Pinnacle Systems Pro Tools M-Powered - 7.4, Pro Tools LE - 7.4, Pro Tools HD - 7.4, Pro Tools - 7.4 Reference Guide

Pro Tools

Reference Guide

Version 7.4

Legal Notices

This guide is copyrighted ©2007 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.

003, 003 Rack, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Unity MediaNetwork, Avid Xpress, AVoption, AVoption|V10, Beat Detective, Bruno, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, DAE, Digi 002, Digi 002 Rack, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Impact, Interplay, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Space, Velvet, and X-Form are trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are the property of their respective owners.

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

PN 9106-56837-00 REV A 08/07

Comments or suggestions regarding our documentation? email: techpubs@digidesign.com

Part I Introduction

Chapter 1. Welcome to Pro Tools

The Pro Tools Guides Compatibility Information About www.digidesign.com

Chapter 2. Pro Tools Concepts

Hard Disk Audio Recording Pro Tools Nonlinear Editing The Digidesign Audio Engine MIDI

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Synchronization Surround Pro Tools Sessions Tick-Based and Sample-Based Time System Resources DigiBase

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Chapter 3. Keyboard and Right-Click Mouse Shortcuts

Right-Click Mouse Shortcuts Global Key Commands Keyboard Focus Numeric Keypad Modes

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Contents

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Part II System Configuration

Chapter 4. Pro Tools Systems

Pro Tools|HD Systems Pro Tools LE Systems Pro Tools M-Powered DV Toolkit 2 and Music Production Toolkit

Chapter 5. System Setup

Starting Up or Shutting Down Your System Checking an HD System with DigiTest Configuring Pro Tools System Settings Configuring MIDI Setup Configuring Pro Tools Hardware Settings System Usage

Chapter 6. I/O Setup

Pro Tools Signal Paths I/O Setup Dialog Tabs and Controls Routing Hardware I/O to Pro Tools I/O Creating New Paths Editing Paths Channel Mapping Valid Paths and Requirements Working with I/O Settings Files I/O Setup Options Mic Preamps H/W Insert Delay Compensation

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Chapter 7. Preferences

Global and Local Preferences Display Preferences Operation Preferences Editing Preferences Mixing Preferences Processing Preferences MIDI Preferences Synchronization Preferences

Pro Tools Reference Guide

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Part III Sessions & Tracks

Chapter 8. Sessions

Creating a New Session Session Files and Folders Opening a Session Opening Recent Sessions Saving a Session Creating Custom Session Templates Closing a Session Exiting or Quitting Pro Tools

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Chapter 9. Pro Tools Main Windows

Mix Window Edit Window Transport Window DigiBase Browsers Window Configurations Menus Tool Tips

Chapter 10. Tracks

Track Types Track Channel Strips Track Controls and Indicators Edit Window Views Track Level Meter Adjusting Track Width Creating Tracks Track Views Track Height The Track List Track Name Right-Click Pop-Up Menus Assigning Audio Inputs and Outputs to Tracks Track Priority and Voice Assignment Assigning MIDI Inputs and Outputs to Tracks Soloing and Muting Tracks Making Tracks Inactive Color Coding for Tracks, Regions, Markers, and Groups

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Contents

Chapter 11. Grouping Tracks

Grouping Tracks Group Controls Working with Groups Setting Group Attributes Enabling Groups Grouped Control Offsets

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Chapter 12. The Region List

Region List Pop-Up Menu Sorting and Searching in the Region List Selecting Regions in the Region List Previewing Regions in the Region List Stereo and Multichannel Regions in the Region List Naming and Displaying Regions in the Region List Managing Regions in the Region List Region Name Right-Click Pop-Up Menus

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Chapter 13. DigiBase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

DigiBase Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Performance and Transfer Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Digidesign Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Browser Windows and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Indexing DigiBase Databases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

The Browser Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Browser Panes and Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Column Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Selecting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Moving, Copying, Duplicating, and Deleting Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Searching Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Previewing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Linking and Relinking Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Relink Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Workspace Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Project Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

DigiBase Pro Catalogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Task Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Pro Tools Reference Guide

Chapter 14. Importing and Exporting Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Importing and Exporting to and from a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Audio Conversion on Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Import Options and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Importing Files with Drag and Drop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Importing Audio Files and Regions Using the Import Audio Command . . . . . . . . . . . . . . . . . 259

Importing Audio from Audio CDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Importing ACID and REX Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Importing Multichannel Audio Files from a Field Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . 263

Exporting Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Importing Session Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Importing AAF and OMF Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Exporting Pro Tools Tracks as AAF or OMFI Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Exporting Sessions as Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Send via DigiDelivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Exporting MIDI Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Send to Sibelius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Importing and Exporting Region Group Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Chapter 15. File and Session Management and Compatibility . . . . . . . . . . . . . . . . . . . . . . . 285

Audio File Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

WAV File Compatibility. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Sharing Sessions Created on Different Computer Platforms . . . . . . . . . . . . . . . . . . . . . . . . 288

Sharing Sessions Created on Different Pro Tools Systems . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Sharing Sessions Created on Different Pro Tools Software Versions . . . . . . . . . . . . . . . . . . . 294

Language Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Part IV Playback and Recording

Chapter 16. Playing Back Track Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Playing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Setting the Playback Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Scrolling Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Playing Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Playing Timeline and Edit Selections with the Playhead . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Playback Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Contents vii

Chapter 17. Record Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Record Setup Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Configuring Pro Tools Hardware I/O for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Connecting a Sound Source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Allocating Hard Drive Space for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Recording with a Click (Optional) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Setting the Default Meter and Tempo (Optional) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Record Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Configuring Default Names for Audio Files and Regions (Optional) . . . . . . . . . . . . . . . . . . . 330

Assigning Hardware I/O on a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Record Enabling Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Recording with Multiple Hard Drives (Optional) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Selecting a Record Input Monitoring Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Setting Monitor Levels for Record and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Reducing Monitoring Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Chapter 18. Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Recording an Audio Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Record Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Record Pause Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Recording Additional Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Audio Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Loop Recording Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Auditioning Different Record Takes in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Setting Punch and Loop Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Recording from a Digital Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Half-Speed Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Chapter 19. MIDI Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Recording from MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Enabling Input Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

MIDI Thru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

MIDI Input Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Wait for Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

MIDI Merge/Replace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Configuring MIDI or Instrument Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Recording MIDI and Instrument Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

MIDI Punch Recording Over a Specified Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Loop Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

MIDI Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Recording System Exclusive Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Recording Audio from a MIDI Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Pro Tools Reference Guideviii

Chapter 20. Advanced Punch Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

QuickPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

TrackPunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

DestructivePunch Audio Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Part V Editing

Chapter 21. Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Pro Tools Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Track Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Audio Regions and Waveforms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

MIDI Regions and MIDI Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Naming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Displaying Region Names, Region Times, and Other Data in Playlists. . . . . . . . . . . . . . . . . . 413

Multiple Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Basic Editing Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Editing Across Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Chapter 22. Editing Modes and Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Edit Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Edit Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Using the Zoomer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Using the Trimmer Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Using the Selector Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Using the Grabber Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Using the Smart Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Using the Scrubber Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Using the Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Chapter 23. Making Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Linking or Unlinking Timeline and Edit Selections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Linking or Unlinking Track and Edit Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Selecting Track Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Timeline Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Auto-Scrolling Tracks in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

The Universe Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Contents ix

Chapter 24. Editing Regions and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Creating New Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Healing Separated Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Trimming Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Nudging Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Quantizing Regions to Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Editing Stereo and Multichannel Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Consolidate Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Processing Audio with AudioSuite Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

TCE (Time Compression and Expansion) Edit To Timeline Selection . . . . . . . . . . . . . . . . . . . 477

Chapter 25. Fades and Crossfades. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Using Fades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Fades Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Creating Fades at the Beginnings and Ends of Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

Creating a Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490

Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Moving and Nudging Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492

Separating Regions That Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Trimming Regions That Include Fades or Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Fade Boundaries and Shapes in Displayed Automation View . . . . . . . . . . . . . . . . . . . . . . . 496

Chapter 26. Elastic Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Example Elastic Audio Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Elastic Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

Elastic Audio Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Real-Time and Rendered Elastic Audio Processing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Elastic Audio Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507

Editing in Warp View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

Editing in Analysis View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Moving Elastic Audio Between Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

Elastic Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522

AudioSuite Processing and Elastic Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Fades and MicroFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Elastic Audio Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

Pro Tools Reference Guidex

Chapter 27. MIDI Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Mirrored MIDI Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

The Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528

Custom Note Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529

Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Manually Editing MIDI Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532

Time Compression/Expansion Trimmer Tool Functionality on MIDI Regions . . . . . . . . . . . . . 537

Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Patch Select (Program and Bank Changes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541

System Exclusive Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Note and Controller Chasing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Remove Duplicate Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

MIDI Real-Time Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Chapter 28. Event Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Event Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Restore Performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572

Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574

Transpose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576

Select/Split Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578

Input Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Step Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Chapter 29. MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

The MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Inserting Events in the MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588

Editing Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592

Contents xi

Part VI Arranging

Chapter 30. Time, Tempo, Meter, and Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Timebase Rulers and Conductor Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Main Time Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 597

Tick-Based Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599

Song Start Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602

Graphic Tempo Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Changing the Linearity Display Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

Tempo Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614

Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623

Time Operations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 626

Renumbering Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Key Signatures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Chapter 31. Memory Locations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Memory Locations and Markers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 637

Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644

Chapter 32. Arranging Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Placing Regions in Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647

Replacing Audio Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657

Audio Regions from Field Recorders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 660

Sync Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 662

Shift Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664

Locking Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664

Muting/Unmuting Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665

Stripping Silence from Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665

Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668

Duplicating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Repeating Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 669

Chapter 33. Region Loops and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

Region Looping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671

Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675

Pro Tools Reference Guidexii

Chapter 34. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685

Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 686

Beat Detective Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 687

Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 688

Generating Bar|Beat Markers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 693

DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 694

Separating Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 696

Conforming Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 698

Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 702

Part VII Mixing

Chapter 35. Basic Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 709

Signal Flow by Track Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710

Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Views in the Mix and Edit Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718

Audio Input and Output Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 721

Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 724

Output Windows for Tracks and Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730

Signal Routing for Monitoring and Submixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735

Delay Compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741

Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

Using an Ethernet Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748

Using a MIDI Control Surface with Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Chapter 36. Plug-in and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

Inserting Plug-ins on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 756

Plug-in Menu Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757

Moving and Duplicating Plug-in and Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760

The Plug-in Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 760

Using the Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 763

Editing Plug-in Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 771

Instrument Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773

Using Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774

Connecting and Integrating External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 774

Contents xiii

Chapter 37. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777

Automation QuickStart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777

Automation Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 778

Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 780

Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 784

Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 786

Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 788

Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

Deleting Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799

Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 800

Drawing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 801

Editing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 803

Trimming Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 811

Writing Automation to the Start, End, or All of a Track or Selection . . . . . . . . . . . . . . . . . . . 813

Writing Automation to the Next Breakpoint or to the Punch Point . . . . . . . . . . . . . . . . . . . . 815

Guidelines for “Write To” Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 818

Overwriting or Extending Mute Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819

Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 821

Previewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 824

Capturing Automation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 826

VCA Master Track Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 829

Chapter 38. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 833

Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 835

Bounce to Disk. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 836

Bounce Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 837

Recording a Submix (with Bounce to Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 843

Final Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 844

Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 845

Pro Tools Reference Guidexiv

Part VIII Video, Sync, Surround

Chapter 39. Pro Tools Setup for Surround (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . . 849

Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 849

Configuring Pro Tools for Multichannel Sessions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 850

Default I/O Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 853

5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854

Chapter 40. Multichannel Tracks and Signal Routing (Pro Tools HD Only) . . . . . . . . . . . . . 855

Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

Multichannel Signal Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 858

Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861

Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 863

Chapter 41. Surround Panning and Mixing (Pro Tools HD Only) . . . . . . . . . . . . . . . . . . . . . . 867

Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867

Output Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 868

Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 869

Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 870

Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 873

Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 876

LFE Faders in Multichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878

Pan Playlists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879

Surround Scope Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879

Chapter 42. Working with Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881

Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 883

Preparing to Work with SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 888

Configuring Pro Tools for SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 888

Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 890

Putting Pro Tools Online. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 894

Generating Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 895

Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 896

Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899

Setting Pro Tools LTC Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 900

Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 900

Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 901

Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 903

Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905

Troubleshooting SMPTE Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 905

MIDI Beat Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 907

Contents xv

Chapter 43. Working with Video in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 909

QuickTime Movies Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 910

Windows Media Video (VC-1 AP Codec) Support in Pro Tools . . . . . . . . . . . . . . . . . . . . . . . 911

Before Starting Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 911

Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 912

Main Video Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913

Video Track Controls and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 914

Locking Video Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 915

Video Engine Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 916

Importing Video into Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 917

Extracting Audio from QuickTime and Windows Media Video . . . . . . . . . . . . . . . . . . . . . . . 920

Video Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 921

General Video Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 922

Renaming Video Disk Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924

Video Region Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 924

Using the Video Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 925

Browsing Video in the Video Universe Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927

Playback of High-Definition QuickTime and Windows Media Video . . . . . . . . . . . . . . . . . . . 928

Playing QuickTime DV Video to an External Monitor Via FireWire. . . . . . . . . . . . . . . . . . . . . 929

Playing Video to an External Monitor Via a Video Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931

Bouncing the Video Track to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 931

Bouncing a Video Track with Windows Media Video to a WIndows Media Movie . . . . . . . . . . 932

Using Pro Tools LE to Import Video from Other Versions of Pro Tools. . . . . . . . . . . . . . . . . . 933

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 935

Pro Tools Reference Guidexvi

Part I: Introduction

Chapter 1: Welcome to Pro Tools

Welcome to Pro Tools®! Pro Tools integrates powerful multitrack digital audio and MIDI sequencing features, giving you everything you need to record, arrange, compose, edit, mix, and master professional quality audio and MIDI for music, video, ﬁlm, and multimedia.

The Pro Tools Guides

In addition to any printed guides or documentation included with your system, PDF versions of the printed guides and many additional Pro Tools guides and Read Mes are installed automatically during Pro Tools installation to the Digidesign/Documentation folder.

To view or print PDF guides, you can use Adobe Reader or Apple Preview (Mac only).

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

Getting Started Guide

The printed Getting Started Guide for your system includes instructions for installing Pro Tools and connecting your studio. For Pro Tools LE™ and M-Powered™, these guides also contain speciﬁc methods for accomplishing common tasks (such as recording in a Pro Tools session, importing audio from a CD, and creating an audio CD from a Pro Tools session).

Guides Accessible in Pro Tools

The main Pro Tools guides are accessible from the Pro Tools Help menu. These include:

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

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

• DigiRack Plug-ins Guide, which explains how to use Digidesign Pro Tools for both real-time and file-based audio processing.

• Pro Tools Shortcuts for your operating system, which lists keyboard and Right-click shortcuts for Pro Tools, including those shown in Pro Tools menus.

plug-ins included with

Expanded Systems Guide (Pro Tools|HD Systems Only)

This printed guide provides instructions for expanding a Pro Tools|HD tional Digidesign cards and audio interfaces, with or without an expansion chassis.

system with addi-

Additional Digidesign Printed Guides

Digidesign also provides guides with Pro Tools audio interfaces, dedicated worksurfaces (such as D-Control™) and control surfaces (such as Command|8 (such as MIDI I/O™, PRE, and SYNC HD™). Refer to the separate guide provided with each Digidesign product.

), and other Digidesign options

Chapter 1: Welcome to Pro Tools 3

Conventions Used in These Guides

The Pro Tools guides use the following conventions to indicate menu choices, keyboard commands, and mouse commands:

Convention Action

File > Save Choose Save from the

File menu

Control+N Hold down the Control

key and press the N key

Compatibility Information

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

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

Control-click Hold down the Control

key and click the mouse button

Right-click Click with the right

mouse button

The following symbols are used to highlight important information:

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

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

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in this guide and other Digidesign guides.

Pro Tools M-Powered

About www.digidesign.com

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

Product Registration Register your purchase online. See the Digidesign Registration Information Card included with your system for instructions.

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

Training and Education Study on your own using courses available online or find out how you can learn in a classroom setting at a certified Pro Tools training center.

References to Pro Tools LE™ in this guide are usually interchangeable with Pro Tools M-Powered™, except as noted in the Pro Tools M-Powered Getting Started Guide.

Pro Tools Reference Guide4

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

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

Chapter 2: Pro Tools Concepts

This chapter explains some of the principles and concepts that form the foundation of Pro Tools operation and functionality.

Hard Disk Audio Recording

Hard disk recording is a nonlinear (or random ac- cess) medium—you can go immediately to any spot in a recording without having to rewind or fast forward.

This differs from tape-based recording, which is a linear medium—where you need to rewind or fast forward a tape to hear a particular spot in a recording. To rearrange or repeat material in a linear system, you need to re-record it, or cut and splice it.

Nonlinear systems have several advantages. You can easily rearrange or repeat parts of a recording by making the hard disk read parts of the recording in a different order and/or multiple times. In addition, this re-arrangement is non- destructive, meaning that the original recorded material is not altered.

Pro Tools Nonlinear Editing

Pro Tools is a nonlinear recording editing system that lets you rearrange and mix recorded material nondestructively. Nonlinear editing simply means that you can cut, copy, paste, move, delete, trim, and otherwise rearrange any audio, MIDI, or video in the Pro Tools Edit window.

Nonlinear editing provides significant advantages over dubbing (re-recording), and cutting and splicing magnetic tape. It gives you the greatest possible flexibility for editing and arranging, and it is all nondestructive and “undoable.” Additionally, with nonlinear editing in Pro Tools, you will never introduce any degradation of audio fidelity like you would with tape.

Chapter 2: Pro Tools Concepts 5

The Digidesign Audio Engine

The Digidesign Audio Engine (DAE) is Digidesign’s real-time operating system for digital audio recording, playback, and processing. When you install Pro Tools, DAE is automatically installed on your system.

In the same way that a computer’s operating system provides the foundation for programs that run on the computer, DAE provides the foundation for much of the hard disk recording, digital signal processing, and mix automation required by Pro Tools and other products from Digidesign and its Development Partners.

The DAE Playback Buffer Size determines the amount of memory DAE allocates to manage disk buffers. The DAE Playback Buffer Size can be changed in the Playback Engine dialog.

For information on configuring the DAE Playback Buffer Size, see “DAE Playback Buffer Size” on page 40.

Pro Tools LE uses host (CPU) processing to provide audio track recording, playback, mixing, and effects processing. Both Pro Tools LE and Pro Tools HD use host processing to run RTAS (Real-Time AudioSuite) plug-ins for effects processing. Performance is determined by your system and its Playback Engine settings.

The Playback Engine dialog lets you set a hardware buffer size and allocate a percentage of CPU resources for these tasks.

Playback Engine Dialog

Pro Tools lets you adjust the performance of your system by changing system settings that affect its capacity for processing, playback, and recording. These system settings are available in the Playback Engine dialog (Setup > Playback Engine).

Pro Tools takes advantage of your computer’s host processor for certain tasks and optional host-based DSP processing.

Pro Tools Reference Guide6

Playback Engine dialog for Pro Tools|HD system

On Pro Tools|HD systems, you can select the number of voices and voiceable tracks for your system and its sessions. Voice count choices are based on how much DSP processing you want to allocate for voicing.

On Pro Tools|HD systems, the Playback Engine dialog is also where you assign dedicated DSP resources for Delay Compensation.

For more information, see “Configuring Pro Tools System Settings” on page 34. See also “System Resources” on page 16.

MIDI

MIDI (Musical Instrument Digital Interface) is a communication protocol for musical instruments. This industry standard enables connections between a variety of devices from different manufacturers. Examples of MIDI-compatible equipment include synthesizers, sound modules, drum machines, MIDI patch bays, effects processors, MIDI interfaces, MIDI control surfaces, and MIDI sequencers.

MIDI devices are equipped with 5-pin DIN connectors, labeled as either IN, OUT, or THRU. The MIDI OUT port transmits messages. The MIDI IN port receives messages. The MIDI THRU outputs whatever is received from the IN port. MIDI devices are connected with MIDI cables that are available at most music stores.

USB and FireWire-compatible MIDI devices send and receive MIDI messages to and from the computer over USB or FireWire.

passes input

instrument sound. For example, bass on channel 1, piano on channel 2, and drums on channel 10. Similar to a multitrack tape recorder, a MIDI sequencer can record complex arrangements—even using only a single multitimbral keyboard.

MIDI Terms

The following are some basic MIDI terms:

MIDI Instrument A hardware MIDI device or software instrument (such as an instrument plugin).

MIDI Interface Hardware that lets computers connect to and communicate with MIDI devices.

MIDI Device Any physical MIDI keyboard, sound module, effects device, or other equipment that can send or receive MIDI information.

MIDI Controller Any MIDI device that transmits MIDI performance data. These include MIDI keyboards, MIDI guitar controllers, MIDI wind controllers, and others. Controllers transmit MIDI from their MIDI OUT ports.

MIDI signal ﬂow

Not all devices will have all three MIDI ports (IN, OUT, and THRU).

The MIDI protocol provides 16 channels of MIDI per port. A single MIDI cable can transmit a separate set of messages for each of the 16 channels. These 16 channels can correspond to separate MIDI devices or to multiple channels within a single device (if the device is multi- timbral). Each channel can control a different

MIDI Control Surface Any device (such as the Digidesign Command|8), which uses a MIDI connection to send control messages to a software program, but is not generally used to record MIDI information.

Multitimbral The ability of one MIDI device to play several different instrument sounds (such as piano, bass, and drums) simultaneously on separate MIDI channels. This makes it possible for a single multitimbral MIDI instrument to play back entire arrangements.

Chapter 2: Pro Tools Concepts 7

MIDI Port A physical MIDI port on a MIDI interface or a virtual MIDI port created in software. There are separate ports for MIDI In and Out. Physical MIDI ports connect to external MIDI devices using MIDI cables. Virtual MIDI ports connect software (see also Virtual MIDI Nodes).

MIDI Channel Up to 16 channels of MIDI performance data can be transmitted on a single MIDI cable. The channel number separates the different messages so your sound sources can receive the right ones.

Program Change Event A MIDI command that tells a sound source which of its sounds (or sound patches) to use. The MIDI protocol lets you choose from a range of 128 patches.

Bank Select Message Many devices have more than 128 patches, which are arranged in banks. The Bank Select Message is a MIDI command that specifies the bank of patches from which to choose.

Local Control A controller setting found on most MIDI keyboards that lets them play their own sound source. Disabling “local control” ensures that a device’s internal sound source is only played by external MIDI messages (such as those sent from Pro Tools when MIDI in Pro Tools is routed to the MIDI keyboard). When using Pro Tools, “local control” should usually be disabled. When “local control” is off, your keyboard still transmits data to its MIDI OUT port.

Continuous Controller Events MIDI instructions that allow real-time changes to notes that are currently sounding. These include pitch bend, modulation, volume, pan, and many others.

System Exclusive Data MIDI data commonly used for sending and retrieving patch parameter information for storage purposes.

Virtual MIDI Nodes When using MIDI with instrument plug-ins in Pro Tools, virtual MIDI nodes are created. These nodes act like MIDI ports and provide software MIDI connections between Pro Tools and other MIDI software, such as instrument plug-ins. For example, when you insert Propellerhead’s Reason as a ReWire client on a track, the various MIDI inputs to Reason become available to Pro Tools MIDI and Instrument track MIDI outputs.

Common MIDI Misconceptions

MIDI is not audio, and by itself makes no sound. MIDI is control information only. It is like the piano roll for a player piano; it provides control information for what note to play when, for how long, at what volume, and what sound (instrument). For example, when you strike a key on a MIDI keyboard, it sends a message to a MIDI instrument to play that particular note at that particular velocity using the selected sound (instrument). This could be its internal tone generator (like a synthesizer or sampler), another external MIDI instrument, or an instrument plug-in within Pro Tools. In order to play and hear a MIDI recording, you must have a MIDI instrument. Audio from an external MIDI instrument can be sent to an external mixer or monitored through your Pro Tools audio interface (using either an Instrument track or Auxiliary track).

If you are using an external MIDI instrument, it must be connected to MIDI ports that are recognized by your computer. These ports can be on a Pro Tools interface that has MIDI ports (such as an Mbox 2) or some other MIDI interface (such as a Digidesign MIDI I/O).

Pro Tools Reference Guide8

Signal paths for external MIDI instruments

To actually hear an external MIDI instrument, you need to connect its audio outputs to a mixing console or connect it to one of the audio inputs of your Pro Tools audio interface.

Just as each Pro Tools system has unique hardware features, each MIDI device has its own features (and limitations) as to the number of voices and instruments it can play at one time. Consult the device’s documentation for information on its capabilities.

outputs time code or MIDI Beat Clock and another device synchronizes to or follows that time code or MIDI Beat Clock so that they work together according to the same clock source. Pro Tools can be synchronized to other devices (or other devices can be synchronized to Pro Tools) using SMPTE/EBU time code or MIDI Time Code.

For more information on different SMPTE/EBU formats, and other concepts related to time code, refer to the Pro Tools Sync & Surround Concepts Guide.

Surround

Surround sound simply means having one or more speakers with discrete audio signals (channels) placed behind the listener in addition to the typical stereo pair.

MIDI In Pro Tools

Pro Tools provides MIDI sequencing capabilities. You can record, enter, edit, and playback MIDI data on Pro Tools tracks and in the MIDI Event List. MIDI data in Pro Tools can be anything from MIDI note data (note number, on/off, velocity) to System Exclusive (Sysex) messages. MIDI data can be recorded or played back from both external MIDI devices with a MIDI interface (like the Digidesign MIDI I/O or Mbox 2) and other MIDI software (such as instrument plug-ins and ReWire client applications).

Synchronization

When you are working with multiple timebased systems, such as Pro Tools and an external deck, you want both systems to be synchronized. Synchronization is where one system

There are multiple types of surround formats in use (from three-channel LCR to 7.1, which has 8 channels).

The most common surround format is 5.1, which refers to having 5 speakers and a subwoofer (the “.1”). 5.1 is used in movie theaters and home entertainment systems. Additionally, most DVDs are mixed to 5.1. The standard speaker placement for 5.1 for surround monitoring is stereo left and right speakers, and an additional center speaker in front, two more stereo left and right speakers in the rear, and the subwoofer on the side.

Only Pro Tools HD supports mixing in surround formats. In Pro Tools, each surround format is considered to be a Pro Tools greater-than-stereo multichannel format.

For information on fundamental surround concepts, see the Pro Tools Sync & Surround Concepts Guide.

Chapter 2: Pro Tools Concepts 9

Pro Tools Sessions

When you start a project in Pro Tools, you create a session. Some basic elements of sessions are explained in this section.

Session File

A session ﬁle is the document that Pro Tools cre- ates when you choose File > New Session and configure a new session. Pro Tools can open only one session file at a time. The session file is named with a .ptf (Pro Tools file) extension. Session files contain maps of all elements associated with a project, including audio files, MIDI data, and all your edit and mix information. It is important to realize that a Pro Tools session file does not contain any media files (audio or video). Instead, it references audio, video, MIDI, and other files. You can make changes to a session and save those changes in a new session file. This lets you create multiple versions of a session or back up your editing and mixing work.

Although there are different session file icons, the session files may be opened by the other types of Pro Tools system software (with certain restrictions). See “Opening a Session” on page 97.

When a session is transferred to a different Pro Tools system, its session file icon changes to the icon type of the destination system.

Tracks

Pro Tools tracks are where audio, MIDI, video, and automation data are recorded and edited. Pro Tools tracks also provide audio channels for routing internal busses, and physical inputs and outputs for audio and MIDI.

Pro Tools provides mulitple types of tracks: audio, Auxiliary Input, Master Fader, VCA Master, MIDI, Instrument, and video.

There are different session file icons for each type of Pro Tools system software.

Pro Tools HD

Session ﬁle icons

Pro Tools Reference Guide10

Pro Tools LE

Pro Tools M-Powered

Audio track in the Edit window (stereo track shown)

MIDI track in the Edit window

Video track in Frames View

Audio, MIDI, Instrument, and video track data can be edited into regions or repeated in different locations to create loops, re-arrange sections or entire songs, or to assemble tracks using material from multiple takes.

Auxiliary Input tracks can route internal audio busses or physical inputs to internal busses or physical outputs. Auxiliary Inputs are typically used for audio effects busses, audio throughput (monitoring), and submixing.

Master Fader tracks provide controls for physical audio output channels, including the volume level of your mix, panning, and plug-in inserts.

VCA Master tracks (Pro Tools HD only) provide control of tracks in a Mix Group that has been assigned to the VCA Master.

Video tracks support QuickTime movies (all Pro Tools systems) and VC-1 video files (Windows Vista only). Additionally, Avid video is supported on Pro Tools LE or Pro Tools HD with an Avid video peripheral, or Pro Tools LE with DV Toolkit 2 software. An individual video track can play back only one type of video at a time.

Audio, Auxiliary Input, Master Fader, VCA Master (Pro Tools HD only), and Instrument tracks can be mono, stereo, or multichannel (Pro Tools HD only). When creating a new track, select from the list of channel formats supported by your system.

Media Files

Pro Tools sessions create, import, export, and reference media files. Media files are audio, MIDI, and video files. Audio and video media files are stored separately from the Pro Tools session file. MIDI data is stored in the session file.

Audio Files

When you record audio into a Pro Tools session, audio files are created.

Audio ﬁle icons

Audio files for each session are stored in a folder named “Audio Files.” Audio files are listed in the Pro Tools Region List and can appear in an audio track. A section of an audio file can be defined as a region. See “Regions” on page 12.

MIDI Files

When you record or enter MIDI into a Pro Tools session, all MIDI data is stored in the Pro Tools session file. You can import and export MIDI files to and from Pro Tools sessions, but MIDI recorded or otherwise created in a Pro Tools session does not automatically create new MIDI files.

Video Files

When you record or import video into a Pro Tools session, all video data is stored as the corresponding video file type (such as QuickTime). Video files can be created in (or copied to) the Video Files folder in the session folder. However, in most cases, Pro Tools references video files that have been captured by another application, such as Avid Media Composer.

Chapter 2: Pro Tools Concepts 11

Regions

Audio region

MIDI region

Video region (Frames View)

A region is a segment of audio, MIDI, or video data. A region could be a drum loop, a guitar riff, a verse of a song, a recording take, a sound effect, some dialog, or an entire sound file. Regions are especially useful for arranging audio and MIDI. A region can also have associated automation data. In Pro Tools, regions are created from audio files or MIDI data, and can be arranged in audio and MIDI track playlists. Regions can also be grouped (a region of regions) and looped (repeated).

Playlist

Playlist selector pop-up menu

Region group (Mixed audio and MIDI multitrack region group)

Pro Tools Reference Guide12

A playlist is a sequence of regions arranged on an audio, MIDI, or video track. Tracks have edit playlists and automation playlists.

On audio tracks, an edit playlist tells the hard disk which audio regions to play in what order. For example, you can have separate audio regions for a song introduction, the first verse, the first chorus, and so on. You can also use the same audio region to access the same piece of audio multiple times at different locations and not use additional disk space. Different versions of the same original audio can be used in different places and have different effects applied. On MIDI and Instrument tracks, edit playlists can store multiple MIDI sequences (or performances) on a track.

A playlist can be made up of a single region or many separate regions. It can be made up of similar elements, such as regions from several different takes of a solo, or dissimilar elements, such as several sound effects.

You can create any number of alternate edit playlists for a track. This lets you assemble different versions of performances or edits on a single track and choose between them from a popup menu on the track.

Each track also has a single set of automation playlists, for volume, pan, mute, and each automation-enabled control for the insert and send assignments on that track.

Channel

The term channel is used to describe several related components of a Pro Tools system. The first example of channel refers to a physical input or output of your Pro Tools system. For example, a 96 I/O audio interface provides up to 16 channels of input and output to a Pro Tools|HD system, while an Mbox 2 audio interface provides up to four inputs and two outputs.

The second use of the term channel refers to a channel strip in the Pro Tools Mix window. Each track in a Pro Tools session has a corresponding channel strip in the Mix window.

Audio and MIDI channel strips have similar controls, but those controls have slightly different effects. For example, audio, Auxiliary Input, and Instrument track channel strip faders control the output gain to the mix bus for that channel, while MIDI channel strip faders send MIDI volume data (MIDI controller 7) to the selected MIDI instrument.

Channel strip in the Mix window (audio track)

The term MIDI channel also describes a separate aspect of MIDI operation. See “MIDI” on page 7.

Chapter 2: Pro Tools Concepts 13

Signal Routing

Signal Routing Options

Pro Tools provides software-based mixing and signal routing controls for audio and MIDI. These controls are located in the Mix window. Some of these controls can also be accessed from the Edit window.

A common audio signal routing task is to submix multiple tracks to a single channel strip (such as an Auxiliary Input) for shared processing and level control. The following example shows three audio tracks submixed to a stereo Auxiliary Input.

Stereo

Inserts

Sends

Outputs to stereo bus path

plug-in

Input from stereo bus path

Output to stereo output path

Signal routing options include the following:

Track Input and Output (I/O) Controls The most basic type of signal routing is track input and output. A track needs to have an assigned input path to record audio, and an assigned output path in order to be audible through a hardware output. Signals can also be routed to or from other tracks in Pro Tools (or hardware inputs and outputs) using internal busses.

Auxiliary Input and Master Fader Tracks Auxiliary Inputs can be used as returns, submixers, and bus masters. Master Fader tracks are used as bus and output master level controls. Both Auxiliary Input and Master Fader tracks can have plug-in and hardware inserts.

MIDI Tracks MIDI tracks are generally used for routing MIDI from internal or external sources to external MIDI devices. MIDI data can also be routed to plug-ins on Auxiliary Inputs or Instrument tracks.

Instrument Tracks Instrument tracks are the primary way to route MIDI to an instrument plugin and then route the plug-in’s sound to outputs, sends and busses, or other inserts. Instrument tracks can also be used to route audio inputs to other busses, sends, or outputs, as well as to send MIDI to external devices.

Audio tracks

Submixing to an Auxiliary Input

Pro Tools Reference Guide14

Auxiliary

Input track

Sends Sends route audio from tracks to hardware outputs, or to internal busses that are in turn routed to other tracks within Pro Tools. Master Fader and VCA Master tracks do not have sends.

Plug-in and Hardware Inserts Plug-in processing occurs completely within the Pro Tools system. Hardware inserts use audio interface inputs and outputs, for traditional insert routing to and from external effects and other devices.

Instrument Plug-ins Instrument Plug-ins are different from processing plug-ins in that they generate audio rather than process the audio signal from a track’s audio input or from hard disk. Instrument plug-ins are typically played by MIDI.

Paths Paths are any routing option in Pro Tools, including internal or external inputs, outputs, busses, and inserts. Pro Tools lets you name these paths, and these path names appear in the Audio Input and Output Path selectors and other menus. See Chapter 6, “I/O Setup” for more information.

Mixing Formats Sessions can include combinations of mono, stereo, and greater-than-stereo multichannel format tracks, busses, inputs, outputs, and inserts. Greater-than-stereo multichannel formats are supported on Pro Tools|HD systems only.

Grouping and VCA Tracks Tracks can be grouped together for mixing so that their relative mixing settings are maintained when changing any one of the mix settings for any track in the group (that is, changing the volume of one track affects all the other tracks in the group as well). VCA tracks (Pro Tools HD only) provide a single track to control the relative mix settings for all tracks within the selected group.

Tick-Based and Sample-Based Time

Pro Tools uses both tick-based time and samplebased time. Sample-based time is actual time in minutes and seconds. Samples of audio exist as a fraction of real time. For example, the sample rate of CDs is 44.1 kHz, that is to say there are 44,100 samples per second. Tick-based time on the other hand is measured in bars and beats, not minutes and seconds. The difference is that the number of bars and beats in actual time is

variable depending on changes in tempo (how many beats per minute). For example, a single bar can last 5 seconds or 2 seconds depending on how slow or fast the tempo is.

Pro Tools lets you set any track timebase to either sample-based or tick-based. You can also scale the Timeline to be viewed as tick-based or sample-based.

Audio in Pro Tools is sample-based by default. This means that if an audio region is located at a particular sample location, it will not move from that location if the tempo changes in the session—though its bar and beat location will change.

MIDI data in Pro Tools is tick-based by default. This means that if a MIDI region is located at a particular bar and beat location, it will not move from that location if the tempo changes in the session—though its sample location will change.

You can select whether a track is sample-based or tick-based when it is created, or change timebases later.

Sample-Based Audio and MIDI

With a sample-based audio track, all regions in the track have an absolute location on the Timeline. Regions stay fixed to the sample time, regardless of where tempo or meter changes occur in a session.

If you make a MIDI track sample-based, all MIDI events in the track have an absolute location on the Timeline. MIDI events stay fixed to the sample time, regardless of where tempo or meter changes occur in a session.

Chapter 2: Pro Tools Concepts 15

Tick-Based Audio and MIDI

Tick-based audio is fixed to Bars|Beats, and moves relative to the sample Timeline when tempo and meter changes occur. However, MIDI events and tick-based audio respond differently to tempo changes in respect to duration. MIDI note events change length when tempo or meter is adjusted, while audio regions do not (unless Elastic Audio is enabled). With Elastic Audio not enabled on an audio track, meter and tempo changes affect only the start point (or sync point) for each audio region in a tick-based track. If Elastic Audio is enabled on an audio track, tempo changes apply Elastic Audio processing, which results in changing the duration of the audio region.

Elastic Audio

Elastic Audio is real-time or rendered Time Compression and Expansion (TCE) of audio. Tick-based Elastic Audio tracks actually change the location of samples according to changes in tempo. The audio stretches or compresses to match changes in tempo.

Pro Tools Elastic Audio uses exceptionally highquality transient detection algorithms, beat and tempo analysis, and real-time or rendered TCE processing algorithms. Elastic Audio lets you quickly and easily tempo conform and beat match audio to the session’s Tempo ruler. It also provides an unprecedented degree of control over transient detection and TCE processing on an event-by-event basis.

With Elastic Audio, Pro Tools analyzes entire audio files for transient “events.” For example, an event can be a drum hit, a sung note, or chord played by a guitar. These detected events can then serve as control points for “warping” the audio. Pro Tools can warp (TCE) audio events automatically, such as automatically conform-

ing audio to the session tempo or quantizing audio events, or you can warp audio manually using the standard editing tools in the new Warp Track View.

Elastic Audio is useful in several common workflows: working with loops, correcting performances, remixing, sound design and special effects, and film music and post production.

System Resources

Track count, plug-in processing, signal path and routing options, and voice availability are ultimately limited by the combined resources available from the host computer, and from your Pro Tools hardware.

Pro Tools provides several ways to manage and conserve resources to maximize the performance of your system. As you begin working with Pro Tools sessions and tracks, you can take advantage of the following features to extend the effectiveness of your available DSP and other resources:

 Pro Tools lets you adjust the performance of

your system by changing system settings that affect its capacity for processing, playback, and recording. See “Conﬁguring Pro Tools System Settings” on page 34.

 In order to free up needed DSP resources,

Pro Tools allows for certain items (such as tracks and inserts) to be manually made inactive. Inactive elements are viewable, editable, and retained within the session. See “Active and Inactive Items” on page 17.

 All Pro Tools systems provide ﬂexible voice

options for audio tracks, to help maximize use of available voices in your system. For more information on voice management and options, see “Voice Borrowing” on page 164.

Pro Tools Reference Guide16

Active and Inactive Items

Pro Tools lets you make certain items (such as tracks and inserts) inactive, in order to free up DSP resources and mixer connections.

Items in Pro Tools that can be made inactive (or active) include the following:

• Audio, Auxiliary Input, Master Fader, VCA Master, and Instrument tracks

• Track Inputs and Outputs

• Sends

• Side-chain inputs

• Plug-ins

• Hardware inserts

• Paths (session-wide)

MIDI tracks cannot be made inactive.

In addition to manually setting Active and Inactive modes, Pro Tools automatically makes items inactive if there are insufficient or unavailable resources.

Tracks When a track is made inactive, its voices become available for another track. Mono inactive tracks free up one voice; stereo and multichannel tracks free up one voice per channel. Additionally, when an audio, Auxiliary Input, Instrument, or Master Fader track is made inactive, its plug-ins, inserts, sends, and I/O assignments become inactive, and the associated DSP used is freed up for use elsewhere in the session.

Display of Inactive Items

When items are inactive, their names appear in italics, and their background becomes dark gray. When a track is inactive, the entire channel strip is grayed out.

Active Inactive plug-in

When active, items are fully engaged and operational.

When inactive, items are silent and off, although most associated controls can still be adjusted. Different inactive items affect available system resources in specific ways, as follows:

Plug-ins When a plug-in is inactive on a track, its DSP is made available for other plug-ins and processing. Plug-in assignments can be made inactive manually, or automatically (see “Automatic and Manual Inactive Mode” on page 18).

Paths and Path Assignments When a path or path assignment is inactive, its mixer resources are made available for other signal routing purposes in the session. Paths and assignments can be made inactive manually, or automatically (see “Automatic and Manual Inactive Mode” on page 18).

Inactive track

Active and inactive plug-ins, sends, and tracks

Chapter 2: Pro Tools Concepts 17

Automatic and Manual Inactive Mode

Active and Inactive modes are powerful options for session transfer and system resource management. Pro Tools provides automatic and manual Inactive mode switching. You can manually make items inactive (or active) to selectively manage system resources while editing and mixing.

You can apply Active or Inactive modes to all or all selected tracks using standard Pro Tools modifiers (Alt and Alt+Shift in Windows, Option and Option+Shift on the Mac).

Side-chain inputs support direct active and inactive switching, but do not follow switching all or all selected side-chain inputs.

Automatically Inactive Items

When opening a session, it is possible that not all signal paths, plug-ins, or audio interfaces used in the session will be available as defined on the current system. When opening a session, sufficient voices may also be unavailable if the session was created on a different Pro Tools system type (for example, opening a session created on a Pro Tools HD system on a Pro Tools LE system).

Whenever this occurs, the session will open as it was last saved. All items that are unavailable, or cannot be loaded due to insufficient resources, are made inactive.

Manual Inactive Switching

You can manually apply Active or Inactive modes to manage system resources. By making an item inactive, its associated resources are made available elsewhere in the session.

The following are basic instructions for manually making items inactive. Throughout the Pro Tools Reference Guide, instructions are provided whenever an item can be made inactive.

DigiBase

DigiBase is a database management tool for Pro Tools. DigiBase expands upon basic Pro Tools search and import capabilities by providing powerful tools to manage your data both inside and outside of your sessions, on any hard drive connected to the system.

A database is a way of organizing data such that it can easily be searched, sorted, managed, and utilized. Your checkbook is an example of a database file. For every check you write, you enter a new record. That record contains information about the check, such as when you wrote it, to whom you wrote it, and for what amount. This information is written in specific columns, or fields. Everything you need to know (the check’s metadata) is there, even though the check itself is not.

DigiBase browsers let you search, sort, and mange these databases by volume or catalog (DigiBase Pro only). Use DigiBase browsers not only to organize your Pro Tools sessions and media files (audio, MIDI, and video), but also to audition and import by drag and drop.

To toggle an item active or inactive:

 Control-Start-click (Windows) or Command-

Control-click (Mac) the item.

Pro Tools Reference Guide18

For more information about DigiBase, see “DigiBase” on page 201.

Chapter 3: Keyboard and Right-Click Mouse Shortcuts

This chapter provides an overview of Pro Tools mouse and keyboard shortcuts.

A PDF listing of all shortcuts is available in Pro Tools. Choose Help > Shortcuts.

Right-Click Mouse Shortcuts

Pro Tools provides Right-click shortcuts for choosing various Pro Tools commands and menus with any Right-click capable mouse.

For a complete list of Right-click shortcuts, see the Shortcuts Guide.

Global Key Commands

This section covers keyboard shortcuts that apply to many functions in Pro Tools.

For a complete list of keyboard shortcuts, see the Shortcuts Guide.

Track Functions

Pro Tools provides keyboard shortcuts for the following track functions:

• Changing Automation mode

• Enabling playlists

• Adding plug-ins

• Record enabling, soloing, and muting tracks

• Record saﬁng and solo saﬁng tracks

• Assigning inputs, outputs, and sends

• Toggling volume/peak/delay display

• Clearing meters

• Changing track heights

Command Windows Mac

Apply action to all channel strips/tracks

Apply action to selected channel strips/tracks

Alt+ action

Alt+ Shift+ action

Option+ action

Option+ Shift+ action

Chapter 3: Keyboard and Right-Click Mouse Shortcuts 19

List and Parameter Selection

There are three types of Keyboard Focus:

Pro Tools provides keyboard shortcuts for the following items:

• Selection of tracks in Track List

• Enabling of groups in Group List

• Automation Enable window parameters

• Setting Memory Location parameters

Command Windows Mac

Toggle item and set all others to same new state

Toggle item and set all others to opposite state

Alt-click item Option-click

item

Control-click item

Commandclick item

Controls and Editing Tools

Pro Tools provides keyboard shortcuts for moving plug-in controls, faders and sliders, the Scrubber, and automation data.

Command Windows Mac

Fine adjustment of sliders, knobs, and breakpoints

Hold Control while clicking the item

Hold Command while clicking the item

Commands Keyboard Focus When selected, this provides a wide range of single key shortcuts from the QWERTY keyboard for editing and playing.

With Commands Keyboard Focus disabled, you can still access any of its key shortcuts by pressing the Start key (Windows) or Control (Mac) along with the key.

For a complete list of Commands Keyboard Focus shortcuts, see the Shortcuts Guide.

Region List Keyboard Focus When selected, audio regions, MIDI regions, and Region Groups can be located and selected in the Region List by typing the first few letters of the region’s name.

Group List Keyboard Focus When selected, Mix and Edit Groups can be enabled or disabled by typing the Group ID letter (in either the Mix or Edit window).

Commands Keyboard Focus

(in the Edit Window bar)

Region List

Keyboard Focus

The Keyboard Focus in Pro Tools determines how the alpha keys function. Depending on which Keyboard Focus is enabled, you can use the keys on your QWERTY (alpha) keyboard to select regions in the Region List, enable or disable groups, or perform an edit or play command.

You can only enable one of the three Keyboard Focus modes at a time. Enabling a Keyboard Focus will disable the one previously enabled.

Pro Tools Reference Guide20

Group List

Keyboard Focus

Keyboard Focus buttons

To set the Keyboard Focus, do one of the following:

 Click the a–z button for the focus you want to

enable.

– or –

 While pressing Control+Alt (Windows) or

Command+Option (Mac), press one of the following keys: 1 (Commands), 2 (Region List), or 3 (Group List).

Although multiple plug-in windows can have a keyboard focus enabled, only the front-most window receives any keyboard input.

Shuttle Lock Modes

With either Shuttle Lock mode (Classic or Transport) you can use the numeric keypad to shuttle forward or backwards at speciﬁc speeds.

• 5 is normal speed.

• 6–9 provide increasingly faster fast-forward speeds.

• 1–4 provide progressively faster rewind speeds (4 is the slowest rewind Shuttle Lock speed, 1 is the fastest).

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

Numeric Keypad Modes

The Operation preference for Numeric Keypad mode determines how the numeric keypad functions for Transport.

There are two Shuttle Lock modes (Classic and Transport), and one Shuttle mode.

No matter which Numeric Keypad mode is selected, you can always use the numeric keypad to select and enter values in the Event Edit Area, Edit Selection indicators, Main and Sub Counters, and Transport fields.

To set the Numeric Keypad Mode:

1 Choose Setup > Preferences and click the Op-

eration tab.

2 In the Transport section, select a Numeric Key-

pad mode (Classic, Transport, or Shuttle).

3 Click OK.

For more information on each mode, see “Numeric Keypad Mode” on page 77.

Custom Shuttle Lock Speed

(Pro Tools HD and Pro Tools LE with DV Toolkit 2 Only)

The highest fast-forward Shuttle Lock speed (key 9) can be customized.

For information, see “Custom Shuttle Lock Speed” on page 443.

Classic Mode

This mode emulates the way Pro Tools worked in versions lower than 5.0. With the Numeric Keypad mode set to Classic, you can:

• Play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 1–9 for different play speeds.

• Press Plus or Minus to reverse direction.

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

• Recall Memory Locations by typing the Memory Location, followed by a Period (.).

Chapter 3: Keyboard and Right-Click Mouse Shortcuts 21

Transport Mode

This mode allows you to set a number of record and play functions, and also operate the Transport from the numeric keypad.

Function Key

Click on/off 7

Countoff on/off 8

MIDI Merge/Replace mode 9

Loop Playback mode on/off 4

Loop Record mode on/off 5

QuickPunch mode on/off 6

Rewind 1

Fast Forward 2

Record enable 3

Play/Stop 0

With the Numeric Keypad mode set to Transport, you can also:

• Play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 1–9 for different play speeds.

• Press Plus or Minus to reverse direction.

• Press 0 to stop Shuttle Lock, then press the number to resume Shuttle Lock speed.

• Press Escape or Spacebar to exit Shuttle Lock mode.

• Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

Shuttle Mode

(Pro Tools HD Only)

Pro Tools offers another form of shuttling, different from that of the two Shuttle Lock modes. With the Numeric Keypad mode set to Shuttle, playback of the current Edit selection is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various playback speeds are available in both forward and reverse. In this mode, pre- and post-roll are ignored.

Playback Speeds Key

1x Forward 6

1x Rewind 4

4x Forward 9

4x Rewind 7

1/4x Forward 3

1/4x Rewind 1

1/2x Forward 5+6

1/2x Rewind 5+4

2x Forward 8+9

2x Rewind 8+7

1/16x Forward 2+3

1/16x Rewind 2+1

Loop Selection (1x) 0

With the Numeric Keypad mode set to Shuttle, you can also:

• Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

Shuttle Lock modes are not available when the Numeric Keypad mode is set to Shuttle.

Pro Tools Reference Guide22

Part II: System Configuration

Chapter 4: Pro Tools Systems

There are three types of Pro Tools systems:

Pro Tools|HD These systems include Pro Tools HD tem hardware.

Pro Tools LE These systems include Pro Tools LE software for 003, 003 Rack, Digi 002 Digi 002 Rack Mbox 2 Mini, or Mbox hardware.

Pro Tools M-Powered These systems include Pro Tools M-Powered software for Digidesignqualified M-Audio

References to Pro Tools LE in this guide are usually interchangeable with Pro Tools MPowered, except as noted in the Pro Tools M-Powered Getting Started Guide.

software for Pro Tools|HD sys-

™

, Mbox® 2, Mbox 2 Pro,

interfaces.

Optional Systems

Pro Tools|HD Systems

Pro Tools|HD systems are available in the conﬁgurations shown on page 26. Each system requires at least one Digidesign audio interface (sold separately). Pro Tools|HD systems can be expanded by adding Pro Tools|HD system cards to increase track count, add to the amount of possible plug-in and mixer processing, and connect additional audio interfaces.

Pro Tools system performance depends on factors such as computer processor speed, amount of system memory, and hard drive performance. Contact your Digidesign dealer or visit the Digidesign website (www.digidesign.com) for the latest system requirements and compatibility information.

Pro Tools LE with DV Toolkit 2 Pro Tools LE systems that have been upgraded with the DV Toolkit

Pro Tools LE or M-Powered with Music Production Toolkit Pro Tools LE or M-Powered systems that

have been upgraded with the Music Production Toolkit software option.

™

2 software option.

Chapter 4: Pro Tools Systems 25

Pro Tools|HD Systems

Expanded Pro Tools|HD Systems

Pro Tools|HD 1

Includes:

• Accel Core (for PCIe) or HD Core (for PCI) card

• Pro Tools HD software

Pro Tools|HD 2 Accel

Includes:

• Accel Core (for PCIe) or HD Core (for PCI) card

• HD Accel card

• Pro Tools HD software

Pro Tools|HD 3 Accel

Includes:

• Accel Core (for PCIe) or HD Core (for PCI) card

• Two HD Accel cards

• Pro Tools HD software

Pro Tools|HD 2

Includes:

• HD Core card

• HD Process card

• Pro Tools HD software

Pro Tools|HD 3

Includes:

• HD Core card

• Two HD Process cards

• Pro Tools HD software

Any Pro Tools|HD system can be expanded by adding additional HD Process or HD Accel cards. For more information, see the Expanded Systems

Guide.

HD Accel and HD Process cards can be used in the same system. For more information, refer to the Pro Tools|HD Getting Started Guide.

Supported Audio Interfaces

(Pro Tools|HD Systems Only)

The following audio interfaces are compatible with Pro Tools|HD systems:

• 192 I/O™

• 192 Digital I/O™

• 96 I/O™

• 96i I/O™

Pro Tools|HD systems require the use of at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O.

The following “Legacy” Digidesign audio interfaces are supported with Pro Tools|HD systems:

• 888|24 I/O™ and 882|20 I/O™

• 1622 I/O™

• 24-bit ADAT Bridge I/O™

“Legacy” I/Os (such as 888|24 I/O) require the use of at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O.

Pro Tools Reference Guide26

Pro Tools|HD System Playback, Recording and Voice Limits

The following table lists the audio playback, recording, and voiceable track limits of each type of Pro Tools|HD system. Playback and recording voices refer to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up one voice. Stereo and multichannel tracks take up one voice per channel.) Voice limits are dependent on the session sample rate and the number of DSP chips dedicated to the system’s Playback Engine. Pro Tools|HD systems can open sessions with up to 256 audio tracks, but any audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off.

Table 5. Pro Tools|HD system audio playback, recording and voice limits

Playback

Sample

Core System Type

Pro Tools|HD 1 44.1/48 96 96 112

Pro Tools|HD Accel 2, Pro Tools|HD Accel 3

Pro Tools|HD 2, Pro Tools|HD 3, or any expanded Pro Tools|HD system

Rate (kHz)

88.2/96 48 48 48

176.4/192 18 (for PCIe)

44.1/48 192 192 224

88.2/96 96 96 120

176.4/192 36 36 36

44.1/48 128 128 224

88.2/96 64 64 80

176.4/192 24 24 24

Voices (Mono Tracks of Simultaneous Playback)

12 (for PCI)

Recording Voices (Mono Tracks of Simultaneous Recording)

18 (for PCIe) 12 (for PCI)

Total Voiceable Tracks

18 (for PCIe)

12 (for PCI)

Pro Tools|HD systems provide up to 160 Auxiliary Input tracks and a total of 128 internal mix busses. These systems also provide up to 5 inserts and 10 sends per track (depending on the DSP capacity of your system). Pro Tools|HD systems also support up to 128 Instrument tracks, 256 MIDI tracks, 128 VCA tracks, and multiple video tracks.

Chapter 4: Pro Tools Systems 27

Audio Interfaces for Pro Tools|HD Systems

Table 6 lists the input and output capabilities of the various audio interfaces for Pro Tools|HD systems.

Table 6. Pro Tools|HD system audio interface channel capabilities

Interface Type

192 I/O 16 in/16 out 44.1, 48, 88.2,

192 Digital I/O 16 in/16 out 44.1, 48, 88.2,

96 I/O 16 in/16 out 44.1, 48, 88.2, 9624-bit 24-bit 24-bit

96i I/O 16 in/2 out 44.1, 48, 88.2, 9624-bit 24-bit 24-bit

888|24 I/O 8 in/8 out 44.1, 48 24-bit 24-bit (or

882|20 I/O 8 in/8 out 44.1, 48 20-bit 20-bit 24-bit

1622 I/O 16 in/2 out 44.1, 48 20-bit 24-bit 24-bit

24-bit ADAT Bridge I/O

Number of I/O Channels

16 in/16 out 44.1, 48 None 24-bit 24-bit

Sample Rates (kHz)

96, 176.4, 192

A/D Conversion

24-bit 24-bit 24-bit

None None 24-bit

D/A Conversion

20-bit, on older I/O)

Digital I/O

24-bit

You can expand your Pro Tools|HD system by adding Pro Tools|HD cards to your computer, either directly in the computer or using an expansion chassis. Expanding your Pro Tools system will provide an increased track count, add to the amount of possible plug-in and mixer processing, and let you connect additional audio interfaces. For more information, see the Expanded Systems Guide.

“Legacy” I/Os (such as 888|24 I/O) require the use of at least one 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O.

Pro Tools Reference Guide28

Pro Tools LE Systems

Pro Tools LE-based systems are available in the following configurations:

Mbox 2

An Mbox 2 system includes:

• Pro Tools LE software

• Mbox 2 audio and MIDI interface

003

A 003 system includes:

• Pro Tools LE software

• 003 audio and MIDI interface, with control surface

003 Rack

A 003 Rack system includes:

• Pro Tools LE software

• 003 audio and MIDI interface

Digi 002

A Digi 002 system includes:

• Pro Tools LE software

• Digi 002 audio and MIDI interface, with control surface

Digi 002 Rack

A Digi 002 Rack system includes:

• Pro Tools LE software

• Digi 002 audio and MIDI interface

Mbox 2 Mini

An Mbox 2 system includes:

• Pro Tools LE software

• Mbox 2 Mini audio interface

Mbox

An Mbox system includes:

• Pro Tools LE software

• Mbox audio interface

Processing Capacity

The total processing capacity of a Pro Tools LE system depends on the processing power of your computer. Contact your Digidesign dealer or visit Digidesign’s website (www.digidesign.com) for the latest system requirements and compatibility information.

Mbox 2 Pro

An Mbox 2 system includes:

• Pro Tools LE software

• Mbox 2 Pro audio and MIDI interface

Chapter 4: Pro Tools Systems 29

Pro Tools LE System Capabilities

Table 7 lists the playback, recording, and input and output capabilities of each Pro Tools LE system. Mono tracks of simultaneous playback refers to the number of unique simultaneous playback and record tracks on your system. Total voiceable tracks refers to the maximum number of audio tracks that can share the available voices on your system. (Mono tracks take up a single audio track, while stereo tracks take up two tracks.) If you open a Pro Tools session created on a Pro Tools|HD system containing more than the number of tracks supported on the LE-based system, audio tracks beyond the LE system’s voiceable track limit will be automatically set to inactive.

Table 7. Pro Tools LE system audio playback, recording, and channel capabilities

System Type

003, 003 Rack, Digi 002, or Digi 002 Rack

Mbox 2 Pro

Mbox 2 or Mbox

Mbox 2 Mini

Mono Tracks of Simultaneous Playback

32 128 up to 18 in/18 out

32 128 up to 6 in/8 out

32 128 up to 2 in/2 out 24-bit 24-bit 24-bit

32 128 up to 2 in/2 out 24-bit 24-bit N/A

Total Voiceable Tracks

Number of I/O Channels

(48 kHz or lower)

up to 10 in/10 out (88.2 or 96 kHz)

(48 kHz or lower)

up to 4 in/6 out (88.2 or 96 kHz)

A/D Conversion

24-bit 24-bit 24-bit

D/A Conversion

Digital I/O

Pro Tools LE systems provide up to 128 Auxiliary Input tracks, a total of 32 internal mix busses, and up to 5 inserts and 10 sends per track (depending on your computer’s processing capacity). In addition, Pro Tools LE systems support up to 32 Instrument tracks and 256 MIDI tracks. Pro Tools LE also supports a single QuickTime video track.

For details on transferring session material between Pro Tools|HD and Pro Tools LE systems, see “Sharing Sessions Created on Different Pro Tools Systems” on page 292.

Pro Tools Reference Guide30

Pro Tools M-Powered

A Pro Tools M-Powered system includes:

• Pro Tools M-Powered software

• Digidesign-qualiﬁed M-Audio interface (not supplied with M-Powered software)

For more information on track priority and voice assignment, see “Voice Assignment with Toolkit Options” on page 163.

Support for Up to 24 QuickPunch Tracks

References to Pro Tools LE in this guide are usually interchangeable with Pro Tools M-Powered, except as noted in the Pro Tools M-Powered Getting Started Guide.

For the most current list of Digidesign-qualified M-Audio interfaces, visit the Digidesign website (www.digidesign.com)

DV Toolkit 2 and Music Production Toolkit

In addition to all the regular capabilities provided with Pro Tools LE and Pro Tools M-Powered, Pro Tools LE systems equipped with DV Toolkit 2 and Pro Tools LE and M-Powered systems equipped with Music Production Toolkit provide expanded capabilities.

Support for 48 Mono or Stereo Tracks

Pro Tools LE systems with the DV Toolkit 2 option and Pro Tools LE or M-Powered systems with the Music Production Toolkit option let you play or record up to 48 simultaneous stereo or mono tracks. These higher track counts may require additional drives and faster Digidesignqualified computers.

Visit the Digidesign website for more information (www.digidesign.com).

With DV Toolkit 2 or Music Production Toolkit, up to 24 mono or stereo audio tracks can be simultaneously recorded with QuickPunch.

The combination of audio tracks and QuickPunch tracks cannot be greater than 48.

DV Toolkit 2 Capabilitites

(Pro Tools LE Only)

Pro Tools LE Features

DV Toolkit 2 enables the following features for working with audio, film, video, or digital video in Pro Tools LE:

• Session and track features:

• Up to 48 audio tracks of simultaneous playback or recording, mono or stereo

• Multiple video tracks, with multiple video playlists and multiple QuickTime movies per track.

• Ability to use QuickPunch on up to 24 tracks

• Import Session Data options (Destination Track Names, Time Code Mapping, Find Matching Tracks, Session Data to Import, Track Playlist)

• MP3 export option (for bounce recording or exporting a region as an MP3 ﬁle)

• DigiBase Pro (including support for Catalog browsers and the ability to search on multiple criteria simultaneously in DigiBase browsers)

Chapter 4: Pro Tools Systems 31

• Editing features:

• Universe window

• Continuous Scroll

• Scrub Trim tool

• Replace Region command

• TCE Edit to Timeline Selection command

• Selection of alternate ﬁeld recorder audio channels in the Pro Tools Timeline

• Expanding alternate ﬁeld recorder audio channels to new tracks

• Mixing and Automation features:

• Snapshot automation for writing or trimming automation data

• Glide Automation commands

• Time code and synchronization features:

• Timebase rulers (Time Code and Feet+Frames)

• Time Code Rate selector

• Feet+Frame Rate selector

• Current Time Code Position command

• Current Feet+Frames Position command

• Use Subframes option

• Audio Rate Pull Up and Pull Down

• Video Rate Pull Up and Pull Down

Additional Software

DV Toolkit 2 includes additional software for working with audio or digital video in Pro Tools:

DINR™ (Digidesign Intelligent Noise Reduction™) LE Plug-in For reducing noise in audio.

DigiTranslator

changing audio and video files, and sequences with other AAF and OMFI-compatible applications.

TL Space Native

applying convolution reverb to your audio.

™

2.0 Software Option For ex-

™

Convolution Reverb Plug-in For

VocALign Project Plug-in from Synchro Arts Software For automatically adjusting the timing of

one audio signal to match another.

Music Production Toolkit

(Pro Tools LE and Pro Tools M-Powered Only)

Pro Tools Features

Music Production Toolkit enables the following features in Pro Tools LE and M-Powered:

• Session and track features:

• Up to 48 audio tracks of simultaneous playback or recording, mono or stereo

• Ability to use QuickPunch on up to 24 tracks

• MP3 export option (for bounce recording or exporting a region as an MP3 ﬁle)

• Beat Detective features:

• Ability to apply Beat Detective across multiple tracks

• Collection Mode

Additional Software

Music Production Toolkit includes additional software for working with Pro Tools:

™

DINR

(Digidesign Intelligent Noise Reduction™)

LE Plug-in For reducing noise in audio.

Hybrid RTAS Synthesizer Plug-in For use as a vir-

tual instrument in your Pro Tools sessions.

™

Smack!

compression to your audio.

SoundReplacer™ Plug-in For replacing one sound in a track with another (such as replacing only the snares in your drum track with a different one-hit sample)

TL Space Native

applying convolution reverb to your audio.

LE Compressor Plug-in For applying

™

Convolution Reverb Plug-in For

Pro Tools Reference Guide32

Chapter 5: System Setup

7 Do one of the following, depending on your

Starting Up or Shutting Down Your System

To ensure that the components of your Pro Tools system communicate properly with each other, you need to start them in a particular order.

Start up your Pro Tools system in this order:

1 Make sure all your equipment (including your

computer) is off.

2 Lower the volume of all output devices in

your system.

3 For Pro Tools|HD systems with an expansion

chassis, turn on the chassis.

4 Turn on any external hard drives. Wait ap-

proximately ten seconds for them to spin up to speed.

5 Turn on any worksurfaces (such as

D-Command) or control surfaces (such as Command|8).

6 Turn on any MIDI interfaces, MIDI devices, or

synchronization peripherals.

Pro Tools system:

• For Pro Tools|HD systems, with the volume of all output devices lowered, turn on your Pro Tools Legacy I/O (such as an 888|24 I/O or 882|20 I/O) ﬁrst, then your Pro Tools|HD audio interfaces (such as 96 I/O). Wait at least ﬁfteen seconds for your system hardware to initialize.

– or –

• For Pro Tools LE and M-Powered systems that use hardware requiring external power (such as 003), turn on the hardware.

8 Turn on your computer.

9 Launch Pro Tools or any third-party audio or

MIDI applications.

Shut down your Pro Tools system in this order:

1 Quit Pro Tools and any other running applica-

tions.

To quit Pro Tools, choose File > Exit (Windows) or Pro Tools > Quit (Mac).

2 Turn off or lower the volume of all output de-

vices in your system.

3 Turn off your computer.

Chapter 5: System Setup 33

4 Do one of the following depending on your

Pro Tools system:

• For Pro Tools|HD systems, turn off your Pro Tools audio interfaces.

– or –

• For Pro Tools LE and M-Powered systems that use hardware requiring external power (such as 003), turn off the hardware.

5 For Pro Tools|HD systems with an expansion

chassis, turn off the chassis.

Checking an HD System with DigiTest

Before you use Pro Tools, you may want to run the DigiTest diagnostic application to ensure that all Pro Tools|HD cards in the system are recognized, installed in the proper order, and have valid TDM FlexCable connections. See the HD Getting Started Guide for more information.

6 Turn off any MIDI interfaces, MIDI devices, or

synchronization peripherals.

7 Turn off any worksurfaces (such as

D-Command) or control surfaces (such as Command|8).

8 Turn off any external hard drives.

Conﬁguring Pro Tools System Settings

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

Pro Tools Reference Guide34

Hardware Buffer Size

The Hardware Buffer Size (H/W Buffer Size) controls the size of the buffer used to handle host processing tasks such as Real-Time AudioSuite™ (RTAS) plug-ins.

• Lower Hardware Buffer Size settings are useful for improving latency issues in certain recording situations or for improving certain system performance problems.

• On all Pro Tools systems, lower settings reduce RTAS MIDI-to-audio latency (such as when playing an RTAS virtual instrument live and monitoring the instrument’s output). Lower settings can also improve screen response or the accuracy of plug-in and mute automation data.

• On Pro Tools LE systems, lower settings reduce all input-to-output monitoring latency on any record-armed tracks or Auxiliary Inputs with live inputs.

• On Pro Tools HD systems, lower settings reduce monitoring latency that occurs on tracks that have one or more RTAS plug-ins. Lower settings can also improve the accuracy of MIDI track timing on systems that do not use a MIDI interface that supports time stamping (such as MIDI I/O). Tracks using MIDI virtual instruments that do not support time stamping will also have better MIDI track timing with lower settings.

 Higher Hardware Buffer Size settings are use-

ful for sessions that are using more RTAS plugins for playback. These settings allow for more audio processing. They can also be useful to reduce errors on machines that require a higher buffer size.

To change the Hardware Buffer Size:

1 Choose Setup > Playback Engine.

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

the audio buffer size, in samples.

Playback Engine dialog for Pro Tools|HD system

3 Click OK.

Chapter 5: System Setup 35

RTAS Processors

The RTAS Processors setting determines the number of processors in your computer allocated for RTAS (Real-Time AudioSuite) plug-in processing.

With computers that have multiple processors, or that feature multi-core processing or hyperthreading, this setting lets you enable multiprocessor support for RTAS plug-ins. Used in combination with the CPU Usage Limit setting, the RTAS Processors setting lets you control the way RTAS processing and other Pro Tools tasks are handled by the system. For example:

• For sessions with large numbers of RTAS plugins, you can allocate 2 or more processors to RTAS processing and set a high CPU Usage Limit.

• For sessions with few RTAS plug-ins, you can allocate fewer processors to RTAS and set a low CPU Usage Limit to leave more CPU resources available for automation accuracy, screen response, and video.

• Increase these settings to accommodate TDM to RTAS plug-in conversion. Conversely, decrease these settings if you are only using TDM plug-ins or are converting RTAS plug-ins to TDM. TDM/RTAS conversion can be desirable during recording, depending on latency, voicing needs, and record-monitoring capabilities of the speciﬁc TDM and RTAS plug-ins.

• Depending on the importance of video and overall screen response, and on the density of automation being employed, try different combinations of RTAS Processing and CPU Usage Limit settings to achieve the best results. For example, to improve screen response in a medium-sized session using a moderate number of RTAS plug-ins, try reducing the number of RTAS plug-ins, but keep the CPU Usage Limit set to the maximum (99%) on a single processor system.

To set the number of RTAS Processors:

1 Choose Setup > Playback Engine.

2 From the RTAS Processing pop-up menu, se-

lect the number of available processors you want to allocate. The number of processors available varies depending on how many processors are available on your computer:

• Choose 1 Processor to limit RTAS processing to one CPU in the system.

• Choose 2 Processors to enable load balancing across two available processors.

• On systems running four or more processors, choose the desired number of RTAS processors as needed.

3 Click OK.

System Usage Window and RTAS Processing

The System Usage window displays the combined amount of RTAS processing occurring on all enabled processors with a single indicator, regardless of how many processors are available in the system. If the System Usage Window shows that you are at the limit of available resources, increase the number of RTAS processors and adjust the CPU Usage Limit setting. (For more information, see “System Usage” on page 49.)

Pro Tools Reference Guide36

CPU Usage Limit

The CPU Usage Limit controls the percentage of CPU resources allocated to Pro Tools host processing tasks. Used in combination with the RTAS Processors setting, the CPU Usage Limit setting lets you control the way Pro Tools tasks are carried out by the system.

 Lower CPU Usage Limit settings limit the ef-

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

 Higher CPU Usage Limit settings allocate

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

The maximum available CPU Usage Limit depends on the number of processors in your computer and on the number of processors you specify for RTAS processing. This value can range from 85 percent for single-processor computers (except for 003, 003 Rack, Digi 002, and Digi 002 Rack, which have a limit of 99 percent), and 99 percent for multiprocessor computers (which dedicate one entire processor to Pro Tools).

On multiprocessor computers, the maximum CPU Usage Limit is reduced when you use all your processors (as selected in the RTAS Processing pop-up menu). For example, on dual-processors, the limit will be 90%. On four-processor computers, the limit will be 95%.

To change the CPU Usage Limit:

1 Choose Setup > Playback Engine.

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

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

3 Click OK.

RTAS Engine (RTAS Error Suppression)

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

On Pro Tools|HD systems, there is a single RTAS Engine option. On Pro Tools LE systems, there are two options.

You should only enable RTAS error suppression if you are experiencing frequent RTAS errors that are interrupting your creative workflow. When RTAS error suppression is enabled, you can experience a degradation of audio quality. However, this may be acceptable in order to avoid interrupting playback and recording when working with instrument plug-ins. Be sure to disable RTAS error suppression when you need to ensure the highest possible audio quality, such as for a final mix.

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

Chapter 5: System Setup 37

To enable RTAS error suppression:

1 Choose Setup > Playback Engine.

Playback Engine dialog, Mbox 2

2 Select Ignore Errors During Playback/Record.

3 If available, you can also select Minimize Ad-

ditional I/O Latency.

4 Click OK.

Size, or at least 128 samples (whichever is greater). If you are on an older, slower computer, you may want to disable this option to avoid adverse performance.

This option is only available if the Ignore Errors During Playback/Record option is enabled and the Pro Tools system you are using requires additional buffering for RTAS error suppression, as follows:

• Windows:

• Mbox 2 Pro

• Digidesign-qualiﬁed M-Audio interfaces with Pro Tools M-Powered

• Mac OS X:

• 003 and 003 Rack

• Mbox

• Mbox 2

• Mbox 2 Mini

• Mbox 2 Pro

• Digi 002 and 002 Rack

• All Pro Tools M-Powered systems

RTAS Error Suppression Options

Ignore Errors During Playback/Record When en-

abled, Pro Tools continues to play and record even if the RTAS processing requirements exceed the selected CPU Usage Limit. This can result in pops and clicks in the audio, but does not stop the transport.

Minimize Additional I/O Latency (Pro Tools LE Only) When enabled, any additional latency due

to suppressing RTAS errors during playback and record is minimized to 128 samples. Suppressing RTAS errors requires at least 128 samples of additional buffering on some systems. If this option is disabled, the buffer is half the H/W Buffer

Pro Tools Reference Guide38

Number of Voices

(Pro Tools HD Only)

On Pro Tools|HD systems, the Number of Voices setting lets you control the number of available voices and how those voices are allocated to DSPs in your system. For example, the default number of voices on a Pro Tools|HD 1 system is 48 voices, using one DSP (at sample rates of

44.1 kHz or 48 kHz).

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

Depending on the session sample rate and the number of Pro Tools|HD cards in your system, there are different choices for voice count. For voice limits on different Pro Tools|HD systems, see “Pro Tools|HD System Playback, Recording and Voice Limits” on page 27.

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

1 Choose Setup > Playback Engine.

2 Select the number of voices and DSPs to allo-

cate for voicing by selecting a value from the Number of Voices pop-up menu as follows:

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

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

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

Number of Voices menu (HD Accel-equipped system)

3 Click OK.

Default Sample Rate (Playback Engine Dialog)

(Pro Tools HD Only)

The Sample Rate setting in the Playback Engine dialog determines the default sample rate when you create a new session. This setting is available only when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be changed.

The Sample Rate setting can affect the number of available voices.

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

See “Creating a New Session” on

page 95.)

Sample Rate in the Hardware dialog, as long as no session is open.

To make a copy of a session with a new sample rate, use Save Copy In.

You can also change the default

Chapter 5: System Setup 39

To change the default Sample Rate in the Playback Engine:

1 With no session open, choose Setup > Play-

back Engine.

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

Delay Compensation Engine

(Pro Tools HD Only)

The Delay Compensation Engine determines how much DSP resources are dedicated for Pro Tools Delay Compensation, which manages DSP delays in the Pro Tools mixer.

Within a session, you can choose to enable or disable Delay Compensation (Options > Delay Compensation).

For more information, see “Delay Compensation” on page 741.

To conﬁgure the Delay Compensation Engine:

1 Choose Setup > Playback Engine.

2 From the Delay Compensation Engine pop-up

menu, select a Delay Compensation setting.

3 Click OK.

Delay Compensation Settings

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

None Allocates no DSP resources for Delay Compensation.

Short Allocates minimum DSP resources of Delay Compensation for each channel. This is the most efficient setting for Pro Tools|HD Accel systems.

For sessions with only a few plug-ins that do not induce too much DSP-based delay, this setting should be sufficient.

Long Allocates maximum DSP resources for Delay Compensation for each mixer channel.

For sessions with a lot of plug-ins resulting in a large amount of DSP-induced delay, select this setting.

DAE Playback Buffer Size

The DAE Playback Buffer Size determines the amount of memory DAE allocates for disk buffers. In addition to levels, the DAE Playback Buffer Size shows values in milliseconds, which indicates the amount of audio buffered when the system reads from disk.

The optimum DAE Playback Buffer Size for most disk operations is 1500 msec (Level 2).

• DAE Playback Buffer Size settings lower than 1500 msec (Level 2) may improve playback and recording initiation speed. However, a lower setting may make it difﬁcult to play or record tracks reliably with sessions containing a large number of tracks or a high density of edits, or with systems that have slower or heavily fragmented hard drives.

• DAE Playback Buffer Size settings higher than 1500 msec (Level 2) allow higher track count, higher density of edits in a session, or the use of slower hard drives. However, a higher setting may increase the time lag when starting playback or recording, or cause a longer audible time lag while editing during playback.

Using a larger DAE Playback Buffer Size leaves less system memory for other tasks. The default setting of 1500 msec (Level 2) is recommended unless you are encountering

-9073 (“Disk too slow or fragmented”) errors.

Pro Tools Reference Guide40

To change the DAE Playback Buffer Size:

1 Choose Setup > Playback Engine.

2 From the DAE Playback Buffer pop-up menu,

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

Playback Buffer Size menu in the Playback Engine dialog

3 Click OK.

4 If Pro Tools needs more system memory for

the DAE Playback Buffer, it will prompt you to restart your computer.

• A Cache Size of Large improves performance when using Elastic Audio features, but it also decreases the amount of memory available for other system tasks, such as RTAS processing.

Using a larger Cache Size leaves less system memory for other tasks. The default setting of Normal is recommended unless you are encountering -9500 (“Cache too small”) errors.

To change the Cache Size:

1 Choose Setup > Playback Engine.

2 From the Cache Size pop-up menu, select a

disk cache size.

Cache Size

The Cache Size determines the amount of memory DAE allocates to pre-buffer audio for playback and looping when using Elastic Audio.

• A Cache Size setting of Minimum reduces the amount of system memory used for disk operations and frees up memory for other system tasks. However, performance when using Elastic Audio features may decrease.

 Normal is the optimum Cache Size for most

sessions.

Cache Size menu in the Playback Engine dialog

3 Click OK.

Chapter 5: System Setup 41

System Memory Allocation

(Pro Tools HD Only)

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

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

To minimize system memory allocation:

1 Choose Setup > Playback Engine.

2 Select the “Minimize System Memory Alloca-

tion” option.

3 Click OK.

4 Do one of the following:

• On Windows systems, restart your computer.

– or –

• On Mac systems, if prompted, enter your password, then restart your computer.

The optimum Plug-in Streaming Buffer Size for most sessions is 250 ms (Level 2).

• Plug-in Streaming Buffer Size settings lower than 250 msec (Level 2) reduce the amount of system memory used for sample playback and frees up memory for other system tasks. However, reliability of sample playback may decrease.

• Plug-in Streaming Buffer Size settings higher than 250 msec (Level 2) improve the reliability of sample playback, but they also decrease the amount of memory available for other system tasks, such as RTAS processing.

Using a larger Plug-in Streaming Buffer Size leaves less system memory for other tasks. The default setting of 250 ms (Level 2) is recommended unless you are experiencing problems with the reliability of streaming playback from disk.

To change the Plug-in Streaming Buffer Size:

1 Choose Setup > Playback Engine.

2 From the Plug-in Streaming Buffer Size pop-up

menu, select a buffer size.

Plug-in Streaming Buffer Size

(Structure Plug-in Only)

This setting appears in the Playback Engine dialog only if the Structure Professional Sampling Workstation plug-in is installed on your system. The Plug-in Streaming Buffer Size determines the amount of memory DAE allocates for streaming playback from disk with the Structure plug-in. This setting only affects playback if disk streaming is activated in Structure’s plug-in controls (see the Structure Plug-in Guide for more information).

Pro Tools Reference Guide42

Plug-in Streaming Buffer Size menu in the Playback Engine dialog

3 Click OK.

Optimizing the Plug-in Streaming Buffer Size

(Structure Plug-in Only)

This option appears in the Playback Engine dialog only if the Structure Professional Sampling Workstation plug-in is installed on your system. This option is useful when you are playing samples from the same drive that contains audio for the current session. When this option is selected, Pro Tools automatically optimizes the size of the Plug-in Streaming Buffer to facilitate disk access from both Pro Tools and Structure. The Plug-in Streaming Buffer Size pop-up menu is unavailable when this option is selected.

To set Pro Tools to automatically optimize the Plug-in Streaming Buffer Size:

1 Choose Setup > Playback Engine.

2 Select the “Optimize for Streaming Content

on Audio Drives” option.

Conﬁguring Pro Tools Hardware Settings

Pro Tools lets you configure the signal routing, digital I/O format, default sample rate, clock source, and other hardware-based settings depending on your system configuration.

These system settings are available in the Hardware Setup dialog (Setup > Hardware).

Conﬁguring Default Sample Rate Setting in Hardware Setup Dialog

The Sample Rate setting determines the default sample rate when you create a new session. This setting is available only when there is no session open. Otherwise, the current session sample rate is displayed, but cannot be changed.

On Pro Tools LE, you can only change the default sample rate in the Hardware Setup dialog

3 Click OK.

Conﬁguring MIDI Setup

If you plan to use any MIDI devices with Pro Tools, you need to configure your MIDI setup: MIDI Studio Setup (Windows) or Audio MIDI Setup (Mac).

See your Getting Started Guide for information on configuring MIDI on Windows and Mac systems.

On Pro Tools HD, you can change the default Sample Rate in the Hardware Setup dialog, or in the Playback Engine dialog.

On Pro Tools HD, the Sample Rate setting can affect the number of available voices.

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

To change the default Sample Rate in the Hardware Setup dialog:

1 Choose Setup > Hardware Setup.

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

Chapter 5: System Setup 43

Conﬁguring Clock Source

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

Changes made to Clock Source in the Session Setup window will be reflected in the Hardware Setup window and vice versa.

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

Conﬁguring Digital Format and Hardware Routing

The Hardware Setup dialog includes additional settings for configuring the digital format and hardware routing for your system’s audio interfaces.

The following section outlines the configuration of a Pro Tools|HD system with one or more Pro Tools|HD interfaces (with one or more Legacy interfaces attached).

External If you are transferring material into Pro Tools from an external digital device, or if you utilize a common house clock signal, you will synchronize Pro Tools to that digital device or common signal.

Depending on your audio interface, external options can include AES/EBU [Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and Word Clock. For details, refer to the guide for your audio interface.

To select the Clock Source:

1 Choose Setup > Hardware.

2 Choose the clock source from the Clock

Source pop-up menu.

3 Click OK.

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

To configure a Pro Tools LE or M-Powered system, refer to the Getting Started Guide that came with your system.

Example: Conﬁguring Pro Tools|HD Hardware Settings

On Pro Tools|HD systems, you configure Hardware settings for each audio interface connected to your system. For example, Pro Tools|HD systems can have 192 I/O, 192 Digital I/O, 96 I/O, or 96i I/O audio interfaces connected to HD Core and HD Accel or HD Process cards in the system. The 192 I/O, 192 Digital I/O, and 96 I/O can have additional interfaces attached (including older Digidesign audio interfaces— Legacy I/Os—such as the 888|24 I/O, 882|20 I/O or 1622 I/O). For more information, see Chapter 4, “Pro Tools Systems.”

Conﬁguring Audio Interfaces

The Main page of the Hardware Setup dialog is where you define which physical inputs and outputs on your audio interface are routed to available inputs and outputs in Pro Tools. You

Pro Tools Reference Guide44

can think of this window as a patchbay that allows you to route any of the inputs or outputs on your Pro Tools|HD audio interfaces to channel assignments in the Pro Tools mixer.

Hardware Setup dialog for 192 I/O, Main page

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

Additional pages are available to configure other controls for each audio interface (such as setting operating levels). For details, refer to the Getting Started Guide for your system, or to the guide for your audio interface.

Identify audio interface connections at any time by selecting the interface name in the Peripherals list, then clicking Identify. All the LEDs on the interface front panel illuminate.

To conﬁgure Pro Tools|HD audio interfaces:

1 Choose Setup > Hardware.

2 From the Peripherals list, select the Digidesign

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

3 Click the Main tab.

4 From the Clock Source pop-up menu, select

the appropriate clock source for the system.

In many 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 [Encl], S/PDIF, Optical [Encl], AES/EBU 1–8, TDIF, ADAT, and Word Clock (optional Word Clock rates are available when operating at higher sample rates).

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

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

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

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

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

7 For S/PDIF compatibility with Tascam DA-30

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

8 For the 96 I/O and 96i I/O, click the Meters

pop-up menu and select whether to meter the input or output signal.

Chapter 5: System Setup 45

9 From the Input and Output pop-up menus, se-

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

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

10 Click other tabs (such as Analog In and Ana-

log Out) for additional conﬁguration options speciﬁc to the audio interface. These include:

• On the 96 I/O, conﬁguring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV).

• On the 96i I/O, conﬁguring the operating levels of analog inputs and outputs (+4 dBu or –10 dBV).

• On the 192 I/O analog input, setting the input connector and Soft Limit

• On the 192 I/O, conﬁguring the two sets of trims for analog inputs and outputs.

• On the 192 I/O and 192 Digital I/O, conﬁguring real-time Sample Rate Conversion for digital inputs.

• On the 192 I/O and 192 I/O Digital, conﬁguring inputs and outputs on any optional A/D card, D/A card, or Digital I/O cards installed in the unit.

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

Pro Tools Reference Guide46

For more information on Hardware Setup controls for each Pro Tools|HD audio interface, refer to the Pro Tools|HD Getting Started Guide or the guide for that audio interface.

11 Repeat the above steps for each additional

Pro Tools|HD audio interface.

Use the Up and Down Arrow keys to scroll though peripherals in the Peripherals list.

12 Repeat the above steps for any Legacy I/Os

connected to the Pro Tools|HD audio interfaces in your system. Before you can conﬁgure a Legacy I/O, it must ﬁrst be initialized in Hardware Setup.

13 Click OK.

Initializing MIX-Series Legacy I/Os

Before you can configure a Legacy I/O on a Pro Tools|HD system, it must first be initialized in Hardware Setup.

To initialize a Legacy I/O on a Pro Tools|HD system:

1 Start up your Pro Tools system. See “Starting

Up or Shutting Down Your System” on page 33.

Before turning on your Legacy I/O, make sure to lower the volume of your output devices. Very loud digital noise may be emitted before the Legacy I/O is initialized.

2 From the Peripherals list, choose the primary

audio interface (the Pro Tools|HD interface to which your Legacy I/O is connected).

3 In the Main page of the Hardware Setup dia-

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

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

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

5 From the Interface pop-up menu, select the

type of Legacy I/O you connected. The Main page updates with controls that can be configured.

After you select the type of Legacy I/O, the Main page updates with controls that can be configured. If your Legacy interface does not appear, check connections and repeat from step 1, above. See also “Ofﬂine Peripherals” on page 47.

6 Repeat the above steps for each additional

Legacy I/O.

For information on Hardware Setup controls for each Legacy I/O, refer to the guide for that interface.

To remove a Legacy I/O:

1 Lower the volume of your output devices.

2 Turn off your Legacy I/O.

3 Choose Setup > Hardware in Pro Tools.

4 In the Main Page of the Hardware Setup dia-

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

5 In the Peripherals list, select the name of a

Legacy interface.

6 From the Interface pop-up menu, choose “No

Interface.”

7 Repeat the above steps for each additional

Legacy I/O.

Offline Peripherals

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

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

Chapter 5: System Setup 47

Conﬁguring I/O Setup

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

The I/O Setup dialog lets you label and map Pro Tools input, output, insert, and bus signal paths. The I/O Setup dialog also provides important audition, meter, and surround settings. For more information, see Chapter 6, “I/O Setup.”

Routing a Pro Tools Output Pair to Multiple Destinations

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

For example, if you assign both Analog 1–2 and Analog 3–4 interface outputs to Pro Tools Output pair 1–2, when you send a signal to Pro Tools Output pair 1–2, that signal will be routed simultaneously to both pairs of output ports on your audio interface.

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

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

1 Choose Setup > Hardware.

2 From the Peripherals list, select an interface.

3 Click the Main tab.

4 Select an output port pair from an Output

pop-up menu.

5 Start-click (Windows) or Control-click (Mac)

the same pop-up menu a second time to choose an additional output port pair.

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

Hardware Setup dialog for 96 I/O (Main page)

6 Repeat the above steps to select additional

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

Pro Tools output pairs can also be routed to multiple audio interface outputs in the I/O Setup dialog. For more information, see “Routing Hardware I/O to Pro Tools I/O” on page 56.

Pro Tools Reference Guide48

System Usage

About Processing Bandwidth

Meters in the System Usage window indicate how much of your system’s processing power is being used in processing audio, and when writing and playing back automation.

Pro Tools HD, LE, and M-Powered have four common system activity meters:

PCI Displays the amount of PCI bus activity.

CPU (RTAS) Displays the amount of CPU pro-

cessing activity for RTAS processing.

CPU (Elastic) Displays the amount of processing activity for Real-Time Elastic Audio processing.

Disk Displays the amount of hard disk processing activity.

System activity meters

TDM Time Slots Used Displays the total number of TDM Time Slots available and the number of TDM Time Slots currently used.

DSP Usage (Accel Core, HD Core, HD Accel, and HD Process) Displays the percentage of how

much of each DSP chip on each Pro Tools|HD card is currently being used for mixer configurations and TDM plug-ins.

System activity meters

TDM Voices Allocated

TDM Time Slot Used

DSP usage

System Usage window (Pro Tools LE shown)

As these meters approach their limits, native processing and recording, or playback of automation data can be affected. If CPU or PCI Activity are high, a system error may occur. If Disk Activity is high, Pro Tools may miss playback of some automation data during particularly dense periods of activity, such as while using the Bounce to Disk command.

With Pro Tools HD, there are additional meters:

TDM Voices Allocated Displays the total number of TDM voices that can be allocated and the number of voices currently allocated. This includes all voices whether they are allocated explicitly or dynamically, as well as any voices used for routing RTAS processing.

System Usage window (Pro Tools HD shown)

To monitor the usage of resources during a Pro Tools session:

 Choose Window > System Usage.

To reduce processing load, do one of the following:

 Reduce the density of automation in places

where it shows the most activity. For details, see “Thinning Automation” on page 800.

– or –

 Turn off meters in Sends View, if enabled (by

disabling Show Meters in Sends View in the Display Preferences page). For details, see “Individual Send Views and Meters” on page 727.

Chapter 5: System Setup 49

System Usage Views

(Pro Tools HD Only)

With Pro Tools HD, there are five different System Usage Views: Small, Large, Detailed, Gas Gauge, and Activity Only. The Detailed and Gas Gauge formats show the percentage of each DSP chip in use.

To change the System Usage View:

 Choose View > System Usage, and one of the

System Usage View formats (such as Small).

For information on using different views to monitor DSP usage, see the Pro Tools|HD Getting Started Guide.

Pro Tools Reference Guide50

Chapter 6: I/O Setup

The I/O Setup dialog (or I/O Setup) provides tools to label, format, and map Pro Tools input, output, insert, or bus signal paths for each session. With Pro Tools HD, Digidesign PRE (Mic Preamp) signal paths are supported and you can also configure Delay Compensation for hardware inserts.

Path Name column

Expand/collapse paths

Active/Inactive Status

Path Type tabs

Path Format selector

The I/O Setup dialog includes a graphical representation of the signal routing for internal bussing, and for each connected audio interface. I/O Setup controls let you route physical ports on the audio interface to Pro Tools inputs and outputs. These controls mirror the routing controls found in the Hardware Setup dialog— changes made to physical routing in one dialog are always reflected in the other.

Interface Name label

Input and Output selectors

Channel Grid

Path tools

Figure 1. I/O Setup dialog on a Pro Tools|HD system with a 96 I/O

Options

Chapter 6: I/O Setup 51

Opening the I/O Setup Dialog

Navigating in the I/O Setup Dialog

The I/O Setup dialog can be opened from the application window (with a session closed), or from within a session (when a session is open).

To open the I/O Setup dialog:

1 Make sure your audio interfaces are enabled

and conﬁgured properly in the Hardware Setup. See “Conﬁguring Pro Tools Hardware Settings” on page 43.

2 Choose Setup > I/O.

Closing the I/O Setup Dialog

To close the I/O Setup dialog and save changes:

 Click OK.

When you click OK, Pro Tools checks several settings for routing validity (to prevent feedback loops). If there are any overlapping or invalid settings, you will be required to correct them before the I/O Setup dialog will close. For more information, see “Valid Paths and Requirements” on page 63.

To close the I/O Setup dialog without saving changes:

 Click Cancel.

Resizing the I/O Setup Dialog

To resize the I/O Setup dialog, do one of the following:

 On Windows, drag any corner of the window.

– or –

To scroll left or right in the I/O Setup dialog:

 Press Alt+Page Up/Down (Windows) or Op-

tion+Page Up/Down (Mac).

Pro Tools Signal Paths

A signal path is a logical grouping of multiple inputs, outputs or busses that has a single name and (channel) format. The I/O Setup dialog lets you define and name paths according to the needs of each project.

Main Paths and Sub-Paths

Paths in Pro Tools tracks and I/O Setup include main paths and sub-paths.

Main Paths Main paths are logical groupings of inputs, inserts, busses, or outputs. For example, a master stereo output path will include both its left and right channels.

Sub-Paths A sub-path represents a signal path within a main path. For example, a default stereo output path consists of two mono sub-paths, left and right. Mono tracks and sends can be routed to either mono sub-path of the stereo output path.

It is especially useful to define and name sub-paths for complex mixing setups, such as a 5.1 Surround mix.

 On Mac, drag the lower-right corner of the

window.

Pro Tools Reference Guide52

Paths in Session Tracks

In sessions, audio is routed using the track Input, Output, Insert, Plug-in, and Send selectors. These selectors let you assign tracks to hardware inputs and outputs, internal busses, and other Pro Tools signal paths.

Path Conﬁgurations and I/O Settings

Each Pro Tools session retains its path configurations as I/O Settings.

Each Pro Tools system can have a different path configuration, determined by:

• Whether it is a Pro Tools|HD, Pro Tools LE, or Pro Tools M-Powered system

• On Pro Tools|HD systems, the number and types of audio interfaces

• On Pro Tools|HD systems, the installed Mixer plug-in (Stereo or Surround)

Stereo main path

mono sub-paths

Main and sub-paths in a session track

Paths comprise the lists of available signal routing choices in track Input, Output, Insert and Send selectors.

Paths in the I/O Setup Dialog

The signal routing path choices available in a session are defined in the I/O Setup dialog. For more information, see “I/O Setup Dialog Tabs and Controls” on page 54.

Stereo main path

Mono sub-paths

The I/O Settings saved with the session are loaded automatically when the session is opened. Unavailable items (including hardware, paths, or required resources) remain in the session as inactive items (see “Making Paths Active or Inactive” on page 61).

When you create a new session, you can specify which I/O Settings to use (for example, the “Last Used” settings, or one of any custom I/O Settings files).

You can save and import I/O Settings files in the I/O Setup dialog (see “Importing and Exporting I/O Settings Files” on page 64).

Default I/O Settings

A default I/O Settings ﬁle is installed automatically by Pro Tools, so you have a set of default paths that will get you started, without the need to conﬁgure the I/O Setup dialog. These paths are available in session tracks and are reﬂected in the I/O Setup dialog. You can customize your I/O Setup conﬁguration at any time, according to the needs of each project (see “I/O Setup Dialog Tabs and Controls” on page 54).

Main and sub-paths in I/O Setup

Chapter 6: I/O Setup 53

Default Settings Files

The default Stereo settings file is available on all Pro Tools systems, and provides stereo main paths, each with its own mono sub-paths.

Multichannel settings files are available on Pro Tools|HD systems. These settings provide specialized path definitions for surround mixing. See “Configuring Pro Tools for Multichannel Sessions” on page 850.

Mic Preamps (Pro Tools HD Only) Map Digidesign PRE™ outputs to an audio interface’s inputs to establish communication between Pro Tools and PRE.

H/W Insert Delay (Pro Tools HD Only) Set the amount of Delay Compensation (in milliseconds) for each external device. These times will be used by the Delay Compensation Engine to time align input paths when the hardware insert is in use and Delay Compensation is enabled.

Default Path Names

Default names for input, output, and insert paths are based on the type of system (such as specific Pro Tools LE systems) or type and number of interfaces (Pro Tools|HD systems) you are using.

I/O Setup Dialog Tabs and Controls

Path Type Tabs

The I/O Setup dialog provides tabs to open pages for configuring the following I/O Settings:

Input Configure input signal path names, formats, and source channel (analog or digital audio interface).

Output Configure output signal path names, formats, and destination (audio interface channel or internal send bus).

Insert Configure insert signal path names, formats, and destination (audio interface channels).

Bus Configure bus signal path names and formats.

To open an I/O Setup page:

 Click the corresponding tab at the top of the

I/O Setup dialog.

I/O Setup Dialog Signal Path Controls

Depending on the I/O Setup page, the I/O Setup dialog can provide the following controls in its graphical section for configuring signal routing paths:

Input and Output Selectors Let you select the physical ports on your audio interface to route to Pro Tools inputs and outputs. Ports are selectable in channel pairs. Available ports for each displayed interface are based on Hardware Setup settings; for example, if the AES/EBU inputs and outputs of an interface are enabled in Hardware Setup, they are available for routing in I/O Setup. The functionality provided with the Input and Output selector is the same as that provided on the Main page of the Hardware Setup dialog.

Path Name Column Shows paths that are available for selection, including the name of each defined path. Path names can be renamed.

Expand/Collapse Triangle Shows or hides the sub-paths associated with a main path.

Pro Tools Reference Guide54

Active/Inactive Status Box Shows and changes the active/inactive status of each path.

Path Format Selector Shows and selects the type/format (such as Mono, Stereo, Quad, or

5.1) of each defined path (greater-than-stereo multichannel formats are supported with Pro Tools|HD systems only).

Channel Grid Maps paths to specific interfaces and channels.

I/O Setup Dialog Buttons, Menus, and Selectors

Depending on the I/O Setup page, the I/O Setup dialog can provide the following buttons, menus, and selectors for configuring signal routing:

New Path Button Lets you create a new path on signal path pages for Input, Output, Insert, Bus, or Mic Preamp (Pro Tools HD only).

New Sub-Path Button Lets you create a new subpath on signal path pages for Input, Output, Insert, Bus, or Mic Preamp (Pro Tools HD only).

Delete Path Button Lets you delete any selected path or sub-path on signal path pages for Input, Output, Insert, Bus, or Mic Preamp (Pro Tools HD only).

5.1 Default Path Order Selector (Pro Tools HD Only) Lets you select the default track layout you

want Pro Tools to follow when creating and mapping 5.1-format main or sub-paths in the I/O Setup dialog.

Import Settings Button Lets you import an I/O settings file to reconfigure I/O Setup.

Default Button Resets a path type to its default path configuration, depending on which interface you are using and how your Hardware Setup window is configured.

Compensation for Input Delays After Record Pass (Input Page, Pro Tools HD Only) Provides auto-

matic compensation for any analog or digital input delay. Enable this option for all recording situations. When recording from a digital source, both the Compensation for Input Delays After Record Pass and the Compensation for Output Delays After Record Pass options must be enabled.

Compensation for Output Delays After Record Pass (Output Page, Pro Tools HD Only) Provides

automatic compensation for any analog or digital output delay. Enable this option for overdubbing recording situations. Disable this option when working with video. When recording from a digital source, both the Compensation for Input Delays After Record Pass and the Compensation for Output Delays After Record Pass options must be enabled.

Show Last Saved Setup Appears in the I/O Setup dialog in certain session transfer situations. For details on this feature, see “Show Last Saved Setup and Show Current Setup” on page 66.

Pop-Up Menu Selectors I/O Options Provide selectors with pop-up menus to set paths or orders. The Output and Bus pages provide a Controller Meter Path selector. The Output page also provides selectors for Audition Paths (Region List previewing), New Track Default Output, Default Path Order, AFL/PFL Path (Pro Tools HD only), and AFL/PFL Mutes (Pro Tools HD only). See “I/O Setup Options” on page 67.

Export Settings Button Lets you save I/O settings as a file that can be imported into other sessions.

Cancel Button Closes the I/O Setup dialog without saving changes

OK Button Closes the I/O Setup dialog and save changes.

Chapter 6: I/O Setup 55

Routing Hardware I/O to Pro Tools I/O

The I/O Setup dialog lets you define which physical ports on your I/O peripheral are routed to available inputs and outputs in Pro Tools. Use the Input and Output selectors in the I/O Setup dialog to serve as a patchbay to route any of the physical inputs or outputs to your Pro Tools mixer.

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

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

5 Repeat the above step for additional channel

pairs.

6 Click OK to save changes and close the I/O

Setup dialog.

Routing a Pro Tools Output Pair to Multiple Destinations

Pro Tools channel pairs can be routed to multiple outputs on an audio interface through the I/O Setup dialog. For example, if you assign both Analog 1–2 and Analog 3–4 interface outputs to Pro Tools Output pair 1–2, when you send a signal to Pro Tools Outputs 1–2, that signal will be routed simultaneously to both pairs of output ports on your audio interface.

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

I/O Channel selector pop-up menu

To conﬁgure I/O routing in I/O Setup:

1 Choose Setup > I/O.

2 Click the Input or Output tab to display the

corresponding path type.

3 Click the Input or Output selector for the ﬁrst

interface channel pair, located below the ﬁrst audio interface icon.

Pro Tools Reference Guide56

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

0utput path assignments cannot overlap. See “Valid Paths and Requirements” on page 63 for details.

Pro Tools outputs pairs can also be routed to multiple audio interface outputs in the Hardware Setup dialog. For information, see “Routing a Pro Tools Output Pair to Multiple Destinations” on page 48.

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

1 Choose Setup > I/O.

2 Click the Output tab.

3 Click the Output selector for an interface

channel pair, just below an audio interface icon.

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

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

5 Start-click (Windows) or Control-click (Mac)

the same Output selector and select an additional output pair from the same pop-up menu.

6 Repeat the above steps to select additional

output destinations.

7 Click OK to save changes and close the I/O

Setup dialog.

Creating New Paths

The I/O Setup dialog lets you create new main path and sub-paths with custom names, format, and mapping. Custom path names appear in a session’s track Input, Output, Insert, and Bus selectors.

To create a new path:

1 Choose Setup > I/O.

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

display the corresponding path type.

3 Do one of the following:

• Click New Path, or press Control+N (Windows) or Command+N (Mac).

– or –

• Select a main path and click New Sub-Path.

4 Double-click in the Name ﬁeld and enter a

name for the path.

5 Press Tab to set the new path name and move

to the next path’s Name Field, or press Enter (Windows) or Return (Mac) to set the new path name.

6 Choose a format from the Path Format selec-

tor (mono, stereo, or multichannel).

Path Format selector (Pro Tools HD shown)

Chapter 6: I/O Setup 57

7 Map the path to a speciﬁc audio interface, or

bus channel in the Grid column. See “Channel Mapping” on page 62

8 Repeat the previous steps to conﬁgure all path

types (Input, Output, Insert, or Bus).

9 Click OK to save changes and close the I/O

Setup dialog. If there are any overlapping or identically named paths, you will be instructed to correct them before the I/O Setup dialog will close. For more information, see “Valid Paths and Requirements” on page 63.

Multichannel paths and mixing are explained in Chapter 39, “Pro Tools Setup for Surround (Pro Tools HD Only).”

Editing Paths

The I/O Setup dialog lets you edit or customize signal path definitions.

Paths can be:

• Restored to default conﬁgurations

• Renamed, for easier identiﬁcation after changing or renaming audio interfaces

• Selected and reordered to change menu order in track selectors

• Selected and deleted

• Remapped to or from different sources or destinations

• Deactivated (or reactivated) to manage unavailable or unnecessary I/O resources

In addition, you can import and export your I/O Setup conﬁgurations as I/O Settings ﬁles, as well as set default path parameters. See “Working with I/O Settings Files” on page 63.

The following table lists the available path attributes for each path type.

Path options by type

Path Type Path Options (Attributes)

Input Names, formats, and source

channel (analog or digital audio interface)

Output Names, formats, and destination

(audio interface output channel or internal send bus)

Insert Names, formats and destination

(audio interface channels)

Bus Names and formats

Path interface names can also be renamed and conﬁgured as defaults, which can be restored.

Restoring Default Paths and Path Names

You can set an I/O Setup path type to its default path configuration at any time. When restoring the default path, Pro Tools does the following:

• Creates new default paths up to the capacity of your system’s available audio interfaces and resources.

• Resets selected path names to matching or corresponding paths in the current I/O Setup conﬁguration. For example, if you replace an audio interface on a Pro Tools|HD system, you can use the Default switch to update your I/O Setup deﬁnitions with the new hardware conﬁguration.

If there are matching paths available with the new system configuration, existing paths will be updated to include new audio interfaces (Pro Tools|HD systems).

Pro Tools Reference Guide58

To restore default paths and path names:

1 Choose Setup > I/O.

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

display the corresponding path type.

3 Click Default.

To make all of your busses available in sessions that support a lower number of mix busses:

1 Open the I/O Setup dialog.

2 Click the Bus tab in the upper left.

3 Click Default.

Pro Tools creates all possible stereo main paths. Mono sub-paths are also auto-created for every stereo main path. These default path names appear in a session’s track Audio Input and Output Path selectors.

Default stereo output paths

With Pro Tools|HD systems, to optimize DSP resources, it is best to create mono subpaths for Outputs and Busses, rather than mono main paths.

4 Click OK to save changes and close the I/O

Setup dialog.

Resetting Mix Busses

(Pro Tools HD Only)

Pro Tools HD 7.x and Pro Tools TDM 6.9 support up to 128 mix busses. However, lower versions of Pro Tools TDM and Pro Tools LE provide only up to 64 or 32 mix busses respectively. When you open a session that was created with Pro Tools LE or a lower version of Pro Tools TDM on a current version of Pro Tools HD, only the number of busses supported on the original system are initially available. You can reset the number of available busses to match your Pro Tools HD system’s full capabilities.

Setting busses to the default setting will rename all busses to their default name.

4 Click OK to save changes and close the I/O

Setup dialog.

Renaming Path Names

Path names can be customized in the I/O Setup dialog.

I/O paths can also be renamed directly from the Edit or Mix window by Right-clicking the Input or Output selector and choosing Rename.

To rename a path in the I/O Setup dialog:

1 Double-click the path name.

2 Enter a new path name.

3 Click OK to save changes and close the I/O

Setup dialog.

Renaming Interface Names

Audio interface names can be customized in the I/O Setup dialog. With Pro Tools HD only, the I/O Setup dialog then bases default Input and Output path names on the custom names.

Chapter 6: I/O Setup 59

To rename an audio interface in the I/O Setup dialog:

1 Double-click the label above an interface.

Interface Name label

Interface Names

2 Enter a new interface name.

3 Click OK to save changes and close the I/O

Setup dialog.

Selecting Paths

To select a range of paths:

1 Click the path name.

2 Shift-click an additional path name.

All paths that occur between the first path name selected and the additional path name will also be selected.

To select or deselect noncontiguous paths, do one of the following:

 Control-click (Windows) or Command-click

(Mac) path names that are unhighlighted to select them.

– or –

 Control-click (Windows) or Command-click

(Mac) path names that are highlighted to deselect them.

Individual and multiple paths can be selected in the I/O Setup dialog Path Name column. Selected paths and sub-paths can be reordered higher or lower in the Path Name column to change their menu order in track Input, Output, Insert, and Bus selectors. Paths can also be deleted. Sub-paths follow their main paths when they are moved in the I/O Setup dialog.

To select a main path or sub-path:

 Click the path name.

Selecting paths in the I/O Setup dialog

To select all paths and sub-paths:

 Alt-click (Windows) or Option-click (Mac)

any path name that is unhighlighted.

To deselect all paths and sub-paths:

 Alt-click (Windows) or Option-click (Mac)

any path name that is highlighted.

Reordering Paths

Selected paths and sub-paths can be reordered higher or lower in the Path Name column to change their menu order in track Input, Output, Insert, and Bus selectors.

To reorder paths in the I/O Setup dialog and Track Selectors:

1 Drag one or more selected path names up or

down.

2 Click OK to save changes and close the I/O

Setup dialog.

Pro Tools Reference Guide60

Deleting Paths

Path definitions can be deleted from the current session to reflect changes to your hardware setup, or to clean up track selector menus by removing unwanted or unnecessary path definitions. After deleting a path, any tracks or send assignments to that path are reset to No Output.

To delete a main path or sub-path:

1 In the I/O Setup dialog, select the path you

want to delete.

Tracks can also be made active or inactive. For information, see “Making Track Inputs and Outputs Inactive from the Edit or Mix Window” on page 160.

To globally activate or deactivate a path:

1 Choose Setup > I/O.

2 Select a path type using the tabs at the top of

the window.

3 Set the Active/Inactive control for the path.

2 Click Delete Path.

3 Click OK to save changes and close the I/O

Setup dialog.

To delete all paths:

1 Alt-click (Windows) or Option-click (Mac) any

path name.

2 Click Delete Path.

3 Click OK to save changes and close the I/O

Setup dialog.

Making Paths Active or Inactive

Pro Tools paths can be Active (on) or Inactive (off, or unavailable). Paths can be globally activated or deactivated in the I/O Setup dialog. Making a signal path inactive will turn off the signal path on any and all tracks currently assigned to it.

Pro Tools also sets unavailable paths to inactive. Paths can be unavailable when hardware or other system resources are unavailable, such as when opening a session saved on a different system.

Active

Inactive

Active and inactive path settings in I/O Setup

Inactive tracks that were assigned to the path display in italics in the track path selectors.

Active and inactive paths in a track Output Path selector

4 Click OK to save changes and close the I/O

Setup dialog.

Display of Active and Inactive Paths in I/O Setup

Unhighlighted (Italics) Indicates the path is inac-

tive.

Highlighted (Non-Italics) Indicates the path is active.

Highlighted (Italics) Indicates the path is active, but there are not enough system resources available.

Chapter 6: I/O Setup 61

Channel Mapping

Paths must be mapped to a specific audio interface, or bus channels in the Grid. Paths can be mapped when they are created, and remapped at any time.

To map channels:

1 Select a main path or sub-path.

2 In the row for the selected path, click in the

Grid column under an audio interface and channel.

cause some multichannel mixing formats use unique track layouts, Pro Tools lets you set the default format in the I/O Setup dialog (see “I/O Setup Options” on page 67).

Customized Output paths for a 5.1 mix

Remapping Channels

Mapping channels

Other channels for the path type, if any, fill to the right. For example, when mapping a new stereo path, clicking in the path row under output channel 1 fills both channel 1 and 2 (left to 1, right to 2).

To remap channels in a path, see “Remapping Channels” on page 62.

3 Click OK to save changes and close the I/O

Setup dialog.

If there are any overlapping or invalid settings, you will be required to correct them before the I/O Setup dialog will close. For more information, see “Valid Paths and Requirements” on page 63.

Channel Mapping and Surround Mixer

(Pro Tools HD Only)

When mapping multichannel paths, the left channel (L) is mapped first to the clicked Grid box, and remaining channels fill immediately to the right according to the default path order. Be-

You can move the individual assignments to different channels, to reorder the path’s definition (for example, changing a multichannel map to L-R-C-LF-LS-RS).

To remap channels in a path:

 Drag the channel to the new location in the

Grid. Other channel assignments will move (shufﬂe) to accommodate dragged channels.

Channel Shufﬂing

Moving a signal from right to left results in a shuffle of other signals after the new destination channel. Moving a signal from left to right shuffles any and all signals after the new destination channel and leaves the previous channel empty.

Changing a path’s format erases any current channel mapping.

Pro Tools Reference Guide62

Sub-Paths Follow Main Paths

When a main path is remapped, its sub-paths (if any) will remap automatically to maintain consistent routing. For example, remapping a stereo path to different hardware outputs results in any of its sub-paths moving with it.

Working with I/O Settings Files

I/O Settings can be managed when transferring sessions, and when developing I/O Setup conﬁgurations over the course of multiple sessions and projects.

Valid Paths and Requirements

While configuring the I/O Setup dialog, certain rules apply for path definition and channel mapping. All paths must be valid before the I/O Setup configuration can be applied.

Though it is possible to set up invalid mappings in the Channel Grid, Pro Tools will not accept an I/O Setup configuration unless all paths meet the path definition and channel mapping requirements, as follows:

Minimum Path Deﬁnitions All paths must have a name, be of a specific format, and have a valid I/O mapping.

Overlapping Channels and Valid Paths Channel mapping follows certain rules regarding overlapping paths.

• There can be no partial or complete overlaps between any two main Output paths, any two Insert paths, or any two main Bus paths.

• A newly-created Output or Bus path must either be completely independent of other maps (not mapped to any other available I/O interface/channels), or it must be a subpath completely contained within a larger path (for example, an LCR sub-path within a larger 5.1 path).

• Output and Insert paths can overlap in I/O Setup, but only one or the other can be used at any given time in a session. (Inputs, however, can be routed to multiple tracks.)

I/O Settings Files

When creating a new session, you can set the session’s I/O Setup configuration by selecting an available I/O Settings file. I/O Settings can also be imported before or after you open a session. The following types of I/O Settings are available:

Last Used The most recent (or last used) I/O Setup configuration is saved as a Last Used settings file. See “Last Used I/O Settings” on page 64 for more information.

Factory I/O Settings The Pro Tools Installer provides settings files for factory I/O setups for stereo and surround (Pro Tools HD only). See “Audio Interfaces and Session Transfer” on page 65 for more information.

Custom I/O Settings The current I/O Setup configuration can be edited and saved as a custom I/O Setting using the Export command in the I/O Setup dialog. See “Importing and Exporting I/O Settings Files” on page 64.

Default I/O Settings at First Launch

The first time you launch Pro Tools and create a session, you can choose default Stereo Mix or Surround Mix settings, depending on your system and installation choices. See “Audio Interfaces and Session Transfer” on page 65.

Chapter 6: I/O Setup 63

Importing and Expor ting I/O Settings Files

You can export and import I/O Setup configurations as I/O Settings files. This lets you save settings for different projects, import settings for reconfiguring I/O Setup, and manage path definitions and signal routing setups.

Exporting I/O Settings

To export and save an I/O Setup conﬁguration as a custom I/O Settings ﬁle:

1 Update I/O Setup settings (see “I/O Setup Dia-

log Tabs and Controls” on page 54).

2 Click Export Settings.

3 Name and save the settings ﬁle.

To start sessions with a blank or empty I/O Setup dialog, you can create and export an I/O Settings file in which all definitions have been deleted.

Importing I/O Settings

I/O Settings can be imported before or after you open a session.

When you import I/O Settings, you can choose to delete any unused path definitions before importing the new paths, or leave unused path definitions intact and add the new paths to the current I/O Setup configuration.

You can also import I/O path and assignment names, as well as other session data, from a different session by using the Import Session Data command (see “Import Session Data Dialog” on page 267).

To import I/O Settings:

1 Click Import Settings in the I/O Setup dialog.

2 Select an I/O settings ﬁle in the Import Set-

tings dialog and click Import.

3 A dialog appears asking whether you want to

delete existing paths. Do one of the following:

• Click Yes to remove any unused paths and add the imported paths to the current I/O Setup conﬁguration. Any I/O assignments and automation data associated with the unused paths are also deleted.

– or –

• Click No to add the imported paths to the current I/O Setup conﬁguration.

If the import results in overlapping paths, the new paths will appear in the I/O Setup dialog as Inactive. See “Making Paths Active or Inactive” on page 61.

After importing I/O Settings, you can then reassign path routing definitions in the I/O Setup dialog by remapping, renaming, and deleting paths. See “Creating New Paths” on page 57.

Last Used I/O Settings

If any changes are made to the I/O Setup dialog, these changes are saved to the Last Used settings ﬁle when the I/O Setup dialog is closed (by clicking OK).

Changes to I/O Setup are saved along with the current session (if one is open). Custom I/O Settings files will not contain recent changes unless you export an updated settings file.

The Last Used setting is available as a choice when creating a session or when importing I/O Settings in the I/O Setup dialog.

Pro Tools Reference Guide64

Factory I/O Settings

Pro Tools provides I/O Settings files for Stereo and Surround mixing. These files provide generic main and sub-path definitions for either mixing format.

Factory I/O Settings are available as a choice when creating a session or when importing I/O Settings in the I/O Setup dialog.

Audio Interfaces and Session Transfer

Pro Tools sessions store the type and order of au- dio interfaces connected and active when the session was last saved. When opening a session on a system with different audio interfaces, the I/O Setup may need to update.

Unavailable I/O

Stereo Mix Settings File

The Stereo Mix settings ﬁle consists of all possible stereo and mono paths for your session.

Using the “Stereo Mix” settings file has the same effect as clicking Default for every individual tab in I/O Settings. See “Creating New Paths” on page 57 for details.

Specifically, the Stereo Mix settings file creates the maximum number paths of each type, as determined by the available system’s I/O Setup and hardware configuration.

Surround Mix Settings File (Pro Tools HD Only)

The Surround Mix provides additional, surround-specific Output and Bus settings files. See “Surround Mix Settings Files” on page 851 for more information.

Custom I/O Settings

Custom I/O Settings files can be created by changing I/O Setup controls and then exporting the I/O Setup configuration (see “Exporting I/O Settings” on page 64). Custom I/O settings are available as a choice when creating a session or when importing I/O Settings in the I/O Setup dialog.

When opening a session, Pro Tools checks to see if the hardware conﬁguration has changed since the session was last saved. If the current hardware conﬁguration differs from that saved in the session, paths associated with the unavailable I/O are made inactive.

Remapping

Remapping occurs when a session’s original I/O Setup does not match that of the current system and session paths are remapped to current hardware.

Systems of equivalent I/O capability are remapped directly. For example, a session tracked to a Pro Tools|HD system through two 192 I/O audio interfaces would include 32 input paths spread across the two 16-channel interfaces. The session is taken to a second Pro Tools system that has a 96 I/O audio interface (a 16channel I/O unit) and a 1622 I/O (with its 16 analog inputs) connected to its Legacy Port. When the session is first opened on the second system, Pro Tools will map the 32 input paths to the inputs of the two interfaces.

Chapter 6: I/O Setup 65

When hardware is unavailable to a session being opened, assignments can either be replaced using the remap option, or opened as Inactive. Any tracks left assigned to an unavailable path will not be audible. This can be beneficial, however, when you want to reassign tracks into your system’s mix one at a time.

Opening Older Sessions Saved in Direct Outputs Mode

Direct Outputs mode, as found in older versions of Pro Tools, has been replaced by the default mono sub-paths available through all valid I/O in the I/O Setup dialog.

See “Making Paths Active or Inactive” on page 61 for more information.

Show Last Saved Setup and Show Current Setup

When a session is opened that contains path definitions for unavailable I/O interfaces, the I/O Setup dialog lists those paths in italics.

The Show Last Saved Setup button displays the audio interfaces used in the original session. This temporary display lets you check the last saved I/O configuration for reference while configuring the session for your system.

Once a session has been opened with unavailable I/O retained, you can then reassign tracks to available I/O paths.

To redefine the paths, see “Editing Paths” on page 58.

The Default switch creates main Output paths with appropriate mono sub-paths. These subpaths provide discrete monophonic routing.

When a session is opened that was saved in Direct Outputs mode, Pro Tools maps all the output assignments to equivalent mono sub-paths (as available).

To convert a session so that it emulates Direct Outputs mode, use the Auto Assign Ascending Outputs feature, as follows:

To auto assign track outputs for Direct Outputs:

1 Make sure that all tracks you want to assign

are visible (hidden tracks will not be affected).

2 Select the tracks you want to assign.

3 Control-Alt-click (Windows) or Command-

Option-click (Mac) the Output selector of the left-most track and assign it to the sub-path for Output #1. All visible tracks will be auto-assigned to unique mono sub-path outputs in ascending order.

You can identify audio interface connections at any time by selecting the interface name in the Peripherals list of the Hardware Setup dialog, then clicking Identify. All the LEDs on the interface front panel will illuminate.

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I/O Setup Options

Pro Tools systems have additional I/O Setup features. These include default signal routing for metering and auditioning, and default track layout for multichannel mix formats.

Controller Meter Path

(D-Control, D-Command, and ProControl Only)

The Controller Meter Path selector determines the path displayed across the Output meters of D-Control, D-Command trol surfaces. For more details, refer to your control surface documentation.

This selector is available in the Output and Bus pages of I/O Setup.

Audition Paths

You can specify the output path through which files and regions are auditioned in the Region List or in DigiBase browsers.

, or ProControl con-

Audition Paths Main Menu The main menu consists of all path format choices available on the current system (Mono and Stereo on all systems, and LCR and greater on Pro Tools|HD systems).

Audition Paths Submenus Each path format choice has a submenu listing Output paths of that given format. (The mono submenu lists Output paths of any format.)

To conﬁgure an Audition Path:

 Select a path from the Audition Paths menu or

submenus.

To audition regions in the Region List:

 Alt-click (Windows) or Option-click (Mac) the

region in the list.

Auditioning Discrete Signals in Multichannel Items

In the Region List, multichannel regions are auditioned through the current Audition Path. Signals can be auditioned “in-place,” or through all outputs, as described below.

Using the Default Audition Path

When you audition a file or region in the Region List, Pro Tools routes the audio output through the Audition Path. Pro Tools assigns a default Audition Path to the first available main Output path of the corresponding format. You can also select a different Audition Path in the I/O Setup dialog.

On Pro Tools|HD systems with more than one audio interface, you can only select the first audio interface as an audition path.

Conﬁguring Audition Paths

You can specify the monitoring outputs for Region List auditioning using the Audition Paths menu.

Audition In-Place

When auditioning a mono component of a mono component region, the mono region can be played from the corresponding channel of its parent mono component region. This playback method is called audition in-place.

To audition in-place:

1 In the Region List, make sure the stereo or

multichannel region is in expanded view (showing .L, .R, and other component channels).

2 Alt-click (Windows) or Option-click (Mac) the

region for the channel you want to audition.

Chapter 6: I/O Setup 67

Audition to All Outputs

When auditioning a mono component of a mono component region, the region can be routed equally to all outputs of the parent region’s Audition Path.

To audition through all channels of the main audition path:

 Shift-Alt-click (Windows) or Shift-Option-

click (Mac) on the signal in the Region List.

New Track Default Output Path

You can specify the default output path assignment for new tracks, in each available format.

To select the AFL/PFL Path output:

1 Choose Setup > I/O.

2 Click the Output tab to display the Output

page.

If you do not see the AFL/PFL Path selector, check that you have installed the Surround Mixer in the Plug-ins (Used) folder. For information on switching Mixer plug-ins, see the Pro Tools|HD Getting Started Guide.

3 Select a path from the AFL/PFL Path selector.

Selecting None as the AFL/PFL Path disables AFL and PFL Solo modes. When None is selected, AFL and PFL cannot be used.

The New Track Default Output can be set to bus paths, as well as output paths.

The New Track Default Output selector is available in the Output page of I/O Setup dialog only.

To specify a default output for new tracks in the I/O Setup dialog:

 Click the New Track Default Output selector

and select a format and Output.

AFL/PFL Path

(Pro Tools HD Only)

Tracks soloed in AFL (After Fader Listen) or PFL (Pre Fader Listen) Solo mode are routed to the current AFL/PFL Path, as set with the AFL/PFL Path selector.

This selector is available in the Output page of I/O Setup dialog only.

See “Solo Modes” on page 168 for more information on using AFL or PFL Solo modes.

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

Setting AFL or PFL Path Levels

You can set a separate master AFL/PFL Path level for all AFL solos and all PFL solos.

Tracks do not need to be soloed to have the master AFL/PFL Path level adjusted.

To set the AFL/PFL Path level for AFL or PFL solos:

1 Choose Options > Solo Mode, and select a

Solo mode, as follows:

• If you want to set the level for AFL solos, select AFL.

– or –

• If you want to set the level for PFL solos, select PFL.

2 In the Mix or Edit window, Control-click

(Windows) or Command-click (Mac) a Solo button on any track.

3 Adjust the AFL/PFL Path fader.

Pro Tools Reference Guide68

4 Click on the new fader position (or press Esc)

to close the fader display.

To set the AFL/PFL Path level to 0 dB, Control-Start-click (Windows) or Control-Command-click (Mac) any Solo button.

AFL/PFL Mutes (Output Path) Selector

(Systems without a D-Control or D-Command Control Surface)

If you are not using a D-Control or D-Command worksurface, your regular Pro Tools output path can be muted when you send a signal to the AFL/PFL Path. The muted path is set with the AFL/PFL Mutes (Output Path) selector.

See “Solo Modes” on page 168 for more information on selecting and using AFL or PFL Solo modes.

To set which output path is muted when tracks are soloed in AFL or PFL Solo mode:

1 Choose Setup > I/O.

2 Click the Output tab to display the Output

page.

3 Select a path from the AFL/PFL Mutes (Output

Path) selector.

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

Default Path Order

(Pro Tools HD Only)

The Default Path Order selector lets you select the default track layout you want Pro Tools to follow when creating and mapping 5.1-format main or sub-paths in the I/O Setup dialog.

This selector is available in the Output page of I/O Setup dialog only.

This setting does not affect existing path definitions or metering—it only specifies channel mapping in new 5.1-format paths.

To choose a Default Path Order:

 Select the channel mapping from the Default

Path Order menu.

Default Path Order selector

For more information about multichannel mixing, see Chapter 39, “Pro Tools Setup for Surround (Pro Tools HD Only).”

Mic Preamps

(Digidesign PRE with Pro Tools HD Only)

On the Mic Preamps page of the I/O Setup dialog, signal paths for one or more Digidesign PRE multi-purpose microphone preamplifiers can be mapped to Pro Tools HD audio interfaces. Refer to the PRE Guide for more information.

Chapter 6: I/O Setup 69

H/W Insert Delay Compensation

(Pro Tools HD Only)

To compensate for the delay (latency) of any external hardware devices (such as an effects unit) used in your session, you can set the amount of Delay Compensation (in milliseconds) for each external device. These times will be used by the Delay Compensation Engine to time-align input paths when the hardware insert is in use and Delay Compensation is enabled.

Insert offset delay ﬁeld

To set an insert delay offset:

 Enter a value, in milliseconds, in the ﬁeld cor-

responding with the input where the hardware insert is connected.

If you do not know your hardware’s insert delay, see “Determining Your Hardware’s Insert Delay” on page 70.

Determining Your Hardware’s Insert Delay

You can check the documentation for your external hardware to see if it identifies the hardware latency, or you can use the following procedure in Pro Tools to determine the latency for hardware inserts.

To determine your hardware’s insert delay, do one of the following:

1 Change your session’s Main Time Scale to

Min:Sec.

2 Create two tracks.

3 Route the tracks as follows: Route the output

of track 1 to the device’s inputs, then route the input of track 2 to the device’s outputs.

4 Place a short tone (or other sound with a de-

ﬁnitive beginning) on track 1.

5 Record enable track 2 and press Record Enable

and Play in the Transport window to play back the audio in track 1 and record it to track 2.

6 After recording, zoom in and measure the dif-

ference between where the audio starts in track 1 and track 2. The difference is the value you would enter as your hardware’s insert delay offset.

Insert delay offsets only have an effect when the I/O is used for hardware inserts.

Pro Tools Reference Guide70

Chapter 7: Preferences

The settings in the Preferences dialog define how Pro Tools features work by default. This dialog can be opened from the application window (with a session closed), or from within a session (when a session is open).

The Preferences dialog has several tabbed pages in which you can specify your preferred settings for various types of session parameters. Each Preferences page is covered in detail in this chapter.

To change Pro Tools preferences:

1 Choose Setup > Preferences.

2 Click the tab for the page that has preferences

you want to change.

3 Change preferences as desired.

4 Click OK to save changes and close the win-

dow.

Figure 2. Pro Tools Preferences dialog on a Pro Tools|HD system (Display Preferences page shown)

Chapter 7: Preferences 71

Global and Local Preferences

Pro Tools preferences are either global (systemwide) or local (for the current session only).

Global (System-Wide) Preferences

Global preferences are applied to all sessions. These preferences become the default preferences for any existing sessions that you subsequently open or any new sessions that are created.

Local (Current Session) Preferences

Local preferences are applied to the current session (if one is open). Local preferences are not applied to older sessions that are subsequently opened.

Preferences and New Sessions

New sessions use global preference settings, plus the most recent local preference settings. The most recent local settings refer to the last open session (unless subsequent changes were made in the Preference dialog from the application window).

Local (Current Session) Preferences List

All Preferences are global, except for the following, which are local:

• Display Preferences

• Edit Window Default Length

• Always Display Marker Colors

• Default Track Color Coding options

• Default Region Color Coding options

• Operation Preferences

• Custom Shuttle Lock Speed

• Back/Forward Amount (Pro Tools HD only)

• QuickTime Playback Priority options

• PEC/Direct Style Input Monitoring (Pro Tools HD only)

• DestructivePunch File Length (Pro Tools HD only)

• Editing Preferences

• None

• Mixing Preferences

• Coalesce Trim Automation Options (Pro Tools HD only)

• Processing Preferences

• Convert Imported “WAV” Files To AES31/BroadcastWave

• MIDI Preferences

• Play MIDI Notes When Editing

• Display Events as Modiﬁed by Real-Time Properties

• Automatically Create Click Track in New Sessions

• Default Thru Instrument

• Pencil Tool Resolution When Drawing Controller Data

• Delay for External Devices Options (Pro Tools HD only)

• Synchronization Preferences

• None

Pro Tools Reference Guide72

Display Preferences

Basics Section

view data for a session has become corrupted, or if you import audio files which have no overview data into a session, make sure this preference is enabled for the session, save and close the session, then reopen it. Pro Tools will recreate any overviews for the session when it opens.

Track Position Numbers Stay with Hidden Tracks When selected, tracks keep their track

numbers even when hidden. When not selected, numbers are only assigned to tracks that are shown. In this case, shown tracks are then numbered sequentially, and hidden tracks are not numbered.

Tool Tips Display Options

Function Configures Tool Tips to show the basic

function of the item.

Draw Grids in Edit Window Adds grid lines to the Edit window. Grid line resolution is based on the zoom level of the Edit window.

Draw Waveforms Rectiﬁed Displays audio waveform data in rectified view. In this view, audio waveforms are displayed so that their positive and negative waveform excursions (the portions that fall above and below the center line) are summed together and viewed as a single positive-value signal. This view allows more waveform detail to be seen in either normal or reduced track height views. It can be particularly useful when editing volume automation data, since it depicts waveform levels as starting at the bottom of the track.

Recompute Invalid Overviews Prompts Pro Tools to look for missing or corrupted overview data (the data used to create waveform displays) when it opens sessions. If Pro Tools finds that overview data is missing or corrupted, it will recreate one or more overviews for the session. This may take some time if there are many tracks in the session. If you suspect that over-

Details Configures Tool Tips to show the complete name of an abbreviated name or item (such as a track name). Details view can also show the hidden or abbreviated value of parameters, as well as input and output assignments.

Edit Window Default Length

This preference sets a default length for the Edit window in hours, minutes, seconds, and frames (Pro Tools HD or Pro Tools LE with DV Toolkit 2 only). This is useful if you want to assemble a session of a particular length or leave extra room to expand the Edit window’s work area in your session. The maximum length is 12 hours and 25 seconds at 48 kHz, and proportionally less at higher sampling rates. For best scrollbar sensitivity, set the length to slightly longer (a minute or more) than the total session or song length.

“Organize Plug-in Menus By” Options

These option customize how plug-in menus are organized in the Insert selector or Plug-in selector.

Chapter 7: Preferences 73

Flat List Organizes plug-ins in a single list, in alphabetical order.

Category Organizes plug-ins by process category (such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus. Plug-ins that do not fit into a standard category (such as the DigiRack Signal Generator), or third-party plug-ins that have not had a category designated by their developers, appear in the Other category. Plug-ins can appear in more than one category.

Manufacturer Organizes plug-ins by their manufacturer (such as Digidesign, Eventide, Line 6, and McDSP), with individual plug-ins listed in the manufacturer submenus. Plug-ins that do not have a Manufacturer defined will appear in the “Other” manufacturer folder.

Most Digidesign-distributed third-party plug-ins will be grouped under Digidesign when Manufacturer view is enabled.

Category and Manufacturer Organizes plug-ins in two levels of menus. The top menus display plug-ins by process category (such as EQ, Dynamics, and Delay), with individual plug-ins listed in the category submenus. The bottom menus display plug-ins by manufacturer (such as Digidesign, Eventide, Line 6, or McDSP), with individual plug-ins listed in the manufacturer submenus.

Meters Section

Peak Hold Options

These options determine how long the peak indicators on track meters stay lit after a peak is detected.

3 Second Peak Hold When selected, track meters display the last peak level for three seconds.

Inﬁnite Peak Hold When selected, track meters display the last peak level until you click them to clear them.

No Peak Hold When selected, track meters do not hold the peak level.

Clip Indication Options

These options determine how long the clip indicators on plug-in, send, and track meters stay lit after a clip is detected.

3 Second Clip Hold When selected, meters display the last clip indication for three seconds.

Inﬁnite Clip Hold When selected, meters display the last clip indications until you click them to clear them.

No Clip Hold When selected, meters do not hold the clip indication.

Show Meters in Sends View

Language Options

Language Sets the language to use in the

Pro Tools application, independently of what language version of Windows is used.

Default Automatic Naming to English Causes automatically named session elements in a session to be named in English even when working with the Pro Tools application set to another language.

Pro Tools Reference Guide74

When the Sends View is displaying individual send controls, you can select this option to show send level meters. Deselecting this option can help speed up screen redraws and processing.

Color Coding

Default Region Color Coding Options

Always Display Marker Colors Lets you choose to

view Marker colors in the Markers ruler, regardless of the settings you choose for Default Region Color Coding.

Default Track Color Coding Options

These color coding options determine the default color coding assignment for tracks in the Edit and Mix windows. Choices are:

None Turns off color assignment for tracks.

Tracks and MIDI Channels Assigns a color to

each track in the Mix or Edit window according to its voice assignment or MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to each track in the Mix or Edit window according to its voice assignment or MIDI device assignment.

Groups Assigns a color to each track according to its Group ID. If groups are suspended using the Suspend Groups command, the tracks color bars are not shown.

Track Type Assigns a color to each track according to its type (audio, MIDI, Instrument, Auxiliary or Master Fader).

These color coding options determine the default color coding assignment for tracks, Marker Locations, and regions residing in the track playlist and Region List. Choices are:

None Turns off color assignment for regions. Regions are drawn with black waveform or MIDI notes on a light gray background.

Tracks and MIDI Channels Assigns a color to each region in the Edit window according to its voice or MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to each region in the Edit window according to its voice assignment or MIDI device assignment.

Groups Assigns a color to each region according to the Group ID of its track. If groups are suspended using the Suspend Groups command, all regions display black waveforms or MIDI notes on a light gray background.

Track Color Assigns a region color based on the color assigned to the track.

Marker Locations Assigns a unique color to each marker area in the Marker ruler, including the area preceding the first marker.

Region List Color Assigns a color to each region based on its color in the Region List.

Chapter 7: Preferences 75

Operation Preferences

Transport Section

Timeline Insertion/Play Start Marker Follows Playback When selected, the Timeline Insertion

and the Play Start Marker both move to the point in the Timeline where playback stops. When deselected, the Timeline Insertion and Play Start Marker do not follow playback, but return to the point in time where playback began.

Press Start+N (Windows) or Control+N (Mac) to toggle the Timeline Insertion/Play Start Marker Follows Playback preference on and off.

Edit Insertion Follows Scrub/Shuttle When selected, the edit cursor automatically locates to the point where scrubbing stops.

Audio During Fast Forward/Rewind When selected, audio is audible during fast forward or rewind.

Play Start Marker Follows Timeline Selection When enabled, the Play Start Marker

snaps to the Timeline Selection Start Marker when you move the Timeline Selection, draw a new Timeline Selection, or adjust the Timeline Selection Start. When disabled, the Play Start Marker doesn’t move with the Timeline selection.

Reserve Voices for Preview in Context (Pro Tools HD Only) When enabled, Pro Tools reserve the

appropriate number of voices for preview in context (previewing audio files in DigiBase during session playback). The number of available voices is reduced by the channel width of the selected Audition Paths on the Output page of the I/O Setup window. For example, if the number of playback voices is set to 48 in the Playback Engine, and you have a stereo audition path selected in the I/O Setup, only 46 voices will be available for tracks. If you have a 5.1 audition path, only 42 voices will be available. When this option is disabled, you will not be able to preview in context if there are not enough available voices.

Custom Shuttle Lock Speed Sets the highest fastforward Shuttle Lock speed (key 9) for Shuttle Lock modes (Classic or Transport). The range for this setting is 50–800%.

For more information, see “Custom Shuttle Lock Speed” on page 443.

Back/Forward Amount Sets the default length of Back, Back and Play, Forward and Forward and Play. The timebase of the Back/Forward Amount settings follows the Main Time Scale by default, or you can deselect Follow Main Time Scale and select another timebase format: Bars:Beats, Min:Sec, Time Code, Feet+Frames, or Samples.

Pro Tools Reference Guide76

Numeric Keypad Mode

Numeric Keypad mode determines how the numeric keypad functions. You can always use the numeric keypad to select and enter values in the Event Edit Area, Edit Selection indicators, Main and Sub Counters, and Transport fields.

Classic Selects a Shuttle Lock mode that emulates the way Pro Tools worked in versions lower than 5.0. With the Numeric Keypad mode set to Classic, you can play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 0–9 for different play speeds. Press Plus (+) or Minus (–) to reverse direction. Recall Memory Locations by typing the Memory Location number, followed by Period (.).

To customize the highest fast-forward Shuttle Lock speed, see “Custom Shuttle Lock Speed” on page 443.

playback speeds are available in both forward and reverse. You can also recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

Use Separate Play and Stop Keys

When enabled, this option lets you start playback with the Enter key and stop playback with the 0 key on the numeric keypad. This is useful for quickly starting and stopping playback when auditioning loop transitions. Use Separate Play and Stop Keys is only available in Transport Numeric Keypad mode.

When this option is enabled, it overrides using the Enter key to add Memory Location markers. Instead, press Period (.) and then Enter on the numeric keypad to add a Memory Location marker.

Video Section

Transport Selects a Shuttle Lock mode that lets you set a number of record and play functions, and also operate the Transport from the numeric keypad. With the Numeric Keypad mode set to Transport, you can play up to two tracks of audio in Shuttle Lock mode. Press the Start key (Windows) or Control (Mac), followed by 0–9 for different play speeds. Press Plus (+) or Minus (–) to reverse direction. Recall Memory Locations by typing Period (.), the Memory Location number, and Period (.) again.

To customize the highest fast-forward Shuttle Lock speed, see “Custom Shuttle Lock Speed” on page 443.

Shuttle (Pro Tools HD Only) Selects a type of shuttling different from that of Shuttle Lock mode. With the Numeric Keypad mode set to Shuttle, playback is triggered by pressing and holding the keys on the numeric keypad—playback stops once the keys are released. Various

QuickTime Playback Priority Options

Normal This is the default setting for QuickTime

Movie Playback Priority. It gives no extra priority to movie playback over other screen update tasks such as metering, moving faders, and so on. In most cases you should use this setting.

Medium This setting gives QuickTime movie playback a higher priority relative to other Pro Tools screen update tasks. Use this setting if you experience inconsistent QuickTime movie playback with the Normal setting.

Highest This setting gives QuickTime movie playback highest priority. In this mode, Pro Tools disables screen activity and requires you to use the Spacebar to stop playback. Use this setting if you require uninterrupted QuickTime movie playback.

Chapter 7: Preferences 77

High Quality QuickTime Image

Auto Backup Section

When enabled, Pro Tools decompresses both fields of each interlaced frame of QuickTime video. When viewing a QuickTime movie in the Pro Tools Video window, select this option to display the movie at the highest possible resolution. Deselecting this option can help improve performance if your system experiences problems playing back a session with QuickTime video.

Avid Video Errors Stop Playback

(Pro Tools HD with Avid Video Engine Only)

When selected, Pro Tools automatically stops playback of audio and video if a single frame of video is dropped.

When not selected, Pro Tools continues playback of audio even if frames are dropped. In most cases, video playback will recover within a few frames and continue playing audio and video in sync.

Avid Video NTSC Has Setup (NTSC-J)

(Pro Tools HD with Avid Video Engine Only)

Enable Session File Auto Backup When selected,

Pro Tools automatically saves backups of your Pro Tools session file while you work. Backups are saved to in the Session Files Backup folder in your session folder.

Keep speciﬁes the total number of incremental backups that are kept.

Backup Every Speciﬁes how often the session is saved.

Record Section

Latch Record Enable Buttons When selected, multiple audio tracks can be record-enabled. When not selected, multiple audio tracks cannot be record-enabled. Record-enabling an audio track takes other audio tracks out of recordenabled mode.

Link Record and Play Faders When selected, Pro Tools does not remember separate fader levels for tracks when they are record-enabled, allowing you to maintain the same monitoring level for tracks during recording and playback.

This preference lets you adjust the level of NTSC video black output between 7.5 IRE (standard) or 0 IRE. When this option is selected, output level is 0 IRE.

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Audio Track RecordLock (Pro Tools HD Only) This option configures Pro Tools tracks to

either emulate a digital dubber, or to maintain legacy behavior for track record status.

• When selected, the record-enabled audio tracks remain record-enabled when playback or recording stops.

• When not selected, record-enabled audio tracks are taken out of record enable when Pro Tools is stopped. This prevents tracks from remaining armed from pass to pass, emulating track record behavior of a digital dubber.

Transport RecordLock (Pro Tools HD Only) This option lets the Transport Record (the Record button in the Transport controls) be configured to either emulate a digital dubber, or to maintain legacy behavior for the Transport master Record.

• When selected, the Transport Record remains armed when playback or recording stops. This saves having to re-arm the Transport between takes, emulating digital dubber behavior.

• When not selected, the Transport Record disarms when Pro Tools is manually stopped or stops due to a loss of time code. This replicates standard Pro Tools recording behavior.

The Transport RecordLock preference is automatically disabled and grayed out when Destructive record mode is enabled.

Disable “Input” When Disarming Track (In “Stop”) (Pro Tools HD Only) For flexibility, TrackInput

monitoring can be customized to remain selected regardless of track record status, or to automatically switch to Auto Input monitoring after a recording pass. This lets you optimize monitoring for a typical dubbing workflow (in which you might want tracks to remain in Input Only mode until explicitly switched to Auto Input monitoring) or a typical music tracking workflow (in which leaving a track in Input Only monitoring mode after recording can result in accidental double-monitoring).

• When selected, taking an audio track out of record enable (any mode) takes it out of Input Only mode, regardless of the global monitor mode, and switches it to monitor audio from disk only.

• When not selected, audio tracks remain in Input Only monitoring mode until explicitly switched to Auto Input monitoring.

Mute Record-Armed Tracks While Stopped (Pro Tools HD Only) This setting determines

monitor status of record-armed tracks.

• When selected, Pro Tools mutes all recordenabled tracks when the transport is stopped. Input can still be monitored while stopped using the TrackInput Monitor button.

• When not selected, Pro Tools does not mute audio input on record-enabled tracks when the transport is stopped.

PEC/Direct Style Input Monitoring (Pro Tools HD Only) This option changes the way the Track-

Input monitoring mode is indicated on-screen (and on supported control surfaces) to emulate “PEC” (playback) and “Direct” (input/bus) indication on some large format consoles.

• When not selected, the TrackInput button shows the letter “I.” The button remains gray to indicate Auto Input mode and lights green to indicate Input Only mode.

• When selected, the TrackInput button remains gray and shows the letter “D” to indicated Input Only mode (“Direct”); it lights green and shows the letter “P” to indicate Auto Input mode (“Pec” or playback).

Online Options

Record Online at Time Code (or ADAT) Lock When selected, online recording begins as

soon as Pro Tools receives and locks to incoming time code.

Record Online at Insertion/Selection When selected, online recording begins at the edit cursor location. Recording continues until Pro Tools stops receiving time code. If you make a selection, Pro Tools records online for the length of the selection.

Chapter 7: Preferences 79

Open Ended Record Allocation

This preference determines how much of your available hard drive space is allocated for recording.

Use All Available Space When selected, the drive’s entire available space is allocated. Generally, this is a good setting for recording longer takes, as it provides the maximum amount of drive space. Additionally, when recording multiple tracks, the files are spread across your drive. This can sometimes slow down the recording process for hard drives that use certain file systems, including HFS+ and NTFS.

Limit To Sets the maximum allowable recording duration for one take. This can help reduce the time it takes to begin recording by allocating only a portion of your hard drive. The number of minutes specified is allocated for each recordenabled track. You may want to experiment with this number to achieve the recording performance you want.

If you do not regularly record longer takes, set a smaller length (such as a low multiple of the song’s total length).

DestructivePunch File Length (Pro Tools HD Only)

Misc (Miscellaneous) Section

(Pro Tools HD Only)

Auto Region Fade In/Out Length Sets a default

length for fade-ins and fade-outs automatically applied to region boundaries. Using automatic fade-ins and fade-outs saves you the trouble of editing to zero-crossings or creating numerous rendered fades in order to eliminate clicks or pops in playback. Autofades are not written to disk. Value range is from 0–10 ms for the Auto Region Fade In/Out Length. A value of zero means that no auto-fading will occur. The Auto Fade value is saved with the session, and is automatically applied to all free-standing region boundaries until you change it.

Calibration Reference Level Sets a default calibration reference level in dB when Pro Tools is in Calibration mode. For audio interfaces that have trims (such as the 192 I/O), see the interface’s guide for calibration instructions.

Delay Compensation Time Mode This option lets you choose whether information in the Delay Manager is displayed in milliseconds or samples. This option is only available when Delay Compensation is enabled (Options > Delay Compensation).

This preference sets the duration of consolidated audio files when preparing tracks for DestructivePunch mode. The default value for this setting is 25 minutes.

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Editing Preferences

Regions Section

Region List Selection Follows Edit Selection When selected, selecting a region in a

track also selects it in the Region List.

The following preferences determine which regions, or takes, appear in this list:

Includes Take Region Names That Match Track Names When selected, only regions that share

the same root name with the track and playlist appear in the Matches Right-click submenu or the Alternates pop-up menu.

Includes Take Region Lengths That Match When selected, only regions that match the length of the current selection appear in the Matches Right-click submenu or the Alternates pop-up menu.

“Separate Region” Operates On All Related Takes When selected, editing a region with the

Separate Region command also affects all other related takes (recording passes) with the same User Time Stamp. This option helps you compare different sections from a group of related takes.

Edit Selection Follows Region List Selection When selected, selecting a region in

the Region List causes Pro Tools to highlight that region’s occurrence in a track.

Auto-Name Separated Regions When selected, Pro Tools automatically names newly separated regions by appending a number to the region’s name.

“Matching Start Time” Takes List

When you Right-click, Control-click (Windows), or Command-click (Mac) a region in a track, Pro Tools displays a list of regions (either in the Matches Right-click submenu or the Alternates pop-up menu) whose time stamp matches the current Cursor location.

Memory Locations Section

Auto-Name Memory Locations When Playing When selected, Pro Tools gives new

Memory Locations default names based on their time location in the session. The time units currently chosen in the View menu determine the units for the names.

Recall Memory Location at Original Track When selected, Memory Locations that recall a selection also recall the track in which the selection was made.

Tracks Section

New Tracks Default To Tick Timebase When selected, all new tracks default to ticks. When deselected, audio, Auxiliary Input, Master Fader, and VCA (Pro Tools HD only) tracks default to samples.

Chapter 7: Preferences 81

Fades Section

Crossfade Preview Pre-Roll This option specifies the amount of pre-roll to be added when you are auditioning crossfades in the Fades dialog.

Remove Range Selection After Zooming In When selected, the current Edit selection col-

lapses into an insertion point after zoom toggling in. Zoom toggling back out reverts to the previous selection.

Crossfade Preview Post-Roll This option specifies the amount of post-roll to be added when you are auditioning crossfades in the Fades dialog.

QuickPunch/TrackPunch Crossfade Length Specifies a default length for crossfades created by QuickPunch or TrackPunch (Pro Tools HD only) recordings. Crossfades occur before the punch in and after the punch out.

Preserve Fades when Editing This option preserves fade-ins and fade outs, and converts separated crossfades into corresponding fade-ins and fade-outs.

Default Fade Settings

Fade In Selects the default envelope shape for

fade-ins.

Fade Out Selects the default envelope shape for fade-outs.

Crossfade Selects the default envelope shape for crossfades.

REX Selects the default envelope shape for fades and crossfades between regions (“slices”) in imported REX files.

Track Height Selects Last Used, Medium, Large, Extreme, or Fit To Window for the Zoom Toggle Track Height.

Track View Selects Waveform/Notes, Warp/Notes, Last Used, or No Change for the Zoom Toggle Track View.

Separate Grid Settings When Zoomed In When selected, this option retains the same (current) grid setting when zoom toggling in or out. When this option is deselected, the grid setting stored with Zoom toggle is recalled when zoom toggling in.

Zoom Toggle Follows Edit Selection When selected, zoom toggle automatically follows the current Edit selection. When disabled, changing the Edit selection has no affect on the currently toggled-in track.

Levels of Undo

This preference sets the maximum number of actions that can be undone with the multiple undo feature. Setting this to a lower number can speed up the performance of slower computers. Pro Tools supports up to 32 Levels of Undo.

Zoom Toggle Section

Vertical Zoom Selects either Selection or Last Used for the Zoom Toggle Vertical Zoom.

Horizontal Zoom Selects either Selection or Last Used for the Zoom Toggle Horizontal Zoom.

Pro Tools Reference Guide82

Mixing Preferences

Setup Section

Sends Default to –INF When selected, the initial fader level of newly-created sends is set to –∞ (no audible signal level). When not selected, the initial fader level of newly-created sends is set to 0 dB.

Use Absolute Pan Linking (Pro Tools HD Only) This option affects behavior of grouped

pan controls.

• When selected, grouped pan controls do not maintain relative offsets when any of the grouped pan controls is adjusted. All grouped pan controls snap to the absolute value of the adjusted control.

• When not selected, grouped pan controls maintain relative offsets when any of the linked controls is adjusted.

Default EQ

This preference lets you choose any installed EQ plug-in as the default, which makes it available for quick assignment, both on-screen and on ICON worksurfaces (Pro Tools HD only). Onscreen, the plug-in appears at the top of the Insert selector pop-up menu. On ICON worksurfaces, the plug-in appears first in the list of menu choices on the rotary encoders.

Default Dynamics

Send Pans Default to Follow Main Pan When se-

lected, newly created sends have Follow Main Pan turned on, so the Send Pan controls follow the pan controls of the track. When not selected, newly created sends have Follow Main Pan turned off.

Link Mix and Edit Group Enables When selected, this option links enabling and disabling of Mix and Edit Groups. For example, enabling Group A in the Mix Window automatically enables Group A in the Edit window.

This preference lets you choose any installed Dynamics plug-in as the default, which makes it available for quick assignment, both on-screen and on ICON worksurfaces (Pro Tools HD only). On-screen, the plug-in appears at the top of the Insert selector pop-up menu. On ICON worksurfaces, the plug-in appears first in the list of menu choices on the rotary encoders.

Chapter 7: Preferences 83

Controllers

Automation Section

Edit Window Follows Bank Selection If you are using a supported control surface with Pro Tools, this option scrolls the Edit window to display the selected bank of tracks when you switch banks on the control surface, ensuring that the current bank is viewable on-screen.

Mix Window Follows Bank Selection If you are using a supported control surface with Pro Tools, this option scrolls the Mix window to display the selected bank of tracks when you switch banks on the control surface, ensuring that the current bank is viewable on-screen.

“Scroll to Track” Banks Controllers When using a control surface (such as D-Control or ProControl) you can select this option to bank control surface faders to a numbered track when using the Track > Scroll to Track command.

Always Fill Channel Strips When Banking If you are using an ICON worksurface (Pro Tools HD only), or other supported Digidesign control surface, you can select this option to maximize the number of channels displayed when banking. This setting optimizes the Bank commands to prevent the display of a small number of channels at the extremes of the surface.

Touch Timeout If you are writing automation in Touch mode and you stop moving a non-touch sensitive fader or encoder, Pro Tools continues to write automation for the Touch Timeout value.

After the Touch Timeout period, writing of automation stops and the automation data returns to its previous automation value at the rate specified in the AutoMatch Time setting.

Smooth and Thin Data After Pass When selected, Pro Tools automatically smooths and then applies the specified amount of thinning to the automation data created in an automation pass.

Degree of Thinning Specifies the amount of thinning performed on automation data when you using the Thin Automation command, or if you have selected the Smooth and Thin Data After Pass option.

Plug-in Controls Default to Auto-Enabled When selected, all applicable controls of newly added plug-ins are enabled for automation. When not selected, the controls of newly added plug-ins must be manually enabled for automation.

Suppress Automation “Write To” Warnings (Pro Tools HD Only) When selected, Pro Tools

suppresses the warnings that appear after invoking any of the Write Automation To Start, Selection, End, or Punch commands and then stopping the transport.

Latching Behavior for Switch Controls in “Touch” This option determines the behavior of

switch-type controls (such as mute or plug-in bypass) when writing automation in Touch mode.

• When selected, controls in Touch mode will latch in their current state. If an existing breakpoint is encountered, writing of automation stops. If the transport is stopped while writing, the control will AutoMatch to the underlying value.

• When not selected, controls in Touch mode will not latch.

Pro Tools Reference Guide84

Pinnacle Systems Pro Tools M-Powered - 7.4, Pro Tools LE - 7.4, Pro Tools HD - 7.4, Pro Tools - 7.4 Reference Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Welcome to Pro Tools

The Pro Tools Guides

Conventions Used in These Guides

Compatibility Information

About www.digidesign.com

Chapter 2: Pro Tools Concepts

Hard Disk Audio Recording

Pro Tools Nonlinear Editing

The Digidesign Audio Engine

Playback Engine Dialog

MIDI

MIDI Terms

Common MIDI Misconceptions

Surround

MIDI In Pro Tools

Synchronization

Pro Tools Sessions

Session File

Tracks

Media Files

Regions

Playlist

Channel

Signal Routing

Tick-Based and Sample-Based Time

System Resources

Active and Inactive Items

DigiBase

Chapter 3: Keyboard and Right-Click Mouse Shortcuts

Right-Click Mouse Shortcuts

Global Key Commands

Keyboard Focus

Shuttle Lock Modes

Numeric Keypad Modes

Shuttle Mode

Chapter 4: Pro Tools Systems

Pro Tools|HD Systems

Pro Tools|HD Systems

Supported Audio Interfaces

Pro Tools|HD System Playback, Recording and Voice Limits

Audio Interfaces for Pro Tools|HD Systems

Pro Tools LE Systems

Processing Capacity

Pro Tools LE System Capabilities

Pro Tools M-Powered

Support for Up to 24 QuickPunch Tracks

DV Toolkit 2 and Music Production Toolkit

Support for 48 Mono or Stereo Tracks

DV Toolkit 2 Capabilitites

Music Production Toolkit

Chapter 5: System Setup

Starting Up or Shutting Down Your System

Checking an HD System with DigiTest

System Usage

Chapter 6: I/O Setup

Pro Tools Signal Paths

Paths in Session Tracks

Paths in the I/O Setup Dialog

I/O Setup Dialog Tabs and Controls

Path Type Tabs

I/O Setup Dialog Signal Path Controls

I/O Setup Dialog Buttons, Menus, and Selectors

Routing Hardware I/O to Pro Tools I/O

Creating New Paths

Editing Paths

Restoring Default Paths and Path Names

Renaming Path Names

Renaming Interface Names

Selecting Paths

Reordering Paths

Deleting Paths

Making Paths Active or Inactive

Channel Mapping

Remapping Channels

Working with I/O Settings Files