Pinnacle Systems Pro Tools TDM - 6.0, Pro Tools LE - 5.3, Pro Tools LE - 5.1, Pro Tools TDM - 5.3, Pro Tools MIX - 5.1 Reference Guide

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Pro Tools

Reference Guide

Version 6.0 for TDM or LE Systems on Macintosh

Version 5.3.x for TDM or LE Systems on Windows or Macintosh

Version 5.1.x for MIX or LE Systems on Macintosh

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This guide is copyrighted ©2002 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Digidesign.

DIGIDESIGN, AVID and PRO TOOLS are trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are the property of their respective owners.

All features and specifications subject to change without notice.

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Contents

Part I Introduction

Chapter 1. Welcome to Pro Tools

The Pro Tools Guides

Compatibility Information

Digidesign Registration

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Chapter 2. Pro Tools System Configurations

TDM-Equipped Systems

Pro Tools LE Systems

Chapter 3. Pro Tools Concepts

Hard Disk Audio Recording

The Digidesign Audio Engine

Pro Tools Sessions

System Resources

MIDI Concepts

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Chapter 4. Pro Tools Windows

The Mix Window

The Edit Window

The Transport Window

Chapter 5. Keyboard Shortcuts

Global Key Commands

Keyboard Focus

Numeric Keypad Modes

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Contents

iii

Part II Sessions & Tracks

Chapter 6. Sessions

Starting Up or Shutting Down Your System

Configuring Pro Tools System Settings

Configuring Pro Tools Hardware Settings

Creating a New Session

Opening a Session

Saving a Session

Creating Custom Session Templates

Closing a Session

Quitting Pro Tools

Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems

Preferences

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Chapter 7. I/O Setup

The I/O Setup Dialog

Routing Hardware I/O to Pro Tools I/O

Creating and Editing Paths

I/O Settings Files

Default Output, Meter, Audition, and Default Path Order I/O Setup Options

Chapter 8. Tracks

Track Types

Track Controls

Creating Tracks

Hiding Tracks

Assigning Inputs and Outputs to Tracks

Track Priority and Voice Assignment

Setting MIDI Input and Output

Soloing and Muting Tracks

Making Tracks Inactive

Adjusting Track Width

Color Coding Tracks

Grouping Tracks

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Pro Tools Reference Guide

Chapter 9. Importing and Exporting Session Data

Importing Audio

Importing Tracks

Importing Tracks and Track Attributes

Loading Audio Files with Drag & Drop

Exporting Audio

Transferring Audio from CD

Conversion Quality

Exporting Pro Tools Tracks as OMF Files

Exporting Session Text

Importing MIDI Files

Exporting MIDI Files

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Chapter 10. File Management and Compatibility

Audio File Management

WAV File Compatibility

Avid File Compatibility

Creating Mac and PC Compatible Sessions

Moving Sessions Between Platforms with MacOpener

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Part III Recording

Chapter 11. Record Setup

Input Connections and Audio Levels

Record Enabling Tracks (Using the Record Enable Button)

Monitoring Modes

Monitoring Latency

Default Track Names

Disk Allocation

Allocating Hard Drive Space for Recording

Record Modes

Recording with the Click

Setting the Default Meter

Chapter 12. Basic Audio Recording

Recording an Audio Track

Record Shortcuts

Recording Multiple Audio Tracks

Record Pause Mode

Recording Additional Takes

Punch Recording Audio

Loop Recording Audio

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Contents

Auditioning Record Takes

Setting Punch/Loop Points

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Chapter 13. MIDI Recording

Recording from MIDI Devices

Enabling Input Devices

MIDI Thru

MIDI Input Filter

Input Quantize

Wait for Note

MIDI Merge/Replace

Configuring MIDI Tracks for Recording

Recording to MIDI Tracks

Punch Recording MIDI

Loop Recording MIDI

Recording System Exclusive Data

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Chapter 14. Advanced Recording

QuickPunch Audio Recording

Recording from a Digital Source

Half-Speed Recording and Playback

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Part IV Editing

Chapter 15. Editing Basics

Pro Tools Editing

Track Material

Displaying Region Names and Times

Audio Regions and Waveforms

MIDI Regions and MIDI Data

Playlists

Multiple Undo

The Audio and MIDI Regions Lists

Edit Modes

Zooming

The Universe Window

Timebase Rulers

Main Time Scale

Tick-Based Timing

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Pro Tools Reference Guide

Chapter 16. Playing and Selecting Track Material

Playing Tracks

Scrolling Options

The Scrubber

Separate Edit and Timeline Selections

Selecting Track Material

Playing Selections

Timeline Selections

Playing Edit and Timeline Selections with the Playhead

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Chapter 17. Working with Regions and Selections

Creating New Regions

Healing a Separation

Placing Regions in Tracks

The Trimmer Tool

The Time Trimmer

Sliding Regions

Nudging

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Shift Command

Quantizing Regions

Locking Regions

Muting/Unmuting Regions

Edit Commands

Duplicate Command

Repeat Command

Merge Paste Command

Editing Stereo and Multichannel Tracks

Processing Audio with AudioSuite Plug-Ins

Waveform Repair with the Pencil Tool

The Smart Tool

Chapter 18. Advanced Editing

Replacing Regions

Repeat Paste To Fill Selection

Compress/Expand Edit To Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Chapter 19. Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Using Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Creating a Crossfade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Creating Fades at the Beginnings and Ends of Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Using AutoFades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Creating Fades and Crossfades in Batches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Contents

vii

Chapter 20. Managing Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Stripping Silence from Regions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Inserting Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Consolidate Selection Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Managing Regions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Compacting an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Chapter 21. Conductor Tracks and Memory Locations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Tempo Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Default Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Identify Beat Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Meter Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Renumbering Bars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Memory Locations and Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300

Memory Locations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Chapter 22. Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

About Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Beat Detective Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

The Beat Detective Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Beat Detective Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Defining a Beat Detective Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Calculating Tempo with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Generating Beat Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Generating Bar|Beat Markers with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

DigiGroove Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Separating Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Conforming Regions with Beat Detective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Edit Smoothing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Detection (Normal) and Collection Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Part V MIDI Editing

Chapter 23. MIDI Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

The Pencil Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Setting the Grid Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Inserting MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Manually Editing MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Continuous Controller Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Program Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

System Exclusive Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Note and Controller Chasing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Pro Tools Reference Guideviii

Offsetting MIDI Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Chapter 24. MIDI Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

MIDI Operations Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Select Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Change Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Change Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Groove Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Restore Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Flatten Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Chapter 25. MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

The MIDI Event List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Inserting Events in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Editing in the MIDI Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

MIDI Event List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Part VI Mixing

Chapter 26. Basic Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Metering and Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Audio Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Viewing I/O, Inserts, and Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Track Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Track Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Output Windows for Tracks and Sends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Submixing for Signal Routing and Effects Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Dither . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Using a Control Surface with Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Chapter 27. Plug-In and Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Inserting Plug-Ins on Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

The Plug-In Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Hardware I/O Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Connecting and Integrating External Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Contents ix

Chapter 28. Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Automation Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Automation Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Automation Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Automation Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Viewing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Writing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Enabling and Suspending Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Deleting Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Thinning Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Drawing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Editing Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Writing Automation to the Start, End or All of a Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Trimming Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Creating Snapshot Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Chapter 29. Mixdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Recording to Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Bounce to Disk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Bounce Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Recording a Submix (with Bounce To Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Final Mixdown (with Bounce To Disk) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462

Mastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Part VII Surround

Chapter 30. Surround Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Mixing Formats and Surround Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Pro Tools Mixing Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Speaker Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Surround Monitoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Formats and Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Surround Mixing Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Chapter 31. Pro Tools Setup for Surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Pro Tools Audio Connections for 5.1 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Configuring Pro Tools for Multichannel Sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Default Selectors in I/O Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

5.1 Track Layouts, Routing, and Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

Pro Tools Reference Guidex

Chapter 32. Multichannel Tracks and Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Multichannel Quickstart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Multichannel Signal Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

Paths in Surround Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Example Paths and Signal Routing for a Surround Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

Chapter 33. Surround Panning and Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Introduction to Pro Tools Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Output Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Standard Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Surround Panner Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Panning Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500

LFE Faders in Multichannel Panners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Divergence and Center Percentage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

SurroundScope Metering Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Part VIII Synchronization

Chapter 34. Synchronization Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Synchronization Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Aspects of Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509

Synchronizing Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

SMPTE Frame Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513

Working with Film-Originated Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

Chapter 35. Time Code Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Pro Tools Synchronization Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

Session Setup Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520

Preparing to Work with SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525

Configuring Pro Tools for SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

4% Pull Up and Pull Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

Configuring Pull Up and Pull Down Using SYNC I/O or USD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Putting Pro Tools Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Generating Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Using MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535

Synchronizing a Sequencer to Pro Tools on Macintosh OS 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537

Synchronizing a Sequencer to Pro Tools in Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Setting Minimum Sync Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539

Remote Track Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540

Synchronizing Pro Tools to an OMS-Compatible Sequencer Using MMC . . . . . . . . . . . . . . . . . . . . . . 540

MIDI Beat Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542

Contents xi

Spotting Regions to SMPTE Frame Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Time Stamping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Identifying a Synchronization Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 547

Troubleshooting Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548

Chapter 36. Working with QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

About QuickTime. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551

QuickTime Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Movie Playback Quality Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Importing a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554

Firewire Playback of QuickTime DV Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555

About the Movie Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 557

Setting the Movie Start Time (Movie Offset) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 558

Spotting Audio to a QuickTime Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559

Importing QuickTime Audio (and Other Compressed Video Files) . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Bouncing to a New Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Appendix A. DSP-Induced Delays in Mixing (TDM Only) . . . . . . . . . . . . . . . . . . . . . . . 563

Delay Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563

Compensating for Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565

Appendix B. TDM Mixing and DSP Usage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

Understand the Benefits of TDM II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 567

DSP Allocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

DSP Usage with TDM Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571

DSP Usage with TDM Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579

DSP Usage and I/O Allocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 580

Appendix C. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581

Using DigiTest as a Diagnostic Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582

Before You Call Digidesign Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 585

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 595

Pro Tools Reference Guidexii

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, edit, mix, and master quality audio for music, video, ﬁlm, and multimedia.

The Pro Tools Guides

Your Pro Tools System includes the following guides:

Getting Started Guide Instructions for installing your Pro Tools system and connecting your studio.

Pro Tools Reference Guide Full details on all Pro Tools functionality and operations. (Pro Tools LE systems only include an electronic PDF version of the Reference Guide.)

Pro Tools Menus Guide Electronic PDF guide to the Pro Tools on-screen menus.

DigiRack™ Plug-Ins Guide Instructions for using the DigiRack plug-ins (included with Pro Tools) for both real-time and file-based audio processing in Pro Tools. (Pro Tools LE systems only include an electronic PDF version of this guide.)

Digidesign Plug-Ins Guide Electronic PDF guide with instructions for using optional Digidesign plug-ins for both real-time and file-based audio processing in Pro Tools.

DigiBase and DigiBase Pro Guide Full details on using Pro Tools DigiBase databasing and browsers for data and media management. (Pro Tools LE systems only include an electronic PDF version of this guide.)

Pro Tools MIDI Control Surfaces Guide Electronic PDF guide that includes instructions for operating Pro Tools with various MIDI control surfaces.

Expanded Systems Guide (TDM Systems Only) Instructions for expanding a Pro Tools

TDM system with optional Digidesign cards, or an expansion chassis.

MachineControl Guide (TDM Systems Only) Instructions for using MachineControl software for Pro Tools to enable serial communication with remote audio and video machines.

Keyboard Shortcut Cards Separate electronic PDFs for Macintosh and Windows that list the many keyboard shortcuts not shown in the Pro Tools menus.

Digidesign also provides guides with audio interfaces, optional dedicated controllers (such as Control|24 and ProControl) and other Digidesign options, (such as MIDI I/O, PRE, and SYNC I/O). Refer to the separate guide provided with the Digidesign optional product.

Chapter 1: Welcome to Pro Tools 3

Conventions Used in These Guides

The Pro Tools guides use the following conventions to indicate menu choices and key commands:

Convention Action

File > Save Session Choose Save Session

from the File menu

Control+N Hold down the Control

key and press the N key

Compatibility Information

Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. For a list of Digidesignqualified computers, operating systems, and third-party devices, refer to the latest compatibility information on the Digidesign Web site (www.digidesign.com).

Option-click Hold down the Option key

and click the mouse button

Right-click (Windows) Click with the right

mouse button

The following symbols are used to highlight important information:

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

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

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in the Pro Tools Guides.

Digidesign Registration

Be sure to complete and return the registration card included with your Pro Tools system. Registered users will receive periodic software update and upgrade notices. Please refer to the registration card for technical support and warranty information.

Pro Tools Reference Guide4

Chapter 2: Pro Tools System Conﬁgurations

There are two types of Pro Tools systems: TDM and LE. These refer to both the Pro Tools software and its hardware interfaces, as follows:

• TDM = Pro Tools TDM software for Pro Tools|HD-series, Pro Tools|24 MIX-series, or Pro Tools|24 hardware.

• LE = Pro Tools LE software for Digi 002, Digi 001, Mbox, or Toolbox hardware.

TDM-Equipped Systems

Pro Tools TDM-equipped systems are available in the following conﬁgurations. Each system requires at least one Digidesign audio interface (sold separately). TDM systems can be expanded by adding Digidesign 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 Digidesign’s Web site for the latest system requirements and compatibility information.

HD-Series Systems

Pro Tools|HD 1

Includes:

• HD Core card

• Pro Tools TDM software

Pro Tools|HD 2

Includes:

• HD Core card

• HD Process card

• Pro Tools TDM software

Pro Tools|HD 3

Includes:

• HD Core card

•Two HD Process cards

• Pro Tools TDM software

Chapter 2: Pro Tools System Conﬁgurations 5

MIX-Series Systems

Supported Audio Interfaces

Pro Tools|24 MIX

Includes:

•MIX Core card

• Pro Tools TDM software

Pro Tools|24 MIXplus

Includes:

•MIX Core card

• MIX Farm card

• Pro Tools TDM software

Pro Tools|24 MIX3

Includes:

• MIX Core card

•Two MIX Farm cards

• Pro Tools TDM software

Pro Tools|24 System

Pro Tools|24

Includes:

•d24 Audio card

• DSP Farm card

• Pro Tools TDM software

HD-Series Only

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

◆ 192 I/O

◆ 192 Digital I/O

◆ 96 I/O

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

HD-Series, MIX-Series and Pro Tools|24

The following Digidesign audio interfaces are supported with Pro Tools|HD-series, Pro Tools|24 MIX-series and Pro Tools|24 systems:

◆ 888|24 I/O and 882|20 I/O

◆ 1622 I/O

◆ 24-bit ADAT Bridge I/O or original ADAT

Bridge I/O

Audio interfaces that work with HD-series systems require the use of at least one 192 I/O, 192 digital I/O, or 96 I/O.

The original 888 I/O and 882 I/O audio interfaces work with Pro Tools|24 MIX-series and Pro Tools|24 systems only.

Pro Tools Reference Guide6

TDM System Playback, Recording and Voice Limits

The following table lists the audio playback, recording, and voiceable track limits of each type of Pro Tools TDM 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. Voice limits are dependant on the session sample rate, and the number of DSP chips dedicated to the system’s Playback Engine. Pro Tools HD-series systems can open sessions with up to 256 audio tracks (and Pro Tools|24 MIX-series or Pro Tools|24 systems can open sessions with up to 128 audio tracks), but any audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off.

Pro Tools|HD-series systems provide up to 128 Auxiliary tracks (Auxiliary Inputs); Pro Tools|24 MIXseries and Pro Tools|24 systems provide up to 64 Auxiliary Inputs.

All TDM-equipped Pro Tools systems provide a total of 64 internal mix busses. All TDM systems also provide 5 inserts and 5 sends per track, up to the DSP capacity of your system.

Table 1. Pro Tools|HD-series, Pro Tools|24 MIX-series, and Pro Tools|24 system audio playback, recording and voice limits

Sample

Core System Type

Pro Tools|HD 1 44.1/48 96 96 112

Expanded Pro Tools|HD 1, Pro Tools|HD 2, Pro Tools|HD 3

Pro Tools|24 MIX, Expanded Pro Tools|24 MIX, Pro Tools|24 MIXplus, Pro Tools|24 MIX

Pro Tools|24 44.1/48 32 32 43

Expanded Pro Tools|24 44.1/48 64 64 86

Rate (kHz)

88.2/96 48 48 48

176.4/192 12 12 12

44.1/48 128 128 224

88.2/96 64 64 80

176.4/192 24 24 24

44.1/48 64 64 86

Voices (Mono Tracks of Simultaneous Playback)

Mono Tracks of Simultaneous Recording

Total Voiceable Tracks

Chapter 2: Pro Tools System Conﬁgurations 7

Audio Interfaces for TDM Systems

The following table lists the input and output capabilities of the various audio interfaces for TDMequipped Pro Tools systems. In expanded Pro Tools|HD systems, audio interfaces can be combined for up to 96 audio inputs and outputs (for example, with one HD Core card, two HD Process cards, and six I/Os). In expanded Pro Tools|24 MIX systems, audio interfaces can be combined for up to 72 audio inputs and outputs (for example, with one MIX card, five MIX Farm cards, and six 1622 I/Os).

Table 2. Pro Tools TDM system audio interface channel capabilities

Interface Type

192 I/O 16 in/16 out

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

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

Original ADAT Bridge I/O

Number of I/O Channels

(Expansion port supports up to 16 channels of additional I/O)

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

16 in/16 out 44.1, 48 None 20-bit 24-bit (AES

Sample Rates (kHz)

44.1, 48, 88.2, 96, 176.4, 192

96, 176.4, 192

A/D Conversion

24-bit 24-bit 24-bit

None None 24-bit

D/A Conversion

older 20-bit)

Digital I/O

24-bit

or S/PDIF), or 20-bit (Optical)

888 I/O 8 in/8 out 44.1, 48 18-bit (or

older 16-bit)

882 I/O 8 in/8 out 44.1, 48 16-bit 16-bit 24-bit

Pro Tools Reference Guide8

18-bit 24-bit

Pro Tools LE Systems

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

Digi 002

A Digi 002 system includes:

• Digi 002 combined audio interface and con-

troller

• Pro Tools LE software

Mbox

An Mbox system includes:

• Mbox audio interface

• Pro Tools LE software

Digi ToolBox XP

A Digi ToolBox system includes:

• Audiomedia III PCI card

• Pro Tools LE software

Digi 001

A Digi 001 system includes:

• Digi 001 PCI card

• Digi 001 I/O interface

• Pro Tools LE software

The total processing capacity of a Pro Tools LE-based system depends on the processing power of your computer. Contact your Digidesign dealer or visit Digidesign’s Web site for the latest system requirements and compatibility information.

Chapter 2: Pro Tools System Conﬁgurations 9

Pro Tools LE System Capabilities

The following table lists the playback, recording, and input and output capabilities of each Pro Tools LE-based system. All Pro Tools LE systems are limited to 32 or 24 mono audio tracks, as noted in Table 3. If you open a Pro Tools session created on a TDM system containing more than the number of tracks supported on the LE-based system, audio tracks beyond that system’s voiceable track limit will be automatically set to Voice Off (Pro Tools 6.0 or higher), or will not open (Pro Tools 5.3.3 or lower). For example, with a Digi 002, when opening a 64 track session created on a TDM system, only the audio tracks assigned to the first 32 voices will open; if you save the session using Pro Tools LE, any audio tracks beyond the available 32 voices will be set to Voice Off (Pro Tools 6.0 or higher) or lost (Pro Tools 5.3.3 and lower).

All Pro Tools LE systems provide a total of 16 internal mix busses. Pro Tools LE also provides up to 5 inserts and 5 sends per track, depending on your computer’s processing capacity.

Table 3. Pro Tools LE system audio playback, recording, and channel capabilities

System Type

Digi 002 32 up to 18 in/18 out

Digi 001 32 (Pro Tools 6.0 or higher

Mbox 32 (Pro Tools 6.0 or higher

Audiomedia III 32 (Pro Tools 6.0 or higher

Mono Tracks of Simultaneous Playback

and Pro Tools 5.3.1 or higher on Windows)

24 (Pro Tools 5.2 or lower)

and Pro Tools 5.3.3 or higher on Windows)

24 (Pro Tools 5.2)

and Pro Tools 5.3.1 or higher on Windows)

24 (Pro Tools 5.2 or lower)

Number of I/O Channels

(at 48 kHz or lower)

10 in/10 out (at 96 kHz)

up to 18 in/18 out 24-bit 24-bit 24-bit

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

up to 4 in/4 out 18-bit 18-bit 24-bit

A/D Conversion

24-bit 24-bit 24-bit

D/A Conversion

Digital I/O

For details on transferring session material between Pro Tools LE and Pro Tools TDM systems, see “Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems” on page 54.

Pro Tools Reference Guide10

Chapter 3: Pro Tools Concepts

Pro Tools is based on simple concepts which are easy to grasp. Many of them you may already be familiar with. This chapter explains the principals and concepts that form the foundation of Pro Tools operation and functionality.

Hard Disk Audio Recording

Tape-based recording is a linear medium—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 rerecord it.

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

Non-linear 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 nondestructive, meaning that the original recorded material is not altered.

Pro Tools is a non-linear recording system that lets you rearrange and mix recorded material nondestructively.

The Digidesign Audio Engine

DAE (or Digidesign Audio Engine) is Digidesign’s real-time operating system for digital recording systems. When you install Pro Tools, DAE is automatically installed on your system (and can be accessed from within Pro Tools).

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

The DAE Playback Buffer Size determines the amount of memory allocated within DAE to manage disk buffers, which affects system performance. For more information, see “DAE Playback Buffer Size” on page 41. The DAE Playback Buffer Size can be changed in the Playback Engine dialog, discussed below.

Playback Engine Dialog

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

Chapter 3: Pro Tools Concepts 11

Pro Tools LE uses host (CPU) processing to provide audio track recording, playback, mixing, and effects processing. Pro Tools TDM can also use host processing to run RTAS 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. For more information, see “Conﬁguring Pro Tools System Settings” on page 39.

Session File

Pro Tools session ﬁle icon, Pro Tools 6.0

Pro Tools session ﬁle icon, Pro Tools 5.3 or earlier

A session ﬁle is the document that Pro Tools cre- ates when you start a new project. The session file contains maps of all elements associated with a project, including audio files, MIDI data, and all your edit and mix information. You can make changes to a session and save those changes in a new session file. This lets you create multiple versions of a project or back up your editing and mixing work.

Playback Engine dialog for Pro Tools TDM system

The Playback Engine dialog is also where you select the number of voices (and voiceable tracks) for your system and its sessions. Voice count choices in the dialog are based on how much DSP processing you wish to allocate for voicing. For more information, see “Conﬁguring Pro Tools System Settings” on page 39.

See also “System Resources” on page 16.

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.

Pro Tools Reference Guide12

Audio File

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

Audio ﬁle icon, Pro Tools 6.0

Audio ﬁle icon, Pro Tools 5.3 or earlier

Audio files for each session are stored in a folder named “Audio Files.” Audio files are listed in the Audio Regions List and can appear in a track. A section of an audio file can be defined as a region. See “Regions (or Loops)” on page 13.

Tracks

Pro Tools tracks are where audio, MIDI, and automation data are recorded and edited.

Audio tracks in the Edit window

MIDI track in the Edit window

Audio and MIDI tracks 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.

Audio tracks can be mono, stereo, or any supported multichannel format (depending on your type of Pro Tools system). When creating a new audio track, you can choose from a list of formats supported by your system.

Regions (or Loops)

Audio region

A region (or loop) is a piece of audio or MIDI data that may have associated automation data. A region could be a loop, a guitar riff, a verse of a song, a sound effect, a piece of dialog, or an entire sound file. In Pro Tools, regions are created from audio or MIDI files, and can be arranged in audio and MIDI track playlists.

Playlist

Playlist Selector pop-up menu

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

On audio tracks, an edit playlist tells the hard disk which audio files to read in what order. For example, you can use the same audio region to access the same piece of audio multiple times at different locations and not use additional disk space. If desired, different versions of the same original audio can be created to modify the length, fade-in, fade-out, and effects applied.

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 edit playlists for a track. This lets you assemble different versions of performances or edits on a single audio or MIDI track and choose between them with a pop-up menu on the track.

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

Chapter 3: Pro Tools Concepts 13

Figure 1. Rear view of 192 I/O, 16 channels of input and output

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 192 I/O audio interface (Figure 1) provides up to 16 channels of input and output to a Pro Tools|HD system. An 888|24 I/O audio interface provides eight channels of analog input and output to a Pro Tools TDM system.

The second use of the term channel refers to a mixer strip in the Pro Tools Mix window. The term channel strip refers to the mixer strip of any track (audio or MIDI track, Auxiliary Input, or Master Fader) in a session.

Audio and MIDI channel strips have similar controls, but those controls have slightly different effects. For example, audio and Auxiliary Input channel strip faders control the Pro Tools mixer, while MIDI channel strip faders send MIDI volume data (MIDI controller 7).

Figure 2. Channel strip in the Mix window

The term channel also describes a separate aspect of MIDI operation. See “MIDI Concepts” on page 18.

Pro Tools Reference Guide14

Signal Routing

Signal routing options include the following:

Pro Tools provides software-based mixing and signal routing controls. The Mix window is where these controls are located. (Some of these controls can also be accessed from the Edit window, if desired.)

Signal Routing Example

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

Stereo plug-in

Input from Outputs to Stereo Bus path

Stereo

Bus path

Output to Stereo Output path

Track 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 Inputs and Master Faders Auxiliary Inputs are tracks that can be used as returns, submixers and bus masters. Master Faders are used as bus and output master level controls. Both Auxiliary Inputs and Master Faders can have inserts or plug-ins.

Sends Sends route audio to internal busses to send to other tracks in Pro Tools, or to hardware outputs.

Plug-Ins and Inserts Software plug-ins and hardware inserts process the audio on their associated track. Plug-in processing occurs completely within the Pro Tools system. Hardware inserts utilize audio interface inputs and outputs, for traditional insert routing to (and from) external effects and other devices.

Audio Tracks

Submixing to an Auxiliary Input

Auxiliary Input

Paths Pro Tools lets you define a group of multiple inputs, outputs, or busses that have a single name and (channel) format. These groups comprise the lists of available routing choices in track I/O Selectors and other menus. Paths can be very useful for assigning stereo and multichannel I/O routing or sub-paths within a path. See Chapter 7, “I/O Setup” for more information.

Mixing Formats Sessions can include combinations of mono, stereo, and multichannel format tracks, busses, inputs, outputs, and inserts. (Multichannel formats are supported on Pro Tools HD-series and MIX-series only.)

Chapter 3: Pro Tools Concepts 15

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 (such as CPU Usage and H/W Buffer Size) that affect its capacity for processing, playback, and recording. See “Conﬁguring Pro Tools System Settings” on page 39.

◆ Active and inactive switching lets you selec-

tively toggle items (such as tracks and inserts) between active (on) and inactive (off). This lets you precisely allocate DSP and other resources when developing playlists, tracks, and mixes. See “Active and Inactive Items” on page 16.

◆ Pro Tools TDM systems and Pro Tools LE 6.0

systems provide ﬂexible voice options for disk tracks. For more information on voice management and options, see “Voiceable Tracks and Track Priority” on page 96.

Active and Inactive Items

Pro Tools lets you set certain items (such as audio tracks) as 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 tracks, Auxiliary Inputs, and Master

Faders

◆ 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 will automatically make items inactive if there are insufficient or unavailable resources.

When active, items are fully engaged and operational.

When inactive, items are silent and off, although most associated parameters can still be edited (changed). 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 17).

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 17).

Pro Tools Reference Guide16

Tracks For TDM systems (Pro Tools 5.1 and higher) and Pro Tools LE 6.0 only, when a track is inactive, its voice is made available for another track. Additionally, when an audio track, Auxiliary Input, or Master Fader is made inactive, its plug-ins, inserts, sends, and I/O assignments become inactive.

Display of Inactive Items

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.

When items are inactive, their names appear in italics, and their background becomes dark grey. When a track is inactive (TDM systems only), the entire channel strip darkens.

Active Inactive plug-in

Inactive track

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. 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.

To toggle an item active or inactive:

■ Command-Control-click (Macintosh) or Con-

trol-Start-click (Windows) the item.

Active and inactive items and tracks

You can apply Active or Inactive modes to all or all selected tracks using standard Pro Tools modifiers (Option and Option+Shift on the Macintosh, Alt and Alt+Shift in Windows). Side-chain inputs support direct active and inactive switching, but do not follow switching all or all selected.

Chapter 3: Pro Tools Concepts 17

MIDI Concepts

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, patch bays, effects processors, MIDI interfaces, and 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; and, MIDI THRU echoes whatever is received from the IN port. MIDI devices are connected with MIDI cables that are available at most music stores.

echoed from IN

MIDI Terms

The following are some basic MIDI terms:

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

MIDI Device Any 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 keyboards, MIDI guitar controllers, MIDI wind instruments, and others. Controllers transmit MIDI from their MIDI OUT ports.

MIDI Control Surface Any device, such as the Mackie HUI, that uses a MIDI connection to send control messages to a software program, but is not generally used to record MIDI information.

MIDI Sound Source Any MIDI instrument capable of playing back MIDI-triggered sound. Sound sources receive MIDI from their MIDI IN ports.

MIDI signal ﬂow

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

A single MIDI cable can transmit a separate set of messages for each of the 16 channels. These 16 channels correspond to separate MIDI devices or to multiple channels within a single device (if the device is multi-timbral). Each channel represents a discreet instrument sound; for instance, 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 a single multi-timbral keyboard.

Pro Tools Reference Guide18

Multi-Timbral The capability of playing several different instrument sounds (such as piano, bass, and drums) simultaneously on separate channels. This makes it possible for a single MIDI sound source to play back entire arrangements.

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.

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.

Common Misconceptions about MIDI

MIDI is not audio. The messages that travel down a MIDI cable are only numbers that translate to specific instructions. For instance, when you strike a key on your MIDI keyboard it sends a message to its MIDI OUT port telling another device (if connected and set to the same MIDI channel) to play that particular note.

Signal paths for MIDI instruments

However, to actually hear that second device (sound source) you’ll need to connect its audio outputs to a sound system. Your MIDI instruments have two signal paths, one for audio and another for MIDI.

MIDI does not allow you to use your devices beyond their capabilities. Particular instruments have their own sound generation, polyphony, and multi-timbral limitations.

Chapter 3: Pro Tools Concepts 19

Pro Tools Reference Guide20

Chapter 4: Pro Tools Windows

Pro Tools provides two complementary ways of viewing a session: the Mix window and the Edit window. Pro Tools also allows you to control the transport and transport-related functions from the Transport window.

Depending on which version of Pro Tools you have, the Mix window and Edit window will appear differently.

Pro Tools 6.0

For more information on the main elements of the Mix window and Edit window, see the page references provided in Figure 3 on page 22, and Figure 4 on page 23.

Pro Tools 5.3.x and 5.1.x

For more information on the main elements of the Mix window and Edit window, see the page references provided in Figure 5 on page 24, and Figure 6 on page 25.

The Mix Window

In the Mix window, tracks appear as mixer strips (or channel strips), with controls for inserts, sends, input and output assignments, volume, panning, record-enable, automation mode, and solo/mute. The following section explains each of these track controls.

To display the Pro Tools input/output controls, inserts, sends, and comments, select Display > Mix Window Shows > All.

To toggle between the Mix and Edit windows: On Macintosh, press Command+Equals (=); on Windows, press Control+Equals (=).

The Edit Window

The Edit window provides a timeline display of audio, as well as MIDI data and mixer automation for recording, editing and arranging tracks. As in the Mix window, each track has controls for record enable, solo, mute and automation mode.

Systems with the Pro Tools AVoption installed also provide a timeline display of the movie track.

To display the input/output controls, inserts, sends, and comments in the Edit window, select Display > Edit Window Shows > All. You can choose to display all of these items, or some of them.

Chapter 4: Pro Tools Windows 21

Show/Hide

Tracks List

(page 90)

Automation

(page 423)

Voice Selec-

tor (page 95)

Output Window

button

(page 387)

Mix Groups

List

(page 101)

Group ID Indicator

AutoMatch

Indicator

(page 427)

Send with

Send Controls

(page 389)

Plug-In Insert (page 405)

MIDI Track Program button (page 342)

Inserts

View

(page 86)

Sends

View

(page 391)

I/O View

(page 86)

Channel Pan

(page 87)

Track

Controls

(page 26)

Channel

Volume

(page 87)

Level Meter

(page 87)

Track Name (page 89)

Track

Comments

View

(page 88)

Stereo

Audio Track

(page 83)

Figure 3. Pro Tools Mix window (Pro Tools 6.0)

Pro Tools Reference Guide22

Mono

Audio Track

(page 83)

Auxiliary

Input

(page 83)

MIDI

Track

(page 83)

Master

Fader

(page 83)

Edit Mode

buttons

(page 205)

Tab to

Transients

(page 232)

Rulers

(page 212)

Show/Hide

Tracks List

(page 90)

Audio Track

(page 83)

Edit Groups

List

(page 101)

Timeline Selections

(page 223)

Commands

Focus

(page 34)

Zoom buttons

(page 208)

Edit tools (page 26)

Location Indicators

Grid and

Nudge Values

(page 27)

Event Edit Area

(page 27)

Timeline

Audio

Regions

List

(page 202)

Audio

Waveform

View

(page 190)

Volume

Automation

View

(page 190)

MIDI Track

(page 83)

MIDI Velocity View

(page 190)

Selected Region

Figure 4. Pro Tools Edit window (Pro Tools 6.0)

(page 225)

MIDI Notes View

(page 190)

MIDI Regions List

(page 202)

Chapter 4: Pro Tools Windows 23

Send with

Send Controls

(page 389)

MIDI Track Program button (page 342)

Plug-In Insert (page 405)

Show/Hide

Tracks List

(page 90)

Automation (page 423)

Output window

button

(page 387)

Group ID Indicator

Mix Groups

List

(page 101)

AutoMatch

Indicator

(page 427)

Track Name (page 89)

Track

Comments

View

(page 88)

Stereo

Audio Track

(page 83)

Mono

Audio Track

(page 83)

Auxiliary

Input

(page 83)

Inserts

View

(page 86)

Sends

View

(page 391)

I/O View (page 86)

Track

Controls

(page 26)

Channel Pan (page 87)

Channel

Volume

(page 87)

Level Meter

(page 87)

MIDI Track

(page 83)

Master

Fader

(page 83)

Figure 5. Pro Tools Mix window (Pro Tools 5.3.x and 5.1.x)

Pro Tools Reference Guide24

Link Selections

(page 223)

Commands Focus (page 34)

Edit Mode buttons (page 205)

Zoom buttons (page 208)

Edit tools (page 26)

Event Edit Area (page 27)

Location Indicators (page 27)

Grid and Nudge Values (page 27)

Timeline

b to Transients

(page 232)

Rulers (page 212)

Show/Hide

Tracks List

(page 90)

Audio Track (page 83)

MIDI Track (page 83)

Edit Groups

List

(page 101)

MIDI Velocity View (page 190)

Selected Region (page 225)

MIDI Notes View (page 190)

Audio

Regions

List

(page 202)

Audio

Waveform

View

(page 190)

Volume

Automation

View

(page 190)

MIDI Regions List (page 202)

Figure 6. Pro Tools Edit window (Pro Tools 5.3.x and 5.1.x)

Chapter 4: Pro Tools Windows 25

Track Controls

Automation Mode Selector (page 423)

Solo button (page 98)

Mute button (page 98)

Voice Selector (page 95)

Record Enable button (page 136)

Mix window, controls for audio and MIDI tracks, wide view (Pro Tools 6.0)

Record Enable button (page 136)

Track Name (page 89)

Playlist Selector (page 199)

Automation Mode Selector (page 423)

Mute button (page 98)

Voice Selector (page 95)

Track Height Selector (page 192)

Track V iew Selector (page 190)

Solo button (page 98)

Automation Mode Selector (page 423)

Voice Selector (page 95)

Mute button (page 98)

Solo button (page 98)

Mix window, controls for audio and MIDI tracks, wide view (Pro Tools 5.3.x and 5.1.x)

Track Name (page 89)

rack View Selector (page 190)

Playlist Selector (page 199)

Record Enable button (page 136)

Solo button (page 98)

Mute button (page 98)

Track Height Selector (page 192)

Automation Mode Selector (page 423)

Voice Selector (page 95)

Edit window track controls, medium track height (Pro Tools 6.0)

Edit window track controls, medium track height (Pro Tools 5.3.x and 5.1.x)

Edit Tools

Trimmer

(page 245)

Zoomer

(page 208)

Selector

(page 217)

Smart Tool (page 265)

Grabber

(page 226)

Edit tools in Edit window (Pro Tools 6.0)

Trimmer

(page 245)

Zoomer

(page 208)

(page 217)

Smart Tool

(page 265)

Selector

Grabber

(page 226)

(page 264 & page 331)

Edit tools in Edit window (Pro Tools 5.3.x and 5.1.x)

Scrubber

(page 221)

Pencil

(page 264 & page 331)

Scrubber (page 221)

Pencil

Pro Tools Reference Guide26

Event Edit Area

The Event Edit Area provides time, pitch, and other information for the currently selected audio or MIDI data. It also lets you define selections via key entry.

The Start, End, and Length display can be set for a different Time Scale format (such as Bars:Beats, or Minutes:Seconds, and so on). For more information, see “Main Time Scale” on page 213.

The Main and Sub display can be set for a different Time Scale format (such as Bars:Beats, or Minutes:Seconds, and so on). For more information, see “Main Time Scale” on page 213.

Location Indicators (page 218)

Grid value

(page 252)

Nudge value

(page 253)

Cursor Location

(page 217)

Cursor value

(page 217)

Selection Indicators (page 28)

Note

Attributes

(page 339)

Pitch

Attack Velocity

Release Velocity

Event Edit Area showing MIDI track information (Pro Tools 6.0)

Selection Indicators (page 28)

Note

Attributes

(page 339)

Pitch

Attack Velocity

Release Velocity

Event Edit Area showing MIDI track information (Pro Tools 5.3.x and 5.1.x)

Location Indicators, Grid/Nudge Values, Current Cursor Display

The Location Indicators, Grid and Nudge values, and timeline Cursor Location display provide navigation and editing options.

Edit window display showing MIDI track information (Pro Tools 6.0)

Location Indicators (page 218)

Nudge value

(page 253)

Cursor Location

(page 217)

Grid value

(page 252)

Cursor value

(page 217)

Edit window display showing MIDI track information (Pro Tools 5.3.x and 5.1.x)

Chapter 4: Pro Tools Windows 27

The Transport Window

Return to Zero Locates to the beginning of the session.

The Transport window can be set to show basic transport controls, counters, and MIDI controls. The counters in the Transport window mirror the Location Indicators at the top of the Edit window.

Basic Transport Controls and Counters

Return to Zero

Rewind

Online

Pre-Roll

Post-Roll

Transpor t Master

Transport window showing basic transport controls and counters (Pro Tools 6.0)

Return to Zero

Rewind

Online

Pre-Roll

Post-Roll

Transpor t Master

Transport window showing basic transport controls and counters (Pro Tools 5.3.x and 5.1.x)

Online Puts Pro Tools online so that playback and recording is triggered by an external time code source.

Fast Forward

Play

Stop

Start, End, and Length

for Timeline Selection

Fast Forward

Play

Stop

Start, End, and Length

for Timeline Selection

Go to End

Record

Go to End

Record

You can press Return (Macintosh) or Enter on the alpha keyboard (Windows) to locate to the beginning of the session.

Rewind Rewinds from the current play location. You can also click repeatedly to rewind incrementally, by an amount based on the Main Time Scale, as follows:

Rewind Increments

Main Time Scale Format

Increment Amount

Min:Sec 1 second

Time code 1 frame

Bars:Beats 1 bar

Feet.Frame 1 foot

Sample 1 second

With the Numeric Keypad Mode set to Transport, you can rewind by pressing 1.

Stop Stops playback or recording.

You can also stop the Transport with the following shortcuts:

• Press the Spacebar.

•With the Numeric Keypad Mode set to Transport, press 0.

Play Starts playback or (if the Record button was clicked first) recording from the Timeline insertion point.

With the Transport stopped, Control-click Play (Macintosh) or Right-click Play (Windows) to toggle Loop Playback mode. When enabled, a loop symbol appears in the Play button.

Pro Tools Reference Guide28

You can also initiate playback with the following shortcuts:

• Press the Spacebar.

•With the Numeric Keypad Mode set to Transport, press 0.

You can play at half-speed with the following shortcuts:

• Press Shift+Spacebar.

• Shift-click (Macintosh) the Play button.

Fast Forward Fast forwards from the Timeline insertion point. You can also click repeatedly to fast forward incrementally (by an amount based on the Main Time Scale).

Fast Forward Increments

Main Time Scale Format

Min:Sec 1 second

Time code 1 frame

Increment Amount

Record Arms Pro Tools for recording (the button flashes). Clicking Play then initiates recording.

With the Transport stopped, Control-click Record (Macintosh) or Right-click Record (Windows) to cycle through the four record modes. The Record button changes to indicate the currently selected mode: blank for Nondestructive, “D” for Destructive, a loop symbol for Loop Record, and “P” for QuickPunch.

You can also begin recording with the following shortcuts:

• Press F12.

• Press Command+Spacebar (Macintosh) or Control+Spacebar (Windows).

•With the Numeric Keypad Mode set to Transport, press 3.

To initiate recording at half-speed, press Command+Shift+Spacebar (Macintosh) or Control+Shift+Spacebar (Windows).

Bars:Beats 1 bar

Feet.Frame 1 foot

Sample 1 second

With the Numeric Keypad Mode set to Transport, you can fast forward by pressing

Go to End Locates to the end of the session.

You can press Option+Return (Macintosh) or Control+Enter on the alpha keyboard (Windows) to locate to the end of the session.

Pre-Roll During playback or record, specifies the amount that plays before the play (timeline) cursor location or beginning of the timeline selection. Pre-roll is particularly useful with punch recording since it provides you with time to “catch the beat” before reaching the punch-in point. To set the pre-roll amount, enter a new value in this field, or drag the Pre-Roll flag in the Main Timebase Ruler.

To enable pre-roll, click the Pre-Roll button to the left of the pre-roll field so it becomes highlighted.

Chapter 4: Pro Tools Windows 29

Post-Roll During playback or record, specifies the amount that plays after the end of a timeline selection. Post-roll is useful in punch recording since playback continues after the punch-out point so you can check for a smooth transition to previously recorded material. To set the postroll amount, enter a new value in this field, or drag the Post-Roll flag in the Main Timebase Ruler.

To enable post-roll, click the Post-Roll button to the left of the post-roll field so it becomes highlighted.

Start Specifies the beginning of the play or record range. You can set the start point by entering a location in this field, or by dragging the corresponding Playback Marker in the Main Timebase Ruler. For more information, see “Playback Markers” on page 163.

End Specifies the end of the play or record range. You can set the end point by entering a location in this field, or by dragging the corresponding Playback Marker in the Main Timebase Ruler. For more information, see “Playback Markers” on page 163.

Length Specifies the length for the play or record range. You can set the length by entering a location in this field, or by selecting a range in any Timebase Ruler.

When the Edit and Timeline selections are linked, you can drag in a track’s playlist to set the play and record range.

Transport Master Specifies the “master” for transport functions. Click this button and choose from the pop-up menu to select the Transport Master, which can be set to Pro Tools, Machine, MMC, or Remote. For information, see Chapter 35, “Time Code Synchronization.”

MIDI Controls

Wait for Note

Countoff

Click

Meter

Conductor

Transport window showing MIDI controls (Pro Tools 6.0)

Wait for Note

Click

Meter

Conductor

Transport window showing MIDI controls (Pro Tools

5.3.x and 5.1.x)

Wait for Note When selected, recording does not begin until a MIDI event is received. This ensures that you begin recording when you’re ready to play, and that the ﬁrst note, or other MIDI data, is recorded precisely at the beginning of the record range.

You can press F11 to turn on Wait for Note, unless the Operation Preference for “Disable F11 for Wait for Note” is selected.

MIDI Merge

Tempo

Countoff

MIDI Merge

Tempo

Pro Tools Reference Guide30

Click When selected, a metronome sounds during playback and recording (as specified by the settings in the Click/Countoff Options dialog).

Double-click the Click button to open the Click/Countoff Options dialog.

With the Numeric Keypad Mode set to Transport, you can press 7 to enable the Click.

Countoff When selected, Pro Tools counts off a specified number of measures (indicated in the button) before playback or recording begins.

Double-click the Countoff button, to open the Click/Countoff Options dialog.

With the Numeric Keypad Mode set to Transport, you can press 8 to enable the Countoff.

MIDI Merge When selected (Merge mode), recorded MIDI data is merged with existing track material. When deselected (Replace mode), recorded MIDI data replaces existing track material.

Conductor When selected, Pro Tools uses the tempo map defined in the Tempo Ruler. When deselected, Pro Tools switches to Manual Tempo mode and ignores the Tempo Track.

In Manual Tempo mode, you can enter a BPM value in the tempo field, or tap in the tempo by clicking the Tap button.

Meter Displays the session’s current meter based on the play location. Double-click the Meter button to open the Change Meter window.

Tempo Displays the session’s current tempo based on the play location. In Manual Tempo mode, you can enter a BPM value into this field. In addition, when the tempo field is selected, you can tap in a tempo from a MIDI controller.

With the Numeric Keypad Mode set to Transport, you can press 9 to enable MIDI Merge.

Chapter 4: Pro Tools Windows 31

Pro Tools Reference Guide32

Chapter 5: Keyboard Shortcuts

Global Key Commands

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

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 Macintosh Windows

Apply action to all channel strips/tracks

Option+ action

Alt+ action

List and Parameter Selection

• Selection of tracks in Show/Hide List

• Enabling of groups in Groups List

• Automation Enable window parameters

• Setting memory location parameters

Command Macintosh Windows

Toggle item and set all others to same new state

Toggle item and set all others to opposite state

Option-click item

Commandclick item

Alt-click item

Control-click item

Controls and Editing Tools

◆ Use to move plug-in controls, faders and slid-

ers, the Scrubber, and automation data

Command Macintosh Windows

Fine adjustment of sliders, knobs, and breakpoints

Commandclick item

Controlclick item

Apply action to selected channel strips/tracks

Option+ Shift+ action

Alt+ Shift+ action

Chapter 5: Keyboard Shortcuts 33

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 alpha keyboard to select regions in the Audio or MIDI Regions List, enable or disable groups, or perform an edit or play command.

Commands

Key Focus

Groups List

Key Focus

Keyboard Focus buttons (Pro Tools 6.0)

Audio Regions List

Key Focus

MIDI Regions List

Key Focus

You can only enable one Keyboard Focus at a time. Enabling a Keyboard Focus will disable the one previously selected.

To set the Keyboard Focus:

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

enable.

– or –

While pressing Command+Option (Macintosh) or Control+Alt (Windows), press one of the following keys: 1 (Commands), 2 (Audio Regions List), 3 (MIDI Regions List), or 4 (Groups List).

Commands Focus (All TDM Systems and Pro Tools LE 6.0 Only) When selected, this pro-

vides a wide range of single key shortcuts from the alpha keyboard for editing and playing.

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

An electronic PDF listing of keyboard shortcuts is available in Pro Tools. Choose Help > Keyboard Shortcuts.

Audio Regions List

Key Focus

Commands

Key Focus

Groups List

Key Focus

MIDI Regions List

Key Focus

Keyboard Focus buttons (Pro Tools 5.3.x and 5.1.x)

Pro Tools Reference Guide34

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

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

Groups List Focus When selected, Edit and Mix Groups can be enabled or disabled by typing the Group ID letter.

Refer to the Keyboard Shortcut Card in Pro Tools: Choose Help > Keyboard Shortcuts.

Numeric Keypad Modes

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

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, Location Indicators, and Transport fields.

To set the Numeric Keypad Mode:

1 Choose Setups > Preferences and click Opera-

tion.

2 Under the option for Numeric Keypad Mode,

select a keypad mode (Classic, Transport, or Shuttle), then click Done.

Transport

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

Classic

This mode emulates the way Pro Tools worked in versions earlier 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 Control (Macintosh) or the Start key (Windows), 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 a period.

Record 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 Control (Macintosh) or the Start key (Windows), 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.

Chapter 5: Keyboard Shortcuts 35

Shuttle

(TDM Systems Only)

Pro Tools offers another form of shuttling, different from that of Shuttle Lock mode. 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 postroll are ignored.

Function 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 mode is not available when the Numeric Keypad Mode is set to Shuttle.

Pro Tools Reference Guide36

Part II: Sessions & Tracks

Chapter 6: Sessions

This chapter covers the basics of starting a project in Pro Tools, including how to set up and save a Pro Tools session.

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 For TDM systems with an expansion chassis,

turn on the chassis.

2 Turn on any external hard drives. Wait ap-

proximately ten seconds for them to spin up to speed.

3 Turn on any MIDI interfaces, MIDI devices, or

synchronization peripherals.

4 Lower the volume of all output devices in

your system.

5 For TDM systems, turn on your Pro Tools au-

dio interfaces. Wait at least ﬁfteen seconds for your system hardware to initialize.

6 Turn on your computer.

Shut down your Pro Tools system in this order:

1 Quit Pro Tools and any other running applica-

tions.

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

vices in your system.

3 Turn off your computer.

4 For TDM systems, turn off audio interfaces.

5 For TDM systems with an expansion chassis,

turn off the chassis.

6 Turn off any MIDI interfaces, MIDI devices, or

synchronization peripherals.

7 Turn off any external hard drives.

Conﬁguring Pro Tools System Settings

Pro Tools allows you to adjust the performance of your system by changing system settings that affect its capacity for processing, playback, and recording.

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

7 Launch Pro Tools or any third-party audio or

MIDI applications.

Chapter 6: Sessions 39

Hardware Buffer Size

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

◆ Lower Hardware Buffer Size settings reduce

monitoring latency, and are useful when you are recording live input.

◆ Higher Hardware Buffer Size settings allow for

more audio processing and effects, and are useful when you are mixing and using more RTAS plug-ins.

◆ Lower CPU Usage Limit settings limit the ef-

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

◆ Higher CPU Usage Limit settings allocate

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

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

In addition to causing slower screen response and monitoring latency, higher Hardware Buffer Size settings can affect the accuracy of plug-in automation, mute data, and timing for MIDI tracks.

To change the Hardware Buffer Size:

1 Choose Setups > Playback Engine.

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

the audio buffer size, in samples.

3 Click OK.

CPU Usage Limit

The CPU Usage Limit controls the percentage of CPU resources allocated to Pro Tools host processing tasks.

With Pro Tools 5.3.3 and earlier, the maximum CPU Usage Limit is 85 percent.

With Pro Tools 6.0, the maximum CPU Usage Limit is 85 percent for single-processor computers, and 99 percent for multi-processor computers. (The 99 percent setting dedicates one entire processor to Pro Tools.)

To change the CPU Usage Limit:

1 Choose Setups > Playback Engine.

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

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

3 Click OK.

Number of Voices

(TDM Systems Only)

On TDM 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 current sample rate and the number of TDM cards in your system, you will have different choices for voice count. For voice limits on different HD systems, see “TDM System Playback, Recording and Voice Limits” on page 7.

Pro Tools Reference Guide40

To change the Voice Count:

1 Choose Setups > Playback Engine.

Playback Engine dialog (Pro Tools 6.0)

Playback Engine dialog (Pro Tools 5.1.3)

Default Sample Rate

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

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

To change the default Sample Rate:

1 Choose Setups > Playback Engine.

2 Select the sample rate from the Sample Rate

pop-up menu.

3 Click OK.

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 46.)

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 (Pro Tools 5.3 and later), or by clicking a value under Playback Engine (Pro Tools 5.1.3).

• Select higher voice numbers when your Digidesign cards are the only PCI cards in your computer, or when you are using an expansion chassis to run higher track counts.

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

• Select minimum voice numbers if you are using high-bandwidth PCI cards (such as video capture cards) along with your Digidesign cards.

3 Click OK.

DAE Playback Buffer Size

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

◆ Lower DAE Playback Buffer Size settings can

improve playback and recording initiation speed. However, a lower setting can make it difﬁcult for slower hard drives to play or record tracks reliably.

◆ Higher DAE Playback Buffer Size settings can

allow for a higher density of edits in a session. However, a higher setting can cause a time lag to occur before playback or recording begins. It can also cause a time lag to occur when you are editing during playback.

Chapter 6: Sessions 41

To change the DAE Playback Buffer Size (Pro Tools 5.3 and later):

1 Choose Setups > Playback Engine.

2 Choose File > Set Playback Buffer Size.

Playback Engine dialog (Pro Tools 6.0)

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 box.

3 Click OK.

4 If Pro Tools needs more system memory for

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

To change the DAE Playback Buffer Size (Pro Tools 5.1.3):

1 Launch DAE. If Pro Tools is already running,

switch to the DAE application.

DAE Playback Buffer Size dialog (Pro Tools 5.1.3)

3 Select a buffer size.

4 Click OK.

5 Quit Pro Tools if it is running, or quit the DAE

application. The new buffer setting will take effect when you launch Pro Tools again.

System Memory Allocation

(Pro Tools 6.0 TDM Systems 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 system memory is available to other applications.

To minimize system memor y allocation:

1 Choose Setups > Playback Engine.

2 Select the “Minimize System Memory Alloca-

tion” option.

3 Click OK.

4 Restart your computer.

Pro Tools Reference Guide42

Conﬁguring Pro Tools Hardware Settings

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

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

To configure a Pro Tools MIX-series, Pro Tools|24, or Pro Tools LE system, refer to the

Getting Started Guide that came with

that system.

Conﬁguring Pro Tools|HD Hardware

On TDM systems, you configure Hardware settings for each audio interface connected to your system. For example, Pro Tools|HD-series systems can have 192 I/O, 192 Digital I/O, or 96 I/O audio interfaces connected to HD Core and HD Process cards in the system. Those audio interfaces can have additional interfaces attached (including older Digidesign audio interfaces, or Legacy I/Os, such as the 888|24 I/O, 882|20 I/O or 1622 I/O). For more information, see Chapter 2, “Pro Tools System Configurations.”

Conﬁguring Hardware Setup

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.

Hardware Setup dialog for 192 I/O (Main page)

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.

Hardware Setup dialog for 192 I/O (Analog In page)

You can 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 will illuminate.

To conﬁgure audio interfaces on an HD system:

1 Choose Setups > Hardware Setup.

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.

Chapter 6: Sessions 43

4 From the Clock Source pop-up menu, select

the appropriate clock source for the system. In most cases, you will use Internal. The other choices are for resolving Pro Tools to external clock sources. Depending on your audio interface, Clock Source options can include: AES/EBU [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 From the Ext. Clock Output pop-up menu, se-

lect the appropriate clock output to send to devices attached to your audio interface.

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.

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, click the Meters pop-up menu

and select whether to meter the input or output signal.

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.

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 dB).

• On the 192 I/O analog input, setting the input connector, input trim (A or B), and Soft Limit.

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

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

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

11 Repeat the above steps for each additional

HD-series 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 HD-series audio interfaces in your system. Before you can conﬁgure a Legacy I/O, it must ﬁrst be initialized in Hardware Setup (See “Initializing MIX-Series Peripherals” on page 45.)

13 Click OK.

Pro Tools Reference Guide44

Initializing MIX-Series Peripherals

Conﬁguring I/O Setup

Before you can configure a Legacy I/O, it must first be initialized in Hardware Setup.

To initialize a Legacy I/O on an HD system:

1 Start up your Pro Tools system. See “Starting

Up or Shutting Down Your System” on page 39.

2 Make sure to lower the volume of your output

devices. Very loud digital noise may be emitted before the Legacy I/O is initialized.

3 Turn on your Legacy I/O.

4 From the Peripherals list, choose the primary

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

5 In the Main page of the Hardware Setup dia-

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

6 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.

7 From the Interface pop-up menu, select the

type of Legacy I/O you connected.

8 Set the External Clock Output on the HD in-

terface to 256x, which is the required clock speed for Legacy I/Os.

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 also lets you label and map Pro Tools input, output, insert, and bus signal paths. For more information on paths, path labeling, and path mapping, see Chapter 7, “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 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).

After you select an audio interface, the Main page updates with controls that can be configured. Refer to the guide for your audio interface for details on each control.

9 Repeat the above steps for each additional

Legacy I/O.

For more information on Hardware Setup controls for each Legacy audio interface, refer to the guide that came with the interface.

To select multiple output por ts for a Pro Tools output channel pair:

1 Choose Setups > Hardware Setup.

2 From the Peripherals list, select an interface.

3 Click the Main tab.

4 Select an output pair from an Output pop-up

menu.

Chapter 6: Sessions 45

5 Control-click (Macintosh) or Start-click (Win-

dows) the same pop-up menu a second time to choose an additional output pair.

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

When you record a new audio track, the track is saved as a new audio file to the Audio Files folder. You can also import other audio files into the session, and work with them as well.

Typical session folder

For details on allocating audio tracks to different hard drive locations, including shared media volumes, see “Disk Allocation” on page 141.

Hardware Setup dialog for 192 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 69.

Creating a New Session

The first step in beginning a Pro Tools project is creating a new session. When you do this, Pro Tools automatically creates a new folder named for your session. Within this folder is the session file and two subfolders, an Audio Files folder, and a Fade Files folder.

The Audio Files folder contains all audio recorded or converted during the session. The Fade Files folder contains any crossfaded audio data generated by the session.

To create a new session:

1 Choose File > New Session.

New Session dialog

2 Choose the drive where you want to save the

session. The session should be saved on a dedicated audio drive.

Pro Tools Reference Guide46

3 Select “Enforce Mac/PC Compatibility” (Mac-

intosh) if you want to create session and audio ﬁles that can be used in either Macintosh or Windows versions of Pro Tools. See “Creating Mac and PC Compatible Sessions” on page 130 for more information.

To use Japanese or non-ASCII characters in track and region names, or track comments, deselect the option for “Enforce Mac/PC Compatibility” when creating a new session.

If you save a session copy with the “Enforce Mac/PC Compatibility” option enabled, all Japanese and non-ASCII characters will be lost.

Choosing Bit Depth and Sample Rate

When choosing a bit depth or sample rate for your session, consider the disk space your selection will require. 24-bit audio files occupy about 50 percent more disk space than 16-bit audio files. 192 kHz audio files occupy about four times the space as 44.1 kHz audio files.

Bit depth and sample rate also have an effect on the amount of mixing power available in a session. On TDM systems, fewer mixer channels are available with 24-bit sessions and with sessions at higher sample rates (see Appendix B, “TDM Mixing and DSP Usage”). On LE systems, 24-bit sessions require more processing power as well.

4 Select the audio ﬁle format for the session.

For optimum compatibility between Windows and Macintosh sessions, set the file type to WAV. Sound Designer II (SD II) files are not supported on Windows systems, and Pro Tools prevents you from choosing SD II as the file type if Enforce Mac/PC Compatibility is selected (or the session is on a PC).

5 Select the bit depth (16 bit or 24 bit) and the

sample rate.

6 Select the I/O Settings to use for the session.

Several pre-conﬁgured I/O Settings are included with your system, or you can select a custom I/O Setting that you have created. See Chapter 7, “I/O Setup” for more information.

7 Name the Session.

8 Click Save.

It is not possible to combine different bit depths within a single Pro Tools session; files of different bit depths must be converted and imported into the session.

Chapter 6: Sessions 47

Opening a Session

When you open a session, Pro Tools looks in the session folder for audio and fade files linked to the session.

To open an existing session:

1 Choose File > Open Session.

2 Locate the session you want to open and click

Open.

Opening a Session that Contains Unavailable Resources

Pro Tools prompts you when opening a session that contains unavailable voices, I/O paths, DSP resources, or plug-ins. This is common when transferring sessions to systems with different Digidesign hardware.

Opening a session with unavailable resources

The dialog contains a summary of the missing session components. To save a text file containing a more detailed report, along with the resulting action, click OK.

The following will occur when opening a session with unavailable items:

Open Session dialog

Pro Tools Reference Guide48

With Pro Tools TDM Systems:

◆ Any tracks beyond the maximum number of

available voices on the current system are made inactive.

With Pro Tools LE 6.0:

◆ Any tracks beyond the maximum number of

available voices on the current system are set to voice off.

With Pro Tools LE 5.3.x and earlier:

◆ Any tracks beyond the maximum number of

available voices on the current system are removed from the session. If the session is saved, the removed tracks are lost.

With all Pro Tools Systems:

◆ Inserts assigned to unavailable plug-ins are

made inactive.

◆ Inputs, outputs, and sends that are assigned to

unavailable paths are made inactive.

Saving a Session

You should save regularly while working on your session to ensure that your work is preserved on your hard drive.

Speeding up Saves by Reducing the Disk Cache Size

(Mac OS 9 Only)

Saving the Session File with a New Name

To save a copy of the current session with a new name or to a different hard drive location, you can use the Save Session As command. Because the Save Session As command closes the current session and lets you keep working on the renamed copy, it is useful if you are experimenting and want to save successive versions of the session.

By working this way, you can quickly retrace your steps if you want to go back to an earlier version of your session. The Save Session As command saves a new version of the session ﬁle only—not duplicate versions of the audio or fade files.

To speed up session saves and disk bounces, it is recommended that you reduce the Cache Size for your Macintosh to 512K (in the Control Panel > Memory dialog).

Saving the Session File

The Save Session command saves the changes you have made to your session and writes them over the previously saved version of the session file. The Save Session command cannot be undone.

To save a session:

■ Choose File > Save Session.

Revert to Saved Command

If you have made changes to a session since you last saved it, you can discard the changes and revert to its previously saved state.

To revert to the last saved version of a session:

■ Choose File > Revert to Saved.

To save a session with a new name:

1 Choose File > Save Session As.

2 Enter a new name for your session.

3 Click Save.

The renamed session file is saved in the session folder along with the original session. Any new audio files that you record in your renamed session will be placed into the same Audio Files folder that was created for your original session.

Chapter 6: Sessions 49

Saving a Copy of the Session

To save a copy of the current session along with its audio files and fade files, you can use the Save Session Copy In command. In addition, you can specify a session file format, audio file format, bit depth, and sample rate for the session copy.

Using the Save Session Copy In command is the only way to change the sample rate of a session.

When you Save Session Copy with a lower bit rate, Dither (and Noise Shaping) may be applied. See the following table:

Dither and Noise Shaping with Save Session Copy In

Save

Bit Rate Conversion

Session Copy

Save Session Copy In dialog

Unlike the Save Session As command, Save Session Copy In does not close the original session, so subsequent edits are made to the original session. Session copies can be used to archive important sessions, or as a means to prepare sessions for transfer to another Pro Tools system.

Save Session Copy In saves only the audio being used in the session. Any audio that was recorded or imported and then later removed from the session will not be included in the new session copy.

24-bit to 16-bit (Dither and Noise Shape)

24-bit to 8-bit (Noise Shape Only)

16-bit to 8-bit (Noise Shape Only)

Yes

For more information about using Dither with the Save Session Copy In command, see “Dither” on page 402.

Session Format

You can save the session copy in the following formats:

• Latest (Pro Tools 5.1 or later)

• Pro Tools 5 Session

• Pro Tools 4 24-Bit Session

• Pro Tools 4 16-Bit Session

• Pro Tools 3.2 Session

Use Latest if you are working with Pro Tools software 5.1 or higher.

When saving sessions to versions earlier than

5.1, multichannel tracks and multi-mono plugins are lost. In this case, make sure to first separate the tracks and plug-ins to individual mono tracks.

Pro Tools Reference Guide50

Session Parameters

Audio File Type

The higher the quality of sample rate conversion you choose, the longer Pro Tools will take to process the audio file.

You can save the session to reference WAV or AIFF audio ﬁles. On the Macintosh, you can also save the session to reference SD II audio ﬁles (at sample rates up to 48 kHz).

SD II sessions are not supported with Pro Tools for Windows, or with sample rates higher than 48 kHz. You cannot set the session audio file type to SD II on the Macintosh if Enforce Mac/PC Compatibility is selected, or if the sample rate of the destination session is greater than 48 kHz.

Using Mixed File Types

A session can use mixed audio file types. If your original session has mixed file types, they are not converted to a different file type unless you specify that they be converted. However, when using mixed file types, audio performance will be reduced (due to additional file handling required for some file formats).

Bit Depth

You can save the new session at 16-bit or 24-bit depth. If your session is in a different bit depth, audio ﬁles are converted to the new session bit depth, and copied to the location you specify.

Sample Rate

You can save the new session at sample rates of

44.1 kHz or 48 kHz (on Mbox, Digi 001 and MIX-series systems) and at sample rates up to 96 kHz (on Digi 002) or 192 kHz (on HD-series systems). If your session is at a different sample rate, audio ﬁles are converted to the new session sample rate, and copied to the location you specify.

Enforce Mac/PC Compatibility

This setting forces Macintosh or Windows versions of Pro Tools to create sessions and audio ﬁles that are usable on both platforms. For more information, see “Creating Mac and PC Compatible Sessions” on page 130.

Items to Copy

All Audio Files

When this option is selected, all audio files are copied to the new location.

This setting is automatically selected if you are changing the bit depth or sample rate of the session.

All (Non-Native) Audio Files

This name of this option varies depending on the audio ﬁle type you select. If you are changing the audio ﬁle type of the session, this option ensures that all ﬁles in the copied session are converted to the selected ﬁle type. Use this option to avoid the reduced performance of a session with mixed ﬁle types.

This option is automatically selected if you are changing bit depth or sample rate, or copying a session on the Macintosh from SD II format to AIFF or WAV format with Enforce Mac/PC Compatibility selected.

Chapter 6: Sessions 51

Don’t Copy Fade Files

When this option is selected, Fade Files are not copied to the new session Fade Files folder. When the session is launched, the Find Files dialog will prompt you to locate Fade Files. You can either locate the existing fades using the ﬁnd ﬁle dialog, or Skip All to let Pro Tools recreate the fades from the session document.

Session Plug-In Settings Folder

When this option is selected, the session’s PlugIn Settings folder is copied to the new location. The references to these plug-in settings in the session are redirected to point to the copied settings files.

3 Set the Audio File Type to AIFF, WAV, or SD II.

If the audio ﬁles need to be compatible with either Macintosh or Windows, select AIFF or WAV.

4 Set the Sample Rate and Bit Depth for the ses-

sion.

5 Select “Enforce Mac/PC Compatibility” if you

want to create session and audio ﬁles that can be used in either Macintosh or Windows versions of Pro Tools. See “Creating Mac and PC Compatible Sessions” on page 130 for more information.

6 Select the Items to Copy to the new session.

7 Click Save.

Root Plug-In Settings Folder

When this option is selected, the contents of the root-level Plug-In Settings Folder are copied into a folder named Place in Root Settings Folder, indicating that these files will need to be moved to the root level plug-in settings folder on the destination system before you can use them. The references to these settings files in the session are not redirected to point to the copied files.

Movie/Video Files

When this option is selected, session movie files (QuickTime video files or AVoption or AVoption XL video files) are copied to the new location, and session references are updated to point to the copied movie files.

To save a session copy in a new location:

1 Choose File > Save Session Copy In.

2 In the Save Session Copy dialog, choose a des-

tination and enter a name for the new session ﬁle.

Creating Custom Session Templates

You can create custom session documents that are pre-configured to the track setups, mixer setups, window arrangements, and zoom level memory locations that you use most frequently. Doing this will save you the trouble of having to create your studio setup from scratch every time you start a new session.

Creating Macintosh Templates

On the Macintosh, you can create a session template by saving a session file as a Stationery Pad document. Once a session is saved as a Stationery Pad, it acts as a template that you can open and then resave as a normal session.

To create a custom session template on the Macintosh:

1 Create a session and arrange its elements as

desired. In addition to track setup, you can also deﬁne parameters such as signal routings, insert and send conﬁgurations, Mix and Edit window views, Ruler settings, and Preference settings.

Pro Tools Reference Guide52

2 Choose File > Save Session As.

3 Name the session and click Save.

4 Close the session.

Creating Windows Templates

In Windows, you can create a session template by making a session file a Read Only document.

5 Locate the session ﬁle that you just saved.

6 Click once on the ﬁle to select it.

7 Choose File > Get Info > General Information.

Saving a session as a Stationery Pad (Macintosh)

8 Select the Stationery Pad option to save the

ﬁle as a template, then close the information window.

To use this template, double-click it or open it with the Open Session command if you are already running Pro Tools. You can create several custom templates for studio setups that you frequently use.

To create a custom session template in Windows:

1 Create a session and arrange Pro Tools as de-

sired. You can also deﬁne the parameters within these windows, such as signal routings, insert and send conﬁgurations, track views, Ruler settings, and Preference settings.

2 Choose File > Save Session As.

3 Name the session and click Save.

4 Close the session.

5 Locate the session ﬁle that you just saved.

6 Right-click the ﬁle and choose Properties.

7 Under Attributes, deselect Archive and select

Read Only.

When you open a session saved as a Stationery Pad, Pro Tools gives you the option of editing the template or starting a new session using the template settings. If you choose New Session, Pro Tools will create a new folder containing a copy of your session template and Audio and Fades folders.

Making a session a Read Only ﬁle (Windows)

8 Click OK.

Chapter 6: Sessions 53

To use this template, double-click it or open it with the Open Session command. When you first save the session, Pro Tools will ask you to give the session a new name. Your original session template will remain unchanged.

To modify the session template, you will need to reopen its Properties, deselect the Read Only option and select the Archive option, make your modifications, then change it back to a Read Only file.

Sharing Sessions Between Pro Tools TDM Systems and Pro Tools LE Systems

Pro Tools makes it easy to share sessions between Pro Tools LE and TDM-equipped systems. There are some important differences between the two types of systems that can affect how session material is transferred.

Differences between TDM and LE systems

Feature TDM Systems LE Systems

Closing a Session

Because Pro Tools allows you to work on just one session at a time, you must close the current session if you want to work on another. The Close Session command closes your current Pro Tools session but leaves the Pro Tools application open. You can save your work using the Save Session or Save Session As command before closing the current session.

To close a session:

■ Choose File > Close Session.

Quitting Pro Tools

Although Pro Tools will warn you before allowing you to quit without saving changes, you should generally save your work before quitting.

To quit Pro Tools on the Macintosh:

■ Choose Pro Tools > Quit Pro Tools

(Pro Tools 6.0) or File > Quit (Pro Tools 5.3.x and earlier).

To exit Pro Tools in Windows:

■ Choose File > Exit.

Number of Audio Tracks

Number of Mix Busses

Inserts per Track

Sends per Track

up to 256 (HD-series)

up to 128 (MIX-series)

64 busses 16 busses

up to 5 inserts up to 5 inserts

up to 5 sends up to 5 sends

up to 32 (Pro Tools 6.0 on all systems, Pro Tools 5.3.1 and later on Windows)

up to 24 (Pro Tools 5.3.x and earlier on Macintosh, Pro Tools 5.1.x and earlier on Windows)

When opening a TDM session in Pro Tools LE, the following rules apply:

With Pro Tools LE 6.0 and later (all systems) or Pro Tools 5.3.1 and later (Windows):

◆ Any tracks beyond the ﬁrst 32, as well any in-

active tracks, are set to voice off.

◆ Multichannel surround tracks are removed

from the session.

Pro Tools Reference Guide54

◆ Any assignments to busses beyond 16 are

made inactive.

◆ Unavailable input and output paths are made

inactive.

◆ TDM plug-ins with RTAS equivalents are re-

tained; those without equivalents are made inactive.

With Pro Tools LE 5.3.x and earlier (Macintosh) or Pro Tools LE 5.1.x and earlier (Windows):

◆ Any tracks beyond the ﬁrst 24, as well any in-

active tracks, are removed from the session.

◆ Multichannel surround tracks are removed

from the session.

◆ Any assignments to busses beyond 16 are

made inactive.

◆ Unavailable input and output paths are made

inactive.

◆ TDM plug-ins with RTAS equivalents are re-

tained; those without equivalents are made inactive.

Preferences

The Preferences dialog has several tabbed pages in which you can specify your preferred settings for various session parameters. Each new session will use these preferences.

Display Preferences

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.

Show Meters in Sends View 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.

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.

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

Chapter 6: Sessions 55

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 overview 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.

Edit Window Color Coding

Edit Window Color Coding determines how colors are assigned to the waveform display in the Edit window.

None Turns off color assignment to the waveform display of tracks in the Edit window.

Tracks and MIDI Channels Assigns a color to the waveform display of each track in the Edit window according to its voice number and MIDI channel assignment.

Tracks and MIDI Devices Assigns a color to the waveform display of each track in the Edit window according to its voice number and MIDI device type.

Groups Assigns a color to the waveform display of each track in the Edit window according to its group ID. If groups are suspended using the Suspend Groups command, all waveforms will be displayed in black.

Edit Window Default Length This option allows you to set a default length for the Edit window in hours, minutes, seconds, and frames. 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. There is a 13 hour maximum limit for the length of a Pro Tools session.

Zoom Toggle Track Height Sets the default track height when the Zoom Toggle function is used to zoom in on a selection.

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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 this option is selected, track meters display the last peak level for three seconds.

Inﬁnite Peak Hold When this option is selected, track meters display the last peak level until you click them to clear them.

No Peak Hold When this option is selected, track meters do not hold the peak level.

Operation Preferences

Latch Record Enable Buttons When this option is deselected, it prevents multiple audio tracks from being record-enabled. Record-enabling an audio track takes any other audio track out of record-enabled mode.

Latch Solo Buttons When this option is deselected, it prevents multiple tracks from being soloed. Soloing a track mutes any track that is soloed.

Link Mix and Edit Group Enables When this option is selected, it links enabling and disabling of Mix and Edit groups. For example, enabling Group A in the Edit Window automatically enables Group A in the Mix window.

Timeline Insertion Follows Playback This option causes the screen’s play cursor to update its location to the point where playback stops.

Edit Insertion Follows Scrub/Shuttle When selected, the edit cursor automatically locates to the point where scrubbing stops.

Support Background Record Applications Allows other audio recording applications to run in the background concurrently with Pro Tools. Files recorded in the background can be imported into Pro Tools, and then trimmed and viewed while recording continues.

Sends Default to –INF Sets the initial fader level of newly-created Sends to –∞ (no audible signal level).

Audio During Fast Forward/Rewind When selected, audio is audible during fast-forward or rewind.

Limit Pull Ups to NTSC/PAL Film Standards This option, which is selected by default, filters the list of available Pull Up rates that appears in the Session Setup window.

Use F11 Key for Wait for Note When this option is selected, pressing the F11 Function key puts MIDI recording in Wait for Note mode.

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, Location Indicators, and Transport fields.

Classic Emulates the way Pro Tools worked in versions earlier 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 Control (Macintosh) or the Start key (Windows), 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 (.).

Transport Allows you to 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 Control (Macintosh) or the Start

Chapter 6: Sessions 57

key (Windows), 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.

Shuttle (TDM 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 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.

AutoSave

This preference determines how the AutoSave feature functions.

Enable Session File Auto Backup When this option is selected, Pro Tools automatically saves backups of your Pro Tools session file while you work. Use the Keep and Backup Every fields to specify the total number of incremental backups that are kept and how often the session is saved.

Online Options

Record Online at Time Code (or ADAT) Lock When this option is selected, online re-

cording begins as soon as Pro Tools receives and locks to time code or ADAT sync.

Record Online at Insertion/Selection When this option is 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.

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. 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. 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 record-enabled track. You may find it necessary to experiment with this number to achieve the desired performance for recording.

Machine Control

These preferences determine how a connected transport responds to Pro Tools.

Machine Chases Memory Location When selected, navigating to a specific location in a session with a Memory Location causes a connected transport to chase to that location.

Machine Follows Edit Insertion/Scrub When selected, navigating to a specific location in a session by moving the selection point or by scrubbing a track will cause a connected transport to chase to that location.

Machine Cues Intelligently When selected, if you navigate to a cue point that is more than 10 seconds from the current location, Pro Tools will command a connected transport to shuttle to the new location at full speed to within 10 seconds of the cue point. Cueing will then slow to normal speed until the point is reached. This significantly speeds up tape cueing.

Pro Tools Reference Guide58

Stop at Shuttle Speed Zero Causes Pro Tools to send a Stop command whenever you stop shuttling. This is useful if you have a machine that requires an explicit stop command to park correctly.

Remote Mode (9-pin Deck Emulation)

(TDM Systems Only)

Punch In Frame Offset Sets an offset (in frames)

to compensate for punch in timing advances or delays.

Punch Out Frame Offset Sets an offset (in frames) to compensate for punch out timing advances or delays.

Editing Preferences

Delay After Play Command Sets an offset (in frames) to compensate for lockup time of external machines.

Ignore Track Arming Sets Pro Tools to ignore incoming track arming (record enable) commands. This is useful if you are using a master controller to arm tracks on other machines, but you don’t want to arm tracks in Pro Tools.

Auto Regions 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 (the default) 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.

Recall Original Track Selections When this option is selected, Memory Locations that recall a selection also recall the track in which the selection was made.

Auto-Name Memory Locations When Playing When this option is selected, Pro Tools

gives new memory locations default names based on their time location in the session. The time units currently chosen in the Display menu determine the units for the names.

Auto-Name Separated Regions When this option is selected, Pro Tools automatically names newly separated regions by appending a number to the region’s name.

Region List Selection Follows Track Selection When this option is selected, selecting

a region in a track also selects it in the Regions List.

Track Selection Follows Regions List Selection When this option is selected, selecting

a region in the Regions List causes Pro Tools to highlight that region’s occurrence in a track.

Chapter 6: Sessions 59

Crossfade Preview Pre-Roll This option specifies the amount of pre-roll to be added when you are auditioning crossfades in the Fades dialog.

Crossfade Preview Post-Roll This option specifies the amount of post-roll to be added when you are auditioning crossfades in the Fades dialog.

“Matching Start Time” Takes List

When you Command-click (Macintosh) or Control-click (Windows) a region in a track, Pro Tools displays a list of regions whose time stamp matches the current cursor location. The following preferences determine which regions, or takes, appear in this list:

Default Fade Settings

Fade In Selects the default envelope shape for

fade-ins.

Crossfade Selects the default envelope shape for crossfades.

Fade Out Selects the default envelope shape for fade-outs.

Conversion Quality Selects the sample rate conversion quality. Sample rate conversion is used in a variety of Pro Tools processes including converting and importing audio files of different formats into a session, and bouncing and saving tracks to a different sample rate or bit depth. The higher the quality of sample rate conversion you choose, the longer Pro Tools will take to process the audio file.

Take Region Names That Match Track Names When this option is selected, only re-

gions that share the same root name with the track and playlist appear in the Takes List popup menu.

Take Region Lengths That Match When this option is selected, only regions that match the length of the current selection appear in the Takes List pop-up menu.

“Separate Region” Operates On All Related Takes When this option is selected, editing a re-

gion with the Separate Region command also affects all other related takes with the same User Time Stamp. This option helps you compare different sections from a group of related takes.

QuickPunch Crossfade Length Specifies a default length for crossfades created by QuickPunch recording. Crossfades occur before the punch in and after the punch out.

Levels Of Undo Sets the maximum number of actions (up to 16) 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 Reference Guide60

Automation Preferences

Faders Move During Playback When this option is selected, on-screen faders move if automation has been written for them. When this option is deselected, on-screen faders do not move, but automation still functions. Deselecting this option can help speed up screen redraws and processing.

Mutes Follow Groups When this option is selected, muting a track that belongs to a Mix group mutes all members of the group. When this option is deselected, tracks are muted individually. You can also mute individual group members by Control-clicking (Macintosh) or Right-clicking (Windows) their Mute buttons.

Solos Follow Groups When this option is selected, soloing a track that belongs to a Mix group solos all members of the group. When this option is deselected, tracks are soloed individually. You can also solo individual group members by Control-clicking (Macintosh) or Right-clicking (Windows) their Solo buttons.

Send Mutes Follow Groups When this option is selected, muting a Send on a track that belongs to a Mix group mutes the corresponding Send (A–E) on all members of the group. When this option is deselected, Sends are muted individually. You can also mute individual group members by Control-clicking (Macintosh) or Rightclicking (Windows) their Solo buttons.

Smooth and Thin Data After Pass When this option is selected, Pro Tools automatically smooths and then applies the specified amount of thinning to the automation data created in an automation pass. (See “Thinning Automation” on page 434.)

Write Switches To Touch After Pass (TDM Systems Only) When this option is selected, after an automation pass in Auto Write mode, Pro Tools automatically switches to Auto Touch mode. On TDM systems, you can choose to stay in Auto Write mode by deselecting this option.

Write Switches to Touch After Pass does not affect Trim mode. In Trim mode, tracks do not automatically change from Trim/Auto Write to Trim/Auto Touch after an automation pass.

Send Levels Follow Groups When this option is selected, adjusting the level of a Send on a track that belongs to a Mix group adjusts the level of the corresponding Send (A–E) on all members of the group. When this option is deselected, Send levels are adjusted individually. You can also adjust individual group members by Control-dragging (Macintosh) or Start-dragging (Windows) their Send level faders.

LFEs Follow Groups When this option is selected, adjusting an LFE control of a track or send that belongs to a Mix group adjusts the LFE controls of all members of the group. When this option is deselected, LFE controls are adjusted individually. You can also adjust individual group members by Control-dragging (Macintosh) or Start-dragging (Windows) their LFE controls. With send-based LFEs, grouping affects only that Send (A–E) on other tracks.

Chapter 6: Sessions 61

Degree of Thinning Specifies the amount of thinning performed on automation data when you use the Tin Automation command, or if you have selected the Smooth and Thin Data After Pass option. (See “Thinning” on page 426.)

Touch Timeout If you are writing automation in Auto Touch mode and you stop moving a nontouch sensitive control, 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.

AutoMatch Time If you are writing automation in Auto Touch mode, when you release a fader or control, writing of automation stops and the automation data returns to its previous automation value. The rate of return to the previous value is the AutoMatch Time. See “AutoMatch” on page 426.

Amount of memory to reserve for automation recording Allocates memory for automation. See

“Setting the Automation Buffer Size” on page 427 for details.

Processing Preferences

AudioSuite Dither

Use AudioSuite Dither When selected, applies dither to specific AudioSuite processing tasks, such as Gain and Normalize.

Dither Plug-In Specifies the plug-in used for dither processing when the Use AudioSuite Dither option is selected.

Edit Settings When a Digidesign dither plug-in is used, allows you to apply either normal or noise-shaping dither.

Pro Tools Reference Guide62

Bit Depth

16-, 18-, 20-, and 24-Bit allows you to select a bit depth for the dithered audio.

AudioSuite Buffer Size

Audio Suite Buffer Size sets the size of the memory buffer used for audio processing and previewing with AudioSuite plug-ins. Generally, choosing a smaller buffer speeds up AudioSuite audio previewing functions. Choosing a larger buffer speeds up AudioSuite processing functions. Set the buffer according to your current task. Before auditioning an AudioSuite plug-in, set the buffer to Mini or Small. When you process a file, set it to Large or Jumbo.

TC/E

TC/E Plug-In Allows you to choose the plug-in used for Time Compression and Expansion when you edit audio with the Time Trimmer tool. The Time Trimmer works by using Time Compression/Expansion to match an audio region to the length of another region, a tempo grid, a video scene, or other reference point.

Default Settings Specifies the default settings used by the chosen Time Compression/Expansion plug-in.

Compatibility Preferences

Convert All Imported “WAV” Files To AES31/BroadcastWave When selected, this op-

tion applies to all newly imported .WAV files, making them compliant with the AES31/EBU Broadcast standard.

Avid Compatibility Mode When selected, ensures that all imported OMF media files are treated as Read-Only and prevents destructive editing processes such as those used by the Pencil and Time Trimmer tools and AudioSuite processing.

Chapter 6: Sessions 63

MIDI Preferences

Play MIDI Notes When Editing When selected, causes MIDI notes to sound when you insert them with the Pencil or drag them with the Grabber.

Default Note On Velocity Sets the default Note On velocity for MIDI notes inserted in the Edit window and the MIDI Event List.

Pencil Tool Resolution Sets the default resolution for MIDI controller data created with the Pencil. Setting this to a lower resolution helps avoid creating controller data that is unnecessarily dense. The value range is from 1 to 100 milliseconds.

Global MIDI Playback Offset Sets an offset in samples to compensate for MIDI latency. Entering a value here has the same effect as setting an offset with the MIDI Track Offset command (Windows > MIDI Track Offset). Offset values can be positive (later) or negative (earlier).

MIDI Note Display Sets the reference for middle C as C3, C4, or MIDI note number 60.

Default Thru Instrument Sets the default MIDI Thru instrument from your available MIDI instruments.

Pro Tools Reference Guide64

Chapter 7: I/O Setup

The I/O Setup dialog provides tools to label, format, and map Pro Tools input, output, insert, bus, and SampleCell signal paths for each session. (SampleCell paths are available only on MIX-series systems with TDM-equipped SampleCell cards.)

A signal path is a logical grouping of multiple inputs, outputs or busses that has a single name and (channel) format. In Pro Tools, paths are similar to stems, known to the film and video industries (see “Stems and Stem Mixes” on page 67). The I/O Setup dialog lets you define and name paths according to the needs of each project.

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

Each Pro Tools system can have a different I/O Setup configuration, determined by:

• Whether it is a Pro Tools LE system or a Pro Tools TDM system

• Whether it is an HD-series, MIX-series, or Pro Tools|24 system

• On TDM systems, the number and types of audio interfaces

• On TDM systems, the mixer plug-in currently installed

Each Pro Tools session retains its path configurations as I/O Settings. 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 “Active and Inactive Paths” on page 75).

When you create a new session, you can specify a default I/O Setup configuration, including presets for stereo or multichannel mixing formats (multichannel mixing requires an HD-series or MIX-series system).

The I/O Setup dialog also lets you save and import I/O Settings files.

Chapter 7: I/O Setup 65

Paths in Sessions

Paths and I/O Setup

In sessions, audio is routed using the track Input, Output, Insert, Plug-in, and Send Selectors. These selectors let you assign tracks to hardware outputs and inputs, internal busses, and other Pro Tools signal paths.

Paths comprise the lists of available signal routing choices in track input, output, insert and send selectors.

Track Input Selectors

The signal routing choices available in a session are defined in the I/O Setup dialog.

I/O Setup dialog Output paths on a Digi 001 system

Track Input and Output Selectors

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I/O Setup dialog Output paths on an HD system

Main Paths and Sub-Paths

Default Settings Files

Paths in the I/O Setup dialog include main paths and sub-paths.

Stereo main path

mono sub-path

Main and sub-paths in the I/O Setup Channel Grid

Main Paths

Main paths are logical groupings of inputs, inserts, busses, or outputs. For example, a master stereo output path could be named Main Out. Path names in a stereo path are often appended with “.L” and “.R” for left and right.

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.

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. You can then customize your I/O Setup conﬁguration at any time, according to the needs of each project (see “The I/O Setup Dialog” on page 68).

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 for Pro Tools HD-series and MIX-series systems. These settings provide specialized path definitions for surround mixing. See “Configuring Pro Tools for Multichannel Sessions” on page 478.

Default Path Names

Default names for input, output, and insert paths are based on the type of system (LE systems) or the type and number of interfaces (TDM systems) you are using.

Stems and Stem Mixes

The use of stems and stem mixes originated in the post production industry as a method to organize and manage elements of a mix by type or content.

For example, a film mix often requires a stem mix for Foley, a stem mix for sound effects, a stem mix for dialog, and another for music. The dialog stem, for example, would contain all the dialog elements mixed relative to each other. The dialog stem can then be mixed with the other stems during the final mix of the scene or reel. The final mix is simplified by the ability to control the level of each stem, rather than the multitude of individual tracks that comprise a typical film mix.

In Pro Tools, you can work with main and subpaths as you would stem mixes. These can be assigned as needed, including the ability to assign multiple outputs to individual tracks and sends. For more information, see “Multiple Output Assignments” on page 387.

Chapter 7: I/O Setup 67

The I/O Setup Dialog

The I/O Setup dialog deﬁnes Pro Tools input, output, insert, and bus paths. Routing I/O ports to Pro Tools inputs and outputs can also be done here.

Expand/Collapse

Main and Sub-Paths

Active/Inactive Status

Options

Path Type Tabs

Path Name column

Path For mat Selector

Figure 7. I/O Setup dialog on a Pro Tools|HD system with a 96 I/O

To open the I/O Setup dialog:

1 Make sure your audio interfaces are enabled

and conﬁgured properly in the Hardware Setup.

2 Choose Setups > I/O Setup.

Closing the I/O Setup Dialog

You can click Cancel at any time to close the I/O Setup dialog. When you click OK, Pro Tools checks several settings for routing validity (to prevent feedback loops). If there are any over-

To open the Input, Output, Insert, Bus or SampleCell page in the I/O Setup dialog:

■ Click the corresponding tab at the top of the

I/O Setup dialog.

lapping or invalid settings, you will be required to correct them before the I/O Setup dialog will close. For more information, see “Initializing I/O Setup” on page 75.

Channel Grid

Input and Output Selectors

Path Tools

Pro Tools Reference Guide68

I/O Setup Dialog Controls

This section provides an overview of the controls in the I/O Setup dialog.

Path Type Tabs Select the type of I/O to configure. Choices are Inputs, Outputs, Inserts, Busses, or SampleCell. (SampleCell paths are available only on MIX-series systems with TDM-equipped SampleCell cards.)

Input and Output Selectors 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.

Show Original Setup Appears in the I/O Setup dialog in certain session transfer situations. For details on this feature, see “Show Original Setup and Show Current Setup” on page 77.

Options Provide pop-up menus to set paths or orders for Meter, Audition (Regions List previewing), Default Output (for new tracks), and Default Path Order. See “Default Output, Meter, Audition, and Default Path Order I/O Setup Options” on page 80.

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. The Input and Output Selectors in the I/O Setup dialog serve as a patchbay that allows you to route any of the physical inputs or outputs to your Pro Tools mixer.

Expand/Collapse Shows or hides the sub-paths associated with a main path.

Active/Inactive Status 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.

Channel Grid Maps paths to specific interfaces and channels.

Path Tools Customize the I/O Setup configuration. Buttons include: New Path, New Sub-Path, Delete Path, and Default.

I/O Channel Selector pop-up menu

Chapter 7: I/O Setup 69

To conﬁgure I/O routing in I/O Setup:

1 Choose Setups > I/O Setup.

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.

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.

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).

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

1 Choose Setups > I/O Setup.

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 Control-click (Macintosh) or Start-click (Win-

dows) 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. 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 75 for details.

Pro Tools outputs pairs can also be routed to multiple audio interface outputs in the Hardware Setup dialog. For more information, see “Routing a Pro Tools Output Pair to Multiple Destinations” on page 45.

Pro Tools Reference Guide70

Creating and Editing Paths

The I/O Setup dialog lets you create and customize signal path deﬁnitions.

Paths can be:

• Renamed, for easier identiﬁcation after changing or renaming audio interfaces

• Remapped, to or from different sources or destinations

•Deactivated (or reactivated) to manage unavailable or unnecessary I/O resources

• Deleted

In addition, you can import and export your I/O Setup conﬁgurations as I/O Settings ﬁles, as well as set default path parameters.

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, or CPU input)

Output Names, formats, and destination

(audio interface output channel or internal send bus)

Insert Names, formats and destination

(audio interface channels)

Creating a Default Main or Sub-Path

You can set an I/O Setup path type to its default path configuration at any time.

To restore default paths and pathnames:

1 Choose Setups > I/O Setup.

2 Click the Input, Output, Insert, Bus, or Sam-

pleCell tab to display the corresponding path type.

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 Input and Output Selectors.

Default stereo output paths

To optimize Pro Tools DSP resources, it is best to create mono sub-paths for Outputs and Busses, rather than mono main paths.

Bus Names and formats

SampleCell (MIX-series only)

Input names

Chapter 7: I/O Setup 71

Creating New Paths

You can create new main path and sub-paths with custom names, format, and mapping. Custom path names appear in a session’s track Input and Output Selectors.

To create a new path:

1 Choose Setups > I/O Setup.

7 Click OK to 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 “Initializing I/O Setup” on page 75.

Multichannel paths and mixing are explained in Chapter 31, “Pro Tools Setup for Surround.”

2 Click the Input, Output, Insert, Bus, or Sam-

pleCell tab to display the corresponding path type.

3 Click New Path, or press Command+N (Mac-

intosh) or Control+N (Windows).

– or –

Select a main path and click New Sub-Path.

4 Double-click in the Name ﬁeld and enter a

name for the path. Press Tab to move to the next editable ﬁeld, or press Return (Macintosh) or Enter (Windows) to set the new path name.

5 Choose a format from the Path Format Selec-

tor (mono, stereo, or multichannel).

Path Format Selector

6 Repeat the previous steps to conﬁgure other

path types (Input, Output, Insert, Bus, or SampleCell).

Selecting and Arranging Paths

Individual and multiple paths can be selected in the I/O Setup dialog Path Name column. Selected paths and sub-paths can be moved higher or lower in the Path Name column to change their menu order in track Input and Output 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 multiple main paths or sub-paths:

■ Shift-click the path names.

To select all paths and sub-paths:

■ Option-click (Macintosh) or Alt-click (Win-

dows) any path name.

To rearrange paths:

■ Drag one or more path names up or down.

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Resetting Paths

TDM Audio Interface Names

The Default button in the I/O Setup dialog provides two primary functions:

•Creates new, default paths up to the capacity of your system’s available audio interfaces and resources. See “Creating a Default Main or Sub-Path” on page 71.

• Resets selected path names to matching or corresponding paths in the current I/O Setup conﬁguration. For example, if you change modes on Digi 001, or replace an audio interface on a Pro Tools HD-series or MIX-series system, you can use the Default switch to update your I/O Setup deﬁnitions with the new hardware conﬁguration.

On TDM systems, audio interface names can be customized. See “TDM Audio Interface Names” on page 73.

To reset path names:

■ Click Default.

If there are matching paths available with the new system configuration, existing paths will be updated to include new audio interfaces (TDM systems), or I/O mode selection (Digi 001 only).

Resetting Mix Busses (TDM Only)

With TDM-equipped Pro Tools systems, audio interface names can be customized in the I/O Setup dialog. The I/O Setup dialog then bases default path names on the custom names.

To rename an audio interface in the I/O Setup dialog:

■ Double-click the text above an interface, enter

a new interface name, and press Return (Macintosh) or Enter (Windows).

Interface name

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.

Pro Tools 5.3 and later supports up to 64 mix busses for TDM systems. However, when you open a session created with Pro Tools 5.0.1 or earlier, only 32 busses are initially available.

To make 64 busses available in sessions created with Pro Tools 5.0.1 or earlier:

1 Open the I/O Setup dialog.

2 Click the Bus tab in the upper left.

3 Click Default.

To delete a main path or sub-path:

1 In the I/O Setup dialog, select the path you

want to delete.

2 Click Delete Path.

To delete all paths:

1 Option-click (Macintosh) or Alt-click (Win-

dows) any path name.

2 Click Delete Path.

Chapter 7: I/O Setup 73

Channel Mapping

Once a path has been created and formatted, it can be mapped to specific audio interface, bus, or SampleCell channels in the Grid.

To map channels:

1 Select a main or sub-path.

2 In the row for the selected path, click in the

Grid column under an audio interface and channel. Other channels for the path type, if any, ﬁll to the right.

Mapping channels

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 74.

Channel Mapping and Surround Mixer

(Pro Tools HD-Series and MIX-Series Systems 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. Because some multichannel mixing formats use unique track layouts, Pro Tools lets you set the default format in the I/O Setup dialog (see “Default Output, Meter, Audition, and Default Path Order I/O Setup Options” on page 80).

Customized Output paths for a 5.1 mix

Remapping Channels

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-Sub-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.

Pro Tools Reference Guide74

Channel Shufﬂing

Minimum Path Deﬁnitions

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 leave the previous channel empty.

Changing a path’s format erases any current channel mapping.

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.

Initializing I/O Setup

To set the current I/O Setup conﬁguration:

■ Click OK in the I/O Setup dialog.

All paths must be valid before the I/O Setup configuration can be applied.

Valid Paths and Requirements

While configuring the I/O Setup window, certain rules apply for path definition and channel mapping.

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 described below.

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 ei-

ther be completely independent of other maps (not mapped to any other available I/O interface/channels), or it must be a sub-path 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 and SampleCell paths, however, can be routed to multiple tracks.)

Active and Inactive Paths

Pro Tools paths can be Active (on) or Inactive (off, or unavailable). You can manually switch paths between Active or Inactive on a track-bytrack or session-wide basis. In addition, Pro Tools sets paths to Inactive automatically when I/O is unavailable.

Track Path Assignments Track input, output, and bus path assignments can be switched to Inactive using the corresponding selector on the track. This leaves track playlists intact, while disconnecting that particular track from the output or bus path. Use this to remove a track from a signal path.

Chapter 7: I/O Setup 75

Session-Wide Path Assignments Paths can be globally activated or deactivated in the I/O Setup window. Use this to turn off a 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.

Track Path Assignments

(Mix and Edit Windows)

To toggle a track path assignment to be Active or Inactive:

■ In the Mix or Edit window, Command-Con-

trol-click (Macintosh) or Control-Start-click (Windows) the track’s Input, Output, Insert, or Send Selector.

Toggling Multiple Paths

If a track has only one main output assignment, you can Command-Control-click (Macintosh) or Control-start-click (Windows) the track’s Output Selector to toggle the main output to inactive. When there are multiple assignments, the track selector will be displayed for you to specify the input, output, insert, or bus path.

If a Send (A

–E) has multiple output assignments

and one of those is toggled, then all of the output assignments for that Send (A

–E) will be tog-

gled.

Session-Wide Path Assignments

(I/O Setup Dialog)

Paths can be globally configured for Active or Inactive status in the I/O Setup Dialog.

Inactive track path assignments are indicated with an asterisk (*) in the track selector menu. (Paths set to globally inactive in the I/O Setup window are listed in italics.)

Toggling All or All Selected

The Option (Macintosh) and Alt (Windows) modifiers apply the path toggle to all tracks. The Option+Shift (Macintosh) or Alt+Shift (Windows) modifiers apply the path toggle to all selected tracks. However, Pro Tools will only apply the change to identical path assignments, if any, in the current track or tracks. Toggling multiple tracks only affects tracks that have the same path assignment as the one you are explicitly toggling.

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Display of Active and Inactive Status

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.

Active

Inactive

Active and inactive path settings in I/O Setup

To globally activate or deactivate a path:

1 Choose Setup > I/O Setup.

2 Select a path type using the tabs at the top of

the window.

3 Set the Active/Inactive control for the path.

Any track path assignment can also be deactivated on a track-by-track basis. See “Active and Inactive Paths” on page 75

Inactive paths are displayed in italics in the track path selectors.

Active and inactive paths in a track Output Selector

Hardware Setup and Session Transfer

Sessions created in Pro Tools 5.1 and later store the type and order of audio interfaces connected and active when the session was last saved.

Unavailable I/O

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-series system through two 192 I/O audio interfaces would include 32 input paths spread across the two 16-channel interfaces. If the session is taken to a different Pro Tools system that has a 96 I/O audio interface (a 16-channel I/O unit) and a 1622 Audio Interface (a 16-channel I/O unit) 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.

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.

See “Active and Inactive Paths” on page 75 for more information.

Show Original Setup and Show Current Setup

When a session is opened that contains path definitions for unavailable I/O modules, the I/O Setup dialog lists those paths in italics.

The Show Original Setup button displays the audio interfaces used in the original session. This temporary display lets you check the original I/O configuration for reference while configuring the session for your system.

Chapter 7: I/O Setup 77

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 “Creating and Editing Paths” on page 71.

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.

Importing and Exporting 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:

1 Click Export Settings.

2 Name and save the settings ﬁle.

Defaults, Settings Files, and Last Used Settings for New Sessions

When creating new sessions, you can set the session’s I/O Setup configuration using the following options:

Default I/O Setups The Pro Tools Installer provides factory presets for stereo and surround I/O Setups (surround mixing is only supported on Pro Tools HD-series and MIX-series systems). See “Factory I/O Settings Files” on page 79 for more information.

Custom Presets You can store and recall custom presets using the export and import features of the I/O Setup dialog.

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 79 for more information.

Default I/O Settings at First Launch

The first time you create a session, you can choose default Stereo Mix or Surround Mix settings, depending on your system and installation choices. See “Factory I/O Settings Files” on page 79.

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 you open a session, or you can import settings into a session that is already open. 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.

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.

Pro Tools Reference Guide78

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.

• 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 “Active and Inactive Paths” on page 75.)

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 and Editing Paths” on page 71.)

Stereo Mix Settings File

The Stereo Mix preset consists of all possible stereo and mono paths for your session.

Using the “Stereo Mix” preset has the same effect as clicking Default for every individual tab in I/O Settings. See “Creating and Editing Paths” on page 71 for details.

Specifically, the Stereo Mix preset will create the maximum number paths of each type, as determined by the available system’s I/O Setup and hardware configuration.

Surround Mix Settings File (TDM Systems Only)

The Surround Mix provides additional, surround-specific Output and Bus presets. See “Surround Mix Settings Files” on page 479 for more information.

Last Used I/O Settings

If any changes are made to the I/O Setup dialog during a session, 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. User Presets files will not contain recent changes unless you export an updated settings file.

The Last Used settings are available as a choice when creating or opening sessions, in addition to the factory presets described below.

Factory I/O Settings Files

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.

About Direct Out 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.

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). See “Hardware Setup and Session Transfer” on page 77 for more information on remapping.

To convert a session so that it emulates Direct Outs mode, use the Auto Assign Ascending Outputs feature:

Chapter 7: I/O Setup 79

To auto assign track outputs for Direct Out:

1 Make sure that all tracks are visible if desired

(because the hidden tracks will not be affected).

2 Select all desired tracks (Shift-click each track

name).

3 Command-Option-click (Macintosh) or Con-

trol-Alt-click (Windows) 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.

Default Output, Meter, Audition, and Default Path Order 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.

Default Output Path

You can specify the default Output path assignment for new tracks, in each available format.

Audition Path

The Audition path is the output path through which files and regions are previewed (listened to) in the Regions List.

To audition regions in the Regions List:

■ Option-click (Macintosh) or Alt-click (Win-

dows) the region in the list.

Using the Default Audition Path

When you audition a file or region in the Regions 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 TDM 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 Regions List auditioning using the Audition paths menu.

To specify a default Output in I/O Setup window:

■ Select a format and Output path from the de-

fault Output Selector.

Selecting default Output paths

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Audition Path Main Menu The main menu consists of all path format choices available on the current system (Mono and Stereo on all systems, LCR and greater on surround-capable systems).

Audition Path 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 Audition Paths:

■ Select a path from the Audition path menu or

submenus.

Selecting an Audition path

Auditioning Discrete Signals in Multichannel Items

In the Audio Regions List, multichannel regions are auditioned through the current Audition path. Signals can be auditioned “in-place,” or through all outputs, as described below.

Audition In-Place

When auditioning a mono component of a multichannel region, that mono component will by default be auditioned in-place. That is, it will play out the corresponding speaker channel of its parent multichannel region.

To audition through all channels of the main audition path:

■ Shift-Option-click (Macintosh) or Shift-Alt-

click (Windows) on the signal in the Regions List.

Default Path Order

(TDM Systems 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 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

To audition in-place:

1 In the Regions List, make sure the stereo or

multichannel region is in expanded view (showing .L, .R, and other component channels).

2 Option-click (Macintosh) or Alt-click (Win-

dows) the region for the desired channel.

Audition to All Outputs

Mono regions can be routed equally to all outputs of the parent region’s Audition path.

For more information about multichannel mixing, see Chapter 31, “Pro Tools Setup for Surround.”

Meter Path Selector

(ProControl Only)

The Meter Path Selector determines the path displayed across the ProControl Output meters. See the latest ProControl documentation for more details.

Chapter 7: I/O Setup 81

Pro Tools Reference Guide82

Chapter 8: Tracks

This chapter covers basic track management tasks such as creating and deleting tracks, assigning voices and output channels, and grouping tracks.

Track Types

In a Pro Tools session, you can have several different types of tracks. These can include audio tracks, Auxiliary Input tracks, MIDI tracks, and Master Fader tracks, and QuickTime Movie tracks. On Macintosh systems, sessions can have AVoption or AVoption XL Movie tracks.

QuickTime Movie track features are described in Chapter 36, “Working with QuickTime Movies.”

Audio Tracks, Auxiliary Input Tracks, and Master Fader Tracks

Pro Tools provides mono, stereo, and multichannel format audio tracks, Auxiliary Inputs, and Master Faders.

Audio Tracks

Audio tracks contain arrangements of recorded (or imported) audio files. Audio tracks can be mono, stereo, or multichannel format (multichannel tracks are supported on Pro Tools HDseries and MIX-series systems only).

Auxiliary Input Tracks

Auxiliary Input tracks can be used as effects sends, destinations for an alternate mix, as a bounce destination, as inputs to monitor or process audio (such as audio from MIDI sources), and for many other audio routing tasks.

Chapter 8: Tracks 83

Master Fader Tracks

Master Fader tracks control the overall level of the audio tracks that are routed to the session’s main output paths. For example, you could have 24 tracks in a session with channels 1–8 routed to Analog Output 1–2, channels 9–16 to Analog Output 3–4, and channels 17–24 to Analog Output 5–6. You could then create three master faders, one to control each of these output pairs.

MIDI Tracks

MIDI tracks store MIDI note, instrument, and controller data. You cannot select a track format when you create a MIDI track, because audio does not pass through it.

Multichannel Tracks (Pro Tools HD-Series and MIX-Series Systems Only)

A multichannel track is a single channel strip that plays multiple channels of audio (from 3–8 channels at a time). This allows Pro Tools to support multichannel mixing formats including 3+1, 5.1, 6.1, and others.

For more information on surround mixing with Pro Tools, see the following chapters:

• Chapter 31, “Pro Tools Setup for Surround”

• Chapter 32, “Multichannel Tracks and Signal Routing”

• Chapter 33, “Surround Panning and Mixing”

Audio Track/Channel Strip

Track Formats

Mono Tracks

A mono audio track, Auxiliary Input, or Master Fader track controls volume, and, in some cases, panning, for a single channel of audio. A mono track uses a single voice.

Stereo Tracks

A stereo audio track, Auxiliary Input, or Master Fader track is a single channel strip that plays two channels of audio as a stereo pair. Stereo tracks use two voices.

Each audio track has its own set of controls for volume, pan, output window, record enable, automation mode, solo, mute, comments, and voice assignment.

With slight variations, audio track channel strips in the Mix window look like the tracks shown in the following figures.

Audio tracks can be added to a session with the New Track command.

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Inserts

Sends

Input/Output selectors

Automation Mode selector

Pan Sliders Pan Indicators

Solo/Mute buttons

Voice Selector Open Output window Record Enable button

Volume Fader

Level Meters

Group ID Track Type indicator Volume/Peak/Delay indicator

Track Name

Track Comment

Stereo audio track channel strip (Pro Tools 6.0)

Sends

Input/Output selectors

Volume/Peak/Delay indicator

Pan indicator Automation Mode selector

Record Enable/Solo/Mute/Voice

Pan slider

Open Output window

Group ID

Volume Fader

Level Meter

Track Type indicator

Track Name

Track Comment

Mono audio track channel strip (Pro Tools 5.1.3)

Chapter 8: Tracks 85

MIDI Track/Channel Strip

Each MIDI track has its own set of controls for volume, pan, record enable, automation mode, solo, mute, MIDI patch assignment (program change), and MIDI channel assignment.

MIDI tracks can be added to a session with the New Track command.

MIDI Input selector MIDI Output selector Automation Mode selector

MIDI Pan slider

MIDI Pan indicator

Solo/Mute buttons

Program Change Record Enable

MIDI Volume Fader

MIDI Velocity Meter

Group ID

Track Type indicator MIDI Volume indicator Track Name

MIDI Channel

Automation

Record Enable/Program/Solo/Mute

MIDI Pan

MIDI Volume Fader

MIDI Velocity Meter

Track Name

MIDI channel strip (Pro Tools 5.1.3)

Track Controls

Input/Output Selectors

The I/O View shows Input and Output Selectors on audio and MIDI tracks.

Track Comment

MIDI channel strip (Pro Tools 6.0)

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Input Selector

Output Selector (or MIDI Device/Channel Selector)

Pan Slider

Pan Indicator

Inputs/Outputs View (Pro Tools 6.0)

Input Selector

Output Selector (or MIDI Device/Channel Selector)

Level/Peak/Channel Delay Indicator

Pan Indicator

Inputs/Outputs View (Pro Tools 5.1.3)

To show the I/O View:

■ Select Display > Edit Window Shows (or Mix

Windows Shows) > I/O View.

In Pro Tools 6.0, channel strips in the Mix window always display Input and Output Selectors as well as volume and pan values, so there is no I/O View display option for the Mix window.

Pan Indicator

The Pan Indicator displays the current pan setting of a track. Pan values range from <100 (full left) to 100> (full right). Pan controls are only available for stereo tracks or for mono tracks routed to a stereo output.

Pan Slider

For details on Input and Output Selectors, see “Assigning Inputs and Outputs to Tracks” on page 92.

Volume/Peak/Channel Delay Indicator

The Volume indicator on an audio track has three display modes: Volume, Peak, and Channel Delay.

To toggle the Volume indicator display:

■ Command-click (Macintosh) or Control-click

(Windows) the indicator to toggle it between the following modes:

Volume Indicator Shows the current volume, or input level of a track as set by the track Volume fader.

Peak Indicator Functions as a headroom indicator based on the last peak playback level. To reset the peak counter, click anywhere in the meter. Values range from +6 dB (highest level signal), to –∞ (no signal).

Channel Delay Indicator Shows the total delay, in samples, incurred on the track from the use of any TDM plug-ins on that channel.

The Pan slider controls the balance of a track between the assigned output pair. It only appears if you are using stereo tracks or mono tracks routed to a stereo output.

The Pan slider on a MIDI track is effective only if you are controlling a sound module that supports MIDI panning.

Volume Fader

The Volume fader controls the volume of a track when it is in playback, and the monitor level of the track when it is in record. You can link the record and monitor levels by enabling the Operation Preference for “Link Record and Play Faders.”

The volume fader on a MIDI track is effective only if you are controlling a sound module that supports MIDI volume.

Track Level Meter

On audio tracks, level meters indicate the level of the signal being recorded or played back from the hard drive. Green indicates nominal levels; Yellow indicates pre-clipping (–6 dB below full scale); and Red indicates clipping. When a track is record-enabled, these meters indicate record levels.

On MIDI tracks, the level meter shows the MIDI velocity of the most recent MIDI event.

Chapter 8: Tracks 87

Pre- and Post-Fader Metering

You can globally set audio track level meters to indicate pre-or post-fader levels by selecting or de-selecting Operations > Pre-Fader Metering. When pre-fader metering is selected, the level meters show levels independent of fader position. With post-fader metering, the level meters respond to fader position.

Peak Hold

If clipping occurs, the topmost LED will stay lit (red). In addition, Pro Tools meters provide a peak hold feature with three options: 3 Second Peak Hold, Inﬁnite Peak Hold, or No Peak Hold.

To enable Wide Meters View:

■ Command-Option-Control-click the track

level meters in either the Mix window or the Edit window.

To choose a peak hold setting:

■ Choose Setups > Preferences, click Display,

and select a Peak Hold option.

To clear a meter:

You can clear a meter’s clipping or peak hold indicator by clicking anywhere on the meter.

To clear all meters:

■ Option-click (Macintosh) or Alt-click (Win-

dows) any meter.

Wide Meters View

(Pro Tools 6.0 Only)

Wide Meters View expands the width of the level meters for tracks in both the Mix and Edit windows. Wide Meters View can make the track level meters easier to read.

Wide Meters View, Mix and Edit windows

To disable Wide Meters View:

■ Command-Option-Control-click the track

level meters a second time in either the Mix window or the Edit window.

Track Comments View

Comments View shows any comments entered in the Track Name/Comments dialog. You can type directly in the Comments area for each track when it is displayed.

To display the Comments View:

■ Select Display > Mix Window Shows (or Edit

Window Shows) > Comments.

For details on adding comments to tracks, see “Naming Tracks” on page 89.

Pro Tools Reference Guide88

Pinnacle Systems Pro Tools TDM - 6.0, Pro Tools LE - 5.3, Pro Tools LE - 5.1, Pro Tools TDM - 5.3, Pro Tools MIX - 5.1 Reference Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Conventions Used in These Guides

Compatibility Information

Digidesign Registration

TDM-Equipped Systems

HD-Series Systems

MIX-Series Systems

Supported Audio Interfaces

TDM System Playback, Recording and Voice Limits

Audio Interfaces for TDM Systems

Hard Disk Audio Recording

The Digidesign Audio Engine

Playback Engine Dialog

Session File

Audio File

Tracks

Regions (or Loops)

Playlist

Channel

Signal Routing

System Resources

Active and Inactive Items

MIDI Concepts

MIDI Terms

Common Misconceptions about MIDI

The Mix Window

The Edit Window

Track Controls

Edit Tools

Event Edit Area

Location Indicators, Grid/Nudge Values, Current Cursor Display

The Transport Window

Basic Transport Controls and Counters

MIDI Controls

Global Key Commands

Keyboard Focus

Numeric Keypad Modes

Transport

Classic

Shuttle

Starting Up or Shutting Down Your System

Hardware Buffer Size

CPU Usage Limit

Number of Voices

Default Sample Rate

DAE Playback Buffer Size

System Memory Allocation

Creating a New Session

Opening a Session

Opening a Session that Contains Unavailable Resources

Saving a Session

Saving the Session File with a New Name

Saving the Session File

Saving a Copy of the Session

Creating Custom Session Templates

Creating Macintosh Templates

Creating Windows Templates

Closing a Session

Preferences

Main Paths and Sub-Paths

Stems and Stem Mixes

The I/O Setup Dialog

I/O Setup Dialog Controls

Creating and Editing Paths

Creating New Paths

Resetting Paths

Deleting Paths

Channel Mapping

Initializing I/O Setup

Active and Inactive Paths

Hardware Setup and Session Transfer

I/O Settings Files

Defaults, Settings Files, and Last Used Settings for New Sessions

Default Output, Meter, Audition, and Default Path Order I/O Setup Options

Default Output Path

Audition Path

Default Path Order