Basics
Pro Tools M-Powered™
Version 7.0
Copyright
© 2005 Digidesign, a division of Avid Technology, Inc. All rights
reserved. This guide may not be duplicated in whole or in part
without the express written consent of Digidesign.
Avid, Digidesign, M-Audio, and Pro Tools are either trademarks
or registered trademarks of Avid Technology, Inc. in the US and
other countries. All other trademarks contained herein are the
property of their respective owners.
Product features, specifications, system requirements and
availability are subject to change without notice.
PN 9320-17751-00 REV A 10/05
Introduction
Welcome to the
guide is designed to give new users specific
methods for accomplishing common tasks with
Digidesign-qualified M-Audio interfaces and
Pro Tools M-Powered software.
Once you are familiar with basic M-Powered operation, we recommend that you read the
“Working With Pro Tools” tutorial in the
Pro Tools M-Powered Getting Started Guide
most complete information on using Pro Tools,
see the
Pro Tools Reference Guide
M-Powered Basics Guide
.
. This
. For the
Online Resources
Many resources for learning to use Pro Tools are
also available online at the Digidesign Web site
(www.digidesign.com), including the following:
DiSK (Digidesign Sound Knowledge)
tional material about how to use Pro Tools, including DiSK Flix movies that show how to do a
number of popular tasks using Pro Tools.
DigiZine
ers, providing all the latest product news, user
stories, and many tips and ideas.
A magazine for and about Pro Tools us-
Instruc-
M-Powered Basics Requirements
Before proceeding, make sure you have:
• Connected the Digidesign-qualified M-Audio
interface to your computer, as described in
your M-Audio documentation.
– and –
• Installed Pro Tools M-Powered software and
the pre-authorized iLok, as described in the
appropriate Windows or Macintosh installation chapter of the
Started Guide.
Pro Tools M-Powered Getting
Introduction
1
Getting Sound In and Out of your M-Audio Interface
To hear audio recorded into a Pro Tools session,
you will need to connect headphones or an external sound system (such as powered monitors
or a home stereo) to your M-Audio interface.
Sound from your M-Audio interface cannot be
played through your computer’s speakers or
your computer’s sound output.
Connecting Headphones
Depending on which M-Audio interface you
have, there will be one or more headphone jacks
on the front or back of your interface. These can
be either a 1/4-inch jack or a 1/8-inch mini plug
jack.
1/4-inch Headphone jack
Headphone jacks on the front of a FireWire 1814
To connect headphones:
• Connect headphones with a 1/4-inch stereo
connector (or an adapter) to interfaces that
have a 1/4-inch Headphone jack.
– or –
• Connect headphones with a 1/8-inch stereo
mini connector (or an adapter) to interfaces
that have a 1/8-inch Headphone jack.
Some M-Audio interfaces include a front
panel Headphone control to adjust the volume level of the Headphone jacks.
Connecting a Sound System
Depending on which M-Audio interface you
have, the outputs will be 1/4-inch or RCA plugs,
and the 1/4-inch connections can be balanced,
TRS (Tip, Ring, Sleeve) style connectors, or unbalanced. To listen to your Pro Tools session,
these outputs can be connected to any amplification system: powered speakers, a home stereo
system, or an audio mixer.
1/4-inch Headphone jack
Headphone jack on the back of an Ozonic
2
M-Powered Basics Guide
When connecting to a stereo system, connect
the left channel (often the white plug) to the
first output, and right channel (often the red
plug) to the second output.
Home stereo systems often use RCA connectors. You can use an adaptor or a special cable to convert from the TRS or TS connectors
(used on some M-Audio interfaces) to the
RCA connectors on your home stereo.
Output 1
(left output)
Output 2
(right output)
1/4-inch stereo outputs on a FireWire 1814
Monitor Left
(left output)
Connecting Audio Inputs
Depending on which M-Audio interface you
have, the inputs will be 1/4-inch, RCA, or a 1/4inch and XLR combination plug for microphones
lower level (such as guitars).
For information about connecting specific audio sources, see “Connecting a Microphone to
Your M-Audio Interface” on page 4, and “Connecting Instruments to an M-Audio Interface”
on page 6.
For stereo inputs, use the first input for the left
input, and the second input for the right input.
For additional stereo inputs, use subsequent input pairs, if available.
and
for instruments that usually have a
Monitor Right
(right output)
1/4-inch stereo (monitor) outputs on an Audiophile 192
Analog Out 1
(left output)
RCA stereo outputs on an Audiophile 2496
Analog Out 2
(right output)
The first and second outputs play the audio that
is routed to analog outputs 1 and 2 within
Pro Tools.
Getting Sound In and Out of your M-Audio Interface
3
Connecting a Microphone
There can be several ways to use an M-Audio interface with a microphone, depending on the
type of microphone and cables that you use,
and the type of M-Audio interface.
Mic Cables and Connectors
Some microphone cables use an XLR connector
to attach a microphone to an input; other microphones use a 1/4-inch connector. If you have
a choice, use an XLR connector to connect the
microphone to your M-Audio interface to yield
better results.
XLR connector
1/4-inch connector
XLR and 1/4-inch connectors
Phantom Power
Some microphones require power to operate.
This power, called
ther by a battery in the microphone, or through
an audio interface (such as some M-Audio interfaces) that can supply power through the microphone cable.
phantom power
, is supplied ei-
Most
condenser
C3000) require phantom power to operate.
namic
microphones (such as a Shure SM57) do
not require phantom power to operate, but are
not harmed by it.
Although phantom power can be used
safely with most microphones, it is possible
to damage some ribbon microphones with
it. Always turn off phantom power and
wait at least ten seconds before connecting
a ribbon microphone.
M-Audio interfaces can only supply power
through a microphone cable with XLR connectors. If you are not sure about the phantom
power requirements for your microphone, refer
to your microphone’s documentation or contact the manufacturer.
microphones (such as an AKG
Dy-
Connecting a Microphone to Your M-Audio Interface
To use a microphone that has an XLR connector:
1
Plug your microphone cable into one of the
Mic (or Mic/Inst) inputs on your M-Audio interface.
M-Audio interfaces that support phantom
power can only provide phantom power
when their “wall wart” power supply is
used to power the interface. Check your
M-Audio interface guide for details
4
M-Powered Basics Guide
Mic/Inst 1
XLR connector plugged into Mic/Inst input on a
FireWire 1814
Mic input
XLR connector plugged into Mic input on an Ozonic
2
If your M-Audio interface has a Mic/Line
switch, press it to its out position.
Mic/Line
selector
Mic/Line selector on the front of a FireWire 1814
3
If your microphone requires phantom power,
make sure the microphone is connected, then
press the Phantom Power switch on your M-Audio interface. This switch sends 48V to
each
mic
input. The Phantom Power LED on your M-Audio interface will light when phantom power is
being supplied.
To use a microphone that has a 1/4-inch
connector:
1
Plug the 1/4-inch connector from your microphone into one of the Mic (or Mic/Inst) 1/4inch inputs on your M-Audio interface.
1/4-inch connector plugged into Mic/Inst input on a
FireWire 1814
2
If your M-Audio interface has a Mic/Line selector, press it to its out position.
Mic/Line
selector
Mic/Line selector on the front of a FireWire 1814
3
If your M-Audio interface has a Signal Gain
control, carefully turn the input control to the
right to increase the input level of your microphone signal.
Phantom Power
switch
Phantom Power switch on a FireWire 1814
4
If your M-Audio interface has a Signal Gain
control, carefully turn the input control to the
right to increase the input level of your microphone signal.
Signal Gain Control
Signal Gain control on a FireWire 1814
Connecting a Microphone
5
Connecting Instruments
Connecting Instruments to an M-Audio Interface
2
If your M-Audio interface has a Mic/Line se-
lector, press it to its out position.
Instruments such as electric guitar or electric
bass usually have a lower level of output than
instruments and electronic audio sources such
as mixers, samplers, keyboards, turntables, and
synthesizers.
To use a guitar with your M-Audio interface:
1
Plug your guitar cable into one of the inputs
on your M-Audio interface.
On M-Audio interfaces that have separate inputs
for lower level sources (such as guitars) and line
level sources (such as keyboards), use the inputs
that support your source.
Mic/Inst 1
Guitar cable plugged into Mic/Inst input on a
FireWire 1814
Mic/Line
selector
Mic/Line selector on the front of a FireWire 1814
3
If your M-Audio interface has a Signal Gain
control, carefully turn the control for the input
to the right to increase the input level of your
microphone signal.
Input 2
Guitar cable plugged into Input 2 on an Ozonic
6
M-Powered Basics Guide
To use a keyboard or mixer with your M-Audio
)
interface:
1
Plug your keyboard, mixer, or other audio
source into one of the inputs on your M-Audio
interface.
On M-Audio interfaces that have separate inputs
for lower level sources (such as guitars) and line
level sources (such as keyboards), use the inputs
that support your source.
If your source is stereo (such as a stereo keyboard
or the stereo output from a mixer), connect the
left channel (often the white plug) to the first
input, and right channel (often the red plug) to
the second input.
Input 1
(left channel)
Input 2
(right channel
FireWire 1814 configuration for stereo input
2
If your M-Audio interface has a Mic/Line se-
lector, press it to its In position.
Mic/Line
selector
Mic/Line selector on the front of a FireWire 1814
3
Set your instrument’s volume to its optimal
level. For example, the optimal level for most
keyboards is between 80% and 100% of maximum volume.
4
If your M-Audio interface has a Signal Gain
control, carefully turn the control for the input
to the right to increase the input level of your
microphone signal.
Analog In 1
(left channel)
Audiophile 2496 configuration for stereo input
Analog In 2
(right channel)
Connecting Instruments
7
Recording a Pro Tools Session
Before you record with Pro Tools M-Powered,
you first create a Pro Tools session, then prepare
an audio track for recording.
To create a Pro Tools session:
1
Verify the connections between your M-Audio
interface and your instrument or microphone.
2
Launch Pro Tools.
3
Choose File > New Session.
4
In the New Session dialog, set the session parameters as needed, or leave them at their default settings. (For details on New Session
settings, see the
Started Guide
Pro Tools M-Powered Getting
.)
To prepare an audio track for recording:
1
Choose Track > New.
2
Specify 1 Mono Audio Track in Samples, if
your source is mono, or 1 Stereo Audio Track in
Samples, if your source is stereo.
Creating a new Stereo audio track
3
Click Create.
A mono instrument uses one input on an
M-Audio interface, and a stereo instrument
uses two. Creating a stereo track in
Pro Tools will not make a mono instrument
into a stereo instrument. If a mono instrument is recorded on a stereo track, one of the
sides of the stereo track will show no signal.
4
Make sure the Mix window is open by choosing Window > Mix.
5
In the Mix window, click the Audio Input Path
selector on the new track.
New Session dialog
5
Choose where you want to save your session.
6
Type a name for your session.
7
Click Save.
8
M-Powered Basics Guide
Input Path selector
Choosing an input in the Mix window
6
From the pop-up menu, select the interface input you want to record. For example, select
Mic/Line 1 if your audio source is plugged into
the first input of your M-Audio interface.
Routing an input to a mono track
7
Play the instrument or sound source at the
volume you will record.
8
Use the Signal Gain controls on your M-Audio
interface (if any) to maximize the signal going
into Pro Tools while avoiding clipping.
Clipping occurs when you feed a signal to
an audio device that is louder than the
circuitry can accept. To avoid clipping,
adjust the Signal Gain control (if any). If
the M-Audio interface has front panel
Clip LEDS, adjust the gain to a level
where the Peak LEDs do not light.
To record an audio track:
1
Click the Track Record Enable button.
2
Choose Window > Transport to display the
Transport window. Click Return to Zero to go to
the beginning of the session.
Return to Zero
Rewind
Online
Transport window
3
Click Record Enable in the Transport window
Stop
Fast Forward
Go to EndPlay
Record Enable
to arm Pro Tools for recording. The Record button flashes red to indicate that Pro Tools is ready
to record.
4
When you are ready to start recording, click
Play or press the Spacebar.
5
Record your performance.
6
Click Stop in the Transport window or press
the Spacebar when you are finished recording.
To play back a recorded track:
1
If the track’s Record Enable button is lit, click
on it to take it out of Record mode.
Record enabling a track in the Mix window
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 a Pro Tools Session
9
Importing Audio from a CD
To impor t audio from a compact disc:
1
Launch Pro Tools.
2
Choose File > New Session.
3
Set Session Parameters in the New Session dialog as needed, or leave at their default settings.
(For details, see the
Started Guide
New Session dialog
4
Choose where you want to save your session.
Pro Tools M-Powered Getting
.)
7 Open the Workspace browser by choosing
Window > Workspace. The Workspace browser
is a window where you can find, audition, and
manage your audio files.
Opening the Workspace browser
8 In the Workspace browser, click the Audio CD
icon to show the files on the CD.
9 Click the speaker icon in the Waveform col-
umn to audition the audio file. Press the Spacebar to stop playback.
5
Type a name for your session and click Save.
6 Put the source CD into your computer’s CD
drive.
10
M-Powered Basics Guide
Auditioning an audio file in the Workspace browser
10 Drag the audio file from the Workspace
browser to the Track List in the Edit window to
import the file to a new audio track.
Dragging an audio file from the Workspace browser to
the Edit window Track List
To play back the new track:
1 In the Transport window, click Return to Zero
to go to the beginning of the track.
2 Click Play in the Transport window to begin
playback.
3 Click Stop in the Transport window or press
the Spacebar to stop playback.
Importing Audio from a CD
11
Creating an Audio CD from a Pro Tools Session
Pro Tools does not create audio CDs directly,
but you can create stereo audio files from your
Pro Tools sessions that can be used by most CD
burning software.
Bouncing Audio to Disk
Use the Pro Tools Bounce to Disk feature to
combine all your audible tracks into a single
“master” audio file. After the new audio file has
been bounced to disk, you can burn it to a CD.
If you are bouncing down audio from 24-bit resolution to 16-bit (CD resolution), you should
use a dither plug-in on the main output. (For details, see the Pro Tools M-Powered Getting Started
Guide.)
To bounce audio to disk:
1 After you have finished recording and mixing
a session in Pro Tools, select the length of the
session in the timeline ruler (or on a track), plus
an additional amount of time to avoid cutting
off any reverb tails that might continue past the
end of the last region.
2 Choose File > Bounce to > Disk.
Choosing Bounce to Disk from the File menu
3 In the Bounce Options dialog, choose Outputs
1–2 as the Bounce Source.
4 Choose BWF (.WAV) for the File Type.
5 Choose Stereo Interleaved for the Format.
6 Choose 16 for the Resolution and 44100 for
the Sample Rate.
Session audio selected and ready to bounce
12
M-Powered Basics Guide
7 If you are changing the sample rate of the
bounced file, choose a Conversion Quality setting. (For details, see the Pro Tools M-Powered
Getting Started Guide.)
8 Choose “Convert after Bounce,” and click
Bounce.
Bounce options for creating CD burnable tracks
Pro Tools begins bouncing to disk. Pro Tools
bounces are done in real time, so you hear audio
playback of your mix during the bounce process
(though you cannot adjust it).
.
Bouncing to Disk dialog
Burning a CD
After the bounce is completed, you will have an
audio file that is ready for burning onto a CD.
Quit Pro Tools and launch any common CD
burning application to burn your bounced mix
to CD.
9 In the Bounce dialog, give the bounce tracks a
name and choose where they should be saved.
Entering a name for the bounced file
10 Click Save.
Make certain that you configure your CD
burning application to create an audio CD
rather than a data CD.
Creating an Audio CD from a Pro Tools Session
13
M-Powered and MIDI
What is MIDI?
MIDI (Musical Instrument Digital Interface)
data is not audio, and has no sound. MIDI is a
way for musical devices to communicate. MIDI
is data that can trigger a MIDI device (such as a
keyboard or software synthesizer).
In order to create or play a MIDI recording, you
must have a MIDI controller or sound module
(real or virtual) connected to the computer
through a MIDI interface. Audio from your
MIDI instrument can be monitored through the
audio interface or sent to an external mixer.
Some M-Audio interfaces (such as Ozone
and Ozonic) are also a MIDI keyboard with
MIDI ports.
Other M-Audio interfaces (such as Audiophile 192) include MIDI ports.
Refer to your M-Audio interface guide for
details.
MIDI sound module
Recording MIDI on an Instrument Track
Pro Tools Instrument tracks provide both MIDI
and audio capabilities, so you can record MIDI
and monitor audio from software and hardware
instruments.
To create an Instrument track and configure it for
recording:
1 Choose Setup > MIDI > Input Devices and
make sure your input device is selected in the
MIDI Input Enable window, and click OK.
2 Choose Track > New and specify 1 Mono In-
strument Track, then click Create.
Creating a new Mono Instrument track
MIDI
MIDI keyboard (controller)
Signal paths for MIDI instruments
14
M-Powered Basics Guide
Audio
Mixer
To amplifier
3 Select View > Mix Window > Instruments to
display the MIDI controls for the Instrument
track.
Showing the Instrument View in the Mix window
4 At the top of the Instrument track in the Mix
window, click the track’s MIDI Input selector
and assign the device and channel to be recorded, or leave it set to All.
MIDI Input selector
MIDI Input selector in an Instrument track
5 Do one of the following, depending on the
type of instrument you are using:
• If you are using an instrument plug-in,
click an Insert selector and insert the plugin on the Instrument track. The track’s
MIDI output is automatically assigned to
the instrument plug-in.
Inserting an instrument plug-in on an Instrument track
• If you are using an external MIDI device,
click the track’s MIDI Output selector (at
the top of the Instrument track) and assign
the device and channel to receive the MIDI
output (the choices will vary depending on
the device).
MIDI Output selector in an Instrument track
If your connected MIDI device does not appear, check that you have configured your
computer and its MIDI settings. For more
information, refer to the
ered Getting Started Guide
Pro Tools M-Pow-
.
M-Powered and MIDI
15
6 If you are using an external MIDI device and
connected its audio output to your audio interface for monitoring in Pro Tools, click the Input
selector of the Instrument track and choose the
corresponding audio input. (This step is not
necessary if you are using an instrument plugin.)
Choosing an audio input for an Instrument track
7 In the Mix Window, click the Track Record En-
able button to enable the Instrument track for
MIDI recording.
8 Make sure Options > MIDI Thru is selected.
9 Play some notes on your MIDI controller and
look for the track’s MIDI Velocity meter to
move. Remember, MIDI is not audio, and the
MIDI Velocity meter is not registering sound
output, but MIDI activity.
MIDI Velocity meter
MIDI meter in Instrument track showing MIDI activity
10 Adjust the audio output level of the Instru-
ment track with its Volume fader.
Volume fader
Adjusting the Volume fader on an Instrument track
Track Record Enable button
Enabling an Instrument track for MIDI recording
16
M-Powered Basics Guide
To record MIDI on the Instrument track:
1 Verify that the Instrument track you want to
record to is record-enabled and receiving MIDI.
To play back recorded MIDI data:
1 Click the Track Record Enable button to take
the Instrument track out of Record mode.
2 In the Transport window, click Return to Zero
to start recording from the beginning of the session. You can also record to a selection in a track
or from the cursor location in the Edit window.
3 Click Record Enable in the Transport window.
Return to Zero
Online
Transport window
4 Click Play in the Transport window or press
Rewind
Stop
Fast Forward
Go to EndPlay
Record Enable
the Spacebar to begin recording.
5 Play your MIDI controller or input device.
6 When you have finished recording, click Stop
in the Transport window, or press the Spacebar.
The newly recorded MIDI data appears as a MIDI
region on the track in the Edit window, as well
as in the Region List.
2 In the Transport window, click Return to Zero
to play back from the beginning of the track.
3 Click Play in the Transport window to begin
playback. The recorded MIDI data plays back
through the track’s assigned instrument and
channel.
MIDI data in the Instrument track
M-Powered and MIDI
17
Controlling Delay (Latency) During Monitoring
Pro Tools M-Powered uses your computer for all
audio processing, playback, and recording. This
causes a small amount of audio delay, or latency,
in the system.
Latency is most obvious when monitoring during recording. You may hear this as a slight delay between when you produce the sound and
when you hear the sound through the speakers
or headphones.
If you are monitoring the recording source
with an external mixer, before it is routed to
Pro Tools, you will not hear any latency.
Pro Tools Hardware Buffer
One factor contributing to latency is related to
the Hardware Buffer Size in Pro Tools—the
larger the buffer size, the larger the latency.
You can reduce the amount of monitoring latency for Pro Tools systems by reducing the
Hardware Buffer Size. However, even at the
smallest buffer size, there is still some latency. In
addition, reducing the buffer size limits the
number of simultaneous audio tracks you can
record without encountering performance errors, and reduces the number of plug-ins you
can use.
To set the Hardware Buffer Size:
1 Choose Setup > Playback Engine.
2 Choose the buffer size (in number of samples)
from the H/W Buffer Size pop-up menu.
3 Click OK.
Computers with slower CPUs may not be
able to use the 128-sample buffer size without encountering performance errors.
M-Audio Control Panel Mixer
If your M-Audio device has a Control Panel
mixer with a direct monitoring feature, it is possible to use this feature as a low-latency monitoring path while recording in Pro Tools.
To use the M-Audio mixer direct monitoring
feature while recording:
1 In Pro Tools, record-enable the tracks you
want to record and mute their output.
2 Open the M-Audio Control Panel for your M-
Audio interface.
While there may be times when you want a
larger buffer size, for the sake of higher track
counts with more plug-ins, you will generally
want a smaller buffer size when recording audio
that is monitored through your Pro Tools system.
18
M-Powered Basics Guide
3 In the Control Panel mixer for your interface,
route the input channels you want to monitor
to the main outputs of the mixer (usually Outputs 1–2) by clicking the corresponding output
control.
Mixer output 1–2 control
Control Panel mixer for M-Audio FireWire 410)
4 Adjust the output level and balance with the
Control Panel mixer volume and pan controls.
5 In Pro Tools, begin recording.
6 To listen back to the recorded tracks, unmute
the tracks in Pro Tools and begin playback.
7 When you are finished recording, turn off the
mixer output control in the Control Panel
mixer.
You can leave the M-Audio Control Panel
open while working in Pro Tools M-Powered.
Controlling Delay (Latency) During Monitoring
19
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