixing for reverb, delay, and similar effects processing, use sends to achieve traditional send/return bussing. You can use a real-time plug-in (see “Plug-Ins” on page 66) or a hardware I/O insert (see “Connecting Effects Units” on page 42) 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 (effect return, or wet, level).

Mute Mute a track by clicking the Mute button.

Basic Signal Routing

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

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

To assign a send on a track:

1 Make sure Sends View is enabled in the Mix

window (Display > Mix Window Shows > I/O View).

2 Click the Sends button on an audio track and

choose a path from the pop-up menu.

Assigning a send to a mono bus path

Getting Started with MIX64

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

the send level to zero by Option-clicking (Macintosh) or Alt-clicking (Windows) the send fader. When you create a new send, its output

level is automatically set to –∞.

You can configure the default level for new sends to be off or at unity gain (0) by enabling or disabling the Sends Default To “–INF” option under the Operation tab in Setups > Preferences.

Creating a Return

Auxiliary Input tracks can be created to act as return channels for busses, as well as for inputs from hardware sources.

Send Aux Input to bus 9–10 input from bus 9–10

Send window

To assign a return:

1 Choose File > New Track and specify 1 mono

or stereo Auxiliary Input track, then click Create.

2 Click the Input Selector of the Auxiliary Input

track and set it to the bus path you assigned to the sends on the source tracks.

3 Click the Output Selector of the Auxiliary In-

put track and choose an output path (your main mix, or other output).

Master Faders

Master Faders are provided, to be used as output and bus masters. Master Faders can be used for master level, solo, mute, and insert assignment (plug-ins or hardware inserts) of any mono, stereo, or multichannel Output or Bus path. It is recommended that you use a dithering plug-in on a Master Fader when you are mastering your final mix (see “Dithering” on page 68).

The available choices for inputs, outputs, and busses are configured in the I/O Setup window. For more information on the I/O Setup window, see the Pro Tools Reference Guide.

Audio and Auxiliary Input tracks conﬁgured for a send and return

To create a Master Fader:

1 Choose File > New Track and specify 1 mono,

stereo, or multichannel Master Fader track, then click Create.

2 In the Mix window, click the Master Fader’s

Output Selector and choose the output path that you want to control. You can choose either audio interface outputs or internal busses. If the Master Fader is a stereo fader, you can control the level of a pair of outputs.

Chapter 5: Working with Pro Tools 65

To use Master Faders as a master volume control for all tracks in a session:

1 Choose File > New Track and specify 1 stereo

Master Fader track, then click Create.

2 Set the outputs of all audio tracks in the ses-

sion to outputs 1–2 and set the panning of each track.

3 Set the output of the Master Fader to your

main output path (outputs 1–2).

Once recorded, automation can be re-recorded, or displayed and edited graphically in the Edit window.

Track View set to Volume

Volume breakpoint automation

Volume automation in a track in the Edit window

Mix Automation

Mix automation lets you record, or automate, changes to track and send levels, mutes, pan, and plug-in parameters. MIDI tracks provide track level, pan, and mute automation only.

The basic steps for automation recording are:

1 In the Automation Enable window, enable an

automation type (volume, pan, mute, send level, send pan, send mute, or any plug-in automation).

2 Select an automation mode for the tracks to be

automated (Write, Touch, Latch, or Trim mode).

3 Begin playback and begin automation record-

ing, adjusting faders and other controls as desired. Pro Tools remembers all moves performed on enabled parameters.

Pro Tools also provides Automation Safe mode for protecting plug–in automation from being overwritten, as well as many Automation Preferences to fine-tune performance. See the

Pro Tools Reference Guide.

Mixing with a Control Surface

Rather than mixing with a mouse—adjusting one fader at a time—you might find using a MIDI or ethernet control surface (such as Pro Control) for mixing to be much more effective.

For more information on using Pro Control, see the Pro Control

Guide.

For more information on using MIDI control surfaces, see the MIDI Control Surface

Guide.

Plug-Ins

Pro Tools comes with a complete set of DigiRack plug-ins, and many more are available from Digidesign and our Development Partners. Plugins provide EQ, dynamics, delays and many other types of effects processing.

Enabling automation (left) and setting a track Automation mode (right)

Getting Started with MIX66

Plug-ins function either in real-time or in nonreal-time. TDM and RTAS plug-ins are non-destructive effects, which are inserted on tracks to process audio in real-time—just like an external,

hardware processor (during playback). AudioSuite plug-ins, on the other hand, are destructive effects that process audio files on disk in non-real-time.

Real-time plug-ins are assigned to tracks from the Inserts view in the Mix or Edit windows. Once assigned to a track, plug-ins appear in the track’s Inserts view, and can be opened by clicking on the Insert button.

Plug-InInsert button

Compressor plug-in

To insert a real-time plug-in on a track:

1 Make sure the Inserts View is shown in the

Mix or Edit window.

2 Click the Insert Selector on the track and se-

lect the plug-in that you want to use.

Bounce to Disk

The Bounce to Disk command lets you write a final mix to disk, create a new loop, print effects, or bounce any submix. Once you have “bounced” your final mix to disk, you can use another program (such as MasterList CD) to burn the resulting file to Compact Disc.

When you bounce a track to disk, the bounced mix includes the following:

Audible Tracks All audible tracks are included in the bounce. Any muted tracks do not appear in the bounce. If you solo a track or region, only the soloed elements appear in the bounced mix.

Automation All read-enabled automation is played back and incorporated in the bounced mix.

Inserts and Sends All active inserts, including real-time plug-ins and hardware inserts, are applied to the bounced mix.

Selection or Track Length If you make a selection in a track, the bounced mix will be the length of the selection. If there is no selection in any track, the bounce will be the length of the longest audible track in the session.

Time Stamp Information Bounced material is automatically time stamped so that you can drag it into a track and place it at the same location as the original material.

For more information about plug-ins, see the DigiRack Plug-Ins Guide, the Digidesign Plug-Ins Guide, and the Plug-Ins chapter of the Pro Tools Reference Guide.

To Bounce to Disk:

1 Choose File > Bounce to Disk.

2 Select any mono, stereo, or multichannel out-

put or bus path as the source for the bounce.

3 Select the File Type (such as AIFF), Format

(such as mono or stereo), Resolution (such as 16bit), and Sample Rate (such as 44.1 kHz).

4 Click Bounce.

Chapter 5: Working with Pro Tools 67

Dithering

You should use a dithering plug-in when mastering to a 16-bit file with the Bounce To Disk command, or when mastering to an external device that records at 16-bit. If you use Bounce to Disk, it is important to understand that the Bounce to Disk process does not apply dither. To dither a bounce file, you should insert one of the included Digidesign Dither plug-ins, or another dithering plug-in, on a Master Fader assigned to the bounce source path. Master Faders are often preferable to Auxiliary Inputs because Master Fader inserts are post-fader (better for dithering).

For more information on using dither, see the

Pro Tools Reference Guide.

Getting Started with MIX68

appendix a

Connecting SCSI Drives

SCSI hard drives function as the recommended recording media for Pro Tools TDM systems; it is there that Pro Tools sessions and audio files are kept.

Although Pro Tools will let you record to your system drive, this is generally not recommended. Performance for recording and playback on system drives is worse than on non-system drives, resulting in lower track counts and fewer plug-ins.

SCSI Requirements

High-Performance SCSI Drives and SCSI Host Bus Adapters

For 64-track, 24-bit, at 44.1 or 48 kHz performance, a TDM system must include at least three Digidesign-qualified SCSI hard drives attached to a qualified SCSI HBA (host bus adapter) card.

SCSI hard drives offer several advantages over ATA/IDE drives. First, SCSI drives can be external and therefore provide portable audio storage that is easily moved between systems. Second, SCSI drives offer better performance when recording to large numbers of tracks; attempting to record to a large number of audio tracks with an ATA/IDE drive results in a short delay before recording begins.

For 64-track sessions that have substantial edit densities (such as one edit every third of a second across 64 voices) or large amounts of crossfades, up to four SCSI drives may be required, allocated with 24 tracks per drive and two drives per SCSI channel.

SCSI drives must provide a data transfer rate of at least 9 MB per second of sustained throughput.

Refer to the Digidesign Web site for compatible hard drives and HBA cards:

www.digidesign.com/compato/

Software RAID is not supported for audio drives.

Appendix A: Connecting SCSI Drives 69

SCSI Cables

Disk Space for Audio Tracks

Use shorter SCSI cables to improve reliability. Table 1 provides guidelines for maximum cable lengths according to SCSI type.

In the following table, the maximum cable length includes all cables used in the chain, not just point-to-point connections.

Table 1: Maximum cable length and number of drives supported according to SCSI type

SCSI type and transfer rate

Fast SCSI 10 MB/sec

Wide SCSI 20 MB/sec

Ultra SCSI 20 MB/sec (8-bit narrow)

Ultra SCSI 40 MB/sec (16-bit wide)

Ultra SCSI 20 MB/sec (8-bit narrow)

Ultra SCSI 40 MB/sec (16-bit wide)

Ultra2 SCSI Low Voltage Differential (LVD) 80 MB/sec

maximum cable length

3 meters 8

3 meters 16

3 meters 5

1.5 meters 6–8

1.2 meters 16

maximum # of drives

A single mono audio track recorded at 24-bit resolution at a CD-fidelity sampling rate of

44.1 kHz requires about 7.5 MB of hard drive

space per minute. The same track recorded at 16-bit resolution requires about 5 MB per minute. Stereo tracks require about twice as much hard drive space.

Using these guidelines:

• 64 mono tracks of 44.1/48 kHz, 24-bit audio takes up about 500 MB of hard drive space per minute.

• 64 mono tracks of 44.1/48 kHz, 16-bit audio takes up about 350 MB of hard drive space per minute.

Distribute Audio Across Multiple Drives

For best recording and playback performance, don’t record and play back all audio files in a session from the same drive. Instead, use Pro Tools Disk Allocation features to distribute audio files between multiple drives. See the Pro Tools Reference Guide for details.

Separate Video and Audio Files

If you are working with QuickTime, movie files must reside on a different SCSI bus than audio files. If audio files reside on disks connected to a SCSI HBA card, video data should reside on drives connected to a different SCSI bus.

Dual-Channel SCSI HBA Cards

If you use a dual-channel SCSI HBA card, equally allocate audio files to drives connected to each of the two busses on the card for optimal performance.

If using video files, make sure to put your video files on one bus and audio files on the other bus.

Getting Started with MIX70

Connecting SCSI Drives

To connect an external SCSI drive:

1 Turn off power to both the computer and the

hard drive.

2 Attach a SCSI cable from the SCSI port of the

hard drive to the SCSI port of the SCSI HBA card or computer depending on your system’s SCSI requirements.

3 Secure the cable’s connectors to the hard drive

and computer. Loose cables can cause data loss.

4 Connect additional drives by daisy-chaining

from one drive to another. Keep cable lengths to a minimum (see Table 1).

5 Verify that the last SCSI device connected is

properly terminated. (See “SCSI Termination” on page 71.)

6 Attach power cables to the hard drives.

to SCSI accelerator card

Connecting an external SCSI hard drive

SCSI Termination

Your computer’s SCSI chain must be properly terminated or your system will not function correctly. Only the last device on the chain should be terminated using the termination type recommended by the hard drive manufacturer.

The drive should use either an external terminator plug or have its internal terminators enabled. If you are using a terminator plug, Digidesign recommends that you purchase and use an

active terminator.

Do not enable internal termination and install an external terminator plug on the same drive. This will cause SCSI errors. See your hard drive’s documentation for information regarding which type of termination it uses.

SCSI accelerator card

to SCSI hard drive

Connecting a SCSI cable to a SCSI HBA card

Quick Formatting a SCSI Drives

Macintosh Requirements

On Macintosh systems, SCSI hard drives used for audio recording on TDM systems must be formatted (or initialized) for either the HFS or HFS+ file system. Drive partitions of up to 2 terabytes (2000 gigabytes) can be used.

Appendix A: Connecting SCSI Drives 71

TDM systems require that you use the ExpressPro-Tools software from ATTO (included with Pro Tools) for all drive formatting and partitioning; only one disk utility should be used for all drives in a system.

Windows Requirements

SCSI hard drives used for audio recording on TDM systems must be formatted for the FAT32, or NTFS files system. Under Windows 2000, NTFS drive partition sizes are only bound by the physical size of the drive, whereas FAT32 drive partitions have a limit of 32 GB.

The following restrictions apply:

• The drive letter cannot be A: or B:.

• It must be a normal ﬁxed hard drive (the function GetDriveType must return DRIVE_FIXED).

• The ﬁle system must be FAT32, NTFS, or HFS (w/ MacOpener installed).

• The user must be logged in as administrator

• The drive must have valid signature.

• DAE is not compatible with Windows 2000 dynamic disks. Only basic disks work with Pro Tools on Windows 2000. Note that the Windows 2000 Disk Administrator in some cases makes new disks dynamic by default. Use the revert to basic disk option to change this.

• Stripe sets are currently not supported.

TDM Windows systems require that you use Microsoft Windows Disk Administration software for drive formatting and partitioning. Use only one disk utility for all drives in a system.

Pro Tools for Windows 2000 allows you to connect Macintosh-formatted hard drives and play sessions created on Pro Tools for Macintosh when using MacOpener from DataViz. An installer for the demo version of MacOpener is included as an installation option for Pro Tools.

Initializing a Macintosh Drive

To initialize a new drive:

1 Turn on your hard drives, computer, and any

other peripherals.

2 Use ATTO’s ExpressPro-Tools software version

2.3.2 to initialize and partition any new hard drives.

Refer to the

ExpressPro-Tools User’s Manual.

If you have existing FWB-formatted drives, don’t install the ExpressPro-Tools extension; this can cause a conflict. This extension is not required to use the ExpressProTools software (to format new drives).

Formatting a Windows Drive

To format a new drive:

1 Turn on your hard drives, computer, and any

other peripherals.

2 Use Microsoft’s Disk Management software,

located in the Administrative Tools control panel under Computer Management > Storage.

Refer to your Microsoft Windows manual or Windows help for information on how to use the Disk Management software.

Getting Started with MIX72

General Hard Drive Maintenance Information

If using Macintosh drives on Windows systems, refer to“Using Macintosh Drives on Windows Systems” on page 75.

Formatting Drives

There are two different types of formatting: high-level formatting and low-level formatting.

Digidesign does not recommend low-level formatting.

High-Level Formatting (Initialization)

High-level formatting, or initializing a drive replaces the drive’s directory, volume partition map and drivers. Information about the drive is created and drivers that communicate this information to the host CPU are installed. The drive itself is not erased, nor is veriﬁcation performed.

When is High-Level Formatting Necessary?

Low-Level (Physical) Formatting

Low-level formatting means completely erasing the hard drive and rewriting each sector address on the drive. In low-level formatting, the sector and track addresses, error-correction codes, and other details are written on the platters of the hard drive in the form of a magnetic pattern. A low-level format permanently erases all data on the drive.

When is Low-Level Formatting Necessary?

Virtually all hard drives come pre-formatted from the manufacturer. Low-level formatting is generally unnecessary except in rare circumstances. They are:

◆ If you want to change the Block Size of the

drive. This is not recommended by Digidesign. Digidesign systems only recognize 512-byte blocks.

◆ If you want to perform permanent deletion of

data.

◆ If you want to clean a drive that is being mi-

grated from one operating system to another (for instance, from UNIX to Macintosh).

It is generally necessary to high-level format a hard drive in one of the following cases:

◆ If a new drive is being prepared for use on a

computer for the ﬁrst time and the drive is not already high-level formatted.

◆ If you suspect that the directories containing

the drive’s information have become corrupted.

◆ If a drive is being changed from one platform

to another. For example if you are switching from a Macintosh to a Windows-based system, or from a Windows to a Macintosh-based system, the drive must be high-level re-formatted for the new operating system.

Should you decide low-level formatting is necessary, keep in mind that it can take up to three hours or more (depending on the size of the drive). Avoid power interruptions and computer bus resets during the format operation or permanent damage to the drive could occur. In addition, leave the drive powered on for at least 30 minutes prior to formatting so that the drive has time to make any necessary thermal adjustments or recalibrations.

Appendix A: Connecting SCSI Drives 73

Partitioning Drives

Avoiding File Fragmentation

Partitioning divides a physical drive into multiple, unique volumes, almost as if you were creating virtual hard drives. Partitioning is usually performed when the drive is high-level formatted (Macintosh) or initialized (Windows).

Mac OS 7.6.1 and above allows drives larger than 4096 MB to be seen as whole volumes. Drives must be initialized with ExpressPro-Tools (or another utility) that recognizes the 2 terabyte limit. Single files cannot exceed 2048 MB in size.

Windows 2000 allows drives formatted with the NTFS or FAT32 file systems to be seen as whole volumes. Single Pro Tools audio files cannot exceed 2048 MB in size.

Seek Times on Partitioned Drives

Seek times are actually faster on partitioned drives (assuming that reads and writes are performed on a single partition), since the heads only have to seek within the partition boundaries, rather than the whole capacity of the drive.

In addition, smaller partitions perform faster than larger partitions. However, this comes at the expense of contiguous storage space. When you partition a drive, you will need to find the compromise that best suits your performance and storage requirements.

Avoid distributing audio files within a session over different partitions on the same drive since this will adversely affect drive performance.

For maximum recording and playback efficiency, data should be written to your hard drive in a contiguous fashion—minimizing the seek requirements to play back the data. Unfortunately, your computer can’t always store the sound files in this way and must write to disk wherever it can find space.

In multitrack recording, audio tracks are written in discrete files, spaced evenly across the disk. While fragmentation of individual files may be zero, the tracks may be far enough apart that playback will still be very seek-intensive. Also, the remaining free space on the disk will be discontiguous, increasing the likelihood of file fragmentation on subsequent record passes.

Increased fragmentation increases the chance of disk errors, which can interfere with playback of audio, and result in performance errors.

On Windows, fragmentation is less likely to occur on drives formatted with higher cluster sizes (such as 32k, which is strongly recommended for optimal performance with Pro Tools). On Windows 2000, use Windows Disk Administrator to format FAT32, and use Partition Magic to format NTFS.

On Macintosh, if Norton Utilities is used, it must be Norton Utilities v4.0 or later to ensure compatibility with HFS+ drives.

Optimizing (Defragmenting) Drives

To prevent fragmentation, you can optimize your drive, which rearranges your ﬁles into a contiguous format. Most optimizing software lets you run a check on a drive to ﬁnd out the percentage of fragmentation. If your drive shows moderate to heavy fragmentation, you should consider optimizing it.

Getting Started with MIX74

If you use your system for intensive editing, or if you frequently delete audio or fade ﬁles from your hard drive, you may need to optimize your drives on a weekly basis, or even every few days, since it doesn’t take long for even a large hard drive to become fragmented.

On Windows 2000, it is not possible to defragment NTFS formatted drives that have a cluster size larger than or equal to 4k. This is not an issue with FAT32 formatted hard drives.

Backing Up Data Before Optimizing

Installing the MacOpener Utility

To Install MacOpener:

1 Quit Pro Tools if it is open.

2 Locate the macopener executable (.exe) ﬁle on

the Pro Tools Installer CD-ROM and doubleclick it to launch the installer.

3 Follow the on-screen instructions to install

MacOpener.

4 When installation is complete, restart your

computer.

Since your files will be rewritten by the optimization process, always make a backup copy of the data on your hard drive before you optimize it. You should also use a hard drive utility to find and repair any problems before optimizing data. If there is any damage to your hard drive's directories prior to optimizing, serious data loss may result.

Using Macintosh Drives on Windows Systems

Pro Tools for Windows lets you record and play back sessions directly from a Macintosh-formatted (HFS or HFS+) drive connected to a Windows system. This functionality requires that all Macintosh session and audio files be stored on Macintosh-formatted drives.

To mount HFS or HFS+ drives on a Windows system, you must use the MacOpener utility by DataViz. An installer for the demo version of MacOpener is included as an installation option for Pro Tools.

™

software

Enabling the MacOpener Driver

When you are finished installing MacOpener, the MacOpener driver must be enabled to mount HFS and HFS+ drives.

To enable the settings on the MacOpener Driver:

1 Choose Start > Programs > MacOpener >

MacOpener Driver Preferences.

2 Under Driver Settings, select Enable Mac-

Opener Driver.

3 Under Extension Mapping, select Do not add

the PC extension to the Mac ﬁle name.

Mounting HFS Drives

If the MacOpener utility is installed and enabled, no additional steps are required to mount HFS drives. They appear as normal system drives after you connect them and restart your computer.

For details on sharing sessions between Macintosh and Windows systems, see the Pro Tools Reference Guide.

Appendix A: Connecting SCSI Drives 75

Formatting and Maintaining HFS and HFS+ Drives

Although you can use MacOpener to format HFS and HFS+ drives from a Windows machine, it is not recommended for use with Pro Tools. We recommend that you connect the drives to a Macintosh computer (if possible) and use the ExpressPro-Tools software from ATTO (included on the Mac Pro Tools CD-ROM).

Getting Started with MIX76

appendix b

DigiTest Error Codes

Code Description

Err3 Cards from different Pro Tools

systems are incorrectly mixed.

Err4 Cards marked with this error are

installed in the wrong order.

Err5 Too many cards of this type are

installed in the system. Refer to the Digidesign Web site for compatibility information: www.digidesign.com/compato/

Err6 A card is installed in a reserve

slot. For example, a Digidesign card is installed in the slot reserved for the Expansion Chassis Host Interface card.

Err1010 Too many MIX Core cards

installed. The maximum number of MIX Core cards allowed is 7.

Err1011 Too many MIX Farm cards

installed. The maximum number of MIX Farm cards allowed is 7.

Err1012 Too many total MIX cards

installed. The maximum number of total MIX cards allowed is 7.

DigiTest Error Codes

Code Description

Err1022 Too many total d24 cards

installed. The maximum number of total d24 cards allowed is 2.

Err1220 SCSI Accelerator card is installed

in the wrong slot.

Err1221 Expansion Chassis Host Interface

card is installed in the wrong slot.

Err1301 A Core card is not installed. At

least one Cord card is needed.

Err1310 A DSP Farm card is not installed.

At least one DSP Farm card is needed.

Err1020 Too many d24 Core cards

installed. The maximum number of d24 Core cards allowed is 2.

Err1021 Too many MIX I/O cards installed.

The maximum number of MIX I/O cards allowed is 2.

Appendix B: DigiTest Error Codes 77

Getting Started with MIX78

appendix c

Conﬁguring OMS (Macintosh Only)

Open Music System (OMS), which is included on the Pro Tools Installer CD, has the following capabilities:

• Keeps track of which MIDI devices you are using, how they are connected, and which patches they are using

• Enables MIDI hardware to communicate with your music applications

• Provides timing services and inter-application communication

OMS stores a description of your MIDI studio in

Studio Setup documents, which are edited in the OMS Setup application. Once OMS is conﬁgured,

your music applications know which MIDI devices you are using by referencing the current Studio Setup document.

The following sections provide basic instructions for conﬁguring OMS. For more detailed information, refer to the online OMS Guide installed with Pro Tools.

Conﬁguring a New Studio Setup

(First-Time OMS Users Only)

Before configuring OMS, make sure your MIDI interfaces and devices are connected according to the manufacture’s instructions and turned on.

To conﬁgure a New Studio Setup in OMS:

1 Launch the OMS Setup application. If OMS

has not yet been conﬁgured, you’ll be prompted to conﬁgure a New Studio Setup. Click OK.

2 Select whether your MIDI interface is con-

nected to the Modem or Printer port. If using a USB or PCI-based MIDI interface, leave both ports unchecked. Click Search.

Ports for OMS Driver Search

Appendix C: Conﬁguring OMS (Macintosh Only) 79

OMS searches for and displays any detected MIDI interfaces, MIDI cards, and OMS drivers. If your interface is not detected, click Troubleshoot. Once your interface is detected, you are prompted to search for MIDI instruments connected to your interface.

3 Click OK to search for MIDI devices connected

to your MIDI interface. To be detected, the device must be turned on and have both of its MIDI ports connected to your MIDI interface.

Deﬁning MIDI Devices in OMS

To deﬁne a MIDI device in OMS Setup:

1 Double-click the device’s icon in the Studio

Setup window.

2 In the MIDI Device Info dialog, select the

Manufacture and Model for the device from the pop-up menus. If the device is not listed, leave the Model set to “other” and enter a name for the device.

Deﬁning a MIDI device

OMS Driver Setup

OMS searches for and displays any detected MIDI devices. Some older instruments, as well as some newer ones, may not be recognized by the OMS auto-detection routines.

Undeﬁned OMS device

Devices not recognized by OMS appear with a red question mark and are named based on the interface or port to which they are connected. These devices can be defined as necessary within the OMS Setup application (see “Deﬁning MIDI Devices in OMS” on page 80).

4 Click OK to save your Studio Setup document.

Getting Started with MIX80

3 Select the receiving channel for the device. If

receiving multiple channels, select the option for “Is Multitimbral.”

4 If you will record from the device in Pro Tools,

select the option for “Is Controller.” If the device will be a source or destination for MIDI Time Code, Beat Clock, or MMC, select the appropriate option.

5 Click Ok.

Disabling SerialDMA in OMS

Pro Tools requires that you deselect the “Use Apple SerialDMA Driver When Available” option in OMS Setup. If you do not disable this option, problems will occur with MIDI and synchronization functions in Pro Tools.

To disable SerialDMA in OMS:

1 Double-click the OMS Setup application.

2 Choose Edit > Preferences.

3 Deselect “Use Apple SerialDMA Driver When

Available,” and click OK.

4 Quit OMS Setup

Machine Control and the IAC Driver

To edit the IAC driver’s name:

1 Double-click the OMS Setup application.

2 In the Studio Setup window, double-click the

IAC driver.

If you are planning to use MIDI Machine Control (MMC) for Pro Tools synchronization with other MMC-capable devices or applications, you must rename the OMS IAC Driver and remove

the infinity symbol (“∞”) from its name. If you

do not do this, MMC will not function properly.

Studio Setup window with IAC Driver

3 Rename “∞ IAC bus #1” to “MMC” and click

OK.

Renaming the IAC Driver

4 Quit OMS Setup.

Appendix C: Conﬁguring OMS (Macintosh Only) 81

Getting Started with MIX82

appendix d

Digidesign Control Panel (Macintosh Only)

The Digidesign Control Panel should be installed if you are planning to use your Digidesign hardware with Apple Sound Manager-compatible applications.

Digidesign Control Panel

To conﬁgure the Digidesign Control Panel:

1 From the Apple menu, choose Control Panels

> Digidesign.

Digidesign Control Panel

2 Click the Setup Hardware button in the

Digidesign Control Panel. The Hardware Setup dialog will open.

3 Conﬁgure the Hardware Setup dialog as de-

sired. The Other Options dialog will vary according to your primary audio interface.

To use your Digidesign hardware with Apple Sound Manager:

1 Choose Apple menu > Control Panels >

Sound.

2 Select the Output tab.

3 Select Digidesign.

Apple Sound Control Panel

It is recommend that you turn the Alert Volume control all the way down under the Alerts tab.

Appendix D: Digidesign Control Panel (Macintosh Only) 83

Getting Started with MIX84

appendix e

Digidesign WaveDriver (Windows Only)

effect on recording or playback in Pro Tools or

Introduction

The Digidesign WaveDriver is a two-channel, multimedia sound driver for Digidesign's TDM systems. This WaveDriver allows third-party audio applications to record and/or play through channels 1–2 of the first peripheral connected to your d24 or Mix Core card. It is compatible with Windows 2000 (Service Pack 1 and Service Pack 2).

Check the Digidesign Web site (www.digidesign.com) for the latest thirdparty drivers for Pro Tools hardware, as well as current known issues.

Recording and playback of 16-bit audio are supported at sample rates of 48 kHz and 44.1 kHz. Other word lengths and sample rates are available through the Microsoft Sound Mapper.

Also included is the DigiGain volume control application. DigiGain allows control over the WaveDriver's master output volume, and input and record monitoring levels. DigiGain has no

any other application that communicates with Digidesign hardware using Digidesign Direct I/O.

WaveDriver is not multi-client. Only one application at a time can use the WaveDriver. Be sure to disable the Windows system sounds. It is also recommended that you install a separate sound card for third-party soft-synthesizer and samplers, games, or multi-client audio work.

Installing the WaveDriver

Before installing the driver please make sure of the following:

Pro Tools hardware and software must be properly installed and functional prior to installing the Digidesign WaveDriver

The WaveDriver shares several files with Pro Tools. These shared files are installed with Pro Tools, not the WaveDriver. After installing Pro Tools, restart Windows. Your audio interface must be connected and turned on to successfully install the Digidesign WaveDriver.

Appendix E: Digidesign WaveDriver (Windows Only) 85

Disable System sounds before installing the WaveDriver

Remove previously installed Digidesign WaveDrivers

Digidesign recommends disabling all system sounds. Users may encounter problems when system sounds are associated with Empty Recycle Bin, Select, Open Program, and Close Program and other Windows events. In addition, disabling the Windows Start and Exit Windows sounds helps prevent possible speaker damage. The Digidesign WaveDrivers default to 0 dB when installed. Remember to turn down your monitoring levels before reboot after the WaveDrivers are installed.

With the WaveDrivers set for 0dB, your audio interface will output the system sounds at >110dB!

To disable system sounds:

1 From the Start menu, choose Settings > Con-

trol Panel > Sounds.

2 To disable all system sounds, under the

Scheme pull-down menu select No Sounds.

– or –

To disable specific system sounds, scroll down the list of Events and select the one you want to disable such as Start Windows. In the Name drop down list, select None.

3 Click Apply, then OK.

4 Restart Windows.

You should also disable Internet Explorer’s sounds for the same reasons.

If you have previously installed an earlier version of the WaveDriver, you must completely remove it before installing this new driver. For more information, see “Removing the WaveDriver” on page 87.

Installation Instructions

To install the Digidesign WaveDriver:

1 Install Pro Tools.

2 Launch any Pro Tools session to verify that

Pro Tools is working correctly.

3 Quit Pro Tools and restart your computer.

4 From the Start menu, choose Settings > Con-

trol Panel.

5 Click on Add/Remove Hardware.

6 Click on Next.

7 Select “Add/Troubleshoot a device.” Wait

while Windows searches for devices.

8 Select “Add a new device” and click on Next.

9 Select “No, I want to select the hardware from

a list” and click Next.

10 Select “Sound, video and game controllers”

and click Next.

11 Click “Have Disk...”

12 Browse to the location of the driver, select

the “oemsetup.inf” ﬁle, and click “Ok.”

13 Click Next.

14 If “Digital Signature” warning dialog ap-

pears, click Yes.

15 Click Next.

Getting Started with MIX86

16 If message appears which states “The ﬁle ‘di-

rectio.dll’ on Digidesign WaveDriver is needed.” Browse to the location of the driver, select the “directio.dll” ﬁle, and click OK.

The Digidesign WaveDriver Settings dialog will automatically open.

17 Click on the Advanced button to open the

I/O Setup dialog. (See How to Change WaveDriver Settings below for more information about these dialogs.)

18 Click on the A: No Interface tab.

19 Select the Peripheral Type for the peripheral

you have connected to your d24 or Mix card.

The WaveDriver may only be used with the first peripheral connected to your master/core card. If your d24 or Mix Core card is connected to two peripherals using an optional

Digidesign 16-channel peripheral ca-

ble adapter

, select the Peripheral Type for the peripheral connected to “A.” If you have multiple Pro Tools cards connected to multiple peripherals, select the Peripheral type for the “A” peripheral connected to your d24 or MIX Core card. Use the Identify checkbox in the I/O Setup dialog to verify which peripheral you are configuring for use with the WaveDriver.

20 Make any other desired settings in the I/O

Setup dialog.

21 Click OK to close the I/O Setup dialog.

22 Click OK to close the WaveDriver Settings di-

alog.

23 Restart Windows when prompted.

Removing the WaveDriver

To remove the WaveDriver:

1 From the Start menu, choose Settings > Con-

trol Panel.

2 Click the “Add/Remove Hardware” Icon.

3 Click Next.

4 Select “Uninstalled/Unplug a device” and

click Next.

5 Select “Uninstall a device” and click Next.

6 Select “Digidesign WaveDriver” from the list

and click Next.

7 Select “Yes, I want to uninstall this device”

and click Next.

8 Click Finish.

If you wish to return Pro Tools to its original, pre-WaveDriver, state you must completely uninstall Pro Tools using the “Add/Remove Software” control panel, then reinstall Pro Tools. For detailed installation instructions, see Chapter 3, “Windows Configuration.”

How to Change WaveDriver Settings

To change settings for the WaveDriver:

1 From the Start menu, choose Settings > Con-

trol Panel.

2 Double-click the “System” icon.

3 Click the Hardware tab.

4 Click the Device Manager button.

5 Expand the “sound, video, and game control-

lers” section.

Appendix E: Digidesign WaveDriver (Windows Only) 87

6 Double-click the “Digidesign WaveDriver.”

7 Select the Properties tab.

8 Expand “Audio Devices.”

9 Double click “Digidesign WaveDriver.”

10 In the Digidesign WaveDriver Properties dia-

log, click the Settings button.

11 You should now see the WaveDriver Settings

Dialog (see Figure 5 on page 88).

WaveDriver Settings Dialog

Figure 5. Digidesign WaveDriver Settings dialog

The Digidesign WaveDriver Settings dialog cannot be accessed under the following circumstances:

• When running Pro Tools with the Active in Background option enabled.

• When running Pro Tools and the Convert and Import dialog is open.

• When playing or recording in another audio application.

• When using another audio application such as Acid or Cakewalk that has an option to keep the WaveDriver “open” even when you are not playing or recording. (You must close the audio application before you can open the WaveDriver Settings dialog.)

Buffer Size Control

When you play a file from a client audio application, the client application divides the file into little chunks (buffers) and sends each of these to the WaveDriver. The WaveDriver copies the client applications buffers to the d24 or MIX system’s own buffers in a double-buffering scheme. The Buffer Size control in this dialog allows you to set the size of each of the two buffers the WaveDriver uses on the d24 or MIX Core card. You may choose from the following buffer sizes:

• 128 samples (default)

• 256 samples

• 512 samples

• 1024 samples

Small buffers have the advantage of low latency in the record monitor path. (Latency is the time delay between a signal entering the audio inputs and leaving the outputs during recording.) Larger buffers have the advantage of making audio dropouts during playback and recording less likely. In some audio applications, notably Sound Forge, performing various tasks such as maximizing or minimizing windows will interrupt the WaveDriver and create glitches in the audio. Choosing Medium or Large buffers can help alleviate this problem.

Pressing the OK button will cause settings to be saved in the registry when you shut down or reboot Windows. Pressing Cancel restores settings to what they were before this dialog was opened. The OK and Cancel buttons in this dialog have no effect on whether settings are saved or restored in the I/O Setup and Other Options dialogs.

Getting Started with MIX88

I/O Setup Dialog

Click the Advanced button in the WaveDriver Settings to open the I/O Setup dialog:

Figure 6. I/O Setup dialog

A: No Interface tab

Peripheral Type

Please choose the (“A”) peripheral you have connected to your d24 or MIX Core card.

Sample Rate

Available sample rates are 48000 Hz and 44100 Hz. You do not need to change the sample rate in this dialog before playing or recording a file with a new sample rate. If you are playing a file, it will automatically play back at the correct sample rate. If you are recording a new file, simply choose the desired sample rate using the audio application's Preferences or Record Options dialog.

Sync Mode

Sync mode may be set to Internal or Digital and is Internal by default.

Digital Format

If your peripheral is an 888|24 I/O or an 888 I/O, this control may be set to AES/EBU or S/PDIF and is AES/EBU by default. If your peripheral is an 882|20 I/O, an 882 I/O, or a 1622 I/O, this control will be set to S/PDIF and will be grayed out.

Ch 1–2 (Format)

This control may be set to Analog or Digital. It determines whether the WaveDriver plays and records through your peripheral's analog or digital I/O. The WaveDriver can only play and record through channels 1–2 of your selected peripheral.

Identify Check Box

This control enables you to verify which peripheral you are configuring for use with the WaveDriver. Checking this box causes all the meters on the connected peripheral to light up.

Appendix E: Digidesign WaveDriver (Windows Only) 89

Other Options Button and Recalibrate Button

Before installing DigiGain

The behavior of these buttons depends on the peripherals you have connected. Refer to the documentation for your specific audio interface.

B: No Interface tab

If you have two peripherals connected to your d24 or MIC Core card, you may select and configure the “B” peripheral using the controls under this tab. These settings will only be relevant to Pro Tools, and not the WaveDriver. For more detail, see “Installing the WaveDriver” on page 85.

Card Info tab

Bus, Slot Number

These controls display card specific PCI bus information and should not be altered.

Installing DigiGain

DigiGain is an optional volume control applet that allows you to control the master output of your Digidesign audio interface as well as control the monitoring input levels of the WaveDriver independently from your thirdparty audio application. By default, the master level is set to 0 dB.

The WaveDriver must be installed before installing DigiGain. If you did not install the WaveDriver or reboot the computer after installing the WaveDriver, do so now.

Installation Instructions

To install DigiGain:

1 Insert the Pro Tools Installer CD.

2 Locate DigiGain.exe on the CD, and copy to

the Desktop.

Removing DigiGain

To remove DigiGain:

1 Delete (move to Recycle Bin) DigiGain.exe

from the Desktop.

2 Empty the Recycle Bin.

DigiGain is not available as a volume control on the Windows task bar. As a result, the following settings will be disabled in the Multimedia control panel under the Audio tab: “Show volume control on the taskbar,” the playback volume control, and the recording volume control will all be disabled.

Getting Started with MIX90

How to Use DigiGain

Figure 7. DigiGain WaveDriver Level Control

Record Monitor Mute

The Mute buttons under the Record Monitor Level sliders individually mute the left and right recording streams.

Gang

The Gang button groups the left and right Record Monitor Level sliders and Mute buttons.

OK Button

Clicking on the OK button saves the volume settings. Volume settings are stored in a registry key. This allows you to maintain the same volume level upon the next reboot or startup of the system.

Master Level

This slider adjusts the output volume of channels 1–2 on your Digidesign audio interface.

During recording, this does not affect the audio data being recorded.

Master Mute

The master mute option is enabled, output of channels 1–2 of your audio interface will be muted.

Record Monitor Level

These sliders adjust the output monitoring level of the left and right recording channels.

As with the Master Level slider, these sliders do not affect the audio data being recorded.

Appendix E: Digidesign WaveDriver (Windows Only) 91

Getting Started with MIX92

index

Numerics

1622 I/O 10, 28

connections & levels 2 Windows configuration 37

16-channel peripheral cable adapter 11, 29 882|20 I/O 10, 28

connections & levels 2 Windows configuration 36

888|24 I/O 10, 28

connections & levels 2 Windows configuration 36

ADAT Bridge I/O 10

connections & levels 2

adding

Master Fader tracks 65

adjusting track volume 53 Apple Sound Manager

using Digidesign hardware 83

Apple System software settings 11 application response

Windows configuration 24

arranging regions 62 assign a send 64 assigning a return

return

assigning on a track 65

ATTO

Macintosh configuration 72 Windows configuration 24

Audio Interface

cable 10, 28 connecting to Pro Tools|24 MIX systems 10,

28 primary 10, 28 requirements 2

Audio Regions List 56

Audio track 53 authorization code

Macintosh 17 Windows 33

backing up data 75 BIOS

Windows configuration 22

Bounce to Disk 67

dithering 68

cable length of SCSI drives 70 cannot create DAE deck 33 Channel Strip controls

Mute 64 Pan 64 Solo 64 Volume 64

clock master 9, 10, 27, 28 compatibility information for Pro Tools 3 computer requirements 3 configuring OMS 79 configuring the Digidesign Control Panel 83 connecting

effects units 42 external SCSI drive 71 SMPTE synchronization devices 44 studio 39

CPU requirements 3 creating a new track 52 creating playlists 63

Index 93

d24 card 8, 26 DAE memory allocation 14 DAT recorder

connecting to Pro Tools 42

Digidesign Control Panel 83

configuring 83

Digidesign Control Panel install option 12 DigiGain 90

installing 90 removing 90 using 91

DigiSerial port 8, 26 DigiTest

error codes 77 Macintosh configuration 15 Windows configuration 32

DigiTranslator installation option 12 disabling Windows system sounds 86 disk space for audio tracks 70 dithering 68 DSP Farm 8, 27

Edit mode buttons 60 Edit modes 60 Edit Tools 60 editing regions 61 effects units, connecting to Pro Tools 42 error codes

DigiTest 77

error message number 4 33 expansion chassis

Macintosh configuration 7 Windows configuration 25

Flashing SCSI ROM 23 formatting a Windows hard drive 72 formatting hard drives

high-level 73 low-level 73

fragmentation 74

hard drives

maintenance 73 optimizing 74 requirements 4

hardware installation

Macintosh configuration 7 Windows configuration 25

Hardware Setup

Macintosh configuration 20 Windows configuration 35

HFS Drives, formatting 76 high-level formatting 73, 75

I/O Setup

Macintosh configuration 20 Windows configuration 37

IAC Driver 81 Import Audio From Other Movie command 56 importing audio 56

from CD (Macintosh) 56 from disk 56

Infinity symbol

removing from IAC Bus name 81

initializing a Macintosh drive 72 inserting a plug-in on a track 67 Installer CD 12

Windows configuration 29

installing

Pro Tools cards 9, 27

installing DigiGain 90 installing Pro Tools software

Macintosh configuration 11 Windows configuration 21

installing Surround Mixer

Macintosh configuration 13 Windows configuration 31

installing WaveDriver 86

low-level formatting 73

G3 computer requirements 4

Getting Started with MIX94

Pinnacle Systems Pro Tools MIX - 5.1.3 Getting Started

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

MIXplus

Audio Interfaces

Digidesign 24-Bit ADAT Bridge I/O and the Original ADAT Bridge I/O

System Requirements

Compatibility Information

Computer Requirements

Macintosh

Windows

Hard Drive Requirements

Macintosh

Windows

MIDI Requirements

Digidesign Registration

Conventions Used in This Guide

The MIX Core Card

The MIX Farm Card

The d24 Audio Card

The DSP Farm

The TDM Ribbon Cable

Connecting Audio Interfaces

Apple System Software Settings

Allocating Additional Memory to Pro Tools and DAE

Installing OMS

Starting Up Your System

Running DigiTest

Upgrading to Windows 2000 with IBM IntelliStation E Pro Model 6846

Flashing the SCSI ROM

Installing the Adaptec SCSI Drivers

Installing the ATTO SCSI Drivers

Setting Application Response

Disable Driver Signing Warning

Disable Virus-Protection Software

The MIX Core Card

The MIX Farm Card

The d24 Audio Card

The DSP Farm

The TDM Ribbon Cable

Connecting Audio Interfaces

Installing QuickTime

Using MIDI

Starting Up Your System

Running DigiTest

Errors and Undetected Cards

Cannot Create DAE Deck Or Error Number 4

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 Effects Units Digitally

Connecting MIDI Devices

Macintosh

Windows

Connecting SMPTE Synchronization Devices

The Digidesign Universal Slave Driver

SYNC I/O

Session Basics

Starting a Session

Main Windows

Session Settings

Saving Sessions

System Resources and Settings

System Usage Window

Transport Controls

Navigating

Memory Locations

Tracks

Tracks in the Mix window

Audio Tracks

MIDI Tracks

Adjusting the Volume and Panning of a Track

Tracks in the Edit Window

Viewing and Zooming

Regions Lists